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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)
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.
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.
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
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.
This is a 1958 "Field & Stream" Travel Trailer ( canned ham ). This vintage style of camping trailers were referred to as "car trailers" back when they were being built because of their size, light weight and ease of towing. The cabin part of the trailer is 12' long, the tongue is 2' making the total length only 14'. It pulls beautifully going down the highway, no fish tailing at all. You can forget your pulling a trailer.
This trailer is 95% original, no modifications. This trailer has not been restored and I have only made a couple of small repairs. If you are looking for a great platform for making a complete restoration then this would be an absolutely great trailer for such a project.
The interior is all wood, top to bottom and front to back and it is all original wood. I have installed a self-contained 12 volt electrical system and it doesn't need 120 volt. Everything runs off of 12 volts. However all of the original 120 volt wiring is still in place and hasn't been touched, even the original 120v light fixtures are still in place. All of the cabinet hardware is still in place, working and original. All the hinges, handles, and everything is original. The original "icebox" and oven/stove are still in the camper and work great. It also has the original factory installed "Kenmore" cabin heater and it also works great.
When I got the trailer someone had changed the paint scheme so I re-painted it to the original design. The rear couch makes into a double bed. Above the rear couch it has a removable bunk bed/hammock that is original factory equipment also. The dinette also makes into a double bed. There is a lot of storage in the camper. It also has a 10 gallon fresh water tank with a manual hand pump.
The trailer also comes with 2 30 lb propane tanks, a new spare tire and wheel.
The following items are new in the past three months:
New Interior 12 volt light throughout the camper
New 240 watt solar panel
New "Sunforce" 12v, 30 amp charge controller
4 new "Everstart" 750 cold crank amp deep cell marine batteries
New "Cen-Tech" 1500 watt continuous , 3000 surge 120v power inverter (for microwave, etc.)
New Rival 700 watt microwave
New manual water pump for sink
New Shakespeare SeaWatch 15" Marine TV Antenna (model 3015)
Toshiba 17' Flat Screen TV
All new blinds on the windows
New roof top vent
This is one great little camper. I bought it for hunting plus the nostalgia. It was used this past hunting season and worked great. However with four adult men it was a little cramped. So I plan to up size for next year. I pulled it off road in BLM land in Teller County and down in the Phantom Canyon area and had no problems at all.
Because this trailer is extremely rare there are not many sources of photos to be had but you can follow the link below to another "Field & Stream" trailer. As you can see the interiors are very similar as it is all original like mine: girlcamper.blogspot.com/2015_07_01_archive.html
(Update) You can see a video of the interior of my camper here: youtu.be/NA1VfPU8Sd8
Now the best part last: YES, I DO HAVE A CLEAN CLEAR TITLE IN HAND, AND CURRENT REGISTRATION ALSO. So unlike most trailers you see of this vintage you will not have a problem with registration and it will be registered as a "Field and Stream" not a home-made trailer as is usually the case with trailers bought without a title.
If you have questions please ask. I am asking $5000.00 cash, make offer, no trades. I will sell it to the first person who makes me an agreeable offer with CASH ONLY. I will consider local delivery after the cash transaction.
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.
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Rijks Museum - National Museum of Netherlands
Vision
The Rijksmuseum links individuals with art and history.
Mission
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.
É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente
.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
1/4
Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
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
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!
Vishwa Shanti Yoga School ( Shobahana Yog Sadan) offers one and two weeks Yoga Retreats. The course includes Asanas, Pranayama Meditation Practice, Wellness – Nutritive and Preventive Health Care Classes, Ayurveda Massages, Naturopathy, Detoxification and Spirituality. Practitioners also have chances to experience the Himalayan trek and river rafting (as per the availability). Natural vegetarian food and comfortable accommodation are added benefit to practice Yoga in full sense.
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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.
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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.
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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.
•
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.”
______________________________________________________________________________
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.
This worlds offers riches.
Yes, yes it does.
But that doesn’t mean you’re going to find them.
Scraping and clawing just to grab a little purchase in this life.
Doing whatever needs to be done.
Burned out, beat up, lonely or mad..
There’s a dirty wind blowin’
Through all of our broken hearts and busted dreams.
We are all the captains of our burdens.
Pick up the pieces, get on with it.
_____
Head over to my blog for lighting.
© Mark V. Krajnak | JerseyStyle Photography | All Rights Reserved 2017
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.
The Mahabharata or Mahābhārata (US /məhɑːˈbɑrətə/; UK /ˌmɑːhəˈbɑːrətə/; Sanskrit: महाभारतम्, Mahābhāratam, pronounced [məɦaːˈbʱaːrət̪əm]) is one of the two major Sanskrit epics of ancient India, the other being the Ramayana.
Besides its epic narrative of the Kurukshetra War and the fates of the Kaurava and the Pandava princes, the Mahabharata contains philosophical and devotional material, such as a discussion of the four "goals of life" or purusharthas (12.161). Among the principal works and stories in the Mahabharata are the Bhagavad Gita, the story of Damayanti, an abbreviated version of the Ramayana, and the Rishyasringa, often considered as works in their own right.
Traditionally, the authorship of the Mahabharata is attributed to Vyasa. There have been many attempts to unravel its historical growth and compositional layers. The oldest preserved parts of the text are thought to be not much older than around 400 BCE, though the origins of the epic probably fall between the 8th and 9th centuries BCE. The text probably reached its final form by the early Gupta period (c. 4th century CE). The title may be translated as "the great tale of the Bhārata dynasty". According to the Mahabharata itself, the tale is extended from a shorter version of 24,000 verses called simply Bhārata.
The Mahabharata is the longest known epic poem and has been described as "the longest poem ever written". Its longest version consists of over 100,000 shloka or over 200,000 individual verse lines (each shloka is a couplet), and long prose passages. About 1.8 million words in total, the Mahabharata is roughly ten times the length of the Iliad and the Odyssey combined, or about four times the length of the Ramayana. W. J. Johnson has compared the importance of the Mahabharata to world civilization to that of the Bible, the works of Shakespeare, the works of Homer, Greek drama, or the Qur'an.
TEXTURAL HISTORY AND STRUCTURE
The epic is traditionally ascribed to the sage Vyasa, who is also a major character in the epic. Vyasa described it as being itihāsa (history). He also describes the Guru-shishya parampara, which traces all great teachers and their students of the Vedic times.
