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This small tree offers a late-summer display of jasmine-like white flowers encased in red tepals and scent. Bright blue berries in autumn are accented by conspicuous bright, pinkish-red calyxes.No toxic
For best bloom and berries, plant in full sun in rich, well-drained, loamy soil.
Native to China and Japan,clerodendrum is a small tree that grows 10-20’ tall. It is most often seen as a suckering shrub. It must be trained to grow as a tree and is rarely seen growing in that form. As an ornamental, this shrub is perhaps best noted for its late summer flowers, showy fruit and malodorous foliage. Tubular, fragrant, white flowers in long-peduncled cymes (to 6-9” across) bloom in the upper leaf axils from late summer into fall. Flowers are followed by small bright blue fruits, each subtended by a fleshy red calyx.
È un piccolo albero originario della Cina e del Giappone che raggiunge un'altezza di 4 m, chioma larga fino a 4 m, molto ramificato.I rami sono coperti di peluria.
Ha foglie decidue, scabre, lunghe fino a 25cm, lungamente picciolate a lamina di colore verde scuro, dalla forma triangolare. Le venature della pagina inferiore sono pelose. I fiori bianchi, stellati, riuniti in grandi corimbi intensamente profumati, ricordano quelli del gelsomino.
I frutti autunnali sono bacche rotonde, delle dimensioni di un pisello, racchiuse da un calice a forma di lanterna di colore rosso-cardinalizio. Dapprima verdi, si scuriscono all'apertura del calice, diventando blu-viola. Non sono tossici.
Originaria della Cina, Giappone e l'isola di Giava, è la specie di Clerodendrum più comune in Italia. Introdotta nel 1800 dal Giappone, la si trova nella pianura Padana.
Molto utilizzata come pianta ornamentale in parchi, viali e giardini.
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Thillai Natarajah Temple, Chidambaram or Chidambaram temple is a Hindu temple dedicated to Lord Shiva located in the town of Chidambaram, East-Central Tamil Nadu, South India. The temple is known as the foremost of all temples (Kovil) to Saivites and has influenced worship, architecture, sculpture and performance art for over two millennium. The Sangam classics list chief architect Viduvelvidugu Perumthachchan as directing an early renovation of the shrine.
A major shrine of Lord Shiva worship since the classical period, there have been several renovations and offerings to Chidambaram by the Pallava, Chola, Pandya, Vijayanagara and Chera royals in the ancient and pre-medieval periods. The temple as it stands now is mainly of the 12th and 13th centuries, with later additions in similar style. Its bronze statues and stone sculptures depicting various deities and the famous Thillai trees (Excoecaria agallocha) of the surrounding forest reflect the highpoints of early Chola and Pallava art while its famed gold plated gopuram towers are medieval structural additions by the royals Aditya I, Parantaka Chola I, Kopperunchinga I, Krishnadevaraya and Jatavarman Sundara Pandyan. King Kocengannan Chola was born following prayers his parents offered at the temple and later in his life he refined its structure. The shrine gave the town its name.
The deity that presides here is கூத்தன் - Thillai Koothan (Thillai Nataraja - Shiva, The Lord of Dance). Chidambaram is the birthplace of the sculpture and bronze image representation of Lord Shiva as the cosmic dancer, a Tamilian concept and motif in Chola art that has since become notable as a symbol of Hinduism. The shrine is the only Shiva temple to have its main deity represented in this anthropomorphic form, as the supreme being who performs all cosmic activities. The consort deity here is Sivakami Amman (form of Amman - mother goddess and female energy). Two other forms of Lord Shiva are represented close to this in the vimana (inner sanctum) of the temple - as a crystallised lingam - the most common representation of Lord Shiva in temples, and as the aether space classical element, represented with empty space and a garland of fifty one hanging golden bilvam leaves (Aegle marmelos). Lord Shiva is captured in pose as Nataraja performing the Ananda Tandava ("Dance of Delight") in the golden hall of the shrine Pon Ambalam (பொன் அம்பலம்). The sculptures of Chidambaram inspired the postures of Bharatha Natyam. The Chidambaram complex is admired for its five famous halls (ambalam or sabhai), several grand smaller shrines to the Hindu deities Ganesh, Murugan, Vishnu and Sivakami Amman which contain Pandyan and Nayak architectural styles, and for its endowment from many water tanks, one of which links it to the Thillai Kali temple.
Chidambaram is one of the five Pancha Bootha Sthalams, the holiest Shiva temples each representing one of the five classical elements; Chidambaram represents akasha (aether). Chidambaram is glorified in Tirumular's Tirumandhiram and was visited by Patañjali and VyagjrapadharPulikaal Munivar. It is the primary shrine of the 275 Paadal Petra Sthalams - Shiva Sthalams glorified in the early medieval Tevaram poems by Tamil Saivite Nayanar saints Tirunavukkarasar, Thirugnana Sambandar and Sundarar. Hailed in the Tiruvacakam series by Manikkavacakar, these very volumes of the Tirumurai literature canon were themselves found in secret chambers of the temple. The Periya Puranam, a biography of these Nayanar saints by Sekkizhar commissioned by emperor Kulothunga Chola II, was written in the shrine's Thousand Pillared Hall. In Kanda Puranam, the epic authored by Kachiyappa Sivachariar of Kanchipuram, the Chidambaram shrine is venerated as one of the three foremost Shiva abodes in the world, alongside Koneswaram temple of Trincomalee and Mount Kailash.
ETYMOLOGY
The traditional name of the temple complex, Chidambaram Tillai Nataraja-koothan Kovil, alludes to the environment of its location and its origins and significance in Saivite worship. The mangrove of ancient Tillai (தில்லை) trees (Exocoeria agallocha) of the forest surrounding the shrine when it was first built inspired the shrine's name and early artistic inspiration; the Tillai trees of the nearby Pichavaram wetlands, the second largest mangrove in the world, extends to the temple area. The shrine is venerated as Tillai ambalam (தில்லை அம்பலம் ), literally meaning Tillai Open Stage, the open space surrounded by Tillai Vanam (தில்லை வனம்) (the Tillai forest) - the original name of this area.[9] The name of the town of this shrine, Chidambaram comes from the Tamil word Chitrambalam (சிற்றம்பலம்) - "small hall/stage"; also spelled Chithambalam (சிட்டம்பலம்), from citt/chitthu and ambalam - meaning "wisdom of this open stage/atmosphere". The shrine is where some devotees believe they will attain liberation, or chitaakasam - "wisdom/consciousness of the sky". "Nataraja" or "Koothan" mean "Lord of Dance".
LEGEND
The story of Chidambaram begins with Lord Shiva strolling into the Thillai Vanam (vanam meaning forest and thillai trees - botanical name Exocoeria agallocha, a species of mangrove trees - which currently grows in the Pichavaram wetlands near Chidambaram). In the Thillai forests resided a group of sages or 'rishis' who believed in the supremacy of magic and that God can be controlled by rituals and mantras or magical words. Lord Shiva strolled in the forest with resplendent beauty and brilliance, assuming the form of Bhikshatana, a simple mendicant seeking alms. He was followed by His consort, Vishnu as Mohini. The sages and their wives were enchanted by the brilliance and the beauty of The handsome mendicant and His consort. On seeing their womenfolk enchanted, the rishis got enraged and invoked scores of serpents (nāgas) by performing magical rituals. Lord Shiva lifted the serpents and donned them as ornaments on His matted locks, neck and waist. Further enraged, the sages invoked a fierce tiger, whose skins and dons were used by Lord Shiva as a shawl around His waist and then followed by a fierce elephant, which was devoured and ripped to death by Lord Shiva (Gajasamharamurthy).
The rishis gathered all their spiritual strength and invoked a powerful demon Muyalakan - a symbol of complete arrogance and ignorance. Lord Shiva wore a gentle smile, stepped on the demon's back, immobilized him and performed the Ánanda Tandava (the dance of eternal bliss) and disclosed his true form. The sages surrender, realizing that Lord Shiva is the truth and He is beyond magic and rituals.
PATRONAGE
To Saivites, primarily in Tamil Nadu, the very word koil refers primarily to Chidambaram Tillai Natarajar.
Chidambaram is a temple complex spread over 160,000 m2 in the heart of the city. The main complex to Lord Shiva Nataraja also contains shrines to deities such as Shivakami Amman, Ganesh, Murugan and Vishnu in the form Govindaraja Perumal. Chidambaram's earliest structures were designed and erected by ancient craftsmen called Perumtaccan. The golden tiled roof for the Chit Ambalam (the vimanam) was laid by the Chola King Parantaka I (907-950 CE) following which he was given the title - Thillaiyambalathhukku pon koorai veiyntha thevan (Tamil:தில்லையாம்பலதுக்கு பொன் கூரை வேய்ந்த தேவன், meaning the one who constructed the golden roof). In its floruit, kings Rajaraja Chola I (reign 985-1014 AD) and Kulothunga Chola I (1070-1120 AD) made significant donations to the temple. Gold and riches to the temple were donated by Rajaraja Chola's daughter Kundavai II while Chola king Vikrama Chola (1118-1135 AD) made donations for the conduct of the daily rituals.
Donations of gold and jewels have been made by various kings, rulers and patrons to the temple from 9th to 16th century - including the Maharaja of Pudukottai, Sethupathy (the emerald jewel still adorns the deity) and the British.
Naralokaviran, the general of king Kulothunga Chola I was responsible for building a shrine for child saint Thirugnana Sambanthar and installed a metal image inside it. He constructed a hall for recitation of Tevaram hymns and engraved the hymns in copper plates.
TEMPLE STRUCTURE
The temple is the only great temple complex to date mainly from the later Chola period, and contains the earliest examples of a number of features that are found in many later temples, including "the earliest known Devī or Amman shrine, nritta (dance) maṇḍapa, Sūrya shrine with chariot wheels, hundred-and-thousand pillared maṇḍapas, even the first giant Śiva Gangā tank".A classical Shiva temple as per Agama rules will have five prakarams (closed precincts of a temple) or circuits each separated by walls one within the other. The outer prakaram will be open to the sky except the innermost one. The innermost one will house the main deity as well as other deities. There will be a massive wooden or stone flag post exactly in line with the main deity. The innermost prakaram houses the sanctum sanctorum (தமிழ் = கருவரை).
Chidambaram is also referred to in various works such as Thillai (after the Thillai forest of yore in which the temple is now located), Perumpatrapuliyur or Vyagrapuram (in honour of Saint Vyagrapathar, Sanskrit: Vyaghrapada - "Tiger-Footed").
The temple is supposed to be located at the lotus heart of the Universe: Virat hridaya padma sthalam.
This gold-roofed stage is the sanctum sanctorum of the Chidambaram temple and houses the Lord in three forms:
- the "form" - the anthropomorphic form as an appearance of Nataraja, called the Sakala-thirumeni.
- the "semi-form" – the semi-anthropomorphic form as the Crystal linga of Chandramaulishvara, the Sakala-nishkala-thirumeni.
- the "formless" – as the space in Chidambara-rahasyam, an empty space within the sanctum sanctorum, the Nishkala-thirumeni.
SIGNIFICANCE OF THE TEMPLE DESIGN
The layout and architecture of the temple is replete with philosophical meanings.
Three of the five Panchaboothasthala temples, those at Kalahasti, Kanchipuram and Chidambaram all stand on a straight line exactly at 79 degree 41 minutes East longitude - truly an engineering, astrological and geographical wonder. Of the other two temples, Tiruvanaikkaval is located at around 3 degrees to the south and exactly 1 degree to the west of the northern tip of this divine axis, while Tiruvannamalai is around midway (1.5 degree to the south and 0.5 degree to the west).
The 9 gateways signify the 9 orifices in the human body.
The Chitsabai or Ponnambalam, the sanctum sanctorum represents the heart which is reached by a flight of 5 stairs called the Panchaatchara padi - pancha meaning 5, achhara – indestructible syllables – "SI VA YA NA MA", from a raised anterior dias - the Kanakasabai. The access to the Sabhai is through the sides of the stage (and not from the front as in most temples). The Chit sabha roof is supported by four pillars symbolic of the four Vedas.
The Ponnambalam or the Sanctum sanctorum is held by 28 pillars – representing the 28 agamas or set methodologies for the worship of Lord Shiva. The roof is held by a set of 64 beams representing the 64 forms of art and is held by several cross-beams representing the innumerable blood vessels. The roof has been laid by 21,600 golden tiles with the word SIVAYANAMA inscribed on them representing 21600 breaths. The golden tiles are fixed using 72,000 golden nails which represents the no. of nadis exists in human body. The roof is topped by a set of 9 sacred pots or kalasas, representing the 9 forms of energy. The artha mandapa(sanctum) has six pillars denoting the six shastras (holy texts).
The hall next to the artha mantapa has eighteen pillars symbolizing the eighteen Puranas.
TOWERS
The temple has nine gateways, and four of these have gateway towers or gopurams each with 7 storeys facing the East, South, West and North. The South gopuram called the Sokkaseeyan Thirunilai Ezhugopuram was constructed by a Pandya king identified from the presence of the dynasty's fish emblem sculpted on the ceiling. The Pandyas sculpted two fishes facing each other when they completed gopurams (and left it with one fish, in case it was incomplete). The earliest and smallest of the four is West gopuram constructed around 1150 and there are no reliable evidence on the construction. The sculptures shows goddess fighting the buffalo-demon and warlike Skanda astride his peacock. The North Gopuram was initiated around 1300 AD with the brick portion constructed by the Vijayanagara king Krishnadevaraya (1509-1530 AD) in the 16th century. The East Gopuram, was claimed to have been constructed by the Pallava King Koperunsingan II (1243-1279 AD) as per epigrahical records and was repaired by Subbammal, the mother-in-law of the famous philanthropist Pachaiyappa Mudaliar (1754-1794 AD). The idols of Pachaiappa Mudaliar and his wife Iyalammal have been sculpted on the eastern gopuram. The Pachaiappa Trust to date has been responsible for various functions in the temple and also maintain the temple car. The eastern gopuram is renowned for its complete enumeration of 108 poses of Indian classical dance – Bharathanatyam, detailed in small rectangular panels along the passage that leads to the gateway. Each gopuram has around fifty stone sculptures, with each repeating some portions from the other.
