View allAll Photos Tagged methodical
On the reverse:
generous - Liberal; free
systematic - methodical
magnetic - attractive
emotional - seeing clearly
practical -
philosophical - calm . cool
spiritual - refined . baby
(at bottom)
Oscar Inman
Photographer
E. O. Daggett
Elm Street
Billings Missouri
Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.
A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.
Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.
In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms
.
Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.
Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the ga1J.qa-bheru1J.qa in addition to atop European armorial bearings.
In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have represented the Trojan horse affair, but this is under scan. The Dioscuri, Castor and Pollux, familiar from the previous Greek-based coinage of the region, appeared once or twice as standing figurines, presumably because as a pair, they tallied an Indian mithuna couple. There were also female statuettes, corresponding to city goddesses. Though figures from Butkara, near Saidan Sharif in Swat, were noticeably more Indian in physical type, and Indian motifs were in abundance there. Sculpture was, in the main, Hellenistic or Roman, and the art of Gandhara was indeed "the easternmost appearance of the art of the Roman Empire, especially in its late and provincial manifestations". Furthermore, naturalistic portrait heads, one of the high-points of Roman sculpture, were all but missing in Gandhara, in spite of the episodic separated head, probably that of a donor, with a discernible feeling of uniqueness. Some constitutions and poses matched those from western Asia and the Roman world; like the manner in which a figure in a recurrently instanced scene from the Dipankara jataka had prostrated himself before the future Buddha, is reverberated in the pose of the defeated before the defeater on a Trojanic frieze on the Arch of Constantine and in later illustrations of the admiration of the divinised emperor. One singular recurrently occurring muscular male figure, hand on sword, witnessed in three-quarters view from the backside, has been adopted from western classical sculpture. On occasions standing figures, even the Buddha, deceived the elusive stylistic actions of the Roman sculptor, seeking to express majestas. The drapery was fundamentally Western- the folds and volume of dangling garments were carved with realness and gusto- but it was mainly the persistent endeavours at illusionism, though frequently obscured by unrefined carving, which earmarked the Gandhara sculpture as based on a western classical visual impact.
The distinguishing Gandhara sculpture, of which hundreds if not thousands of instances have outlived, is the standing or seated Buddha. This flawlessly reproduces the necessary nature of Gandhara art, in which a religious and an artistic constituent, drawn from widely varied cultures have been bonded. The iconography is purely Indian. The seated Buddha is mostly cross-legged in the established Indian manner. However, forthcoming generations, habituated to think of the Buddha as a monk, and unable to picture him ever possessing long hair or donning a turban, came to deduce the chigon as a "cranial protuberance", singular to Buddha. But Buddha is never depicted with a shaved head, as are the Sangha, the monks; his short hair is clothed either in waves or in taut curls over his whole head. The extended ears are merely due to the downward thrust of the heavy ear-rings worn by a prince or magnate; the distortion of the ear-lobes is especially visible in Buddha, who, in Gandhara, never wore ear-rings or ornaments of any kind. As Foucher puts it, the Gandhara Buddha is at a time a monk without shaving and a prince stripped off jewellery.
The western classical factor rests in the style, in the handling of the robe, and in the physiognomy of Buddha. The cloak, which covers all but the appendages (though the right shoulder is often bared), is dealt like in Greek and Roman sculptures; the heavy folds are given a plastic flair of their own, and only in poorer or later works do they deteriorate into indented lines, fairly a return to standard Indian practice. The "western" treatment has caused Buddha"s garment to be misidentified for a toga; but a toga is semicircular, while, Buddha wore a basic, rectangular piece of cloth, i.e., the samghiifi, a monk"s upper garment. The head gradually swerves towards a hieratic stylisation, but at its best, it is naturalistic and almost positively based on the Greek Apollo, undoubtedly in Hellenistic or Roman copies.
Gandhara art also had developed at least two species of image, i.e. not part of the frieze, in which Buddha is the fundamental figure of an event in his life, distinguished by accompanying figures and a detailed mise-en-scene. Perhaps the most remarkable amongst these is the Visit to the Indrasala Cave, of which the supreme example is dated in the year 89, almost unquestionably of the Kanishka period. Indra and his harpist are depicted on their visit in it. The small statuettes of the visitors emerge below, an elephant describing Indra. The more general among these detailed images, of which approximately 30 instances are known, is presumably related with the Great Miracle of Sravasti. In one such example, one of the adjoining Bodhisattvas is distinguished as Avalokiteshwara by the tiny seated Buddha in his headgear. Other features of these images include the unreal species of tree above Buddha, the spiky lotus upon which he sits, and the effortlessly identifiable figurines of Indra and Brahma on both sides.
Another important aspect of the Gandhara art was the coins of the Graeco-Bactrians. The coins of the Graeco-Bactrians - on the Greek metrological standard, equals the finest Attic examples and of the Indo-Greek kings, which have until lately served as the only instances of Greek art found in the subcontinent. The legendary silver double decadrachmas of Amyntas, possibly a remembrance issue, are the biggest "Greek" coins ever minted, the largest cast in gold, is the exceptional decadrachma of the same king in the Bibliotheque Nationale, with the Dioscuri on the inverse. Otherwise, there was scanty evidence until recently of Greek or Hellenistic influences in Gandhara. A manifestation of Greek metropolitan planning is furnished by the rectilinear layouts of two cities of the 1st centuries B.C./A.D.--Sirkap at Taxila and Shaikhan Pheri at Charsadda. Remains of the temple at Jandial, also at Taxila and presumably dating back to 1st century B.C., also includes Greek characteristics- remarkably the huge base mouldings and the Ionic capitals of the colossal portico and antechamber columns. In contrast, the columns or pilasters on the immeasurable Gandhara friezes (when they are not in a Indian style), are consistently coronated by Indo-Corinthian capitals, the local version of the Corinthian capital- a certain sign of a comparatively later date.
The notable Begram hoard confirms articulately to the number and multiplicity of origin of the foreign artefacts imported into Gandhara. This further illustrates the foreign influence in the Gandhara art. Parallel hoards have been found in peninsular India, especially in Kolhapur in Maharashtra, but the imported wares are sternly from the Roman world. At Begram the ancient Kapisa, near Kabul, there are bronzes, possibly of Alexandrian manufacture, in close proximity with emblemata (plaster discs, certainly meant as moulds for local silversmiths), bearing reliefs in the purest classical vein, Chinese lacquers and Roman glass. The hoard was possibly sealed in mid-3rd century, when some of the subjects may have been approximately 200 years old "antiques", frequently themselves replicates of classical Greek objects. The plentiful ivories, consisting in the central of chest and throne facings, engraved in a number of varied relief techniques, were credibly developed somewhere between Mathura and coastal Andhra. Some are of unrivalled beauty. Even though a few secluded instances of early Indian ivory carving have outlived, including the legendary mirror handle from Pompeii, the Begram ivories are the only substantial collection known until moderately in present times of what must always have been a widespread craft. Other sites, particularly Taxila, have generated great many instances of such imports, some from India, some, like the appealing tiny bronze figure of Harpocrates, undoubtedly from Alexandria. Further cultural influences are authenticated by the Scytho Sarmatian jewellery, with its characteristic high-backed carnivores, and by a statue of St. Peter. But all this should not cloud the all-important truth that the immediately identifiable Gandhara style was the prevailing form of artistic manifestation throughout the expanse for several centuries, and the magnitude of its influence on the art of central Asia and China and as far as Japan, allows no doubt about its integrity and vitality.
In the Gandhara art early Buddhist iconography drew heavily on traditional sources, incorporating Hindu gods and goddesses into a Buddhist pantheon and adapting old folk tales to Buddhist religious purposes. Kubera and Harm are probably the best-known examples of this process.
Five dated idols from Gandhara art though exist, however the hitch remains that the era is never distinguished. The dates are in figures under 100 or else in 300s. Moreover one of the higher numbers are debatable, besides, the image upon which it is engraved is not in the conventional Andhra style. The two low-number-dated idols are the most sophisticated and the least injured. Their pattern is classical Gandhara. The most undemanding rendition of their dates relates them to Kanishka and 78 A.D. is assumed as the commencement of his era. They both fall in the second half of the 2nd century A.D. and equally later, if a later date is necessitated for the beginning of Kanishka`s time. This calculation nearly parallels numismatics and archaeological evidences. The application of other eras, like the Vikrama (base date- 58 B.C.) and the Saka (base date- 78 A.D.), would place them much later. The badly battered figurines portray standing Buddhas, without a head of its own, but both on original figured plinths. They come to view as depicting the classical Gandhara style; decision regarding where to place these two dated Buddhas, both standing, must remain knotty till more evidence comes out as to how late the classical Gandhara panache had continued.
Methodical study of the Gandhara art, and specifically about its origins and expansion, is befuddled with numerous problems, not at least of which is the inordinately complex history and culture of the province. It is one of the great ethnical crossroads of the world simultaneously being in the path of all the intrusions of India for over three millennia. Bussagli has rightly remarked, `More than any other Indian region, Gandhara was a participant in the political and cultural events that concerned the rest of the Asian continent`.
However, Systematic study of the art of Gandhara, and particularly of its origins and development, is bedeviled by many problems, not the least of which is the extraordinarily complex history and culture of the region.
In spite of the labours of many scholars over the past hundred and fifty years, the answers to some of the most important questions, such as the number of centuries spanned by the art of Gandhara, still await, fresh archaeological, inscriptional, or numismatic evidence.
I think this is called Organ Rock and is one of the first pullouts after Park Avenue. This overlook afforded me great views in all directions, but I was buffeted by some seriously strong winds. With the wind I experienced at the park, I can see how Mother Nature methodically sculpts the rock in this park.
A while ago Sally , Anna & Patty tagged me on this fun little game, I told them I would do it so here it is! :)
1. I LOVE food. I love to cook it, bake it, see it, smell it and most important of all, eat it. I love the process of finding or coming up with a recipe, buying the ingredients, mixing, chopping, boiling, baking..ahhh. It's like a meditation to me. I once read in a blog written by a nice woman named Brooke (that is all I remember, sorry) that "the kitchen is where love and alchemy meet to turn food into nourishment". I could not agree more.
2. I absolutely LOVE being a mother and wife. It is and will always be the greatest thing I have ever done.
3. I LOVE traditions. They are sacred to me. My husband and I have made a great effort in creating our own traditions in our little family as well as keeping our extended family/cultural traditions alive. For instance, we have attended every opening day game for the Houston Astros since 1999 (save for one year that we were out of the country). I love that!
4. I have a terrible memory and I am very ditzy. I also have absolutely no sense of direction. One time I got lost two streets down from our house.
5. I LOVE to dance and I am not so bad at it! I will dance pretty much anything although my favorites are salsa, merengue, flamenco, samba and belly dancing (the last two I am learning by doing Zumba, which is the greatest workout in the history of the world, amen).
6. I am extremely sentimental and I cry very easily. I try not to wear my heart on my sleeve but I fail miserably at this. One time I even cried watching an episode of The Simpsons. True story!
7. I am methodical and organized and a religious list maker. It's the only way I can function. I like a tidy home and I try to keep it that way (not easy with kids) but my purse is always a mess. Please explain this to me.
8. I talk so much and SO fast. My mouth always has trouble keeping up with my brain so I am not the greatest listener and I tend to put my foot in my mouth on a regular basis.
9. I LOVE music. All sorts. My favorite is classic rock (Rolling Stones, Stevie Nicks, Beatles, The Who, Doors, etc) . I also love movies. All kinds. Don't ever ask me what my favorite movie or song is though. This irritates me. How can you pick just ONE? I do not comprehend this.
10. Call me naive but just like Ann Frank, "I still believe, in spite of everything, that people are truly good at heart." I honestly do.
The End.
En español en los comentarions
"I don't like warriors. Too narrow-minded, no subtlety. And worse, they fight for hopeless causes. Honor? Huh! Honor's killed millions of people, it hasn't saved a single one. I'll tell you what I do like though: a killer, a dyed-in-the-wool killer. Cold blooded, clean, methodical and thorough. Now a real killer, when he picked up the ZF-1, would've immediately asked about the little red button on the bottom of the gun."
Villa Steinbrück is to the far left.
"The Karlsburg is the ruins of a spur castle that was destroyed in 1525 on a wide rock spur on the left bank of the Main in the Mühlbach district opposite the town of Karlstadt, approx. 25 km northwest of Würzburg. To the north below the castle was the associated valley settlement in the area of today's Karlburg district.
It is a very convenient and traffic-defining location in the Franconian old settlement area. The Main valley widens here into a flat basin that rises to the west. Important transport routes to the centers of the Franconian-Carolingian Empire ran along the Main and in a west-east direction. They crossed the river here in two fords, about two kilometers apart. The complex of castle and settlement formed the last stop on the way up the Main to Würzburg, the former seat of Duke Heden and episcopal city since 741/42. Also a day's journey away are the Neustadt Monastery downstream and Hammelburg to the north. This shows the important position of Karlsburg on the way through what was then East Franconia.
The first mention of the Karlburg settlement complex in the year 741/42 is directly related to the founding of the diocese of Würzburg. The Carolingian caretaker Karlmann gave the diocese founded by Boniface not only 25 royal churches but also a St. Mary's monastery with associated goods and rights in the villa Karloburgo, as reported in three later confirmation documents. An old road led from Karlsburg and Karlburg via Duttenbrunn, Unterleinach, Oberleinach and Hettstadt, among other places, to Marienberg in Würzburg. In a second donation in the same context, King Pippin the Younger gave the castle and royal court with the associated fiscal district and all the income to be derived from it to the first Würzburg bishop Burkard in 751/53 (castellum... Karloburg... cum fisco regali). By the middle of the 8th century at the latest, there was a central location with fortifications, a royal court and a monastery, which was initially in royal hands or that of the Carolingian stewards and was only then handed over to the diocese. The exact date the castle was founded cannot be derived from the sources. It remains unclear whether it was only built in the Carolingian period, possibly under Karl Martel, the grandfather of Emperor Charles, or in the late Merovingian period, perhaps under the care of Hedene. There is also no information about the appearance and function of the castle, where according to legend Charlemagne often stayed. The historical news already characterizes Karlburg as an important central location in the early medieval regional history of Main Franconia. Charles Castle, known as castrum in 1286, came to an end in the Peasants' War when it was burned down by farmers between May 15 and June 3, 1525.
Karlstadt is a town in the Main-Spessart in the Regierungsbezirk of Lower Franconia (Unterfranken) in Bavaria, Germany. It is the administrative centre of Main-Spessart (Kreisstadt), and has a population of around 15,000.
Karlstadt lies on the River Main in the district (Landkreis) of Main-Spessart, roughly 25 km north of the city of Würzburg. It belongs to the Main-Franconian wine-growing region. The town itself is located on the right bank of the river, but the municipal territory extends to the left bank.
Since the amalgamations in 1978, Karlstadt's Stadtteile have been Gambach, Heßlar, Karlburg, Karlstadt, Laudenbach, Mühlbach, Rohrbach, Stadelhofen, Stetten, and Wiesenfeld.
From the late 6th to the mid-13th century, the settlement of Karlburg with its monastery and harbor was located on the west bank of the Main. It grew up around the Karlsburg, a castle perched high over the community, that was destroyed in the German Peasants' War in 1525.
In 1202, Karlstadt itself was founded by Konrad von Querfurt, Bishop of Würzburg. The town was methodically laid out with a nearly rectangular plan to defend Würzburg territory against the Counts of Rieneck. The plan is still well preserved today. The streets in the old town are laid out much like a chessboard, but for military reasons they are not quite straight.
In 1225, Karlstadt had its first documentary mention. In 1236, the castle and the village of Karlburg were destroyed in the Rieneck Feud. In 1244, winegrowing in Karlstadt was mentioned for the first time. From 1277 comes the earliest evidence of the town seal. In 1304, the town fortifications were finished. The parish of Karlstadt was first named in 1339. In 1369 a hospital was founded. Between 1370 and 1515, remodelling work was being done on the first, Romanesque parish church to turn it into a Gothic hall church. About 1400, Karlstadt became for a short time the seat of an episcopal mint. The former Oberamt of the Princely Electorate (Hochstift) of Würzburg was, after Secularization, in Bavaria's favour, passed in 1805 to Grand Duke Ferdinando III of Tuscany to form the Grand Duchy of Würzburg, and passed with this to the Kingdom of Bavaria.
The Jewish residents of the town had a synagogue as early as the Middle Ages. The town's synagogue was destroyed on Kristallnacht (the Night of Broken Glass, 9 November 1938) by Nazi SA men, SS, and Hitler Youth, as well as other local residents. Its destruction is recalled by a plaque at the synagogue's former site. The homes of Jewish residents were attacked as well, the possessions therein were looted or brought to the square in front of the town hall where they were burned, and the Jews living in the town were beaten.
Lower Franconia (German: Unterfranken) is one of seven districts of Bavaria, Germany. The districts of Lower, Middle and Upper Franconia make up the region of Franconia. It consists of nine districts and 308 municipalities (including three cities).
After the founding of the Kingdom of Bavaria the state was totally reorganised and, in 1808, divided into 15 administrative government regions (German: Regierungsbezirke, singular Regierungsbezirk), in Bavaria called Kreise (singular: Kreis). They were created in the fashion of the French departements, quite even in size and population, and named after their main rivers.
In the following years, due to territorial changes (e. g. loss of Tyrol, addition of the Palatinate), the number of Kreise was reduced to 8. One of these was the Untermainkreis (Lower Main District). In 1837 king Ludwig I of Bavaria renamed the Kreise after historical territorial names and tribes of the area. This also involved some border changes or territorial swaps. Thus the name Untermainkreis changed to Lower Franconia and Aschaffenburg, but the city name was dropped in the middle of the 20th century, leaving just Lower Franconia.
From 1933, the regional Nazi Gauleiter, Otto Hellmuth, (who had renamed his party Gau "Mainfranken") insisted on renaming the government district Mainfranken as well. He encountered resistance from Bavarian state authorities but finally succeeded in having the name of the district changed, effective 1 June 1938. After 1945 the name Unterfranken was restored.
Franconia (German: Franken, pronounced [ˈfʁaŋkŋ̍]; Franconian: Franggn [ˈfrɑŋɡŋ̍]; Bavarian: Frankn) is a region of Germany, characterised by its culture and Franconian dialect (German: Fränkisch).
Franconia is made up of the three Regierungsbezirke of Lower, Middle and Upper Franconia in Bavaria, the adjacent, Franconian-speaking, South Thuringia, south of the Thuringian Forest—which constitutes the language boundary between Franconian and Thuringian— and the eastern parts of Heilbronn-Franconia in Baden-Württemberg.
Those parts of the Vogtland lying in Saxony (largest city: Plauen) are sometimes regarded as Franconian as well, because the Vogtlandian dialects are mostly East Franconian. The inhabitants of Saxon Vogtland, however, mostly do not consider themselves as Franconian. On the other hand, the inhabitants of the Hessian-speaking parts of Lower Franconia west of the Spessart (largest city: Aschaffenburg) do consider themselves as Franconian, although not speaking the dialect. Heilbronn-Franconia's largest city of Heilbronn and its surrounding areas are South Franconian-speaking, and therefore only sometimes regarded as Franconian. In Hesse, the east of the Fulda District is Franconian-speaking, and parts of the Oden Forest District are sometimes regarded as Franconian for historical reasons, but a Franconian identity did not develop there.
Franconia's largest city and unofficial capital is Nuremberg, which is contiguous with Erlangen and Fürth, with which it forms the Franconian conurbation with around 1.3 million inhabitants. Other important Franconian cities are Würzburg, Bamberg, Bayreuth, Ansbach and Coburg in Bavaria, Suhl and Meiningen in Thuringia, and Schwäbisch Hall in Baden-Württemberg.
The German word Franken—Franconians—also refers to the ethnic group, which is mainly to be found in this region. They are to be distinguished from the Germanic people of the Franks, and historically formed their easternmost settlement area. The origins of Franconia lie in the settlement of the Franks from the 6th century in the area probably populated until then mainly by the Elbe Germanic people in the Main river area, known from the 9th century as East Francia (Francia Orientalis). In the Middle Ages the region formed much of the eastern part of the Duchy of Franconia and, from 1500, the Franconian Circle. The restructuring of the south German states by Napoleon, after the demise of the Holy Roman Empire, saw most of Franconia awarded to Bavaria." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Gandhara is the name given to an ancient region or province invaded in 326 B.C. by Alexander the Great, who took Charsadda (ancient Puskalavati) near present-day Peshawar (ancient Purusapura) and then marched eastward across the Indus into the Punjab as far as the Beas river (ancient Vipasa). Gandhara constituted the undulating plains, irrigated by the Kabul River from the Khyber Pass area, the contemporary boundary between Pakistan and Afganistan, down to the Indus River and southward towards the Murree hills and Taxila (ancient Taksasila), near Pakistan"s present capital, Islamabad. Its art, however, during the first centuries of the Christian era, had adopted a substantially larger area, together with the upper stretches of the Kabul River, the valley of Kabul itself, and ancient Kapisa, as well as Swat and Buner towards the north.
A great deal of Gandhara sculptures has survived dating from the first to probably as late as the sixth or even the seventh century but in a remarkably homogeneous style. Most of the arts were almost always in a blue-gray mica schist, though sometimes in a green phyllite or in stucco, or very rarely in terracotta. Because of the appeal of its Western classical aesthetic for the British rulers of India, schooled to admire all things Greek and Roman, a great deal found its way into private hands or the shelter of museums.
Gandhara sculpture primarily comprised Buddhist monastic establishments. These monasteries provided a never-ending gallery for sculptured reliefs of the Buddha and Bodhisattvas. The Gandhara stupas were comparatively magnified and more intricate, but the most remarkable feature, which distinguished the Gandhara stupas from the pervious styles were hugely tiered umbrellas at its peak, almost soaring over the total structure. The abundance of Gandharan sculpture was an art, which originated with foreign artisans.
In the excavation among the varied miscellany of small bronze figures, though not often like Alexandrian imports, four or five Buddhist bronzes are very late in date. These further illustrate the aura of the Gandhara art. Relics of mural paintings though have been discovered, yet the only substantial body of painting, in Bamiyan, is moderately late, and much of it belongs to an Iranian or central Asian rather than an Indian context. Non-narrative themes and architectural ornament were omnipresent at that time. Mythical figures and animals such as atlantes, tritons, dragons, and sea serpents derive from the same source, although there is the occasional high-backed, stylized creature associated with the Central Asian animal style. Moldings and cornices are decorated mostly with acanthus, laurel, and vine, though sometimes with motifs of Indian, and occasionally ultimately western Asian, origin: stepped merlons, lion heads, vedikas, and lotus petals. It is worth noting that architectural elements such as pillars, gable ends, and domes as represented in the reliefs tend to follow the Indian forms
.
Gandhara became roughly a Holy Land of Buddhism and excluding a handful of Hindu images, sculpture took the form either of Buddhist sect objects, Buddha and Bodhisattvas, or of architectural embellishment for Buddhist monasteries. The more metaphorical kinds are demonstrated by small votive stupas, and bases teeming with stucco images and figurines that have lasted at Jaulian and Mora Moradu, outpost monasteries in the hills around Taxila. Hadda, near the present town of Jalalabad, has created some groups in stucco of an almost rococo while more latest works of art in baked clay, with strong Hellenistic influence, have been revealed there, in what sums up as tiny chapels. It is not known exactly why stucco, an imported Alexandrian modus operandi, was used. It is true that grey schist is not found near Taxila, however other stones are available, and in opposition to the ease of operating with stucco, predominantly the artistic effects which can be achieved, must be set with its impermanence- fresh deposits frequently had to be applied. Excluding possibly at Taxila, its use emerges to have been a late expansion.
Architectural fundamentals of the Gandhara art, like pillars, gable ends and domes as showcased in the reliefs, were inclined to follow Indian outlines, but the pilaster with capital of Corinthian type, abounds and in one-palace scene Persepolitan columns go along with Roman coffered ceilings. The so-called Shrine of the Double-Headed Eagle at Sirkap, in actuality a stupa pedestal, well demonstrates this enlightening eclecticism- the double-headed bird on top of the chaitya arch is an insignia of Scythian origin, which appears as a Byzantine motif and materialises much later in South India as the ga1J.qa-bheru1J.qa in addition to atop European armorial bearings.
In Gandhara art the descriptive friezes were all but invariably Buddhist, and hence Indian in substance- one depicted a horse on wheels nearing a doorway, which might have represented the Trojan horse affair, but this is under scan. The Dioscuri, Castor and Pollux, familiar from the previous Greek-based coinage of the region, appeared once or twice as standing figurines, presumably because as a pair, they tallied an Indian mithuna couple. There were also female statuettes, corresponding to city goddesses. Though figures from Butkara, near Saidan Sharif in Swat, were noticeably more Indian in physical type, and Indian motifs were in abundance there. Sculpture was, in the main, Hellenistic or Roman, and the art of Gandhara was indeed "the easternmost appearance of the art of the Roman Empire, especially in its late and provincial manifestations". Furthermore, naturalistic portrait heads, one of the high-points of Roman sculpture, were all but missing in Gandhara, in spite of the episodic separated head, probably that of a donor, with a discernible feeling of uniqueness. Some constitutions and poses matched those from western Asia and the Roman world; like the manner in which a figure in a recurrently instanced scene from the Dipankara jataka had prostrated himself before the future Buddha, is reverberated in the pose of the defeated before the defeater on a Trojanic frieze on the Arch of Constantine and in later illustrations of the admiration of the divinised emperor. One singular recurrently occurring muscular male figure, hand on sword, witnessed in three-quarters view from the backside, has been adopted from western classical sculpture. On occasions standing figures, even the Buddha, deceived the elusive stylistic actions of the Roman sculptor, seeking to express majestas. The drapery was fundamentally Western- the folds and volume of dangling garments were carved with realness and gusto- but it was mainly the persistent endeavours at illusionism, though frequently obscured by unrefined carving, which earmarked the Gandhara sculpture as based on a western classical visual impact.
The distinguishing Gandhara sculpture, of which hundreds if not thousands of instances have outlived, is the standing or seated Buddha. This flawlessly reproduces the necessary nature of Gandhara art, in which a religious and an artistic constituent, drawn from widely varied cultures have been bonded. The iconography is purely Indian. The seated Buddha is mostly cross-legged in the established Indian manner. However, forthcoming generations, habituated to think of the Buddha as a monk, and unable to picture him ever possessing long hair or donning a turban, came to deduce the chigon as a "cranial protuberance", singular to Buddha. But Buddha is never depicted with a shaved head, as are the Sangha, the monks; his short hair is clothed either in waves or in taut curls over his whole head. The extended ears are merely due to the downward thrust of the heavy ear-rings worn by a prince or magnate; the distortion of the ear-lobes is especially visible in Buddha, who, in Gandhara, never wore ear-rings or ornaments of any kind. As Foucher puts it, the Gandhara Buddha is at a time a monk without shaving and a prince stripped off jewellery.
The western classical factor rests in the style, in the handling of the robe, and in the physiognomy of Buddha. The cloak, which covers all but the appendages (though the right shoulder is often bared), is dealt like in Greek and Roman sculptures; the heavy folds are given a plastic flair of their own, and only in poorer or later works do they deteriorate into indented lines, fairly a return to standard Indian practice. The "western" treatment has caused Buddha"s garment to be misidentified for a toga; but a toga is semicircular, while, Buddha wore a basic, rectangular piece of cloth, i.e., the samghiifi, a monk"s upper garment. The head gradually swerves towards a hieratic stylisation, but at its best, it is naturalistic and almost positively based on the Greek Apollo, undoubtedly in Hellenistic or Roman copies.
Gandhara art also had developed at least two species of image, i.e. not part of the frieze, in which Buddha is the fundamental figure of an event in his life, distinguished by accompanying figures and a detailed mise-en-scene. Perhaps the most remarkable amongst these is the Visit to the Indrasala Cave, of which the supreme example is dated in the year 89, almost unquestionably of the Kanishka period. Indra and his harpist are depicted on their visit in it. The small statuettes of the visitors emerge below, an elephant describing Indra. The more general among these detailed images, of which approximately 30 instances are known, is presumably related with the Great Miracle of Sravasti. In one such example, one of the adjoining Bodhisattvas is distinguished as Avalokiteshwara by the tiny seated Buddha in his headgear. Other features of these images include the unreal species of tree above Buddha, the spiky lotus upon which he sits, and the effortlessly identifiable figurines of Indra and Brahma on both sides.
Another important aspect of the Gandhara art was the coins of the Graeco-Bactrians. The coins of the Graeco-Bactrians - on the Greek metrological standard, equals the finest Attic examples and of the Indo-Greek kings, which have until lately served as the only instances of Greek art found in the subcontinent. The legendary silver double decadrachmas of Amyntas, possibly a remembrance issue, are the biggest "Greek" coins ever minted, the largest cast in gold, is the exceptional decadrachma of the same king in the Bibliotheque Nationale, with the Dioscuri on the inverse. Otherwise, there was scanty evidence until recently of Greek or Hellenistic influences in Gandhara. A manifestation of Greek metropolitan planning is furnished by the rectilinear layouts of two cities of the 1st centuries B.C./A.D.--Sirkap at Taxila and Shaikhan Pheri at Charsadda. Remains of the temple at Jandial, also at Taxila and presumably dating back to 1st century B.C., also includes Greek characteristics- remarkably the huge base mouldings and the Ionic capitals of the colossal portico and antechamber columns. In contrast, the columns or pilasters on the immeasurable Gandhara friezes (when they are not in a Indian style), are consistently coronated by Indo-Corinthian capitals, the local version of the Corinthian capital- a certain sign of a comparatively later date.