The first section of the Mahabharata states that it was Ganesha who wrote down the text to Vyasa's dictation. Ganesha is said to have agreed to write it only if Vyasa never paused in his recitation. Vyasa agrees on condition that Ganesha takes the time to understand what was said before writing it down.
The epic employs the story within a story structure, otherwise known as frametales, popular in many Indian religious and non-religious works. It is recited by the sage Vaisampayana, a disciple of Vyasa, to the King Janamejaya who is the great-grandson of the Pandava prince Arjuna. The story is then recited again by a professional storyteller named Ugrasrava Sauti, many years later, to an assemblage of sages performing the 12-year sacrifice for the king Saunaka Kulapati in the Naimisha Forest.
The text has been described by some early 20th-century western Indologists as unstructured and chaotic. Hermann Oldenberg supposed that the original poem must once have carried an immense "tragic force" but dismissed the full text as a "horrible chaos." Moritz Winternitz (Geschichte der indischen Literatur 1909) considered that "only unpoetical theologists and clumsy scribes" could have lumped the parts of disparate origin into an unordered whole.
ACCRETION AND REDACTION
Research on the Mahabharata has put an enormous effort into recognizing and dating layers within the text. Some elements of the present Mahabharata can be traced back to Vedic times. The background to the Mahabharata suggests the origin of the epic occurs "after the very early Vedic period" and before "the first Indian 'empire' was to rise in the third century B.C." That this is "a date not too far removed from the 8th or 9th century B.C." is likely. It is generally agreed that "Unlike the Vedas, which have to be preserved letter-perfect, the epic was a popular work whose reciters would inevitably conform to changes in language and style," so the earliest 'surviving' components of this dynamic text are believed to be no older than the earliest 'external' references we have to the epic, which may include an allusion in Panini's 4th century BCE grammar Ashtādhyāyī 4:2:56. It is estimated that the Sanskrit text probably reached something of a "final form" by the early Gupta period (about the 4th century CE). Vishnu Sukthankar, editor of the first great critical edition of the Mahabharata, commented: "It is useless to think of reconstructing a fluid text in a literally original shape, on the basis of an archetype and a stemma codicum. What then is possible? Our objective can only be to reconstruct the oldest form of the text which it is possible to reach on the basis of the manuscript material available." That manuscript evidence is somewhat late, given its material composition and the climate of India, but it is very extensive.
The Mahabharata itself (1.1.61) distinguishes a core portion of 24,000 verses: the Bharata proper, as opposed to additional secondary material, while the Ashvalayana Grhyasutra (3.4.4) makes a similar distinction. At least three redactions of the text are commonly recognized: Jaya (Victory) with 8,800 verses attributed to Vyasa, Bharata with 24,000 verses as recited by Vaisampayana, and finally the Mahabharata as recited by Ugrasrava Sauti with over 100,000 verses. However, some scholars such as John Brockington, argue that Jaya and Bharata refer to the same text, and ascribe the theory of Jaya with 8,800 verses to a misreading of a verse in Adiparvan (1.1.81). The redaction of this large body of text was carried out after formal principles, emphasizing the numbers 18 and 12. The addition of the latest parts may be dated by the absence of the Anushasana-parva and the Virata parva from the "Spitzer manuscript". The oldest surviving Sanskrit text dates to the Kushan Period (200 CE).
According to what one character says at Mbh. 1.1.50, there were three versions of the epic, beginning with Manu (1.1.27), Astika (1.3, sub-parva 5) or Vasu (1.57), respectively. These versions would correspond to the addition of one and then another 'frame' settings of dialogues. The Vasu version would omit the frame settings and begin with the account of the birth of Vyasa. The astika version would add the sarpasattra and ashvamedha material from Brahmanical literature, introduce the name Mahabharata, and identify Vyasa as the work's author. The redactors of these additions were probably Pancharatrin scholars who according to Oberlies (1998) likely retained control over the text until its final redaction. Mention of the Huna in the Bhishma-parva however appears to imply that this parva may have been edited around the 4th century.
The Adi-parva includes the snake sacrifice (sarpasattra) of Janamejaya, explaining its motivation, detailing why all snakes in existence were intended to be destroyed, and why in spite of this, there are still snakes in existence. This sarpasattra material was often considered an independent tale added to a version of the Mahabharata by "thematic attraction" (Minkowski 1991), and considered to have a particularly close connection to Vedic (Brahmana) literature. The Panchavimsha Brahmana (at 25.15.3) enumerates the officiant priests of a sarpasattra among whom the names Dhrtarashtra and Janamejaya, two main characters of the Mahabharata's sarpasattra, as well as Takshaka, the name of a snake in the Mahabharata, occur.
HISTORICAL REFERENCES
The earliest known references to the Mahabharata and its core Bharata date to the Ashtadhyayi (sutra 6.2.38) of Pāṇini (fl. 4th century BCE) and in the Ashvalayana Grhyasutra (3.4.4). This may suggest that the core 24,000 verses, known as the Bharata, as well as an early version of the extended Mahabharata, were composed by the 4th century BCE.
A report by the Greek writer Dio Chrysostom (c. 40 - c. 120 CE) about Homer's poetry being sung even in India seems to imply that the Iliad had been translated into Sanskrit. However, scholars have, in general, taken this as evidence for the existence of a Mahabharata at this date, whose episodes Dio or his sources identify with the story of the Iliad.
Several stories within the Mahabharata took on separate identities of their own in Classical Sanskrit literature. For instance, Abhijñānashākuntala by the renowned Sanskrit poet Kālidāsa (c. 400 CE), believed to have lived in the era of the Gupta dynasty, is based on a story that is the precursor to the Mahabharata. Urubhanga, a Sanskrit play written by Bhāsa who is believed to have lived before Kālidāsa, is based on the slaying of Duryodhana by the splitting of his thighs by Bhima.
The copper-plate inscription of the Maharaja Sharvanatha (533–534 CE) from Khoh (Satna District, Madhya Pradesh) describes the Mahabharata as a "collection of 100,000 verses" (shatasahasri samhita).
