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Mid Bob Shaved Nape
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Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are following Lettice’s maid, Edith, who together with her beau, local grocery delivery boy Frank Leadbetter, have wended their way north-east from Cavendish Mews, through neighbouring Soho to the Lyons Corner House* on the corner of Oxford Street and Tottenham Court Road. As always, the flagship restaurant on the first floor is a hive of activity with all the white linen covered tables occupied by Londoners indulging in the treat of a Lyon’s luncheon or early afternoon tea. Between the tightly packed tables, the Lyons waitresses, known as Nippies**, live up to their name and nip in and out, showing diners to empty tables, taking orders, placing food on tables and clearing and resetting them after diners have left. The cavernous space with its fashionable Art Deco wallpapers and light fixtures and dark Queen Anne English style furnishing is alive with colour, movement and the burbling noises of hundreds of chattering voices, the sound of cutlery against crockery and the clink of crockery and glassware fills the air brightly.
Amidst all the comings and goings, Edith and Frank wait patiently in a small queue of people waiting to be seated at the next available table, lining up in front of a glass top and fronted case full of delicious cakes. Frank reaches around a woman standing in front of them in a navy blue dress with red piping and a red cloche and snatches a golden yellow menu upon which the name of the restaurant is written in elegant cursive script. He proffers one to Edith, but she shakes her head shallowly at him.
“You’ve brought me here so many times, Frank, I practically know the Lyons menu by heart, Frank.”
Frank’s face falls. “You don’t mind coming here again, do you Edith?” he asks gingerly, almost apologetically.
“Oh Frank!” Edith laughs good naturedly. She tightens her grip comfortingly around his arm as she stands beside him with it looped through his. “Of course I don’t mind? Why should I mind? I love coming here. This is far grander than any other tea shop around here, and the food is delicious.”
“Well so long as you don’t think it’s dull and predicable, Edith.”
“How could anything be dull and predictable with you involved in it, Frank?”
Frank blushes at his sweetheart’s compliment. “Well it’s just that we seem to have fallen into rather a routine, going to the Premier in East Ham*** every few weeks, before coming here for tea.”
“I don’t see anything wrong with that, Frank. You know I love going to the pictures, and a slap-up tea from here is nothing to sneeze at.”
“Well, so long as you don’t mind, Edith.”
“Frank Leadbetter, I don’t mind anything that I do with you.” Edith squeezes his arm again. “Anyway, it isn’t like we haven’t done other things on our days off as well between our visits here. We go walking in Hyde and Regent’s Parks and Kensington Gardens, and we do go dancing at the Hammersmith Palais****, so it’s not always the same.”
“And you’ve been a good sport, coming with me to the National Portrait Gallery.” Frank adds with a happy smile.
“Oh, I loved gong there, Frank!” enthuses Edith. “Like I told you, I never knew that there were galleries of art that were open to then public. If I had, I might have gone sooner.” She smiles with satisfaction. “But then again, if I had known about it, I wouldn’t have had the pleasure of you introducing me to it. I’m looking forward to us going back again one day.”
“But I suspect you enjoy the pictures more than the National Gallery.” Frank chuckles knowingly.
“Well,” Edith feels a flush fill her cheeks with red. “It is true that I perhaps feel a bit more comfortable at the pictures than the gallery, Frank, but,” She clarifies. “That’s only because my parents never took me to the gallery when I was growing up, like your grandparents did with you.”
“Whereas your parents took you to the pictures.”
“Oh yes Frank!” Edith sighs. “It was a cheap bit of escapism from the everyday for the whole family: Mum, Dad, Bert and me.” Her voice grows wistful as she remembers. “I used to look forward to going to the pictures on a Saturday afternoon with Mum and Dad and Bert. We’d walk into the entrance of the Picture Coliseum***** out of the boring light of day and into the magic darkness that existed all day there. I grew to love the sound of the flick and whir of the protector, knowing as I sat in my red leather seat in the balcony that I was about to be transported to anywhere in the world or to any point in time. Dad and Mum still love going there on the odd occasion to see a comedy. The pictures became even more important to me as a teenager after I left home and went into service for nasty old Widow Hounslow. She never gave me anything to be happy about in that cold house of hers as I skivvied for her in my first job, day in and day out, from sunrise to sunset, so the escape to a world of romance filled with glamorous people where there was no hard work and no dirty dishes or floors to scrub became a precious light in my life.”
“Alright, you’ve convinced me.” Frank chuckles.
“You know Frank, because I thought everyone went to the pictures, I’ve never actually asked you whether you enjoy going to them. Perhaps with your grandparents taking you to the gallery, you might not like it. Do you Frank?”
“Oh yes I do, Edith,” Frank assures his sweetheart. “I’m happy if you are happy, but even before I met you, I used to go to the pictures. Whilst I might not be as enamoured with the glamour and romance of moving picture stars like Wanetta Ward like you are, I do like historical dramas and adaptations of some of the books I’ve read.”
“Does that mean you didn’t enjoy ‘A Woman of Paris’******?” Edith asks with concern.
Frank turns away from his sweetheart and rests his arms on the glass topped counter, and gazes through it at the cakes on display below. “Oh, yes I did, Edith.” he mutters in a low voice in reply.
Edith hooks her black umbrella over the raised edge of the cabinet and deposits her green handbag on its surface and sidles up alongside Frank. “It doesn’t sound like you did, Frank.” she refutes him quietly.
“No, I really did, Edith.” he replies a little sadly. “Edna Purviance******* is so beautiful. I can well understand your attraction to the glamour of the moving pictures and their stars.”
“But something tells me that you didn’t like the film.” Edith presses, nudging Frank gently. “What was it?”
“Oh, it’s nothing, Edith.” Frank brushes her question off breezily as he turns his head slight away from her so she cannot see it.
“Well, it must be something. I chose the film, so I shall feel awful if you didn’t want to see it.” Edith tries to catch his eye by ducking her head, but fails. “You should have said something, Frank.”
A silence envelops them momentarily, at odds to all the gay noise and chatter of the Corner House around them. At length Frank turns back to Edith, and she can see by the glaze and glint of unshed tears in his kind, but saddened eyes, that this is why he turned away. “I didn’t mind seeing ‘A Woman in Paris’, Edith. Honestly, I didn’t.” He holds up his hands. “Like you are with me, I’m happy to go anywhere or do anything with you.”
“Then what is it, Frank?” Edith says with a concerned look on her face. “Please, you must trust me enough to tell me.”
Frank reaches out his left hand and wraps it loving around her smaller right hand as it sits on the surface of the counter, next to her handbag. “Of course I trust you Edith. I’ve never trusted a girl before, the way I trust you.” He releases her hand and runs his left index finger down her cheek and along her jaw lovingly. “You’re so good and kind. Goodness knows what you see in me, but whatever it is, Edith, I’m so glad you do.”
“What’s gotten into you, Frank?” she replies in consternation. “What was it about the film that has upset you so much and given you such doubts?”
The awkward silence falls between the two of them again as Edith waits for Frank to formulate a reply. His eyes flit between the shiny brass cash register, the potted aspidistra standing in a white jardinière on a tall plant stand, the Art Deco wallpaper and Lyons posters on the walls and the cakes atop the counter. He looks anywhere except into his sweetheart’s anxious face.
“It was the relationship between Jean’s mother and Marie in the film, Edith.” he says at length.
“What of it, Frank?”
“It reminded me of the relationship between your mum and me, Edith.”
“What?” Edith queries, not understanding.
“Well,” Frank elucidates. “Jean’s mum didn’t like Marie and refused to accept her.”
“I keep telling you, Frank,” Edith reassures her beau, looking him earnestly in the face. “Mum doesn’t dislike you. She just struggles with some of your more,” She nudges him again, giving him a consoling, and cheeky smile. “Progressive ideas. Anyway, Jean’s mum and Marie made up at the end of the film and went off to set up an orphanage in the countryside.”
“Are you suggesting that your mum and I might do the same?” Frank laughs a little sadly, trying to make light of the moment.
“That’s better, Frank.” Edith encourages, seeing him smile.
Frank looks back down again at all the cakes on display in the glass fronted cabinet. Cakes covered in thick white layers of royal icing like tablecloths jostle for space with gaily decorated special occasion cakes covered in gooey glazed fruit and biscuit crumbs. Ornate garlands of icing sugar flowers and beautifully arranged slices of strawberries indicate neatly where the cakes should be sliced, so that everyone gets the same portion when served to the table. Frank even notices a pink blancmange rabbit sitting on a plate with a blue and white edge.
“I love coming here because there are so many decadent cakes here.” Frank admits, changing the subject delicately, but definitely. “It reminds me of when my Gran was younger. She used to bake the most wonderful cakes and pies.”
“Oh, Mum loves baking cakes, pies and puddings too.” Edith pipes up happily. “She’s especially proud of her cherry cobbler which she serves hot in winter with hot custard, and cold in summer with clotted cream.”
“Being Scottish, Gran always loved making Dundee Cake********. She used to spend ages arranging scorched almonds in pretty patterns across the top.”
“That sounds very decadent, Frank.” Edith observes.
“Oh it was, Edith!” Frank agrees. “Mind you, I don’t think it would have taken half as long if she hadn’t been continually keeping my fingers out of the bowl of the decorating almonds and telling me that the cake ‘would be baked when it is done, and no sooner’.”
Edith chuckles as Frank impersonates his grandmother’s thick Scottish accent as he quotes her.
“Mum always made the prettiest cupcakes for Bert’s and my birthdays.” Edith points to the small glass display plate of cupcakes daintily sprinkled with colourful sugar balls and topped with marzipan flowers and rabbits sitting on the counter.
“I bet you they were just as lovely as those are, Edith.”
“Oh, better Frank,” she assures him. “Because they were made with love, and Mum is a very proud cook.”
“I did notice that when I came for Sunday roast lunch.”
Edith continues to look at the cakes on display on stands on the counter’s surface, some beneath glass cloches and others left in the open air, an idea forming in her mind, formulating as she gazes at the dollops of cream and glacé cherries atop a chocolate cake, oozing cream decadently from between its slices.
“That’s it Frank!” she gasps.
“What is, Edith?”
“That’s the solution to your woes about Mum, Frank.” She snatches up her bag and umbrella from the counter.
Frank doesn’t understand so he asks yet again, “What is, Edith?”
Edith rests her elbow on the glass topped counter as she looks Frank squarely in the face. “Who is your greatest advocate, Frank? Who always speaks well of you in front of others.”
“Well, you do, Edith.” He gesticulates towards her.
“Yes, I know that,” she admits. “But besides me, who else always says the nicest things about you?”
“Well Gran does.” Frank says without a moment’s hesitation.
“Exactly Frank!” Edith smiles. “You need someone other than me in your corner, telling Mum what a wonderful catch you are. And that someone is your Gran, Frank!” Her blue eyes glitter with hope and excitement. “See, now that you’ve met Mum and Dad, and I’ve met your Gran, it’s time that they met. I bet Mum and your Gran would bond over cake baking and cooking, and of course Mum would believe anything a wise Scottish woman who can bake a Dundee Cake would say.”
“And everything she would say would be about me!” Frank exclaims. “Edith! You’re a genius!”
Frank cannot help himself as he reaches out and grasps Edith around the waist, lifting her up and spinning her around in unbridled joy, causing her to squeal, and for the people waiting in line around them to chuckle and smile indulgently at the pair of young lovers before them.
“Oh, put me down Frank!” squeaks Edith. “Let’s not make a scene.”
Reluctantly he lowers his sweetheart to the ground and releases her from his clutches.
“Now, all we need to do is talk with Mum and Dad, and your Gran, and settle on a date.” Edith says with ethusiasm.
“We’ll talk about it over tea and cake, shall we, Edith?” Frank asks with an excited lilt in his voice.
“Ahem.” A female voice clearing her throat politely interrupts Edith and Frank’s conversation. Turning, they find that whilst they have been talking, they have reached the front of the queue of people waiting for a table, and before them stands a bright faced Nippie with a starched cap with a red ‘L’ embroidered in the centre atop a mop of carefully coiffed and pinned curls, dressed in a black alpaca dress with a double row of pearl buttons and lace apron. “A table for two, is it?”
*J. Lyons and Co. was a British restaurant chain, food manufacturing, and hotel conglomerate founded in 1884 by Joseph Lyons and his brothers in law, Isidore and Montague Gluckstein. Lyons’ first teashop opened in Piccadilly in 1894, and from 1909 they developed into a chain of teashops, with the firm becoming a staple of the High Street in the United Kingdom. At its peak the chain numbered around two hundred cafes. The teashops provided for tea and coffee, with food choices consisting of hot dishes and sweets, cold dishes and sweets, and buns, cakes and rolls. Lyons' Corner Houses, which first appeared in 1909 and remained until 1977, were noted for their Art Deco style. Situated on or near the corners of Coventry Street, Strand and Tottenham Court Road, they and the Maison Lyonses at Marble Arch and in Shaftesbury Avenue were large buildings on four or five floors, the ground floor of which was a food hall with counters for delicatessen, sweets and chocolates, cakes, fruit, flowers and other products. In addition, they possessed hairdressing salons, telephone booths, theatre booking agencies and at one period a twice-a-day food delivery service. On the other floors were several restaurants, each with a different theme and all with their own musicians. For a time, the Corner Houses were open twenty-four hours a day, and at their peak each branch employed around four hundred staff including their famous waitresses, commonly known as Nippies for the way they nipped in and out between the tables taking orders and serving meals. The tea houses featured window displays, and, in the post-war period, the Corner Houses were smarter and grander than the local tea shops. Between 1896 and 1965 Lyons owned the Trocadero, which was similar in size and style to the Corner Houses.
**The name 'Nippies' was adopted for the Lyons waitresses after a competition to rename them from the old fashioned 'Gladys' moniker - rejected suggestions included ‘Sybil-at-your-service’, ‘Miss Nimble’, Miss Natty’ and 'Speedwell'. The waitresses each wore a starched cap with a red ‘L’ embroidered in the centre and a black alpaca dress with a double row of pearl buttons.
***The Premier Super Cinema in East Ham was opened on the 12th of March, 1921, replacing the 800 seat capacity 1912 Premier Electric Theatre. The new cinema could seat 2,408 patrons. The Premier Super Cinema was taken over by Provincial Cinematograph Theatres who were taken over by Gaumont British in February 1929. It was renamed the Gaumont from 21st April 1952. The Gaumont was closed by the Rank Organisation on 6th April 1963. After that it became a bingo hall and remained so until 2005. Despite attempts to have it listed as a historic building due to its relatively intact 1921 interior, the Gaumont was demolished in 2009.
****The Hammersmith Palais de Danse, in its last years simply named Hammersmith Palais, was a dance hall and entertainment venue in Hammersmith, London, England that operated from 1919 until 2007. It was the first palais de danse to be built in Britain.