HALLS
There are 5 ambalams or sabhas (halls) inside the temple.
- Chit Ambalam or Chit Sabhai, which is the sanctum sanctorum housing Lord Nataraja and his consort Sivakami Sundari, and gave the temple town its name.
- Pon Ambalam or Kanaka Sabhai – the golden hall in front of the Chit Ambalam, from where the daily rituals are conducted.
- Nrithya sabhai or Natya sabhai, a 56-pillared hall lies to the south of the temple's flag mast (kodi maram or dwaja sthambam) where Nataraja outdanced Kali and established his supremacy
- Raja sabhai or the 1000-pillared hall which symbolizes the yogic chakra of thousand pillared lotus or Sahasraram (which in yoga is a chakra) at the crown of the head and is a seat where the soul unites with God. This chakra is represented as a 1000-petalled lotus. Meditating by concentrating at the Sahasrara Chakra is said to lead to a state of union with The Divine Force and is the pinnacle of yogic practice. The hall is open only on festive days.
- Deva Sabhai, which houses the Pancha moorthis (pancha - five, moorthis - deities, namely the deities of Ganesh, Somaskanda (seated posture of Lord Shiva with Pavarthi and Skanda), Sivananda Nayaki, Muruga and the image of Chandikeswarar.
SHRINES
- The shrines for the original Shivalingam worshipped by the saints Patanjali and Vyagrapathar – called the Thiru Aadhimoolanathar and his consort Umaiyammai
- The shrine of the 63 nayanars of Lord Shiva – called the Arubaththu moovar.
- Shrine of Sivagami.
- Ganesha shrine
- Shrine of Muruga or Pandiya nayakan
There are also several smaller shrines in the temple complex.
GOVINDARAJA SWAMY SHRINE
The Govindaraja shrine is dedicated to Vishnu and is one of the 108 holy temples of Lord Vishnu called divyadesam, revered by the 7th-9th-century saint poets of vaishnava (those worshipping Lord Vishnu) tradition, alwars. Kulashekara alwar mentions this temple as Tillai Chitrakutam and equates Chitrakuta of Ramayana fame with this shrine. King Kulothunga Chola II is believed to have uprooted the presiding Govindraja image from the shrine. The shrine has close connections with the Govindaraja temple in Tirupati dating back to saint Ramanuja of the 11-12th century. Ramanujar fled to Tirupati with the utsava (festival image) of the temple to escape punishment. Down the centuries, king Krishnappa Nayak (1564-1572 AD) was instrumental in installing the image of Govindaraja back in the temple. There was lot of resistance from the shaivites (those worshipping Shiva) against placing the Vishnu image in a revered Shiva temple, but the king was unmoved and the image was installed in the present form. There is no satisfactory evidence of co-existence of the Shiva and Vishnu shrines within the same temple built during the same time - there was a dispute even in last century during 1849 AD regarding the rights on the Govindaraja idol and Alwar Sannidhi(sanctum of azhwars) between Vaishnavas and Dikshitars and the position of Vaishnavas was upheld by the district court.
TEMPLE TANKS
The Chidambaram temple is well endowed with several water bodies within and around the temple complex.
- Sivaganga (சிவகங்கை) tank is in the third corridor of the temple opposite to the shrine of Shivagami. It is accessed by flights of stone steps leading from the shrine.
- Paramanandha koobham is the well on the eastern side of the Chitsabhai hall from which water is drawn for sacred purposes.
- Kuyya theertham is situated to the north-east of Chidambaram in Killai near the Bay of Bengal and has the shore called Pasamaruthanthurai.
- Pulimadu is situated around a kilometer and a half to the south of Chidambaram.
- Vyagrapatha Theertham is situated on to the west of the temple opposite to the temple of Ilamai Akkinaar.
- Anantha Theertham is situated to the west of the temple in front of the Anantheswarar temple.
- Nagaseri tank is situated to the west of the Anantha thirtham.
- Brahma Theertham is situated to the north-west of the temple at Thirukalaanjeri.
- Underground channels at the shrine drain excess water in a northeasterly direction to the Shivapiyai temple tank (சிவப்பியை குளம்) of the Thillai Kali Temple, Chidambaram. Due to poor maintenance, it has not been in use.
- Thiruparkadal is the tank to the south-east of the Shivapiyai tank.
TEMPLE CAR
The Chidambaram temple car is, perhaps, the most beautiful example of a temple car in all of Tamil Nadu. This car, on which Lord Nataraja descends twice a year, is drawn by several thousand devotees during the festivals.
ANANDA TANDAVA
The legend of the temple is same as the legend of Ānanda-tāṇḍava. Adhisesha, the serpent who serves as a bed of Lord Vishnu, hears about the Änanda thaandava and yearns to see and enjoy it. Lord Shiva beckons him to assume the saintly form of sage Patanjali and sends him to the Thillai forest, informing him that he will display the dance in due course. Patanjali who meditated in the Himalayas during krita age joins another saint, Vyaghrapada or Pulikaalmuni (Vyagra / Puli meaning "Tiger" and patha / kaal meaning "feet" – referring to the story of how he sought and got the feet and eyesight of a tiger to help climb trees well before dawn to pick flowers for The Lord before the bees visit them). The story of sage Patanjali as well as his great student sage Upamanyu is narrated in both Vishnu Purana as well as Shiva Purana. They move into the Thillai forest and worship Lord Shiva in the form of lingam, a deity worshipped today as Thirumoolataneswarar (Thiru - sri, Moolatanam - primordial or in the nature of a foundation, Eswarar- the Lord). Legends say that Lord Shiva displayed his dance of bliss (the Aananda Thaandavam) - as Nataraja to these two saints on the day of the poosam star in the Tamil month of Thai (January-February).
THE ANANDA TANDAVA POSTURE
The Ānanda-tāṇḍava posture of Nataraja represents pancikritya functions of the godhead believed to have created the dynamic force to create the world.
- The demon under Lord Nataraja's feet signifies that ignorance is under His feet.
- The fire in His hand (power of destruction) means He is the destroyer of evil.
- The raised hand (Abhaya or Pataka mudra) signifies that He is the savior of all life forms.
- The arc of fire called Thiruvashi or Prabhavati signifies the cosmos and the perpetual motion of the earth.
- The drum in His hand signifies the origin of life forms.
- The lotus pedestal signifies Om, the sound of the universe.
- His right eye, left eye and third eye signify the sun, moon and fire/knowledge, respectively.
- His right earring (makara kundalam) and left earring (sthri kundalam) signify the union of man and woman (right is man, left is woman).
- The crescent moon in His hair signifies benevolence and beauty.
- The flowing of river Ganges through His matted hair signifies eternity of life.
- The dreading of His hair and drape signify the force of His dance.
Another notable point of this posture is that it is based on the six point star. Nataraja's head forms the topmost point of the star, while His spreading hair and right hand form the upper side points. His drape and raised left leg form the lower points, and His right leg that rests on the demon Myalagga forms the lowest point. Surrounding this is the arc of fire.
RELIGIOUS SIGNIFICANCE OF THE TEMPLE
Pancha Bhoota Stalam (Sanskrit: पन्च भूत स्थल) refers to the five Shiva temples, each representing the manifestation of the five prime elements of nature - land, water, air, sky, fire. Pancha indicates five, Bhoota means elements and Stala means place. All these temples are located in South India with four of these temples at Tamil Nadu and one at Andhra Pradesh. The five elements are believed to be enshrined in the five lingams and each of the lingams representing Lord Shiva in the temple have five different names based on the elements they represent. In the temple, Shiva is said to have manifested himself in the form of sky. The other four manifestations are Prithivi Lingam (representing land) at Ekambareswarar Temple, Appu Lingam (representing Water) at Thiruvanaikaval, Agni Lingam (representing fire) at Annamalaiyar Temple and Vayu Lingam (representing air) at Srikalahasti Temple.
Aathara Stala indicates the Shiva temples which are considered to be divine impersonification of Tantric chakras associated with human anatomy. Nataraja temple is called the Anthaga stalam associated with Anthagam - the third eye.
Pancha Sabhai refers to the five places where Lord Shiva is said to have displayed His cosmic dance and all these places have stages or ambalams, also known as Sabhai. Apart from Chidambaram which has the Ponna Ambalam - the Golden Hall, the others are the I-Ratthina Ambalam - the Jeweled Hall at Thiruvaalangadu (rathinam – ruby / red jewelled), the Chitra Ambalam - the Painted Hall at Thirukutralam (chitra – painting), the Velli Ambalam - the Silver Hall at Madurai Meenakshi Amman Temple (velli – silver) and the Thaamira Ambalam - the Copper Hall at Nellaiappar Temple, Tirunelveli (Thaamiram – copper).
RELIGIOUS WORK AND SAINTS
There is no reference to the temple in Sangam literature of the 1st to 5th centuries and the earliest mention is found in 6th century Tamil literature. The temple and the deity were immortalized in Tamil poetry in the works of Thevaram by three poet saints belonging to the 7th century - Thirugnana Sambanthar, Thirunavukkarasar and Sundaramoorthy Nayanar. Thirugnana Sambanthar has composed 2 songs in praise of the temple, Thirunavukkarasar aka Appar 8 Tevarams in praise of Nataraja and Sundarar 1 song in praise of Nataraja. Sundarar commences his Thiruthondar thogai (the sacred list of Lord Shiva's 63 devotees) paying his respects to the priests of the Thillai temple - "To the devotees of the priests at Thillai, I am a devotee". The works of the first three saints, Thirumurai were stored in palm leaf manuscripts in the temple and were recovered by the Chola King Rajaraja Chola under the guidance of Nambiandarnambi. Manikkavasagar, the 10th century saivite poet has written two works, the first called Tiruvasakam (The sacred utterances) which largely has been sung in Chidambaram and the Thiruchitrambalakkovaiyar (aka Thirukovaiyar), which has been sung entirely in the temple. Manikkavasagar is said to have attained spiritual bliss at Chidambaram. The Chidambaram Mahatmiyam composed during the 12th century explain the subsequent evolution and de-sanskritization.
THE CHIDAMBARA RAHASIYAM
During the daily rituals, the Chief priest, of the day, himself in a state of Godliness - Shivohambhava (Shiva - the Lord, in His Sandhi form - Shivo-, aham – me / us, bhava - state of mind), parts the curtain, indicating the withdrawal of ignorance and reveals the space, and The Lord’s presence.
The Chidambara Rahasya, is hence representative of that time when one, in total surrender, allows God to intervene and remove our ignorance, even as we get to 'see and experience' His presence and hence - bliss.
Temple administration and daily rituals
WORSHIP FORMS
A unique feature of this temple is the bejeweled image of Lord Nataraja as the main deity. It depicts Lord Shiva as the master of Koothu-Bharata Natyam and is one of the few temples where Lord Shiva is represented by an anthropomorphic murthi rather than the classic, anionic Lingam.
At Chidambaram, the dancer dominates, not the linga as in other Shiva shrines. The Chitsabha houses a small sphatika(crystal) linga (Chandramoulisvara), believed to be a piece that fell from the crescent adorning Lord Shiva's head and installed by Adi Shankara. The linga is associated with the intangible fifth element, akasha (ether or space), the eternal infinite expanse where the dance of Lord Shiva takes place daily puja is offered to the linga and also to a small gem-carved figure of Ratnasabhapati.
Chidambaram offers a combination of the three apects of Shaiva worship - of the form Lord(Nataraja), of the form and the formlessness (linga) and of the formless omnipresence. The last is suggested by a "Chidambara rahasya", a chakra inscribed on a wall and blackened by applying "punugu" (civet) and over which hangs a string of golden bilva (bael) leaves. This can be viewed through the square chinks when the priest draws aside the dark "curtain of ignorance".
WORSHIP
The temple is managed and administered hereditarily by the Chidambaram Dikshitar – a class of Vaidika Brahmins whom, legends say, were brought here from Mt. Kailas, by Patanjali, specifically for the performance of the daily rituals and maintenance of the Chidambaram temple.
DIKSHITARS
The Dikshithars were supposed to be 3000 were called Tillai Muvayiram. Today they number around 360. These Dikshithars follow the Vedic rituals, unlike the Sivachariyars or Adhisaivars who follow the agamic rituals for the worship of Shiva and they sport a specific lopsided-to-the-left half shaved head. The rituals for the temple were collated from the Vedas and set by Patanjali, who is said to have inducted the Dikshithars into the worship of Lord Shiva as Nataraja. Every married male member of the Dikshithar family gets a turn to perform the rituals at the temple and can serve as the chief priest for the day. Married Dikshithars are also entitled a share of the temple's revenue. Though the temple is said to have been given endowments of almost 20 km2 of fertile land – having been patronized by various rulers for several centuries, it is managed almost entirely by privately run endowments.
DAILY RITUALS
The day begins with the chief priest of the day, performing required rituals to purify himself and assume the Shivoham bhava (Shiva-hood), after which he enters the temple to do the daily rituals. The day begins with Lord Shiva's footwear (padukas) brought at 7:00 am from the palliyarai (bedroom) to the sanctum sanctorum in a palanquin accompanied by devotees with cymbals, chimes and drums. The priest then performs the daily rituals with a yajna and a 'Gopujai' (worship of a cow and her calf). Worship (Puja) is done 6 times in a day. Before each puja, the spadika linga (crystal linga) or the semi form state of Lord Shiva is anointed with ghee, milk, curds, rice, sandal paste and holy ash. This is followed by presenting the naivedhyam or offering of freshly prepared food and sweets to the deity and the diparaadhana, a ritual of showing varied and decoratively set lamps, the reciting of Vedas in Sanskrit and the Panchapuranam (a set of 5 poems from a set of 12 works in Tamil – called the panniru thirumurai). The puja ends with the priest parting the curtains of the sanctum sanctorum to reveal the Chidambara Rahasyam (sanctum).
