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Title page of The Principles of Biology by Herbert Spencer 1884. 2Vols.
'The general truths of Biology as interpreted by the Laws of Evolution' - Spencer.
With signature 'H.Braddon 1890' on facing page. Henry Braddon 1863-1955 - later Sir Henry Braddon - became an influential Australian businessman. He married Bertha Mary Russell. Also see:
www.flickr.com/photos/angeljim46/6658264191/
Published by Williams and Norgate, Brown gilt cloth boards 574 & 492 pages 23 cm x 15cm.
A biography of Henry Braddon is here:
Warren Stratford poly resin professions figurines. orn in Victoria, BC, Canada in July of 1965, Warren is a pioneer of highly detailed comic art.
He has adhered to fine art sculpting principles throughout his long career and is considered the most consistently representative comic sculpture in the world.
As a youth in the Fairfield area of Victoria, Warren was encouraged by a number of mentors and teachers to sculpt in the free-standing form, a practice he has never strayed from. One of his funniest memories was when he was a young and impressionable teenager in an advanced sculpting class. Warren was enthusiastic when the teacher said they were going to sculpt a live model one evening. He was not quite prepared as the beautiful woman completely disrobed on the stage in front of the students. Being the shy, youngest member of the class he quickly turned around and sculptured a very long haired woman rising out of a rock at the waist. The model was not pleased with his work but the teacher loved it!
warren stratfordWarren soon began to concern himself with his lifelong objective: portraying the variations of humor and atmosphere brought on by comical things he thinks about. Rather than copy others as was the traditional practice of young artists, Warren learned from people around him, from the landscape itself, and from the works of his older contemporaries. Warren’s representation of humor are based on his observations of people he meets and interviews.
He often shows natural color by breaking it down into its different components as a prism does. Eliminating dull and boring from his palette, Warren rejected entirely the academic approach to comic sculpting.
Warren gIn the Signature Series Warren allows his vision of light to dissolve the real structures of his subjects. To do this he chose simple subjects, making several humorous studies of the same subject at different occupations or activities.
Warren shares his time between Asia and his home town Victoria. Look for more Signature Series as Warren is always finding humor wherever he goes.
Warren’s work is particularly well represented in shops around the world. It is also included in many famous private collections.
I chose this picture for my Principles of Design for pattern because pattern is keeping design in a certain format. and this is a good example of it.
Alfons Walde (1891-1958), La calle de un pueblo/Dorfstraße/Village Street, 1931 (Sammlung Österreichische Nationalbank)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
The Epic Seascape! Malibu Sea Caves!
Landscape photography is not only about traveling through space, but it is also about traveling through time. One may return to the same beach time and again throughout the seasons to find a million different universes, changing in an infinitude of manners with each passing wave.
Not only do we voyage outwardly to get the shot, but we travel even further inwardly. While I spend my year trekking along the John Muir Trail, and on through Zion, Yosemite, the Grand Canyon, Death Valley, and the Colorado Plateau, my heart always finds its home in these Malibu sea caves, where I have stood in awe during all hours of the day and night.
Included within are a few shots that only I have so far captured, including a miraculous winter solstice sunrise.
Best wishes throughout the coming year!
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
'The Principles and Practice of Mine Ventilation', by D. Penman, 2nd edition, 1947, Charles Griffin & Co., Ltd., London. Brown hardback book with lettering on spine.
West Lothian Museums. http://www.westlothian.gov.uk/tourism/museumsgalleries/ums/information
If you would like more information about this object, please contact: museums@westlothian.gov.uk, quoting WLDCM1995.096.004.
Against the grim backdrop of the COVID-19 pandemic, chief executives of 110 companies in Thailand have pledged to advance gender equality in business by implementing the Women’s Empowerment Principles (WEPs). The event was hosted by WeEmpowerAsia, a UN Women programme funded by and in partnership with the European Union. Read the full press release: unwo.men/tGyn50BFura
Date: September 30, 2020
Location: Bangkok, Thailand
Photo: UN Women/Siraphob Werakijpanich & Tanasin Pheankusol
I had the honour to shoot Aleks, Tina and Hanna while doing some areal acro on a beautiful sandy beach in Thailand's little paradise called Koh Phangan.
The need to facilitate orientation and communication through visual organization principles, was the starting point for the design of the uniforms of official personnel during the Olympic Games.
A contest judge had to look different from a ticket controller, a health worker from a technician. All told 88 groups of persons needed special uniforms. To make this multitude clearly understandable the personnel was categorized in superordinate groups under the aspect of related functions:
Personnel of the Organizing Committee
Contest judges
Technical services
Hostesses
Doctors and health personnel
Security guards
Sport site personnel
Cleaning personnel
A garden in the exercise yards of the Old Workhouse. Sundial garden with old roses. Mixed borders in sun and shade. Gardened on organic principles.