HISTORICAL CONTEXT
The historicity of the Kurukshetra War is unclear. Many historians estimate the date of the Kurukshetra war to Iron Age India of the 10th century BCE. The setting of the epic has a historical precedent in Iron Age (Vedic) India, where the Kuru kingdom was the center of political power during roughly 1200 to 800 BCE. A dynastic conflict of the period could have been the inspiration for the Jaya, the foundation on which the Mahabharata corpus was built, with a climactic battle eventually coming to be viewed as an epochal event.
Puranic literature presents genealogical lists associated with the Mahabharata narrative. The evidence of the Puranas is of two kinds. Of the first kind, there is the direct statement that there were 1015 (or 1050) years between the birth of Parikshit (Arjuna's grandson) and the accession of Mahapadma Nanda (400-329 BCE), which would yield an estimate of about 1400 BCE for the Bharata battle. However, this would imply improbably long reigns on average for the kings listed in the genealogies. Of the second kind are analyses of parallel genealogies in the Puranas between the times of Adhisimakrishna (Parikshit's great-grandson) and Mahapadma Nanda. Pargiter accordingly estimated 26 generations by averaging 10 different dynastic lists and, assuming 18 years for the average duration of a reign, arrived at an estimate of 850 BCE for Adhisimakrishna, and thus approximately 950 BCE for the Bharata battle.
B. B. Lal used the same approach with a more conservative assumption of the average reign to estimate a date of 836 BCE, and correlated this with archaeological evidence from Painted Grey Ware sites, the association being strong between PGW artifacts and places mentioned in the epic.
Attempts to date the events using methods of archaeoastronomy have produced, depending on which passages are chosen and how they are interpreted, estimates ranging from the late 4th to the mid-2nd millennium BCE. The late 4th millennium date has a precedent in the calculation of the Kaliyuga epoch, based on planetary conjunctions, by Aryabhata (6th century). Aryabhatta's date of February 18 3102 BCE for Mahabharata war has become widespread in Indian tradition. Coincidentally, this marks the disppearance of Krishna from earth from many source.[36] The Aihole inscription of Pulikeshi II, dated to Saka 556 = 634 CE, claims that 3735 years have elapsed since the Bharata battle, putting the date of Mahabharata war at 3137 BCE. Another traditional school of astronomers and historians, represented by Vriddha-Garga, Varahamihira (author of the Brhatsamhita) and Kalhana (author of the Rajatarangini), place the Bharata war 653 years after the Kaliyuga epoch, corresponding to 2449 BCE.
SYNOPSIS
The core story of the work is that of a dynastic struggle for the throne of Hastinapura, the kingdom ruled by the Kuru clan. The two collateral branches of the family that participate in the struggle are the Kaurava and the Pandava. Although the Kaurava is the senior branch of the family, Duryodhana, the eldest Kaurava, is younger than Yudhisthira, the eldest Pandava. Both Duryodhana and Yudhisthira claim to be first in line to inherit the throne.
The struggle culminates in the great battle of Kurukshetra, in which the Pandavas are ultimately victorious. The battle produces complex conflicts of kinship and friendship, instances of family loyalty and duty taking precedence over what is right, as well as the converse.
The Mahabharata itself ends with the death of Krishna, and the subsequent end of his dynasty and ascent of the Pandava brothers to heaven. It also marks the beginning of the Hindu age of Kali Yuga, the fourth and final age of mankind, in which great values and noble ideas have crumbled, and man is heading towards the complete dissolution of right action, morality and virtue.
THE OLDER GENERATIONS
King Janamejaya's ancestor Shantanu, the king of Hastinapura, has a short-lived marriage with the goddess Ganga and has a son, Devavrata (later to be called Bhishma, a great warrior), who becomes the heir apparent. Many years later, when King Shantanu goes hunting, he sees Satyavati, the daughter of the chief of fisherman, and asks her father for her hand. Her father refuses to consent to the marriage unless Shantanu promises to make any future son of Satyavati the king upon his death. To resolve his father's dilemma, Devavrata agrees to relinquish his right to the throne. As the fisherman is not sure about the prince's children honouring the promise, Devavrata also takes a vow of lifelong celibacy to guarantee his father's promise.
Shantanu has two sons by Satyavati, Chitrāngada and Vichitravirya. Upon Shantanu's death, Chitrangada becomes king. He lives a very short uneventful life and dies. Vichitravirya, the younger son, rules Hastinapura. Meanwhile, the King of Kāśī arranges a swayamvara for his three daughters, neglecting to invite the royal family of Hastinapur. In order to arrange the marriage of young Vichitravirya, Bhishma attends the swayamvara of the three princesses Amba, Ambika and Ambalika, uninvited, and proceeds to abduct them. Ambika and Ambalika consent to be married to Vichitravirya.
The oldest princess Amba, however, informs Bhishma that she wishes to marry king of Shalva whom Bhishma defeated at their swayamvara. Bhishma lets her leave to marry king of Shalva, but Shalva refuses to marry her, still smarting at his humiliation at the hands of Bhishma. Amba then returns to marry Bhishma but he refuses due to his vow of celibacy. Amba becomes enraged and becomes Bhishma's bitter enemy, holding him responsible for her plight. Later she is reborn to King Drupada as Shikhandi (or Shikhandini) and causes Bhishma's fall, with the help of Arjuna, in the battle of Kurukshetra.
THE PANDAVA AND KAURAVA PRINCES
When Vichitravirya dies young without any heirs, Satyavati asks her first son Vyasa to father children with the widows. The eldest, Ambika, shuts her eyes when she sees him, and so her son Dhritarashtra is born blind. Ambalika turns pale and bloodless upon seeing him, and thus her son Pandu is born pale and unhealthy (the term Pandu may also mean 'jaundiced'). Due to the physical challenges of the first two children, Satyavati asks Vyasa to try once again. However, Ambika and Ambalika send their maid instead, to Vyasa's room. Vyasa fathers a third son, Vidura, by the maid. He is born healthy and grows up to be one of the wisest characters in the Mahabharata. He serves as Prime Minister (Mahamantri or Mahatma) to King Pandu and King Dhritarashtra.