Before the 2nd puja, apart from the regular anointing of the crystal linga, a ruby Nataraja deity (the Rathinasabhapathy) is also anointed. The 3rd puja is at around 12.00 noon, after which the temple closes until around 4:30 pm. The 4th puja is performed at 6.00 pm, the 5th at 8:00 pm and the last puja of the day is performed at 10:00 pm, after which Lord Shiva’s footwear is taken in a procession for Him to ‘retire’ for the night. Before the 5th puja at night, the priest performs special rituals at the Chidambara Rahasya, where he anointed the yantra with aromatic substances and offers naivedyam. The last puja, called the arthajaama puja is performed with special fervor. It is believed that the entire divine force of the universe retires into the deity, when he retires for the night.
TEMPLE ADMINISTRATION
The Diskshithars one and fully responsible for the administration and pooja. Simply they mentioned their surname as the Sri Natarajar Temple Trustee and Pooja forever. Dikshithars life and temple tied as the nail and flesh relationship.
FESTIVALS
A whole year for men is said to be a single day for the gods. Just as six poojas are performed in a day at the sanctum sanctorum, six anointing ceremonies are performed for the principal deity - Nataraja in a year. They are the Marghazhi Thiruvaadhirai (in December-January) indicating the first puja, the fourteenth day after the new moon (chaturdasi) of the month of Masi (February-March) indicating the second pooja, the Chittirai Thiruvonam (in April-May), indicating the third pooja or uchikalam, the Uthiram of Aani (June-July) also called the Aani Thirumanjanam indicating the evening or the fourth puja, the chaturdasi of Aavani (August-September) indicating the fifth puja and the chaturdasi of the month of Puratasi (October-November) indicating the sixth pooja or Arthajama. Of these the Marghazhi Thiruvaadhirai (in December-January) and the Aani Thirumanjanam (in June-July ) are the most important. These are conducted as the key festivals with the main deity being brought outside the sanctum sanctorum in a procession that included a temple car procession followed by a long anointing ceremony. Several hundreds of thousands of people flock the temple to see the anointing ceremony and the ritualistic dance of Shiva when he is taken back to the sanctum sanctorum. Lord Shiva, in his incarnation of Nataraja, is believed to have born on full moon day in the constellation of Ardra, the sixth lunar mansion. Lord Shiva is bathed only 6 times a year, and on the previous night of Ardra, the bath rituals are performed on a grand scale. Pots full of milk, pomegranate juices, coconut water, ghee, oil, sandal paste, curds, holy ashes, and other liquids and solids, considered as sacred offering to the deity are used for the sacred ablution.
There are references in Umapathy Sivam's
Kunchithaangristhavam that the Maasi festival also had the Lord being carried out in procession, however this is not in vogue these days.
Natyanjali is a prominent festival celebrated during February every year when Bharatnatyam dancers from all over the country converge to present dance offering to Nataraja.
HISTORY
Constructed to signify where Tamil Shaivites identify the centre loci of the universe to be, the shrine, dedicated to Lord Shiva, has witnessed several significant events in the history of Tamil Nadu. A powerful legacy of Dravidian art, its structures and sculptures have attracted pilgrims to Chidambaram for over two millennium. The birthplace of Nataraja when Shaivite worship was highly popular during the Sangam period, Chidambaram had gained a reputation for holiness across the continent by the third century CE and the admiration of the Tamilakkam royals of the early Cholas, Chera dynasty and the early Pandyan Kingdom. Built by the early Cholas to one of their family deities - Nataraja-Koothan - it served as the king and queen's state temple and seat of their monarchs' coronations. The Chola royals underlined their non-partisan approach to religious iconography and faith by also patronizing the Srirangam Ranganathaswamy temple dedicated to Vishnu - their other Kuladheivam or "abode of family deity". Chola King Kocengannan who reigned in the first half of the 2nd century CE was born after his parents King Subhadevan and Kamaladevi worshipped in the Thillai Golden Hall (Pon Ambalam). He expanded the shrine in his later life and added to unfinished decorations. Saints Patañjali Tirumular and Vyaghrapada famously worshipped Nataraja at the shrine. The travelling Pallava-Chola king Simhavarman (II or III) who reigned in the 5th-6th century CE was cured of leprosy by bathing in the Shivagangai tank and in gratitude made extensive repairs and additions to the temple. He changed his name to Hiranyavarman or "golden bodied."
The Puranas, Sangam literature and the Tirumurai canon join several epigraphs and murals in highlighting the brilliance of the temple site and the devotion of Patañjali, Vyaghrapada-Pulikaalmunivar and patanjali to Nataraja at Thillai. The sthala puranam as well as umapathi sivacharya's koyil puranam give an account of how an ancient chola prince of kritayugam or first of epochal ages. Worshipped The Lord's feet at Chidambaram and being blessed with a vision of His was further helped by saint Vyaghrapada to consecrate a place of worship therewith. The temple murals and some cholan and pandyan literature refer to this sthala puranam. The chidambaram mahatyam as well as koyil puranam by the same author discuss as to how this prince who was presented with dhataki or atti garland and tiger flag in which Lord Indra would take abode to make him ever victorious was blessed with vision of lord and further attained mukti at this spot. This is very credible because all ancient literature and documents report that tiger flag and atti or dhataki (grislea tomentosa) garland as being emblematic with cholas. Some sangam period works also passingly refer to the krita age king's war with demons and his victory against them. The king also went by name Vyaghraketu after being gifted with the tiger flag.
Later during the 4th or 5th century CE, a pallava king called Simha Varman who was also a nayanmar saint by name Aiyatikal Kaadavarkon made some compositions and bathed in the tank and attained mukthi at tiru-perum-ppatra-puliyur or chidambaram. Aragalur Udaya Iraratevan Ponparappinan had refurbished most of the parts and rebuilt some parts of the temple around 1213 AD.
At periodical intervals (12 years in general), major repairs and renovation works are carried out, new facilities added and consecrated. Most old temples have also 'grown' over periods of time with additional facilities, more outer corridors and new gopurams (pagodas) were added by the rulers who patronized the temple. While this process has helped to keep the temples 'alive' as places of worship, from a purely archeological or historical perspective these renovations have unintentionally lead to destruction of the original works - which were not in sync with the latter and usually grander temple plans.
To this general trend, Chidambaram temple is no exception. The origins and developments of the temple are hence largely deduced from allied references in works of literature and poetry, the verbal information passed over generations by the Dikshithar community and from what little, of inscriptions and manuscripts that are available today.
The temple site is very ancient one is known to have been crafted time and again by the ancient craftsmen guild known as Perumthachchans. The reference to the same is available in sangam literature as well as other documents. The tevaram trio in particular have held this site to be of great sanctity with some like Tirugnanasambandar and Sundarar out of devotion being reluctant to set their foot in the place "because it would be an insult to the lord to put one's foot on his abode". The sangam works refer to the temple being favoured by all the three ancient crowns of south, the Neriyan (cholas), chezhiyan (pandyas) and uthiyan (cheras), even if the temple was in what was traditionally chola country.
INSCRIPTIONS
There are several inscriptions available in the temple and referring to the Chidambaram temple in neighbouring areas. Most inscriptions available pertain to the periods of Cholas - Rajaraja Chola I (985-1014 CE), Rajendra Chola I (1012-1044 CE), Kulothunga Chola I (1070-1120 CE), Vikrama Chola (1118-1135 CE), Rajadhiraja Chola II (1163 -1178 CE), Kulothunga Chola III (1178-1218 CE) and Rajaraja Chola III (1216-1256 CE). Pandya inscriptions date from Thribhuvana Chakravarthi Veerapandiyan, Jataavarman Thribhuvana Chakravarthi Sundarapaandiyan (1251-1268 CE) and Maaravarman Thribhuvana Chakravarthi Veerakeralanaagiya Kulashekara Pandiyan (1268-1308 CE). Pallava inscriptions are available for king Avani Aala Pirandhaan Ko-pperum-Singha (1216-1242 CE). Vijayanagara Kings mentioned in inscriptions are Veeraprathaapa Kiruttina Theva Mahaaraayar (1509-1529 CE), Veeraprathaapa Venkata Deva Mahaaraayar, Sri Ranga Theva Mahaaraayar, Atchyutha Deva Mahaaraayar (1529-1542 CE) and Veera Bhooopathiraayar. One of the inscriptions from the descendant of Cheramaan Perumal nayanar, Ramavarma Maharaja has been found.
KUMBHABISHEKAM 2015
The sacred Chidambaram Sri Sabanayagar Temple, which is also described as Boologa Kailaasam and Chithakasam
Sri Sivagamasundari Samaedha Sriman Anandha Nataraja Moorthy's Chitsabha Samprokshana Chithvilasa Maha Kumbhabishekam is about to happen in a great way On the auspicious day of Manmadha (Tamil) year Chithirai month 18th day (01-May-2015) Friday morning between 7:00 am and 8:30 am Hastha Nakshthra, Thrayodhasi Thithi, Amirtha yoga, Rishabha Lagna.
INVASIONS
The temple was severely vandalised during Malik Kafur's invasions of South India between 1311 and 1325. A garrison was set up within the temple precincts and the walls were fortified during the Carnatic Wars between the East India Company and the French and the Anglo-Mysore Wars that the British fought with Hyder Ali and Tipu Sultan.
WIKIPEDIA
predator
An alternative view offered by Richard Dawkins is of predation as a form of competition.
de.wikipedia.org/wiki/Pr%C3%A4dator
Latin praedātor plunderer, equivalent to praedā (rī) to plunder
(derivative of praeda prey ) + -tor -tor
an animal that naturally preys on others
A predator is an organism that feeds on another organism
lateinisch praedator = Beutemacher
Beutegreifer
terrestrial carnivore
Raubtier
Predator (anglisierte Version von lat. praedator ‚Räuber, Plünderer‘, ‚Raubtier‘,
Bei Prädatoren lebt das Beutetier zum Zeitpunkt des ersten Angriffs noch
Räuber
exzellenter Jäger
Felis (fachsprachlich), Katze
Unsere Katze - our Cat:
Täglich möchte sie mehrmals
Mausen bzw. Spiele, die einen
Fang Charakter (Beute-Simulation) haben.
Versteck und Fangen spielt sie auch sehr gerne mit Menschen.
Das dauert eine gute halbe Stunde an.
ps
Die Katze kann sich gegen vermeintlich grössere Raubtiere (auch Menschen) mit ihren scharfe Zähnen und scharfen Krallen wehren.
-
Every day she wants
- more than once -
mice catching or similar games that
have prey character ( prey simulation ) .
Hiding and playing catch with human makes she very happy.
This takes have an hour.
ps
Masters should not forget:
A predator small enough to be prey for others, the domestic cat uses its formidable teeth and claws as weapons against animals that might confuse a cat with easier prey.
Domestic cats, animals similar in size to such prey species as rabbits, make a hissing sound reminiscent of a snake, advertising that they can put up formidable defenses for their size.
-
Zusammen mit der Norwegischen Waldkatze und der Sibirischen Katze zählt sie zur Gruppe der sogenannten Waldkatzen, welche wiederum zu den Naturrassen zählen.
-
working cat
Die Maine Coon ist als ursprüngliche working cat ein begabter Jäger, auch sind sie im Allgemeinen intelligente und verspielte Tiere. Sie benutzen mit Vorliebe ihre Pfoten, was dazu führt, dass sie problemlos Türen und Wasserhähne öffnen und kleine Objekte aufnehmen können. Maine Coons sind auch begabte „Apportierer“.
de.wikipedia.org/wiki/Maine-Coon-Katze
-
"Nutzkatze" - "Handwerker-Katze" „Bauernhofkatze“ „Rassekatze“
Familien-Katze Schmusekatze
Soziale Katze
Empathische Hauskatze
●
The Maine Coon is among the largest domesticated breeds of cat. It has a distinctive physical appearance and valuable hunting skills. It is one of the oldest natural breeds in North America, specifically native to the state of Maine,
where it is the official state cat.
Alternative names
Coon Cat
Maine Cat
Maine Shag
Snowshoe Cat
American Longhair
°°°°°°°°°°°°°°°°°°°°°°°°
PHOTOPEDIA
°°°°°°°°°°°°°°°°°°°°°°°°
en.wikipedia.org/wiki/Maine_Coon
Le maine coon est une race de chat à poil mi-long originaire de l'État du Maine aux États-Unis. Ce chat au physique rustique est caractérisé par sa grande taille, son museau carré, ses oreilles avec plumets et son poil mi-long. Il est à ce jour l'une des plus grandes races de chat domestique, avec le savannah, une race originaire des États-Unis issue du croisement avec un serval, un félin sauvage africain. Le maine coon est également la plus ancienne race naturelle nord-américaine.
Les femelles ont des chaleurs plutôt discrètes
Weiblich Tiere haben eher eine diskrete Hitze.
fr.wikipedia.org/wiki/Maine_coon
Charakter Umfrage
und Kastrationen (etwa 60%)
942 Gesamt
414 Katzen (davon 233 kastriert)
501 Kater (davon 356 kastriert)
baseportal.de/cgi-bin/baseportal.pl?htx=/mcats/Umfrageaus...
passt:
Sie ist eine Königin und Empfangs-chefin!
Die beste Katze der Welt !!!
Eine Seele wohnt dieser Katze inne, welche einem Engel gleich ist!
Zart und einfach nur lieb!!!
Sie liebt "ihre" Menschen abgöttisch und hat ein riesiges Vertrauen.
Sie liegt neben dem Menschen.
Auch manchmal mit einem Körperteil auf dem Schoss oder Oberschenkel.
Oder zwischen den Beinen
oder angekuschelt.
Auch Kopf an Kopf mag sie.
Selten liegt auf dem Oberkörper des Menschen.
---------
Exif data
Camera
Canon PowerShot SX60 HS
Aperture
f/5.0
Focal Length
11.9 mm aka 65 mm
Exposure
0.001 sec (1/1000)
Scene Capture Mode SPORTS
Flash
Off, Did not fire
Exposure Bias
-1/3 EV
ISO Speed
800
#
Discussion:
However, it can be debated whether or not harvesting livestock fits strictly in the definition of predation.
... the feeding of and caring for animals, followed by their being slaughtered with an appropriate tool, cutting up, and cooking.
In many cultures, animals are hunted or farmed by specialists (such as ranchers or fishermen), brought to a marketplace, and sold in pieces to the people who actually consume the meat.