Sunday 19 June 2011 will be the quarter centenary of this popular and exciting garden event. Do come!
You will be surprised at what lies behind the garden walls of our delightful town streets; the diversity of plots and planting; the willingness of gardeners to welcome you. There will be 30+ gardens on show at venues within the town centre. As usual, there will be refreshments offered and plants to buy at some gardens and from our very popular Pennycross Plants nursery stall.
A suggested walking route is provided with your programme or you can choose from brief descriptions your own 'must see' gardens.Come and find gardens old and new, large and small, showy and loved, all providing ideas for your own patch and together making a delightful walk round our lovely town.
Well over 2000 visitors come each year. Be one of them for our 25th in 2011 and add to your collection of 'Hidden Gardens' distinctive lapel stickers, free!
All proceeds go to St Nicholas Hospice Care.
Pretty Brunette Bikini Model Beach Headshots Portrait Photography! Beautiful Swimsuit Bikini Model Surf Girl ! The Birth of Venus! Surf's Up in Malibu California! Sexy Hot Fitness Model Surfer dx4/dt=ic!
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Follow me my good friends!
Facebook: geni.us/A0Na3
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Golden Ratio: geni.us/9EbGK
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Fine Art Ballet: geni.us/C1Adc
Some of my epic books, prints, & more!
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
I chose this picture for my Principles of Design for balance because if you were to cut this image in half it would be almost the same thing on both sides.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
George Brinton McClellan (December 3, 1826 – October 29, 1885) was a major general during the American Civil War and the Democratic Party candidate for President in 1864. He organized the famous Army of the Potomac and served briefly (November 1861 to March 1862) as the general-in-chief of the Union Army.
Early in the war, McClellan played an important role in raising a well-trained and organized army for the Union. Although McClellan was meticulous in his planning and preparations, these characteristics may have hampered his ability to challenge aggressive opponents in a fast-moving battlefield environment. He chronically overestimated the strength of enemy units and was reluctant to apply principles of mass, frequently leaving large portions of his army unengaged at decisive points.
McClellan was born in Philadelphia, the son of a prominent surgical ophthalmologist, Dr. George McClellan (1796–1847), the founder of Jefferson Medical College. His father's family had Scottish heritage. His mother was Elizabeth Sophia Steinmetz Brinton McClellan (1800–1889), daughter of a leading Pennsylvania family, a woman noted for her "considerable grace and refinement". The couple produced five children: a daughter, Frederica; then three sons, John, George, and Arthur; and a second daughter, Mary. McClellan was the grandson of Revolutionary War general Samuel McClellan of Woodstock, Connecticut. He first attended the University of Pennsylvania in 1840 at age 13, resigning himself to the study of law. After two years, he changed his goal to military service. With the assistance of his father's letter to President John Tyler, young George was accepted at the United States Military Academy in 1842, the academy having waived its normal minimum age of 16. He graduated in 1846, second in his class of 59 cadets, losing the top position (to Charles Seaforth Stewart) only because of poor drawing skills. He was commissioned a brevet second lieutenant in the U.S. Army Corps of Engineers.
McClellan began courting his future wife, Ellen Mary Marcy (1836–1915), the daughter of his former commander. Ellen, or Nelly, refused McClellan's first proposal of marriage, one of nine that she received from a variety of suitors, including his West Point friend, A. P. Hill. Ellen accepted Hill's proposal in 1856, but her family did not approve and he withdrew.
McClellan resigned his commission January 16, 1857, and, capitalizing on his experience with railroad assessment, became chief engineer and vice president of the Illinois Central Railroad and also president of the Ohio and Mississippi Railroad in 1860. He performed well in both jobs, expanding the Illinois Central toward New Orleans and helping the Ohio and Mississippi recover from the Panic of 1857. But despite his successes and lucrative salary ($10,000 per year), he was frustrated with civilian employment and continued to study classical military strategy assiduously. During the Utah War against the Mormons, he considered rejoining the Army. He also considered service as a filibuster in support of Benito Juárez in Mexico.
In October 1859 McClellan was able to resume his courtship of Ellen Mary, and they were married in Calvary Church, New York City, on May 22, 1860.
At the start of the Civil War, McClellan's knowledge of what was called "big war science" and his railroad experience suggested he might excel at military logistics. This placed him in great demand as the Union mobilized. The governors of Ohio, Pennsylvania, and New York, the three largest states of the Union, actively pursued him to command their states' militia. Ohio Governor William Dennison was the most persistent, so McClellan was commissioned a major general of volunteers and took command of the Ohio militia on April 23, 1861. Unlike some of his fellow Union officers who came from abolitionist families, he was opposed to federal interference with slavery. So some of his Southern colleagues approached him informally about siding with the Confederacy, but he could not accept the concept of secession.