When the princes grow up, Dhritarashtra is about to be crowned king by Bhishma when Vidura intervenes and uses his knowledge of politics to assert that a blind person cannot be king. This is because a blind man cannot control and protect his subjects. The throne is then given to Pandu because of Dhritarashtra's blindness. Pandu marries twice, to Kunti and Madri. Dhritarashtra marries Gandhari, a princess from Gandhara, who blindfolds herself so that she may feel the pain that her husband feels. Her brother Shakuni is enraged by this and vows to take revenge on the Kuru family. One day, when Pandu is relaxing in the forest, he hears the sound of a wild animal. He shoots an arrow in the direction of the sound. However the arrow hits the sage Kindama, who curses him that if he engages in a sexual act, he will die. Pandu then retires to the forest along with his two wives, and his brother Dhritarashtra rules thereafter, despite his blindness.
Pandu's older queen Kunti, however, had been given a boon by Sage Durvasa that she could invoke any god using a special mantra. Kunti uses this boon to ask Dharma the god of justice, Vayu the god of the wind, and Indra the lord of the heavens for sons. She gives birth to three sons, Yudhisthira, Bhima, and Arjuna, through these gods. Kunti shares her mantra with the younger queen Madri, who bears the twins Nakula and Sahadeva through the Ashwini twins. However, Pandu and Madri indulge in sex, and Pandu dies. Madri dies on his funeral pyre out of remorse. Kunti raises the five brothers, who are from then on usually referred to as the Pandava brothers.
Dhritarashtra has a hundred sons through Gandhari, all born after the birth of Yudhishtira. These are the Kaurava brothers, the eldest being Duryodhana, and the second Dushasana. Other Kaurava brothers were Vikarna and Sukarna. The rivalry and enmity between them and the Pandava brothers, from their youth and into manhood, leads to the Kurukshetra war.
LAKSHAGRAHA (THE HOUSE OF LAC)
After the deaths of their mother (Madri) and father (Pandu), the Pandavas and their mother Kunti return to the palace of Hastinapur. Yudhisthira is made Crown Prince by Dhritarashtra, under considerable pressure from his kingdom. Dhritarashtra wanted his own son Duryodhana to become king and lets his ambition get in the way of preserving justice.
Shakuni, Duryodhana and Dusasana plot to get rid of the Pandavas. Shakuni calls the architect Purochana to build a palace out of flammable materials like lac and ghee. He then arranges for the Pandavas and the Queen Mother Kunti to stay there, with the intention of setting it alight. However, the Pandavas are warned by their wise uncle, Vidura, who sends them a miner to dig a tunnel. They are able to escape to safety and go into hiding. Back at Hastinapur, the Pandavas and Kunti are presumed dead.
MARRIAGE TO DRAUPADI
Whilst they were in hiding the Pandavas learn of a swayamvara which is taking place for the hand of the Pāñcāla princess Draupadī. The Pandavas enter the competition in disguise as Brahmins. The task is to string a mighty steel bow and shoot a target on the ceiling, which is the eye of a moving artificial fish, while looking at its reflection in oil below. Most of the princes fail, many being unable to lift the bow. Arjuna succeeds however. The Pandavas return home and inform their mother that Arjuna has won a competition and to look at what they have brought back. Without looking, Kunti asks them to share whatever it is Arjuna has won among themselves. On explaining the previous life of Draupadi, she ends up being the wife of all five brothers.
INDRAPRASTHA
After the wedding, the Pandava brothers are invited back to Hastinapura. The Kuru family elders and relatives negotiate and broker a split of the kingdom, with the Pandavas obtaining a new territory. Yudhishtira has a new capital built for this territory at Indraprastha. Neither the Pandava nor Kaurava sides are happy with the arrangement however.
Shortly after this, Arjuna elopes with and then marries Krishna's sister, Subhadra. Yudhishtira wishes to establish his position as king; he seeks Krishna's advice. Krishna advises him, and after due preparation and the elimination of some opposition, Yudhishthira carries out the rājasūya yagna ceremony; he is thus recognised as pre-eminent among kings.
The Pandavas have a new palace built for them, by Maya the Danava. They invite their Kaurava cousins to Indraprastha. Duryodhana walks round the palace, and mistakes a glossy floor for water, and will not step in. After being told of his error, he then sees a pond, and assumes it is not water and falls in. Draupadi laughs at him and ridicules him by saying that this is because of his blind father Dhritrashtra. He then decides to avenge his humiliation.
THE DICE GAME
Shakuni, Duryodhana's uncle, now arranges a dice game, playing against Yudhishtira with loaded dice. Yudhishtira loses all his wealth, then his kingdom. He then even gambles his brothers, himself, and finally his wife into servitude. The jubilant Kauravas insult the Pandavas in their helpless state and even try to disrobe Draupadi in front of the entire court, but her honour is saved by Krishna who miraculously creates lengths of cloth to replace the ones being removed.
Dhritarashtra, Bhishma, and the other elders are aghast at the situation, but Duryodhana is adamant that there is no place for two crown princes in Hastinapura. Against his wishes Dhritarashtra orders for another dice game. The Pandavas are required to go into exile for 12 years, and in the 13th year must remain hidden. If discovered by the Kauravas, they will be forced into exile for another 12 years.
EXILE AND RETURN
The Pandavas spend thirteen years in exile; many adventures occur during this time. They also prepare alliances for a possible future conflict. They spend their final year in disguise in the court of Virata, and are discovered just after the end of the year.
At the end of their exile, they try to negotiate a return to Indraprastha. However, this fails, as Duryodhana objects that they were discovered while in hiding, and that no return of their kingdom was agreed. War becomes inevitable.
THE BATTLE AT KURUKSHETRA
The two sides summon vast armies to their help and line up at Kurukshetra for a war. The kingdoms of Panchala, Dwaraka, Kasi, Kekaya, Magadha, Matsya, Chedi, Pandyas, Telinga, and the Yadus of Mathura and some other clans like the Parama Kambojas were allied with the Pandavas. The allies of the Kauravas included the kings of Pragjyotisha, Anga, Kekaya, Sindhudesa (including Sindhus, Sauviras and Sivis), Mahishmati, Avanti in Madhyadesa, Madra, Gandhara, Bahlika people, Kambojas and many others. Before war being declared, Balarama had expressed his unhappiness at the developing conflict and left to go on pilgrimage; thus he does not take part in the battle itself. Krishna takes part in a non-combatant role, as charioteer for Arjuna.