I offered to do some sketches of this building for a new acquaintance on Twitter. He is a local councillor that works hard to promote heritage assets in York and Acomb on behalf of local people. The drawings will be used in a leaflet for an event at the end of January so I am working hard to give him a selection of views. Having chosen this subject I felt I owed it a bit of care and so have pencilled in the main components before using the pen. The calf sculpture is by Sally Arnup, so I had to get a good likeness, especially as it is dominated the foreground
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For licensing and commission requests: info{at}elkevogelsang.com -
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Escola de Artes Visuais do Parque Lage
The School of Visual Arts (Escola de Artes Visuais - EAV) of Parque Lage offers courses aiming at the development of artists, curators, researchers and other people interested in establishing or deepening their contact with art.
Created by Rubens Gerchman in 1975 to substitute the Institute of Fine Arts, the School is set in a mansion built in eclectic style, protected as a historic and environmental patrimony by IPHAN, an official federal agency. Projected by the architect Mário Vodrei, in the 1920’s, the residence of the Brazilian shipbuilder Henrique Lage and his wife, Gabriela Bezanzoni, an Italian lyric singer, has been influenced by the cultural effervescence derived from its open school model – a place where new aesthetic conceptions were carried on by Gerchman.
In this multidisciplinary atmosphere, artists and important intellectuals have met for more than 30 years. Remarkable events have taken place here, such as the art exhibition “Como vai você, Geração 80?”, opened in 1984, the “Rock Brasil” series of shows, the staging of well-known plays such as Shakespeare’s “The Tempest”, which transformed the School into an important pole of cultural resistance during the years of the military dictatorship in Brazil, as well as during the country’s process of redemocratization.
The School of Visual Arts of Parque Lage represents an outstanding reference to the arts, a patrimony that belongs not only to Rio de Janeiro, but also to Brazil.
Escola de Artes Visuais do Parque Lage
Parque Lage
Parque Lage (in full "Parque Enrique Lage") is a public park in the city of Rio De Janeiro, located in the Jardim Botânico neighborhood at the foot of the Corcovado.
The land was formerly the residence of industrialist Enrique Lage and his wife, singer Gabriela Bezanzoni. During the 1920's Lage had the mansion remodeled by Italian architect Mario Vodrel, with interior paintings by Salvador Payols Sabaté.
In the 1960's the land became a public park, with walking trails through subtropical forest. The Escola de Artes Visuais do Parque Lage (Visual Arts School of Parque Lage) and a café open to the public operate from the former mansion.
Parque Lage constitutes the last continuous arboreal, between the slopes of Corcovado and the rua Jardim Botânico.
Initially designed by English landscape architect John Tyndale in 1840 to the taste of romantic gardens, was partially reformed in the decades of 1920-30 and 1930-40, especially the section on the right, when its owner, the industrialist Enrique Lage, had to build new residence, when he was to replace his father, Antonio Martins Lage.
This house, which has a courtyard with pool, has the main façade completely covered with masonry.
Is part of the artistic period called eclectic.
The gardens that flank it are arranged in a geometric shape and have large areas devoid of arborization more exuberant, certainly a result of contemporary works of building the house.
On the whole, and especially in the central area to the left, the Lage Park presents the characteristics of a natural forest, with an intricate trees and shrubs of various sizes and categories, without solution of continuity in relation to the foot of Corcovado.
Linking the two entrance gates and forming a wide curve, with the central residential home, imperial palms are arranged in two continuous rows.
Among the attractions of the park, we can highlight the aquarium built in mortar imitating rocks and trunks of trees, bridges, benches and kiosks around the lake that are constructed representations of nature and the cave, well, artistic.
The gravel paths lead visitors to places interspersed with extensive vegetation and the buildings mentioned above and access is a gazebo located next to about 0.50m in height, where there is a lake known as Lake of the ducks.
For those who bring children to the park, it has equipment for children, such as swings and slides and those who wish to participate in hikes, the park has opened a path that reaches the Corcovado.
Fountain and banks offer the visitor a pleasant time in nature, in the Parque Lage. There is also a parking lot for about 60 cars, and bathrooms (male and female).
The visitor can also enjoy the lakes in the park and the aquarium, whose gardens are available for lovers of the green and a place of rare beauty.
Parque Lage has been restored and reopened on 24.2.2002, the Municipal Secretary of Environment, through the Foundation's Parks and Gardens, where they were removed tons of garbage accumulated over several years.
The fountain was renovated and restored the paths and trails that were completely damaged.
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 pleasurably a short distance south-east of Cavendish Mews, through the Burlington Estate, along Piccadilly past the six storey red brick façade of Fortnum and Mason with its six fanlight display windows, across busy Piccadilly Circus with its high hoardings advertising Bovril and Schweppes tonic water and its central fountain surmounted by Eros, and down to Trafalgar Square in the centre of London.
The pair are dressed in their summer best as they enjoy the sunshine: Frank in his Sunday best blue suit and a smart straw boater with a colourful grosgrain ribbon around the crown, and Edith in her blue floral sprigged frock and her wide brimmed straw hat decorated with a gay blue green and red ribbon and artificial flowers in matching colours, yet still holding her old battered black umbrella just in case of inclement weather. Circumnavigating tall Nelson’s Column guarded by his four giant lion statues, the pair blend in with the other citizens of London taking a stroll in the good weather. They laugh and chatter away amicably together as they perambulate across the wide tiled square, all awkwardness of their early courtship long left behind and replaced with a comfort and ease that comes with knowing one another better. They walk between the two ornamental fountains where children play and head towards the sweep of stairs that lead up to the National Gallery of London.
As they walk into the shadow of the tall Neoclassical columned façade of the gallery, Edith shivers and pulls herself more closely against Frank, not because she is cold, but because she is intimidated by the enormity and grandeur of the ediface. She has never been to the National Gallery before, and even as she walks past the liveried guards, she silently worries that she will be dragged away from Frank and thrown out for her impertinence. Yet when they approach one near the entrance to the gallery, he smiles and says good morning to them both.
“You see, Edith,” Frank reassures her, squeezing her forearm just above where her green leather handbag handle sits in the crook of her arm. “I told you there was nothing to worry about. The National gallery is for everyone, not just the wealthy.”
The pair walk through long galleries where the gently diffused light from large skylights above falls onto the artworks hanging in gilt frames along the painted walls around them. The galleries are populated with people of all kinds chatting quietly together in pairs like Frank and Edith or in small groups, all admiring the works hanging serenely about them in the long galleries. Edith’s heels click against the parquetry floors, but she is too amazed by all the beautiful paintings to feel self-conscious about it or feel inferiority because her clothes are not as fine as some of the gallery’s visitors around them. With her right arm linked firmly with Frank’s, she allows him to lead her through gallery after gallery, pointing out portraits of famous people from history, landscapes by the Impressionist painters of France, Italian Renaissance paintings and Dutch masters.
Eventually the pair wend their way to a gallery featuring artwork and furnishings from, or inspired by the Tudor period.
“The Royal Nursery 1538 by Marcus Stone,” Edith reads quietly aloud from the plaque stuck to the red painted wall beneath the large gold framed portrait. “Painted in 1871.” She looks closely at the fine details of the faces of the people in the oil painting and their beautiful Tudor costumes. “Well that’s obviously Henry VIII,” she remarks, indicating to the central figure pulling a toy galleon on wheels, who is unmistakably the Tudor sovereign. “But who are the others?”
“Well,” Frank says peering at the oil painting which has yellowed with age and exposure to the elements. “I’d say that is his son, Prince Edward,” He points to the cherubic child in what looks more like a Tudor torture machine than a wooden walker. “I would imagine that that is Princess Elizabeth who became Queen Elizabeth.” He indicates to a sad looking child standing on her own to the left of the painting with a wistful look on her face.
“How do you know that Frank?” Edith asks with eyes glittering with excitement.
“Well, see,” he points to her hands. “She appears to have been reading before the arrival of King Henry, and Queen Elizabeth was purportedly an avid reader.”
“Oh!” Edith nods and gazes seriously at the child.
“And that may be Princess Mary, who became Queen Mary who caused so many problems between the Catholics and the Protestants here in England.” Frank indicates to the young woman in very grand garb kneeling beside the young prince in the walker. “She was Elizabeth’s older half-sister. I’m not sure who the rest are. Servants maybe, or the king’s advisors.”
“Yes, she looks like a nursemaid.” Edith points to a woman in the shadows to the right of the painting standing by a cradle.
“Of course,” Frank remarks. “It’s all very fanciful, really.”
Edith turns away from the painting after the pair look at it in companionable silence for a few moments longer and spots several high backed chairs with red velvet seats sitting in a cluster in the middle of the gallery’s parquetry floor.
“Do you mind if we sit down for a few minutes Frank? My shoes are beginning to pinch from all the standing we’ve been doing.”
“Oh of course, Edith!” Frank replies with concern. “Lets sit over there.” He nods to the same cluster of chairs that had caught Edith’s eyes.
The pair walk over to the chairs where Edith sinks down with a grateful sigh, whilst Frank sits down beside her, placing his smart summer straw boater on the seat next to him. Edith reaches down to her foot and discreetly slips off her left Sunday best black pump and rubs her heel beneath her slightly rumpled stocking.
Sitting up again, Edith looks back across at the painting. “What do you mean by the painting is fanciful, Frank?”
“Well, I doubt that even King Henry’s children’s nursery would have looked quite so picturesque as that in Tudor times. Life dirty back in those days, even for kings and queens. Marcus Stone* was a Victorian Romantic painter, Edith, so his image is a romanticised version of what we might have seen.”
“But none of us can truly know what the King’s nursery looked like back then, Frank.”
“Very true, Edith. Mr. Stone was painting a historical scene that appealed to the romantic ideals of the time. Queen Victoria and her family were very interested in history, but a romanticised and sanitised version of it, and she influenced the tastes of all her subjects. She was also a very family-oriented monarch, probably the first since King George III, so domestic scenes were very popular at the time Mr. Stone painted it.”
Edith’s pretty cornflower blue eyes grow wide as she stares in admiration at her beau sitting beside her. “You are so knowledgeable, Frank.”
“Thank you Edith.” he replies proudly sitting up a little more boldly.
“How do you know so much?”
“Well, I do read quite a lot, Edith. You should see my bedroom at my lodgings. There are books everywhere. Mrs. Chapman keeps threatening to fling them all out. She says the weight will make the floors bow.” He chuckles.
“They won’t will they, Frank?” Edith gasps.
“Oh no!” he assures her. “It’s just Mrs. Chapman and one of her ways. I don’t think she has ever been a great reader, and she treats books, and book readers, with suspicion. I don’t think she would have agreed to take me as a paying lodger if she knew I read as much as I do.”
“I don’t know where you find the space in your head to store all the information you gather from what you read. I’m sure I couldn’t. I’m sure I’ll never be as smart as you, Frank.” Edith blushes with embarrassment.
“Rubbish Edith!” Frank retorts quickly. “I’ve told you before, we are all smart in different ways. There are things you know and know how to do that I don’t.”
“Sometimes I think what I know in comparison to you is of no significance at all.”
“That’s foolish talk too, Edith, and I said as much in Hilda’s kitchen that Sunday when we all went to the Hammersmith Palais**.” Frank chides his sweetheart, not unkindly. “You know how to cook, and all my knowledge of painting couldn’t feed an empty belly.” He looks at Edith lovingly. “You know you really mustn’t feel inferior, Edith. I only know what I do because my grandparents used to bring me here when I was, as Gran would say, ‘a wee bairn’.”
“Well, you are very lucky, Frank.”
“I know, Edith.” He looks around the red painted gallery populated with couples, small clusters of people and a few men and women on their own, quietly admiring the Tudor paintings covering the walls. “So, how do you like your first visit to the National Gallery, then?”
“Oh, I love it, Frank!” Edith enthuses. “You know, when we spent New Year’s Eve at The Angel*** and you suggested that we visit here, I had my doubts.”
“I know Edith. I could see them, as plain as day in your pretty face.” Frank chuckles.
“I always thought of galleries as places, well where people like Miss Lettice and her fine friends go, and not for people like me. The way she tries to talk to me about modern art and fashionable trends when she gets a new delivery from the Portland Gallery in Bond Street just leaves me feeling bewildered. Next to her, I feel I don’t even know what art is.”
“Well, those kind of galleries are a bit more avant-garde.” Frank agrees.
“What does that mean, Frank?”
Frank thinks for a moment, looking up to the white painted plaster ceiling above before replying. “Experimental and innovatively modern.”
“Well, I don’t think I am so keen on that kind of art. Paintings that look like blotches and squares of bright colour that I’m told are portraits or landscapes where I can’t see either, leave me feeling unsettled. But here,” She waves her hands expansively around her with a relieved smile. “I can see paintings and sculptures that I understand. That painting says it’s a nursery, and whether it is historically accurate or not, Frank, it looks like a nursery to me. These are like the pictures Mrs. Boothby has hanging above her sink in Poplar, only far more colourful and beautiful.”
“That’s because these are originals, not facsimiles, Edith.”
“Facsimile.” Edith laughs quietly and shakes her head as she rolls the foreign word around on her tongue like an exotic sweet. “And what does that mean, Frank Leadbetter?”
“A copy.” he replies with a slightly embarrassed chuckle of his own.
“Facsimile, facsimile,” Edith quietly recites, trying to gain familiarity with the word. “I like that word, Frank. It sounds very grand and important, and much nicer than copy, which sounds so boring and everyday in comparison.”
The pair laugh together and sigh happily.
“So, you’d be happy to come here again then, Edith?” Frank asks hopefully.
“Oh yes Frank! I’d love that!”
“I’m glad to hear you say that Edith, because there are so many more galleries to see, and the curators of the galleries do change paintings over from time to time, and have exhibitions of paintings brought in especially from other galleries in other countries.”
“Are you wanting to make me as knowledgeable about art as you, Frank?”
“Well,” Frank blushes. “It wouldn’t be a bad thing to expand your horizons, Edith, and I love showing you that there is a whole world of art that you’ve never experienced before.”
“Oh, you are so lovely, Frank.” Edith sighs. “How fortunate I am to have met you.”
“And how lucky I am to have met you too, Edith.”