The notable Begram hoard confirms articulately to the number and multiplicity of origin of the foreign artefacts imported into Gandhara. This further illustrates the foreign influence in the Gandhara art. Parallel hoards have been found in peninsular India, especially in Kolhapur in Maharashtra, but the imported wares are sternly from the Roman world. At Begram the ancient Kapisa, near Kabul, there are bronzes, possibly of Alexandrian manufacture, in close proximity with emblemata (plaster discs, certainly meant as moulds for local silversmiths), bearing reliefs in the purest classical vein, Chinese lacquers and Roman glass. The hoard was possibly sealed in mid-3rd century, when some of the subjects may have been approximately 200 years old "antiques", frequently themselves replicates of classical Greek objects. The plentiful ivories, consisting in the central of chest and throne facings, engraved in a number of varied relief techniques, were credibly developed somewhere between Mathura and coastal Andhra. Some are of unrivalled beauty. Even though a few secluded instances of early Indian ivory carving have outlived, including the legendary mirror handle from Pompeii, the Begram ivories are the only substantial collection known until moderately in present times of what must always have been a widespread craft. Other sites, particularly Taxila, have generated great many instances of such imports, some from India, some, like the appealing tiny bronze figure of Harpocrates, undoubtedly from Alexandria. Further cultural influences are authenticated by the Scytho Sarmatian jewellery, with its characteristic high-backed carnivores, and by a statue of St. Peter. But all this should not cloud the all-important truth that the immediately identifiable Gandhara style was the prevailing form of artistic manifestation throughout the expanse for several centuries, and the magnitude of its influence on the art of central Asia and China and as far as Japan, allows no doubt about its integrity and vitality.
In the Gandhara art early Buddhist iconography drew heavily on traditional sources, incorporating Hindu gods and goddesses into a Buddhist pantheon and adapting old folk tales to Buddhist religious purposes. Kubera and Harm are probably the best-known examples of this process.
Five dated idols from Gandhara art though exist, however the hitch remains that the era is never distinguished. The dates are in figures under 100 or else in 300s. Moreover one of the higher numbers are debatable, besides, the image upon which it is engraved is not in the conventional Andhra style. The two low-number-dated idols are the most sophisticated and the least injured. Their pattern is classical Gandhara. The most undemanding rendition of their dates relates them to Kanishka and 78 A.D. is assumed as the commencement of his era. They both fall in the second half of the 2nd century A.D. and equally later, if a later date is necessitated for the beginning of Kanishka`s time. This calculation nearly parallels numismatics and archaeological evidences. The application of other eras, like the Vikrama (base date- 58 B.C.) and the Saka (base date- 78 A.D.), would place them much later. The badly battered figurines portray standing Buddhas, without a head of its own, but both on original figured plinths. They come to view as depicting the classical Gandhara style; decision regarding where to place these two dated Buddhas, both standing, must remain knotty till more evidence comes out as to how late the classical Gandhara panache had continued.
Methodical study of the Gandhara art, and specifically about its origins and expansion, is befuddled with numerous problems, not at least of which is the inordinately complex history and culture of the province. It is one of the great ethnical crossroads of the world simultaneously being in the path of all the intrusions of India for over three millennia. Bussagli has rightly remarked, `More than any other Indian region, Gandhara was a participant in the political and cultural events that concerned the rest of the Asian continent`.
However, Systematic study of the art of Gandhara, and particularly of its origins and development, is bedeviled by many problems, not the least of which is the extraordinarily complex history and culture of the region.
In spite of the labours of many scholars over the past hundred and fifty years, the answers to some of the most important questions, such as the number of centuries spanned by the art of Gandhara, still await, fresh archaeological, inscriptional, or numismatic evidence.
SUN VALLEY - The Los Angeles Fire Department successfully
rescued a trapped construction worker and provided medical care to he and two of his injured colleagues, when a large volume of concrete and soil toppled into a four foot deep trench with makeshift shoring the men were working in or near on the morning of February 5, 2022.
The first call to 9-1-1 at 10:13 AM, brought scores of LAFD rescuers to 9031 El Dorado Avenue, including firefighters uniquely trained and equipped to handle specialized Urban Search and Rescue (USAR) tasks.
The two men initially trapped were working on an unspecified purpose trenching project alongside the one story home, , when the poorly shored trench wall and portions of a concrete walkway on the property suddenly gave way, causing them both to sustain serious leg injuries. Though both men were initially trapped, one was able to free himself prior to LAFD arrival.
As rescuers focused on the still-trapped man, care and ambulance transportation to a local hospital was provided to the worker who escaped, as well as another man who came forward with unspecified back pain.
The LAFD USAR trained personnel worked methodically with specialty tools and the support of fellow firefighters for nearly 80 minutes to skillfully free the man, who was taken to a regional trauma center in serious but stable condition.
© Photo by Mike Meadows
LAFD Incident 020522-0575
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"Karlstadt is a town in the Main-Spessart in the Regierungsbezirk of Lower Franconia (Unterfranken) in Bavaria, Germany. It is the administrative centre of Main-Spessart (Kreisstadt), and has a population of around 15,000.
Karlstadt lies on the River Main in the district (Landkreis) of Main-Spessart, roughly 25 km north of the city of Würzburg. It belongs to the Main-Franconian wine-growing region. The town itself is located on the right bank of the river, but the municipal territory extends to the left bank.
Since the amalgamations in 1978, Karlstadt's Stadtteile have been Gambach, Heßlar, Karlburg, Karlstadt, Laudenbach, Mühlbach, Rohrbach, Stadelhofen, Stetten, and Wiesenfeld.
From the late 6th to the mid-13th century, the settlement of Karlburg with its monastery and harbor was located on the west bank of the Main. It grew up around the Karlsburg, a castle perched high over the community, that was destroyed in the German Peasants' War in 1525.
In 1202, Karlstadt itself was founded by Konrad von Querfurt, Bishop of Würzburg. The town was methodically laid out with a nearly rectangular plan to defend Würzburg territory against the Counts of Rieneck. The plan is still well preserved today. The streets in the old town are laid out much like a chessboard, but for military reasons they are not quite straight.
In 1225, Karlstadt had its first documentary mention. In 1236, the castle and the village of Karlburg were destroyed in the Rieneck Feud. In 1244, winegrowing in Karlstadt was mentioned for the first time. From 1277 comes the earliest evidence of the town seal. In 1304, the town fortifications were finished. The parish of Karlstadt was first named in 1339. In 1369 a hospital was founded. Between 1370 and 1515, remodelling work was being done on the first, Romanesque parish church to turn it into a Gothic hall church. About 1400, Karlstadt became for a short time the seat of an episcopal mint. The former Oberamt of the Princely Electorate (Hochstift) of Würzburg was, after Secularization, in Bavaria's favour, passed in 1805 to Grand Duke Ferdinando III of Tuscany to form the Grand Duchy of Würzburg, and passed with this to the Kingdom of Bavaria.
The Jewish residents of the town had a synagogue as early as the Middle Ages. The town's synagogue was destroyed on Kristallnacht (the Night of Broken Glass, 9 November 1938) by Nazi SA men, SS, and Hitler Youth, as well as other local residents. Its destruction is recalled by a plaque at the synagogue's former site. The homes of Jewish residents were attacked as well, the possessions therein were looted or brought to the square in front of the town hall where they were burned, and the Jews living in the town were beaten.
Lower Franconia (German: Unterfranken) is one of seven districts of Bavaria, Germany. The districts of Lower, Middle and Upper Franconia make up the region of Franconia. It consists of nine districts and 308 municipalities (including three cities).
After the founding of the Kingdom of Bavaria the state was totally reorganised and, in 1808, divided into 15 administrative government regions (German: Regierungsbezirke, singular Regierungsbezirk), in Bavaria called Kreise (singular: Kreis). They were created in the fashion of the French departements, quite even in size and population, and named after their main rivers.
In the following years, due to territorial changes (e. g. loss of Tyrol, addition of the Palatinate), the number of Kreise was reduced to 8. One of these was the Untermainkreis (Lower Main District). In 1837 king Ludwig I of Bavaria renamed the Kreise after historical territorial names and tribes of the area. This also involved some border changes or territorial swaps. Thus the name Untermainkreis changed to Lower Franconia and Aschaffenburg, but the city name was dropped in the middle of the 20th century, leaving just Lower Franconia.
From 1933, the regional Nazi Gauleiter, Otto Hellmuth, (who had renamed his party Gau "Mainfranken") insisted on renaming the government district Mainfranken as well. He encountered resistance from Bavarian state authorities but finally succeeded in having the name of the district changed, effective 1 June 1938. After 1945 the name Unterfranken was restored.
Franconia (German: Franken, pronounced [ˈfʁaŋkŋ̍]; Franconian: Franggn [ˈfrɑŋɡŋ̍]; Bavarian: Frankn) is a region of Germany, characterised by its culture and Franconian dialect (German: Fränkisch).
Franconia is made up of the three Regierungsbezirke of Lower, Middle and Upper Franconia in Bavaria, the adjacent, Franconian-speaking, South Thuringia, south of the Thuringian Forest—which constitutes the language boundary between Franconian and Thuringian— and the eastern parts of Heilbronn-Franconia in Baden-Württemberg.
Those parts of the Vogtland lying in Saxony (largest city: Plauen) are sometimes regarded as Franconian as well, because the Vogtlandian dialects are mostly East Franconian. The inhabitants of Saxon Vogtland, however, mostly do not consider themselves as Franconian. On the other hand, the inhabitants of the Hessian-speaking parts of Lower Franconia west of the Spessart (largest city: Aschaffenburg) do consider themselves as Franconian, although not speaking the dialect. Heilbronn-Franconia's largest city of Heilbronn and its surrounding areas are South Franconian-speaking, and therefore only sometimes regarded as Franconian. In Hesse, the east of the Fulda District is Franconian-speaking, and parts of the Oden Forest District are sometimes regarded as Franconian for historical reasons, but a Franconian identity did not develop there.
Franconia's largest city and unofficial capital is Nuremberg, which is contiguous with Erlangen and Fürth, with which it forms the Franconian conurbation with around 1.3 million inhabitants. Other important Franconian cities are Würzburg, Bamberg, Bayreuth, Ansbach and Coburg in Bavaria, Suhl and Meiningen in Thuringia, and Schwäbisch Hall in Baden-Württemberg.
The German word Franken—Franconians—also refers to the ethnic group, which is mainly to be found in this region. They are to be distinguished from the Germanic people of the Franks, and historically formed their easternmost settlement area. The origins of Franconia lie in the settlement of the Franks from the 6th century in the area probably populated until then mainly by the Elbe Germanic people in the Main river area, known from the 9th century as East Francia (Francia Orientalis). In the Middle Ages the region formed much of the eastern part of the Duchy of Franconia and, from 1500, the Franconian Circle. The restructuring of the south German states by Napoleon, after the demise of the Holy Roman Empire, saw most of Franconia awarded to Bavaria." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Camera: Holga 120WPC
Film: Fuji Acros 100
Exposure Time: 9 seconds
Location: Lake Wenatchee State Park, Washington State
Happy Tree Tuesday!
While lounging around our campsite over Memorial Day Weekend I often found myself looking up, memorized by the Ponderosa Pine trees swaying in the wind coming off the lake. At times it seemed as though they were moving as much as 10 feet, perhaps more, in each direction with ease and grace. The sounds of the forest methodically moving back and forth were quite soothing.
Felix was formerly a Pilot of unique (and often super natural) ability; rumours suggest he killed a Jedi (thus receiving some of her ability to control the force) which resulted in the super reflexes that, in hindsight, earned him more recognition then he would have liked.
This unique ability to pilot spacefighters drew the attention of many crimelords and cartels which eventually led to him joining the under world consortium and crime syndicate known as the Zann Consortium; led by the notourious (and shamed Imperial Academy Cadet) Tyber Zann.
Soon after the Battle of Yavin, Felix was put in charge of a specialist group of pilots which conducted all the Narcotic runs to and from the other cartels. He and his team purpose built Space-Runners with secret holds to move the narcotics and their payments around.
Unfortunately Felix was ambushed on a return run to Tyber's HQ and was captured and then tortured.
Dumped back in his space-runner, he was left to drift in space before eventually being found.
Felix had been tortured for the whereabouts of the Zann consortium HQ - his kidnappers had removed his leg at the knee and one of his arms at the shoulder in the hope it would force him into giving them what they wanted.
Saved by his Crimelord boss. Narcotics were used during his treatment made Felix arrogant, methodical and ruthless. When well enough to leave the confines of the medical facilities of the cartel, he made a choice. Decision made he would hold a grudge on those that were behind his kidnapping and torture. And not let it go until he made them pay.
Felix used some of the vast funds he had saved to purchase psycho conditioning treatments and training to enhance his fighting ability to match his piloting. Turning his attention to his Starfighter which he named Grudge Bearer, he converted the "narcotics" hold into an area which could hold his bounty, he then added a more powerful hyperdrive, a cloaking device, a cloaking jammer and two double rapid firing laser canons to each wing. Felix also added an experimental Combat/Runner shield which adapts to the situation - ie. when in Runner mode the shield is weaker however it allows more power to be directed to the controls allowing greater manouverablility.
Felix has found that Bounty Hunting has led him to a number of his kidnappers and is slowly making his way to the man/creature behind his ordeal.
His pilot instincts have never left him and he adds a yellow and black stripe for every kidnapper he finds and in addition for every 100 bounties he adds a green stripe to the wings of Grudge Bearer
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One of our students related this story she had been told by a customer she had once waited upon at the rather posh jewelry shoppe she had been employed at to work evenings and weekends.
She likes to tell this story because it was on that day she discovered a secret to successful selling of jewelry.
She remembers it because the man seemed to wait for her to be free. She recollects that that had been happening all day, maybe because she wore the same satin dress she had worn at a friend’s wedding the day pervious. She had borrowed it from another friend and was taking it to the dry cleaners the next day and figured to get the most wear from it.
She had made a lot of sales that day, more than usual. Since then she has learned that if she dressed to the nines for work, along with offering to display the piece ( esp for men) the buyers were interested in. That they seemed more enticed to buy. She tried this out several times hence and on those days her sales spiked rather noticeably.
So anyway, this bloke, a gentleman in his mid-thirties wearing a fitted suit and tie, finally approached her. He rather nervously asked to look at some emerald necklaces. He showed her a photo on his IPod of him and a rather attractive lady in a shimmering gold gown that he said was his wife. The lady was wearing a very smart set of emerald, the works: earrings, necklace, bracelet and rings.
He said he was looking to buy a necklace too replace one similar to the one his wife was wearing in the photo, one she had had stolen. She showed him a few emerald necklaces and sets and he seemed to like one well enough that she volunteered to show it off” for him. He really seemed smitten with it, in making small talk before leading into the price; she asked him how had the necklace she was wearing been stolen? A burgled flat?
No, not a burglar, it was taken from her.
Robbed? Our clerk asked.
I’ll say the debonair looking gentleman retorted, very thoroughly robbed…..
He went into a quick story about how his wife’s sister had worked for a jeweler and had given her discounts on select pieces that were out of style, her sister had sold the expensive emerald set at a deep discount to his wife.
She had been wearing them the evening that the photo was taken. They were attending a casino night charity gala and spent some time gambling, drinking and dancing. Around one o’clock they were leaving and made it to the front door, when he had been hailed by a co-worker. He stopped to chat and didn’t realize that his wife, instead of waiting, slipped away and headed to their hotel Needless to say, they both were a little tipsy and did not have their full wits about them.
The hotel was part of the complex and located on the other side of the casino’s car park, through a small wooded park and garden area. It seemed safe enough, so they had walked over to save cab fare.
She had made it across the well lit car park and was just going on the flagstone path through the woods, when his wife heard a man call out to her from a bench. He asked if she had the time. She told him she had no watch, naively holding up her wrist to show him it wasn’t a watch, only her diamond bracelet he must have noticed sparkling on her wrist.
He asked her again, plainly not hearing her. She approached him, sorry sir, I don’t wear a watch. It’s not a watch I’m talking about luv, he said , lifting up her necklace( the husband in the jewelry store lifted up the clerks necklace as he reached this bit) We’ll have them missy, allof it.
He suddenly snarled, Do you have the time to be robbed, luv !he said as someone grabbed her from behind, placing a hand over her mouth and pulled her off. The pair pulled her away, down the hill and stripped off her sable fur. Than, as one gentleman held her hands behind her back, the other searched her and stripped off all her jewels, even the rhinestone clips on her gown. The only thing they left was her thick gold wedding band( she was pissed that they had had no qualms about yanking off hwe 3 caret engagement ring)
But they took absolutely anything of else value my poor wife possessed, making such a meticulous job of it, that if my wife had any gold crowns in her mouth, they probably would have yanked those from in her in the bargain.
My lord, how horrible our clerk remembered exclaiming, as she still feels a shiver to this day remembering the tale. Even her gold crowns? She inquired. No , he answered, she only has the silver ones, but they did force open her mouth to make sure she wasn’t hiding a pretty ring from them. It appears that the breath mint she had been sucking on at the time made them assume she was holding back.
How nasty, our student said, cringing at the very idea. That wasn’t the worst of it, He replied. Let’s just say they were very meticulous in knowing where to look!
They took everythin? Was she hurt much? she asked her customer.
Only her pride. They only took her jewelry though, allowing her to keep her purse and the sable. They made her sit under an old elm and, laying the sable over her like a blanket, told her to count to 500 before doing or saying anything.
How horrible our student had exclaimed.
But that wasn’t all for the old girl, the man said sadly.
She must have fallen asleep. She remembers waking up cold, and groggily pulling the sable back up before losing conscious again. The next thing she remembered was waking up, shivering. She felt for the Sable, and realized that it had been slipped off her and stolen. At that point she head branches snapping as if something was scurrying away. Later she discovered that along with her sable and gold purse, someone had taken the time to methodically work off, not only her evening gowns rhinestone clips, but also the solid gold wedding band. If whoever had done it had known the value of her Satin gown, that would also would probably have been carefully stripped of my wife’s unconsciously vulnerable figure and nicked.
She sat there for a few minutes, than got up and stumbled to the car park, I found her there , sitting on a curb, sobbing. I Had been searching for her after discovering she was not in the room.
Poor thing the clerk said, as the man finished, addin. the old girl was rather miffed at the loss of her jewels, we could never afford to replace them. That and the gullibility of being taken advantage of and robbed twice in one evening.
Crime of opportunity is what the inspector called it. The police figure that someone was waiting on the fringe, probably planning to steal a car, when they saw my wife walking across the lot. Bloody twits probably though Christs Mass had come early, he said sardonically.
But I’ll tell you, it’s the second bloke, the one who lifted her precious valuables while passed out that we both want to throttle the bejesus out of
Our student/clerk felt sorry for the guy, and offered a discount on the piece. He had her write the information down, seemingly very interested. He went on to look at several emerald rings and did purchase one on the spot. Although he never came back for the far more expensive emerald set he had been gawping over as she had worn it for him.
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DISCLAIMER
All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents
The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.
No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.
These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.
As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.
We accept no responsibility for any events occurring outside this website.
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All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents
The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.
No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.
These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.
As with any work of fiction or fantasy the purpose is for entertainment only, and should never be attempted in real life.
We accept no responsibility for any events occurring outside this website.
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Comment:
We suppose that to anyone who has clerked a jewelry counter tales like this are nothing new.
The Nutshell Studies of Unexplained Death are a series of nineteen (twenty were originally constructed) intricately designed dollhouse-style dioramas created by Frances Glessner Lee (1878–1962), a pioneer in forensic science. Glessner Lee used her inheritance to establish a department of legal medicine at Harvard Medical School in 1936, and donated the first of the Nutshell Studies in 1946 for use in lectures on the subject of crime scene investigation. In 1966, the department was dissolved, and the dioramas went to the Maryland Medical Examiner’s Office in Baltimore, Maryland, U.S. where they are on permanent loan and still used for forensic seminars.
The dioramas are detailed representations of death scenes that are composites of actual cases, created by Glessner Lee on a 1 inch to 1 foot (1:12) scale. She attended autopsies to ensure accuracy, and her attention to detail extended to having a wall calendar include the pages after the month of the incident, constructing openable windows, and wearing out-of-date clothing to obtain realistically worn fabric. The dioramas show tawdry and, in many cases, disheveled living spaces very different from Glessner Lee's own background. The dead include prostitutes and victims of domestic violence.
Glessner Lee called them the Nutshell Studies because the purpose of a forensic investigation is said to be to "convict the guilty, clear the innocent, and find the truth in a nutshell." Students were instructed to study the scenes methodically—Glessner Lee suggested moving the eyes in a clockwise spiral—and draw conclusions from the visual evidence. At conferences hosted by Glessner Lee, prominent crime-scene investigators were given 90 minutes to study each diorama.
I watched a video by Joe Cornish recently, entitled 'With Landscapes in Mind'. I was really struck at how methodical and thoughtful he was about all the elements of a photograph. I suppose part of this is his background in medium and large format photography and how that slows you down, but it was also in the spirit of how he looked at an image.
So, 'With Joe Cornish in Mind' I set off to the waterfalls at Brecon and found the colours had gone over and the rivers were overflowing with the rains from the night before.
Damn! Still, it was really interesting to slow down the whole process of capturing the scene and after about 45 minutes at this spot and much messing about with compositions and apetures, I managed to come away with something I was pleased with considering the poor conditions.
Canon 5D2 with 16-35 lens @23mm and f18. 25 seconds with polariser and 2 stop soft grad in the top right corner to balance exposure .
Known in Puerto Rico as Calandria Official SEO name Bolsero Puertoriqueño or Bolsero de las Antillas Mayores
Juvenile/Inmaduro
Especie endémica de Puerto Rico// Endemic Species of Puerto Rico
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Clasificación Cientifica// Scientific classification
Orden: Passeriformes
Familia: Icteridae
Género: Icterus
Especie: I. dominicensis
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Fun Facts:
Eats mostly insects in the forest canopy and mid-story, but will also consume forest fruits and juices of overripe oranges. Insect prey include earwigs, crickets, grasshoppers, roaches, cicadas, weevils, caterpillars, ants and wasps. It also eats spiders, scorpions, lizards and frogs M. Oberle -Puerto Rico's Birds in Photographs
Like many members of the blackbird family, it has unusually strong muscles at the base of the skull that allow it to open its bill against resistance. Thus the oriole can look for prey by prying open bromeliads, curled leaves, bark, or soft wood---a feeding technique known as gaping M. Oberle -Puerto Rico's Birds in Photographs
It forages by methodically hopping from one branch to the next, sometimes hanging upside down, to inspect likely locations for insects. Its fibrous, hanging nest is typical of orioles, and is often placed in a palm tree. M. Oberle -Puerto Rico's Birds in Photographs
Datos Curiosos:
La Calandria se alimenta principalmente de insectos en el dosel y el estrato intermedio de los bosques pero también consume frutos y el jugo de chinas (naranjas) demasiado maduras. Entre los insectos que depreda figuran grillos, tijeretas, saltamontes, cucarachas, cigarras, escarabajos, orugas, hormigas y avispas. También se alimenta de arañas, escorpiones, lagartijos y coquíes
Al igual que muchos integrantes de la familia Icteridae, tiene unos músculos muy fuertes en la base del cráneo que le permiten abrir el pico contra gran resistencia. Esto le permite a la Calandria abrir bromelias, hojas enrolladas, y la corteza o madera de los árboles en una técnica de forrajeo llamada "gaping" ("abriendo con el pico") en inglés.
Forrajea metódicamente brincando de rama en rama, inspeccionando, a veces colgando boca abajo, cualquier lugar que pueda albergar los insectos que forman su dieta
A good thing continues
Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.
The A7/r game-changer?
In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.
The RX1 is smaller and more discrete
This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.
The D800 has important functional advantages
On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.
Okay, so what is different from the last review?
For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.
My “be-there” camera
The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.
The family camera
I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.
Where to go from here.
So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.
The water buffalo or domestic Asian water buffalo (Bubalus bubalis) is a large bovid originating in South Asia, Southeast Asia, and China. Today, it is also found in Europe, Australia, and some American countries. The wild water buffalo (Bubalus arnee) native to Southeast Asia is considered a different species, but most likely represents the ancestor of the domestic water buffalo.
Two extant types of water buffalo are recognized based on morphological and behavioural criteria – the river buffalo of South Asia and further west to the Balkans, Egypt, and Italy, and the swamp buffalo, found from Assam in the west through Southeast Asia to the Yangtze valley of China in the east. The origins of the domestic water buffalo types are debated, although results of a phylogenetic study indicate that the swamp type may have originated in China and was domesticated about 4,000 years ago, while the river type may have originated from India and was domesticated about 5,000 years ago. Water buffalo were traded from the Indus Valley Civilisation to Mesopotamia, in modern Iraq, 2500 BC by the Meluhhas. The seal of a scribe employed by an Akkadian king shows the sacrifice of water buffalo.
At least 130 million domestic water buffalo exist, and more human beings depend on them than on any other domestic animal. They are especially suitable for tilling rice fields, and their milk is richer in fat and protein than that of dairy cattle. The large feral population of northern Australia became established in the late 19th century, and smaller feral herds are in New Guinea, Tunisia, and northeastern Argentina. Feral herds are also present in New Britain, New Ireland, Irian Jaya, Papua New Guinea, Colombia, Guyana, Suriname, Brazil, and Uruguay.
CHARACTERISTICS
The skin of river buffalo is black, but some specimens may have dark, slate-coloured skin. Swamp buffalo have a grey skin at birth, but become slate blue later. Albinoids are present in some populations. River buffalo have comparatively longer faces, smaller girths, and bigger limbs than swamp buffalo. Their dorsal ridges extend further back and taper off more gradually. Their horns grow downward and backward, then curve upward in a spiral. Swamp buffalo are heavy-bodied and stockily built; the body is short and the belly large. The forehead is flat, the eyes prominent, the face short, and the muzzle wide. The neck is comparatively long, and the withers and croup are prominent. A dorsal ridge extends backward and ends abruptly just before the end of the chest. Their horns grow outward, and curve in a semicircle, but always remain more or less on the plane of the forehead. The tail is short, reaching only to the hocks. Height at withers is 129–133 cm for males, and 120–127 cm for females. They range in weight from 300–550 kg, but weights of over 1,000 kg have also been observed.
Tedong bonga is a black pied buffalo featuring a unique black and white colouration that is favoured by the Toraja of Sulawesi.
The swamp buffalo has 48 chromosomes; the river buffalo has 50 chromosomes. The two types do not readily interbreed, but fertile offspring can occur. Buffalo-cattle hybrids have not been observed to occur, and the embryos of such hybrids do not reach maturity in laboratory experiments.
The rumen of the water buffalo has important differences from that of other ruminants. It contains a larger population of bacteria, particularly the cellulolytic bacteria, lower protozoa, and higher fungi zoospores. In addition, higher rumen ammonia nitrogen (NH4-N) and higher pH have been found as compared to those in cattle
ECOLOGY AND BEHAVIOR
River buffalo prefer deep water. Swamp buffalo prefer to wallow in mudholes which they make with their horns. During wallowing, they acquire a thick coating of mud. Both are well adapted to a hot and humid climate with temperatures ranging from 0 °C in the winter to 30 °C and greater in the summer. Water availability is important in hot climates, since they need wallows, rivers, or splashing water to assist in thermoregulation. Some breeds are adapted to saline seaside shores and saline sandy terrain.
DIET
Water buffalo thrive on many aquatic plants and during floods, will graze submerged, raising their heads above the water and carrying quantities of edible plants. They eat reeds (quassab), a giant reed (birdi), a kind of bulrush (kaulan), water hyacinth, and marsh grasses. Some of these plants are of great value to local peoples. Others, such as water hyacinth, are a major problem in some tropical valleys, and water buffalo may help to keep waterways clear.
Green fodders are used widely for intensive milk production and for fattening. Many fodder crops are conserved as hay, chaffed, or pulped. Fodders include alfalfa, berseem and bancheri, the leaves, stems or trimmings of banana, cassava, fodder beet, halfa, ipil-ipil and kenaf, maize, oats, pandarus, peanut, sorghum, soybean, sugarcane, bagasse, and turnips. Citrus pulp and pineapple wastes have been fed safely to buffalo. In Egypt, whole sun-dried dates are fed to milk-buffalo up to 25% of the standard feed mixture.
REPRODUCTION
Swamp buffalo generally become reproductive at an older age than river breeds. Young males in Egypt, India, and Pakistan are first mated at about 3.0–3.5 years of age, but in Italy
they may be used as early as 2 years of age. Successful mating behaviour may continue until the animal is 12 years or even older. A good river male can impregnate 100 females in a year. A strong seasonal influence on mating occurs. Heat stress reduces libido
Although buffalo are polyoestrous, their reproductive efficiency shows wide variation throughout the year. Buffalo cows exhibit a distinct seasonal change in displaying oestrus, conception rate, and calving rate. The age at first oestrus of heifers varies between breeds from 13–33 months, but mating at the first oestrus is often infertile and usually deferred until they are 3 years old. Gestation lasts from 281–334 days, but most reports give a range between 300 and 320 days. Swamp buffalo carry their calves for one or two weeks longer than river buffalo. It is not rare to find buffalo that continue to work well at the age of 30, and instances of a working life of 40 years are recorded.