*****Located in the west London inner city district of Harlesden. The Coliseum opened in 1912 as the Picture Theatre. In 1915 it was renamed the Picture Coliseum. It was operated throughout its cinema life as an independent picture theatre. Seating was provided in stalls and balcony levels. The Coliseum closed in December 1975 for regular films and went over to screening adult porn films. It then screened kung-fu movies and even hosted a concert by punk rock group The Clash in March 1977. It finally closed for good as a picture theatre in the mid-1980’s and was boarded up and neglected for the next decade. It was renovated and converted into a pub operated by the J.D. Weatherspoon chain, opening in March 1993. Known as ‘The Coliseum’ it retains many features of its cinematic past. There is even cinema memorabilia on display. There is a huge painted mural of Gary Cooper and Merle Oberon in “The Cowboy and the Lady” where the screen used to be. Recently J.D. Weatherspoon relinquished the building and it is now operated as an independent bar renamed ‘The Misty Moon’. By 2017 it had been taken over by the Antic pub chain and renamed the ‘Harlesden Picture Palace’.
******’A Woman of Paris’ is a feature-length American silent film that debuted in 1923. The film, an atypical drama film for its creator, was written, directed, produced and later scored by Charlie Chaplin. The plot revolves around Marie St. Clair (Edna Purviance) and her beau, aspiring artist Jean Millet (Carl Miller) who plan to flee life in provincial France to get married. However when plans go awry, Marie goes to Paris alone where she becomes the mistress of a wealthy businessman, Pierre Revel (Adolphe Menjou). Reacquainting herself with Jean after a chance encounter in Paris a year later, Marie and Jean recommence their love affair. When Jean proposes to Marie, his mother tries to intervene and Marie returns to Pierre. Jean takes a gun to the restaurant where Marie and Pierre are dining, but ends up fatally shooting himself in the foyer after being evicted from the restaurant. Marie and Jean’s mother reconcile and return to the French countryside, where they open a home for orphans in a country cottage. At the end of the film, Marie rides down a road in a horse drawn cart and is passed by a chauffer driven automobile in which Pierre rides with friends. Pierre's companion asks him what had happened to Marie after the night at the restaurant. Pierre replies that he does not know. The automobile and the horse-drawn wagon pass each other, heading in opposite directions.
*******Edna Purviance (1895 – 1958) was an American actress of the silent film era. She was the leading lady in many of Charlie Chaplin's early films and in a span of eight years, she appeared in over thirty films with him and remained on his payroll even after she retired from acting, receiving a small monthly salary from Chaplin's film company until she got married, and the payments resumed after her husband's death. Her last credited appearance in a Chaplin film, ‘A Woman of Paris’, was also her first leading role. The film was not a success and effectively ended Purviance's career. She died of throat cancer in 1958.
********Dundee Cake is a traditional Scottish fruit cake that has gained worldwide fame since its first appearance over three hundred and fifty years ago. The Dundee Cake is one of Scotland's most famous cakes and, it is said, was liked by the Queen at tea-time. The story goes that Mary Queen of Scots didn’t like cherries, so a fruit cake was made and decorated with the distinctive almond decoration that has now become very familiar to those of us in the know. A more likely story is that the Dundee Cake recipe was created in the 1700s, later to be mass-produced by the Marmalade company Keiller’s Marmalade.
An afternoon tea made up with sweet cakes like this would be enough to please anyone, but I suspect that even if you ate everything you can see here in and on this display case, you would still come away hungry. This is because they, like everything in this scene are 1:12 size miniatures from my miniatures collection.
Fun things to look for in this tableau:
The sweet cupcakes on the glass cake stand have been made in England by hand from clay by former chef turned miniature artisan, Frances Knight. Her work is incredibly detailed and realistic, and she says that she draws her inspiration from her years as a chef and her imagination. The pink blancmange rabbit on the bottom shelf of the display cabinet in the front of the right-hand side of the case was made by Polly’s Pantry Miniatures in America. All the other cakes came from Kathleen Knight’s Dolls House Shop in the United Kingdom. The glass and metal cake stands and the glass cloche came from Beautifully Handmade Miniatures in Kettering. The glass cake stands are hand blown artisan pieces. The shiny brass cash register also comes from Beautifully Handmade Miniatures.
The J. Lyons & Co. Ltd. tariff is a copy of a 1920s example that I made myself by reducing it in size and printing it.
Edith’s handbag handmade from soft leather is part of a larger collection of hats and bags that I bought from an American miniature collector Marilyn Bickel.
The black umbrella came from an online stockist of 1:12 miniatures on E-Bay.
The wood and glass display cabinet I obtained from a seller of 1:12 miniatures on E-Bay.
The storage shelves in the background behind the counter come from Babette’s Miniatures, who have been making miniature dolls’ furnishings since the late Eighteenth Century. The plates, milk jug, silver teapots, coffee pots and trays on it all come from Kathleen Knight’s Dolls House Miniatures.
The aspidistra in the white planter and the wooden plant stand itself also come from Kathleen Knight’s Dolls House shop, as does the 1920s Lyons’ Tea sign you can see on the wall.
The Art Deco pattern on the wall behind the counter I created myself after looking at many photos of different Lyons Corner House interiors photos. Whilst not an exact match for what was there in real life, it is within the spirit of the detailing found in the different restaurants.
Tibbits Opera House is the second-oldest theatre in Michigan, having been built in 1882. Rich in history and ambiance, even today the theatre offers theatre-goers nearly perfect acoustics, an intimate 499-seat setting, and a fine array of performances throughout the year. Barton S. Tibbits originally built the opera house with wisdom and vision. The aim was high art, timeless architecture, excellent acoustics, splendid furnishing and the finest of entertainment. Tibbits put Coldwater on the map as one of the few small cities in the nation with a social and cultural center of such grandeur. Thanks to the forward-thinking individuals who saved the opera house from destruction in the 1960s, the citizens of Branch County still have the opportunity to experience the opera house and the cultural activities valued so highly by its early residents.
Preserved in the edition of September 19, 1882 of the Coldwater Republican newspaper is a richly detailed account of the building's physical description. From surviving photos and valuable accounts like these, we can re-imagine the experience of the original theatre patron. When Tibbits Opera House first opened, such a patron would have found the theatre to be nothing less than an architectural masterpiece.
A patron's first experience of the theatre would have been his breathtaking view of the building's façade. With its French "Second Empire" architectural design, the building was adorned with a 24-foot (7.3 m)-tall, slate-covered cupola with a flag staff mounted with a golden eagle statue. The tip of the dome itself towered 76 feet (23 m) above the pavement below. At the base of the cupola, one could behold an elegant bronze bust of Shakespeare, and below this still, inscribed in an arch above the front window was "Tibbits Opera-House, 1882", in gold leaf. The face itself consisted of iron work, red and black brick, and cut stone "united in excellent taste." Three large windows allowed the glow of the sun to fill the theatre lobby, and below the middle window was an iron balcony furnished with glass globe lanterns.
As a patron entered the front doors, he would have found himself in a lobby with two stairwells leading up to the balcony, a manager's office, and a smoking room. Upon stepping through the terracotta leather covered and gold trimmed wooden doors into the auditorium, a patron would have been softly bathed in the shimmering glow of 94 gas lights. These lights, were crafted of polished brass and fitted with etched glass globes. The stage itself was equipped with 174 gas lights. All the lights in the entire theatre were controlled from the stage by means of a pipe system, allowing the stage manager to ignite or extinguish any or all of these brilliant lights in an instant. Beneath a dome resplendent with painted cherubs, a large chandelier, known as an "Opal glass reflector", scattered sparkles of reflected light over all. Elegant red Brussels' carpet softened patrons' steps, and grand opera chairs, upholstered in dark Cardinal plush awaited to seat them. These chairs were engraved with the monogram, B.S.T., Barton Tibbits' initials, and many of these chairs offered foot rests and hat and umbrella racks. Amazingly the auditorium originally held 1,000 seats for patrons. The seating area was divided into the parquet and the parquet circle – two separate areas on the floor in front of the orchestra pit. The walls of the auditorium, colored in cameo tints and dashes of cardinal, green, and gold color in "conventional figures" produced "a warm, sunny effect and [gave] the auditorium a bright and airy appearance which is very pleasing." Dominating the scene was a grandly ornate 34-foot (10 m)-wide by 53-foot (16 m)-long proscenium stage with elegant opera boxes situated within the massive tin and plaster arch.
The stage itself had all the latest technological features. Scenery and curtains were shifted and moved via the rigging loft, and the stage itself included a "paint-bridge and movable frame, five sets of grooves, trapdoors, and every modern convenience for producing all kinds of scenic effects." Additionally, speaking tubes and bell signals connected the stage manager with the box office, orchestra, and scene and trap shifters. The stage's collection of scenic backdrops was exhaustive and of the highest quality, and was a third larger than the Kalamazoo Opera House.
The boxes were draped with cardinal silk plush curtains, lined with gold, and trimmed with lace. In the center of the proscenium arch one beheld a portrait of William Shakespeare and above this portrait against a light-blue background was "a group of cherubs, gracefully posed, representing music and the drama." Surrounding the main chandelier in the auditorium were more "cunning little cherubs" trailing garlands of flowers. In the words of the Coldwater Republican, "The delicate coloring of the background brings out the figures in strong relief so one may almost imagine them floating in space and inhale the odor of their fragrant burden." The cove around the auditorium also was decorated with "vases of flowers, bouquets and conventional vines and figures." L. B. Chevelier, who painted many of the stage's backdrops, was the artistic genius behind such beautiful creations.
Regarding the beauty and workmanship of the theatre, Carolyn Gillespie has observed that "Tibbits was easily as elegant as the Second Olympic Theatre which was completed in St. Louis that same year." Elegance was paired with superb acoustics in the rendering of the stage and auditorium, and all in all, ironically the best visual description is perhaps given by the Republican: "It is impossible to give a description of the decorations which will convey an adequate idea of their beauty. They must be seen in order to be appreciated." Unfortunately for the modern patron, such an opportunity has long since died.
Currently 6/16/2016
The City of Coldwater is upgrading South Hanchett Street and Tibbits Plaza in keeping with our beautiful historic building. Work is currently being done on both the street and parking lot in front of the theatre.
Pasha Hawaii offers container and roll-on/roll-off (Ro/Ro) service for automobiles, buses, trucks, and/or other large and oversize rolling stock in the Mainland/Hawaii trade. A combination container/roll-on/roll-off ("ConRo") vessel, the Marjorie C is the only one of its type to ply the Mainland/Hawaii trade lane.
The 26,000-ton vessel was engineered from a proven design by Grimaldi in Croatia at Uljanik Shipyard and is the largest ever built at VT Halter in Pascagoula, Mississippi.
Length: 692 feet
Beam: 106 feet
Draft: 31 feet
Deadweight: 21,132.5 metric tons
Stern ramp capacity: 350 metric tons
Number of decks: 9
Quarter stern opening: 39'4" wide x 20'8" high
Crane capacity: 40 metric tons
Container capacity: l,400 TEU
Oversize cargo space: 104,000 sq. ft.
Automobile capacity: 1,200
Revelation 8:3-4 (ANIV)
3 Another angel, who had a golden censer, came and stood at the altar. He was given much incense to offer, with the prayers of all the saints, on the golden altar before the throne. 4 The smoke of the incense, together with the prayers of the saints, went up before God from the angel's hand.
DRAWING NOTES:
TIME OF DAY:
Not specified in the account.
LIGHTING NOTES:
The figure on the throne is the source of light in this scene.
CHARACTERS PRESENT:
The lamb that was slain (on the knee of the figure on the throne).
Around the throne are the 4 living creatures.
an angel holding a golden censer is standing by the golden altar, by the foot of the stairs leading up to the throne.
7 angels with trumpets (only 6 trumpets are visible in this scene) stand to the right of the scene.
9 (of the 24) elders are seated on thrones, in the foreground of the picture, with their backs to the viewer.
RESEARCH/ADDITIONAL NOTES:
This scene has taken me days to complete! It is one of the most complicated scenes I have drawn all year... possibly ever! I toyed with the idea of entitling it “... Scene 02 - Throne room”, but that didn’t really fit in with the narrative flow, especially as the next verse has the angel throwing the golden censer to earth.
Although this part of the narrative focusses primarily on the angel with the censer, he is rather upstaged by the other figures in the scene! Certainly the 4 living creatures, the 7 angels with trumpets and the central figure on the throne are all larger and grander-looking than the angel with the golden censer! I hope he doesn’t feel lost amongst heaven’s finest!
Even though the focus is on the angel with the censer, this scene includes many elements described in other parts of the Revelation narrative. Below are Bible quotes and my notes regarding each major element of this scene, with some close-up views to help describe the element.
The figure on the throne.
Revelation 4:2-3 (ANIV)
2 At once I was in the Spirit, and there before me was a throne in heaven with someone sitting on it. 3 And the one who sat there had the appearance of jasper and carnelian. A rainbow, resembling an emerald, encircled the throne...5 From the throne came flashes of lightning, rumblings and peals of thunder. Before the throne, seven lamps were blazing. These are the seven spirits [1] of God.
NOTES: The description of God sitting on the throne of heaven is amazing. I decided to illustrate Him as in the centre of a dazzling white light, with the emerald rainbow encircling Him, and lightning flashes radiating from Him.
I decided to have steps leading up from the “sea of glass” to the throne of God. There is also an altar (see notes below) and 7 lamp stands before the steps.
The 24 elders on thrones.
Revelation 4:4 (ANIV)
4 Surrounding the throne were twenty-four other thrones, and seated on them were twenty-four elders. They were dressed in white and had crowns of gold on their heads.
Revelation 5:8b (ANIV)
Each one had a harp and they were holding golden bowls full of incense, which are the prayers of the saints.
NOTES: I decided not to show all 24 elders, but have included a few in am arc in the foreground of this scene. Hopefully the arc gives the sense that the rest of the elders are off to the left and right of the picture.
The sea of glass.
Revelation 4:6a (ANIV)
6 Also before the throne there was what looked like a sea of glass, clear as crystal.
NOTES: I wondered if the “sea of glass” material might allow the beings in heaven to look down upon the earth, through it. I have shown a space scene, with the earth and moon prominent among the stars in my picture. Note the reflections of the figures, the altar and 7 lamp stands on the surface of the “sea of glass”. It’s these reflections that make it look transparent, like glass.
The 4 living creatures.
Revelation 4:6b (ANIV)
In the centre, around the throne, were four living creatures, and they were covered with eyes, in front and behind. 7 The first living creature was like a lion, the second was like an ox, the third had a face like a man, the fourth was like a flying eagle. 8 Each of the four living creatures had six wings and was covered with eyes all around, even under his wings. Day and night they never stop saying:
"Holy, holy, holy I
s the Lord God Almighty,
who was, and is, and is to come."
NOTES: I decided to show the 4 living creatures as being wrapped in 2 pairs of their wings, with the 3rd pair behind them, encircling them. I have kept the order of the creatures as it appears in the Bible; the first (left most) creature is the lion one, with the ox-headed one on the left of the throne. Then the living creature with the head of a man stands to the right of the throne, with the eagle-headed one to the right again.