The couple discreetly hold hands as they sit side by side on the seats and stare lovingly into one another’s eyes, the people milling about them, the sound of footsteps and the quiet burble of conversation drifting away as they focus only on each other.
At length Frank breaks their blissful moment of enjoyment. “What do you think your mum would say to me bringing you here, Edith?” His happy eyes suddenly cloud a little with concern.
“Oh, I don’t think she’d mind, Frank.”
“Don’t you think she would think I was trying to fill your head with ideas that don’t belong there?” he asks glumly, hanging his head as he speaks.
“No, of course she wouldn’t! Mum loves beautiful things too, Frank. I think she thinks the same of galleries as I did until you brought me here, and if she knew that the gallery was open to the likes of you and me, and that it was free, she’d spend a few hard earned pennies catching the tube to come here too.”
“Do you really think so, Edith?”
“Of course I do, Frank. Maybe we could even bring her here one Sunday on our day off.” Edith assures her beau.
“That would be a turn up for the books, Edith.” Frank smiles.
“Look, I know that you and Mum got off to a rocky start together when you first met, but she’s warming to you, Frank. Honestly she is.”
“I’m sure Edith.” Frank squeezes Edith’s hands. “I’m just anxious that we get along, is all. When you and I get married, I want her to be proud of her daughter’s choice in a husband.”
“Frank,” Edith looks earnestly into the young man’s anxious face. “Mum knows that I’m old enough to make my own decisions. I’m not a little girl anymore. She will be proud when I marry the man who suits me down to a tee, and that man is you, Frank.”
Frank blushes red and smiles shyly at his sweetheart who returns it with her own shy smile.
“I do love you, Edith Watsford.”
“And I love you, Frank Leadbetter.”
“Well, if you do, Edith,” Frank looks back at the picture of the Royal Nursery and points. “How many children shall we have?”
“Oh, you are awful Frank Leadbetter!” gasps Edith, her cheeks colouring at the mention of having babies. “None until after the day we get wed!” She releases his hands and playfully smacks him across the knuckles.
“Yes, but then now many?” Frank persists.
“We’ll see then, won’t we, Frank?” Edith laughs. She slips her shoe back on and picks up her handbag. “Come on,” she says, standing up. “We’ve sat here for long enough.” She holds out her hand to him. “It’s time for you to show me some more of the National Gallery.”
“Yes Miss!” Frank says, snatching up his hat and their guidebooks.
Arm in arm the pair begin to move further along the gallery towards the door leading into the next room, their heads bowed towards one another as they chatter happily between them.
*Marcus Stone RA was an English painter. He was born in London in 1840, and was educated by his father, artist Frank Stone, before exhibiting at the Royal Academy before he was eighteen. He is known for his illustrations of books by Charles Dickens and Anthony Trollope. His earlier works were mostly historical incidents, but his later works were more sentimental. He is best known for his painting “In Love” which he painted in 1888. He died in 1921 in Kensington.
**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.
***The Angel, one of the oldest Rotherhithe pubs, is now in splendid isolation in front of the remains of Edward III's mansion on the Thames Path at the western edge of Rotherhithe. The site was first used when the Bermondsey Abbey monks used to brew beer which they sold to pilgrims. It is located at 24 Rotherhithe St, opposite Execution Dock in Wapping. It has two storeys, plus an attic. It is built of multi-coloured stock brick with a stucco cornice and blocking course. The ground floor frontage is made of wood. There is an area of segmental arches on the first floor with sash windows, and it is topped by a low pitched slate roof. Its Thames frontage has an unusual weatherboarded gallery on wooden posts. The interior is divided by wooden panels into five small rooms. In the early 20th Century its reputation and location attracted local artists including Augustus John and James Abbott McNeil Whistler. In the 1940s and 50s it became a popular destination for celebrities including Laurel and Hardy. Today its customers are local residents, tourists and people walking the Thames Path.
Although carefully arranged to look like the National Gallery as it was in the 1920s, this scene is different from what you might think, for it is made up entirely of 1:12 size dollhouse miniatures from my collection, including pieces from my own childhood.
Fun things to look for in this tableau include:
The paintings on the walls in their gilt frames all come from Kathleen Knight’s Dolls House Shop in the United Kingdom. The main painting featured is a copy of “The Royal Nursery 1538”, an oil on canvas by Victorian Romanticist painter, history painter, illustrator and genre painter, Marcus Stone.
The Queen Anne chairs in the foreground are part of a dining room set that I was given as birthday present when I was a child.
1:12 size miniature hats made to exacting standards of quality and realism are often far more expensive than real hats are. When you think that one would sit comfortably on the tip of your index finger, yet it could cost in excess of $150.00 or £100.00, makes them an extravagance. American artists seem to have the monopoly on this skill and some of the hats that I have seen or acquired over the years are remarkable. Although not as expensive, Frank’s straw boater is made with wonderful detail and comes from Doreen Jeffries’ Small Wonders miniature shop in the United Kingdom.
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 Tudor table beneath “The Royal Nursery 1538” and the Tudor chair you can just see to its right, I bought as part of a lot of miniature pieces from an antique auction when I was a late teenager. The chest to the left of the photo came from Kathleen Knight’s Dolls House Shop.
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.
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.
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
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Microchip announced a flexible, low-cost, renewable monthly subscription license for the PRO editions of its award-winning MPLAB® XC line of C compilers. The MPLAB XC8, XC16 and XC32 compilers offer reduced complexity, and provide the best execution speed and code size for all ~1,400 PIC® microcontrollers (MCUs) and dsPIC® Digital Signal Controllers (DSCs), and are available with three optimization levels—Free, Standard and PRO. By offering a monthly-subscription PRO license, Microchip is providing 8, 16 and 32-bit MCU designers the ability to make use of the most features and best code optimization only when needed in the design cycle. Subscribers will also have the ability to receive updated versions of the MPLAB XC compiler type they are subscribed to, without the need for an active Microchip MPLAB XC High Priority Access (HPA) maintenance subscription. Unlike most software subscriptions, this license is not cloud-based, providing designers the additional flexibility of using the compilers offline.
To learn more about the features and different optimization levels of the MPLAB XC compilers, visit: www.microchip.com/Compilers-120115a
All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info{at}elkevogelsang.com -
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© Elke Vogelsang
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EXPLORE HISTORIC DESERT VIEW
The Desert View area offers some of the most spectacular views of the Grand Canyon to the far east of south rim. Desert View boasts a lot more than breathtaking views only. And that's just the beginning. Desert View offers a lifetime experience that combines history, art, architecture and Native American culture.
Grand Canyon : A personal feeling
Grand Canyon was created on this planet long before human races had evolved. In his early days the supreme creator might have been frustrated in spite of creating all his splendors, for the reason, there was no such species like humans to appreciate all the beauties and truths on this earth. He set his final evolutionary goal. The most intelligent species came into being. They looked at these beauties, stood rapt in awe to feel them by their hearts and reason them by their brain. Thus beauties and truths were revealed on this earth. This was my feeling as I saw Grand Canyon for the first time.
Grand Canyon seemed to me, like a child prodigy sleeping peacefully in his mother’s lap waiting to be woken up by a magic touch. He will share all his mysteries, beauties and truths since his first inception in the mother’s womb. He will never grow old. He will never finish his story ever.
I soon understood that, through its endless showcase of variety, the Canyon magically connects an observer’s mind, to almost all the literal subjects, humans have ever created. It has an immense power to train our body, mind and soul to interrelate different faculties of human intellect in search of a holistic truth.
I wondered, how the supreme sculptor had used his magic chisel to slash a land in endless ravines, so deeply and mysteriously, to create infinite dimensions. The colors of the bare faces of the rocks across different layers, illuminated by daylight, reflect finest pastel colors, delicately applied in an impressionistic mode, as if, by an artist’s invisible spatula. But these are its physical realities only. Grand Canyon is something more than that…
To the best of my experience, this is a place where all human senses intermingle and lose their identity, as one turns quiet and silent for a considerable period of time. From an overview, it seemed to me, as if, a huge number of artists in a group orchestra rearing their heads up in the sky from a mysterious platform. All are spiritual sages, deeply engrossed in creating a symphony. River Colorado glides in-between like the baton of an invisible composer. But with the passage of time, all these physical realities vanished, except one, and only one thing I experienced…
An experience of seeing, hearing, feeling, touching and smelling an inherent beauty of unchained melody, what Grand Canyon is all about.
Postcard sent from Hamilton, Bermuda on July 7th, 1959.
In the life of this vessel, the chapter as the Willem Ruys is perhaps known the least. Her construction began in 1939 for Rotterdamsche Lloyd at De Schelde shipyard, Vlissingen, Netherlands. Unfortunately, the outbreak of WWII halted construction, and she was not launched until July of 1946. Perhaps the most notable feature of the vessel when built was the low positioning of lifeboats into recessed ports on the ship's flanks. While not seen on another vessel until the Canberra of 1961, this feature is seen on all new-build cruise ships today. Following various operations over the next two decades, including an around-the-world cruise starting in March of 1959, she was laid up in 1964, and soon offered for sale.
Come 1965, Flotta Lauro Line stepped up and purchased the Willem Ruys, rebuilding her extensively. In 1966 she again entered service, this time under the name Achille Lauro. After conversion into a cruise ship in 1972, she soon suffered from a series of major events, starting with fires in 1972 and 81, and a collision in 1975. 1982 brought the bankruptcy of Lauro Lines, and she was chartered by Chandris Cruises.
Perhaps her most infamous incident then occured in 1985. On October 7th, members of the Palestinian Liberation Front took over the vessel while underway in the Mediterranean, demanding release of Palestinians from Israeli prisons. Refusal for the ship to dock in Syria resulted in the terrorists killing a disabled American passenger. Ultimately, the hijackers surrendered in exchange for free passage, however, the airliner they boarded was intercepted by US fighter planes, with the hijackers being arrested and tried for murder.
In 1987, Lauro Lines was purchased by MSC Cruises, and became StarLauro. Under this new ownership, her final chapter unfolded on November 30th, 1994 off the coast of Somalia. An explosion in the engine room resulted in an out-of-control inferno that, following evacuation, gutted the old ship. In the end, she slipped beneath the waves on December 2nd.
From the reverse:
"Uitg. Fotografische Afd. "Willem Ruys" W. R. No. 1"
Sent by Ralph Whitman to Miss A. M. Cartwright of Vancouver, BC.
Offered by Glassic Motor Car Company of Palm Beach, Florida. Glassic was best known for its Model A Ford replicars.
Over the past couple of years pickings for color 120 film have become kind of slim. Fuji offers their 400H and that is about it. If you search high and low in Europe and Asia you can still find Reala and 160S, but here in the states it's 400H or go home. Kodak gives you the choice of Ektar 100, Portra 160, Portra 400 or Portra 800. So basically there are two slow speed films, two 400 speed films and one high speed 800 film to choose from. Not much of a selection but thank goodness the films available are good ones.
Enter Lomo into the mix. Lomography has recently become synonymous with crappy, plastic toy cameras. Yes, even more their "fancy" cameras are really just more expensive crappy cameras. But give them credit, their analog revolution has gained traction and recently they have introduced film to back it up. A wide variety of film at that. In 120 they have a 100, 400 and 800 color neg. They offer a 200 slide film for cross-processing. They put out a 100 and 400 b&w neg. They even have (at least) four different types of 110 film.
Where this film comes from is anyone's guess. I have read a lot of speculation on the internet, some of it seemingly well supported. Lomo is certainly not making their own film, that is a pretty involved and complicated process... just ask Kodak which recently announced they were going to stop producing their own film base because of the time and expense and start buying it from a third party.
Frankly, I don't really care where it comes from other than a mild academic curiosity. I figured I would give you a review of the film though as I have been using it here and there.
First thing's first. The film is dirt cheap (unless you buy it from Urban Outfitters, then it is really expensive). It is about half the price of Kodak and Fuji film. So that is a compelling reason.
The film is also quite grainy. Each speed (100,400, and 800) is grainier than any other respective film of the same speed by Kodak or Fuji. The Lomography 100 is surprisingly grainy for a 100 speed film. The 400 is too, but not as overly grainy above expectations as the 100 and the 800 is about what I expected.
They have pretty decent colors. Punchy and fairly saturated. These are not Portra, that's for sure. In fact, I am not quite sure what film this is (some have said Superia) but this does not look like any film I am familiar with. In terms of its color, it makes for a very good all around film be it landscapes or still life or portraiture... though I would probably leave it at home come the wedding. But the colors get a pass from me. Good, fun colors to work with.
But... the film scratches easy. Much more easily than other color neg films. 35mm seems to scratch a bit less than 120, weirdly enough. But the film is definitely softer all around and more prone to damage. Be wary of taking it to the beach.
Lastly, don't use the 120 film for long exposures, day or night. By long, I mean anything over 60 seconds or so. I did some long daytime exposures using stacked ND filters (of about 15 minutes in length) as well as some long night exposures without filters (also about 15 minutes in length). For some reason I have not quite puzzled out yet, I picked up mottling and texture from the paper backing in my skies and other detailess areas of color. What's more, I could even faintly see the imprint from the numbering on the paper backing, which I how I know the mottling comes from the same place. My best guess is that the film does not have as good an anti-halation layer and so light penetrates it and reflects off of whatever is behind it (the paper backing) picking up detail from it and exposing it back onto the film. I haven't tried super long exposures with 35mm, but then again I probably won't. I'll stick to Ektar when I know I want to go long. Oh, I should mention that all those long exposures have been done via my Hasselblad, so no questions about the effect being caused by camera light leak either.
In summary it is always a good thing to see new film options pop up. Lomo bringing out film is a gift for film photographers everywhere. But as with their cameras, one should take the quality of their product with a dose of caution. The film is grainy, scratchy and prone to weird effects under long exposures. At the same time it is inexpensive and has decent color capabilities. It is perfect for a Holga and not even all that bad for a Hasselblad. It's worth a try, and perhaps with enough support they'll even keep it around and improve it. Probably not, but it's always worth hoping.