TAXONOMIC HISTORY
Carl Linnaeus first described the genus Bos and the water buffalo under the binomial Bubalis bubalus in 1758; the latter was known to occur in Asia and as a domestic form in Italy. Ellerman and Morrison-Scott treated the wild and domestic forms of the water buffalo as conspecifics whereas others treated them as different species. The nomenclatorial treatment of wild and domestic forms has been inconsistent and varies between authors and even within the works of single authors.
In March 2003, the International Commission on Zoological Nomenclature achieved consistency in the naming of wild and domestic water buffalo by ruling that the scientific name Bubalus arnee is valid for the wild form. B. bubalis continues to be valid for the domestic form and applies also to feral populations.
DOMESTICATION AND BREEDING
Water buffalo were domesticated in India about 5000 years ago, and in China about 4000 years ago. Two types are recognized, based on morphological and behavioural criteria – the river buffalo of the Indian subcontinent and further west to the Balkans and Italy, and the swamp buffalo, found from Assam in the west through Southeast Asia to the Yangtze valley of China in the east. The present-day river buffalo is the result of complex domestication processes involving more than one maternal lineage and a significant maternal gene flow from wild populations after the initial domestication events. Twenty-two breeds of the river type water buffalo are known, including Murrah, Nili-Ravi, Surti, Jafarabadi, Anatolian, Mediterranean, and Egyptian buffalo. China has a huge variety of buffalo genetic resources, comprising 16 local swamp buffalo breeds in various regions.
Results of mitochondrial DNA analyses indicate that the two types were domesticated independently. Sequencing of cytochrome b genes of Bubalus species implies that the domestic buffalo originated from at least two populations, and that the river and the swamp types have differentiated at the full species level. The genetic distance between the two types is so large that a divergence time of about 1.7 million years has been suggested. The swamp type was noticed to have the closest relationship with the tamaraw.
DISTRIBUTION OF POPULATIONS
The water buffalo population in the world is about 172 million.
IN ASIA
More than 95.8% of the world population of water buffalo are found in Asia including both river and swamp types. The water buffalo population in India numbered over 97.9 million head in 2003, representing 56.5% of the world population. They are primarily of the river type, with 10 well-defined breeds comprising Badhawari, Murrah, Nili-Ravi, Jafarabadi, Marathwada, Mehsana, Nagpuri, Pandharpuri, Toda, and Surti. Swamp buffalo occur only in small areas in the north-eastern part of the country and are not distinguished into breeds.
In 2003, the second-largest population lived in China, with 22.759 million head, all of the swamp type with breeds kept only in the lowlands, and other breeds kept only in the mountains; as of 2003, 3.2 million swamp-type carabao buffalo were in the Philippines, nearly three million swamp buffalo were in Vietnam, and 772,764 buffalo were in Bangladesh. About 750,000 head were estimated in Sri Lanka in 1997.
The water buffalo is the main dairy animal in Pakistan, with 23.47 million head in 2010. Of these, 76% are kept in the Punjab. The rest of them are mostly in the province of Sindh. Breeds used are Nili-Ravi, Kundi, and Azi Kheli. Karachi has the largest population of water buffalos for an area where fodder is not grown, consisting of 350,000 head kept mainly for milking.
In Thailand, the number of water buffalo dropped from more than 3 million head in 1996 to less than 1.24 million head in 2011. Slightly over 75% of them are kept in the country's northeastern region. The statistics also indicate that by the beginning of 2012, less than one million were in the country, partly as a result of illegal shipments to neighboring countries where sales prices are higher than in Thailand.
Water buffalo are also present in the southern region of Iraq, in the marshes. These marshes were drained by Saddam Hussein in 1991 in an attempt to punish the south for the uprisings of 1991. Following 2003, and the fall of the Saddam regime, these lands were reflooded and a 2007 report in the provinces of Maysan and Thi Qar shows a steady increase in the number of water buffalo. The report puts the number at 40,008 head in those two provinces.
IN EUROPE AND THE MEDITERRANEAN
Water buffalo likely were introduced to Europe from India or other Oriental countries. To Italy they were introduced about the year 600 in the reign of the Longobard King Agilulf. As they appear in the company of wild horses, they probably were a present from the Khan of the Avars, a Turkic nomadic tribe that dwelt near the Danube River at the time. Sir H. Johnston knew of a herd of water buffalo presented by a King of Naples to the Bey of Tunis in the mid-19th century that had resumed the feral state in northern Tunis.
European buffalo are all of the river type and considered to be of the same breed named Mediterranean buffalo. In Italy, the Mediterranean type was particularly selected and is called Mediterranean Italian breed to distinguish it from other European breeds, which differ genetically. Mediterranean buffalo are also found in Romania, Bulgaria, Greece, Albania, Kosovo, and the Republic of Macedonia, with a few hundred in the United Kingdom, Germany, the Netherlands, Switzerland, and Hungary. Little exchange of breeding buffalo has occurred among countries, so each population has its own phenotypic features and performances. In Bulgaria, they were crossbred with the Indian Murrah breed, and in Romania, some were crossbred with Bulgarian Murrah. Populations in Turkey are of the Anatolian buffalo breed.
IN AUSTRALIA
Between 1824 and 1849, water buffalo were introduced into the Northern Territory from Timor, Kisar, and probably other islands in the Indonesian archipelago. In 1886, a few milking types were brought from India to Darwin. They have been the main grazing animals on the subcoastal plains and river basins between Darwin and Arnhem Land since the 1880s. In the early 1960s, an estimated population of 150,000 to 200,000 buffalo were living in the plains and nearby areas.
They became feral and are causing significant environmental damage. Buffalo are also found in the Top End. As a result, they were hunted in the Top End from 1885 until 1980. The commencement of the brucellosis and tuberculosis campaign (BTEC) resulted in a huge culling program to reduce buffalo herds to a fraction of the numbers that were reached in the 1980s. The BTEC was finished when the Northern Territory was declared free of the disease in 1997. Numbers dropped dramatically as a result of the campaign, but have since recovered to an estimated 150,000 animals across northern Australia in 2008.
During the 1950s, buffalo were hunted for their skins and meat, which was exported and used in the local trade. In the late 1970s, live exports were made to Cuba and continued later into other countries. Buffalo are now crossed with riverine buffalo in artificial insemination programs, and may be found in many areas of Australia. Some of these crossbreds are used for milk production. Melville Island is a popular hunting location, where a steady population up to 4,000 individuals exists. Safari outfits are run from Darwin to Melville Island and other locations in the Top End, often with the use of bush pilots. The horns, which can measure up to a record of 3.1 m tip-to-tip, are prized hunting trophies.
The buffalo have developed a different appearance from the Indonesian buffalo from which they descend. They live mainly in freshwater marshes and billabongs, and their territory range can be quite expansive during the wet season. Their only natural predators in Australia are adult saltwater crocodiles, with whom they share the billabongs, and dingoes, which have been known to prey on buffalo calves and occasionally adult buffalo when the dingoes are in large packs.
Buffalo were exported live to Indonesia until 2011, at a rate of about 3000 per year. After the live export ban that year, the exports dropped to zero, and had not resumed as of June 2013.
IN SOUTH AMERICA
Water buffalo were introduced into the Amazon River basin in 1895. They are now extensively used there for meat and dairy production. In 2005, the buffalo herd in the Brazilian Amazon stood at roughly 1.6 million head, of which 460,000 were located in the lower Amazon floodplain. Breeds used include Mediterranean from Italy, Murrah and Jafarabadi from India, and Carabao from the Philippines.
During the 1970s, small herds were imported to Costa Rica, Ecuador, Cayenne, Panama, Surinam, Guyana, and Venezuela.
In Argentina, many game ranches raise water buffalo for commercial hunting
IN NORTH AMERICA
In 1974, four water buffalo were imported to the United States from Guam to be studied at the University of Florida. In February 1978, the first herd arrived for commercial farming. Until 2002, only one commercial breeder was in the United States. Water buffalo meat is imported from Australia. Until 2011, water buffalo were raised in Gainesville, Florida, from young obtained from zoo overflow. They were used primarily for meat production, frequently sold as hamburger.[38] Other US ranchers use them for production of high-quality mozzarella cheese.
HUSBANDRY
The husbandry system of water buffalo depends on the purpose for which they are bred and maintained. Most of them are kept by people who work on small farms in family units. Their buffalo live in very close association with them, and are often their greatest capital asset. The women and girls in India generally look after the milking buffalo while the men and boys are concerned with the working animals. Throughout Asia, they are commonly tended by children who are often seen leading or riding their charges to wallowing places. Water buffalo are the ideal animals for work in the deep mud of paddy fields because of their large hooves and flexible foot joints. They are often referred to as "the living tractor of the East". It probably is possible to plough deeper with buffalo than with either oxen or horses. They are the most efficient and economical means of cultivation of small fields. In most rice-producing countries, they are used for threshing and for transporting the sheaves during the rice harvest. They provide power for oilseed mills, sugarcane presses, and devices for raising water. They are widely used as pack animals, and in India and Pakistan also for heavy haulage. In their invasions of Europe, the Turks used buffalo for hauling heavy battering rams. Their dung is used as a fertilizer, and as a fuel when dried.
Buffalo contribute 72 million tones of milk and three million tones of meat annually to world food, much of it in areas that are prone to nutritional imbalances. In India, river-type buffalo are kept mainly for milk production and for transport, whereas swamp-type buffalo are kept mainly for work and a small amount of milk.
DAIRY PRODUCTS
Water buffalo milk presents physicochemical features different from that of other ruminant species, such as a higher content of fatty acids and proteins. The physical and chemical parameters of swamp and river type water buffalo milk differ. Water buffalo milk contains higher levels of total solids, crude protein, fat, calcium, and phosphorus, and slightly higher content of lactose compared with those of cow milk. The high level of total solids makes water buffalo milk ideal for processing into value-added dairy products such as cheese. The conjugated linoleic acid (CLA) content in milk ranged from 4.4 mg/g fat in September to 7.6 mg/g fat in June. Seasons and genetics may play a role in variation of CLA level and changes in gross composition of the water buffalo milk.
Water buffalo milk is processed into a large variety of dairy products:
- Cream churns much faster at higher fat levels and gives higher overrun than cow cream.
- Butter from water buffalo cream displays more stability than that from cow cream.
- Ghee from water buffalo milk has a different texture with a bigger grain size than ghee from cow milk.
- Heat-concentrated milk products in the Indian subcontinent include paneer, khoa, rabri, kheer and basundi.
- Fermented milk products include dahi, yogurt, and chakka.
- Whey is used for making ricotta and mascarpone in Italy, and alkarish in Syria and Egypt.
- Soft cheeses made include mozzarella in Italy, karish, mish, and domiati in Egypt, madhfor in Iraq, alghab in Syria, kesong puti in the Philippines, and vladeasa in Romania.
- The semihard cheese beyaz peynir is made in Turkey.
- Hard cheeses include braila in Romania, rahss in Egypt, white brine in Bulgaria, and akkawi in Syria.
- Watered-down buffalo milk is used as a cheaper alternative to regular milk.
MEAT AND SKIN PRODUCTS
Water buffalo meat, sometimes called "carabeef", is often passed off as beef in certain regions, and is also a major source of export revenue for India. In many Asian regions, buffalo meat is less preferred due to its toughness; however, recipes have evolved (rendang, for example) where the slow cooking process and spices not only make the meat palatable, but also preserve it, an important factor in hot climates where refrigeration is not always available.Their hides provide tough and useful leather, often used for shoes.
BONE AND HORN PRODUCTS
The bones and horns are often made into jewellery, especially earrings. Horns are used for the embouchure of musical instruments, such as ney and kaval.
ENVIRONMENTAL EFFECTS
Wildlife conservation scientists have started to recommend and use introduced populations of feral domestic water buffalo in far-away lands to manage uncontrolled vegetation growth in and around natural wetlands. Introduced water buffalo at home in such environs provide cheap service by regularly grazing the uncontrolled vegetation and opening up clogged water bodies for waterfowl, wetland birds, and other wildlife. Grazing water buffalo are sometimes used in Great Britain for conservation grazing, such as in Chippenham Fen National Nature Reserve. The buffalo can better adapt to wet conditions and poor-quality vegetation than cattle.
Currently, research is being conducted at the Lyle Center for Regenerative Studies to determine the levels of nutrients removed and returned to wetlands when water buffalo are used for wetland vegetation management.
However, in uncontrolled circumstances, water buffalo can cause environmental damage, such as trampling vegetation, disturbing bird and reptile nesting sites, and spreading exotic weeds.
RESEARCH
The world's first cloned buffalo was developed by Indian scientists from National Dairy Research Institute, Karnal. The buffalo calf was named Samrupa. The calf did not survive more than a week, and died due to some genetic disorders. So, the scientists created another cloned buffalo a few months later, and named it Garima.
On 15 September 2007, the Philippines announced its development of Southeast Asia's first cloned buffalo. The Philippine Council for Agriculture, Forestry and Natural Resources Research and Development (PCARRD), under the Department of Science and Technology in Los Baños, Laguna, approved this project. The Department of Agriculture's Philippine Carabao Center (PCC) will implement cloning through somatic cell nuclear transfer as a tool for genetic improvement in water buffalo. "Super buffalo calves" will be produced. There will be no modification or alteration of the genetic materials, as in genetically modified organisms.
On 1 January 2008, the Philippine Carabao Center in Nueva Ecija, per Filipino scientists, initiated a study to breed a super water buffalo that could produce 4 to 18 litres of milk per day using gene-based technology. Also, the first in vitro river buffalo was born there in 2004 from an in vitro-produced, vitrified embryo, named "Glory" after President Gloria Macapagal-Arroyo. Joseph Estrada's most successful project as an opposition senator, the PCC was created through Republic Act 3707, the Carabao Act of 1992.
IN CULTURE
Some ethnic groups, such as Batak and Toraja in Indonesia and the Derung in China, use water buffalo or kerbau (called horbo in Batak or tedong in Toraja) as sacrificial animals at several festivals.
- Legend has it that the Chinese philosophical sage Laozi left China through the Han Gu Pass riding a water buffalo.
- According to Hindu lore, the god of death Yama, rides on a male water buffalo.
- The carabao subspecies is considered a national symbol in the Philippines.
- In Vietnam, water buffalo are often the most valuable possession of poor farmers: "Con trâu là đầu cơ nghiệp". They are treated as a member of the family: "Chồng cày, vợ cấy, con trâu đi bừa" ("The husband ploughs, the wife sows, water buffalo draws the rake") and are friends of the children. Children talk to their water buffalo, "Bao giờ cây lúa còn bông. Thì còn ngọn cỏ ngoài đồng trâu ăn." (Vietnamese children are responsible for grazing water buffalo. They feed them grass if they work laboriously for men.) In the old days, West Lake, Hà Nội, was named Kim Ngưu - Golden Water Buffalo.
- The Yoruban Orisha Oya (goddess of change) takes the form of a water buffalo.
FIGHTING FESTIVALS
- Pasungay Festival is held annually in the town of San Joaquin, Iloilo in the Philippines.
- Moh juj Water Buffalo fighting, is held every year in Bhogali Bihu in Assam. Ahotguri in Nagaon is famous for it.
- Do Son Water Buffalo Fighting Festival of Vietnam, held each year on the ninth day of the eighth month of the lunar calendar at Do Son Township, Haiphong City in Vietnam, is one of the most popular Vietnam festivals and events in Haiphong City. The preparations for this buffalo fighting festival begin from the two to three months earlier. The competing buffalo are selected and methodically trained months in advance. It is a traditional festival of Vietnam attached to a Water God worshipping ceremony and the Hien Sinh custom to show martial spirit of the local people of Do Son, Haiphong.
- "Hai Luu" Water Buffalo Fighting Festival of Vietnam, According to ancient records, the buffalo fighting in Hai Luu Commune has existed from the 2nd century B.C. General Lu Gia at that time, had the buffalo slaughtered to give a feast to the local people and the warriors, and organized buffalo fighting for amusement. Eventually, all the fighting buffalo will be slaughtered as tributes to the deities.
- "Ko Samui" Water Buffalo Fighting Festival of Thailand, is a very popular event held on special occasions such as New Year's Day in January, and Songkran in mid-April, this festival features head-wrestling bouts in which two male Asian water buffalo are pitted against one another. Unlike in Spanish Bullfighting, wherein bulls get killed while fighting sword-wielding men, Buffalo Fighting Festival held at Ko Samui, Thailand is fairly harmless contest. The fighting season varies according to ancient customs & ceremonies. The first Buffalo to turn and run away is considered the loser, the winning buffalo becomes worth several million baht. Ko Samui is an island in the Gulf of Thailand in the South China Sea, it is 700 km from Bangkok and is connected to it by regular flights.
- "Ma'Pasilaga Tedong" Water Buffalo Fighting Festival, in Tana Toraja Regency of Sulawesi Island, Indonesia, is a very popular event where the Rambu Solo' or a Burial Festival took place in Tana Toraja.
RACING FESTIVALS
Carabao Carroza Festival is being held annually every May in the town of Pavia, Iloilo, Philippines.
Kambala races of Karnataka, India, take place between December and March. The races are conducted by having the water buffalo (he buffalo) run in long parallel slushy ditches, where they are driven by men standing on wooden planks drawn by the buffalo. The objectives of the race are to finish first and to raise the water to the greatest height and also a rural sport. Kambala races are arranged with competition, as well as without competition and as a part of thanks giving (to god) in about 50 villages of coastal Karnataka.
In the Chonburi Province of Thailand, and in Pakistan, there are annual water buffalo races.
Chon Buri Water buffalo racing festival, Thailand In downtown Chonburi, 70 km south of Bangkok, at the annual water buffalo festival held in mid-October. About 300 buffalo race in groups of five or six, spurred on by bareback jockeys wielding wooden sticks, as hundreds of spectators cheer. The water buffalo has always played an important role in agriculture in Thailand. For farmers of Chon Buri Province, near Bangkok, it is an important annual festival, beginning in mid-October. It is also a celebration among rice farmers before the rice harvest. At dawn, farmers walk their buffalo through surrounding rice fields, splashing them with water to keep them cool before leading them to the race field. This amazing festival started over a hundred years ago when two men arguing about whose buffalo was the fastest ended up having a race between them. That’s how it became a tradition and gradually a social event for farmers who gathered from around the country in Chonburi to trade their goods. The festival also helps a great deal in preserving the number of buffalo, which have been dwindling at quite an alarming rate in other regions. Modern machinery is rapidly replacing buffalo in Thai agriculture. With most of the farm work mechanized, the buffalo-racing tradition has continued. Racing buffalo are now raised just to race; they do not work at all. The few farm buffalo which still do work are much bigger than the racers because of the strenuous work they perform. Farm buffalo are in the "Buffalo Beauty Pageant", a Miss Farmer beauty contest and a comic buffalo costume contest etc.. This festival perfectly exemplifies a favored Thai attitude to life — "sanuk," meaning fun.
Babulang Water buffalo racing festival, Sarawak, Malaysia, is the largest or grandest of the many rituals, ceremonies and festivals of the traditional Bisaya (Borneo) community of Limbang, Sarawak. Highlights are the Ratu Babulang competition and the Water buffalo races which can only be found in this town in Sarawak, Malaysia.
Vihear Suor village Water buffalo racing festival, in Cambodia, each year, people visit Buddhist temples across the country to honor their deceased loved ones during a 15-day period commonly known as the Festival of the Dead but in Vihear Suor village, about 35 km northeast of Cambodia, citizens each year wrap up the festival with a water buffalo race to entertain visitors and honour a pledge made hundreds of years ago. There was a time when many village cattle which provide rural Cambodians with muscle power to plough their fields and transport agricultural products died from an unknown disease. The villagers prayed to a spirit to help save their animals from the disease and promised to show their gratitude by holding a buffalo race each year on the last day of "P'chum Ben" festival as it is known in Cambodian. The race draws hundreds of spectators who come to see riders and their animals charge down the racing field, the racers bouncing up and down on the backs of their buffalo, whose horns were draped with colorful cloth.
Pothu puttu matsaram, Kerala, South India, is similar to Kambala races.
WIKIPEDIA
Fogg Dam Conservation Reserve, Middle Point, Northern Territory, Australia.
The green oriole or Australasian yellow oriole, (Oriolus flavocinctus) is an inconspicuous inhabitant of lush tropical vegetation throughout New Guinea and northern Australia, including Cape York Peninsula, the Top End and the Kimberley.
Green orioles forage slowly and methodically through the mid and upper strata of dense forests, taking fruit in the main. Typically alone or in pairs, they sometimes form small flocks in the non-breeding season. They are often difficult to locate, as their yellow-green plumage blends with the foliage and only their deep bubbling musical calls can be heard. They are nevertheless common in suitable habitat: rainforests, mangroves, thickets along watercourses, swamps, and lush gardens.
Breeding takes place during the wet season (October to March). A neat, deep cup is constructed from strips of bark and vines, lined with rootlets, and slung between leafy branches, usually 5 to 15 metres up. They typically lay 2 eggs.
The Fogg Dam Conservation Reserve is a wetland area approximately 70 km (43 mi) east of Darwin in the Northern Territory of Australia. It lies within the Adelaide and Mary River Floodplains, which is an Important Bird Area.
It attracts a wide range of local and migratory water birds and other wildlife including one of the largest populations of snakes within Australia (including the Water Python and Death Adder), and includes several raised observation platforms.
Saltwater Crocodiles (Crocodylus porosus) and Freshwater Crocodiles (Crocodylus johnstoni) can be seen at Fogg Dam all year around. Fogg Dam is open 24/7/365.
I'm sure this gull wondered, but settled for just watching. A surfer preparing to enter big surf at the Cayucos pier. I was amazed at how methodical this fella was in his stretch routine. He obviously knew what he was doing.
The Nutshell Studies of Unexplained Death are a series of nineteen (twenty were originally constructed) intricately designed dollhouse-style dioramas created by Frances Glessner Lee (1878–1962), a pioneer in forensic science. Glessner Lee used her inheritance to establish a department of legal medicine at Harvard Medical School in 1936, and donated the first of the Nutshell Studies in 1946 for use in lectures on the subject of crime scene investigation. In 1966, the department was dissolved, and the dioramas went to the Maryland Medical Examiner’s Office in Baltimore, Maryland, U.S. where they are on permanent loan and still used for forensic seminars.
The dioramas are detailed representations of death scenes that are composites of actual cases, created by Glessner Lee on a 1 inch to 1 foot (1:12) scale. She attended autopsies to ensure accuracy, and her attention to detail extended to having a wall calendar include the pages after the month of the incident, constructing openable windows, and wearing out-of-date clothing to obtain realistically worn fabric. The dioramas show tawdry and, in many cases, disheveled living spaces very different from Glessner Lee's own background. The dead include prostitutes and victims of domestic violence.
Glessner Lee called them the Nutshell Studies because the purpose of a forensic investigation is said to be to "convict the guilty, clear the innocent, and find the truth in a nutshell." Students were instructed to study the scenes methodically—Glessner Lee suggested moving the eyes in a clockwise spiral—and draw conclusions from the visual evidence. At conferences hosted by Glessner Lee, prominent crime-scene investigators were given 90 minutes to study each diorama.
www.phaselis.org/en/about/about-project
Phaselis Research
Phaselis
When compared with the previous period of research on the history of the city over the past quarter century it has undergone radical changes. While modern scientists follow the path of their predecessors in collecting data through systematic processes and methodically analysing them, they change the route whereby they approach the city as a context- and a process-oriented structure, having economic, social, cultural, political and environmental dimensions which come together at different levels.
This considerably more inclusive definition expands the discipline concerning the city’s historical research, which consists of archaeology, epigraphy, ancient history and the other ancillary sciences and it encourages scientists from the natural and health sciences to participate within these studies. This is because in the course of the exploration of an ancient settlement the study of both the environment and the ecological setting which make human life possible; together with health issues, such as diet and epidemics, form the context within which human beings live, and which are thereby as important as the human actors.
Within the context of the planned Phaselis Research, even certain knowledge such as the settlement’s appearing on the stage of history as a favorite break-point with its three natural harbours, it being famous for its roses, the frequent seismic upheavals at sea and on its shores and its citizens leaving their homes because of a devastating malaria epidemic suggest the necessity of the application of this multi-dimensional research methodology in order to understand more fully the historical adventure of this city.
By presenting this research project, we aim to implement and realize this multi-dimensional research method, which as yet lacks widespread application in the field in our country, however conceptually and practically with a multi-disciplinary research team consisting of both national and international scientists, we intend to register systematically every kind of data/information regarding all contexts of the city employing modern methods and to present the results to the scientific world in the form of regular reports and monographic studies, thus forming a strong tie between past and future research.
Phaselis Territorium
The boundaries of the ancient city of Phaselis’ territorium are today within the administrative borders of the township of Tekirova, in Kemer District, determined from the archaeological, epigraphic and historical-geographical evidence, reaching the Gökdere valley to the north, continue on a line drawn from Üç Adalar to Mount Tahtalı to the south and extend along the Çandır valley to the west.
Phaselis was discovered in 1811-1812 by Captain F. Beaufort during his work of charting the southern coastline of Asia Minor for the British Royal Navy. Beaufort drew Phaselis’ plan and in the course of conducting his cartographic studies, he saw the word Φασηλίτης ethnikon on the inscriptions and consequently identified these ruins with Phaselis. C. R. Cockerell, the English architect, archaeologist and author came to Phaselis by ship and met Beaufort there. Then in 1838 C. Fellows, the English archaeologist visited the city. He found the fragments of the dedicatory inscription over the monumental gate built in honour of the Emperor Hadrianus and mistakenly thought the Imperial Period main street was the stadion due to the seats-steps on either side of the street. In 1842 Lt. T. A. B. Spratt, the English hydrographer and geographer, and the Rev. E. Forbes, the naturalist came to Phaselis via the Olympos and Khimaira routes. Due to the fact that they all came by sea and they only stayed for a short time, their descriptions of the topography inland are without detailed and there are serious errors in orientation.
PhaselisThose researchers who visited Phaselis between the late 19th and the early 20th centuries concentrated primarily upon the discovery of inscriptions. In 1881-1882 while the Austrian archaeologist and the epigraphist O. Benndorf, the founder of the Austrian Archaeological Institute, and his team were conducting research in southwestern Asia Minor, they examined Phaselis. In the winter of 1883 and 1884 F. von Luschan from the Austrian team took the first photographs which provide information concerning the regional features of Phaselis’ shoreline. In the same year the French scientist V. Bérard also visited Phaselis. In 1892 the members of the Austrian research team, O. Benndorf, E. Kalinka and their colleagues continued their architectural, archaeological and epigraphical studies in Phaselis. In 1904 they were followed by D. G. Hogarth, R. Norton and A. W. van Buren from the British research team. In 1908 the Austrian classical philologist E. Kalinka visited the settlement again, collected epigraphic documents and conducted research on the history of city (published in TAM II in 1944). The Italian researchers R. Paribeni and P. Romanelli visited Phaselis in1913 and C. Anti in 1921. Anti returned to Antalya overland and in consequence discovered several epigraphs and the ruins of structures within the territorium of Phaselis.
Further archaeological, epigraphical and historical-geographical studies of Phaselis were conducted by the English researchers F. M. Stark and G. Bean, who came to the region after World War II. In 1968 H. Schläger, the German architect and underwater archaeologist began exploring the topographical and architectural structures of Phaselis’s harbours. After Schläger’s death in 1969, the research was conducted under the leadership of the archaeologist J. Schäfer in 1970. H. Schläger, J. Schäfer and their colleagues obtained important data concerning the architecture and history of Phaselis through the surface exploration of the city and its periphery. Following the excavations conducted along the main axial street of the city, in 1980 under the direction of Kayhan Dörtlük, the then Director of the Antalya Museum and between 1981-1985 under the leadership of the archaeologist Cevdet Bayburtluoğlu; underwater exploration was carried out in the South Harbour under the direction of Metin Pehlivaner, the then Director of the Antalya Museum.
The Nutshell Studies of Unexplained Death are a series of nineteen (twenty were originally constructed) intricately designed dollhouse-style dioramas created by Frances Glessner Lee (1878–1962), a pioneer in forensic science. Glessner Lee used her inheritance to establish a department of legal medicine at Harvard Medical School in 1936, and donated the first of the Nutshell Studies in 1946 for use in lectures on the subject of crime scene investigation. In 1966, the department was dissolved, and the dioramas went to the Maryland Medical Examiner’s Office in Baltimore, Maryland, U.S. where they are on permanent loan and still used for forensic seminars.
The dioramas are detailed representations of death scenes that are composites of actual cases, created by Glessner Lee on a 1 inch to 1 foot (1:12) scale. She attended autopsies to ensure accuracy, and her attention to detail extended to having a wall calendar include the pages after the month of the incident, constructing openable windows, and wearing out-of-date clothing to obtain realistically worn fabric. The dioramas show tawdry and, in many cases, disheveled living spaces very different from Glessner Lee's own background. The dead include prostitutes and victims of domestic violence.
Glessner Lee called them the Nutshell Studies because the purpose of a forensic investigation is said to be to "convict the guilty, clear the innocent, and find the truth in a nutshell." Students were instructed to study the scenes methodically—Glessner Lee suggested moving the eyes in a clockwise spiral—and draw conclusions from the visual evidence. At conferences hosted by Glessner Lee, prominent crime-scene investigators were given 90 minutes to study each diorama.
One of Munn’s decisive contributions to Canadian art was her fervent fusion od Christian symbolism in Cubist form. In the late 1920s she began a methodical practice of drawing scenes from the Passion of Christ, resulting in a fresh and radical update to one of European art history’s most traditional themes – an unusual subject for a Canadian modernist. This is one of the final drawings in the series, which included more than a thousand works on paper.