Although the Bible states that the 4 living creatures were “around” the throne, that is rather difficult to show in my Bible Cartoon, as the light and lightning coming from the throne would obscure the back two. For this reason I have slightly altered their position, so they are more “beside” the throne.
The description of the 4 living creatures says they are covered in eyes. I decided to illustrate my version of the 4 living creatures based on a Peacock’s fantastic, bright feather colouring, using the “eye” design of a Peacock’s long tail feathers as the “eyes” mentioned in the description of the 4 living creatures. Peacock’s have bright blue necks, which I have carried into the colour of the heads of the creatures in my scene. The bright green of the creature’s legs and feet comes from the emerald green of a peacock’s feathers, on it’s back.
The scroll with seven seals.
Revelation 5:1-14 (ANIV)
The Scroll & the Lamb
1 Then I saw in the right hand of him who sat on the throne a scroll with writing on both sides and sealed with seven seals.
NOTES: In this scene it is almost impossible to see the 7 sealed scroll, due to the glow from the figure on the throne! The scroll is open, on the lap of the figure on the throne.
The lamb that was slain.
Revelation 5:6-7 (ANIV)
6 Then I saw a Lamb, looking as if it had been slain, standing in the centre of the throne, encircled by the four living creatures and the elders. He had seven horns and seven eyes, which are the seven spirits [1] of God sent out into all the earth. 7 He came and took the scroll from the right hand of him who sat on the throne.
NOTES: The lamb that was slain is in the centre of the picture, standing on the lap of the figure on the throne, with the 7 sealed scroll before the lamb.
The altar before the throne of God.
Revelation 7:9 (ANIV)
9 When he opened the fifth seal, I saw under the altar the souls of those who had been slain because of the word of God and the testimony they had maintained.
Revelation 8:3a (ANIV)
3 Another angel, who had a golden censer, came and stood at the altar...
Revelation 8:5a (ANIV)
5 Then the angel took the censer, filled it with fire from the altar,...
Revelation 9:13a (ANIV)
13 The sixth angel sounded his trumpet, and I heard a voice coming from the horns [2] of the golden altar that is before God...
NOTES: As mentioned above, the alter stands before the steps, that lead up to the throne of God. We know from Revelation 9:13 that the altar has gold, and had horns. We know that the altar of burnt offering which Moses had made for the tabernacle (see Exodus 27:1-8) also had horns at the 4 corners. I expect it was a reflection of the design of the altar that is in heaven.
I decided to put a bas relief pattern of 2 cherubim on the altar, reminiscent of the cherubim on the atonement cover on top of the ark of the covenant that Moses had made for the tabernacle (see Exodus 25:10-22).
How was I going to show “under the altar the souls of those who had been slain”?! I decided to show a patch of ragged edged purple cloth, beneath the altar, with faint white figures in and around it.
The seven angels with seven trumpets.
Revelation 8:1-2 (ANIV)
The Seventh Seal & the Golden Censer
1 When he opened the seventh seal, there was silence in heaven for about half an hour. 2 And I saw the seven angels who stand before God, and to them were given seven trumpets.
NOTES: I wanted the 2 trumpet angels to be tall and imposing. Each has an outer robe with a fiery pattern on its edge. Notice that each of the trumpets has a different design, which relates to the different effect each one has on the earth.
The angel with the golden censer.
Revelation 8:3-4 (ANIV)
3 Another angel, who had a golden censer, came and stood at the altar. He was given much incense to offer, with the prayers of all the saints, on the golden altar before the throne. 4 The smoke of the incense, together with the prayers of the saints, went up before God from the angel's hand.
The angel with the golden censer is designed in very similar terms to the ones on the right of the scene, and the ones shown in other scenes I have illustrated showing angels, throughout the Bible.
[1]
Or, the sevenfold Spirit.
[2]
That is, projections.
Why not visit my website & see all the cartoons there? www.biblecartoons.co.uk
French postcard by Editions P.I., Paris, offered by Les Carbones Korès 'Carboplane', no. 1000. Photo: Paramount. Publicty still for The Geisha Boy (Frank Tashlin, 1958).
American singer and actress Marie McDonald (1923–1965) was nicknamed 'The Body'. During World War II, she became one of Hollywood's most popular pin-up girls.
Marie McDonald was born Cora Marie Frye in Burgin, Kentucky, in 1923. She was the daughter Everett 'Ed' Frye and Marie Taboni née McDonald who performed in the Ziegfeld Follies. After her parents divorced, she eventually moved with her mother and stepfather to Yonkers, New York. At the age of 15, Marie began competing in numerous beauty pageants and was named 'The Queen of Coney Island'. She dropped out of school and began modelling. In 1939, McDonald was named 'Miss New York State', but subsequently lost at the 'Miss America' pageant. She debuted in George White's Scandals of 1939. The following year, at age 17, she landed a showgirl role in the Broadway production at the Earl Carroll Theatre called Earl Carroll's Vanities. Shortly thereafter, she moved to Hollywood hoping to develop a film career. She continued modelling and to work for the owner of the Broadway theatre as a showgirl at his Sunset Boulevard nightclub. She was the model used by illustrator Alex Raymond for the Dale Arden and Princess Aura creations for the Flash Gordon comic strip. After auditioning for Tommy Dorsey in 1940, she joined Dorsey & His Orchestra on his radio show and she later performed with other big bands. Dorsey suggested that she change her last name from 'Frye' to her mother's maiden name 'McDonald' which she used professionally for the rest of her life. In 1942, she was put under contract by Universal for $75 a week and immediately appeared in several minor roles. Her part in the Abbott and Costello comedy Pardon My Sarong (Earle C. Kenton, 1942) earned her the nickname 'The Body' for her curvaceous physique. She was eventually dropped by Universal and signed with Paramount Pictures, earning $100 a week. While at Paramount, McDonald appeared in Lucky Jordan (Frank Tuttle, 1942) starring Alan Ladd. The following year, she was loaned to Republic Pictures where she co-starred in A Scream in the Dark (George Sherman, 1943), a B detective mystery that met with reasonable success.
During World War II, Marie McDonald became one of Hollywood's most popular pin-up girls and she posed for the United States military magazine, Yank. While she initially did not mind being called 'The Body', McDonald soon grew tired of the nickname and expressed a desire to be known for her acting and singing skills. McDonald returned to Paramount where she appeared in supporting roles. In 1944, McDonald co-starred in the Film Noir Guest in the House (John Brahm, 1944), in which she received the first positive reviews in her career. Her next starring role came when she worked for independent producer Edward Small as the title character in the screwball comedy Getting Gertie's Garter (Allan Dwan, 1945). Tom De Felice at IMDb: "a mostly overlooked gem. If you are into comedy, it is a must see." In 1947, McDonald signed with Metro-Goldwyn-Mayer and co-starred with Gene Kelly in the musical Living in a Big Way (Gregory LaCava, 1947). McDonald and Kelly did not get along while shooting and the film was a financial failure. McDonald bought out the rest of her contract at M-G-M and went to Colombia Pictures where she appeared in a supporting role in the romantic comedy Tell It to the Judge (Norman Foster, 1949). In 1950, McDonald appeared in the Film Noir Once a Thief (W. Lee Wilder, 1950) and Hit Parade of 1951 (John H. Auer, 1951) which would be her final films for the next eight years. For the remainder of the 1950s, McDonald focused on theatre and music. McDonald recorded an LP for RCA Victor in 1957, The Body Sings, backed by Hal Borne and His Orchestra, which consisted of twelve standard ballads. She also toured the world in a very successful nightclub act. She returned to the screen in 1958 when she was cast as actress Lola Livingston in a slapstick comedy opposite Jerry Lewis in The Geisha Boy (Frank Tashlin, 1958). In 1963, she made her last film appearance in the sex comedy Promises! Promises! (King Donovan, 1963). She replaced sexpot Mamie Van Doren, but had numerous fights on the set with the other bombshell star Jayne Mansfield. She married the producer of the film, Donald F. Taylor, who would be her last husband.
When her film career dried up, Marie McDonald did some rather desperate publicity stunts. Hal Erickson at AllMovie: " at one point, she ripped a page from the repertoire of evangelist Aimee Semple McPherson, claiming that she'd been kidnapped and bundled off to the desert. Even when her unorthodox behavior didn't make the headlines, McDonald could count upon her seven marriages to keep her name in print." McDonald's first marriage was to sportswriter Richard Allord in 1940. The marriage was annulled after three weeks. In January 1943, McDonald married her agent, Victor Orsatti, in Reno, Nevada. They divorced in May 1947. While awaiting her divorce from Orsatti, McDonald had an affair with mobster Bugsy Siegel. Siegel reportedly dumped McDonald because of her chronic tardiness. McDonald's third and fourth marriages were to millionaire shoe manufacturer Harry Karl. They initially married in September 1947. After McDonald suffered several miscarriages, the couple adopted two children, Denice and Harrison. They separated in August 1954 and were divorced that November. McDonald and Karl remarried in Arizona in June 1955. They separated in March 1956 and, in May, Karl filed for divorce claiming that McDonald had beat him causing him "grievous mental suffering". At the time of their separation, McDonald was pregnant with the couple's first biological child. Karl dropped the divorce suit in June. In July, McDonald filed for divorced from Karl and was granted an interlocutory divorce decree later that month but their divorce was never finalized. Their daughter, Tina Marie, was born in September 1956. During their separation, McDonald dated Michael Wilding. McDonald and Karl reconciled again in 1957 but separated again in December 1957. They divorced for good in 1958. In 1959, McDonald married television executive Louis Bass in Las Vegas. She filed for divorced after ten months charging Bass with "mental cruelty". In 1961, she married banker and attorney Edward Callahan in Las Vegas. On September 17, 1962, Callahan filed suit in Los Angeles asking for a divorce from McDonald for mental cruelty or that the marriage be annulled due to fraud. Callahan claimed that the two had only lived together for two days because McDonald had no intention of making a home with him or having his children. Callahan also charged that McDonald would not convert to Roman Catholicism. McDonald counter sued dismissing Callahan's claim, stating that they had lived together until September 7. She also claimed that Callahan had committed adultery and borrowed $2600 from her to finance their wedding and honeymoon which he did not repay. McDonald married for the sixth time to Donald Taylor in 1963. They met while McDonald was appearing in Promises, Promises, the final film which Taylor produced. They remained married until McDonald's death. IMDb quotes McDonald: "Husbands are easier to find than good agents." In 1965, Taylor, found McDonald's body slumped over her dressing table in their Hidden Hills, California home. The coroner announced that McDonald's death was caused by "active drug intoxication due to multiple drugs" and was determined to be an accident or a suicide. In December 1965, the suicide team classified her death as 'accidental' after determining that McDonald likely did not choose to commit suicide. She was 42. Three months after McDonald's death, her widower, Donald F. Taylor, died of an intentional overdose of Seconal. McDonald's three surviving children were raised by Harry Karl and his wife, Debbie Reynolds.
Source: Hal Erickson (AllMovie), Wikipedia and IMDb.
Voronezh State Medical University named after N. N. Burdenko (former Voronezh State Medical Academy) is located in Voronezh, Russia.
Overview
In December 1930 the medical faculty of voronezh university became an independent medical institute consisting of two faculties the faculty of general medicine and the faculty of health. In 1933 the pediatric faculty, in 1957 the faculty of stomatology (dentistry) and 1983 the faculty of continuing education for medical specialists and practicing physicians were added. In 1992 the international faculty of medical education and the faculty of pre-university training were introduced.
Dedication to International Students
In the year of foundation — 1994. International students are offered training in the following programs: «General Medicine», «Pediatrics», «Dentistry» and «Pharmacy».
Degree Programs
Graduate courses
General Medicine
Pediatrics
Stomatology (Dentistry)
Nursing
Medico-prophylaxis
Pharmacy
Secondary medical and pharmaceutical education:
Nursing
Prosthetic dentistry
Pharmacy
Postgraduate courses
Internship
Residency
Ph.D. Course
Voronezh is a city and the administrative centre of Voronezh Oblast in southwestern Russia straddling the Voronezh River, located 12 kilometers (7.5 mi) from where it flows into the Don River. The city sits on the Southeastern Railway, which connects western Russia with the Urals and Siberia, the Caucasus and Ukraine, and the M4 highway (Moscow–Voronezh–Rostov-on-Don–Novorossiysk). In recent years the city has experienced rapid population growth, rising in 2021 to 1,057,681, up from 889,680 recorded in the 2010 Census, making it the 14th-most populous city in the country.
History
The first chronicle references to the word "Voronezh" are dated 1177, when the Ryazan prince Yaropolk, having lost the battle, fled "to Voronozh" and there was moving "from town to town". Modern data of archeology and history interpret Voronezh as a geographical region, which included the Voronezh river (tributary of the Don) and a number of settlements. In the lower reaches of the river, a unique Slavic town-planning complex of the 8th – early 11th century was discovered, which covered the territory of the present city of Voronezh and its environs (about 42 km long, about 13 forts and many unfortified villages). By the 12th – 13th centuries, most of the old towns were desolate, but new settlements appeared upstream, closer to Ryazan.
For many years, the hypothesis of the Soviet historian Vladimir Zagorovsky dominated: he produced the toponym "Voronezh" from the hypothetical Slavic personal name Voroneg. This man allegedly gave the name of a small town in the Chernigov Principality (now the village of Voronezh in Ukraine). Later, in the 11th or 12th century, the settlers were able to "transfer" this name to the Don region, where they named the second city Voronezh, and the river got its name from the city. However, now many researchers criticize the hypothesis, since in reality neither the name of Voroneg nor the second city was revealed, and usually the names of Russian cities repeated the names of the rivers, but not vice versa.
The linguistic comparative analysis of the name "Voronezh" was carried out by the Khovansky Foundation in 2009. There is an indication of the place names of many countries in Eurasia, which may partly be not only similar in sound, but also united by common Indo-European languages: Varanasi, Varna, Verona, Brno, etc.
A comprehensive scientific analysis was conducted in 2015–2016 by the historian Pavel Popov. His conclusion: "Voronezh" is a probable Slavic macrotoponym associated with outstanding signs of nature, has a root voron- (from the proto-Slavic vorn) in the meaning of "black, dark" and the suffix -ezh (-azh, -ozh). It was not “transferred” and in the 8th - 9th centuries it marked a vast territory covered with black forests (oak forests) - from the mouth of the Voronezh river to the Voronozhsky annalistic forests in the middle and upper reaches of the river, and in the west to the Don (many forests were cut down). The historian believes that the main "city" of the early town-planning complex could repeat the name of the region – Voronezh. Now the hillfort is located in the administrative part of the modern city, in the Voronezh upland oak forest. This is one of Europe's largest ancient Slavic hillforts, the area of which – more than 9 hectares – 13 times the area of the main settlement in Kyiv before the baptism of Rus.
In it is assumed that the word "Voronezh" means bluing - a technique to increase the corrosion resistance of iron products. This explanation fits well with the proximity to the ancient city of Voronezh of a large iron deposit and the city of Stary Oskol.