These items offer some evidence children lived in the squalor of this most distressing house. It appears, someone occupied the house until 1999 and it is likely this original occupant was a "hoarder". After the homeowner departed, the once attractive house was occupied by squatters; at least one group of squatters included young children. Vandals also visited the house, removing wiring and plumbing and knocking holes in the walls and ceilings. Doors were removed and windows knocked out. Graffiti adorned what was left. Today the house is knee deep in detritus. So much garbage litters the house and so many holes are in the walls that the house offers little attraction to squatters any more. However, I can not help but wonder what has happenned to the children whose belongings were found among the rubbish.
The KOM League
Flash Report
For
March 7, 2019
This report has been placed on Flickr at: www.flickr.com/photos/60428361@N07/47310622721/ In order to learn the story about the young man who was separated from his family at age four and to learn nothing more for 17 years you’ll have to click on the aforementioned link. And, there is an offer of something, for free, that has been in the making for 14 years.
______________________________________________________________________________
The offer of something for nothing—i.e. free
KOM COMMISSIONER: I’ve stalled for a year and have not pitched the past 14 or so years of Flash Reports that now require three storage boxes to house. Is there anyone left who would want them? I’d love to keep them, but my wife is opposed and no one else in my family has any interest. I’ll await your answer and directions. How about the Kansas Historical Society? The Missouri or Boone County Historical Societies? Cooperstown? They might be the best bet.
I know they stored a lot of scouts’ reports in the past when the scout cleaned out his office or died and someone did it for him.
I’ve finally made the first steps to organize the dozens of file boxes (around 75 of them), eliminate and archive what is left. I’ll send my archives to the Western Historical Manuscripts Collection at the State Historical Society along with several organizations I’ve helped keep alive through the years. I’ll need to live to the age of at least 110 to get it all in order. That means I have 23 ½ years left, for sure.
I’m always good for breakfast, soup, or liver and onions when you are. OL’ CLARK- aka Bill Clark—former major league scout and now living full time in Columbia, Mo.
Ed reply:
I will put your offer to offload those old Flash Reports in my next report, if there should ever be one. Like you, no one in my family has any interest in them. I couldn't even find a library or historical society who would take and use them even for starting bond fires or crude insulation.
One thing I can do is go somewhere for breakfast. I usually do one with the great grandkids every Saturday morning but I decided about a half an hour ago I'm not up to the challenge today. I'm sending my first wife instead.
Put down the date. place and time that suits you best for a breakfast encounter and I'll schedule my doctor's visits around that date.
Someone told me spring training has started. I'm taking this year off from baseball again.
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Plea:
If anyone can give those old Flash Reports, neatly sorted, and firmly packed, a home let either Bill Clark or the guy who wrote them know of your intentions. Otherwise, a big stack of paper will go into a local recycling bin.
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The dean of KOM league sportswriters
E. L. Dale of the Carthage Press hired Fletcher Cupp to write sports and other articles in the early 1930’s when it was a two newspaper town.
In recent weeks an article that Cupp wrote, that went nationwide, was shared in this forum. It was a great interview he did with Carl Hubbell which should have put to rest the issue as to where the Hall of Fame hurler was born. All the major sports publications had it as being in Carthage, Mo. but they were wrong as Cupp documented. Even five decades later one of Cupp’s successor’s at the Carthage Press, Corky Simpson, had a face-to-face interview, with Hubbell, who was still telling the story the same way he had done with Cupp when he was the all-star pitcher with the New York Giants.
But, this article is not a rehash of Cupp and Hubbell but one that intrigued me. This article appeared in 1943. For as long as I can remember I heard the stories that circulated around my hometown about the friendship that had developed during WW II between Cupp and the most famous male movie actor in the world.
Cupp was a fixture at all sporting events in town and covered baseball in Carthage during its time in the Arkansas/Missouri league as well as its entire time in the KOM league. It is no exaggeration to say that he was the dean of KOM league sportswriters. He also held the position of the official scorer for KOM games for both the Cardinal and Cub affiliates in Carthage.
Thus, when I came across an article published August 13, 1943 and spread around the globe by the Associated Press, I knew I had discovered how the link between Cupp and Gable came to pass. When writing one of my books I was interviewing a former player in Pella, Iowa. There came a time in the interview when the fellow asked “How did you write about Cupp and Gable?” For the few of you who have read my books you’ll know that subject didn’t make it into any of my published works
In researching that era I did find references in the Carthage Press where it would be mentioned that Gable was visiting in Carthage. One writer, for the Press, opined that the owner of Boots Motor Court ought to advertise on highway signs on highways 66 and 71 that “Clark Gable slept here.” He was sure that would cause ladies, traveling with their husbands, to demand they sleep where Gable did.
One night, in particular, comes to mind of the fellow I was interviewing in Pella, Iowa. I guess its okay to mention names. Duane Ballou recalled having an early afternoon lunch with his teammate Oscar “Pappy” Walterman. Shortly after the meal began Cupp came into the restaurant, the C&W, which was located on the north side of the Carthage square. That is only mentioned for the Tiger theater was located on the west side of the square and the Crane Theater was about a block east of the restaurant. As the two ballplayers ate, Cupp asked them about the previous night’s game and solicited comments about the opponent for that evening’s game.
Ballou said as they were finishing their meal the door of the café swung open wide and clad in a leather jacket and aviator cap stood a guy who yelled out “Fletch.” According to Ballou, Cupp went to the door, greeted the fellow and walked him back to the booth where he and Walterman were sitting.
Cupp announced “Boys I want you to meet my friend, Clark Gable.” Both Ballou and Walterman said they felt uncomfortable and didn’t know what to say. What they said was “Good meeting you” and then excused themselves and headed out to the ballpark. Can you imagine what their teammates said when told they had just met Clark Gable?
Often I’ve wondered what some young lady who was a movie fan would have thought had she recognized a fellow who had been on the big screen at the Tiger and Crane theaters many times. Some of you Carthaginians, from that era, may wonder how I’m going to conclude this story. I just did.
Now here is the AP story from 8/13/1943
Former Carthage, Mo., Sports Editor Tells of Raid He and Gable 'Enjoyed' Over Germany
By WILLIAM S. WHITE --UNITED STATES BOMBER STATION IN ENGLAND, Aug. 13 -(AP)—After he and Capt. Clark Gable had just been missed by a chunk of flak on a Fortress raid over Germany, Master Sgt. Fletcher Cupp, former sports editor of the Carthage, Mo., Evening Press and correspondent of the Kansas City Star, sent this message back home to his old boss: (Ed note: E. L. Dale Carthage Press Editor and later KOM League President). "As soon as this war is over, I'll sure be glad to meet that deadline of yours again." Cupp, radio operator and gunner' on the Fortress "Ain’t It Gruesome," yesterday was on his 15th raid over Germany when the flak burst tore through the ship three feet from where he was standing. It was a close call for the former movie star, standing near. It was one of 15 such bursts that the ship survived, but Cupp didn't know how near he was to the bad news until after landing back in England. "I had just left my regular position in the radio room to go back into the waist and fix a fuse," Cupp said. “I heard something like a tin can dropping and just thought maybe one of the boys had dropped an ammunition case or something. When we got down I saw the hole made by that tin can."
"Ain't It Gruesome" was "all over the floor." he added, ''and ours were the huskiest evasion tactics I've ever seen. I believe it was I he roughest raid I've been in yet, although they are all rough enough. You see, we were in the lead ship, and of course they go for that ship. "I understand we were up there for about two hours, but it seemed a little more like 20 to me. "The sensation doesn't change much; it. runs about like this: The worst time yesterday—as always— was on our way toward the target area. When we got over the target area itself, everybody was much too busy to think about anything but what we were doing. On The Alert Every Minute "Of course, even coming back you are plenty on the alert. The other feller is pretty sly about letting you alone a little while and then jumping you—sometimes just before you get to the English coast." Captain Gable, who went along to take shots of enemy fighters on attack for a gunnery training film was nearby as the-flak hit the top turret. "Captain Gable was standing within two feet of that turret," Cupp recalled. "That flak rattled around up there and dropped on the floor. I didn't see what the captain 'did; we were all pretty busy up there then." Cupp, big and redheaded, has been in the Army 16 months and three or four of those have been spent in England. His parents, Mr. and Mrs. Carl Cupp, live on RFD 1, Carthage, Mo
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Encouragement to write another Flash Report:
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Well done my friend. Your stories and humor are well appreciated. Jason Wallace—Grandson of Bob Saban—former member of the Carthage Cubs and numerous other teams.
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John, Thank you for all the info and great photos of the past and all of your photos w/that wonderful Canon. You are a remarkable man to keep history going of the KOM and all the really good baseball that was played in towns in Kansas, Oklahoma, and Missouri, in the 40's, 50"s and 60's. You are very special....,.THANK, THANK, AND THANK YOU Norris Dorsey. Wood River, Ill.
Ed reply:
Well, it is great hearing from Norris Dorsey on a snowy day in March. Glad you enjoy the photos. My camera is a Nikon and I do have a lens about the size of a cannon but it is made by Sigma.
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Three or four other folks sent along messages that I interpreted as meaning they would like to hear the full story of the young man who was born in Joplin and left there when his mother died. If you recall his father re-married (maybe) and headed west with a ‘pocket full of money” and got as far as El Paso, Texas before dumping the young boy.
When starting to delve into the details of the abandonment of the young man I said to myself “self” I have plowed this same ground in the past. Calling on the memory power at my disposal I looked up the telephone number of a reader who dropped off the “reception” list a few months ago. In making the call I found the person wasn’t mad at me or fed up with the reports but rather he had changed his e-mail address. As a result of that contact here is the message received.
“Hi John, good to hear from you again. I was concerned that you had discontinued the KOM Reports and retired to other interests. So, now I’m catching up on reports missed and find them very interesting. As you probably know I was an avid fan of both the KOM and Western Association Leagues. Especially, with the Joplin Miners I had the opportunity to see some future major leaguers and some guys who didn’t quite reach the majors but played at higher levels than class D and C. But, I still remember some of those in D and C who had a lot of talent but no luck. All this is to let you know that I sure would like to be on your report list again.
I reread the McKibben story you researched. My Stepfather, Earl McKibben, was born and raised near what was Picher, OK and had quite a number of relatives there for some time. However, most of them later moved to Arizona and California. My twin brother, Jerry, and I played in the four states area from ages 9 to 24 after which we both got married and moved to different parts of the country. During our early years we were not legally McKibbens. Rather our birth name was Jackson. We discovered this when we both enlisted in the Webb City Company of the National Guard. You might imagine the shock of this revelation and the subsequent conversations within the family. An adoption process followed and all was made well and whole. While I know the McKibben families, I know none of the
Webb City area Jackson’s.
John, this is unquestionably more than you wanted to know, so I’ll bring this to a halt. Just to add, when my brother and I visit we replay some of the past games and marvel at how good we were. Isn’t it amazing how old age memories and reality collide and produce stories about things that never happened as now told?
Please keep up your good work and add me to the active list. Thanks much. Gene McKibben-St. Peters, MO
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Altering the history of the KOM rosters
All of the research undertaken regarding the McKibbens had to do with a person identified as Harve McKibben in all KOM league historical records. He was always referenced in the Miami newspaper as being an Indian lad. He was born in 1922 at Quapaw, Okla. and was a star athlete at Miami, OK high school before serving in WW II with two older brothers.
At this juncture I’m setting the historical narrative on the Miami, Okla. and KOM player straight. The fellow’s full name was John Harvey McKibben III and was born March 14, 1922 in Lincolnville, Okla (Notice how that fact was made to coincide near the current date.) John Harvey McKibben the first was born in Ohio, in 1854, and then moved to Appleton City, Missouri. There he had a son John Harvey II in 1891. From Appleton City a number of the McKibben’s moved to Indian Territory where John Harvey Jr. farmed until he found the minerals beneath the surface were more valuable than the grass his cows were eating. He became a very successful miner and developer of mines.
In 1920 John Jr. married a full-blood Indian by the name of Anna Quapaw. Their first son was named after his father and grandfather. Thus, John Harvey McKibben III was half-blooded Quapaw. His maternal grandmother was named Mes-kah-na-ba-nah and for short she was called Minnie.
John Harvey McKibben III was one of only four players, from the Miami club of 1946, who the Brooklyn Dodgers selected at the end of that season to play in their organization in 1947. The 1946 Miami-Brooklyn relationship was like a lot of post-war agreements made between big league and minor league teams. In this case Brooklyn gave Miami $1,000 seed money for 1946 and in return they got to select six players from that team at the close of the season. As it turned out Brooklyn was only impressed with four enough to sign them for 1947.
Harvey McKibben, the Miami baseball player died Feb. 19, 1965 in Tulsa, Okla. but up to shortly before his passing he lived in Colorado Springs, Colorado He had an older first cousin, Harold John McKibben, and the following is about him. Harold’s father was named Norman and he got his first name from a great uncle who died July 1, 1863 at the Battle of Gettysburg. This will all unfold, in chapters, on a weekly basis, until the story can be put to rest.
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Harold John McKibben becomes and “unbecomes” Juan Chavez
Primary Resource: El Paso Evening Post September 14, 1927 page 1.
Harold John McKibben, 21, who says he lived for 17 years under the impression that he was the son or Manuel Gomez Chavez, wealthy Parral, Chih., rancher, today, planned a nationwide search for his parents. He said he will ask newspapers throughout the country to broadcast his strange story. A faint hope that his mother may be alive was fanned to life, he said by Mrs. G. F. Cole, 3707 Durazno, who kept the boy for three weeks after he was abandoned in 1910 by his father and step-mother when he was four years old “She said my mother may be| alive, though that is only a surmise," he said. "Others who knew my father say my mother is dead.”
The young man is awaiting the arrival of Mr. and Mrs. J. A. Chipps, who are due home from, California in a few days. He was abandoned by his father and stepmother at a rooming house Mr. and Mrs. Chipps ran in 1910. Meanwhile a report that his father may have come here from Joplin, Mo., is being investigated.
Mrs. Cole and Victor Benedetti at the Hotel Savoy declared that there can be no question about the identity of the young man after they saw him today. (His) parents went away "As a baby in rompers he played with my dog at the Hermes rooms,' which Mr. and Mrs. Chipps operated,” said Benedetti. “His father and step-mother disappeared, leaving him with Mrs. Chipps. They never have been heard from.