A Haiku Note:
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This year of the Ox
wishing you prosperity
Twenty-Twenty One
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The Ox ( 牛 ) is one of the 12-year cycle of animals which appear in the Chinese zodiac related to the Chinese calendar. The Year of the Ox is denoted by the earthly branch character 丑. In the Vietnamese zodiac, the water buffalo (zodiac) occupies the position of the ox.
The Ox is the sign of prosperity through fortitude and hard work. This powerful sign is a born leader, being quite dependable and possessing an innate ability to achieve great things. As one might guess, such people are dependable, calm, and modest. Like their animal namesake, the Ox is unswervingly patient, tireless in their work, and capable of enduring any amount of hardship without complaint.
Ox people need peace and quiet to work through their ideas, and when they have set their mind on something it is hard for them to be convinced otherwise. An Ox person has a very logical mind and is extremely systematic in whatever they do, though they have a tremendous imagination and an unparalleled appreciation for beauty. These people speak little but are extremely intelligent. When necessary, they are articulate and eloquent.
People born under the influence of the Ox are kind, caring souls, logical, positive, filled with common sense and with their feet firmly planted on the ground. Security is their main preoccupation in life, and they are prepared to toil long and hard in order to provide a warm, comfortable and stable nest for themselves and their families. Strong-minded, stubborn, individualistic, the majority are highly intelligent individuals who don't take kindly to being told what to do.
The Ox works hard, patiently, and methodically, with original intelligence and reflective thought. These people enjoy helping others. Behind this tenacious, laboring, and self-sacrificing exterior lies an active mind.
The Ox is not extravagant, and the thought of living off credit cards or being in debt makes them nervous. The possibility of taking a serious risk could cause the Ox sleepless nights.
Ox people are truthful and sincere, and the idea of wheeling and dealing in a competitive world is distasteful to them. They are rarely driven by the prospect of financial gain. These people are always welcome because of their honesty and patience. They are reputed to be the most beautiful of face in the zodiac. They have many friends, who appreciate the fact that the Ox people are wary of new trends, although every now and then they can be encouraged to try something new. People born in the year of the Ox make wonderful parents and teachers of children.
It is important to remember that the Ox people are sociable and relaxed when they feel secure, but occasionally a dark cloud looms over such people and they engage all the trials of the whole world and seek solutions for them.
People born within these date ranges can be said to have been born in the "year of the Ox," while also bearing the following elemental sign:
19 February 1901 - 7 February 1902: Metal Ox
6 February 1913 - 25 January 1914: Water Ox
25 January 1925 - 12 February 1926: Wood Ox
11 February 1937 - 30 January 1938: Fire Ox
29 January 1949 - 16 February 1950: Earth Ox
15 February 1961 - 4 February 1962: Metal Ox
3 February 1973 - 22 January 1974: Water Ox
20 February 1985 - 8 February 1986: Wood Ox
7 February 1997 - 28 January 1998: Fire Ox
26 January 2009 - 14 February 2010: Earth Ox
2021 - 2022: Metal Ox
2033 - 2034: Water Ox
A good thing continues
Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.
The A7/r game-changer?
In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.
The RX1 is smaller and more discrete
This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.
The D800 has important functional advantages
On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.
Okay, so what is different from the last review?
For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.
My “be-there” camera
The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.
The family camera
I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.
Where to go from here.
So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.
The brown bears of the Russian River can be fascinating to watch. They are so commanding of the area when they venture into view. With precise skill and brute strength they chase and ultimately catch their dinner - the poor spawned out salmon trying to complete their last task in life.
You can watch the salmon swimming up the river. More so you can watch the salmon congregate in shallow pools - the males strategically jockey for the position behind the female, waiting on her to lay her eggs, so they can be "the one" to finish the task at hand. Some of them are literally on their last leg, so to speak, so the catch by the bear is not really that difficult at that point.
Once the bear spots, chases down, and successfully gains its salmon, then it usually gets it into position for the most efficient eating. Methodically it then strips the flesh off the salmon and if its a female salmon, it heads straight for the roe - quite the delicacy! Sometimes they drag their dinner to the shore or beyond, sometimes just to a more shallower area, or sometimes they assume a new position with their catch. It's when they assume what those familiar with whitewater rafting affectionately call "the river position" ... floating on the back with feet first downstream, hands up, and in the case of the bears ... feet up too. LOL! What a sight to witness, as they just appear to be having quite the "lazy day drift and trip" down the river, while their dinner is being consumed. When they are ready to discard the leftovers, they simply sit upright and return to the beginning of where they started, with of course, another fish! Fun and nutrition at the same time! I literally could watch them perform this act for hours! :-)
Thanks so much for stopping by to view and especially for all of your thoughts shared and comments too. For more on the Russian River bears, you can also peek in on my Blog at www.tnwaphotography.wordpress.com.
© 2013 TNWA Photography
I had the distinct honor and pleasure to meet a true visionary while I was in Louisiana a few weeks ago, and I would like you to know a little about him as well. Please meet Rick Newcomer.
Rick designs houses, and has been doing so for about 25 years. He explained to me that he loves to build as much as, if not more than, designing. After hurricane Katrina, he was able to help out on the very first Katrina Cottage (please read more about the Katrina Cottage here). The experience helped him realize how much value and interest there is in very small and efficient houses. For many years, he has also been interested in deconstructing old buildings for the purpose of reusing the lumber, windows, doors and fixtures. So, a few years ago Rick had the idea to purchase the warehouses and property in downtown Monroe and begin tearing down buildings and rebuilding dignified, small, prefab cottages. He began the project with his father and the two of them worked together until his father's passing a year ago. Today, he works mostly by himself and has to be content with very slow but methodical progress. He doesn't borrow money for the project and he works on it during free or found time.
The structure you see in the background of this shot (and the full and outside views in the comments) is the first of three cottages that he plans to build on this narrow lot when he can manage to obtain city approval. The people who will one day occupy these cottages will be able to use his warehouse space across the way to store out-of-season and rarely-used belongings. This will allow occupants to live efficiently in the cottages, keeping energy costs to a minimum since they won't be heating or cooling unoccupied space.
Rick's main interest is to get people living in downtown Monroe again. He would love to see the downtown area thrive again, and having people living as well as working downtown is the only way for it to happen. His dedication and passion overflow when he talks about it.
For now, Rick plans to just keep working and to keep the faith. I have no doubt that his vision will come to fruition one day. I plan to check on his progress as well as to come and visit when the three buildings are occupied, and to hear first-hand what he will plans to do next.
Thank you, Rick, for being number 16 in my 100 Strangers Project. It was truly an honor to meet you.
Find out more about the project and see pictures taken by other photographers at 100 Strangers Flickr Group
A good thing continues
Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.
The A7/r game-changer?
In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.
The RX1 is smaller and more discrete
This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.
The D800 has important functional advantages
On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.
Okay, so what is different from the last review?
For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.
My “be-there” camera
The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.
The family camera
I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.
Where to go from here.
So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.
A good thing continues
Some six months ago, I posted almost 100 images and a few thoughts I felt were missing from the many existing RX1 reviews. The outpouring of support and interest in that article was very gratifying. When I published, I had used the camera for six full months, enough time to come to a view of its strengths and weaknesses and to produce a small portfolio of good images, but not enough time to see the full picture (pun intended). In the following six months, I have used the camera at least as frequently as in the first six and have produced another small set of good images. It should be noted that my usage of the RX1 in the last six (and especially in the last 3) months has involved less travel and more time with the family and around the house; I will share relatively few of these images but will spend some time sharing my impressions of its functionality for family snapshots as I am sure there is some interest. And let it be said here: one of the primary motivations to purchase the camera was to take more photos with the family, and after one full year I can confidently say: money well spent.
The A7/r game-changer?
In the past six months, Sony have announced and released two full-frame, interchangeable lens cameras that clearly take design cues from the RX1: the A7 and the A7r. These cameras are innovative and highly capable and, as such, are in the midst of taking the photography world by storm. I think they are compelling enough cameras that I wonder whether Sony is wasting its energy continuing to develop further A-mount cameras. Sony deserve credit for a bold strategy—many companies would have been content to allow the success of the the RX1 (and RX1R) generate further sales before pushing further into the white space left unexplored by camera makers with less ambition.This is not the place to detail the relative advantages and disadvantages of the RX1 versus the A7/r except to make the following point. I currently use a Nikon D800 and an RX1: were I to sell both and purchase the A7r + 35mm f/2.8 I would in many ways lose nothing by way of imaging capability or lens compatibility but would pocket the surplus $1250-1750. Indeed this loyal Nikon owner thought long and hard about doing so, which speaks to the strategic importance of these cameras for a company trying to make inroads into a highly concentrated market.Ultimately, I opted to hang onto the two cameras I have (although this decision is one that I revisit time and time again) and continue to use them as I have for the past year. Let me give you a quick flavor of why.
The RX1 is smaller and more discrete
This is a small a point, but my gut reaction to the A7/r was: much smaller than the D800, not as small as the RX1. The EVF atop the A7/r and the larger profile of interchangeable mount lenses means that I would not be able to slip the A7/r into a pocket the way I can the RX1. Further, by virtue of using the EVF and its loud mechanical shutter, the A7/r just isn’t as stealthy as the RX1. Finally, f/2 beats the pants off of f/2.8 at the same or smaller size.At this point, some of you may be saying, “Future Sony releases will allow you to get a body without an EVF and get an f/2 lens that has a slimmer profile, etc, etc.” And that’s just the point: to oversimplify things, the reason I am keeping my RX1 is that Sony currently offers something close to an A7 body without a built-in EVF and with a slimmer profile 35mm f/2.
The D800 has important functional advantages
On the other side of the spectrum, the AF speed of the A7/r just isn’t going to match the D800, especially when the former is equipped with a Nikon lens and F-mount adapter. EVFs cannot yet match the experience of looking through the prism and the lens (I expect they will match soon, but aren’t there yet). What’s more, I have made such an investment in Nikon glass that I can’t yet justify purchasing an adapter for a Sony mount or selling them all for Sony’s offerings (many of which aren’t to market yet).Now, all of these are minor points and I think all of them disappear with an A8r, but they add up to something major: I have two cameras very well suited to two different types of shooting, and I ask myself if I gain or lose by getting something in between—something that wasn’t quite a pocket shooter and something that was quite a DSLR? You can imagine, however, that if I were coming to the market without a D800 and an RX1, that my decision would be far different: dollar for dollar, the A7/r would be a no-brainer.During the moments when I consider selling to grab an A7r, I keep coming back to a thought I had a month or so before the RX1 was announced. At that time I was considering something like the NEX cameras with a ZM 21mm f/2.8 and I said in my head, “I wish someone would make a carry-around camera with a full frame sensor and a fixed 35mm f/2.8 or f/2.” Now you understand how attractive the RX1 is to me and what a ridiculously high bar exists for another camera system to reach.
Okay, so what is different from the last review?
For one, I had an issue with the camera’s AF motor failing to engage and giving me an E61:00 error. I had to send it out to Sony for repairs (via extended warranty and service plan). I detailed my experience with Sony Service here [insert link] and I write to you as a very satisfied customer. That is to say, I have 3 years left on a 4 year + accidental damage warranty and I feel confident enough in that coverage to say that I will have this beauty in working order for at least another 3 years.For two, I’ve spent significantly less time thinking of this camera as a DSLR replacement and have instead started to develop a very different way of shooting with it. The activation barrier to taking a shot with my D800 is quite high. Beyond having to bring a large camera wherever you go and have it in hand, a proper camera takes two hands and full attention to produce an image. I shoot slowly and methodically and often from a tripod with the D800. In contrast, I can pull the RX1 out, pop off the lens cap, line up and take a shot with one hand (often with a toddler in the other). This fosters a totally different type of photography.
My “be-there” camera
The have-everywhere camera that gives DSLR type controls to one-handed shooting lets me pursue images that happen very quickly or images that might not normally meet the standards of “drag-the-DSLR-out-of-the-bag.” Many of those images you’ll see on this post. A full year of shooting and I can say this with great confidence: the RX1 is a terrific mash-up of point-and-shoot and DSLR not just in image quality and features, but primarily in the product it helps me create. To take this thinking a bit further: I find myself even processing images from the RX1 differently than I would from my DSLR. So much so that I have strongly considered starting a tumblr and posting JPEGs directly from the RX1 via my phone or an iPad rather than running the bulk of them through Lightroom, onto Flickr and then on the blog (really this is just a matter of time, stay tuned, and those readers who have experience with tumblr, cloud image storage and editing, etc, etc, please contact me, I want to pick your brain).Put simply, I capture more spontaneous and beautiful “moments” than I might have otherwise. Photography is very much an exercise in “f/8 and be there,” and the RX1 is my go-to “be there” camera.
The family camera
I mentioned earlier that I justified the purchase of the RX1 partly as a camera to be used to document the family moments into which a DSLR doesn’t neatly fit. Over the past year I’ve collected thousands and thousands of family images with the RX1. The cold hard truth is that many of those photos could be better if I’d taken a full DSLR kit with me to the park or the beach or the grocery store each time. The RX1 is a difficult camera to use on a toddler (or any moving subject for that matter); autofocus isn’t as fast as a professional DSLR, it’s difficult to perfectly compose via an LCD (especially in bright sunlight), but despite these shortcomings, it’s been an incredibly useful family camera. There are simply so many beautiful moments where I had the RX1 over my shoulder, ready to go that whatever difficulties exist relative to a DSLR, those pale in comparison to the power of it’s convenience. The best camera is the one in your hand.
Where to go from here.
So what is the value of these RX1 going forward, especially in a world of the A7/r and it’s yet-to-be-born siblings without an EVF and a pancake lens? Frankly, at its current price (which is quite fair when you consider the value of the the body and the lens) I see precious little room for an independent offering versus a mirrorless, interchangeable lens system with the same image quality in a package just as small. That doesn’t mean Sony won’t make an RX2 or an RX1 Mark II (have a look at it’s other product lines to see how many SKUs are maintained despite low demand). Instead, I see the RX1 as a bridge that needed to exist for engineers, managers, and the market to make it to the A7/r and it’s descendants.A Facebook friend recently paid me a great compliment; he said something like, “Justin, via your blog, you’ve sold a ton of RX1 cameras.” Indeed, despite my efforts not to be a salesman, I think he’s right: I have and would continue to recommend this camera.The true value of the RX1 going forward is for those of us who have the thing on our shoulders; and yes, if you have an investment in and a love for a DSLR system, there’s still tremendous value in getting one, slinging it over your shoulder, and heading out into the wide, bright world; A7/r or no, this is just an unbelievably capable camera.
© All Rights Reserved.
This image is not to be downloaded, used, copied, duplicated, transmitted, manipulated or reproduced in whole or part, in any medium, physical or electronic, for use on websites, blogs or other media without my explicit written permission. All rights reserved - Copyright © Libyan Soup
Between June 26, 2015 and September 2, 2015, seven tower tombs located just beyond Palmyra's ancient city walls have been damaged or destroyed.
In the foreground, lower right, the Tower Tomb of Kithôt, (also known as Kithoth Tomasu) built in 44 AD has been destroyed. Satellite imagery confirms that at some time between June 26, 2015 and September 2, 2015 Kithôt was destroyed by ISIL.
On the hillside beyond from right to left the following funerary monuments have been damaged or destroyed:
The Tower Tomb of Iamliku, (also known as Iamblichus Tower, or Jamblique, or Iamlichu, or Yemliko) built in 83 AD has been destroyed.
The Tower Tomb of the Banai Family has been damaged.
The Tower Tomb of Julius Aurelius Bolma has been destroyed.
The Tower Tomb 71 has been destroyed.
Satellite imagery confirms that at some time between June 26, 2015 and August 27, 2015) the Tower Tomb of Iamliku was destroyed by ISIL.
Satellite imagery confirms that at some time between August 27, 2015 and September 2, 2015) the Tower Tomb of Julius Aurelius Bolma and Tower Tomb 71 were destroyed by ISIL.
It is most likely that these tombs were systematically looted by Islamic State before they destroyed the remaining structures. The valuable bas relief portraits and other ornamental decorations of these funerary monuments will have been methodically cut out of the tombs and trafficked to sell on the black market. The evidence of this looting is then crudely covered up by reducing the remains of the tower tombs to rubble. It is no coincidence ISIL has destroyed the best preserved and most beautiful tombs in Palmyra. After all these were the ones that had contained the most valuable antiquities.
Valley of the Tombs, Western Necropolis, Palmyra, Syria.
Schweiz / Berner Oberland - Jungfrau
seen from Männlichen
gesehen vom Männlichen
The Jungfrau (YOONG-frow, German pronunciation: [ˈjʊŋˌfʁaʊ̯], transl. "maiden, virgin"), at 4,158 meters (13,642 ft) is one of the main summits of the Bernese Alps, located between the northern canton of Bern and the southern canton of Valais, halfway between Interlaken and Fiesch. Together with the Eiger and Mönch, the Jungfrau forms a massive wall of mountains overlooking the Bernese Oberland and the Swiss Plateau, one of the most distinctive sights of the Swiss Alps.
The summit was first reached on August 3, 1811, by the Meyer brothers of Aarau and two chamois hunters from Valais. The ascent followed a long expedition over the glaciers and high passes of the Bernese Alps. It was not until 1865 that a more direct route on the northern side was opened.
The construction of the Jungfrau Railway in the early 20th century, which connects Kleine Scheidegg to the Jungfraujoch, the saddle between the Mönch and the Jungfrau, made the area one of the most-visited places in the Alps. Along with the Aletsch Glacier to the south, the Jungfrau is part of the Jungfrau-Aletsch area, which was declared a World Heritage Site in 2001.
Etymology
The name Jungfrau ("maiden, virgin"), which refers to the highest of the three prominent mountains overlooking the Interlaken region, along with the Mönch ("monk") and the Eiger ("ogre"), is most likely derived from the name Jungfrauenberg given to Wengernalp, the alpine meadow directly facing the huge northern side of the Jungfrau, across the Trummelbach gorge. Wengernalp was so named for the nuns of Interlaken Monastery, its historical owner. Contrary to popular belief, the name did not originate from the appearance of the snow-covered mountain, the latter looking like a veiled woman.
The "virgin" peak was heavily romanticized as "goddess" or "priestess" in late 18th to 19th century Romanticism. Its summit, considered inaccessible, remained untouched until the 19th century. After the first ascent in 1811 by Swiss alpinist Johann Rudolf Meyer, the peak was jokingly referred to as "Mme Meyer" (Mrs. Meyer).
Geographic setting
Politically, the Jungfrau (and its massif) is split between the municipalities of Lauterbrunnen (Bern) and Fieschertal (Valais). It is the third-highest mountain of the Bernese Alps after the nearby Finsteraarhorn and Aletschhorn, respectively 12 and 8 km (7.5 and 5 mi) away. But from Lake Thun, and the greater part of the canton of Bern, it is the most conspicuous and the nearest of the Bernese Oberland peaks; with a height difference of 3,600 m (11,800 ft) between the summit and the town of Interlaken. This, and the extreme steepness of the north face, secured for it an early reputation for inaccessibility.
The Jungfrau is the westernmost and highest point of a gigantic 10 km (6.2 mi) wall dominating the valleys of Lauterbrunnen and Grindelwald. The wall is formed by the alignment of some of the biggest north faces in the Alps, with the Mönch (4,107 m or 13,474 ft) and Eiger (3,967 m or 13,015 ft) to the east of the Jungfrau, and overlooks the valleys to its north by a height of up to 3 km (1.9 mi). The Jungfrau is approximately 6 km (3.7 mi) from the Eiger; with the summit of the Mönch between the two mountains, 3.5 km (2.2 mi) from the Jungfrau. The Jungfraujoch is the saddle between the Jungfrau and the Mönch and the Eigerjoch is the saddle between the Mönch and the Eiger. The wall is extended to the east by the Fiescherwand and to the west by the Lauterbrunnen Wall, although it follows different directions from the Jungfrau and the Eiger.
The difference of altitude between the deep valley of Lauterbrunnen (800 m or 2,600 ft) and the summit is particularly visible from the area of Mürren. From the valley floor, west of the massif, the altitude gain is more than 3 km (1.9 mi) for a horizontal distance of 4 km (2.5 mi).
The landscapes around the Jungfrau are extremely contrasted. In contrast to the vertiginous precipices of its northwest, the mountain's southeastern side emerges from the upper snows of the Jungfraufirn, one of the main feeders of the Aletsch Glacier, at around 3,500 meters (11,500 ft). The 20-kilometer-long (12 mi) valley of Aletsch on the southeast is completely uninhabited, and is surrounded by neighboring valleys with similar landscapes. The area as a whole constitutes the largest glaciated area not just in the Alps, but in Europe as well.
Climbing history
In 1811, the brothers Johann Rudolf (1768–1825) and Hieronymus Meyer, sons of Johann Rudolf Meyer (1739–1813), the head of a rich merchant family of Aarau, along with several servants and a porter picked up at Guttannen, first reached the Valais by way of the Grimsel, and crossed the Beich Pass, a glacier pass over the Oberaletsch Glacier, to the head of the Lötschen valley. There, they added two local chamois hunters, Alois Volken and Joseph Bortis, to their party and traversed the Lötschenlücke before reaching the Aletschfirn (the west branch of the Aletsch Glacier), where they established the base camp, north of the Aletschhorn. After the Guttannen porter was sent back alone over the Lötschenlücke, the party finally reached the summit of the Jungfrau by the Rottalsattel on August 3. They then recrossed the two passes named to their point of departure in Valais, and went home again over the Grimsel.
The journey was a most extraordinary one for the time, and some persons threw doubts at its complete success. To settle these, another expedition was undertaken in 1812. In this the two sons, Rudolf (1791–1833) and Gottlieb (1793–1829), of Johann Rudolf Meyer, played the chief parts. After an unsuccessful attempt, defeated by bad weather, in the course of which the Oberaarjoch was crossed twice (this route being much more direct than the long detour through the Lötschental), Rudolf, with the two Valais hunters (Alois Volker and Joseph Bortis), a Guttannen porter named Arnold Abbühl, and a Hasle man, bivouacked on a depression on the southeast ridge of the Finsteraarhorn. Next day (August 16) the whole party attempted the ascent of the Finsteraarhorn from the Studer névé on the east by way of the southeast ridge, but Meyer, exhausted, remained behind. The following day the party crossed the Grünhornlücke to the Aletsch Glacier, but bad weather then put an end to further projects. At a bivouac, probably just opposite the present Konkordia Hut, the rest of the party, having come over the Oberaarjoch and the Grünhornlücke, joined the Finsteraarhorn party. Gottlieb, Rudolf's younger brother, had more patience than the rest and remained longer at the huts near the Märjelensee, where the adventurers had taken refuge. He could make the second ascent (September 3) of the Jungfrau, the Rottalsattel being reached from the east side as is now usual, and his companions being the two Valais hunters.
The third ascent dates from 1828, when several men from Grindelwald, headed by Peter Baumann, planted their flag upon the summit. Next came the ascent by Louis Agassiz, James David Forbes, Heath, Desor, and Duchatelier in 1841, recounted by Desor in his Excursions et Séjours dans les Glaciers. Gottlieb Samuel Studer published an account of the next ascent made by himself and Bürki in 1842.
In 1863, a party consisting of three young Oxford University graduates and three Swiss guides successfully reached the summit and returned to the base camp of the Faulberg (located near the present position of the Konkordia Hut) in less than 11 hours (see the section below, The 1863 Ascent). In the same year Mrs Stephen Winkworth became the first woman to climb the Jungfrau. She also slept overnight in the Faulberg cave prior to the ascent as there was no hut at that time.
Before the construction of the Jungfraujoch railway tunnel, the approach from the glaciers on the south side was very long. The first direct route from the valley of Lauterbrunnen was opened in 1865 by Geoffrey Winthrop Young, H. Brooke George with the guide Christian Almer. They had to carry ladders with them in order to cross the many crevasses on the north flank. Having spent the night on the rocks of the Schneehorn (3,402 m or 11,161 ft) they gained next morning the Silberlücke, the depression between the Jungfrau and Silberhorn, and thence in little more than three hours reached the summit. Descending to the Aletsch Glacier they crossed the Mönchsjoch, and passed a second night on the rocks, reaching Grindelwald next day. This route became a usual until the opening of the Jungfraujoch.
The first winter ascent was made on 23 January 1874, by Meta Brevoort and W. A. B. Coolidge with guides Christian and Ulrich Almer. They used a sled to reach the upper Aletsch Glacier, and were accompanied by Miss Brevoort's favorite dog, Tschingel.
The Jungfrau was climbed via the west side for the first time in 1885 by Fritz and Heinrich von Allmen, Ulrich Brunner, Fritz Graf, Karl Schlunegger and Johann Stäger—all from Wengen. They ascended the Rottal ridge (Innere Rottalgrat) and reached the summit on 21 September. The more difficult and dangerous northeast ridge that connects the summit from the Jungfraujoch was first climbed on 30 July 1911 by Albert Weber and Hans Schlunegger.
In July 2007, six Swiss Army recruits, part of the Mountain Specialists Division 1, died in an accident on the normal route. Although the causes of the deaths was not immediately clear, a report by the Swiss Federal Institute for Snow and Avalanche Research concluded that the avalanche risk was unusually high due to recent snowfall, and that there was "no other reasonable explanation" other than an avalanche for the incident.
The 1863 Ascent
The Führerbuch of the Alpine guide Peter Baumann records an ascent of the Jungfrau made by himself with three men from England in July 1863. The foreign climbers were long thought to have been John Tyndall, J.J. Hornby and T.H. Philpott, until in 1958 the records were checked by the Alpine Club and the following conclusion was reached:
On July 23, 1963, Phillpotts, with James Robertson and H.J. Chaytor, climbed the Jungfrau (the entry shown in A.J. 32. 227 was wrongly transcribed by Montagnier, who says ‘T.H. Philpott’ for J.S. Phillpotts). The entry in Peter Baumann’s Führerbuch (facsimile in A.C. archives) says that the trio crossed the Strahlegg Pass and the Oberaarjoch, and then climbed the Jungfrau from the Eggishorn.
Tyndall, Hornby and Philpott were well-known Alpinists, but there is no record of their having attempted the Jungfrau in 1863. Robertson, Chaytor and Phillpotts were novices; they had recently graduated from Oxford University where they had all been keen members of the Oxford University Boat Club.
William Robertson (1839–1892), the leader of the expedition (wrongly called ‘James’ in the Note quoted above), was an Australian by birth, and the first non-British national to take part in the Oxford and Cambridge Boat Race. He later became a barrister and member of parliament in Australia. He and H.J. Chaytor (possibly the father of the medievalist Henry John Chaytor) were both members of the victorious Oxford team in the 1861 Boat Race. James Surtees Phillpotts (1839–1930) was the third member of the team; he would later become headmaster of Bedford School. The trio had three Swiss guides, Peter Baumann, Peter Kaufmann ("Grabipeter", father of Peter Kaufmann the younger) and Rubi.
A description of the ascent of the Jungfrau is contained in a letter dated Sunday 26 July which Phillpotts wrote to his friend Alexander Potts (later to become the first headmaster of Fettes College). The letter is now in the possession of the Alpine Club. The following extracts are from that letter.
The Virgin certainly did not smile on the poor "fools who rushed in" on her sacred heights, i.e. in plain British, we had the treadmill slog, the biting wind, the half frost-bitten feet and the flayed faces that generally attend an Alpine ascent.
We got to the Faulberg hole about dark, and enjoyed the coffee the longman (Kauffmann) made, as one would in a hole in a rock in a cold evening. The "Faulberg Nachtlager" consists of two holes and a vestibule to the upper hole. The Upper Hole in which we lodged just contained Chay[tor], the Guv [Robertson] and myself, stretched at full length on a little hay over a hard rock mattress, convex instead of concave at the point where one likes to rest one's weight. Chaytor was in the middle, and as we were very close was warm and slept. The Guv and I courted Nature's soft nurse in vain. At two we got up and methodically put our feet into the stocks, i.e. our boots, breakfasted and shivered, then started (unwashed of course, as the cold gave us malignant hydrophobia) a little after 3:30.
The hole was about 150 feet [46 m] up one of the loose stone cliffs one now knows so well. So we groped our way down it and over the moraine – the stars still lingering, as day was just dawning. We could not start at 1:30, the proper time, as there was no moon and we wanted light as we had to tramp the glacier at once. Rubi led, and off we went, roped and in Indian file, in the old treadmill way over the slippery plowed-field-like snow that lay on the upper glacier, for a pull without a check of one or two hours.
At last we came to the region of bergschrunds and crevasses. They seemed to form at first an impassable labyrinth, but gradually the guides wound in and out between the large rifts, which were exquisitely lovely with their overhanging banks of snow and glittering icicles, and then trod as on pins and needles over a snowbridge here and there, or had to take a jump over the more feasible ones – and we found ourselves at the foot of the mountain; trudged up on the snow which ought to have been crisp but was even then more or less fresh fallen and sloppy; had to creep over about three crevasses, and after a tiresome pull, dragging one leg after another out of ankle or knee deep snow, we got on a crest of snow at right angles to the slope we had just come up. That slope with its crevasses on one side, and on the other a shorter and much steeper one which led in a few steps to a precipice.