Before the battle, Arjuna, seeing the opposing army includes many relatives and loved ones, including his great grandfather Bhishma and his teacher Drona, has doubts about the battle and he fails to lift his Gāndeeva bow. Krishna wakes him up to his call of duty in the famous Bhagavad Gita section of the epic.
Though initially sticking to chivalrous notions of warfare, both sides soon adopt dishonourable tactics. At the end of the 18-day battle, only the Pandavas, Satyaki, Kripa, Ashwatthama, Kritavarma, Yuyutsu and Krishna survive.
THE END OF THE PANDAVAS
After "seeing" the carnage, Gandhari, who had lost all her sons, curses Krishna to be a witness to a similar annihilation of his family, for though divine and capable of stopping the war, he had not done so. Krishna accepts the curse, which bears fruit 36 years later.
The Pandavas, who had ruled their kingdom meanwhile, decide to renounce everything. Clad in skins and rags they retire to the Himalaya and climb towards heaven in their bodily form. A stray dog travels with them. One by one the brothers and Draupadi fall on their way. As each one stumbles, Yudhisthira gives the rest the reason for their fall (Draupadi was partial to Arjuna, Nakula and Sahadeva were vain and proud of their looks, and Bhima and Arjuna were proud of their strength and archery skills, respectively). Only the virtuous Yudhisthira, who had tried everything to prevent the carnage, and the dog remain. The dog reveals himself to be the god Yama (also known as Yama Dharmaraja), and then takes him to the underworld where he sees his siblings and wife. After explaining the nature of the test, Yama takes Yudhishthira back to heaven and explains that it was necessary to expose him to the underworld because (Rajyante narakam dhruvam) any ruler has to visit the underworld at least once. Yama then assures him that his siblings and wife would join him in heaven after they had been exposed to the underworld for measures of time according to their vices.
Arjuna's grandson Parikshit rules after them and dies bitten by a snake. His furious son, Janamejaya, decides to perform a snake sacrifice (sarpasattra) in order to destroy the snakes. It is at this sacrifice that the tale of his ancestors is narrated to him.
THE REUNION
The Mahabharata mentions that Karna, the Pandavas, and Dhritarashtra's sons eventually ascended to svarga and "attained the state of the gods" and banded together — "serene and free from anger."
THEMES
JUST WAR
The Mahabharata offers one of the first instances of theorizing about "just war", illustrating many of the standards that would be debated later across the world. In the story, one of five brothers asks if the suffering caused by war can ever be justified. A long discussion ensues between the siblings, establishing criteria like proportionality (chariots cannot attack cavalry, only other chariots; no attacking people in distress), just means (no poisoned or barbed arrows), just cause (no attacking out of rage), and fair treatment of captives and the wounded.
Versions, translations, and derivative works.
CRITICAL EDITION
Between 1919 and 1966, scholars at the Bhandarkar Oriental Research Institute, Pune, compared the various manuscripts of the epic from India and abroad and produced the Critical Edition of the Mahabharata, on 13,000 pages in 19 volumes, followed by the Harivamsha in another two volumes and six index volumes. This is the text that is usually used in current Mahabharata studies for reference. This work is sometimes called the "Pune" or "Poona" edition of the Mahabharata.
REGIONAL VERSIONS
Many regional versions of the work developed over time, mostly differing only in minor details, or with verses or subsidiary stories being added. These include the Tamil street theatre, terukkuttu and kattaikkuttu, the plays of which use themes from the Tamil language versions of Mahabharata, focusing on Draupadi.
Outside the Indian subcontinent, in Indonesia, a version was developed in ancient Java as Kakawin Bhāratayuddha in the 11th century under the patronage of King Dharmawangsa (990–1016), and later it spread to neighboring island of Bali where today remains a Hindu majority island, despite today Indonesia is the most populous Muslim majority nation. It has become the fertile source for Javanese literature, dance drama (wayang wong), and wayang shadow puppet performances. This Javanese version differ slightly from the original Indian version. For example Draupadi is only be wed to Yudhisthira, not to the entire Pandavas brothers, this might demonstrate ancient Javanese opposition of polyandry practice. The author later added some female characters to be wed to the Pandavas. Arjuna for example is described as having many wives and consorts next to Subhadra. Another difference is Shikhandi did not undergone sex change and remains as a woman, to be wed to Arjuna, and took the role as a warrior princess during the war. Another twist is Gandhari was described as antagonist character that hates Pandava so much. Her hate was out of jealousy, because during svayambara for the hand of Gandhari, she was actually in love with Pandu, but later being wed to his blind elder brother instead, whom she does not love, as a protest she then blindfold herself. Another notable difference is the inclusion of Punakawans, the clown servants of the main characters in the storyline, which is not found in Indian version. This characters includes Semar, Petruk, Gareng and Bagong, they are much-loved by Indonesian audiences. There are some spin-off episode developed in ancient Java, such as Arjunawiwaha composed in 11th century.
A Kawi version of the Mahabharata, of which eight of the eighteen parvas survive, is found on the Indonesian island of Bali. It has been translated into English by Dr. I. Gusti Putu Phalgunadi.
TRANSLATIONS
A Persian translation of Mahabharta, titled Razmnameh, was produced at Akbar's orders, by Faizi and `Abd al-Qadir Bada'uni in the 18th century.
The first complete English translation was the Victorian prose version by Kisari Mohan Ganguli, published between 1883 and 1896 (Munshiram Manoharlal Publishers) and by M. N. Dutt (Motilal Banarsidass Publishers). Most critics consider the translation by Ganguli to be faithful to the original text. The complete text of Ganguli's translation is in the public domain and is available online.
Another English prose translation of the full epic, based on the Critical Edition, is in progress, published by University Of Chicago Press. It was initiated by Indologist J. A. B. van Buitenen (books 1–5) and, following a 20-year hiatus caused by the death of van Buitenen, is being continued by D. Gitomer of DePaul University (book 6), J. L. Fitzgerald of Brown University (books 11–13) and Wendy Doniger of the University of Chicago (books 14–18).