"Mrs. Chipps wanted to keep him, but decided she couldn't care for him because they were building an apartment house and she was busy. “Manuel Gomez Chavez, Parral rancher, took the boy. Four years later he brought him to El Paso. The child spoke nothing but Spanish and had forgotten us." Trying to stir memories Benedetti took McKibben for a stroll past the old rooming house at Overland and Stanton. But the young man remembered nothing definite about his early life. Benedetti has a photograph of the boy of four which Mrs. Chipps had made when he was turned over to Gomez Chavez.
Mrs. Cole planned to adopt the child and kept him for three weeks. Then she changed her mind. She kept a photograph of the boy’s father which was in the child's hand bag. She said she forgot to put it back when he was returned to Mrs. Chipps. Today she gave the picture to McKibben. “He was a happy, bright little fellow," she recalled. "He was right at home among strangers.” After Mrs. Cole decided she couldn't adopt him, the late Mrs. Albert Steinwach of Juarez kept the boy for a few days. It was at Mrs. Steinwach’s rooming house that the Parral rancher first saw him. “The boy looked so much like the rancher that he decided to adopt him,” said Mrs. Cole.
El Paso editor’s note: How he felt when he discovered last week that he is an American, after he had lived for 17 years as a Mexican with a Mexican name at Parral, Chih., and Mexico City, was described today by Harold John McKibben to an El Paso Post reporter. His authorized story, as he told it, follows:
By HAROLD JOHN M KIBBEN-- As far back as I can remember I have always felt alone, even as a child I was always sad. There seemed to be something that I had missed in life. As a boy at Parral, Chih, where I was reared, and in the field as a member of Pancho Villa's revolutionary forces at the age of 16 I felt that I was not born to that life. I was constantly groping for something—I did not know what. All alone and my associates seemed to consider me a person apart from themselves. They called me "The Gringo.” Perhaps it was because of my actions. Maybe the person who first called me by that name knew the story of my origin, though I did not know it then.
Then came the day when Manuel Gomez Chavez, who reared and educated me as a Mexican, told me I couldn't enter Mexican politics because I was American born. It is impossible to describe how that news thrilled me. I knew I had found part of that intangible something which had caused me to feel sad and lonely when I should have been a happy, carefree boy. Yearns for Mother. When I read the copy of a court order which placed me in the custody of Manuel Gomez Chavez I felt that I must begin a search for my parents. It is real parental love that I have been wanting all these years. My instinct was crying for the love of a real mother, though I did not know it. That yearning has caused me to resolve to forgive my father for abandoning me when I was a baby. Three days and two nights on the train from Mexico City to El Paso felt like an eternity. I lived a lifetime. I could not begin my search soon enough. A passenger offered me a cigaret and I smoked for the first time in my life.
I am not unappreciative of the things the people who reared me did for me. But I feel that I have lost much of my life—much of the things other boys accept as commonplace and in ordinary parts of family life. It is too late now for me to go to a university. So I will attempt to continue my career in the literary world. I will write stories and a book of Mexican stories. That may be the means of finding my father. He may see my name somewhere. Two pictures of Harold John McKibben. One was taken after his parents abandoned him when he was four years old. The other picture was taken today.
The saga continues, courtesy of the El Paso Herald September 13, 1927
Youth’s Mother Dead; Stepmother Beat Him, Records Reveal is an American-- Secrets of the strange and shrouded life of Harold John McKibben, American youth, whose story electrified El Pasoans and whose 21 years of existence eclipses the romantic and picturesque lives of adventurers and swashbucklers of fiction, were revealed Tuesday in a search of musty records at the county clerk’s office.
How the mother of the lad died when he was but a few weeks old; how a woman, purported to be the wife of his father, whipped, mistreated and half-starved him, and how the child was finally abandoned are disclosed in a court petition found among the manifold records of the county.
J. A. Chipps, former Juarez saloon man and owner of an apartment house at 205 West California street, who is now visiting in California, and the petitioner, said in the instrument that the woman purporting to be the wife of the child’s father left the boy with his wife for a few hours while she went downtown shopping and that it was the last he ever heard of the couple.
The petition on which the order to turn the child over to Manuel Gomez. Chavez, a wealthy Mexican. living near Parral, Mexico, follows:
State of Texas—County of El Paso. “Before me, the undersigned authority sworn on oath deposes and says: “That Harold John McKibben is a minor of the age of four years; that he has been abandoned by his parents, and has not the proper parental care and guardianship. That “That on or about the 1st off June, 1910. the father of said child came to the house of affiant, with the child and some woman, purporting to be his wife; that the mother of the child died when he was but a few weeks old; that said woman mistreated the said child and whipped him and did not give him sufficient food; that the affiant and his wife helped care for and feed and clothe said child when said parties were in the house of affiant; that on or about the 30th of June, 1910. the woman purporting to be the wife of the father of said child, came to the wife of affiant and asked her to take care of said boy for a few hours until she returned from downtown; that this is the last affiant ever heard of or saw said parties; that they have abandoned said child; that affiant has cared for said child from said date to the present time, but owing to the condition of his wife as to health, is not willing to longer care for him. “Wherefore your affiant prays that said child be declared a neglected child and that the court make such record in regard to the disposition of said child as may appear best for his physical and moral welfare. “J. A. Chips. ‘Sworn to and subscribed before me this day of September. 1910. “Albert S. Eylar. County Judge.”
A search of the county records failed to reveal a record that Gomez had adopted the boy although the juvenile court record of the case, which Gomez gave to the lad, was found. The juvenile record shows that the petition of Mr. Chipps, charging McKibben with being a neglected child and the order that he be turned over to the care and custody of Mr. Gomez, who shall at all times be responsible for the education and maintenance of the child subject to the order of the court, was heard. A notation at the bottom of the juvenile record, the writing of which, court house attaches said, is judge Eylar’s, says, “Party to whom child was given is a wealthy Mexican living near Parral, Mexico. Wife speaks English. Have no children. Will adopt boy. ” The record, which McKibben has in his possession and which lie says Gomez gave him, is an order by judge Eylar turning the child over to the care and custody of Gomez, attaches at the clerk's office said.
Although no records of adoption were to be found, the attaches stated that persons are not required to record such papers and that the majority of adoptions are not recorded, It was explained that many persons prefer not to record adoptions, as they don’t want the children to find out their relationship.
Chris Aranda, jr., deputy county clerk, said that the county judge ordinarily does not give adoptable children to persons wishing them, but that he sometimes makes out the adoption papers. An El Paso woman, who refused to be quoted, said she knew that Gomez adopted McKibben. She maintained that the youth "as not giving Gomez fair play, and that she knew personally the lad had been well taken care of by the Parral rancher. To the complaint that young McKibben is not showing the proper appreciation and respect for Gomez, the youth said: “1 certainly do respect and appreciate Gomez. I certainly appreciate all that he has done for me. But since I have learned that I am an American, I naturally want to find my parents and live in the United States.” Judge Eylar said Tuesday that he remembered the proceedings when McKibben was turned over to Gomez. ‘I and other interested persons thought that we were very fortunate in obtaining s home for the boy with Gomez. “Gomez was a millionaire and had the best of recommendations. I distinctly remember that the child was extremely bright and we often wondered why American parents would desert him. My recollection is that the child was of Irish-American blood. “There is no question in my mind about the boy being born in the United States and that he is an American.”
“Chipps and I often talked about the child and his foster parents. He told me that they loved the boy and that he was getting along fine.” Judge Eylar said that he did not know whether McKibben had been adopted by Gomez. The question of whether McKibben is an American is being investigated by immigration officials. A. J. Milliken, inspector in charge of the Santa Fe street bridge, U S. immigration service, said that if the boy’s father was an American, his mother a Mexican and born in Mexico, he was a Mexican and not a citizen of the United States. “If the boy was born in this country he is an American,’’ inspector Milliken said. “I do not think the boy or the court acting for him could commit an overt act that is depriving him of his U. S. citizenship, in turning him over to guardians in another country.” McKibben only this week learned his nationality, that his mother is dead, and that his father may still be living. He immediately came to where he arrived Sunday, at Hotel Rio Bravo. Monday evening he came to El Paso, his unmistakably American features allowing him to pass the Santa Fe street bridge without question, despite passport restrictions. “I have come to my country to live, and also to protest against a system which allows an American boy to be sent to live in country, and to have it kept from him,” McKibben said.
“I was raised as Gomez’s son.” McKibben said “Although I don’t recall that he ever told me that I was his son that is the impression I received of course. Gomez had no other children.
“Now that I know who I am, I recall dimly that as far back as I could remember I knew a few English words and I have always known the English phrase, “Not dead, but gone before,” although I have no idea where I learned it or where it came from.
An old servant I had once told me that when I was young I always spoke English and as far back as I can remember I had a Baby ring with the initial “H” on it.
When I was in the revolution the soldiers nicknamed me the “The Gringo,” because of my light complexion. But of course I never suspected that I was an American that Gomez was not my father.
“When I was 12 years old Gomez and his wife brought me to Juarez and El Paso.” “Perhaps Gomez was required to report to the judge who made his your guardian,” it was suggested to McKibben. For a moment the youth seemed lost in thought.
“I remember Gomez took me to a place that he told his wife to wait outside for him. When he returned to his wife, who had waited in a car or carriage, I don’t just recall which, he said to her in Spanish, ‘I was afraid they were going to take the boy away from me.’”
When 16 years of age, McKibben became a soldier under a General Garcia, a relative of Gomez’s, he said and fought with Villa throughout the revolution, being wounded twice and one time barely escaping from a firing squad.
“I was put in a prison at Torreon along with other prisoners,” McKibben said, “an order was received to shoot all the prisoners above the rank of second sergeant. I was a second sergeant, so escaped.
“Gomez treated me harshly at times when I was a boy, “the youth continued “but after I was 16, he did not whip me anymore. Part of the time he lived at Parral and at other times in Mexico City.
“I had attended the ‘Anexo a la Normal’ school in Chihuahua City for three years previous to entering the army and had learned some English for I had forgotten all I knew of it as a child.
“About four years ago I entered the military academy at Mexico Cit. I went to school there for about six months. When I left the school I took a position with Camus and company, a dramatic company.
“Still later I wrote stories for the Democrata newspaper of Mexico City. 1 wrote tales for the Sunday paper. I had started writing when I was 11 years old and had had some articles published in ‘Minutillo.’ another Mexico City paper.
“Gomez did not like to have me write. lie told me it was better to learn business than to write poems. Of course, I tried to write poems at all times of day and night and you could hardly blame him for that.”
Politics seemed to McKibben to offer wide possibilities and he was laying his plans to enter that field last week when happened to see Gomez in Mexico City. “1 had not seen but about twice in four years. He asked me why 1 did not come to see him. When I went to his house he handed me a paper and said. ‘You know English. Can you translate that'.” The paper, McKibben said, was the record of the adoption.
“After reading the paper I was almost too surprised to question Gomez.” McKibben said. “I asked him why he had not told me before and he said that he liked to have me a Mexican. He always did say I was the brightest boy he knew.
“I had about 4,000 pesos. I gave them to him. He said that he didn't want any money, but I told him that was to pay him for my schooling and for having taken care of me.
“That was a week ago. I got on a train to come to the United States. It is my country. Of course I will have to start my life all over again, but I prefer to live among my own people.
“Perhaps I am not the only American boy who has been given to Mexican guardians and kept in that country ignorant of his identity,” McKibben said. “It is not right that a boy should be kept in ignorance of his nationality or his parentage.
“I want to get work so that I can make money and go to school here, but, of course, I want to find out who my people are.”
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Tune in next time
In the forthcoming episodes we’ll learn what happened to the American lad after he found his true identity. Was it good, bad or indifferent? Here is a clue—it was that and more and the final item I have uncovered left me exclaiming “What?”
This story should be wrapped up by the time the summer heat arrives.
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AP offered a form of automatic transmission that was available on several BMC (British Motor Corporation) cars built by both Austin and Morris (the two major components of the BMC). Here can be seen an Austin A50 and a Morris Oxford - along with the once ubiquitous BMC rosette logo.
OK, I offer this excuse-- "George made me do it." Yes, I was content to just offer the RUED shot, but then noticed George Pitarys posted a shot in the same spot, but with a MUCH better consist. I know this will shock the MEC dispatcher, but the train has paused here at Lincoln, ME because a unit is out of water. 6-2-08. George's shot: www.flickr.com/photos/seasons_of_trains/42509399384/in/feed
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)
British and international tour operators have been warned that they will face prosecution if they continue to offer "human safaris" to India.
Three Indian tour operators have already been charged in connection with the Observer's investigation into "human safaris" and two men are facing up to seven years in jail if convicted.
But the tour operators have hit back, accusing independent foreign travellers of breaking rules and giving tour firms a bad name.
Last week's Observer investigation of safaris to see the Bonda tribe of Orissa prompted an immediate response from the state's government, with the chief minister ordering an inquiry and sending a senior official to investigate.
Police in the state capital, Bhubaneswar, raided the offices of Dove Tours – named in the Observer report – and registered a case against the company for "selling products in [an] obscene manner in public". In a statement Orissa police said: "We have registered a case against a city-based tour operator after finding its brochures and website containing certain objectionable material." The company denies the allegations.
Tourists were barred from visiting Bonda villages in 1989 after reports that some had been taking photographs of naked members of the tribe. The Observer investigation found that travel agents were getting around the law by taking tourists to view them at the weekly markets they attend. Some promoted the tours with references to the scanty dress of Bonda women. Several tour companies have since removed offending offers from their websites.
Orissa's culture secretary, Ashok Tripathy, said Orissa welcomed "rich and enlightened" tourists who treated the tribe with respect. "Cheap offers mentioning that Bondas roam naked", and the prospect of photographing, them should not be used to lure tourists, he said. He warned tour operators that they would be prosecuted if they continued to use "obnoxious" methods to promote tribal tourism.
However, Gagan Sarangi, director of Dove Tours, defended local operators, putting the blame on independent travellers. He told the Times of India: "There are foreigners visiting the tribal areas independently. Since visits to Bonda areas are permitted up to the weekly markets, many avoid taking the help of tour operators. Such people are unaware of basic rules, end up hurting the sentiments of people and give a bad name to our profession," he said.