Folk etymology claims the name comes from combining the Russian words for raven (ворон) and hedgehog (еж) into Воронеж. According to this explanation two Slavic tribes named after the animals used this combination to name the river which later in turn provided the name for a settlement. There is not believed to be any scientific support for this explanation.
In the 16th century, the Middle Don basin, including the Voronezh river, was gradually conquered by Muscovy from the Nogai Horde (a successor state of the Golden Horde), and the current city of Voronezh was established in 1585 by Feodor I as a fort protecting the Muravsky Trail trade route against the slave raids of the Nogai and Crimean Tatars. The city was named after the river.
17th to 19th centuries
In the 17th century, Voronezh gradually evolved into a sizable town. Weronecz is shown on the Worona river in Resania in Joan Blaeu's map of 1645. Peter the Great built a dockyard in Voronezh where the Azov Flotilla was constructed for the Azov campaigns in 1695 and 1696. This fleet, the first ever built in Russia, included the first Russian ship of the line, Goto Predestinatsia. The Orthodox diocese of Voronezh was instituted in 1682 and its first bishop, Mitrofan of Voronezh, was later proclaimed the town's patron saint.
Owing to the Voronezh Admiralty Wharf, for a short time, Voronezh became the largest city of South Russia and the economic center of a large and fertile region. In 1711, it was made the seat of the Azov Governorate, which eventually morphed into the Voronezh Governorate.
In the 19th century, Voronezh was a center of the Central Black Earth Region. Manufacturing industry (mills, tallow-melting, butter-making, soap, leather, and other works) as well as bread, cattle, suet, and the hair trade developed in the town. A railway connected Voronezh with Moscow in 1868 and Rostov-on-Don in 1871.
20th century
World War II
During World War II, Voronezh was the scene of fierce fighting between Soviet and combined Axis troops. The Germans used it as a staging area for their attack on Stalingrad, and made it a key crossing point on the Don River. In June 1941, two BM-13 (Fighting machine #13 Katyusha) artillery installations were built at the Voronezh excavator factory. In July, the construction of Katyushas was rationalized so that their manufacture became easier and the time of volley repetition was shortened from five minutes to fifteen seconds. More than 300 BM-13 units manufactured in Voronezh were used in a counterattack near Moscow in December 1941. In October 22, 1941, the advance of the German troops prompted the establishment of a defense committee in the city. On November 7, 1941, there was a troop parade, devoted to the anniversary of the October Revolution. Only three such parades were organized that year: in Moscow, Kuybyshev, and Voronezh. In late June 1942, the city was attacked by German and Hungarian forces. In response, Soviet forces formed the Voronezh Front. By July 6, the German army occupied the western river-bank suburbs before being subjected to a fierce Soviet counter-attack. By July 24 the frontline had stabilised along the Voronezh River as the German forces continued southeast into the Great Bend of the Don. The attack on Voronezh represented the first phase of the German Army's 1942 campaign in the Soviet Union, codenamed Case Blue.
Until January 25, 1943, parts of the Second German Army and the Second Hungarian Army occupied the western part of Voronezh. During Operation Little Saturn, the Ostrogozhsk–Rossosh Offensive, and the Voronezhsko-Kastornenskoy Offensive, the Voronezh Front exacted heavy casualties on Axis forces. On January 25, 1943, Voronezh was liberated after ten days of combat. During the war the city was almost completely ruined, with 92% of all buildings destroyed.
Post-war
By 1950, Voronezh had been rebuilt. Most buildings and historical monuments were repaired. It was also the location of a prestigious Suvorov Military School, a boarding school for young boys who were considered to be prospective military officers, many of whom had been orphaned by war.
In 1950–1960, new factories were established: a tire factory, a machine-tool factory, a factory of heavy mechanical pressing, and others. In 1968, Serial production of the Tupolev Tu-144 supersonic plane was established at the Voronezh Aviation factory. In October 1977, the first Soviet domestic wide-body plane, Ilyushin Il-86, was built there.
In 1989, TASS published details of an alleged UFO landing in the city's park and purported encounters with extraterrestrial beings reported by a number of children. A Russian scientist that was cited in initial TASS reports later told the Associated Press that he was misquoted, cautioning, "Don't believe all you hear from TASS," and "We never gave them part of what they published", and a TASS correspondent admitted the possibility that some "make-believe" had been added to the TASS story, saying, "I think there is a certain portion of truth, but it is not excluded that there is also fantasizing".
21st century
From 10 to 17 September 2011, Voronezh celebrated its 425th anniversary. The anniversary of the city was given the status of a federal scale celebration that helped attract large investments from the federal and regional budgets for development.
On December 17, 2012, Voronezh became the fifteenth city in Russia with a population of over one million people.
Today Voronezh is the economic, industrial, cultural, and scientific center of the Central Black Earth Region. As part of the annual tradition in the Russian city of Voronezh, every winter the main city square is thematically drawn around a classic literature. In 2020, the city was decorated using the motifs from Pyotr Ilyich Tchaikovsky's The Nutcracker. In the year of 2021, the architects drew inspiration from Hans Christian Andersen's fairy tale The Snow Queen as well as the animation classic The Snow Queen from the Soviet Union. The fairy tale replica city will feature the houses of Kai and Gerda, the palace of the snow queen, an ice rink, and illumination.
In June 2023, during the Wagner Group rebellion, forces of the Wagner Group claimed to have taken control of military facilities in the city. Later they were confirmed to have taken the city itself.
Administrative and municipal status
Voronezh is the administrative center of the oblast.[1] Within the framework of administrative divisions, it is incorporated as Voronezh Urban Okrug—an administrative unit with the status equal to that of the districts.[1] As a municipal division, this administrative unit also has urban okrug status.
City divisions
The city is divided into six administrative districts:
Zheleznodorozhny (183,17 km²)
Tsentralny (63,96 km²)
Kominternovsky (47,41 km²)
Leninsky (18,53 km²)
Sovetsky (156,6 km²)
Levoberezhny (123,89 km²)
Economy
The leading sectors of the urban economy in the 20th century were mechanical engineering, metalworking, the electronics industry and the food industry.
In the city are such companies as:
Tupolev Tu-144
Voronezhselmash (agricultural engineering)
Sozvezdie[36] (headquarter, JSC Concern “Sozvezdie”, in 1958 the world's first created mobile telephony and wireless telephone Altai
Verofarm (pharmaceutics, owner Abbott Laboratories),
Voronezh Mechanical Plant[37] (production of missile and aircraft engines, oil and gas equipment)
Mining Machinery Holding - RUDGORMASH[38] (production of drilling, mineral processing and mining equipment)
VNiiPM Research Institute of Semiconductor Engineering (equipment for plasma-chemical processes, technical-chemical equipment for liquid operations, water treatment equipment)
KBKhA Chemical Automatics Design Bureau with notable products:.
Pirelli Voronezh.
On the territory of the city district government Maslovka Voronezh region with the support of the Investment Fund of Russia, is implementing a project to create an industrial park, "Maslowski", to accommodate more than 100 new businesses, including the transformer factory of Siemens. On September 7, 2011 in Voronezh there opened a Global network operation center of Nokia Siemens Networks, which was the fifth in the world and the first in Russia.
Construction
In 2014, 926,000 square meters of housing was delivered.
Clusters of Voronezh
In clusters of tax incentives and different preferences, the full support of the authorities. A cluster of Oil and Gas Equipment, Radio-electronic cluster, Furniture cluster, IT cluster, Cluster aircraft, Cluster Electromechanics, Transport and logistics cluster, Cluster building materials and technologies.
Geography
Urban layout
Information about the original urban layout of Voronezh is contained in the "Patrol Book" of 1615. At that time, the city fortress was logged and located on the banks of the Voronezh River. In plan, it was an irregular quadrangle with a perimeter of about 238 meter. inside it, due to lack of space, there was no housing or siege yards, and even the cathedral church was supposed to be taken out. However, at this small fortress there was a large garrison - 666 households of service people. These courtyards were reliably protected by the second line of fortifications by a standing prison on taras with 25 towers covered with earth; behind the prison was a moat, and beyond the moat there were stakes. Voronezh was a typical military settlement (ostrog). In the city prison there were only settlements of military men: Streletskaya, Kazachya, Belomestnaya atamanskaya, Zatinnaya and Pushkarskaya. The posad population received the territory between the ostrog and the river, where the Monastyrskaya settlements (at the Assumption Monastery) was formed. Subsequently, the Yamnaya Sloboda was added to them, and on the other side of the fort, on the Chizhovka Mountain, the Chizhovskaya Sloboda of archers and Cossacks appeared. As a result, the Voronezh settlements surrounded the fortress in a ring. The location of the parish churches emphasized this ring-like and even distribution of settlements: the Ilyinsky Church of the Streletskaya Sloboda, the Pyatnitskaya Cossack and Pokrovskaya Belomestnaya were brought out to the passage towers of the prison. The Nikolskaya Church of the Streletskaya Sloboda was located near the marketplace (and, accordingly, the front facade of the fortress), and the paired ensemble of the Rozhdestvenskaya and Georgievskaya churches of the Cossack Sloboda marked the main street of the city, going from the Cossack Gate to the fortress tower.
Climate
Voronezh experiences a humid continental climate (Köppen: Dfb) with long, cold winters and short, warm summers.
Transportation
Air
The city is served by the Voronezh International Airport, which is located north of the city and is home to Polet Airlines. Voronezh is also home to the Pridacha Airport, a part of a major aircraft manufacturing facility VASO (Voronezhskoye Aktsionernoye Samoletostroitelnoye Obshchestvo, Voronezh aircraft production association) where the Tupolev Tu-144 (known in the West as the "Concordski"), was built and the only operational unit is still stored. Voronezh also hosts the Voronezh Malshevo air force base in the southwest of the city, which, according to a Natural Resources Defense Council report, houses nuclear bombers.[citation needed]
Rail
Since 1868, there is a railway connection between Voronezh and Moscow. Rail services form a part of the South Eastern Railway of the Russian Railways. Destinations served direct from Voronezh include Moscow, Kyiv, Kursk, Novorossiysk, Sochi, and Tambov. The main train station is called Voronezh-1 railway station and is located in the center of the city.
Bus
There are three bus stations in Voronezh that connect the city with destinations including Moscow, Belgorod, Lipetsk, Volgograd, Rostov-on-Don, and Astrakhan.
Education and culture
Aviastroiteley Park
The city has seven theaters, twelve museums, a number of movie theaters, a philharmonic hall, and a circus. It is also a major center of higher education in central Russia. The main educational facilities include:
Voronezh State University
Voronezh State Technical University
Voronezh State University of Architecture and Construction
Voronezh State Pedagogical University
Voronezh State Agricultural University
Voronezh State University of Engineering Technologies
Voronezh State Medical University named after N. N. Burdenko
Voronezh State Academy of Arts
Voronezh State University of Forestry and Technologies named after G.F. Morozov
Voronezh State Institute of Physical Training
Voronezh Institute of Russia's Home Affairs Ministry
Voronezh Institute of High Technologies
Military Educational and Scientific Center of the Air Force «N.E. Zhukovsky and Y.A. Gagarin Air Force Academy» (Voronezh)
Plekhanov Russian University of Economics (Voronezh branch)
Russian State University of Justice
Admiral Makarov State University of Sea and River Fleet (Voronezh branch)
International Institute of Computer Technologies
Voronezh Institute of Economics and Law
and a number of other affiliate and private-funded institutes and universities. There are 2000 schools within the city.
Theaters
Voronezh Chamber Theatre
Koltsov Academic Drama Theater
Voronezh State Opera and Ballet Theatre
Shut Puppet Theater
Festivals
Platonov International Arts Festival
Sports
ClubSportFoundedCurrent LeagueLeague
RankStadium
Fakel VoronezhFootball1947Russian Premier League1stTsentralnyi Profsoyuz Stadion
Energy VoronezhFootball1989Women's Premier League1stRudgormash Stadium
Buran VoronezhIce Hockey1977Higher Hockey League2ndYubileyny Sports Palace
VC VoronezhVolleyball2006Women's Higher Volleyball League A2ndKristall Sports Complex
Religion
Annunciation Orthodox Cathedral in Voronezh
Orthodox Christianity is the predominant religion in Voronezh.[citation needed] There is an Orthodox Jewish community in Voronezh, with a synagogue located on Stankevicha Street.
In 1682, the Voronezh diocese was formed to fight the schismatics. Its first head was Bishop Mitrofan (1623-1703) at the age of 58. Under him, the construction began on the new Annunciation Cathedral to replace the old one. In 1832, Mitrofan was canonized by the Russian Orthodox Church.
In the 1990s, many Orthodox churches were returned to the diocese. Their restoration was continued. In 2009, instead of the lost one, a new Annunciation Cathedral was built with a monument to St. Mitrofan erected next to it.
Cemeteries
There are ten cemeteries in Voronezh:
Levoberezhnoye Cemetery
Lesnoye Cemetery
Jewish Cemetery
Nikolskoye Cemetery
Pravoberezhnoye Cemetery
Budyonnovskoe Cemetery
Yugo-Zapadnoye Cemetery
Podgorenskоye Cemetery
Kominternovskoe Cemetery
Ternovoye Cemetery is а historical site closed to the public.