An early poetry translation by Romesh Chunder Dutt and published in 1898 condenses the main themes of the Mahabharata into English verse. A later poetic "transcreation" (author's own description) of the full epic into English, done by the poet P. Lal is complete, and in 2005 began being published by Writers Workshop, Calcutta. The P. Lal translation is a non-rhyming verse-by-verse rendering, and is the only edition in any language to include all slokas in all recensions of the work (not just those in the Critical Edition). The completion of the publishing project is scheduled for 2010. Sixteen of the eighteen volumes are now available.
A project to translate the full epic into English prose, translated by various hands, began to appear in 2005 from the Clay Sanskrit Library, published by New York University Press. The translation is based not on the Critical Edition but on the version known to the commentator Nīlakaṇṭha. Currently available are 15 volumes of the projected 32-volume edition.
Indian economist Bibek Debroy has also begun an unabridged English translation in ten volumes. Volume 1: Adi Parva was published in March 2010.
Many condensed versions, abridgements and novelistic prose retellings of the complete epic have been published in English, including works by Ramesh Menon, William Buck, R. K. Narayan, C. Rajagopalachari, K. M. Munshi, Krishna Dharma, Romesh C. Dutt, Bharadvaja Sarma, John D. Smith and Sharon Maas.
DERIVATIVE LITERATURE
Bhasa, the 2nd- or 3rd-century CE Sanskrit playwright, wrote two plays on episodes in the Marabharata, Urubhanga (Broken Thigh), about the fight between Duryodhana and Bhima, while Madhyamavyayoga (The Middle One) set around Bhima and his son, Ghatotkacha. The first important play of 20th century was Andha Yug (The Blind Epoch), by Dharamvir Bharati, which came in 1955, found in Mahabharat, both an ideal source and expression of modern predicaments and discontent. Starting with Ebrahim Alkazi it was staged by numerous directors. V. S. Khandekar's Marathi novel, Yayati (1960) and Girish Karnad's debut play Yayati (1961) are based on the story of King Yayati found in the Mahabharat. Bengali writer and playwright, Buddhadeva Bose wrote three plays set in Mahabharat, Anamni Angana, Pratham Partha and Kalsandhya. Chitra Banerjee Divakaruni wrote a version from the perspective of Draupadi entitled The Palace of Illusions: A Novel, which was published in 2008.
Amar Chitra Katha published a 1,260 page comic book version of the Mahabharata.
IN FILM AND TELEVISION
In Indian cinema, several film versions of the epic have been made, dating back to 1920. In Telugu film Daana Veera Soora Karna (1977) directed by and starring N. T. Rama Rao depicts Karna as the lead character. The Mahabharata was also reinterpreted by Shyam Benegal in Kalyug. Prakash Jha directed 2010 film Raajneeti was partially inspired by the Mahabharata. A 2013 animated adaptation holds the record for India's most expensive animated film.
In the late 1980s, the Mahabharat TV series, directed by Ravi Chopra, was televised on India's national television (Doordarshan). In the Western world, a well-known presentation of the epic is Peter Brook's nine-hour play, which premiered in Avignon in 1985, and its five-hour movie version The Mahabharata (1989).
Uncompleted projects on the Mahabharata include a ones by Rajkumar Santoshi, and a theaterical adaptation planned by Satyajit Ray
JAIN VERSION
ain version of Mahabharata can be found in the various Jain texts like Harivamsapurana (the story of Harivamsa) Trisastisalakapurusa Caritra (Hagiography of 63 Illustrious persons), Pandavacaritra (lives of Pandavas) and Pandavapurana (stories of Pandavas). From the earlier canonical literature, Antakrddaaśāh (8th cannon) and Vrisnidasa (upangagama or secondary canon) contain the stories of Neminatha (22nd Tirthankara), Krishna and Balarama. Prof. Padmanabh Jaini notes that, unlike in the Hindu Puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain puranas. Instead they serve as names of two distinct class of mighty brothers, who appear nine times in each half of time cycles of the Jain cosmology and rule the half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the Jinacharitra by Bhadrabahu swami (4th–3rd century BCE). According to Jain cosmology Balarama, Krishna and Jarasandha are the ninth and the last set of Baladeva, Vasudeva, and Partivasudeva. The main battle is not the Mahabharata, but the fight between Krishna and Jarasandha (who is killed by Krishna). Ultimately, the Pandavas and Balarama take renunciation as Jain monks and are reborn in heavens, while on the other hand Krishna and Jarasandha are reborn in hell. In keeping with the law of karma, Krishna is reborn in hell for his exploits (sexual and violent) while Jarasandha for his evil ways. Prof. Jaini admits a possibility that perhaps because of his popularity, the Jain authors were keen to rehabilitate Krishna. The Jain texts predict that after his karmic term in hell is over sometime during the next half time-cycle, Krishna will be reborn as a Jain Tirthankara and attain liberation. Krishna and Balrama are shown as contemporaries and cousins of 22nd Tirthankara, Neminatha. According to this story, Krishna arranged young Neminath’s marriage with Rajamati, the daughter of Ugrasena, but Neminatha, empathizing with the animals which were to be slaughtered for the marriage feast, left the procession suddenly and renounced the world.
CULTURAL INFLUENCE
In the Bhagavad Gita, Krishna explains to Arjuna his duties as a warrior and prince and elaborates on different Yogic and Vedantic philosophies, with examples and analogies. This has led to the Gita often being described as a concise guide to Hindu philosophy and a practical, self-contained guide to life. In more modern times, Swami Vivekananda, Bal Gangadhar Tilak, Mahatma Gandhi and many others used the text to help inspire the Indian independence movement.
WIKIPEDIA
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.
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.
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Brand new base-model Mahindra XUV700 offered by Mahindra Wayville on display at Westfield Marion, Oaklands Park SA.
I quite like the new XUV700, in person I would say it's about the size of a T33 X-Trail. There are some similar design cues to cars of the Renault-Nissan-Mitsubishi alliance such as the C-shaped headlights similar to the outgoing HZG Koleos and the tailgate portion of the taillight clusters resemble the new T33 X-Trail.
But there is nothing wrong with these similarities, they tie in good with all the cues of the XUV700.
In the daytime, there were salesmen presenting this car I think (but they also could have been for the Suzuki and jet-ski giveaway on the other side, I couldn't quite see from where I was) and while I was there photographing it around 6:40PM ACST after the salesmen had gone home, there were still a fair number of people checking it out.