All along this crest went a snakelike long crevasse, for which we had continually to sound, and go first one side and then the other; then we got to the foot of the saddle. Some twenty or thirty steps, some cut, some uncut, soon took us up a kind of hollow, and we got on a little sloping plateau of some six feet [1.8 m] large, where we left the grub and the knapsack, keeping my small flask of cognac only. Then up a steep ice slope, very steep I should say, down which the bits of ice cut out of the steps hopped and jumped at full gallop and then bounded over to some bottomless place which we could not see down. Their pace gave one an unpleasant idea of the possible consequence of a slip.
Here we encountered a biting bitter wind. Peter Baumann cut magnificent steps, at least he and Rubi did between them, the one improving on the other's first rough blows. After Rubi came Chaytor with Kauffmann behind him, then the Guv, and then myself, the tail of the string. Each step was a long lift from the last one, and as the snow was shallow they had to be cut in the ice which was like rock on this last slope.
Suddenly there burst upon us, on lifting our heads over the ridge, the green and cheerful valleys of Lauterbrunnen and Interlaken, of Grindelwald and a distant view of others equally beautiful stretching on for ever in one vast panorama. On the other side in grim contrast there was a wild and even awful scene. One gazed about one and tried in vain to see to the bottom of dark yawning abysses and sheer cliffs of ice or rock.
Tourism
Named after the Jungfrau, the Jungfrau Region of the Bernese Oberland is a major tourist destination in the Alps and includes a large number of railways and other facilities. While the mountain peak was once difficult to access, the Jungfrau Railway, a rack railway, now goes to the Jungfraujoch railway station at 3,454 m (11,332 ft), therefore providing an easy access to the upper Aletsch Glacier and a relatively short access to the Jungfrau itself, the height difference between the station and the summit being only 704 metres and the horizontal distance being slightly less than 2 kilometres. As a result, in the popular mind, the Jungfrau has become a mountain associated with the Bernese Oberland and Interlaken, rather than with Upper Valais and Fiesch.
In 1893, Adolf Guyer-Zeller conceived of the idea of a railway tunnel to the Jungfraujoch to make the glaciated areas on its south side more accessible. The building of the tunnel took 16 years and the summit station was not opened before 1912. The goal was in fact to reach the summit of the Jungfrau with an elevator from the highest railway station, located inside the mountain. The complete project was not realized because of the outbreak of the World War I. Nevertheless, it was at the time one of the highest railways in the world and remains today the highest in Europe and the only (non-cable) railway on Earth going well past the perennial snow-line.
The Jungfrau Railway leaves from Kleine Scheidegg, which can be reached from both sides by trains from Grindelwald, and Lauterbrunnen via Wengen. The train enters the Jungfrau Tunnel running eastward through the Eiger just above Eigergletscher, which is, since 2020, also accessible by aerial tramway from Grindelwald. Before arriving at the Jungfraujoch, it stops for a few minutes at two other stations, Eigerwand (on the north face of the Eiger) and Eismeer (on the south side), where passengers can see through the holes excavated from the mountain. The journey from Kleine Scheidegg to Jungfraujoch takes approximately 50 minutes including the stops; the downhill return journey taking only 35 minutes.
A large complex of tunnels and buildings has been constructed at the Jungfraujoch, referred to as the "Top of Europe". There are several restaurants and bars, shops, multimedia exhibitions, a post office, and a research station with dedicated accommodation facilities. An elevator enables access to the top of the Sphinx and its observatory, at 3,571 m (11,716 ft), the highest viewing platform of the area. Outside, at the level of the Jungfraujoch, there is a ski school, and the "Ice Palace", a collection of elaborate ice sculptures displayed inside the Aletsch Glacier. Another tunnel leads to the east side of the Sphinx, where one can walk on the glacier up to the Mönchsjoch Hut, the only hotel infrastructure in the area.
Apart from the Jungfraujoch, many facilities have been built in the Jungfrau Region, including numerous mountain railways. In 1908, the first public cable car in the world, the Wetterhorn Elevator, opened at the foot of the Wetterhorn, but was closed seven years later. The Schilthorn above Mürren, the Männlichen above Wengen, and the Schynige Platte above Wilderswil, offer good views of the Jungfrau and the Lauterbrunnen valley. On the south side, the Eggishorn above Fiesch also offers views of the Jungfrau, across the Aletsch Glacier.
Climbing routes
The normal route follows the traces of the first climbers, but the long approach on the Aletsch Glacier is no longer necessary. From the area of the Jungfraujoch the route to the summit takes only a few hours. Most climbers start from the Mönchsjoch Hut. After a traverse of the Jungfraufirn the route heads to the Rottalsattel (3,885 m or 12,746 ft), from where the southern ridge leads to the Jungfrau. It is not considered a very difficult climb but it can be dangerous on the upper section above the Rottalsattel, where most accidents happen. The use of the Jungfrau Railway instead of the much more gradual approach from Fiesch (or Fieschertal), via the Konkordia Hut, can cause some acclimatization troubles as the difference of altitude between the railway stations of Interlaken and Jungfraujoch is almost 3 km (1.9 mi).
(Wikipedia)
Die Jungfrau ist ein Berg in der Schweiz. Sie ist mit 4158 m ü. M. der dritthöchste Berg der Berner Alpen und bildet zusammen mit Eiger und Mönch eine markante Dreiergruppe, ein sogenanntes «Dreigestirn».
Am 13. Dezember 2001 wurde die Jungfrau zusammen mit südlich angrenzenden Gebieten als Schweizer Alpen Jungfrau-Aletsch in die Liste als UNESCO-Weltnaturerbe aufgenommen.
Lage und Umgebung
Über den Jungfrau-Gipfel verläuft die Grenze zwischen den Kantonen Bern und Wallis. Der Berg ist ausserordentlich vielgestaltig. Im Norden und Nordwesten, auf ihrer „weiblichen“ Schauseite (vgl. Foto) sind ihr Wengen-Jungfrau, Schneehorn, das Silberhorn, das Chly Silberhoren und der „Schwarzmönch“ vorgelagert sowie die zerrissenen Kühlauenen- und Giessengletscher. Im Westen erhebt sie sich fast eisfrei volle 3250 Meter über dem hinteren Lauterbrunnental. Es ist dies (nach dem Mont Blanc) der zweithöchste direkte Abhang in den Alpen. Ihre Südwand erhebt sich über dem versteckten Rottalgletscher und ihre Ostwand über den Firnen am Jungfraujoch.
Die Pläne, auf die Jungfrau eine Bergbahn zu bauen, wurden aufgrund finanzieller Schwierigkeiten nicht realisiert. Die ursprünglich bis unter den Gipfel geplante Jungfraubahn wurde bis 1912 mit Endstation Jungfraujoch fertiggestellt.
Auf dem untersten Absatz des Nordostgrats haben die PTT einen Funk-Umsetzer auf 3777 m ü. M. installiert.
Geologie
Die Jungfrau liegt im nördlichen Randbereich des Aarmassivs, eines der sogenannten Zentralmassive der Schweizer Alpen. Ihre höheren Lagen (Silberhorn, Wengen-Jungfrau und Hauptgipfel) sowie ihre Westflanke bis hinunter zum oberen Ende des Lauterbrunnentals sind weit überwiegend aus kristallinem Grundgebirge (prä-triassische Gneise, Glimmerschiefer u. ä.) der Helvetischen Zone aufgebaut. Die Nordwestflanke hingegen, der ganze «Vorbau» (Schwarzmönch, Rotbrett und Schneehorn) besteht aus sedimentärem, überwiegend jurassischem und kretazischem Deckgebirge des Helvetikums. Eine Besonderheit der Jungfrau ist, dass dort zwischen dem prinzipiell autochthonen Gipfel-Kristallin und dessen Deckschichten ein Überschiebungs-kontakt besteht; somit ist das Grundgebirge geringfügig auf sein Deckgebirge überschoben worden.
Name
Der Name Jungfrau dürfte sich von der Wengernalp am Fusse des Berges ableiten, die – nach den Besitzerinnen, den Nonnen vom Kloster Interlaken – früher Jungfrauenberg genannt wurde. Einer anderen Quelle zufolge leitet sich der Name vom Aussehen des Nordhanges des Berges ab, der aus der Ferne dem Schleier eines Mädchens ähneln soll.
Nach dem Berg ist die Jungfrau-Region benannt, die Tourismusorganisation der Orte Grindelwald, Wengen, Mürren und Lauterbrunnen, ausserdem die Jungfraubahn Holding AG, die neben der Jungfraubahn selbst auch die anderen Bergbahnen in der Region betreibt.
Besteigungsgeschichte
Bergsteiger auf dem Gipfel im Jahr 1878
Erstbesteiger waren Johann Rudolf Meyer und sein Bruder Hieronymus mit den Führern Joseph Bortis und Alois Volken, die am 3. August 1811 vom Lötschental her den Berg von Süden erklommen hatten. Sie folgten ungefähr der heutigen Normalroute. Der Volksmund taufte daraufhin die bis dahin unberührte Jungfrau «Madame Meyer».
1874 erfolgte die Winter-Erstbesteigung durch die Alpinistin Margaret Claudia Brevoort.
Die Jungfrau gilt, obwohl leicht erreichbar, als unfallträchtiger Berg. Bei einem der schwersten Unglücke stürzten am 12. Juli 2007 sechs Rekruten der Gebirgsspezialisten-Rekrutenschule Andermatt vom Rottalsattel 1000 Meter auf den darunterliegenden Rottalgletscher in den Tod, nachdem sie eine Lawine ausgelöst hatten. Das urteilende Militärgericht ging von einem falsch eingeschätzten, heimtückischen Lawinenrisiko aus und sprach in der Folge die verantwortlichen Bergführer frei.
Routen
Rottalsattel und Südostgrat (Normalroute)
Schwierigkeit: ZS-
Zeitaufwand: 4–5 Std. von der Mönchsjochhütte, 3½–4½ Std. vom Jungfraujoch
Ausgangspunkt: Mönchsjochhütte (3657 m)
Talort: Grindelwald (1034 m)
Innere Rottalgrat
Schwierigkeit: ZS
Zeitaufwand: 6–7 Stunden
Ausgangspunkt: Rottalhütte (2755 m)
Talort: Stechelberg (919 m)
Nordwestgrat oder „Rotbrettgrat“
Schwierigkeit: S
Zeitaufwand: 8–12 Stunden
Ausgangspunkt: Silberhornhütte (2663 m)
Talort: Stechelberg (919 m)
Nordostgrat
Schwierigkeit: S+, mit IV. UIAA-Grad Felskletterei
Zeitaufwand: 8–10 Stunden
Ausgangspunkt: Jungfraujoch (3454 m)
Talort: Grindelwald (1034 m)
Kunst
Erwähnt ist die Jungfrau unter anderem bei Friedrich Schiller, Wilhelm Tell, Vers 628 (1804). Lord Byrons Drama Manfred (1817) spielt am Fuss und auf dem Gipfel des Massivs. Ferdinand Hodler hat die Jungfrau mehrfach gemalt, darunter die perspektivisch verfremdete «Jungfrau über dem Nebelmeer». Alex Diggelmann gab 1958 eine Lithographienmappe unter dem Titel Die Jungfrau, mein Berg heraus. Stephan Bundi gestaltete 2005 eine Schweizer Gedenkmünze mit dem Bergmotiv.
Im Januar 2012 wurde zum 100-jährigen bestehen der Jungfraubahn eine übergrosse Schweizer Flagge vom Lichtkünstler Gerry Hofstetter an den Gipfel projiziert. Zeitweise waren neben dem Schweizer Kreuz auch ein Porträt des Zürcher Unternehmers Adolf Guyer-Zeller sowie ein Bild von einem der Züge zu sehen.
(Wikipedia)
RYERSON, EGERTON (his complete given name was Adolphus Egerton but he never used the first), Methodist minister, author, editor, and educational administrator; b. 24 March 1803 in Charlotteville Township, Norfolk County, Upper Canada, fifth son of Joseph Ryerson and Mehetable Stickney; m. first 10 Sept. 1828 Hannah Aikman (d. 1832) at Hamilton, Upper Canada, and they had two children; m. secondly 8 Nov. 1833 Mary Armstrong at York (Toronto), Upper Canada, and they had two children; d. 19 Feb. 1882 at Toronto.
Two circumstances in Egerton Ryerson’s early life exercised a lasting influence on his career. One was the loyalist environment in which he grew up. His father, Joseph, and his uncle Samuel Ryerse*, both American born, had served as loyalist officers in the American revolution and afterwards had fled north to New Brunswick before moving to Upper Canada in the 1790s. As a half-pay officer Joseph had received a substantial land grant and established his family on a farm near Vittoria, the first capital of the London District. Appointed to a series of important local offices, both Joseph and Samuel became part of the loyalist establishment in the district while members of their families married into other leading loyalist clans in the area. Joseph and his three eldest sons all served against the Americans in the War of 1812. Egerton, too young to be actively involved, saw a brother badly wounded and the destruction of lands and property belonging to friends and relatives. Among the Ryerson family, memories of pioneering a new land and defending it, of principles sustained and loyalty reaffirmed, would breed a deep and abiding attachment to both their native land and the maintenance of the British connection in North America.
The second great formative influence was evangelical Christianity. Like so many of his generation Ryerson was touched early in life by the wave of Protestant revivalism that swept North America in the late 18th and early 19th centuries. The Ryerson children were raised by a devout mother of Methodist sympathies who taught them a personal and vital form of Christian belief and her precepts were reinforced by the Methodist circuit-riders who criss-crossed Norfolk County during Egerton’s childhood. Some time immediately after the War of 1812, according to his own account, Egerton, like three of his elder brothers, “became deeply religious. . . . My consciousness of guilt and sinfulness was humbling, oppressive and distressing; and my experience of relief, after lengthened fastings, watching and prayers, was clear, refreshing and joyous. In the end I simply trusted in Christ, and looked to Him for a present salvation. . . .” In 1816 his mother and two of his older brothers joined the Methodist Church. His Anglican father was “extremely opposed” to the Methodists and when at 18 Egerton applied for membership in the local Methodist society he was told “you must either leave them or leave my house.” Egerton took the latter course. The rift lasted for two years and was repaired only when the father acquiesced in his son’s convictions. The episode reveals something of the determination and impetuosity characteristic of Ryerson all his life. It also reveals the depth of his “conversion” experience. From the time he was a young man Ryerson’s personal odyssey was defined by his determination “never to rest contented until he [Christ] becomes not only my wisdom, but my sanctification and my full redemption.” Loyalism and Methodism would form the warp and woof of Ryerson’s life and thought throughout his long career.
Ryerson’s family was sufficiently well off to enable him to take advantage of the limited educational facilities available at the time. Most of his schooling took place under James Mitchell at the London District Grammar School in Vittoria. Between 1821 and 1823 he served as an assistant to his brother George, who was master in the school. During these years Ryerson absorbed the essentials of an English and classical education and was also introduced to two works that would become lasting influences – William Paley’s Principles of moral and political philosophy and Sir William Blackstone’s Commentaries. In August 1824, perhaps with the intention of becoming a lawyer, Ryerson went to Hamilton to study with John Law at the Gore District Grammar School.
After only a few months’ study in Hamilton, Ryerson’s formal education was ended by a prolonged illness in the winter of 1824–25. During his recovery he became convinced that he had been preserved from death to serve God’s purpose as a Methodist minister. He irrevocably accepted God’s call on 24 March 1825, his 22nd birthday, and preached his first sermon at Beamsville on Easter Sunday of that year. Thus Egerton became one of five Ryerson boys to enter the Methodist ministry: he followed in the footsteps of William* and John* as George, the eldest, and Edway (Edwy) Marcus, the youngest, would follow in his. Formally received on trial in September 1825 by the Canada Conference, the governing body of the Methodist Episcopal Church in Upper Canada, Egerton served his apprenticeship on the York and Yonge Street circuit and then as a missionary among the Indians at the Credit River. In September 1827 he was admitted to full connection and ordained. He spent the next two years assigned to the Cobourg and Ancaster circuits.
During these years the rigorous routine of a travelling preacher’s life was interrupted by two diversions that would put Ryerson’s name before a much wider audience than any Methodist circuit could offer. In 1826 a sermon, delivered the previous summer at the funeral of Bishop Jacob Mountain* by John Strachan*, appeared in print; in it Strachan, the leading Church of England clergyman in Upper Canada, traced the rise of the Anglican church in the colony, contending that it was the established church and attacking the Methodists as ignorant American enthusiasts, unsound in religion and disloyal in politics. None of the arguments were new, but on this occasion the Methodists in York chose not to remain silent and Ryerson, still a probationary preacher, was one of those invited to frame a reply. In a long letter printed in the Colonial Advocate (York) in May 1826 he challenged all of Strachan’s assertions. No less than Strachan himself, Ryerson sought a society that was both Christian and British. But he denied that an established church was either scriptural or an essential part of the British constitution, and quoted authors ancient and modern to support his case. He rejected the charges of ignorance by citing the intellectual training required of all Methodist preachers and also challenged the contention that most of them were Americans. Ryerson’s letter and the ensuing debate in the provincial press “thrilled the Methodist mind in the country,” in the words of John Saltkill Carroll, and called attention to Ryerson’s remarkable abilities as a spokesman for the Methodist cause. In 1827 Strachan again put forward his claims in a series of letters written in England to garner support for both the Church of England and the colony’s newly chartered university. In the public uproar that followed, Ryerson was only one critic among many, but in eight clearly reasoned and broad-ranging letters, published first in the Upper Canada Herald (Kingston) in June 1828 and later that year as a pamphlet, he again defended the character of Methodism, argued the case for religious equality, and broadened his attack to include the educational policies of what he claimed to be an Anglican-dominated executive.
His forays against Strachan brought Ryerson to the centre of Methodist affairs. In 1829 he was elected by conference as the first editor of the new Methodist newspaper, the Christian Guardian. Over the next decade he would be its dominant editorial voice, responsible for the paper from the first issue in November 1829 until August 1832, from October 1833 until June 1835, and again from June 1838 until June 1840. A large Methodist constituency and Ryerson’s own editorial talents made the Guardian one of the most widely read and politically influential papers in the colony. From the beginning it reflected not only the temporal but also the spiritual concerns of Ryerson’s own life. One subsidiary object of the paper, he wrote in 1830, was “to support and vindicate religious and civil rights”; but the paper’s principal purpose was to promote “practical Christianity – to teach men how to live and how to die.” Serving also as book steward for 1829–32 and 1833–35, Ryerson established a book room and helped lay the foundations of a flourishing publishing establishment which eventually became the Ryerson Press.
During the early 1830s Ryerson was involved in another important aspect of the institutional development of his church. In 1832, at the invitation of the colonial administration, the politically conservative British Wesleyans decided to expand their own work into Upper Canada. Colonial Methodists were divided over the appropriate response. Although some objected to any cooperation at all, the majority of conference, led by John Ryerson, voted to support a union between the two churches in order to avoid wasteful duplication and open conflict and to disprove the continuing charges of American sympathies. Egerton vigorously supported this policy in the Guardian and within conference, and was selected to go to England to complete the negotiations with the English conference as well as to lay a variety of Methodist interests before the Colonial Office. He returned to Upper Canada in September 1833. Just 30 years of age, fresh from his first trip abroad and the successful representation of his church in Britain, and re-elected editor of the Guardian, Ryerson had begun to establish himself, in Carroll’s words, as the Methodists’ “leader in all public questions.”
The style and character of the man had also begun to take permanent shape. Summarizing contemporary opinion, Charles Bruce Sissons* concludes that Ryerson was a competent rather than an outstanding preacher. The basis for his public reputation would lie in the written rather than the spoken word. At his best Ryerson could write prose laced with vigorous rhetoric, flashes of wit, and powerful imagery. He could also, particularly as he grew older, be long-winded and pontifical, his prose weighted down by endless quotations and irrelevant appeals to the history of any subject from time immemorial. His style was shaped by the Methodist homiletics of the day and encompassed the best and the worst of the genre.
To his many friends and admirers Ryerson was a generous, warm, kind, inspiring man, “trusting and trustworthy,” endowed with “grand qualities of mind and heart.” Others, particularly those who ran afoul of him in controversy, did not share this opinion. In his younger days Ryerson was generally careful to distinguish between the personalities and the arguments of his opponents. As editor of the Guardian he did not routinely indulge in the character assassination and innuendo typical of contemporary colonial journalism. Yet he was also acutely sensitive to slights or imputations about his own character and principles, and when provoked could descend into excesses of personal abuse unbecoming in a clergyman and public figure. These tendencies increased as he grew older so that even a sympathetic contemporary observer was led to remark that “both in writing and in debate he is not very choice of the means by which he abolishes an opponent, so long as it is done.” His was not a singular failing in mid-19th-century Canada and in many instances Ryerson had a strong claim to just cause. None the less he himself recognized it as a flaw. “I have,” he told his daughter, Mrs Sophia Howard Harris, in 1870, “written and printed many things that I afterwards very much regretted. For many years I have been accustomed to keep for a day or a week what I have written, before committing it to press.”
When he believed it to be necessary Ryerson could rethink his positions and make tactical compromises but his reluctance to admit such shifts publicly left him open to recurring charges of disingenuousness and hypocrisy. Such assessments were also encouraged by a strain of self-righteousness in his personality. Though his diaries and private letters often reveal him struggling with self-doubt, his public demeanour bespoke great assurance that his designs and God’s were one. Thomas Dalton* was one of the first of Ryerson’s contemporaries who captured this trait when he wrote in 1834 that Ryerson “pretends to be Heaven’s Lord Chancellor, and consequently the depository of all the secrets of that high court.”
Throughout his life Ryerson was a relentless worker. He could call up enormous reserves of energy, endurance, and discipline – products of his early labours on his father’s farm, the physical rigours of a circuit-rider’s life, and above all, the conviction that he must be a worthy steward of the time God gave him. He was also a constant student. He was forever learning a new language: Ojibwa at the Credit River mission, Hebrew in his spare time in the early 1840s, French and German on his trips to the Continent. The core of his religious and social thought had been shaped by rigorous study of the scriptures and the great Methodist divines: Wesley himself, Adam Clarke, and Richard Watson. He was also an avid reader of the classics of British and European history and political thought, and the “serious” contemporary literature such as the great English quarterlies. On any subject he chose he could command a remarkable variety of sources and quotations. His persistent interest in secular knowledge and in contemporary cultural and political affairs tempered the asperities of a faith that in other men could breed a disdain for temporal things or even an outright anti-intellectualism. On the other hand his secular interests, reinforced and justified by his religious convictions, also drew him into the political conflicts that haunted the colony in the 1830s and 1840s to a degree that, amongst Upper Canadian clergymen, was matched only by his great antagonist, John Strachan.
As pamphleteer and editor between 1826 and 1832 Ryerson had gradually become associated in the public mind with those who identified themselves as political Reformers. It was a natural alliance at the time, for many of the issues that galvanized Reformers were also those of most concern to Methodist leaders: the disposition of the clergy reserves, the right to solemnize marriages, the control of many of the educational institutions by the Church of England, and a number of similar issues affecting denominational equality Ryerson’s spirited editorial attacks on Anglican ascendancy, his leading role in organizing and drafting the petition of the Friends of Religious Liberty in December 1830 [see Jesse Ketchum*], and his denunciation in 1831 of the attack by Sir John Colborne* on the Methodists for political meddling, all seemed to identify him not just as a leading Methodist but as a leading Reformer as well. Thus it was not surprising that in 1832 a Tory mob in Peterborough, looking for symbols of reform on which to vent their anger, set fire to effigies of both William Lyon Mackenzie* and Ryerson.
When Ryerson returned from England in the autumn of 1833, however, he struck an unexpected theme. In the first of a series of “Impressions of England,” published in the Guardian, he attacked as infidel, republican, and anti-Methodist, radical leaders such as Joseph Hume and John Arthur Roebuck* who were close allies of Canadian Reformers. At the same time he praised the English “moderate Tories” among whom were to be found “a considerable portion of the evangelical clergy and, we think, a majority of Wesleyan Methodists.” Their political prudence, “genuine liberality and religious beneficence,” he concluded, “claim respect and imitation.” The “Impressions” caused a political uproar. To friends and enemies alike Ryerson appeared to reverse direction and commit himself to Toryism. The Reform press had a field-day at his expense, condemning him as an apostate and traitor, and many of his Methodist brethren concurred. To Ryerson himself, however, the change was one of emphasis, not principle. His passionate recitals of the grievances of Upper Canada had in fact masked an intellectual temper that was profoundly loyalist and conservative.
Two central convictions, shaped by his early life and by his reading of Blackstone, Paley, Wesley, Clarke, and Watson, formed the core of his political thought. First, he revered the body of constitutional theory and practice developed in Britain since 1688 and inherited, he believed, by Upper Canadians through the Constitutional Act of 1791. To Ryerson, civil institutions were among the means established by God to enable man to seek sanctification in this life and everlasting happiness with God in the next. No system of government designed by man was better suited to serve these purposes than the British constitution. By providing institutional bulwarks against arbitrary rule, it protected the civil and religious liberties of the subject and, through petitions to parliament and appeals to the crown, it furnished the means of seeking redress of grievances. Because of its mixed nature – its incorporation of king, lords, and commons (in the colony, governor, council, and assembly) – it provided the mechanism to balance and reconcile the different interests of society and thereby secure good government for the whole community. Wise policy, Ryerson would repeatedly say, not only arose from but also ensured “both the prerogatives and due influence of the Crown, and the constitutional rights of the people.”
The second fundamental principle that shaped his political thought was the importance of the imperial tie. Given his warm attachment to British institutions, all proposals for outright independence were anathema. At the same time he believed that the imperial authority and its local representatives must be responsive to local interests and circumstances. Thus Ryerson, like so many others of his generation, had to come to grips with a proposition that, on the face of it, seemed absurd: Upper Canada could be both self-governing and a colony. If some believed that sentiment alone could keep separatist tendencies in check, many others, Ryerson included, did not. To him, the “responsible government” of Robert Baldwin* was but a first step to independence. Its logic was to destroy the mixed constitution by eliminating the independent prerogative of the crown, the most palpable link between colony and parent state. So long as the imperial government was broadly responsive to public opinion, preserved the right of appeal for redress, and followed existing constitutional usages in dealing with the colony, Ryerson would oppose any innovations that threatened to weaken the imperial tie or modify the constitution inherited by the colony.
From the late 1820s until the mid 1840s Ryerson would attempt to govern his political course in accordance with these two principles. It was not an easy task. It would lead him from one side of the political spectrum to the other and back again, and leave him open to charges of political opportunism that, in the eyes of many Upper Canadians though not in his own, were difficult to refute.
By late 1833, when he published “Impressions,” Ryerson had become convinced that the main enemy was the Reform movement, not the administration. He did not dispute the fact that Upper Canadians still had justifiable complaints but, he argued, appeals to the crown and the imperial parliament were bringing redress. In particular, the royal dispatches of 1832 and 1833 had led Lieutenant Governor Colborne to modify many of the partisan policies of the previous decade. To Ryerson, in other words, the cause of Reform had been largely won. Of course Methodists had changed their tune, he would reply to his critics in 1835, “and for a simple and sufficient reason, the administration of government towards them has been essentially changed.” The Reformers, on the other hand, were seeking no longer to remedy real grievances but to introduce organic changes in the constitution. Thus, with the same energy he had exerted on behalf of Reform in the early 1830s, by mid decade Ryerson had thrown himself into the defence of existing authority.
Ryerson was absent from Upper Canada from November 1835 to June 1837, having been sent by conference to England as part of an attempt to put the affairs of the Methodists’ new academy at Cobourg in order. Begun with the greatest optimism in the early 1830s, Upper Canada Academy was in the most desperate financial straits by mid decade. It was Ryerson’s job to obtain a royal charter for it and, more importantly, to travel throughout Britain soliciting money for its support. Both tasks proved difficult but the latter was the more painful: to be a stranger and to have to beg, he confided to his diary, was “the most disagreeable of all employments.” He obtained the charter, none the less, and promises of financial support from British Wesleyans and the imperial government. Though away from home during these months, he continued to be a force in Upper Canadian politics, writing lengthy letters to the Christian Guardian and to English newspapers criticizing the Reformers and defending the policies of Lieutenant Governor Sir Francis Bond Head*.
Ryerson ended 1837 with a blistering sermon condemning those who had participated in the rebellion. He himself, however, was already beginning to have second thoughts about Head’s administration. It was one thing to defend the existing constitution against “republican” or “democratic” radicalism but quite another to tolerate arbitrary rule. Despite the clearly expressed will of the crown and the assembly, the Legislative Council had refused to approve a loan to Upper Canada Academy in 1837 – a scandalous departure, Ryerson argued, from constitutional precedent. A Tory legislature appeared to be attempting once more to place the clergy reserves in Anglican hands. In the wake of the rebellion civil liberties were being trampled upon and early in 1838 the case of Marshall Spring Bidwell*, who had been forced into exile at the whim of the lieutenant governor, roused Ryerson to issue a ringing public denunciation of the authorities and a defence of the constitutional rights of the subject. In Ryerson’s view Head’s successor, Sir George Arthur*, brought no improvement; indeed Arthur seemed determined to sustain all of the most objectionable pretensions of traditional colonial Toryism. From June 1838, when Ryerson returned as editor of the Guardian, his energies were again directed towards attacking the policies of the local executive and its supporters inside and outside the legislature. Once more he had entered the camp of the anti-government alliance.