On May 3 McClellan re-entered federal service by being named commander of the Department of the Ohio, responsible for the states of Ohio, Indiana, Illinois, and, later, western Pennsylvania, western Virginia, and Missouri. On May 14, he was commissioned a major general in the regular army. At age 34 he now outranked everyone in the Army other than Lt. Gen. Winfield Scott, the general-in-chief. McClellan's rapid promotion was partly because of his acquaintance with Salmon P. Chase, Treasury Secretary and former Ohio governor and senator.
After the defeat of the Union forces at Bull Run on July 21, 1861, Lincoln summoned McClellan from West Virginia, where McClellan had given the North the only actions thus far having a semblance of military victories. He traveled by special train on the main Pennsylvania line from Wheeling through Pittsburgh, Philadelphia, and Baltimore, and on to Washington, D.C., and was overwhelmed by enthusiastic crowds that met his train along the way.
During the summer and fall, McClellan brought a high degree of organization to his new army, and greatly improved its morale by his frequent trips to review and encourage his units. It was a remarkable achievement, in which he came to personify the Army of the Potomac and reaped the adulation of his men. He created defenses for Washington that were almost impregnable, consisting of 48 forts and strong points, with 480 guns manned by 7,200 artillerists. The Army of the Potomac grew in number from 50,000 in July to 168,000 in November and was considered by far the most colossal military unit the world had seen in modern historical times. But this was also a time of tension in the high command, as he continued to quarrel frequently with the government and the general-in-chief, Lt. Gen. Scott, on matters of strategy. McClellan rejected the tenets of Scott's Anaconda Plan, favoring instead an overwhelming grand battle, in the Napoleonic style. He proposed that his army should be expanded to 273,000 men and 600 guns and "crush the rebels in one campaign." He favored a war that would impose little impact on civilian populations and require no emancipation of slaves.
McClellan's antipathy to emancipation added to the pressure on him, as he received bitter criticism from Radical Republicans in the government. He viewed slavery as an institution recognized in the Constitution, and entitled to federal protection wherever it existed (Lincoln held the same public position until August 1862). McClellan's writings after the war were typical of many Northerners: "I confess to a prejudice in favor of my own race, & can't learn to like the odor of either Billy goats or niggers." But in November 1861, he wrote to his wife, "I will, if successful, throw my sword onto the scale to force an improvement in the condition of those poor blacks." He later wrote that had it been his place to arrange the terms of peace, he would have insisted on gradual emancipation, guarding the rights of both slaves and masters, as part of any settlement. But he made no secret of his opposition to the radical Republicans. He told Ellen, "I will not fight for the abolitionists." This placed him at an obvious handicap because many politicians running the government believed that he was attempting to implement the policies of the opposition party.
The immediate problem with McClellan's war strategy was that he was convinced the Confederates were ready to attack him with overwhelming numbers. On August 8, believing that the Confederates had over 100,000 troops facing him (in contrast to the 35,000 they actually deployed at Bull Run a few weeks earlier), he declared a state of emergency in the capital. By August 19, he estimated 150,000 enemy to his front. McClellan's future campaigns would be strongly influenced by the overblown enemy strength estimates of his secret service chief, detective Allan Pinkerton, but in August 1861, these estimates were entirely McClellan's own. The result was a level of extreme caution that sapped the initiative of McClellan's army and caused great condemnation by his government. Historian and biographer Stephen W. Sears has called McClellan's actions "essentially sound" if he had been as outnumbered as he believed, but McClellan in fact rarely had less than a two-to-one advantage over his opponents in 1861 and 1862. That fall, for example, Confederate forces ranged from 35,000 to 60,000, whereas the Army of the Potomac in September numbered 122,000 men; in early December 170,000; by year end, 192,000.
On November 1, 1861, Winfield Scott retired and McClellan became general-in-chief of all the Union armies. The president expressed his concern about the "vast labor" involved in the dual role of army commander and general-in-chief, but McClellan responded, "I can do it all."
McClellan further damaged his reputation by his insulting insubordination to his commander-in-chief. He privately referred to Lincoln, whom he had known before the war as a lawyer for the Illinois Central, as "nothing more than a well-meaning baboon", a "gorilla", and "ever unworthy of ... his high position." On November 13, he snubbed the president, visiting at McClellan's house, by making him wait for 30 minutes, only to be told that the general had gone to bed and could not see him.