Born in Voronezh
18th century
Yevgeny Bolkhovitinov (1767–1837), Orthodox Metropolitan of Kiev and Galicia
Mikhail Pavlov (1792–1840), Russian academic and professor at Moscow University
19th century
1801–1850
Aleksey Koltsov (1809–1842), Russian poet
Ivan Nikitin (1824–1861), Russian poet
Nikolai Ge (1831–1894), Russian realist painter famous for his works on historical and religious motifs
Vasily Sleptsov (1836–1878), Russian writer and social reformer
Nikolay Kashkin (1839–1920), Russian music critic
1851–1900
Valentin Zhukovski (1858–1918), Russian orientalist
Vasily Goncharov (1861–1915), Russian film director and screenwriter, one of the pioneers of the film industry in the Russian Empire
Anastasiya Verbitskaya (1861–1928), Russian novelist, playwright, screenplay writer, publisher and feminist
Mikhail Olminsky (1863–1933), Russian Communist
Serge Voronoff (1866–1951), French surgeon of Russian extraction
Andrei Shingarev (1869–1918), Russian doctor, publicist and politician
Ivan Bunin (1870–1953), the first Russian writer to win the Nobel Prize for Literature
Alexander Ostuzhev (1874–1953), Russian and Soviet drama actor
Valerian Albanov (1881–1919), Russian navigator and polar explorer
Jan Hambourg (1882–1947), Russian violinist, a member of a famous musical family
Volin (1882–1945), anarchist
Boris Hambourg (1885–1954), Russian cellist who made his career in the USA, Canada, England and Europe
Boris Eikhenbaum (1886–1959), Russian and Soviet literary scholar, and historian of Russian literature
Anatoly Durov (1887–1928), Russian animal trainer
Samuil Marshak (1887–1964), Russian and Soviet writer, translator and children's poet
Eduard Shpolsky (1892–1975), Russian and Soviet physicist and educator
George of Syracuse (1893–1981), Eastern Orthodox archbishop of the Ecumenical Patriarchate
Yevgeny Gabrilovich (1899–1993), Soviet screenwriter
Semyon Krivoshein (1899–1978), Soviet tank commander; Lieutenant General
Andrei Platonov (1899–1951), Soviet Russian writer, playwright and poet
Ivan Pravov (1899–1971), Russian and Soviet film director and screenwriter
William Dameshek (1900–1969), American hematologist
20th century
1901–1930
Ivan Nikolaev (1901–1979), Soviet architect and educator
Galina Shubina (1902–1980), Russian poster and graphics artist
Pavel Cherenkov (1904–1990), Soviet physicist who shared the Nobel Prize in physics in 1958 with Ilya Frank and Igor Tamm for the discovery of Cherenkov radiation, made in 1934
Yakov Kreizer (1905–1969), Soviet field commander, General of the army and Hero of the Soviet Union
Iosif Rudakovsky (1914–1947), Soviet chess master
Pawel Kassatkin (1915–1987), Russian writer
Alexander Shelepin (1918–1994), Soviet state security officer and party statesman
Grigory Baklanov (1923–2009), Russian writer
Gleb Strizhenov (1923–1985), Soviet actor
Vladimir Zagorovsky (1925–1994), Russian chess grandmaster of correspondence chess and the fourth ICCF World Champion between 1962 and 1965
Konstantin Feoktistov (1926–2009), cosmonaut and engineer
Vitaly Vorotnikov (1926–2012), Soviet statesman
Arkady Davidowitz (1930), writer and aphorist
1931–1950
Grigory Sanakoev (1935), Russian International Correspondence Chess Grandmaster, most famous for being the twelfth ICCF World Champion (1984–1991)
Yuri Zhuravlyov (1935), Russian mathematician
Mykola Koltsov (1936–2011), Soviet footballer and Ukrainian football children and youth trainer
Vyacheslav Ovchinnikov (1936), Russian composer
Iya Savvina (1936–2011), Soviet film actress
Tamara Zamotaylova (1939), Soviet gymnast, who won four Olympic medals at the 1960 and 1964 Summer Olympics
Yury Smolyakov (1941), Soviet Olympic fencer
Yevgeny Lapinsky (1942–1999), Soviet Olympic volleyball player
Galina Bukharina (1945), Soviet athlete
Vladimir Patkin (1945), Soviet Olympic volleyball player
Vladimir Proskurin (1945), Soviet Russian football player and coach
Aleksandr Maleyev (1947), Soviet artistic gymnast
Valeri Nenenko (1950), Russian professional football coach and player
1951–1970
Vladimir Rokhlin, Jr. (1952), Russian-American mathematician and professor of computer science and mathematics at the Yale University
Lyubov Burda (1953), Russian artistic gymnast
Mikhail Khryukin (1955), Russian swimmer
Aleksandr Tkachyov (1957), Russian gymnast and two times Olympic Champion
Nikolai Vasilyev (1957), Russian professional football coach and player
Aleksandr Babanov (1958), Russian professional football coach and player
Sergey Koliukh (1960), Russian political figure; 4th Mayor of Voronezh
Yelena Davydova (1961), Soviet gymnast
Aleksandr Borodyuk (1962), Russian football manager and former international player for USSR and Russia
Aleksandr Chayev (1962), Russian swimmer
Elena Fanailova (1962), Russian poet
Alexander Litvinenko (1962–2006), officer of the Russian FSB and political dissident
Yuri Shishkin (1963), Russian professional football coach and player
Yuri Klinskikh (1964–2000), Russian musician, singer, songwriter, arranger, founder rock band Sektor Gaza
Yelena Ruzina (1964), athlete
Igor Bragin (1965), footballer
Gennadi Remezov (1965), Russian professional footballer
Valeri Shmarov (1965), Russian football player and coach
Konstantin Chernyshov (1967), Russian chess grandmaster
Igor Pyvin (1967), Russian professional football coach and player
Vladimir Bobrezhov (1968), Soviet sprint canoer
1971–1980
Oleg Gorobiy (1971), Russian sprint canoer
Anatoli Kanishchev (1971), Russian professional association footballer
Ruslan Mashchenko (1971), Russian hurdler
Aleksandr Ovsyannikov (1974), Russian professional footballer
Dmitri Sautin (1974), Russian diver who has won more medals than any other Olympic diver
Sergey Verlin (1974), Russian sprint canoer
Maxim Narozhnyy (1975–2011), Paralympian athlete
Aleksandr Cherkes (1976), Russian football coach and player
Andrei Durov (1977), Russian professional footballer
Nikolai Kryukov (1978), Russian artistic gymnast
Kirill Gerstein (1979), Jewish American and Russian pianist
Evgeny Ignatov (1979), Russian sprint canoeist
Aleksey Nikolaev (1979), Russian-Uzbekistan footballer
Aleksandr Palchikov (1979), former Russian professional football player
Konstantin Skrylnikov (1979), Russian professional footballer
Aleksandr Varlamov (1979), Russian diver
Angelina Yushkova (1979), Russian gymnast
Maksim Potapov (1980), professional ice hockey player
1981–1990
Alexander Krysanov (1981), Russian professional ice hockey forward
Yulia Nachalova (1981–2019), Soviet and Russian singer, actress and television presenter
Andrei Ryabykh (1982), Russian football player
Maxim Shchyogolev (1982), Russian theatre and film actor
Eduard Vorganov (1982), Russian professional road bicycle racer
Anton Buslov (1983–2014), Russian astrophysicist, blogger, columnist at The New Times magazine and expert on transportation systems
Dmitri Grachyov (1983), Russian footballer
Aleksandr Kokorev (1984), Russian professional football player
Dmitry Kozonchuk (1984), Russian professional road bicycle racer for Team Katusha
Alexander Khatuntsev (1985), Russian professional road bicycle racer
Egor Vyaltsev (1985), Russian professional basketball player
Samvel Aslanyan (1986), Russian handball player
Maksim Chistyakov (1986), Russian football player
Yevgeniy Dorokhin (1986), Russian sprint canoer
Daniil Gridnev (1986), Russian professional footballer
Vladimir Moskalyov (1986), Russian football referee
Elena Danilova (1987), Russian football forward
Sektor Gaza (1987–2000), punk band
Regina Moroz (1987), Russian female volleyball player
Roman Shishkin (1987), Russian footballer
Viktor Stroyev (1987), Russian footballer
Elena Terekhova (1987), Russian international footballer
Natalia Goncharova (1988), Russian diver
Yelena Yudina (1988), Russian skeleton racer
Dmitry Abakumov (1989), Russian professional association football player
Igor Boev (1989), Russian professional racing cyclist
Ivan Dobronravov (1989), Russian actor
Anna Bogomazova (1990), Russian kickboxer, martial artist, professional wrestler and valet
Yuriy Kunakov (1990), Russian diver
Vitaly Melnikov (1990), Russian backstroke swimmer
Kristina Pravdina (1990), Russian female artistic gymnast
Vladislav Ryzhkov (1990), Russian footballer
1991–2000
Danila Poperechny (1994), Russian stand-up comedian, actor, youtuber, podcaster
Darya Stukalova (1994), Russian Paralympic swimmer
Viktoria Komova (1995), Russian Olympic gymnast
Vitali Lystsov (1995), Russian professional footballer
Marina Nekrasova (1995), Russian-born Azerbaijani artistic gymnast
Vladislav Parshikov (1996), Russian football player
Dmitri Skopintsev (1997), Russian footballer
Alexander Eickholtz (1998) American sportsman
Angelina Melnikova (2000), Russian Olympic gymnast
Lived in Voronezh
Aleksey Khovansky (1814–1899), editor
Ivan Kramskoi (1837–1887), Russian painter and art critic
Mitrofan Pyatnitsky (1864–1927), Russian musician
Mikhail Tsvet (1872–1919), Russian botanist
Alexander Kuprin (1880–1960), Russian painter, a member of the Jack of Diamonds group
Yevgeny Zamyatin (1884-1937), Russian writer, went to school in Voronezh
Osip Mandelstam (1891–1938), Russian poet
Nadezhda Mandelstam (1899-1980), Russian writer
Gavriil Troyepolsky (1905–1995), Soviet writer
Nikolay Basov (1922–2001), Soviet physicist and educator
Vasily Peskov (1930–2013), Russian writer, journalist, photographer, traveller and ecologist
Valentina Popova (1972), Russian weightlifter
Igor Samsonov, painter
Tatyana Zrazhevskaya, Russian boxer
Paul “Jack’ Pollard was an old time collector who had a focus on minor league cards. Much of his collection was offered and is still being offered by REA - Including his 1909-1911 T212 Obak Sets. SGC tagged many of these slabs with his name. (Pollard Collection)
The Vancouver Beavers were a Class-B minor league baseball team based in Vancouver, British Columbia that played on and off from 1908 to 1922. The team played in the Northwestern League, Pacific Coast International League, Northwest International League and Western International League. From 1913 on, they played their home games at Athletic Park.
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Si ? / Irv / Irving Jensen
Position: Outfielder
Bats: Unknown • Throws: Left
Height: 5' 11" / Weight - 165 lbs
Born: March 28, 1881 in Millcreek, UT
Died: December 30, 1952 (Aged 71) in Salt Lake City, UT
Full Name: Erven Leslie Jensen
(Idaho State Journal from Pocatello, Idaho - January 1, 1953) Erven Jensen, one of the most ardent baseball supporters In the area. Jensen died late Tuesday, in the Salt Lake Veterans Hospital after a long Illness. He was 71. A native of Utah, Jensen broke into organized baseball as a pitcher near the turn of the century while working on the West Coast. He began as a pitcher for Oakland. In 1905, he was signed by Clark Griffith's Highlanders, then In the major leagues, but was turned over to a farm team because his knuckle ball was loo easy to detect.
Link to his minor league stats - www.baseball-reference.com/register/player.fcgi?id=jensen...
Link to his minor league stats from 1906 - www.baseball-reference.com/register/player.fcgi?id=jensen...
(San Francisco Call, 17 April 1903) - Jensen, the left-hander from Salt Lake, did the slab trick for the visitors (Butte Miners). Just like most of the southpaws on the new grounds, he was real cream cheese for the native talent. They began to do a few things to Mr. Jensen early In the battle, and never for a moment did they let up on him. He seemed to have big curves and wonderful speed, but still the home batters fell upon his assortment and tent it all over the lot. San Francisco won the game against Butte 9-4.
(Sporting Life - 28 May 1904) - With Salt Lake City - John A. Ward, Erven Jensen.
(The Salt Lake Tribune, June 09, 1906) - Jensen Goes to Pocatello - Irving Jensen, who pitched a winning game for the Tailors last Saturday and again yesterday leaves for Pocatello today. Sunday he will twirl for tho Soda Springs team, which plays tho Pocatello aggregation for a $100 side bet. Victory for the Soda Springs team is said to mean a good piece of money for Jensen. After the game Jensen will return and resume his work with the locals.
(San Francisco Call, 6 September 1906) - JENSEN GOES TO SPOKANE. - CINCINNATI, Sept 5 — The National Baseball Commission in a decision handed down today awarded player Jensen, now with the New York American League Club, to the Spokane Club. The Spokane Club contended that Jensen accepted terms and transportation from it and then joined the New York Club. The New York Club did not submit any evidence in the case.
(The Spokane Press, September 05, 1908) - JENSEN CLEAR OUT - After winning 13 out of the first 15 games he pitched, Irv. Jensen lost 16 straight and has been released on pay for the rest of the season. Overwork and worry caused the southpaw's slump. He is losing weight rapidly and is so weak he may be forced to take to bed.
(The Spokane Press, September 10, 1908) - Irv. Jensen, after a short rest, is back In the game again, and yesterday, although his pitching was not remarkable, he won over Aberdeen, 2 to 1. The Indians got only four hits off big Gus Thompson, but bunched them in the second inning and got the tallies.
(The Salt Lake Herald-Republican, March 18, 1910) - JENSEN TO VANCOUVER - Irving Jensen the local boy who has made good in the box with the Spokane club of the Northwestern league for the past three years leaves next week to join the Vancouver club. Jensen received a better offer from the Canadian club and accepted it.
(The Yakima Herald, April 20, 1910) - Sidewheeler Trotted Out.
Irving Jensen, the only southpaw on the Squad, was trotted out on the mound by the Vancouver manager to give the slugging Beavers a trial of a sidewheeler. Jensen was in great form and the sluggers had their troubles locating his curve ball. However. Brown figures that the Beavers are not going to be bothered by sidewheelers this year. In as much as there is only two of the left-handed hitters that are troubled by southpaws, Adams and Capron, and Swain can be used in place of Adams, the Beavers are well fortified against the slabsters with the southern delivery.
(Morning Oregonian, May 13, 1910) - TACOMA SHUTS OUT VANCOUVER - Jensen Strikes Out 1 1 Men, but Poor Support Loses Game. VANCOUVER, B. C. May 12. Tacoma won a loosely played game today. Jensen pitched a good game for Vancouver, striking out 11 men, but his support was poor. Tacoma bunched hits in the latter part of the game, driving in the winning run after having been shut out for seven innings. Score: Tacoma 2 - Vancouver - 0.
(The Tacoma times., July 10, 1911) - Portland gets Jensen from Vancouver and Seattle gets Ort from Portland.
(Sporting Life - 9 March 1912) - President Dick Cooley, of the Salt Lake (Union Association) Club, has signed southpaw pitcher Erven L. Jensen; late of the Northwestern League; and pitcher J. E. Lewis, late of Oakland, California.
(Morning Oregonian, May 28, 1912) - Erven Jensen, former Portland slabster, now with the Union Association, once carried around in his mouth a $900 diamond belonging to Harry Ostdick, of the Indians. Ostdick and Jensen were in an altercation last season at Seattle and words led to blows. Ostdick punched the pitcher In the mouth and after the combatants were separated, discovered that his three-carat stone had been separated from a ring in the melee. He went on a hunt for the "rock," but in the meantime Jensen plucked the $900 beauty out of his mouth, where It had lodged after a tooth had plucked it from its original mooring.
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Someone offered me the 'holy grail' of UV lenses - an ultra-rare Nikon UV-Nikkor 105mm f/4.5. It was at an unbeatable price, and the seller threw in a full-spectrum converted Nikon D600 and - amazingly - an equally ultra-rare SB-140 wide-spectrum flash complete with its UV, IR and visible filters, plus a few more bits and pieces.
I haven't done much testing yet but this is one of my first images - a daisy and a dandelion - in slightly scattered afternoon sunlight.
The UV-Nikkor is a dream to handle. The focus control is superb, it's crazy-sharp and - well - perfect. It's easy to take candid UV snaps hand-held with this setup. IR is easy too, but that can be done with lots of lenses. Only the UV-Nikkor goes up to 200nm.