I hope the Mahindra XUV700 finds ground in Australia. If supply is good, it is received well and more urban dealerships open, then there shouldn't be a problem. Priced from $36,990 Driveaway at the moment, it undercuts cars such as the Nissan X-Trail ST (from $40,460 D/A), Mitsubishi Outlander ES (from $41,380 D/A in NSW) and Toyota Rav4 GX (from $42,200 D/A in Sydney NSW) if you manage to secure one that is!
While it doesn't beat the MG HS (from $32,990 D/A), it does definitely give it some cheaper competition, and I tell you what, I would take the Mahindra any day over the MG. I just do not like what the MG brand has been turned into.
Year: 2023
Series: No Series
Engine: 2.0L 4 Cylinder Turbo Intercooled
Transmission: 6 Speed Automatic
Fuel: Unleaded Petrol
Drive: Front Wheel Drive
Colour: Dazzling Silver
Plate Number: Unregistered
Date Registered: N/A
Builder: Chantiers de la Liane, Boulogne
Year: 1936
Location Cornwall
Length on deck: 43'6" + bowsprit
Beam: 10'6"
Draft: 5'10"
Tonnage(TM): 16TM
£65,000
A positively stunning and eye-catching yacht, French pre-war designed and built, UK owned and refitted is now offered for sale lying in Cornwall.
The long, fine counter stern with the sweetest of sheers, the generous beam, the high freeboard with an almost flush white scrubbed teak deck, the wonderful rich varnished teak deck works and a tall Bermudian cutter rig all serve to make this yacht a classic in every sense of the word.
The yacht was originally robustly built to a high standard in teak and has been extensively refitted over recent years in past and present ownership to make her now as good if not better than new.
Built by the Chantiers de la Liane in Boulogne, N France in 1936.
An old brochure we have probably dating from the early 1970’s indicates that she was offered for either bare boat or skippered charter in the South of France and claims that she had already made several North Atlantic crossings.
We first came across her in the Golfe de Morbihan in 1987 when she was owned by Ambrose von Herberstein. We sold her for him to Gareth Wright and she came under UK flag and sailed to Devon. She changed hands again to Cornish ownership, a boatyard owner who upgraded her significantly and raced her successfully in several classic regattas.
In 2005 she came to the present owner who keeps her on the River Fal. In his ownership she had some major work done in a Cornish boatyard, detailed below and is now in absolutely superb condition.
She has competed successfully on the classic yacht circuit on the South Coast coming second to Kelpie in the Fowey Classics passage race from Fowey to Falmouth in 2006. She took on the moderns in the 2010 Fowey Royal Regatta passage race from Falmouth to Fowey and flying her enormous asymmetric spinnaker she won her class.
I had the great pleasure of sailing in her to Douarnenez in the summer of 2012 when we put her through her paces in both gentle breezes when she ghosted along always moving and in stronger winds when she really picked up her heels and skipped along. She has a lovely steady motion, she responds well to a lift in the breeze, when you learn her ways she can be nursed up close to the wind and you can still cook a 3 course dinner below.
Construction.
Carvel planked in 1 1/8” Burma teak, caulked and payed. The hull planking is very fair, no plank seams visible and finished in expertly applied off-white enamel with a high polish.
100mm x 70mm grown oak frames at 60cm in single sweeps from forward back to the mast and from the forward end of the cock-pit (or the engine) up into the counter.
The midships sections have similar grown oak frames, wider spaced with two 40mm x 40mm steam bent oak timbers between.
All fastenings a copper nails with roves and bronze screws in the hood ends.
Heavy grown oak floors on the grown frames.
Galvanised steel floors on the steam bent timbers.
Ballast. External 4000kg lead ballast keel secured with bronze keel bolts.
Keel bolts replaced in the winter 2010/2011 refit.
Major refit in 1984, galvanised steel strap floors were removed and 38 new galvanised steel floors made and fitted. Any deteriorated timbers below the floors was scarphed in with new.
Several oak futtocks approx 3” x 2” added at the lower ends between the steamed timbers as additional strength in view of the several scarphs in the steam bent timbers.
Ballast keel dropped.
Both garboards replaced.
Refit 1995
New deck, cock-pit and coach-roof
New galley and quarter berth
New saloon table
Refit 2005.
All floors up into the counter refastened
New stem
All floors forward of the mast refastened.
Major refit 2010
New oak stern post
New stern tube and bearings
New engine mounts
Total repaint and revarnished to a high gloss.
Deck.
New deck laid in 1995 by Traditional Sail in Salcombe in yacht laid teak on a ply sub deck. The deck planks are swept round to the gunnel and joggled in to the king plank to superb effect.
Seams payed in butyl rubber.
All new deck beams in 1995.
5” varnished teak toe rail.
At the same time as the new deck was laid, the cock-pit coamings, the coach-roof coamings, beams and sheathed ply roof, the sliding entrance hatch and garage, the charming little twin doors with bevelled glass panels and the fore hatch were all replaced in new teak to the original design.
The yacht appears to be almost flush decked with a shallow, narrow coach-roof standing only some 6 or 7 inches off the deck, reaching up almost to the mast and not much wider than the cabin entrance hatch thus leaving what appears to be acres of wide clear side decks but just enough to give little extra head-room through the boat below.
The yacht is not fitted with stanchion posts or guard-wires, neither pulpit of pull-pit clutter her exquisite lines.
Coach-roof coamings are in varnished teak.
Sliding hatch in a garage entrance to the cabin with tow little glazed doors and a long ladder down into the bowels of the ship. Only then do you appreciate her size and her lines.
Cock-pit
The cock-pit coamings form a rectangle, also in highly varnished teak standing 6” off the deck and take off nicely each side of the narrow coach-roof leaving a wide bridge deck and seating each side of a deep foot well, with varnished linings and teak gratings.
Self-draining well.
The main sheet is on a horse across the well easily accessed by either crew or the helm if short handed sailing.
Engine control panel and nav instruments mounted out of the way in the well.
Deck access to the counter space is by a locker lid in the after end of the well.
Sheet winches on the deck just outside the coamings.
The long varnished tiller is mounted with bronze fittings to the rudder stock which penetrates the after deck in a finely varnished chock. Rebuilt rudder and fittings in the 2010 refit.
Rig.