On March 11, 1862, Lincoln removed McClellan as general-in-chief, leaving him in command of only the Army of the Potomac, ostensibly so that McClellan would be free to devote all his attention to the move on Richmond. Lincoln's order was ambiguous as to whether McClellan might be restored following a successful campaign. In fact, his position was not filled by another officer. Lincoln, Stanton, and a group of officers called the "War Board" directed the strategic actions of the Union armies that spring. Although McClellan was assuaged by supportive comments Lincoln made to him, in time he saw the change of command very differently, describing it as a part of an intrigue "to secure the failure of the approaching campaign."
The Battle of Antietam on September 17, 1862, was the single bloodiest day in American military history. The outnumbered Confederate forces fought desperately and well. Despite significant advantages in manpower, McClellan was unable to concentrate his forces effectively, which meant that Lee was able to shift his defenders to parry each of three Union thrusts, launched separately and sequentially against the Confederate left, center, and finally the right. And McClellan was unwilling to employ his ample reserve forces to capitalize on localized successes. Historian James M. McPherson has pointed out that the two corps McClellan kept in reserve were in fact larger than Lee's entire force. The reason for McClellan's reluctance was that, as in previous battles, he was convinced he was outnumbered.
The battle was tactically inconclusive, although Lee technically was defeated because he withdrew first from the battlefield and retreated back to Virginia. McClellan wired to Washington, "Our victory was complete. The enemy is driven back into Virginia." Despite being a tactical draw, Antietam is considered a turning point of the war and a victory for the Union because it ended Lee's strategic campaign (his first invasion of the North) and it allowed President Lincoln to issue the Emancipation Proclamation on September 22, taking effect on January 1, 1863. Although Lincoln had intended to issue the proclamation earlier, he was advised by his Cabinet to wait until a Union victory to avoid the perception that it was issued out of desperation. The Union victory and Lincoln's proclamation played a considerable role in dissuading the governments of France and Britain from recognizing the Confederacy; some suspected they were planning to do so in the aftermath of another Union defeat. McClellan had no prior knowledge that the plans for emancipation rested on his battle performance.
When McClellan failed to pursue Lee aggressively after Antietam, Lincoln ordered that he be removed from command on November 5. Maj. Gen. Ambrose Burnside assumed command of the Army of the Potomac on November 7.[73] McClellan wrote to his wife, "Those in whose judgment I rely tell me that I fought the battle splendidly and that it was a masterpiece of art. ... I feel I have done all that can be asked in twice saving the country. ... I feel some little pride in having, with a beaten & demoralized army, defeated Lee so utterly. ... Well, one of these days history will I trust do me justice."
McClellan was nominated by the Democrats to run against Abraham Lincoln in the 1864 U.S. presidential election. Following the example of Winfield Scott, he ran as a U.S. Army general still on active duty; he did not resign his commission until election day, November 8, 1864. He supported continuation of the war and restoration of the Union (though not the abolition of slavery), but the party platform, written by Copperhead Clement Vallandigham of Ohio, was opposed to this position. The platform called for an immediate cessation of hostilities and a negotiated settlement with the Confederacy. McClellan was forced to repudiate the platform, which made his campaign inconsistent and difficult. He also was not helped by the party's choice for vice president, George H. Pendleton, a peace candidate from Ohio.
The deep division in the party, the unity of the Republicans (running under the label "National Union Party"), and the military successes by Union forces in the fall of 1864 doomed McClellan's candidacy. Lincoln won the election handily, with 212 Electoral College votes to 21 and a popular vote of 403,000, or 55%. For all his popularity with the troops, McClellan failed to secure their support and the military vote went to Lincoln nearly 3-1. Lincoln's share of the vote in the Army of the Potomac was 70%.
At the conclusion of the war, McClellan and his family went to Europe (not returning until 1868), during which he did not participate in politics.[79] When he returned, the Democratic Party expressed some interest in nominating him for president again, but when it became clear that Ulysses S. Grant would be the Republican candidate, this interest died. McClellan's final years were devoted to traveling and writing, including his memoirs McClellan's Own Story (published posthumously in 1887) in which he stridently defended his conduct during the war. He died unexpectedly of a heart attack at age 58 at Orange, New Jersey, after having suffered from chest pains for a few weeks.
Darwin College Lecture Series 2016. Baroness Sayeeda Warsi on Personal Principles and the Political Game. Photo: Sir Cam @camdiary 2016.
May the principles espoused by these great Presidents last as long as this granite monument.
© Katie LaSalle-Lowery
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Join my new 45EPIC fine art landscapes page on facebook!
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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
UX (user experience) honeycomb structure
***
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Single page cheatsheet attempting to capture Edward Tufte's 6 (or 7) principles of presenting information as evidence. Based on how he articulated them at a an IQ2 talk held on the 19th of May 2010 at the RGS.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!