It was in these circumstances that Ryerson was temporarily converted to the constitutional proposals of Lord Durham [Lambton*]. To those who recalled with some glee his earlier opposition to colonial cabinet responsibility he replied in June 1839 that “the history of the last three years” had proved that no other means existed to ensure a just and equitable local administration. By the end of 1840, however, Ryerson had returned to more familiar ground. In Lord Sydenham [Thomson*], who was determined to form a broad party of moderate opinion, to treat all denominations equally, and to be responsive to public opinion while at the same time preserving the prerogatives of the crown, Ryerson believed he had found the patriot governor who could implement “truly liberal conservative policy” and thus sustain the mixed constitution in the colonial setting. When Sydenham died in 1841 Ryerson wrote an obituary that heaped encomium upon encomium. At its heart was an expression of his own most fervent wish for the province: “his Lordship has solved the difficult problem, that a people may be colonists and yet be free.”
In June 1840 Ryerson ended his last stint as editor of the Guardian and was assigned to a pastorate in Toronto. He remained, however, a central figure in Methodist affairs. A number of issues had begun to divide Canadian and British Wesleyans in the late 1830s, raising doubts about the value of the union into which they had entered in 1833. One of these was the editorial policy of the Guardian, which members of the British conference felt Ryerson had made into “a political and party organ” of colonial radicalism. Though Ryerson was sustained by large majorities at conference, clashes over this and other matters of policy led to the dissolution of the union in 1840. Egerton and his brother William were appointed delegates to the British conference and spent the summer of 1840 in England negotiating the details of separation. In the following year Egerton was selected as the first principal of Victoria College, the successor to Upper Canada Academy, though he was not formally inducted into the post until June 1842. He remained principal until 1847 but his active role in the college was short-lived. In 1844 he took up a new post as a government administrator and, at the same time, became involved in one of the most celebrated political conflicts in Upper Canadian history.
In November 1843, because of a dispute over control of patronage, Governor Sir Charles Theophilus Metcalfe*’s Reform ministers had resigned from office. In the next few months Metcalfe and his new chief minister in Canada West, William Henry Draper*, began to search for a base of support in the leading moderates of both parties and all denominations. Among those consulted for general advice was Ryerson and, most probably in January 1844, consultation turned into a more positive offer of a place in the administration.
It is not difficult to see why Metcalfe wanted Ryerson. An appointment for Ryerson would disprove charges that he was too partial to Anglicans and high Tories and would favourably influence the large Methodist vote. Ryerson was on close terms with other political moderates and his accession might bring their support as well. A place on the council itself was, however, out of the question. Ryerson did not want an unequivocally political appointment and Draper discovered that it was not possible in any case. Thus Ryerson was offered the post of superintendent of schools for Canada West, which was not formally political; his acceptance would, however, signify his support for the ministry.
Why Ryerson himself was tempted by the offer is another question. Certainly he believed that at stake was a major constitutional issue upon which men must declare themselves. Moreover, he had always thought that an effective system of national education was one of the highest goals of practical, liberal policy and he was no doubt deeply attracted by the chance to play a role in promoting its development. But there may have been other reasons as well. On two previous occasions in the early 1840s he had expressed an interest in becoming involved in primarily secular projects and it may have been that Ryerson was somewhat restless in these years and eager to test his talents in a wider sphere than that afforded by Upper Canadian Methodism alone.
He may also have been tempted by the new political atmosphere of the years after 1840. The many leading politicians of the decade with whom he was on close personal terms accorded him a degree of respect he had not received from an earlier generation of Upper Canadian notables. Moreover, whatever their differences on particular issues, Ryerson’s vision of the future development of Canadian society had much in common with that of such men as Draper and Francis Hincks. They were ready to recognize the legitimate interests of Methodists and other dissenters within the body politic, they were men of the centre who rejected the extremes of either radicalism or Toryism, and their concern for economic development and the modernization of public services and institutions was as great as their commitment to the preservation of a distinct British-American society. In other words, Ryerson may have been attracted to the job because he believed that politics and policy were moving in more congenial and promising directions than in the conflict-ridden decade of the 1830s. In any case and for whatever reasons, Ryerson accepted Metcalfe’s offer in early 1844, though his appointment was not formally announced until September.
Apparently Metcalfe and Draper had asked only that Ryerson agree to serve as superintendent of common schools. It seems to have been Ryerson himself who proposed that he also step into the public arena in defence of the governor. He did so in part because he thought that his appointment was at risk unless the ministry was sustained by the electorate. But his behaviour was also fully in character. For Ryerson it was never enough to stand up and be counted; he had to smite the enemy hip and thigh as well. Thus he set about writing Sir Charles Metcalfe defended against the attacks of his late counsellors, published first as a series of letters in the British Colonist (Toronto) in the late spring and early summer of 1844 and later that year as a pamphlet of some 165 pages.
Though the letters ranged widely over British and colonial constitutional and political history and included a variety of arguments favourable to Metcalfe’s position, Ryerson focused on the patronage question. The Reform ministry, he argued, proposed to use patronage to strengthen the grip of extreme partyism on the country. This in itself was dangerous enough, for partyism prized partisanship and factionalism over independent judgement and the public interest, and rewarded loyalty rather than merit. In this respect the Reformers were reviving all the evils of Family Compact rule when patronage had been used for the benefit of a faction and a sect rather than the community as a whole. But more importantly, by attempting to control patronage, the Reform ministers were attacking the British connection itself: to put the control of patronage primarily in the hands of the council was to undermine the independent authority of the governor and thereby fatally weaken the link with the crown. To accede to such a principle would give Canada “Responsible Government in a sense that would make the Crown a ‘tool’ in the hands of a party; or in a sense, as the Imperial Government emphatically declare, would make ‘Canada an independent republic.’” Thus the duty of the people of Canada in the present crisis was clear: to sustain the kind of responsible government which had been established by Sydenham, which was approved by the imperial government, “and which Sir Charles Metcalfe has most explicitly and fully avowed.”
The Metcalfe ministry won the elections of 1844 for many reasons, though no doubt Ryerson’s “Defence” and the loyalty cry he helped to raise played a part in influencing moderate opinion. His appointment to an important public position may also have influenced Methodist voters for it represented a long-delayed recognition of their importance and their claims to full membership in Upper Canadian society. The affair also won Ryerson the lasting enmity of some Reformers, George Brown* amongst them, and a recurring epithet, “Leonidas,” for Ryerson’s smug comparison of his own role in 1844 with that of the hero of Thermopylæ. Ryerson himself left Canada West in October 1844 for his first tour of educational establishments in Britain and on the Continent, and did not return until December 1845. In the following year, working closely with Draper, he began the task of reorganizing the structure of elementary education in the colony.
He could not, however, detach himself immediately from the political role he had played in 1844. He had publicly allied himself with Metcalfe and with Draper’s Conservative ministry. Upon the victory of the Reformers in the elections of 1847–48 it was commonly rumoured that Ryerson would be replaced as superintendent of schools. He survived for several reasons. Impressed by his competence, Lord Elgin [Bruce*] gave Ryerson his full support against those who wished to dismiss him for political reasons. Ryerson also had warm allies within the ministry, such as William Hamilton Merritt*, and influential admirers within the party. Above all, Francis Hincks, worried about the Methodist vote, was prepared to bury the political enmity of the mid 1840s. By late 1849 Ryerson had prevailed. His chief enemy in the ministry, Malcolm Cameron*, had resigned, new school legislation that undercut Ryerson’s position had been set aside, and Ryerson had been invited to remain in office and to prepare a revised school bill incorporating the experience of his four years as superintendent. The way was now clear for him to begin the most significant phase of his life’s work.
Ryerson’s main preoccupation in the two decades after 1850 was to give form and substance to his vision of the appropriate system of education for Canada West. That vision had been taking shape for years, derived in equal parts from the lessons of scripture and Methodist theology, from his reading of the early 19th-century debates in Britain and America about the importance of popular education, from his participation in the editorial warfare over educational policy in Upper Canada, and from his study of other school systems during his tour of Europe in 1844–45. Though Ryerson wrote voluminously about education throughout his public life, his ideas were expressed most fully and systematically in his Report on a system of public elementary instruction for Upper Canada, written after his return from Europe.
At the heart of his educational ideas lay his Christian faith. Next to religion itself, he believed, education was the great agent of God’s purpose for man. Carried out in a Christian context, education promoted virtue and usefulness in this world and union with God in the next. Because it made good and useful individuals it was also a key agent in supporting the good society, inasmuch as it helped to promote social harmony, self-discipline, and loyalty to properly constituted authority. To Ryerson it was the duty of education to develop “all the intellectual powers of man, teach him self-reliance as well as dependence on God, excite him in industry and enterprise, and instruct him in his rights as well as the duties of man.”
From these principles Ryerson drew his particular goals. First and foremost, a system of education must be Christian: a secular education was a danger to the child and the society as well as a denial of God’s message to mankind. Secondly, in order to have its intended effects on all children, schooling must be universal. A truly national system must also be “extensive” or “comprehensive”: it must meet the needs of all ranks and vocations by providing both elementary and advanced institutions of education. As well the system must be both British and Canadian. The schools had a duty to uphold the British tie and respect for British constitutional government, and at the same time to foster local patriotism and serve the particular needs and circumstances of Upper Canada’s social and economic life. Finally, the system must be the active concern of government. As an ordinance of God “designed by the Supreme Being ‘to be a minister of God for good’ to a whole people,” government had a duty to sustain and encourage those institutions which promoted the temporal and eternal welfare of its citizens. These were the goals Ryerson would pursue in his remarkably long career as superintendent of education in the upper province.
When Ryerson first took office in 1844 there were already more than 2,500 elementary schools in Canada West: financed by a combination of government grants, property taxation, and tuition fees; run by locally elected boards of education; and supervised and coordinated, though in a somewhat ineffective way, by an established central Education Office. Ryerson, in other words, did not create a school system; he inherited one. Throughout his career, moreover, his success was in large part the product of a climate of opinion highly favourable to his aims. Politicians, editors, and other public figures of all religious and political persuasions were sympathetic to the expansion of schooling. School boards and taxpayers provided most of the financial and political support at the local level and imposed broad limits within which central policy could operate. Thus system-building was a cooperative venture rather than the sole achievement of any one individual. More than anyone else, however, it was Ryerson who gave the emerging system its particular shape and character. Between 1844 and 1876 he was involved in a multitude of projects, ranging from the drafting of his major school legislation of 1846, 1850, and 1871 to writing school textbooks, promoting school libraries, and creating a museum of art and science. But his four major achievements were the creation of conditions which made universal access to elementary education possible, the promotion of improvements in the quality of the school programme, changes in the function and character of the grammar schools, and the establishment of an effective administrative structure.
He sought universality and improved quality in several ways. In a period when much of the province was still being settled Ryerson provided the legislative and financial devices that enabled even new, small communities to provide schools for themselves. He also led the campaign, which culminated in the Schools Act of 1871, to make every elementary school tuition-free and to introduce Ontario’s first tentative measure of compulsory attendance. For Ryerson, however, it was not enough to ensure that the rudiments alone were universally available. Through exhortation and regulation he tried to make certain that the programme of studies extended well beyond the “three Rs” so that the elementary schools not only began but completed all of the schooling most children and their parents would want or need. He tried to ensure that textbooks were pedagogically sound and reflected the political, social, and religious values he believed should underpin Upper Canadian society. Finally, he did what he could to promote improved teaching. In 1847 he established the first teacher-training institution and he constantly attempted to set progressively higher standards for the certification of elementary school teachers.
Ryerson’s achievement with respect to the grammar schools was twofold. First, by persuading the politicians and the public to accept the principle that grammar schools should have access to local taxation, he put these institutions on a sound financial footing for the first time in their history and transformed them into unequivocally public institutions. Secondly, he attempted to turn the grammar schools into effective secondary schools. By the gradual introduction of an entrance examination and a prescribed curriculum that clearly delimited the functions of elementary and grammar schools, he linked these institutions hierarchically. At the same time, he attempted to ensure that the grammar schools would offer a high-quality, broadly based education, consisting of English, mathematics, and classical studies, to that minority of students continuing beyond the elementary level.
By creating an effective administrative system for his own department, Ryerson became a member of that small group of pioneer public servants who, in J. E. Hodgetts’ words, made responsible government “a working reality.” He established a strong central authority and a system of local inspection designed to ensure that provincial policy could be implemented and enforced. His own daily routine was dominated by an immense volume of correspondence generated by the problems of institution-building at the local level – correspondence that required him to write hundreds of letters a month in response to requests for guidance and advice. By careful attention to the detail of the organizational machinery at his command he secured both financial and administrative responsibility throughout the system. He reduced the routine work of administration as well as his relations with the local authorities to a body of systematic procedure that covered everything from the gathering of a multitude of statistics to the means by which local boards could function fairly and efficiently in the day-to-day running of the schools. An intensely methodical administrator, Ryerson created the first effective social service bureaucracy in the province’s history.
He was, however, not only a school administrator but, in Alison Prentice’s phrase, a “school promoter” as well. Through his speeches, his educational tours of the province, and the Journal of Education for Upper Canada, which he edited from 1848 to 1875, he reported the best ideas from home and abroad, exhorted local boards to introduce this or that new idea, and launched his own campaigns for such major innovations as free schools and compulsory education.
Part of his promotional task, perhaps the least welcome part, was to defend the place of grant-aided Roman Catholic separate schools within the system. Though these schools represented only a small proportion of the total number of schools in operation, they became the subject of prolonged political, religious, and sectional controversy in the mid 19th century. Though Ryerson had no a priori objections to denominational schools where a common faith was shared by the whole population, he did not approve of sectarian schools in a denominationally diverse society like Canada West. He thought such schools impractical in most parts of the country, divisive, and unnecessary on the grounds that all the essential, shared doctrines of Christianity could be taught in the elementary schools without reference to the peculiar doctrines of each sect. None the less he had inherited responsibility for the separate schools from the School Act of 1841 and could see no way of abolishing them, given the union of the Canadas which ensured the Catholic minority of Canada West the powerful support in the legislature of their Lower Canadian brethren. Thus Ryerson found himself repeatedly forced to defend the status quo, or to justify a succession of unpalatable political compromises on the issue, in an attempt to fend off both the abolitionists and those who sought the extension of the Catholic system. The additional rights won by Roman Catholics in 1853, 1855, and 1863 were modest compared to their demands; Ryerson was largely successful in preserving the unity of the school system. But his role made him appear to endorse the survival of the separate schools against the clearly expressed will of the majority of politicians and electors in Canada West, and kept him deeply embroiled in public debate from 1852 to 1865, when the issue was finally disposed of as part of the confederation settlement.
If Ryerson disliked the separate school controversy, however, it was because he believed the question to be insoluble and divisive, not because he thought it inappropriate for public servants to become involved in political questions. The modern conventions of civil service neutrality and anonymity were still in a formative stage in the period and Ryerson stands out as a Canadian example of that transitional group of mid-Victorian reformer-bureaucrats whom George Kitson Clark has labelled “statesmen in disguise.” Because Ryerson believed that the disposition of educational issues should not be subject to politics or partyism, he had made the Education Office a semi-autonomous agency with no distinct ministerial head. Though formally responsible to the Executive Council, Ryerson himself assumed an almost ministerial role. He established policy, sought political support for it inside and outside parliament, and defended it in public. Moreover his notion of his public duty transcended responsibility to a particular ministry or even parliament. In effect he saw himself as the guardian of the public interest in all educational matters. Even in the late 1860s Ryerson did not think it anomalous, when his own views conflicted with those of a member of the cabinet, to confront the minister with the threat that he would take his side of the case directly to the public. Nor did he feel constrained to keep his activities within the formal jurisdiction of his office. While in England in 1851, for example, he acted as an emissary for the administration to the Colonial Office on the clergy reserves issue and published anonymous letters on the same subject in the Times. He regularly exchanged political gossip and advice with politicians to whom he was personally close, especially William Draper, Francis Hincks, and John A. Macdonald*, and on at least one occasion privately used his influence among Methodist leaders to sway their politics and their votes.
Throughout his superintendency, moreover, he remained an active participant in the affairs of Upper Canadian Methodism. With the exception of the year 1854–55, when a brief but tempestuous dispute over the rights of Methodist ministers to require attendance at class meetings led to Ryerson’s temporary resignation from conference, he continued to serve on important conference committees, including the board of Victoria College. In the late 1860s and in the 1870s he was an active supporter at conference of the negotiations for Methodist union and was honoured in 1874 for his contributions to the institutional development of Canadian Methodism by his election as the first president of the Methodist Church of Canada. This continuing clerical role, however, involved him once again in a highly contentious political issue, the university question.
Ryerson always claimed that he was a warm supporter of a provincial university, and no doubt he was in the sense that he generally supported any measure that would sustain effective professional schools and provide common standards for examinations and degrees among the various colleges in the province. Indeed he himself had written the original draft of Hincks’s University Act of 1853, which incorporated these ideas. But Ryerson was also a resolute defender of the denominational colleges as agencies for ensuring a Christian education and environment for young men who did not live at home. And he had an immense personal commitment to the survival of Victoria College, which he had done so much to foster in the 1830s and 1840s. For both reasons he was an energetic supporter of public aid to the denominational colleges throughout the 1850s and 1860s. He took a leading role between 1859 and 1863 in the concerted attempt by several denominations to force the government to give them access to the funds of the University of Toronto and in the abortive campaign in 1868 to prevent the new government of Ontario from abolishing the existing grants to the denominational colleges. In the controversy surrounding the question, Ryerson always attempted to claim the high ground as champion of the interests of Christianity and high standards in education. But to those who believed in the virtues of a civic university, free from sectarian control and large enough to offer a comprehensive liberal and professional education, he inevitably appeared as the partisan of denominational self-interest and sectarian political scheming.
The 1850s were for Ryerson among the most satisfying years of his life. He had experienced his share of personal tragedy in the two previous decades with the deaths of his first wife and both their children. By the 1850s, however, he and his second wife had settled in a comfortable house in Toronto, and had two growing children, Charles Egerton and Sophia. Though Charlie was a constant worry to his father because of his lack of earnestness and studiousness, he became a welcome sporting and sailing companion later in Ryerson’s life. Sophie, as Ryerson’s warm and often moving letters to his daughter reveal, was the love of his life, particularly since his relationship with his second wife was somewhat distant and at times strained. The 1850s were also among his most productive years as superintendent. In a sequence of major legislation between 1850 and 1855 he had put the common school system in order, begun the reform of the grammar schools, and played a role in reshaping the provincial university. He was on close terms with most of the influential politicians of the day, and received broad support from both parties and from the provincial press; even the Globe found good things to say about him for much of the decade. He basked in the accolades of Lord Elgin during ceremonies connected with the building of the Normal School in Toronto, and was invited in 1854 to serve as a member of a commission of inquiry into the state of King’s College (University of New Brunswick) in Fredericton, N.B. Among other ornaments of public approbation he accumulated three honorary degrees: a dd from Wesleyan University, Middletown, Conn., in 1842; an ma from the University of Toronto in 1857; and an lld from Victoria College in 1861. His reputation and his public role seemed permanently and securely established.
Towards the end of the decade, however, both his personal and his professional circumstances became more troubled. In the late 1850s his pride was badly wounded by a contretemps with John Langton*, the provincial auditor. Langton, the first to admit that Ryerson was a superb administrator, had written in 1856 that Ryerson had “the genius of order and system,” and that “his accounts and vouchers are a model for all our public departments.” But between 1855 and 1857 Langton also discovered and exposed the fact that Ryerson had personally collected the interest on public funds held in his name. It was not an illegal practice at the time, and Ryerson believed he had ministerial approval for it, but it was also ceasing to be acceptable conduct in the public mind. He promised to pay back the entire amount and a sympathetic government granted him virtually the equivalent sum in back salary. But he was stung by the accusations against his probity and shaken by the way in which those charges remained current long after the issue had been formally settled. Then, in 1862, approaching the age of 60, Ryerson suffered a prolonged and severe illness marked by the recurrence of headaches, dizziness, and coughing. His illness forced him to reduce his traditional schedule of work and as he recovered in the succeeding years he took his first real vacations and embarked on a regimen of vigorous exercise. Among other things he built a skiff, and over the next few years sailed and rowed nine times from Toronto to Long Point, five of these adventures, much to the consternation of friends and family, being undertaken alone. Though he would regain much of his strength by the mid 1860s, he would suffer relapses for the rest of his life and was never again able to carry the burden of work he had once borne.
From the late 1850s onwards, moreover, he discovered that there was a price to be paid for insulating the department from the political process, for he began to have difficulties persuading the politicians to interest themselves in his projects, carry forward his legislation, and defend him when he was under attack. These difficulties, perhaps more than anything else, convinced him by the late 1860s that a ministerial head was essential if the interests of the department and the school system were to be adequately protected. At the same time he began to accumulate a growing number of enemies. His public attack in 1858 on the educational policies of the short-lived coalition between George Brown and the Lower Canadian Reformers marked the reopening of hostilities between Ryerson and Brown which would last until the latter’s death. Along with this incident his role in the university question and his close relations with John A. Macdonald alienated many leading Brownite Liberals. Nor did Ryerson learn prudence from the political controversies in which he found himself involved. When in 1867 the Reform party called for an end to coalitions and a return to party politics, Ryerson replied with a pamphlet entitled The new Canadian dominion: dangers and duties of the people in regard to their government, in which he returned to the themes of 1844, warning against the dangers of partyism – its “intolerance,” its “excesses and oppressions,” and the “unscrupulous partisanship” of “this hermaphrodite spawn of cast-off colonial despotism and selfishness.” All of this controversy contributed to what Oliver Mowat* would describe, in a letter to Ryerson in 1873, as “the antagonism towards you which has so long prevailed in the Liberal party.”
Illness and the frustrations of public life led Ryerson to talk sporadically about retirement throughout the 1860s. At the same time, however, he was anxious to complete his agenda for educational reform. In 1866–67 he made his last educational tour of Europe and America, out of which came two reports, written in 1868: one on the education of the deaf, dumb, and blind, and the other on the state of American and European education along with recommendations for the improvement of the Ontario system. Late in the same year he submitted draft legislation designed to improve the details of school law and to introduce universal free elementary education, compulsory attendance, and a new structure for secondary education.
His initial hopes for quick and easy passage of the school bill were soon dashed. In part this disappointment was due to the constant attacks mounted by the opposition Liberals, many of them directed at Ryerson personally. But it was also due to the emergence of real public debate about a wide variety of educational issues. Differences of opinion in the legislature and the press, along with opposition to parts of the bill from teachers’ organizations and from local opinion expressed during Ryerson’s tour of the province in 1869, led to the temporary withdrawal of the bill and to considerable modification of it. The new School Act, finally passed early in 1871, contained most of Ryerson’s major recommendations in one form or another and remains as one of the great landmarks of his career. But it was passed amidst a degree of political debate and personal bitterness not experienced by Ryerson since the late 1840s.
Ryerson’s last years in office were unhappy ones. Again some of this unhappiness was due to the political and personal antagonisms among Liberals over the previous 30 years – antagonisms that boiled over in 1872 in his bitter and sustained public conflict with Edward Blake*. But it was not merely a matter of personalities and political differences. From the administration of John Sandfield Macdonald* onwards, successive ministries were determined to regularize the procedures of the Education Office and, more importantly, to exercise a firm hand in educational policy-making. In Ryerson’s view this effort was an invasion of his prerogatives as well as a denigration of his own role to that of “a clerk,” and seemed motivated by the most base political partisanship. Each incursion – from the simple attempt by the provincial treasurer in 1868 to impose financial controls on the department to the suspension of his school regulations in 1872 and the plans to modify his book depository – was met with resistance and, too often, with a barrage of invective hurled at those he conceived to be his persecutors. In 1872 Blake seemed to invite conflict; Mowat was far more conciliatory. He sought Ryerson’s advice, allowed him considerable latitude in the administration of the department, and applied liberal amounts of soft sawder when Ryerson’s sensitivities were bruised. But he was no less determined than Blake to be his own master. As Mowat put it on one occasion when a quarrel threatened: “I would much rather cooperate with you . . . but if I must have a fight with the Chief Superintendent . . . instead of his co-operation, as in my position I ought to have, I must still do what I consider to be my duty.”
The conflicts of the years 1872–75 invited either resignation or dismissal. Yet neither option could be exercised. Ryerson repeatedly expressed a wish to resign but he did not have the financial resources to sustain himself independently: for years he had given generously to help finance a variety of Methodist causes including Victoria College, he had a nephew to educate, and he may also have lived somewhat beyond his means. Thus he needed to assure himself of a government pension and could not afford to make any grand gestures over policies with which he disagreed. Either Blake or Mowat would probably have welcomed his resignation but there were political difficulties in providing him with a permanent pension and differences within the Liberal party itself over the kind of reorganization the Education Office should undergo. Dismissal, on the other hand, was out of the question. Ryerson’s reputation remained high in many quarters and he was still, as even the Liberals recognized, a power among Methodist voters. It was not until late 1875 that Mowat finally took the matter in hand, and made the decision to create a ministry of education [see Adam Crooks] and to provide a pension for Ryerson. He formally left office in February 1876, just over a month before his 73rd birthday.
Retirement, however, did not mean a life of leisure. Since the early 1860s Ryerson had devoted his spare moments to what he was convinced was his last “mission” in life – a history of the United Empire Loyalists. In 1876 the project became his full-time occupation and most of that year was spent in England where he put in long hours of research in the British Museum. Over the succeeding five years he finished the two large volumes that make up The loyalists of America and their times. Beyond that he completed a school textbook on political economy and a history of Canadian Methodism. He was working on his autobiography when, in the summer of 1881, his health began to fail. He died on 19 Feb. 1882. Following a large and impressive funeral service he was buried in Mount Pleasant Cemetery, Toronto.
Ryerson’s life spans the growth of Upper Canada virtually from first settlement to the social and economic maturity of the 1870s. For most of those years he was a major figure in its history. Particularly before 1850 he played a central part in the institutional growth of Methodism, one of the province’s largest denominations. As well, he helped to articulate and publicize “the grievances of Upper Canada,” and contributed to the debate about the nature of colonial-imperial relations. If most historians now reject an older view that Ryerson determined single-handed the results of the elections of 1836 and 1844, still he remains an influential figure in these events and one of the leading spokesmen for that majority of Upper Canadians who sought some middle way to reconcile self-government and the imperial tie.
But it is his contribution to Canadian education that remains his greatest legacy. He was one of the founders of Victoria College, its first principal, and a generous benefactor through some of its most difficult years. He was a vigorous protagonist of the right of all the denominational colleges to survive and prosper in the province. And he attempted to make the grant-aided schools universal and comprehensive and to create an effective system of public administration at both the local and provincial levels.
Few of his educational ideas were original. John Strachan, for one, had anticipated many of them, while others were the common coinage of an era when school systems were being constructed in many different places. Nor was his vision without flaws. He had an unsure hand when it came to providing for the advanced education of young women. To some of his contemporaries his version of non-denominationalism in education appeared as little more than a disguised and proselytizing form of evangelical Protestantism. And his hopes for social improvement through education were vitiated by a belief, widely shared by his generation, that social and economic inequalities were the unchangeable realities of man’s fallen estate. During his lifetime there were already divergent views about the merits of the school system, and since his death the assessments of his work have been diverse and conflicting. But on one point there has been consensus. More than any other person Ryerson gave the Ontario school system its particular character, one that, because of his enormous influence in his own generation, would become during the later 19th century a model for most of English-speaking Canada.
Click here to learn more about the U.S. Army in Korea today.
A grief stricken American infantryman whose buddy has been killed in action is comforted by another soldier. In the background a corpsman methodically fills out casualty tags, Haktong-ni area, Korea. August 28, 1950. Sfc. Al Chang. (Army)
NARA FILE # 080-SC-347803
WAR & CONFLICT BOOK #: 1459
Cleared for public release. This image is generally considered in the public domain - Not for commercial use.
U.S. Army Korea - Installation Management Command
Going on a “Snipe hunt” is a well-known practical joke where an unsuspecting dupe is given a pillow case and led outdoors in the middle of the night and tricked to go on a hunt for an imaginary creature called a “Snipe.” However, the joke may really be on the jokesters, because Snipes are not imaginary.
This is a Wilson’s Snipe. One of about 26 types of Snipes, the Wilson’s Snipe is commonly found wading in and around the edges of swamps, bogs and wetlands, using its long narrow bill to methodically probe into the mud in search of insect larvae, worms, and other invertebrate prey. The bill has a flexible tip which allows the Wilson’s Snipe to grasp food while keeping the base of its bill closed, and allowing them to actually “slurp” their prey from the mud without having to remove their bill from the soil. Their eyes are set far back on their head, allowing them to see behind as well as in front and to the sides, making it difficult for predators (or photographers) to sneak up on them. Wilson’s Snipe have massive flight muscles and can reach speeds of 60 M.P.H.
So next time someone laughs about taking someone on an imaginary Snipe hunt, you can have the last laugh and tell them that they are actually real.
Taken March 28, 2020, at Eagle Bluffs Conservation Area in Boone County, Missouri.
© All rights reserved - - No Usage Allowed in Any Form Without the Written Consent of the photographer, Mark S. Schuver.