Bermudian cutter rig on varnished (believed Oregon pine) pole mast stepped through the main deck onto the keel built in 2002 by Noble Masts in Bristol using their bird beak method of construction.
The mast is approx 8” circumference turning to octagonal just above the deck penetration and
Twin spreaders.
All stainless steel rigging fitted 2002 with swaged terminals and stainless steel rigging screws to 1995 internal stainless steel chain plates.
Single masthead standing back-stay to the counter.
Running back-stays on tackles from the upper spreaders to bronze anchor points on the quarters, the tails led to the windward winches.
Twin lowers, intermediates and cap shrouds
Inner fore stay, upper spreaders to inboard of the stemhead
Outer fore stay masthead to end of bowsprit.
Both inner and outer forestays fitted with Harken roller reefing gear.
New varnished spruce bowsprit in 2005 with polished stainless steel end fitting, heel fitting passing through twin chain roller stemhead fitting.
Stainless steel shrouds and stainless steel bob-stay chain.
The inner fore stay anchored to an eye bolt set through the bowsprit down to the inside face of the stem.
Polished stainless steel low-level pin rails either of the mast take the halyards secured clear of the mast to conserve the varnish. The pin rails cleverly incorporate a cradle for the life raft between the mast and the coach-roof.
Winches.
Pair of Antal ST W40 self tailing
2 pairs of top action 2-speed Lewmar 43
Pair of top action single speed Lewmar 9 either side of the entrance hatch
Mast winches
Staysail sheets to a bronze track each side of the mast.
Jib sheets to tracks in the scuppers each side about midships
Varnished boom with bronze goose neck fitting pivots on the original very substantial galvanised steel mast fitting. Bronze end cap fitting with spinning bale to take the main sheet.
Harken main sheet track, car and blocks.
Sails
Mainsail by John McKillop
No.1 cruising yankee
No.1 racing yankee by Hood Sails
Cruising staysail
Racing staysail by Hood sails
No.2 yankee
Asymmetric spinnaker
Machinery
Yanmar diesel installed new in 2005
Most unusually, this yacht has a dedicated walk-in engine room. The vertical companionway ladder is mounted on a door in the after bulkhead below the cock-pit entrance hatch. The almost full standing head-room door carrying the ladder hinges open to allow walk-in entrance with standing space immediately inside the doorway.
Aft is the very smart engine mounted on the centre-line to a conventional centre-line shaft drive fitted with a vibration-free, flexible water-cooled sea and an earthing lead.
Quite reasonable access all round and over the engine.
Good stowage space down the port side of the engine takes the inflatable dinghy, fuel cans and outboard engine.
Easy access fuel filters with clearly visible glass water traps.
Easy access incoming salt water filter
New switch board just inside the door to stbd.
All new electrical wiring on 12v circuits in the 2005 refit.
Accommodation. 6 berths
Access to the cabin is by the sliding hatch and twin glazed doors from the cock-pit down a varnished companionway ladder to an entrance lobby.
To stbd is a large quarter berth rebuilt by Traditional Sail in the 1995 refit, a generous berth set quite high due to the fine lines of the hull allowing lockers and the fridge under.
A varnished teak board can be placed on the berth as a chart desk when required.
Nav instruments on the bulkhead above the head of the berth can be seen from the sliding hatch entrance.
Galley to port rebuilt by Traditional Sail in the 1995. Thick varnished teak work surface with inset large and small deep rectangular stainless steel sinks.
Gimballed 3-burner and oven stainless steel gas cooker in a stainless steel lined recess.
Varnished teak lockers above and below.
Pressurised cold water supply to the sink.
Salt water faucet on foot pump
Bulkhead door forward to the saloon cabin means that the working part of the boat can be shut off from the living area.
Saloon with port and stbd settee berths.
Shelf above the port settee.
Narrow berth above the stbd settee.
Cupboards in the after corners.
Mast forward.
Oil fired cabin heater on the cabin sole to port of the mast with 12v pumped fuel supply.
Varnished cabin sole inlaid in holly
A very fine teak folding table built by Traditional Sail to the designs of the great Dr Tom Harrison Butler folds away into a box recess in the cabin sole to give a flush floor.
Varnished bulkheads, varnished coamings and sky-light above, white painted deckhead.
Blue leatherette cushions with buttoned upholstered panels to the seat backs which fold open to access lockers behind the settees.
Panelled varnished mahogany door forward to the forward lobby.
Forward again to the forward cabin bulkhead door.
Both doors close off the lobby to create a private ablutions compartment.
Blake sea toilet to port.
Antique drop down porcelain hand basin with fold out bronze faucet, drains in the heads below and folds away to present a teak locker door.
Forward cabin with a large double berth. It is possible to either sleep fore and aft of to sleep athwartships.
Up forward is open to the hull sides with the chain chute, electric windlass in the deckhead.Chains below the berth forward.
6’6” headroom in the entrance lobby and saloon, 5’10” forward.
Equipment
Nav gear
Sestral steering compass mounted on the bridge deck
Hand bearing compass
Raytheon ST60 Log
VHF radio with DSC
Furuno Navigator GPS
Raytheon Radar and chart plotter combined, single/spilt screen.
Safety gear
4 man life raft
3 fire extinguishers
Fire blanket
Flares
Life lines on the side decks.
Ground tackle.
2 x 35kg CQR anchors stow on the stemhead rollers.
Anchor chain
Deck gear
Deflatable dinghy with pump and oars.
Outboard engine
Mooring warps
4 fenders
Domestic
Galley equipment
Oil fired cabin heater in the saloon cabin
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!
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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(vi) Individual Color Theme, wherein the viewer can change the color of the dresses of all the characters in the movie offering a very unique experience not found in any main stream video player.
An impressive Control Panel has been provided to enable the viewer to select and exercise all available options and between choices. The LCD panel displays options selected.
Technically, Phoenix Pro Theater supports 12 video formats. It also supports vertical video playback plus video rotation and flip options. It is Full HD, 4K & 8K supported, making it future ready. The Auto resume option, remembers the last played scene and resumes playback from the last played position.
Ideally, the viewers’ long search for an ultimate theater is likely to stop at “PHOENIX PRO THEATER”.
Supported formats : mp4, mov, avi, mkv, wmv, m4v, webm, flv, vob, ogg, mpg, 3gp
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