This image was made with a Baader U filter so there shouldn't be too much IR contamination. One thing that did surprise me on long (2s) exposures was that light leakage through the viewfinder trashes images, so I'll have to find some way of curing that. In this image I simply used my hand to shade the eyepiece, but it's not perfect.
I don't know why the daisy came out blue. Any ideas?
Italien / Lombardei - Salò
Three-Church-tour at Salò
Lake Garda has a lot to offer in cultural terms. Near Salò in south Lake Garda, you can combine visits to various places of pilgrimage on a wonderful hike while enjoying the beautiful surroundings.
The three-church tour runs over a nine-kilometre contemplative hiking trail. It leads through the typical landscape of southern Lake Garda to the three churches of pilgrimage of Sanctuary Madonna del Rio, Santuario della Madonna di Buon Consiglio and Santuario San Bartolomeo.
The hike starts just before the town of Renzano. Here, you can park the car and reach your first destination: the village of Renzano. In the village of Renzano, path number 16 begins, which leads to the first place of pilgrimage Madonna del Rio. The wild, yellow-painted church dates from the 18th century. At that time, the Virgin Mary appeared in a nearby grotto and left her footprints in white stone. These impressions are still testimony to the miraculous event. To the left of the church, a forest path takes you to a lovely waterfall.
The second stage leads through the woods, past the villages of Milordino and Milord, to Bagnolo with the picturesque, cypress-surrounded Sanctuary of the Madonna di Buon Consiglio at 516 metres.
You reach the third and last destination via path 17b. First, it goes to the Passo della Stacca at 458 metres. Then you follow the number 17 towards Bassa Via del Garda to Gardesina and the stone Santuario San Bartolomeo at 480 metres.
Just below the church, path number 17 leads through olive groves to the Gardesana Occidentale, where it goes back to the starting point. Overall, this, not to be underestimated, circular walk with reflection factor, can be hiked in 4.5 hours.
(garda-see.com)
Salò (Italian: [saˈlɔ]; Latin: Salodium) is a town and comune in the Province of Brescia in the region of Lombardy (northern Italy) on the banks of Lake Garda, on which it has the longest promenade. The city was the seat of government of the Italian Social Republic from 1943 to 1945, with the ISR often being referred to as the "Salò Republic" (Repubblica di Salò in Italian).
History
Roman period
Although legend has it that Salò has Etruscan origins, recorded history starts with the founding by ancient Romans of the colony of Pagus Salodium. There are numerous ruins of the Roman settlement, as shown by the Lugone necropolis (in via Sant’Jago) and the findings (vase-flasks and funeral steles) in the Civic Archaeological Museum located at the Loggia della Magnifica Patria.
Middle Ages
During the high Middle Ages, the city shared the same history as that of Lombardy.
The origins of the municipality of Salò are barely known: its autonomy from Brescia can be dated towards the end of the 13th century or the beginning of the next one, and the most ancient statues conserved by the city authorities are dated 1397.
Prior to 1334, the town was part of a sort of federation of town councils of the territory along the western lakeshore of Lake Garda (from Limone down to Desenzano) and the Valsabbia areas, called Riperia Lacus Gardae Brixiensis with the chef-lieu of Maderno.
The federation did not want to form an alliance with Brescia nor with Verona deciding instead to request the help of Venice. Due to the distance of Venice, this strategy did not guarantee the independence of the area and, after a short protectorate under the rule of Venice (from 1336 to 1349), Salò became a stronghold of the Milanese Visconti family. In 1377 Beatrice della Scala, the wife of Bernabò Visconti, wanted Salò to be the capital of the area, reducing the influence of Maderno: the city was provided with solid walls and the castle was built.
The Magnifica Patria
On 13 May 1426, after a long period of war, the towns of western bank of the lake spontaneously joined the Venetian Republic, where they remained for the following three centuries: in the main square a column with the Lion of St Mark, symbol of Venice, can be found still today.
Over the years, Venice gave large autonomy to this province of its Stato da Tera, that remained a de facto independent area and was given both the titles of Magnifica Patria (Magnificent Homeland) and Figlia primogenita della Serenissima (firstborn daughter of the Serenissima).
The general council of the Patria and its other institutions remained all centred in Salò (which gained importance and influence), although a governor was sent by the capital, who was given the titles of Provveditore (Superintendent) and Capitano della Riviera (Captain of the Riviera) and the power to act as penal judge for the whole Riviera (whilst civil justice was entrusted to a Brescian podestà who also resided in Salò). Besides farming and trade, the linen industry developed in this period.
Napoleonic era and Risorgimento
In 796 Napoleons troops fought with Austrian troops in Northern Italy during the First Italian campaign. The end of the Venetian republic (Treaty of Campo Formio) ended Salò's position as the capital of the western riviera: on 1 January 1797, the provisional Brescian government instituted the Canton of Benaco with the capital of Benaco, "aforesaid Salò": the town joined the Cisalpine Republic and then the Napoleonic Kingdom of Italy (1805–1814).
After the Napoleonic Era, Salò became part of the Austrian Kingdom of Lombardy–Venetia from 1815 to 1859.
In 1848 Salò joined the Milan revolution against the Habsburg rule and during the Second Italian War of Independence, there were many volunteers that fought with Garibaldi serving in the Piedmontese Army. On 18 June 1859, Garibaldi entered Salò and was welcomed by a happy crowd. Salò received the honorary title of Città (City) with a royal decree on 15 December 1860.
In 1866 the town was the headquarters of the Italian navy during the war with Austria. After the battle of Custoza the Austrians temporarily retook control of the town, but despite their victory and a naval defeat of the Italians at Lissa, the Austrians surrendered to the Prussians a month later and were forced to cede Venetia after the Treaty of Vienna.
Italian Social Republic
From 1943 to 1945 Salò was the de facto capital (seat of government) of Benito Mussolini's Nazi-backed puppet state, the Italian Social Republic, also known as the Republic of Salò: Villa Castagna was the seat of the police headquarters, Villa Amedei was the head office of the Ministry of Popular Culture, Villa Simonini (nowadays Hotel Laurin) was the seat of the Ministry of Foreign Affairs and the Stefani Agency, which distributed official press releases, was located in Via Brunati.
Seismicity
The area around the lake is a seismic zone. In 1877 a meteorological observatory was established under the supervision Prof. Pio Bettoni, to whom it was later dedicated. In 1889, a geophysical observatory (seismic station) was added, which became an important scientific research centre after the 1901 earthquake (5.5 Mw, intensity VII–VIII, no fatalities, buildings damaged). Another earthquake occurred in 2004 (5.1 Mw, intensity VII–VIII, nine injuries, many buildings damaged).
(Wikipedia)
Drei-Kirchen-Rundgang bei Salò
Der Gardasee hat in kultureller Hinsicht vieles zu bieten. Am südlichen Gardasee bei Salò können Sie die Besichtigung verschiedener Wallfahrtsorte bei einer herrlichen Wanderung kombinieren und gleichzeitig die wunderschöne Gegend genießen.
Der Drei-Kirchen-Rundgang in Salò verläuft über einen neun Kilometer langen beschaulichen Wanderweg. Dieser führt durch die typische Landschaft am südlichen Gardasee zu den drei Wallfahrtskirchen Santuario Madonna del Rio, Santuario della Madonna di Buon Consiglio und Santuario San Bartolomeo.
Die Wanderung beginnt kurz vor dem Ort Renzano. Hier kann das Auto geparkt und gleich das erste Ziel angesteuert werden: das Dorf Renzano. Dort beginnt der Weg Nr. 16, der bis zum ersten Wallfahrtsort Madonna del Rio führt. Die wild umwachsene, gelb getünchte Kirche stammt aus dem 18. Jahrhundert. Damals soll in einer nahegelegenen Grotte die Gottesmutter Maria erschienen sein und ihre Fußabdrücke in weißem Stein hinterlassen haben. Diese Abdrücke sollen noch heute Zeugnis über das wundersame Ereignis ablegen. Links von der Kirche bringt ein Waldweg zum Wasserfall des Ortes.
Die zweite Etappe führt durch den Wald, vorbei an den Ortschaften Milordino und Milord, nach Bagnolo mit dem malerischen, von Zypressen umgebenen Santuario della Madonna di Buon Consiglio auf 516 Metern.
Das dritte und letzte Ziel kann über den Weg 17b erreicht werden. Zunächst geht es zum Passo della Stacca auf 458 Metern. Danach geht es der Nr. 17 folgend weiter Richtung Bassa Via del Garda bis nach Gardesina und dem steinernen Santuario San Bartolomeo auf 480 Metern.
Direkt unter der Kirche führt der Weg Nr. 17 durch Olivenhaine bis auf die Gardesana Occidentale von der es wieder zurück zum Ausgangspunkt geht. Insgesamt kann diese, nicht zu unterschätzende, Rundwanderung mit Besinnungsfaktor in 4,5 Stunden erwandert werden.
(garda-see.com)
Salò [saˈlɔ] ist eine italienische Gemeinde und Kleinstadt (comune) mit 10.619 Einwohnern (Stand 31. Dezember 2019) in der Provinz Brescia, Region Lombardei.
Geographie
Die Gemeinde am Westufer des Gardasees liegt etwa 24 km nordöstlich von Brescia an der gleichnamigen Bucht. Der Ort wird im Norden vom Monte San Bartolomeo (569 m) und im Westen von Monte Covolo (552 m) eingegrenzt. Zwischen beiden Erhebungen, die zu den letzten des hier auslaufenden südlichen Alpenrandes gehören, führt nordwestlich von Salò das Val Sabbia mit dem Fluss Chiese. Südlich von Salò liegt die von der Endmoräne des Etschgletschers hinterlassene Moränenlandschaft der Valtenesi.
Nachbargemeinden sind Gardone Riviera, Gavardo, Puegnago sul Garda, Roè Volciano, San Felice del Benaco, Vobarno sowie Torri del Benaco in der Provinz Verona. Salò ist nicht nur als Badeort bekannt, sondern auch eine viel besuchte Einkaufsstadt.
Geschichte
In der Römerzeit als Pagus Salodium gegründet, residierten im Mittelalter in Salò die Visconti. 1337 wurde Salò zur Hauptstadt der Magnifica Patria, einem Zusammenschluss der westlichen Gemeinden des Gardasees und einem Teil des Sabbiatals. Ab 1440 kontrollierte die Republik Venedig die Stadt.
1887 erhielt Salò Bahnanschluss an der Straßenbahnstrecke Brescia–Salò–Gargnano, die bis 1921 etappenweise bis nach Gargnano verlängert wurde. 1954 wurde der Betrieb auf dem zuletzt verbliebenen Streckenteil Brescia–Sàlo eingestellt.
Von 1943 bis 1945 war Salò de facto die Hauptstadt von Benito Mussolinis faschistischer Sozialrepublik (RSI) unter der militärischen Protektion des Großdeutschen Reiches. Aufgrund dessen benannte Pier Paolo Pasolini seinen Film Salò o le 120 giornate di Sodoma (Salò oder die 120 Tage von Sodom) nach der Stadt.
Ein bekannter Jugendstilbau ist die Villa Laurin, in der das Außenministerium untergebracht war und die heute ein Hotel ist.
(Wikipedia)
The Hall of the Muses
The Hall of the Muses, the spatial and ceremonial center of the state apartments, served as a dining room and offered the prestigious setting for glamorous soirees and splendid balls.
Five gorgeous crystal chandeliers enlighted the room in light brightness, 258 additional candles that were additionally anchored in the running rosette frieze, plunged it in a sea of lights.
Hall of the Muses © Albertina, Vienna (Photo: Alexander Ch Wulz)
Musensaal
To the splendid appearance of the hall also contribute the precious stucco marble panelings of the wall panels and pilasters as well as the gilded doors and decorative elements.
The name of the hall is derived from the cycle of figures "Apollo and the Nine Muses". The life-size, with a marble imitating polishing white surface provided sandstone figures come from Joseph Klieber (1773-1859), who drew inspiration for this work from the oeuvres of the sculptor Antonio Canova.
www.albertina.at/das_palais/prunkraeume/musensaal
The Albertina
The architectural history of the Palais
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
An activist offers a bunch of flowers to a federal officer in Portland.
Thousands of activists rally outside the Hatfield Federal Courthouse in Portland, Oregon on the night of July 25, 2020. The activists were protesting the presence of federal officers in the city, and continuing the Black Lives Matter protests that started after the murder of George Floyd.
Portland has been roiled by nightly protests following the killing of George Floyd in Minneapolis. President Donald Trump said he sent federal agents to Oregon’s largest city to halt the unrest but state and local officials say they are making the situation worse.
The clashes in Portland have further inflamed the nation’s political tensions and triggered a crisis over the limits of federal power as Trump moves to send U.S. officers to other Democratic-led cities he says are violent.
Annie Sloan is the name of a woman who invented a unique type of paint back in 1990. This paint, which is known as chalk paint, earned its name because of its beautiful matte finish that is somewhat “chalky” looking.
Originally, the paint only came in one color, which was a subtle,...
www.anniesloanchalkpaints.com/2015/the-most-beautiful-ann...
When the offer of a waterfall shoot came up, how could I resist?!?! Although I really didn’t think the costume all the way through, of course long floaty flowing white looks great dry and wind swept – get a splash of water on it and I might as well be naked lol. Actually when photographic erotica first started in the late 1800s-early1900s they would cover women in wet muslin so they wouldn’t get in trouble but you could still see almost everything.
Anyway, the falls were great – cold, but great, its going to be really hard finding the best shots from this set – so you guys will probably be seeing heaps of them!
My neighbour offered me a lift into town today but he insisted I sit in the back, I have no idea why.
One Quechua woman kindly offered to explain the way they traditionally dye their clothes and textiles. It was an amazing experience. What's on her lips also is a kind of dye from an insect she just crushed. She mixed lime juice to make the vivid red color from the insect into orangish color. And her magic kept going on.
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Gears:
Camera: Nikon D5000 (newer version of the camera is Nikon D5300
Lens: Nikon 35mm f/1.8G AF-S DX Nikkor Lens
Circular Polarizing Filter: Tiffen 77mm Circular Polarizer
Step-Up Ring: Super Cheapo Step-Up Ring from 77mm to 52mm
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Chrysler offered "Signature Series" packages on each of its 2005 model lines. The Pacifica Signature Series package on the Touring series included power moonroof at no extra cost, two-tone taupe leather seats, AM/FM cassette/CD player with in-dash 6-disc changer, 17" chrome wheels, silver interior trim, fog lamps, power liftgate, cargo group (cargo net, tonneau cover, roof rack), automatic headlamps, memory system for driver's seat, mirrors and pedals and exterior color selections of Linen Gold, Bright Silver, Midnight Blue or Atlantic Blue.
Introduced as a RX330 and MDX rival in early 2003 as a 2004 model, the "sports tourer" Pacifica wagon was not as well received. The Pacifica was based on the Chrysler minivan platform and also built on the Windsor, Ontario assembly line.