The best way to view my photostream is on Flickriver: Nikon66's photos on Flickriver
This is the first instalment of the felling of the poplar tree in the garden behind ours. I will post the next lot when I can but am needing to take things very gently at present so it will probably be another few days. The tree had to come down. The roots were causing problems both for the owner and us. They travelled under our vegetable beds and were lifting the flagstones in our patio. One had cracked. It was very inspiring to watch the work being done for the tree feller was so skilled. He made it look easy and seemed totally at home up a 60 foot tree - just like a monkey. He wasn't a young man either. Each branch was roped and cut off one at a time most methodically and directed down to the comparitively small space where it was to land. Not a single one came into our garden although there was a scattering of sawdust there at the end. I'm picking sawdust covered raspberries! It was good team work too. Although sad to lose the tree I've been agreeably surprised at how I'm enjoying the new view for the sycamore tree behind shows nicely now. It's sad for the small birds who used the tree as a look out post for magpies. I used to admire the robin and blackbird dads in springtime that joined forces to act as sentries up there.
I wish you all well in whatever way is most appropriate for you but cannot take on the extra work of writing it to you individually. Thankyou for your good wishes and to those who have made me their contact. Due to poor health, eye problems and low energy I regret I can't take on any new contacts but nearly always manage to reply to your comments. Please no more than 1 invite.
Crouching Girl, 2008
REBECCA WELLER TRANSFORMATION OF VELATURA
Rebecca Weller has developed her style of creating the structure in luminescence shades with very thin layers of pigments allowing the paint to run and drip. It has been a process of trial and error, push and pull, learning to take a brash stroke and working with very methodic style where she would sketch first, make a small painting and, finally, work large. Later she began using a narrow range of colors and painting right on the big fresh canvases applying aggressive brush strokes on top of the tea stain delicate patterns completely disregarding techniques in the process. Weller’s paintings are often large – 4 by 5 feet – drippy, underlayered in acrylic paint and washed with thin layers of oil.
“I want to be as in control of every brushstroke as I can possibly be, but I also want to give them freedom to do whatever they want and not necessarily fix them on purpose,” Rebecca says. “Chinese-American painter Hung Liu, who has been my biggest living influence, says that her work is like jazz music, she never knows where she is going to go but she knows she will get there. I understand her point now. I don’t want to start painting with an end in my mind. I want to enjoy it along the way and see how the piece evolves.”
Weller’s paintings often make use of images of photographs of oriental characters, particularly those of women, children, workers and old men. It was over 10 years ago when Rebecca Weller found herself fascinated with the images of Japanese women on post cards. Black and white photographs of geisha taken years ago representing the ideas of beauty and perfection inspired her to create a large scale series artwork. It began a journey of painting which has brought her to the emotional “Chinese Figures” and “The Workers Series”.
A few weeks ago I consoled Belgian Sam about an Ebay loss. Recently I saw a large group of Berlin uprising postcards that ran the gamut from shattered buildings to rare vehicles and flame throwers. I naively thought that I could keep a good part of them together and build an impressive subset to my collection in a few hours time. It was not to be. Early on I begin to lose each card at the last second. Someone was methodically outbidding me on almost every lot. I then begin to violate two of my most important rules: (1) Never bid more just because others think the item is worth more and (2) Never view an auction as a contest where you win the contest by paying more than anyone else. I became competitive and put more money on the lots that had not yet been lost. It made no difference. I lost all but this one, and it was only because the unknown collector decided that he did not want a few cards. Probably because he already had those. So here you have the single one out of goodly thirty or so I bid on. Well it did let me have a budget for the next couple of months.
A Whitetip Shark of the coast of Isabella
Whitetip Shark
The whitetip reef shark, Triaenodon obesus, is a species of requiem shark, family Carcharhinidae, and the only member of its genus. A small shark usually not exceeding 1.6 m (5.2 ft) in length, this species is easily recognizable by its slender body and short but broad head, as well as tubular skin flaps beside the nostrils, oval eyes with vertical pupils, and white-tipped dorsal and caudal fins. One of the most common sharks found on Indo-Pacific coral reefs, the whitetip reef shark occurs as far west as South Africa and as far east as Central America. It is typically found on or near the bottom in clear water, at a depth of 8–40 m (26–130 ft). During the day, whitetip reef sharks spend much of their time resting inside caves. Unlike other requiem sharks, which rely on ram ventilation and must constantly swim to breathe, this shark can pump water over its gills and lie still on the bottom. At night, whitetip reef sharks emerge to hunt bony fishes, crustaceans, and octopus in groups, their elongate bodies allowing them to force their way into crevices and holes to extract hidden prey. Individual whitetip reef sharks may stay within a particular area of the reef for months to years, time and again returning to the same shelter. This species is viviparous, in which the developing embryos sustained by a placental connection to their mother. One of the few sharks in which mating has been observed in the wild, receptive female whitetip reef sharks are followed by prospective males, who attempt to grasp her pectoral fin and maneuver the two of them into positions suitable for copulation. Females give birth to 1–6 pups every other year, after a gestation period of 10–13 months. Whitetip reef sharks are rarely aggressive towards humans, though they may investigate swimmers closely. However, spear fishers are at risk of being bitten by one attempting to steal their catch. This species is caught for food, though there are reports of ciguatera poisoning resulting from its consumption. The International Union for Conservation of Nature (IUCN) has assessed the whitetip reef shark as Near Threatened, noting that its numbers are dwindling due to increasing levels of unregulated fishing activity across its range. The slow reproductive rate and limited habitat preferences of this species renders its populations vulnerable to over-exploitation. The whitetip reef shark is distributed widely across the entire Indo-Pacific region. In the Indian Ocean, it occurs from northern KwaZulu-Natal, South Africa to the Red Sea and the Indian subcontinent, including Madagascar, Mauritius, the Comoros, the Aldabra Group, the Seychelles, Sri Lanka, and the Chagos Archipelago. In the western and central Pacific, it is occurs from off southern China, Taiwan, and the Ryukyu Islands, to the Philippines, Southeast Asia, and Indonesia, to northern Australia, and is also found around numerous islands in Melanesia, Micronesia, and Polynesia, as far as Hawaii to the north and the Pitcairn Islands to the southeast. In the eastern Pacific, it occurs from Costa Rica to Panama, and off the Galápagos Islands. Associated almost exclusively with coral reef habitats, whitetip reef sharks are most often encountered around coral heads and ledges with high vertical relief, and additionally over sandy flats, in lagoons, and near drop-offs to deeper water. They prefer very clear water and rarely swim far from the bottom. This species is most common at a depth of 8–40 m (26–130 ft). On occasion they may enter water less than a meter deep. A relatively small species, few whitetip reef sharks are longer than 1.6 m (5.2 ft). The whitetip reef shark has a slim body and a short, broad head. The snout is flattened and blunt. With its slender, lithe body, the whitetip reef shark specializes in wriggling into narrow crevices and holes in the reef and extracting prey inaccessible to other reef sharks. Alternately, it is rather clumsy when attempting to take food suspended in open water. This species feeds mainly on bony fishes, including eels, squirrelfishes, snappers, damselfishes, parrotfishes, surgeonfishes, triggerfishes, and goatfishes, as well as octopus, spiny lobsters, and crabs. The whitetip reef shark is highly responsive to the olfactory, acoustic, and electrical cues given off by potential prey, while its visual system is attuned more to movement and/or contrast than to object details. It is especially sensitive to natural and artificial low-frequency sounds in the 25–100 Hz range, which evoke struggling fish. Whitetip reef sharks hunt primarily at night, when many fishes are asleep and easily taken. After dusk, groups of sharks methodically scour the reef, often breaking off pieces of coral in their vigorous pursuit of prey. Multiple sharks may target the same prey item, covering every exit route from a particular coral head. Each shark hunts for itself and in competition with the others in its group. Unlike blacktip reef sharks and grey reef sharks, whitetip reef sharks do not become more excited when feeding in groups and are unlikely to be stirred into a feeding frenzy. Despite their nocturnal habits, whitetip reef sharks will hunt opportunistically in daytime. Off Borneo, this species gathers around reef drop-offs to feed on food brought up by the rising current. Off Hawaii, they follow Hawaiian monk seals (Monachus schauinslandi) and attempt to steal their catches. A whitetip reef shark can survive for six weeks without food. Fearless and curious, whitetip reef sharks may approach swimmers closely but are seldom aggressive unless provoked. However, these sharks readily attempt, and quite boldly, to steal catches from spear fishers, which have resulted in several people being bitten in the process. In some places, local whitetip reef sharks have learned to associate the sound of a speargun discharge or a boat dropping anchor with food and respond within seconds. As of 2008, the International Shark Attack File lists two provoked and three unprovoked attacks to this species. Whitetip reef sharks are well-suited to ecotourism diving, and with conditioning they can be hand-fed by divers. In Hawaiian mythology, the fidelity (i.e. "loyalty") of whitetip reef sharks to certain areas of the reef for years at a time may have inspired belief in ʻaumākua, the spirits of family ancestors that take animal form and protect their descendants.
Isabella
Shaped like a sea horse, Isabela is the largest of the the islands in the Galapagos, more than 4 times larger than Santa Cruz the next largest. Isabela is 80 miles (100 km) in length and though it is remarkably beautiful it is not one of the most visited islands in the chain. Its visitor sites are far apart making them accessible only to faster boats or those with longer itineraries. One of the youngest islands, Isabela is located on the western edge of the archipelago near the Galapagos hot spot. At approximately 1 million years old, the island was formed by the merger of 6 shield volcanoes - Alcedo, Cerro Azul, Darwin, Ecuador, Sierra Negra and Wolf. Five of the six volcanoes are still active (the exception is Ecuador) making it one of the most volcanically active places on earth. Visitors cruising past Elizabeth Bay on the west coast can see evidence of this activity in the fumaroles rising from Volcan Chico on Sierra Negra. Two of Isabela's volcanoes lie directly on the equator - Ecuador and Volcan Wolf. Volcan Wolf is the youngest of Isabela's volcanoes and at 5,600ft (1707 m) the highest point in the Galapagos. Isabela is known for its geology, providing visitors with excellent examples of the geologic occurrences that have created the Galapagos Islands including uplifts at Urbina Bay and the Bolivar Channel, Tuft cones at Tagus Cove, and Pulmace on Alcedo. Isabela is also interesting for its flora and fauna. The young island does not follow the vegetation zones of the other islands. The relatively new lava fields and surrounding soils have not developed the sufficient nutrients required to support the varied life zones found on other islands. Another obvious difference occurs on Volcan Wolf and Cerro Azul, these volcanoes loft above the cloud cover and are arid on top. Isabela's rich animal, bird, and marine life is beyond compare. Isabela is home to more wild tortoises than all the other islands. Isabela's large size and notable topography created barriers for the slow moving tortoises; apparently the creatures were unable to cross lava flows and other obstacles, causing several different sub-species of tortoise to develop. Today tortoises roam free in the calderas of Alcedo, Wolf, Cerro Azul, Darwin and Sierra Negra. Alcedo Tortoises spend most of their life wallowing in the mud at the volcano crater. The mud offers moisture, insulation and protects their exposed flesh from mosquitoes, ticks and other insects. The giant tortoises have a mediocre heat control system requiring them to seek the coolness of the mud during the heat of the day and the extra insulation during the cool of the night. On the west coast of Isabela the nutrient rich Cromwell Current upwelling creating a feeding ground for fish, whales, dolphin and birds. These waters have long been known as the best place to see whales in the Galapagos. Some 16 species of whales have been identified in the area including humpbacks, sperms, sei, minkes and orcas. During the 19th century whalers hunted in these waters until the giant creatures were near extinction. The steep cliffs of Tagus Cove bare the names of many of the whaling ships and whalers which hunted in these waters. Birders will be delighted with the offerings of Isabela. Galapagos Penguins and flightless cormorants also feed from the Cromwell Current upwelling. These endemic birds nest along the coast of Isabela and neighboring Fernandina. The mangrove finch, Galapagos Hawk, brown pelican, pink flamingo and blue heron are among the birds who make their home on Isabela. A colorful part to any tour located on the western shore of Isabela, Punta Moreno is often the first or last stopping point on the island (depending on the direction the boat is heading). Punta Moreno is a place where the forces of the Galapagos have joined to create a work of art. The tour starts with a panga ride along the beautiful rocky shores where Galapagos penguins and shore birds are frequently seen. After a dry landing the path traverses through jagged black lava rock. As the swirling black lava flow gave way to form craters, crystal tide pools formed-some surrounded by mangroves. This is a magnet for small blue lagoons, pink flamingos, blue herons, and Bahama pintail ducks. Brown pelican can be seen nesting in the green leaves of the mangroves. You can walk to the edge of the lava to look straight down on these pools including the occasional green sea turtle, white-tipped shark and puffer fish. This idyllic setting has suffered from the presence of introduced species. Feral dogs in the area are known to attack sea Lions and marine iguanas.
Galapagos Islands
The Galápagos Islands (official name: Archipiélago de Colón; other Spanish names: Islas de Colón or Islas Galápagos) are an archipelago of volcanic islands distributed around the equator in the Pacific Ocean, some 900 km west of Ecuador. It is a UNESCO World Heritage site: wildlife is its most notable feature. Because of the only very recent arrival of man the majority of the wildlife has no fear of humans and will allow visitors to walk right up them, often having to step over Iguanas or Sea Lions.The Galápagos islands and its surrounding waters are part of a province, a national park, and a biological marine reserve. The principal language on the islands is Spanish. The islands have a population of around 40,000, which is a 40-fold expansion in 50 years. The islands are geologically young and famed for their vast number of endemic species, which were studied by Charles Darwin during the voyage of the Beagle. His observations and collections contributed to the inception of Darwin's theory of evolution by natural selection.
Matt, a duck hunter, and his dog methodically set out their decoys in hopes of bringing in birds. There was something very calming as I watched this scene unfold, as Matt was deliberate and quiet as he set out the spread and brushed his blinds. Even the dog seemed to be in a relaxed and trance-like mood. It was as if they were paying homage to the souls of the ducks that would soon pass through this temple in the marsh.
And so it begins...the pre-holiday cleaning of the family room--over many weeks--and the slow, methodical unwrapping of the Christmas goodies. This GIANT ceramic tree was created from a 1950's mold; we bought it over twenty years ago from a ceramic shop whose owner was leaving Greenpoint and moving to Florida; the mold had been destroyed....getting this back home was quite a challenge; it sat on my lap the entire way--and it requires a huge box to be put away in---wrapped in layers of old blankets. The tins are a gift from a friend.
The NOAH's Ark is not an antique but something I re-made from a Fisher Price/Playskool toy I found at a a tag sale. I have always wanted an antique ark and animals but they are out of my budget and so www.flickr.com/photos/22283683@N07/31973271355/in/photoli...
Eastown Theater
The vast array of bands that played this venue, and graced this very stage is astonishing. These are some of the more significant in no particular order.
Derek and the Dominos, Fleetwood Mac, The Allman Brothers (w/ Duane) Van Morrison, T Rex, Traffic, The J Geils Band, Alice Cooper, Jethro Tull, Elton John, Pink Floyd, Sly and the Family Stone, The Grateful Dead, Joe Cocker, The MC5, Mountain, Jefferson Airplane, Rory Gallagher, The Kinks, John Lee Hooker, The Bob Seger System, Black Sabbath, Procol Harum, Humble Pie, Emerson Lake and Palmer, Chuck Berry, Mott the Hoople, Rod Stewart and the Faces, King Crimson, BB King, Paul Butterfield, The Stooges, Howlin’ Wolf, James Brown, Yes, The Doors, Joe Walsh, Muddy Waters, Ted Nugent and the Amboy Dukes, Bob Marley and the Wailers
This is a tragic and undignified ending for such an important piece of rock music history. For those who may not know, about a year ago, the adjoining apartment building was vacated and methodically stripped by scrappers. Recently a devastating fire has left the building in ruins. Although the theater was not damaged, it will almost certainly be razed along with the apartments.
T Rex!!!
Primer testimonio de Teotihuacán cuando ya estaba abandonado:
Cuando aún era de noche,
cuando aún no había día,
cuando aún no había luz,
se reunieron,
se convocaron los dioses
allá en Teotihuacán.
Dijeron,
hablaron entre sí:
― «¡Venid acá, oh, dioses!
«¿Quién tomará sobre sí,
«quién se hará cargo
«de que haya día,
«de que haya luz?»
HISTORY AS A MANIFESTO
While Olmec civilization was headed for extinction, in central Mexico Teotihuacan was growing. It's power was trade. It had access to obsidian, a dark green volcanic glass found on mountains – a material that could be cut and pierced. And Teotihuacan produced and traded highly polished ceramic figures. With no horses or wheeled transport, it took traders months of walking to cross Teotihuacan's area of influence. It tied together its trading region with relay points and regional distributors, and these settlements became cities. Teotihuacan's culture spread with its goods, north into what is now the United States and south into what today is Guatemala.
In becoming a state power, Teotihuacan formalized its religion. It had numerous temples, and two pyramids faced with stone dedicated to the sun and moon. Its main god was Quetzalcoatl, a feathered snake god of fertility. Amid its religious monuments it had stone carvings depicting people in song and at play amid gardens, streams and fountains.
(Source: www.fsmitha.com/h1/ch29am.htm)
It is clear then that Teotihuacan was great culture and though it has been said that it disappeared because an invasion “it is now known that the destruction was centered on major civic structures along the Avenue of the Dead. Some statues seem to have been destroyed in a methodical way, with their fragments dispersed.” (Source: Wikipedia)
Therefore the duty of historians is to know what was the real cause because this is the only way to understand human nature and if we are to work for a better world this implies to reach a full and deep knowledge of how mankind adapts to every new human phase. Today we do not grasp what is coming in any facet, say, technology, religion, water nd so on, so to make a better world for all is a must.
Give peace a chance
Taken on Islas Lobos de Tierra, Peru.
Though closely related, the Peruvian Pelican is almost twice as large as its northern congener, the Brown Pelican. The species breeds along the Pacific Coast of South America in Peru and Chile. Though still common, with about half a million breeding adults, the population has been negatively affected by strong El Niño fluctuations and changes in food fish populations, particularly anchoveta. Peruvian Pelicans are easily observed from shore as they fly back and forth in nearshore waters by means of soaring interrupted by deep, methodical wingbeats.
Midtown Manhattan, New York City, New York, United States
The ground floor and mezzanine floor interior of the RCA Building, built in 1931-33, is one of the major components of What is the largest and most important buildings constructed at Rockefeller Center. As the RCA Building in its form and siting is the focus of the major east-west axis running through the Center from Fifth to Sixth Avenues, so is its ground floor and mezzanine floor interior an important continuation of that axis. The double-height entrance lobby symbolically welcomes visitors, drawing them from the Rockefeller Plaza entrance, past the information desk, into corridors flanked by shops, which create the sense of a grand concourse, and leading to six elevator banks with high-speed elevators which efficiently carry tenants and visitors up into the 70-story building. The experience of the visitor to the ground floor and mezzanine floor interior is enhanced by the extensive program of murals, executed by Jose Maria Sert and Frank Brangwyn, which were conceived as an intrinsic part of the building and a continuation of the overall art scheme used on the exteriors of the Rockefeller Center buildings.
The RCA Building and Rockefeller Center
Rockefeller Center is one of the most important architectural projects ever undertaken in America. It was unprecedented in scope, near visionary in its urban planning and unequalled for its harmonious integration of architecture, art and landscaping. The complex grew out of an ill-fated plan to build new midtown quarters for the Metropolitan Opera Company. When the original scheme collapsed, the project was transformed into the private commercial enterprise of John D. Rockefeller, Jr. Construction of the original complex began in 1931 and ended with the completion of the fourteenth building in 1939.
John D. Rockefeller, Jr. (1874-1960) was born in Cleveland, Ohio. After graduating from Brown University in 1897 he joined his father's office and for some years held directorships of such businesses as the Standard Oil Company of New Jersey, United States Steel Corporation and Missouri Pacific Railroad among others. By about 1911, however, Rockefeller had become almost totally involved with philanthropic, civic, educational and religious enterprises such as the Rockefeller Institute for Medical Research, the Rockefeller Foundation, Rockefeller Sanitary Commission and International Education Board to name a few only. A devout Baptist, he also founded the Institute for Social and Religious Research and funded construction of Riverside Church (1927-30). The latter was just one of the many architectural undertakings which Rockefeller sponsored.
He also funded the restoration of the palaces at Fontainebleau and Versailles and Reims Cathedral in France, the Agora and Stoa of Attolos in Athens, and in America, Washington Irving's "Sunnyside" heme, Colonial Williamsburg and the birthplace of George Washington. He also supplied the land for the Museum of Modem Art, for the Rockefeller Institute and Fort Tryon where he built the Cloisters. later, in 1946, Rockefeller donated land for the construction of the United Nations along the East River and gave generously to Lincoln Center for the Performing Arts. Although never an opera devotee, he supported the Metropolitan Opera project as just one more worthy civic and cultural cause.
Rockefeller's involvement in the project to relocate the Metropolitan Opera began on May 21, 1928, when Benjamin Morris presented the scheme to potential investors during a dinner at the Metropolitan Club. Among the guests was Ivy Lee, Rockefeller's public relations manager. He recommended the proposal to his employer, noting that it would "make the [Opera] Square and the immediate surroundings the most valuable shopping district in the world." Rockefeller was interested. He, his sister and father lived in three large houses on W. 53rd and 54th Streets (just three blocks north of the proposed Opera site) and owned a good deal of real estate in the area. Development of a cultural center would insure the quality of his neighborhood while increasing the value of his speculative properties. But before making any commitment, Rockefeller sought development advice from prominent real estate advisors, the Todd, Robertson & Todd Engineering Corp. among them.
John Reynard Todd (1867-1945) was a lawyer who, in partnership with Henry Clay Irons, became accidentally involved in construction and rentals. Todd & Irons developed their building activities into a lucrative business through which they erected and sold at large profits numerous hotels, apartments and commercial structures. Among them was the Cunard Building whose lobby was designed by Benjamin Morris and which stood directly across the street from Rockefeller's Standard Oil Building at 26 Broadway. When Irons retired in 1919 Todd went into partnership with his physician brother, Dr. James M. Todd (c. 1870-1939), and Hugh S. Robertson (1880-1951), a specialist in real estate and financial management. Together they were responsible for the internal planning, construction and rental of the Ritz and Barclay Hotels, Postum Building and the fabulously successful Graybar Building which they linked to Grand Central Terminal with corridors.
John R. Todd was the personal friend of Thomas M. Debevoise and Charles O. Heydt, Rockefeller's legal and real estate advisors and it was due to them that he became involved in the Opera project. It was through Debevoise that Todd's son Webster (in the engineering firm of Todd & [Joseph O.] Brown) was engaged in Rockefeller's restoration of Colonial Williamsburg in 1928. And through Heydt that Todd, his brother and Robertson were hired to develop Rockefeller's midtown complex. Heydt informed Rockefeller that Todd had been involved "in very large enterprises, [had] architects in his own office, and--[had] never made a failure. He [understood] thoroughly the matter of financing the construction of large buildings...and would be in a position to help prospective tenants...construct their own buildings." Todd, he said, was "a hard-headed business man."Todd, Robertson & Todd was one of five real estate firms to advise Rockefeller on the development potential of the Opera project in autumn, 1928.
In addition to the Opera and its plaza (to be designed by Benjamin Morris), the firm recommended a remarkably progressive mixed use complex including hotels, apartment and office buildings, a shopping arcade and department store (the latter in continuation of the development of Fifth Avenue with such fashionable counterparts as Saks and Altmans). The plan also included two new private streets and a lower level for vehicular traffic, parking and freight deliveries. The scheme was prepared over Labor Day weekend, 1928 by two little known, 38 year old architects on Todd's staff: L. Andrew Reinhard and Hairy Hofmeister.
Under Todd's directive, Reinhard & Hofmeister prepared an improved plan in mid-September, 1928. Two weeks later (October 1, 1928) Rockefeller made a commitment to lease from Columbia College the three blocks between 48th-51st Streets. The land stretched west from Fifth Avenue but stopped short of Sixth Avenue where street frontage was privately owned. (In subsequent years Rockefeller acquired the western lots as well). The Columbia contract was not actually signed until December 31, 1928, at which point Rockefeller agreed to pay approximately $3.5 million annual rent during 1928-1952 with options for three 21-year renewals.
On October 1, 1929 (precisely a year after Rockefeller agreed to lease the Columbia property) Todd, Robertson & Todd were appointed managers of the project. Their mandate was to "build the thing, put it on a profitable basis, and sell it to the world." By the end of October their staff architects (Reinhard & Hofmeister) were named architects of the development. They were experienced in the internal layouts preferred by Todd and familiar with his theory that "business property income production supercedes pure aesthetics." Todd recommended at the same time that Harvey Corbett and Benjamin Morris be engaged as consulting architects (although the latter declined after December, 1929). He also suggested employment of Raymond Hood, the man of ideas whose reputation as a leading skyscraper designer had skyrocketed in recent years.
Todd selected architects "who would be primarily interested in good planning, utility, cost, income, low operating expenses and progress...[men who were not too] committed to the architectural past [nor] too much interested in wild modemism."[6] The pooling of eight different talents from three different firms allowed for a division of labor and for an undertaking too large for most private offices of the day. Architecture by committee modified the singular dominance of any one personality, but also seems to have generated competition and controversy. The situation was resolved in February 1930, when the architects united in a collective known as the Associated Architects. Thereafter all drawings bear the three firm names in strict alphabetical order: Corbett, Harrison & MacMurray; Hood, Godley (until 1931) & Fouilhoux; Reinhard & Hofineister.
The Associated Architects
Corbett, Harrison & MacMurray
Harvey Wiley Corbett (1873-1954) was born to physician parents in San Francisco, California. He was educated at the University of California (1895), the Ecole des Beaux Arts in Paris (1906) and the atelier of the historistic Jean Louis Pascal. Between 1903 and 1912 he was in partnership with F. Livingston Pell and between 1912 and 1928 with Frank J. Helmle. While a lecturer at the School of Architecture of Columbia University (1907-11, 1920-35), Corbett trained many students in the "Atelier Colurttoia," which was modeled after the system of the Ecole des Beaux Arts. One of Corbett's major works was the Bush Terminal Building on W. 42nd Street (1923) which established his reputation as a practitioner of "modern" architecture. Its success led Irwin Bush to commission from Corbett designs for the $10,000,000 Bush House in London. Dedicated to "the friendship to English speaking peoples," this American-English center was to find its counterpart in the British Empire Building at Rockefeller Center.
Corbett was an early and strong advocate of the skyscraper as an urban building form and wrote and lectured extensively in support of this concept. He was a practical architect who envisioned the future city with super-block skyscrapers, tiered streets and multi-level transportation systems. Corbett had a reputation as a skilled planner who worked within budget while remaining aware of the city scape and urban design. He acted as a consultant to the Regional Plan Association and served on the architectural planning committees for the 1933 Chicago Century of Progress Exposition (beginning in 1929) and the 1939 New York World's Fair.
Corbett was a fellow of both the American Institute of Architects and the Royal Institute of British Architects and received honorary degrees from the University of California, the University of Liverpool and Columbia University. He was a member of the Fine Arts Commission of the State of New York and served as president of the Architectural League of New York and the National Arts Society.
Corbett submitted his "Symposium" design after the retirement of Frank Helmle in 1928 and his establishment of a new partnership with William MacMurray and Wallace Harrison. Together they designed the Roerich Museum and Master Apartments on Riverside Drive in New York and the Horace Bushnell Memorial Hall in Hartford, Connecticut. Because of the latter experience in theater design and because of Corbett*s formidable reputation, the Rockefeller developers were anxious to secure the firm's expertise.
William H. MacMurray (1868-1941) became associated with Corbett same time before 1927. His prime concern was the partnership's business affairs. He had little to do with the design of the Rockefeller Center project. Wallace K. Harrison (1895-1982), by contrast, was very much involved in matters of design and after the death of Raymond Hood in 1934 he exerted an increasingly strong influence on Rockefeller Center's architectural form. He was also responsible for one of the Center's new buildings on the west side of Sixth Avenue.
Harrison was born to a foundry superintendent in Worcester, Massachusetts. He quit school at 14 to take a $5.00/wk job as an office boy with the contracting firm of O.W. Norcross, simultaneously attending Worcester Polytechnic Institute. In 1915 he became a draftsman in the New York office of McKim, Mead & White and attended evening classes at the atelier of Harvey Corbett. In 1917 Harrison enrolled in the Ecole des Beaux Arts. He then returned briefly to McKim, Mead & White before winning a Rotch Traveling Scholarship and a year at the American Academy in Rome. Upon his return to New York in 1922 Harrison became a draftsman for Bertram Goodhue who was then engaged on the Nebraska State Capitol. In 1926 Harrison married Ellen Milton whose brother was the son-in-law of John D. Rockefeller, Jr. and in the following year, joined in partnership with Corbett, Helmle (soon to retire) and MacMurray.
In 1935 Harrison left Corbett's office and formed a partnership with J. Andre Fouilhoux who had worked with Raymond Hood until the latter's death in 1934. Six years later Max Abramowitz (1908-1959) was taken on as a partner. When Fouilhoux died in 1945 the firm survived as Harrison & Abramowitz and went on to become one of the most successful postwar architectural concerns in America. Included among its works are parts of Lincoln Center for the Performing Arts, Nelson Rockefeller's Empire State Plaza in Albany and the United Nations (for which Rockefeller donated the land in 1946). In 1967 Harrison was awarded the gold medal of the American Institute of Architects for his "demonstrated ability to lead a team in producing significant architectural works of high quality over a period of more than 30 years." Hood, Godley & Fouilhoux.