Yet in the Andaman Islands – where the Observer first exposed the scandal of human safaris to see the protected Jarawa tribe, and women being forced to dance in return for food – tourists continue to pour through the jungle, despite promises by the Indian government to crack down on tours.
On Thursday two men – Rajesh Kumar Vyas and Sarjeet Singh Guddu – appeared in court in Port Blair charged with organising a trip into the Jarawa reserve which was highlighted in the Observer investigation. They were remanded in custody for two weeks and could face up to seven years in jail.
Police said that taking a foreigner into the Jarawa reserve amounted to "intentionally insulting with the intent to humiliate a vulnerable primitive tribe of these islands".
Professor Anvita Abbi, a linguist, said the Jarawa were in danger of going the same way as the Great Andamanese tribe, who once numbered 5,000 but are now down to 56 people. Two years ago the last speaker of the Bo language – one of 10 spoken by the tribe– died.
Stephen Corry, director of Survival International, which campaigns on behalf of tribal peoples, said: "At a time when evidence of human safaris has prompted global outrage, it's vital the Indian government closes the Andaman Trunk Road." The road cuts through Jarawa territory making it easier for tourists to contact the tribe.
The Association of British Travel Agents has defended tour operators, insisting that most act responsibly and that tourism can bring economic benefits to indigenous people. Spokesman Sean Tipton said: "It is important that any interaction between tourists and indigenous people happens with the prior consent of the indigenous people."
(from 'The Observer')
My Mom bought a daisy plant to put in her garden the other day. Before she put it in the ground, I took it and was taking photos of it. My Dad came along and took it from me, so she could go ahead and plant it. I was upset because I was having fun taking photos of the different blossoms... Well, apparently I conveyed my feelings about it appropriately and my Dad bought me a bouquet of flowers Sunday. =) That's how I came up with the title for this flower (just one of the flowers from the bouquet... there will probably be more to come!! =)
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We offer exclusive wine tours through Baja's famous wine country, Valle de Guadalupe. Our tours include wine tasting, vineyard and winery tours, amazing food (both gourmet and delicious street tacos), camping, hiking, fishing, surfing and more!
French postcard by Editions P.I., offered by Les Carbones Korès 'Carboplane', no. 18. Photo: AFEX, Wien (Vienna). Photo: publicity still for East of Eden (Elia Kazan, 1955).
American actor James Dean (1931-1955) was the quintessential 1950s teenager, brooding and romantic. An air of androgyny attributed to his iconic appeal to both men and women. The three roles that defined his stardom are as troubled teenager Jim Stark in Rebel Without a Cause (1955), loner Cal Trask in East of Eden (1955) and surly ranch hand Jett Rink in Giant (1956). After his death in a car crash, the only 24-yers-old Dean became the first actor to receive a posthumous Academy Award nomination for Best Actor.
James Byron Dean was born in 1931, in Marion, Indiana, the only child of Winton Dean and Mildred Marie Wilson. Six years after his father had left farming to become a dental technician, Dean and his family moved to Santa Monica, California. In 1938, his mother was suddenly struck with acute stomach pain and quickly began to lose weight. She died of uterine cancer when Dean was nine years old. Unable to care for his son, Dean's father sent him to live with his aunt and uncle, Ortense and Marcus Winslow, on their farm in Fairmount, Indiana, where he was raised in their Quaker household. Dean's overall performance in school was exceptional and he was a popular student. He played on the baseball and varsity basketball teams, studied drama, and competed in public speaking through the Indiana High School Forensic Association. After graduating from Fairmount High School in May 1949, he moved back to California with his dog, Max, to live with his father and stepmother. He enrolled in Santa Monica College (SMC) and majored in pre-law. He transferred to UCLA for one semester and changed his major to drama, which resulted in estrangement from his father. While at UCLA, Dean was picked from a group of 350 actors to portray Malcolm in Macbeth. At that time, he also began acting in James Whitmore's workshop. In January 1951, he dropped out of UCLA to pursue a full-time career as an actor. Dean's first television appearance was in a Pepsi Cola commercial His first speaking part was as John the Beloved Disciple, in Hill Number One (1951), an Easter television special dramatizing the Resurrection of Jesus. Dean subsequently obtained three walk-on roles in films: as a soldier in Samuel Fuller’s moody study of a platoon in the Korean War, Fixed Bayonets! (Samuel Fuller, 1951), a boxing cornerman in the Dean Martin and Jerry Lewis comedy Sailor Beware (Hal Walker, 1952), and a youth in the comedy Has Anybody Seen My Gal? (Douglas Sirk, 1952) with Rock Hudson. While struggling to get jobs in Hollywood, Dean also worked as a parking lot attendant at CBS Studios, during which time he met Rogers Brackett, a radio director for an advertising agency, who offered him professional help and guidance in his chosen career, as well as a place to stay. In July 1951, Dean appeared on Alias Jane Doe, which was produced by Brackett. In October 1951, Dean moved to New York City. There, he worked as a stunt tester for the game show Beat the Clock, but was subsequently fired for allegedly performing the tasks too quickly. He also appeared in episodes of several CBS television series The Web, Studio One, and Lux Video Theatre, before gaining admission to the Actors Studio to study method acting under Lee Strasberg. There, he was classmates and close friends with Carroll Baker, alongside whom he would eventually star in Giant (George Stevens, 1956). Dean's career picked up and he performed in further episodes of several early 1950s television. One early role, for the CBS series Omnibus in the episode Glory in the Flower (1953), saw Dean portraying the type of disaffected youth he would later portray in Rebel Without a Cause. Positive reviews for Dean's 1954 theatrical role as Bachir, the blackmailing Arab house boy, in an adaptation of André Gide's book The Immoralist, led to calls from Hollywood.
In 1954, James Dean was cast in the emotionally complex role of 'Cal Trask' in East of Eden (Elia Kazan, 1955), an adaptation of John Steinbeck's 1952 novel East of Eden. The lengthy novel deals with the story of the Trask and Hamilton families over the course of three generations, focusing especially on the lives of the latter two generations in Salinas Valley, California, from the mid-19th century through the 1910s. In contrast to the book, the film script focused on the last portion of the story, predominantly with the character of Cal. Though he initially seems more aloof and emotionally troubled than his twin brother Aron (Richard Davalos), Cal is soon seen to be more worldly, business savvy, and even sagacious than their pious and constantly disapproving father (Raymond Massey) who seeks to invent a vegetable refrigeration process. Cal is bothered by the mystery of their supposedly dead mother, and discovers she is still alive and a brothel-keeping 'madam'; the part was played by actress Jo Van Fleet. Much of Dean's performance in the film was unscripted, including his dance in the bean field and his fetal-like posturing while riding on top of a train boxcar (after searching out his mother in nearby Monterey). The most famous improvisation of the film occurs when Cal's father rejects his gift of $5,000, money Cal earned by speculating in beans before the US became involved in World War I. Instead of running away from his father as the script called for, Dean instinctively turned to Massey and in a gesture of extreme emotion, lunged forward and grabbed him in a full embrace, crying. Kazan kept this and Massey's shocked reaction in the film. Wikipedia: “Dean's performance in the film foreshadowed his role as Jim Stark in Rebel Without A Cause. Both characters are angst-ridden protagonists and misunderstood outcasts, desperately craving approval from their fathers.” In recognition of his performance in East of Eden, Dean was nominated posthumously for the 1956 Academy Awards as Best Actor in a Leading Role of 1955, the first official posthumous acting nomination in Academy Awards history. East of Eden was the only film starring Dean that he would see released in his lifetime.
James Dean quickly followed up his role in Eden with a starring role as the brooding red-jacketed teenager Jim Stark in Rebel Without a Cause (Nicholas Ray, 1955) with Sal Mineo and Natalie Wood. The film depicts the dilemma of a typical teenager of the time, who feels that no one, not even his peers, can understand him. The film scrupulously follows the classic theatrical disciplines, telling all within a 24-hour period. Jim Stark was Dean’s true starring role, and Rebel Without a Cause proved to be hugely popular among teenagers. The landmark juvenile-delinquent drama fixed James Dean’s image forever in American culture. In his next film, Giant (George Stevens, 1956), Dean played a supporting role to Elizabeth Taylor and Rock Hudson. This was due to his desire to avoid being typecast as a rebellious teenager like Cal Trask or Jim Stark. In the film, he plays Jett Rink, a Texan ranch hand who strikes oil and becomes wealthy. His role was notable in that, in order to portray an older version of his character in the film's later scenes, Dean dyed his hair gray and shaved some of it off to give himself a receding hairline. Giant would prove to be Dean's last film. At the end of the film, Dean was supposed to make a drunken speech at a banquet; this is nicknamed the 'Last Supper' because it was the last scene before his sudden death. Due to his desire to make the scene more realistic by actually being inebriated for the take, Dean mumbled so much that director George Stevens decided the scene had to be overdubbed by Nick Adams, who had a small role in the film, because Dean had died before the film was edited. Dean received his second posthumous Best Actor Academy Award nomination for his role in Giant at the 29th Academy Awards in 1957 for films released in 1956.
Today, James Dean is often considered an icon because of his perceived experimental take on life, which included his ambivalent sexuality. Most of his so-called affairs with various starlets were made up by the Warner Brothers public relations. Dean's best-remembered relationship was with young Italian actress Pier Angeli, whom he met while Angeli was shooting The Silver Chalice (1955) on an adjoining Warner lot, and with whom he exchanged items of jewelry as love tokens. Angeli's mother disapproved of Dean. After finishing his role for East of Eden, he took a brief trip to New York in October 1954. While he was away, Angeli unexpectedly announced her engagement to Italian-American singer Vic Damone. The press was shocked and Dean expressed his irritation. Angeli married Damone the following month. Dean also dated Swiss actress Ursula Andress. She was seen with Dean in his sports cars, and was with him on the day he bought the car that he died in. The Gay Times Readers' Awards cited him as the greatest male gay icon of all time. Dean’s ambiguous relationship with Sal Mineo in the angst-ridden Rebel Without A Cause has led many to speculate and view this golden age film as years ahead of its time. When questioned about his sexual orientation, Dean is reported to have said, "No, I am not a homosexual. But I'm also not going to go through life with one hand tied behind my back." Dean, with time on his side during down times of filming, often frequented gay bars in mornings, afternoons and evenings in both Hollywood, Studio City and North Hollywood. He and screenwriter and theatre student from UCLA, William Bast lived together as roommates for a number of years. Bast later became Dean's first biographer and told he and Dean ‘experimented’ sexually. Journalist Joe Hyams suggests that any gay activity Dean might have been involved in appears to have been strictly "for trade", as a means of advancing his career. However, the ‘trade only’ notion is contradicted by Bast and other Dean biographers. Biographer Val Holley: “There's been quite an evolution in the thinking since Dean's death in 1955, moving from ‘James Dean was straight’ to ‘Dean had sex with men but only to advance his career’ to ‘Dean had sex with women but only to advance his career.’ In 2016, a new gossipy biography was published, James Dean: Tomorrow Never Comes, by Darwin Porter and Danforth Prince. The authors claim Dean was in love with Marlon Brando and the two would had a long affair with S&M overtones. We may never know for certain if Dean identified as gay, straight, bisexual, but, regardless, what he’s come to represent still resonates with many LGBT audiences.
In 1954, James Dean had become interested in developing an auto racing career. He purchased various vehicles after filming for East of Eden had concluded, including a Triumph Tiger T110 and a Porsche 356. Just before filming began on Rebel Without a Cause, he competed in his first professional event at the Palm Springs Road Races, which was held in Palm Springs, California on March 26–27, 1955. Dean achieved first place in the novice class, and second place at the main event. His racing continued in Bakersfield a month later, where he finished first in his class and third overall. Dean hoped to compete in the Indianapolis 500, but his busy schedule made it impossible. Dean's final race occurred in Santa Barbara on Memorial Day, 30 May 1955. He was unable to finish the competition due to a blown piston. His brief career was put on hold when Warner Brothers barred him from all racing during the production of Giant. Dean had finished shooting his scenes and the movie was in post-production when he decided to race again. Dean was scheduled to compete at a racing event in Salinas, California on 30 September 1955. Accompanying the actor to the occasion was stunt coordinator Bill Hickman, Collier's photographer Sanford Roth, and Rolf Wütherich, the German mechanic from the Porsche factory who maintained Dean's Porsche 550 Spyder "Little Bastard" car. Wütherich, who had encouraged Dean to drive the car from Los Angeles to Salinas to break it in, accompanied Dean in the Porsche. At 3:30 p.m. Dean was ticketed for speeding, as was Hickman who was following behind in another car. As the group traveled to the event via U.S. Route 466, (currently SR 46) at approximately 5:15 p.m. a 1950 Ford Tudor was passing through an intersection while turning, ahead of the Porsche. Dean, unable to stop in time, slammed into the driver's side of the Ford resulting in Dean's car bouncing across the pavement onto the side of the highway. Dean's passenger, Wütherich, was thrown from the Porsche, while Dean was trapped in the car and sustained numerous fatal injuries, including a broken neck. The driver of the Ford, Donald Turnupseed, exited his damaged vehicle with minor injuries. Dean was pronounced dead on arrival shortly after he arrived by ambulance at the Paso Robles War Memorial Hospital at 6:20 p.m. The Failure Analysis Associates later reconstructed and recreated all details of the accident and have concluded that James Dean was travelling 55 to 56 mph when the fateful accident occurred, thereby proving he had not been speeding, as rumor had it. Ed Stephan at IMDb: “At age 24, James Dean was killed almost immediately from the impact from a broken neck. His very brief career, violent death and highly publicized funeral transformed him into a cult object of apparently timeless fascination.”
Sources: Hal Erickson (AllMovie), Ed Stephan (IMDb), Daniel Bates (Daily Mail), Towleroad, Wikipedia, and IMDb.
Pontiac offered 2-door wagons in the Chieftain and Star Chief lines for 1957. The 2-door Star Chief Safari had a factory delivered retail price at $3,481 with just 1,894 built.
1957 Pontiac brochure: www.lov2xlr8.no/brochures/pontiac/57pt1/57pt1.html