2005 models (introduced early in April 2004) added a lower priced entry level series, with the original 2004 base model renamed as Touring (midlevel trim), along with an upmarket Limited. Touring and Limited were available only with 3-row seating and had the 250 HP 3.5 liter V6 from the 300M sports sedan (base FWDs with a 3.8 liter 215 HP V6, AWD with the 3.5).
Available with both 2-row and 3-row seating versions, the 2-row configuration has 92.7 cubic feet interior volume (EPA cargo volume index) with rear seats down - the most in the class, with 79.5 cubic feet in 3-row Touring and Limited models.
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2005 Chrysler Signature Series brochure: www.lov2xlr8.no/brochures/mopar/05sig/05sig.html
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See Chip offer to buy Poppy an ice cream.
(Yes, please! A girl’s gotta eat…complex carbs that will inevitably find their way to her posterior later.)
Fashion Credits
Sweet Confection Poppy
Dress: razldazl71 (flickr.com)
Sweater: IT – NuFace – Style Mantra Eden
Boots: Momoko- Cosmos Sweetheart
Bag: IT – Model Behavior – Visible Sensation Fashion
Sunglasses: Momoko – Fruits of Passion
Karma Necklace and Earrings: Knife’s Edge Designs (me)
She has been enhanced (eyes and freckles) by me. Her hair’s been relaxed and trimmed.
Baby, It’s You Chip
Jeans: IT – Dynamite Boy – Radiant Child Remi
Shirt: Tank – Mutant Goldfish Designs/ Screenprint – Me
Sweater: fakeskin (etsy.com)
Shoes: Mattel – Playline Ken
Belt: Volks – Who’s That Girl? - Selfish
Sunglasses: IT – Homme – Leading Man Lukas
He has been enhanced (eyes and stubble) by me. His hair has been un-pomped, washed, and re-pomped.
A Vörös Gárda Péterváron 1917-ben. Ismeretlen fényképész felvétele. A Vörös Gárdáról In: allpowertothesoviets.wordpress.com/2017/11/03/the-red-gua... Hozzáférés: 2020.12.14
The Red Guard and the October Revolution:
Posted on November 3, 2017 by allpowertothesoviets
What force did the Petrograd workers offer from a military point of view? This raises the question of the Red Guard. It is time to speak of this in greater detail, for the Red Guard is soon to come out on the great arena of history.
Deriving its tradition from 1905, the Workers’ Guard was reborn with the February revolution and subsequently shared the vicissitudes of its fate. Kornilov, while Commander of the Petrograd military district, asserted that during the days of the overthrow of the monarchy, 30,000 revolvers and 40,000 rifles disappeared from the military stores. Over and above that, a considerable quantity of weapons came into the possession of the people during the disarming of the police and by the hands of friendly regiments. Nobody responded to the demand to restore the weapons. A revolution teaches you to value a rifle. The organized workers, however, had received only a small part of this blessing.
During the first four months the workers were not in any way confronted with the question of insurrection. The democratic régime of the dual power gave the Bolsheviks an opportunity to win a majority in the soviets. Armed companies of workers formed a constituent part of the militia. This was, however, more form than substance. A rifle in the hands of a worker involves a totally different historic principle than the same rifle in the hands of a student.
The possession of rifles by the workers alarmed the possessing classes from the very beginning, since it shifted the correlation of forces sharply to the advantage of the factory. In Petrograd, where the state apparatus supported by the Central Executive Committee was at first an indubitable power, the Workers’ Militia was not much of a menace. In the provincial industrial regions, however, a reinforcement of the Workers’ Guard would involve a complete change of all relations, not only within the given plant but all around it. Armed workers would remove managers and engineers, and even arrest them. Upon resolutions adopted by a factory meeting the Red Guard would not infrequently receive pay out of the factory exchequer. In the Urals, with their rich tradition of guerrilla fighting in 1905, companies of the Red Guard led by the old veterans established law and order. Armed workers almost unnoticeably dissolved the old government and replaced it with soviet institutions. Sabotage on the part of the property owners and administrators shifted to the workers the task of protecting the plants – the machines, stores, reserves of coal and raw materials. Rôles were here interchanged: the worker would tightly grip his rifle in defense of the factory in which he saw the source of his power. In this way elements of a workers’ dictatorship were inaugurated in the factories and districts some time before the proletariat as a whole seized the state power.
Reflecting as always the fright of the property owners, the Compromisers tried with all their might to oppose the arming of the Petrograd workers or reduce it to a minimum. According to Minichev, all the arms in the possession of the Narva district consisted of “fifteen or twenty rifles and a few revolvers.” At that time robberies and deeds of violence were increasing in the capital. Alarming rumours were spreading everywhere heralding new disturbances. On the eve of the July demonstration it was generally expected that the district would be set fire to. The workers were hunting for weapons, knocking at all doors and sometimes breaking them in.
red guard detachment petrograd 1917
Red Guard detachment in Petrograd, 1917
The Putilov men brought back a trophy from the demonstration of July 3rd: a machine-gun with five cases of cartridgebelt. “We were happy as children,” said Minichev. Certain individual factories were somewhat better armed. According to Lichkov, the workers of his factory had 80 rifles and 20 big revolvers. Riches indeed! Through the Red Guard headquarters they got two machine-guns. They put one in the dining-room, one in the attic. “Our commander,” says Lichkov, “was Kocherovsky, and his first assistants were Tomchak, who was killed by White Guards in the October Days near Tsarskoe Selo, and Efimov, who was shot by White bands near Hamburg.” These scant words enable us to glance into the factory laboratory where the cadres of the October revolution and the future Red Army were forming, where the Tomchaks and Efimovs were being chosen out, tempered, and were learning to command, and with them those hundreds and thousands of nameless workers who won the power, loyally defended it from its enemy, and fell subsequently on all the fields of battle.
The July Days introduced a sudden change in the situation of the Red Guard. The disarming of the workers was now carried out quite openly – not by admonition but by force. However, what the workers gave up as weapons was mostly old rubbish. All the very valuable guns were carefully concealed. Rifles were distributed among the most reliable members of the party. Machine-guns smeared with tallow were buried in the ground. Detachments of the Guard closed up shop and went underground, closely adhering to the Bolsheviks.
The business of arming the workers was originally placed in the hands of the factory and district committees of the party. It was only after the recovery from the July Days that the Military Organisation of the Bolsheviks, which had formerly worked only in the garrison and at the front, took up the organisation of the Red Guard, providing the workers with military instructors and in some cases with weapons. The prospect of armed insurrection put forward by the party gradually prepared the advanced workers for a new conception of the function of the Red Army. It was no longer a militia of the factories and workers’ districts, but the cadres of a future army of insurrection.
During August, fires in the shops and factories multiplied. Every new crisis is preceded by a convulsion of the collective mind, sending forth waves of alarm. The factory and shop committees developed an intense labor of defending the plants from attacks of this kind. Concealed rifles came out into the open. The Kornilov insurrection conclusively legalized the Red Guard. About 25,000 workers were enrolled in companies and armed – by no means fully, to be sure – with rifles, and in part with machine-guns. Workers from the Schlusselberg powder factory delivered on the Neva a bargeful of hand grenades and explosives – against Kornilov! The compromisist Central Executive Committee refused this gift of the Greeks. The Red Guards of the Vyborg side distributed the gift by night throughout the district.
“Drill in the art of handling a rifle,” says the worker Skorinko, “formerly carried on in flats and tenements, was now brought out into the light and air, into the parks, the boulevards.” “The shops were turned into camps,” says another worker, Rakitov … “The worker would stand at his bench with knapsack on his back and rifle beside him.” Very soon all those working in the bomb factory except the old Social Revolutionaries and Mensheviks were enrolled in the Guard. After the whistle all would draw up in the court for drill. “Side by side with a bearded worker you would see a boy apprentice, and both of them attentively listening to the instructor …” Thus while the old czarist army was disintegrating, the foundation of a future Red Army was being laid in the factories.
As soon as the Kornilov danger passed, the Compromisers tried to slow up on the fulfillment of their promises. To the 30,000 Putilov men, for instance, only 500 rifles were given out. Soon the giving out of weapons stopped altogether. The danger now was not from the right, but the left; protection must be sought not among the proletarians but the junkers.
An absence of immediate practical aims combined with the lack of weapons caused an ebbing of workers from the Red Guard, but this only for a short interval. The foundation cadres had been laid down solidly in every plant; firm bonds had been established between the different companies. These cadres now knew from experience that they had serious reserves which could be brought to their feet in case of danger.
The going over of the Soviet to the Bolsheviks again radically changed the position of the Red Guard. From being persecuted or tolerated, it now became an official instrument of the Soviet already reaching for the power. The workers now often found by themselves a way to weapons, asking only the sanction of the Soviet. From the end of September on, and more especially from the 10th of October, the preparation of an insurrection was openly placed on the order of the day. For a month before the revolution in scores of shops and factories of Petrograd an intense military activity was in progress – chiefly rifle practice. By the middle of October the interest in weapons had risen to a new height. In certain factories almost every last man was enrolled in a company.
The workers were more and more impatiently demanding weapons from the Soviet, but the weapons were infinitely fewer than the hands stretched out for them. “I came to Smolny every day,” relates the engineer, Kozmin, “and observed how both before and after the sitting of the Soviet, workers and sailors would come up to Trotsky, offering and demanding weapons for the arming of the workers, making reports as to how and where these weapons were distributed, and putting the question: ‘But when does business begin?’ The impatience was very great …”
Formally the Red Guard remained non-party. But the nearer the final day came, the more prominent were the Bolsheviks. They constituted the nucleus of every company; they controlled the commanding staff and the communications with other plants and districts. The non-party workers and Left Social Revolutionaries followed the lead of the Bolsheviks.
However, even now, on the eve of the insurrection, the ranks of the Guard were not numerous. On the 16th, Uritzky, a member of the Bolshevik Central Committee, estimated the workers’ army of Petrograd at 40,000 bayonets. The figure is probably exaggerated. The resources of weapons remained still very limited. In spite of the impotence of the government it was impossible to seize the arsenals without taking the road of open insurrection.
On the 22nd, there was held an all-city conference of the Red Guard, its hundred delegates representing about twenty thousand fighters. The figure is not to be taken too literally – not all those registered had shown any sign of activity. But at a moment of alarm volunteers would pour into the companies in large numbers. Regulations adopted the next day by the conference defined the Red Guard as “an organisation of the armed forces of the proletariat for the struggle against counter-revolution and the defense of the conquests of the revolution.” Observe this: that twenty-four hours before the insurrection the task was still defined in terms of defense and not attack.
The basic military unit was the ten; four tens was a squad, three squads, a company; three companies, a battalion. With its commanding staff and special units, a battalion numbered over 500 men. The battalions of a district constituted a division. Big factories like the Putilov had their own divisions. Special technical commands – sappers, bicycles, telegraphers, machine-gunners and artillery men – were recruited in the corresponding factories, and attached to the riflemen – or else acted independently according to the nature of the given task. The entire commanding staff was elective. There was no risk in this: all were volunteers here and knew each other well.
The working women created Red Cross divisions. At the shops manufacturing surgical supplies for the army, lectures were announced on the care of the wounded. “Already in almost all the factories,” writes Tatiana Graff, “the working women were regularly on duty as nurses with the necessary first-aid supplies.” The organisation was extremely poor in money and technical equipment. By degrees, however, the factory committees sent material for hospital bases and ambulances. During the hours of the revolution these weak nuclei swiftly developed. An imposing technical equipment was suddenly found at their disposal. On the 24th the Vyborg district soviet issued the following order: “Immediately requisition all automobiles … Take an inventory of all first-aid supplies, and have nurses on duty in all clinics.”
A growing number of non-party workers were now going out for shooting drill and maneuvers. The number of posts requiring patrol duty was increasing. In the factories sentries were on duty night and day. The headquarters of the Red Guard were transferred to more spacious rooms. On the 23rd at a pipe foundry they held an examination of the Red Guard. An attempt of a Menshevik to speak against the insurrection was drowned in a storm of indignation: Enough, enough The time for argument is passed The movement was irresistible. It was seizing even the Mensheviks. “They were enrolling in the Red Guard,” says Tatiana Graff, “participating in all duties and even developing some initiative.” Skorinko tells how on the 23rd, Social Revolutionaries and Mensheviks, old and young, were fraternizing with the Bolsheviks, and how Skorinko himself joyfully embraced his own father, who was a worker in the same factory. The worker Peskovoi says that in his armed detachment, “there were young workers of sixteen and old men of fifty.” The variety of ages gave “good cheer and fighting courage.”
The Vyborg side was especially fervent in preparing for battle. Having stolen the keys of the drawbridges, studied out the vulnerable points of the district, and elected their military revolutionary committee, the factory committees established continuous patrols. Kayurov writes with legitimate pride of the Vyborg men: “They were the first to go to battle with the autocracy, they were the first to institute in their district the eight-hour day, the first to come out with a protest against the ten minister-capitalists, the first to raise a protest on July 7th against the persecution of our party, and they were not the last on the decisive day of October 25th.” What is true is true. The history of the Red Guard is to a considerable extent the history of the dual power. With its inner contradictions and conflicts, the dual power helped the workers to create a considerable armed force even before the insurrection. To cast up the general total of the workers’ detachments throughout the country at the moment of insurrection is hardly possible, at least at the present moment. In any case, tens and tens of thousands of armed workers constituted the cadres of the insurrection. The reserves were almost inexhaustible.
The organisation of the Red Guard remained, of course, extremely far from complete. Everything was done in haste, in the rough, and not always skilfully. The Red Guard men were in the majority little trained; the communications were badly organized; the supply system was poor; the sanitary corps lagged behind. But the Red Guard, recruited from the most self-sacrificing workers, was burning to carry the job through this time to the end. And that was the decisive thing. The difference between the workers’ divisions and the peasant regiments was determined not only by the social ingredients of the two – many of those clumsy soldiers after returning to their villages and dividing the landlords’ land will fight desperately against the White Guards, first in guerrilla bands and afterwards in the Red Army. Beside the social difference there existed another more immediate one: Whereas the garrison represented a compulsory assemblage of old soldiers defending themselves against war, the divisions of the Red Guard were newly constructed by individual selection on a new basis and with new aims.
The Military Revolutionary Committee had at its disposal a third kind of armed force: the sailors of the Baltic Fleet. In their social ingredients they are far closer to the workers than the infantry are. There are a good many Petrograd workers among them. The political level of the sailors is incomparably higher than that of the soldiers. In distinction from the none too belligerent reserves who have forgotten all about rifles, these sailors have never stopped actual service.
For active operations it was possible to count firmly upon the armed Bolsheviks, upon the divisions of the Red Guard, upon the advanced group of the sailors, and upon the better preserved regiments. The different elements of this collective army supplemented each other. The numerous garrisons lacked the will to fight. The sailor detachments lacked numbers. The Red Guard lacked skill. The workers together with the sailors contributed energy, daring and enthusiasm. The regiments of the garrison constituted a rather inert reserve, imposing in its numbers and overwhelming in its mass.