Raymond Mathewson Hood (1881-1934) was born in Pawtucket, Rhode Island. He studied at Brown University before transferring to the Massachusetts Institute of Technology in 1900 and later, the Ecole des Beaux Arts in Paris (1905, 1908-10). As a draftsman he was employed in the offices of Cram, Goodhue & Ferguson, Boston; Palmer, Hornbostel & Jones, New York; and Henry Hornbostel, Pittsburgh. He set up his own office in New York in 1914, but did not achieve any great architectural success until 1922. In that year John Mead Howell asked Hood to join him in submitting a design for the Chicago Tribune competition. Their winning scheme was a soaring tower terminating in setback peaks and flying buttresses of neo-Gothic design, distinguished by its logical plan and clarity of design.
The competition established Hood's reputation as a skyscraper designer and brought his firm several notable commissions: the American Radiator Building, Daily News Building and the McGraw Hill Building, all in New York City, and all in the years immediately preceding Rockefeller's development. Hood was also associated with Harvey Corbett on plans for the Chicago Century of Progress Exposition of 1933.[10] His good working relationship with Corbett, together with Hood's originality and the publicity generated by his previous skyscraper designs, were positive factors in his selection for the new complex. Before his premature death in 1934, Hood played a dominant role in the design of Rockefeller Center. He was responsible for the introduction of building setbacks and rooftop gardens, the establishment of uniformly low-rise elevations along Fifth Avenue and significantly, the suggestion to bring the radio industry to the Center.
Hood was a fellow of the American Institute of Architects, a president of the Architectural League of New York, and a trustee of the Beaux Arts Institute of Design. He received the Medal of Honor of the Architectural League in 1926, and in 1940 was posthumously awarded a gold medal from the New York Chapter of the AIA.
Hood brought to the Center Godley and Fouilhoux, his partners since the mid 1920s. Frederick A. Godley (1887-1961) received his B.A. from Yale University (1908), an M.A. from the Massachusetts Institute of Technology (1910) and a diploma of architecture from the Ecole des Beaux Arts (1913). After working in the Boston architectural office of Guy Lowell, he established his own firm in 1915 (Godley & Haskell, 1913-18; Godley & Sedgwick, 1918-24). In 1924 he joined Raymond Hood in the firm of Hood, Godley & Fouilhoux, specializing in the business affairs of the office. He left the firm in 1931, while the Rockefeller Center project was underway, to join the faculty of the Yale University School of Architecture, where he taught until 1947. Godley was also a fellow of the American Institute of Architects and chairman of the educational committee of the Beaux Arts Institute of Design.
Jacques Andre Fouilhoux (1879-1945), a Paris-born engineer, received his training at the Ecole Centrale des Arts et Manufactures. Emigrating to the United States in 1904, he established the firm of Fouilhoux & Whiteside in Port 1 and, Oregon in 1908. He later worked for Albert Kahn, noted industrial architect, in Detroit, among others. After World War I Fouilhoux moved to New York where he formed a partnership with Raymond Hood in 1927. Following Hood's death, Fouilhoux became partners with Wallace K. Harrison (formerly of Corbett, Harrison & MacMurray) and together they continued to be involved with Rockefeller Center. With their new partner Max Abramowitz they designed the Rockefeller Apartments, general plans, major buildings, Trylon and Perisphere for the New York World's Fair of 1939. In collaboration with others Fouilhoux designed the Fort Greene and Clinton Hill housing projects in Brooklyn.
He fell to his death from one of their roofs in 1945. Fouilhoux was a fellow of the American Institute of Arch tects and served as treasurer of the Beaux-Arts Institute of Design. Reinhard Hofmeister I. Andrew Reinhard (1891-1964) was the son of a carpenter-cabinet maker who, at age 14, became an office boy for Benjamin Morris (the architect initially commissioned to design the new Opera). Reinhard then studied at the Mechanics Institute in New York and finished his formal education at the Beaux-Arts Society of Design. He then returned to Morris' firm as a junior designer and worked in other prominent offices, notably that of Raymond Hood (who would later make some of the greatest contributions to Rockefeller Center). Reinhard then spent eight years with Todd, Robertson & Todd during which time he and Hofmeister worked en rentals and interior layouts for the Graybar Building. In 1928 Reinhard & Hofmeister formed a partnership.
Henry Hofmeister (1891-1962) was a self-trained architect who, after only two years of high school, joined the firm of Warren & Wetmore. He worked there for 17 years before joining Todd, Robertson & Todd. Hofmeister acquired a reputation for being methodical and having a good knowledge of such practical matters as plumbing, ventilation and efficient interior layouts. He organized the Rockefeller Center architectural office and supervised the preparation of the necessary architectural drawings. He was, according to Reinhard, "the man who got the work out." Following the completion of Rockefeller Center, the partners received gold medals for their work from the Architectural league of New York and the Fifth Avenue Association.
Other works later executed by Reinhard & Hofmeister include the World's Fair Hall of Music of 1939 (which has many spatial similarities to Radio City Music Hall); the Federal Building at John F. Kennedy International Airport; the Chrysler Building East; buildings for the New York Medical College; Chase Manhattan Bank; the Italian, Swedish and Waterman steamship lines? the Dun and Bradstreet home office building in New York; the surgical building and research center of the New England Medical Center in Boston? the Deeds Carillon Tower in Dayton, Ohio; and the World War II American cemetery chapel at Neuville en Condroz in Belgium. In 1947 the firm expanded as Reinhard, Hoftneister & Walquist, but dissolved upon Reinhard's retirement in 1956.
Reinhard was a member of the National Commission of Fine Arts in Washington in 1945-50, a fellow of the American Institute of Architects, and served as an officer of the New York Chapter of the AIA, the Architectural league and Municipal Art Society. Hofmeister served as a consultant during World War II to Nelson Rockefeller, then coordinator of Inter--American Affairs with the state Department- He was a member of the American Institute of Architects, the New York Building Congress and the Architectural league of New York, directing the League's program for aiding unemployed or needy architects for a number of years. Shortly before his death, Hofmeister served as a planning consultant on the Lincoln Center project.
Throughout the proceedings Rockefeller had intended to share costs with the Opera and to develop the site with buildings constructed by individual tenants. He never planned to carry the entire lease by himself, nor did he ever consider taking on full responsibility for its architectural development. But finding himself at an annual loss of more than $3,000,000 for the lease of the 12 acres, he boldly proceeded--in the teeth of the Depression--to develop the largest private enterprise ever undertaken in America.
Within one month of the Opera's withdrawal from Rockefeller Center negotiations were underway with the Radio Corporation of America (RCA). A suggestion from Raymond Hood brought the two concerns together. Having recently designed studios at 711 Fifth Avenue for the National Broadcasting Company (NBC), a subsidiary of RCA, Hood was intimately aware of the prodigious expansion of radio and emerging television technology. He correctly foresaw RCA's need for an enlarged center of operations. Architect Wallace Harrison followed up Hood's suggestion with a relative of the chairman of RCA's real estate committee. By February 1930, serious negotiations were underway with the Rockefeller developers. A contract was signed and announced to the press on June 4, 1930.[16]
In its early history the wireless was used almost exclusively for marine telegraphy, and was adopted in 1901 by the U.S. Navy as a substitute for homing pigeons. Its greater potential was not realized until April 12, 1912, when a young David Sarnoff, working in the British Marconi Company's New York branch above Wanamaker's Department Store, intercepted a Morse Code message: the Titanic was "sinking fast." Monitored for days as news-seeking crowds swelled the streets, the calamity served as a tremendous boost to both Marconi and Sarnoft. it also proved the reliability of the wireless and led to speculation about its potential to broadcast sound. Four years later and still employed by Marconi, Sarnoff suggested that radio be used to entertain the nation. Visionary at the time, his idea was not realized until the mid 1920s when post-war prosperity found a radio in nearly every American heme.
The enormous growth of the radio industry and its increasing importance in American culture had led the far sighted Owen D. Young, chairman of General Electric (one of RCA's corporate parents^, to inquire about the possibilities of consolidating RCA's operations in a complex at Rockefeller's development. Corporate reorganization four months later gave RCA independence under its new president David Sarnoff. In partial settlement RCA transferred to G.E. its new office building on 51st Street and Lexington Avenue (Cross & Cross, 1929-30).
The radio group then moved to Rockefeller's development, profoundly altering its character in the process. In replacing the Opera, RCA transformed the complex from an semi-cultural enterprise into a democratic focus for mass entertainment and the corporate headquarters for burgeoning technology. In the words of a contemporary, it substituted "a vision of the future [for] a vision of the past." The impact was such that for years the entire development was popularly, but inaccurately, called "Radio City." The name properly applies only to that part of Rockefeller Center which borders on Sixth Avenue, and which was dominated by RCA and its subsidiaries, the most notable being NBC, Radio-Keith-Orpheum ("RKO," a leading producer, distributor and exhibitor of motion pictures) and RCA Victor (one of the foremost manufacturers of phonographs and records in America). The Sixth Avenue position of the Radio Group was particularly appropriate as it complemented New York's theater district to its immediate southwest.
Although still somewhat speculative in its recent independence--and weathering the Depression with reduced profits --- RCA's new president David Sarnoff made an enormous §4.25 million annual rent commitment to Rockefeller Center. In return RCA was allowed to name the entertainment section of the development as well as its two theaters ("Radio City Music Hall" and the "RKO Roxy (later Center) Theater." It also won exclusive broadcasting rights among the many tenants in the complex and most importantly, the right to display the RCA logo atop its own skyscraper in the heart of the Center (on the site originally intended for the Opera) .
Nearly 300 men began excavation of the RCA Building in July 1931.[21 ] Steelwork commenced early the next year and the building was completed thirteen months later. Its architectural design was the result of several conditioning factors. On the most rudimentary level was the accommodation of varied tenant requirements and the maximum utilization of available land. The solution was the combination of three different buildings into a single structure (more than 1,000 feet long) which spans the full block between Rockefeller Plaza and Sixth Avenue. On the east, taking full advantage of light and air, are the 70-story corporate offices of RCA. Additional office space was provided along Sixth Avenue in the sixteen-story slab of the RCA Building West. The mid block section, much less desirable for office space, was allotted to NBC's broadcasting studios which needed no windows but only large amounts of layered horizontal space.
The technical specifications of this unit were particularly exacting. In order to insure soundproofing all the studios were designed with "floating" walls, floors and ceilings, suspended and insulated from the building's structural frame.
In keeping with his intention to build prime quality business space, developer John R. Todd insisted that no office be more than 27-1/2 feet from a window (the maximum at which natural light and air can be adequately provided). By contrast, many contemporaneous office structures were built to maximum girth leaving dark and unventilated spaces at their cores. The Associated Architects responded to Todd's requirement by grouping high speed elevators into central banks and surrounding them on each floor with a corridor and ring of offices of the required 27-1/2 foot depth. It totally outmoded the wedding cake arrangement where elevators were grouped on either side of a long central corridor, forced deep into the building by the zoning regulations which required towers (and therefore the elevators which serviced those towers) to be set back from the street.
The arrangement at RCA provided more than two million square feet of prime office space, distinguishing it for years as the world's largest office building infloor area.
The plan of the lobby and corridors reflect this scheme, as well, leading from the Rockefeller Plaza entrance, past shops which have both exterior and interior shopfronts, and into the elevator banks.
The Artwork and the Artists
A series of morals, part of Professor Hartley Burr Alexander's overall thematic program for Rockefeller Center, appears to have been part of the interior scheme from the beginning. As early as January 1932, contracts for morals in the RCA Building were rumored. Hood publicly revealed the project in a speech at the Architectural League in February. Despite pressures from groups of American artists, a decision was made to invite artists of international standing to decorate the interior of the RCA Building. On September 2, 1932, John Todd and Raymond Hood set sail for Europe:
The painting of ten panels each of which will be at least 17 by 20 feet will be discussed with the foreign artists, whose names were not disclosed. . . .All the decor-it ions. . < will fir. in the inclusive ornamental theme and will tell in the symbolic language of the arts a connected story.
After being turned down by Henri Matisse and not even making contact with Pablo Picasso, Hood and Todd met success with Jose Maria Sert, Diego Rivera, and Frank Brangwyn. Hood wrote to Rockefeller that Rivera's murals would face the main entrance, Sert's would be on the north wall, and Brangwyn's on the south.[28] The official press announcement described them:
Rivera's mural. . .will show "man at the crossroads looking with uncertainty but with hope and high vision to the choosing of a course leading to a new and better future." Sert's four panels will express man's new mastery over the material universe, through his power, will, imagination, and genius. Brangwyn's pieces will depict man's new relationship to society and his fellow-man his family, his relationships as a worker, as a part of government, and his ethical or religious relationships.
In addition to determining the themes of the murals, the architects had also decided on a color scheme: black, white, and gray on a light background.
Frank Brangwyn (1867-1956) was born in Bruges, Belgium, where his Welch father practiced as a church architect and supplier of ecclesiastical furnishings. His family returned to London in 1875 where the boy was befriended by architect A. H. Mackmurdo. Subsequently Brangwyn worked for two years in the office of William Morris (1882-84), helping to design seme of his wallpapers. He then worked independently and by the turn of the century had specialized in murals. Among his most celebrated works are his murals on the interior of the RCA Building at Rockefeller Center, those for the State Capitol at Jefferson City, Missouri, and the "People, Flora and Fauna of the British Empire" which covers 3000 square feet of the Civic Center in Swansea, Wales. A prolific and versatile artist, Brangwyn designed stained glass, furniture, and other applied arts as well as interiors and street pageants in addition to his work as a muralist, lithographer, etcher, and woodcutter.
Brangwyn established a considerable international reputation and is represented in collections from New York to Prague. He was knighted in 1941, followed eleven years later by the unprecedented honor of a retrospective exhibition in his own lifetime at the Royal Academy, of which Brangwyn had been a member since 1919.
Diego Rivera (1886-1957) was born in Mexico, attending the Acadernia de San Carlos in Mexico City. He studied and worked in Europe from 1907 to 1922, returning to Mexico in 1922 to become one of the founders of the Mexican mural movement. Between 1922 and 1930 he decorated the Anfiteatro Bolivar of the National Preparatory School, the Ministry of Education Building, both in Mexico City, the chapel of the National School of Agriculture at Chapingo, and began work in the Palacio de Cortes at Cuernavaca. Working in. the United States between 1930 and 1934, Rivera created murals for the California School of Fine Arts, the Detroit Institute of Arts, and the RCA Building, the latter—ultimately destroyed— the subject of tremendous controversy. Other notable Mexican work includes murals representing various aspects of Mexican history in the Palacio Nacional (1929-35, 1944-50).
José María Sert (1876-1945) was corn in Barcelona, Spain. Moving to Paris in his early twenties to study art, he spent most of his career there. He held his first American exhibition at the Wildensteiij-Galleries, New York, in the spring of 1924. Primarily known for his work as a muralist, Sert designed murals for the winter homes of Joshua S. Cosden, Edward T. Stotesbury, and Addison Mizner, adorned the north dining room of the Waldorf-Astoria Hotel with a series of murals depicting the marriage of Quiteria in Cervantes' Don Quixote, and decorated the council chambers in the league of Nations building in Geneva (1930). His murals for the RCA Building were carried out between 1933 and 1941, gaining a certain notoriety, because they, in part, replaced the destroyed Diego Rivera mural.
While the choice of foreign artists was controversial, even further controversy was to follow. The artists began working en the murals in late 1932. Rivera objected to the color scheme and the requirement to paint on canvas, and through the intervention of Nelson Rockefeller, John D. Rockefeller, Jr.'s sen, was allowed to paint on the plaster in tempera and to use color. Rivera began work in March 1933; his assistants had previously prepared the wall and paint and were transferring his sketches to the plaster. As the painting took form, its socialist inclinations became obvious. Prominently displayed in the composition were a head of Lenin and workers parading with red flags. Nelson Rockefeller requested the substitution of another face. Rivera suggested a partial change in composition, one which would leave Lenin in place but balanced by an American historical leader; failing that, he wrote "rather than mutilate the conception I should prefer the physical destruction of the conception in its entirety."
On May 9, the Center ordered Rivera to stop work and covered the fresco with canvas. Rivera was paid in full, and on February 9, 1934, the fresco was destroyed and removed, not to be replaced until 1937, by another Sert work.
Sert's initial work for the RCA Building was installed along the north corridor in May 1933. Painted in his Paris studio on canvas, each panel is 25 feet wide by 17 feet high and depicts one aspect of "man's new mastery of the problems of modem civilization." Unlike Rivera, Sert had no intention of making a political statement. He considered mural painting "the complement of architecture. . . .On those walls the moralist puts what is called for. Nothing more, nothing less. . . .Mural painting is an extension of a building's function. It is a part of building, and no muralist must ever forget that."
Brangwyn's work for the south corridor did not arrive until December 1933. Like Sert's work, these are four panels, 25 feet by 17 feet. Brangwyn had no problems with the theme—man's relationship to society—but chose in the final panel to depict the Sermon on the Mount. Doubts were raised by Rockefeller Center officials, perhaps made sensitive by the Lenin controversy, about the depiction of the figure of Christ, suggesting that a light shining down from heaven might suffice. Brangwyn objected, and finally the problem was solved by showing Christ as a hooded figure, his back turned to the spectator, standing against a background of lighted clouds.
Sert's 1937 mural on the west wall of the entrance lobby replaced the disgraced Rivera work, after negotiations with Picasso to fill the space col lapsed. Titled "American Progress, the Triumph of Man's Accomplishments Through Physical and Mental Labor," it completed "the pictorial epic of humanity's struggle begun in the other murals"
Another Sert mural was installed in March 1941 on the ceiling above the Rockefeller Plaza entrance. Entitled "Time" it was put in place after the lobby lighting system was modified to allow for its illumination. Other Sert murals may be seen on the north and south walls of the first elevator bank, representing the spirit of dance and man's triumph in communication, on the north and south stairways to the mezzanine (these are titled "Contest-1940" and "Fraternity of Men") and on the north and south balustrades, representing "Fire" and "Light." These were installed in 1937.
Conception and Design
The design of the lobby of the RCA Building is a continuation of the exterior building design, with its emphasis on form and axis, as well as a major mural program which extends the overall art scheme of Rockefeller Center.
Lobbies of office buildings of this period generally combined two functions: a grand entrance and public space, and a passageway to the elevator system. The Chrysler Building's lobby (1928-30) is a prime example: a highly ornamental triangular-shaped lobby, whose vertex is the entrance and whose base is a wall opening with two sets of elevator banks. The Empire State Building (1930-31) because of its size and layout required a separation of the two functions, with a chapel-like grand entrance space, and a series of corridors leading to the elevators. The RCA Building lobby employs a similar scheme. /
The layout of the lobby floor was in large part dictated by that of the general office floor plans. Because of Todd's requirement that no office be more than 27-1/2 feet from a window, the elevators were placed in central banks and then surrounded with corridors and offices. In the lobby the central core of elevators is flanked by circulation corridors and then by shops opening onto the corridors. Access, too, had to be provided to the NBC Studios in the mid-section of the building. This is accomplished by means of a separate lobby with its own elevator bank. In addition, easy access was required to the underground concourse and the balconies at mezzanine level. Staircases flanking the entrance lobby and within the central core serve this purpose. The manifestation of the long corridors and elevator banks is that of a large public concourse.
An effect of grandeur was sought in the entrance lobby, but because of the service core this occupies a relatively confined area. The architects chose to maximize the effect by creating a double-height space which opens from the Rockefeller Plaza entrance and continues into the corridors through means of mezzanine balconies. These, in turn, allow access to second floor office space. The character of the double-height space is further enhanced by the mural program. The use of rich, elegant materials, such as veined marbles and bronze, and the attention to detail are characteristic of the quality displayed throughout the construction of Rockefeller Center. The details themselves, from shopfronts to indicator signs, from ventilation grilles to elevator doors, are modernistic in design, in keeping with the overall design of the Center.
Description
The interior of the RCA Building consists of two sections: the entrance lobby off Rockefeller Plaza, and the connecting corridors and elevator banks which , with the inner store windows and entrances, create the effect of a grand concourse.
The entrance lobby, opening off Rockefeller Plaza, is a relatively restricted space. On the eastern wall is a the major entrance, and at the west is the information desk, behind which rises Sert's mural of "American Progress." The lower portion of the entrance wall contains six sets of revolving doors and two sets of double-leaf doors of bronze and glass set within a paneled bronze screen which projects slightly into the space. Rising above the doorways is a large screen of cast glass designed by Lee Lawrie- Fifty-five feet long and fifteen feet high, it is molded in high relief and constructed of uniform blocks, 19 by 29 by 3 inches, bonded by vinelite. Flanking the entrance are stairways leading up to the mezzanine and staircases and escalators leading down to the underground concourse. The information desk opposite the doorway is of Champlain gray marble, which is almost black in color, adorned with incised moldings at top and bottom.
Four large piers, faced with reeded ivory marble terminating in a bronze molding, channel traffic through the space. Light fixtures are incorporated into the piers so as to illuminate Sert's mural of '*Time," which spreads out over the entire entrance lobby ceiling. Three figures, representing Past, Present, and Future, are shewn with their feet resting on the tops of the piers. Hour glasses, held by the figures of Past and Future, are being placed on the scales held by the figure of Present. The airplanes in flight are to indicate iron's partial conquest of time and space.
Sert's mural "American Progress" on the wall behind the information desk (which is also the eastern wall of the easternmost elevator bank) depicts America's development through the union of intelligence and strength. On the right are figures of Poetry, Music, and Dance looking upward for inspiration; on the left are men of action, represented by statues of labor. These two groups flank pictures of Ralph Waldo Oner son, the philosopher and thinker, and Abraham Lincoln, as the man of action. In the center background are the towers of Rockefeller Center. This device of depicting the building in lobby art was a favorite with designers of the period, being used in both the Chrysler Building and the Empire State Building.
The lobby opens into corridors flanking the elevator banks, and for the extent of the first five elevator banks and the elevator hallways, this is a double-height space dominated by rows of piers, carrying on the east-west axis, faced with the same ivory marble as that used on the piers in the entrance lobby. The walls are faced with Champlain marble up to the height of the shopfronts and elevator doors, terminating in bronze moldings. Beveled bronze service doors may be seen on the outer walls opposite the piers. Above the marble is a beige plaster surface on the outer vails, while the inner elevator bank walls are adorned with morals which wrap around the corners onto the elevator hallway walls.
The work of Sert is represented by figures hoisting a globe up over scaffolding depicting man's triumph in communications—radio, telephone, and telegraph— on the south wall of the first elevator bank, and figures representing the spirit of the dance on the north wall of the first elevator bank. Sert's first four murals for the RCA Building may be seen on the next four elevator banks facing the north corridor.
In order they are: "The abolition of pain and labor of former ages by the creative intelligence of the machine,'' with human figures and oxen pulling a heavy load with a railroad engine in the background; "The conquests of the pests and epidemics of yesteryear by scientific invention,'' with figures lined. ' up waiting to received inoculations; "The stamping out of tyranny and slavery," with figures of slaves pushing enormous blocks of stone; and "The suppression of war through the combined faculties of man applied to the quest of human happiness," dominated by figures grouped around and emerging from giant cannons.
The four elevator banks on the south corridor display Frank Brangwyn's murals and are meant to be seen in sequence running west to east: "Man laboring painfully with his own hands; living precariously and adventurously with courage, fortitude, and the indomitable will to survive," depicting figures in the wilderness; "Man the creator and master of the tool. Strengthening the foundations and multiplying the comforts of his abiding place," with figures in an arbor cultivating vines; "Man the master and servant of the machine, harnessing to his will the forces of the material world, mechanizing labor and adding these to the promise of leisure," with figures working at a forge; and "Man's ultimate destiny depends not on whether he can learn new lessons or make new discoveries and conquest, but on his acceptance of the lesson taught him close upon two thousand years ago," with figures listening to Christ preaching the Sermon on the Mount.
On the outer walls are a series of shopfronts with doors and windows framed in bronze. In the elevator hallways, the elevator doors are of beveled bronze and are set in bronze reveals. Ventilator grilles, directory boards, indicator signs, elevator indicator signs, and elevator indicator lights in this section are framed in bronze, employing curved, streamlined motifs.
The outer walls rise to mezzanine balconies with hand seme streamlined bronze railings on both the north and south. The stairways leading to the mezzanine flanking the entrance have Champlain marble wainscoting and bronze railings. Adorning the staircases are additional Sert murals: "Contest-1940" with figures of the five races of mankind using the world as a football to compete for global supremacy, at the north, and "Fraternity of Men" with the figures of the five races clasping their hands in brotherhood, at the south. Terminating the double-height corridors, the balconies extend across the ground floor corridors at mezzanine level, and the balcony fronts display Sert murals: "Fire" representing the sun at the north? and "Light" depicting the supreme ruler of the world at the south. Throughout the murals adopt a monochromatic color scheme of beige, gray, and black which harmonizes with the other interior finishes.
At the mezzanine level the inside of the balcony is faced with Champlain marble. The outer walls are ivory marble above a Champlain marble wainscoting terminating in a bronze molding at the height of the doorways. The walls above are plain beige plaster, as are the ceilings.
Offices with bronze doors and bronze window surrounds open onto the balconies. The mezzanine continues as corridors westward beyond the balconies; both inner and outer walls have finishes similar to the outer walls of the balconies, and the office door and window configurations and finishes as they open onto the corridors are also similar. In the area adjacent to the western elevator bank are four piers, faced in ivory marble above a Champlain marble base and terminating in bronze molding strips-The floors throughout the mezzanine are of black terrazzo executed in rectangular patterns outlined with bronze strips.
At ground floor level, the corridors continue westward along the east-west axis beyond the fifth elevator bank. The ceiling level drops and this difference in height is marked by a change in materials. The corridor walls are faced in Champlain marble terminating in bronze moldings, and piers, continuing in the line of those in the double-height corridors, are also faced in Champlain marble terminating in bronze molding strips. Bronze waste receptacles are placed at the bases of several. The ceilings are white plaster. The treatment of the shopfronts on the outer walls is like that of the shopfronts in the double-height corridors. The floor surface is uniform throughout the ground floor, with black terrazzo set in panels with a green-gray center section, outlined with bronze strips.
Hallways extend from the corridors leading to the entrances from 49th Street and 50th Street. Each has two sets of revolving doors, framed in bronze. Bronze letters with the street names are placed above the doors. The walls continue the Champlain marble facing and bronze moldings of the corridor walls and are accented by bronze ventilation grilles, taking streamlined forms, display windows framed in bronze, and beveled bronze service doors. Directory boards and indicator signs throughout the corridors and hallways are outlined with bronze in streamlined motifs.
West of the elevator banks is a stairway leading down to the underground concourse; this is lined with Champlain marble and has bronze moldings, and handsome bronze railings. Similarly a stairway lined with Champlain marble and ivory marble in the same location leads up to the mezzanine. An enclosed stairway leads up to the mezzanine at the juncture of the RCA Building with the RCA Building West, while an open stairway leads down to the underground concourse. Both stairways are lined with Champlain marble and have bronze railings and bronze moldings.
The NBC lobby is faced with Champlain marble terminating in bronze moldings in the deep reveals opening from the corridors, and light green marble on the walls, terminating in nickel bronze moldings.
- From the 1985 NYCLPC Landmark Designation Report
I'M WRITING A NEW BOOK! I'm working with Peachpit on The 30-Day Sketchnote Challenge. This will be book 3 in my sketchnoting trilogy, and it's scheduled to launch in early fall 2016.
Above is the new cover design in aqua, black, and orange, with new icons that represent the 30-day challenge:
What's the new book about?
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The 30-Day Sketchnote Challenge is different than The Sketchnote Handbook and The Sketchnote Workbook—it's designed to guide you through simple daily drawing exercises and mini-projects to improve your visual note-taking skills over a 30-day period. It's a directed, process-based approach that methodically improves your sketchnoting a little bit at a time.
All new content!
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This new book will feature all new content, including tons of tutorials showing you step-by-step how to create simple drawings that you can use over and over again in your sketchnotes.
We're running these how-tos along the bottom of every page throughout the entire book. I want to pack this book full of great, easy-to-master drawing tips to simultaneously help you build a fantastic icon library and boost your confidence in your own drawing skills.
Sketchnotes from around the world!
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Just like the Handbook and the Workbook, I'll feature the work of sketchnoters from around the world. I love inspiring readers by sharing the work from the many friendly and welcoming sketchnoting community members.
I'll be sharing a form in a few weeks where you can apply to be a featured sketchnoter in the book, so stay tuned!
Where did the concept come from?
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I've been inspired by a few key experiences:
Keeping a daily logbook since January 2014. I've found that by doing little bits of sketchnoting every day, I see gradual progress in my thinking, creativity, and openness to new ideas.
Shawn Blanc's Focus Course.
The Focus Course helped me envision a step-by-step approach to improving sketchnote skills that's fun, practical, and delivered in small, bite-sized pieces that won't overwhelm you.
Teaching tons of sketchnote workshops.
I've been all over the world, teaching sketchnoting to hundreds of students. I've found that a methodical, layered approach to building skills is the most effective way to help non-artists feel comfortable and excited about visual note-taking. I can't wait to pour what I've learned from my workshops into this book.
I'll document my process right here.
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For The Sketchnote Handbook and The Sketchnote Workbook, I loved documenting the experience of writing them with updates, photos, and sneak peeks. Once again, I'll document the experience while creating The 30-Day Sketchnote Challenge, right here on the blog, on Instagram, and on Twitter.
The Dispatch will change a bit until the new book is complete. In order to focus on writing, I'm pausing the Dispatch format until September.
Thank you!
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Thanks so much for your support as I craft this new book. I'm excited to create a new way for people to enter into sketchnoting.