In contact as they were from day to day with workers, soldiers and sailors, the Bolsheviks were aware of the deep qualitative difference between the constituent parts of this army they were to lead into battle. The very plan of the insurrection was based to a considerable degree upon a calculation of these differences.
The possessing classes constituted the social force of the other camp. This means that they were its military weakness. These solid people of capital, the press, the pulpit – where and when have they ever fought? They are accustomed to find out by telegraph or telephone the results of the battles which settle their fate. The younger generation, the sons, the students? They were almost all hostile to the October revolution. But a majority of them too stood aside. They stood with their fathers awaiting the outcome of the battle. A number of them afterward joined the officers and junkers – already largely recruited from among the students. The property holders had no popular masses with them. The workers, soldiers, peasants had turned against them. The collapse of the Compromise Parties meant that the possessing classes were left without an army.
In proportion to the significance of railroads in the life of modern states, a large place was occupied in the political calculations of both camps by the question of the railroad workers. Here the hierarchical constitution of the personnel leaves room for an extraordinary political variegation, creating favorable conditions for the diplomats of the Compromisers. The lately formed Vikzhel had kept a considerably more solid root among the clerks and even among the workers than, for instance, the army committees at the front. In the railroads only a minority followed the Bolsheviks, chiefly workers in the stations and yards. According to the report of Schmidt, one of the Bolshevik leaders of the trade union movement, the railroad workers of the Petrograd and Moscow junctions stood closest of all to the party.
But even among the compromisist mass of clerks and workers there was a sharp shift to the left from the date of the railroad strike at the end of September. Dissatisfaction with the Vikzhel, which had compromised itself by talking and wavering, was more and more evident in the lower ranks. Lenin remarked: “The army of railroad and postal clerks continues in a state of sharp conflict with the government.” From the standpoint of the immediate tasks of the insurrection that was almost enough.
Things were less favorable in the post and telegraph service. According to the Bolshevik, Boky, “the men in the Post and Telegraph Offices are mostly Kadets.” But here too the lower personnel had taken a hostile attitude toward the upper ranks. There was a group of mail carriers ready at a critical moment to seize the Post Office.
It would have been hopeless in any case to try to change the minds of the railroad and postal clerks with words. If the Bolsheviks should prove indecisive, the advantage would remain with the Kadets and the compromisist upper circles. With a decisive revolutionary leadership the lower ranks must inevitably carry with them the intermediate layers, and isolate the upper circles of the Vikzhel. In revolutionary calculations statistics alone are not enough; the co-efficient of living action is also essential.
The enemies of the insurrection in the ranks of the Bolshevik party itself found, however, sufficient ground for pessimistic conclusions. Zinoviev and Kamenev gave warning against an under-estimation of the enemy’s forces. “Petrograd will decide, and in Petrograd the enemy has … considerable forces: 5,000 junkers, magnificently armed and knowing how to fight, and then the army headquarters, and then the shock troops, and then the Cossacks, and then a considerable part of the garrison, and then a very considerable quantity of artillery spread out fan-wise around Petrograd. Moreover the enemy with the help of the Central Executive Committee will almost certainly attempt to bring troops from the front …” The list sounds imposing, but it is only a list. If an army as a whole is a copy of society, then when society openly splits, both armies are copies of the two warring camps. The army of the possessors contained the wormholes of isolation and decay.
The officers crowding the hotels, restaurants and brothels had been hostile to the government ever since the break between Kerensky and Kornilov. Their hatred of the Bolsheviks, however, was infinitely more bitter. As a general rule, the monarchist officers were most active on the side of the government. “Dear Kornilov and Krymov, in what you failed to do perhaps with God’s help we shall succeed …” Such was the prayer of officer Sinegub, one of the most valiant defenders of the Winter Palace on the day of the uprising. But in spite of the vast number of officers, only single individuals were really ready to fight. The Kornilov plot had already proven that these completely demoralized officers were not a fighting force.
The junkers were not homogeneous in social make-up, and there was no unanimity among them. Along with hereditary fighters, sons and grandsons of officers, there were many accidental elements gathered up under pressure of war-needs even during the monarchy. The head of an engineering school said to an officer: “I must die with you … We are nobles, you know, and cannot think otherwise.” These lucky gentlemen, who did after all succeed in evading a noble death, would speak of the democratic junkers as low-breeds, as muzhiks “with coarse stupid faces.” This division into the blue blood and the black penetrated deeply into the junker schools, and it is noticeable that here too those who came out most zealously in defense of the republican government were the very ones who most mourned the loss of the monarchy. The democratic junkers declared that they were not for Kerensky but for the Central Executive Committee. The revolution had first opened the doors of the junker schools to the Jews. And in trying to hold their own with the privileged upper circles, the sons of the Jewish bourgeoisie became extraordinarily warlike against the Bolsheviks. But, alas, this was not enough to save the régime – not even to defend the Winter Palace. The heterogeneousness of these military schools and their complete isolation from the army brought it about that during the critical hours the junkers began to hold meetings. They began to ask questions: How are the Cossacks behaving? Is anybody coming out besides us? Is it worth while anyway to defend the Provisional Government? According to a report of Podvoisky, there were about 120 socialist junkers in the Petrograd military schools at the beginning of October, and of these 42 or 43 were Bolsheviks. “The junkers say that the whole commanding staff of the schools is counter-revolutionary. They are being definitely prepared in case anything happens to put down the insurrection …” The number of socialists, and especially Bolsheviks, was wholly insignificant, but they made it possible for Smolny to know everything of importance that went on among the junkers. In addition to that, the location of the military schools was very disadvantageous. The junkers were sandwiched in among the barracks, and although they spoke scornfully of the soldiers, they looked upon them with a great deal of dread.
The junkers had plenty of ground for caution. Thousands of hostile eyes were watching them from the neighboring barracks and the workers’ districts. This observation was the more effective in that every school had its soldier group, neutral in words but in reality inclining toward the insurrection. The school storerooms were in the hands of non-combatant soldiers. “Those scoundrels,” writes an officer of the Engineering School, “not satisfied with losing the key to the storeroom so that I had to give order to break in the door, also removed the breech-blocks from the machine-guns and hid them somewhere.” In these circumstances you could hardly expect miracles of heroism from the junkers.
But would not a Petrograd insurrection be threatened from without, from the neighboring garrisons? In the last days of its life the monarchy had never ceased to put its hope in that small military ring surrounding the capital. The monarchy had missed its guess, but how would it go this time? To guarantee conditions excluding every possible danger would have been to make the very insurrection unnecessary. After all, its aim was to break down the obstacles which could not be dissolved politically. Everything could not be calculated in advance, but all that could be, was.
Early in October a conference of the soviets of Petrograd province was held in Kronstadt. Delegates from the garrisons of the environs of the capital – Gatchina, Tsarskoe, Krasnoe, Oranienbaum, Kronstadt itself – took the very highest note set by the tuning-fork of the Baltic sailors. Their resolution was adhered to by the deputies of Petrograd province. The muzhiks were veering sharply through the Left Social Revolutionaries toward the Bolsheviks.
At a conference of the Central Committee on the 16th, a party worker in the province, Stepanov, drew a somewhat variegated picture of the state of the forces, but nevertheless with a clear predominance of Bolshevik colors. In Sestroretsk and Kolpino the workers are under arms; their mood is militant. In Novy Peterhoff the work in the regiment has fallen off; the regiment is disorganised. In Krasnoe Selo the 176th regiment is Bolshevik (the same regiment which patrolled the Tauride Palace on July 4th), the 172nd is on the side of the Bolsheviks, “and, besides, there is cavalry there.” In Luga the garrison of 30,000, after swinging over to the Bolsheviks, is wavering in part; the soviet is still defensist. In Gdov the regiment is Bolshevik. In Kronstadt the mood has declined; the garrison boiled over during the preceding months; the better part of the sailors are in the active fleet. In Schlusselburg, within 60 versts of Petrograd, the soviet long ago became the sole power; the workers of the powder factory are ready at any moment to support the capital.
In combination with the results of that Kronstadt conference of soviets, this information about the first line reserves may be considered entirely encouraging. The radiation of the February insurrection had been sufficient to dissolve discipline over a wide area. And it was now possible to look with confidence upon the nearby garrisons, their conditions being adequately known in advance.
The troops of Finland and the Northern front were among the second line reserves. Here conditions were still more favorable. The work of Smilga, Antonov, Dybenko had produced invaluable results. Along with the garrison of Helsingfors the fleet had become a sovereign in Finnish territory. The government had no more power there. The two Cossack divisions quartered in Helsingfors – Kornilov had intended them for a blow at Petrograd – had come in close contact with the sailors and were supporting the Bolsheviks, or the Left Social Revolutionaries, who in the Baltic Fleet were becoming less and less distinguishable from Bolsheviks.
Helsingfors was extending its hand to the sailors of the Reval naval base, whose attitude up to that time had been indefinite. The Congress of Soviets of the Northern Region, in which also apparently the Baltic Fleet had taken the initiative, had united the soviets of the garrisons surrounding Petrograd in such a wide circle that it took in Moscow on one side and Archangel on the other. “In this manner,” writes Antonov, “the idea was realized of armoring the capital of the revolution against possible attacks from Kerensky’s troops.” Smilga returned from the Congress to Helsingfors to organize a special detachment of sailors, infantry and artillery to be sent to Petrograd at the first signal. The Finland flank of the Petrograd insurrection was thus protected to the last degree. On this side no blow was to be expected, only strong help. On other portions of the front, too, things were wholly favorable – at least far more favorable than the most optimistic of the Bolsheviks in those days imagined. During October committee elections were held throughout the army, and everywhere they showed a sharp swing to the Bolsheviks. In the corps quartered near Dvinsk the “old reasonable soldiers” were completely snowed under in the elections to the regimental and company committees; their places were taken by “gloomy, grey creatures … with angry piercing eyes and wolfish snouts.” The same thing happened in other sectors. “Committee elections are in progress everywhere, and everywhere only Bolsheviks and defeatists are elected.” The governmental commissars began to avoid making trips to their units.
“Their situation is now no better than ours” We are quoting Baron Budberg. Two cavalry regiments of his corps, the Hussar and Ural Cossacks, who remained longest of all in the control of the commanders, and had not refused to put down mutinous units, suddenly changed color and demanded “that they be relieved of the function of punitive troops and gendarmes.” The threatening sense of this warning was clear to the Baron and to everybody else. “You can’t command a flock of hyenas, jackals and sheep by playing on a violin,” he wrote. “The only salvation lies in a mass application of the hot iron …” And here follows the tragic confession: “… a thing which we haven’t got and is nowhere to be gotten.”
If we do not cite similar testimony about other corps and divisions, it is only because their chiefs were not as observant as Budberg, or they did not keep diaries, or these diaries have not yet come to light. But the corps standing near Dvinsk was distinguished in nothing but the trenchant style of its commander from the other corps of the 5th Army, which in its turn was but little in advance of the other armies.
The compromisist committee of the 5th Army, which had long been hanging in the air, continued to send telegraphic threats to Petrograd to the effect that it would restore order in the rear with the bayonet. “All that was mere braggadocio and hot air,” writes Budberg. The committee was actually living its last days. On the 23rd it failed of re-election. The president of the new Bolshevik committee was Doctor Skliansky, a magnificent young organizer who soon developed his talent widely in the work of creating the Red Army, and who died subsequently an accidental death while canoeing on one of the American lakes.
The assistant of the government Commissar of the Northern front reports to the War Minister on the 22nd of October that the ideas of Bolshevism are making great headway in the army, that the mass wants peace, and that even the artillery which has held out to the very last moment has become “hospitable to defeatist propaganda.” This too is no unimportant symptom. “The Provisional Government has no authority” – reports its own direct agent three days before the revolution.
To be sure, the Military Revolutionary Committee did not then know of all these documents. But what it did know was amply sufficient. On the 23rd, representatives of various units at the front filed past the Petrograd Soviet and demanded peace. Otherwise, they answered, they would march to the rear and “destroy all the parasites who want to keep on fighting for another ten years.” Seize the power, the front men said to the Soviet, ’the trenches will support you.”
In the more remote and backward fronts, the South-western and Romanian, Bolsheviks were still rare specimens, curiosities. But the mood of the soldiers here was the same as elsewhere. Efgenia Bosh tells how in the 2nd Corps of the Guards, quartered in the vicinity of Zhmerinka, among 60,000 soldiers, there was one young communist and two sympathizers. This did not prevent the corps from coming out in support of the insurrection in the October days.
To the very last hour the government circles rested their hope in the Cossacks. Hut the less blind among the politicians of the right camp understood that here too things were in a very bad way. The Cossack officers were Kornilovists almost to a man. The rank-and-file were tending more and more to the left. In the government they did not understand this, imagining that the coolness of the Cossack regiments to the Winter Palace was caused by injured feelings about Kaledin. In the long run, however, it became clear even to the Minister of Justice, Maliantovich, that “only the Cossack officers” were supporters of Kaledin. The rank-and-file Cossacks, like all the soldiers, were simply going Bolshevik. Of that front which in the early days of March had kissed the hands and feet of liberal priests, had carried Kadet ministers on its shoulders, got drunk on the speeches of Kerensky, and believed that the Bolsheviks were German agents – of that there was nothing left. Those rosy illusions had been drowned in the mud of the trenches, which the soldiers refused to go on kneading with their leaky boots. “The denouement is approaching,” wrote Budberg on the very day of the Petrograd insurrection, “and there can be no doubt of its outcome. On our front there is not one single unit … which would not be in the control of the Bolsheviks.”
L.D. Trotsky, “The Art of Insurrection,” The History of the Russian Revolution
Kronológia: libcom.org/library/bolsheviks-workers-control-solidarity-...
An image of a girl on the bed in his shirt.
When I post images I hope I make you all smile, But for this one.... well I hope you got as lucky as me in a bygone age when we were young (apologies to those who still are)
A fast-moving sky has offered mixed blessings to the photographer at Dumbarton on this May morning in 2022. Only 1 passing train in 10 has managed to coincide with a crack in the clouds, but thankfully on this occasion it is the Oban train, seen here with 156 474 and 156 450 heading towards Glasgow as 1Y22, the 08.57 Oban – Glasgow Queen Street. Both are, of course, part of the RETB-fitted fleet, and will have endured all kinds on wind and weather on their descent from the Highlands this morning.
From late 2016, ScotRail’s Class 156 units visited Glasgow Works to receive PRM-TSI modifications, part of which included the fitment of a new universal disabled toilet, upgrading of wheelchair spaces from 1 to 2, Call for Aid points, and a new passenger information display system. This work also involved a full repaint externally and internally, and a full interior refresh including new seats, carpets, tables, plug sockets and LED lighting. The entire project was completed in July 2019, with unit 156445 being the last.
Dumbarton is a very photogenic station, even in foul weather, with plenty of trains, an interesting museum run by the local Armed Forces Association, and an engaging backdrop of the Kilpatrick Hills, and well worth including on your Strathclyde itinerary.