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The Postcard
A postally unused postcard that was published by the B. S. Reynolds Co. of 1202, D. Street Northwest, Washington, D.C. The card was produced by C. T. American Art Colored of Chicago.
The card has a divided back. In the space for the stamp it states:
'Place One Cent
Stamp Here.'
Also printed on the back of the card is the following:
'The Printing Press.
By John W. Alexander.
Mural Painting in the
Library of Congress
in Washington, D.C.
Gutenberg, the inventor of
printing, is reading a proof
which has just come from
the press.'
The man on the right seems to have adopted a very peculiar stance - unless he is bracing his feet against a wall on the right, he is about to fall over.
The Evolution of the Book
The Evolution of the Book is a series of six murals painted circa 1896 by John W. Alexander in the Library of Congress Thomas Jefferson Building.
John White Alexander
John White Alexander was born in Allegheny, Pennsylvania on the 7th. October 1856. He was an American portrait, figure, and decorative painter and illustrator.
John White Alexander - The Early Years
John was orphaned in infancy, and was reared by his grandparents. At the age of 12, he became a telegraph boy in Pittsburgh.
Edward J. Allen became an early supporter and patron of John, adopting him while he worked at the Pacific and Atlantic Telegraph Co. as a young man.
Allen brought Alexander to the Allen home at "Edgehill" where Alexander painted various members of the Allen family, including Colonel Allen.
John moved to New York City at the age of 18 and worked in an office at Harper's Weekly, where he was an illustrator and political cartoonist at the same time that Abbey, Pennell, Pyle, and other celebrated illustrators worked there.
After an apprenticeship of three years, he traveled to Munich for his first formal training. Owing to a lack of funds, he moved to the village of Polling, Bavaria, and worked with Frank Duveneck. They traveled to Venice, where he profited by the advice of Whistler, and then he continued his studies in Florence, Italy; the Netherlands; and Paris.
John White Alexander's Career
In 1881, John returned to New York City and speedily achieved great success in portraiture, numbering among his sitters Oliver Wendell Holmes, John Burroughs, Henry G. Marquand, R.A.L. Stevenson, and president McCosh of Princeton University.
John's first exhibition in the Paris Salon of 1893 was a brilliant success, and was followed by his immediate election to the Société Nationale des Beaux Arts.
Many additional honors were bestowed on him. In 1889 he painted for Mrs. Jeremiah Milbank a well-received portrait of Walt Whitman and one of her husband.
In 1901, he was named Chevalier of the Legion of Honor, and in 1902, he became a member of the National Academy of Design, where he served as president from 1909 to 1915. He was a member of the American Academy of Arts and Letters.
Among the gold medals received by him were those of the Paris Exposition (1900) and the World's Fair in St. Louis, Missouri (1904). He served as President of the National Society of Mural Painters from 1914 to 1915.
John White Alexander's Personal Life and Death
Alexander was married to Elizabeth Alexander, to whom he was introduced in part because of their shared last name. Elizabeth was the daughter of James Waddell Alexander, President of the Equitable Life Assurance Society at the time of the Hyde Ball scandal. The Alexanders had one child, the mathematician James Waddell Alexander II.
Alexander died at the age of 58 in New York on the 31st. May 1915.
John White Alexander's Works
Many of John's paintings are in museums and public places in the United States and in Europe, including the Metropolitan Museum of Art, the Brooklyn Art Museum, the Los Angeles County Museum of Art, the Museum of Fine Arts, Boston, the Butler Institute, and the Library of Congress in Washington D.C.
In addition, in the entrance hall to the Art Museum of the Carnegie Institute in Pittsburgh, Pennsylvania, a series of Alexander's murals titled "Apotheosis of Pittsburgh" (1905–1907) covers the walls of the three-story atrium area.
Alexander's artist's proof of his portrait of Whitman, signed by the artist in April 1911, is in the Walt Whitman Collection at the University of Pennsylvania.
The Hyde Ball Scandal
James Hazen Hyde (June 6, 1876 — July 26, 1959) was the son of Henry Baldwin Hyde, the founder of The Equitable Life Assurance Society of the United States.
James Hazen Hyde was twenty-three in 1899 when he inherited the majority shares in the billion-dollar Society. Five years later, at the pinnacle of social and financial success, efforts to remove him from The Equitable set in motion the first great Wall Street scandal of the 20th. century, which resulted in his resignation from The Equitable and relocation to France.
James Hazen Hyde's Career
James was appointed a vice president of The Equitable after graduating from college. In addition, he served on the boards of directors of more than 40 other companies, including the Wabash Railroad and Western Union.
His homes included a large estate on Long Island, where he maintained horses, stables, roads, and trails to engage in coach racing. He also took part in horse shows and horse racing. Hyde accumulated a collection of coaches and carriages, which he later donated to the Shelburne Museum.
Removal from The Equitable
Following his father's death, Hyde was the majority shareholder and in effective control of The Equitable. By the terms of his father's will, he was scheduled to assume the presidency of the company in 1906.
Members of the board of directors, including E. H. Harriman, Henry Clay Frick, J.P. Morgan, and company President James Waddell Alexander attempted to wrest control from Hyde through a variety of means, including an unsuccessful attempt to have him appointed as Ambassador to France.
On the last night of January 1905, Hyde hosted a highly publicized Versailles-themed costume ball. Falsely accused through a coordinated smear campaign initiated by his opponents at The Equitable of charging the $200,000 party ($6,032,000 today) to the company, Hyde soon found himself drawn into a maelstrom of allegations of corporate malfeasance.
The allegations almost caused a Wall Street panic, and eventually led to a state investigation of New York's entire insurance industry which resulted in laws to regulate activities between insurance companies, banks and other corporations.
Hyde's personal net worth in 1905 was about $20 million ($603,200,000 today). After the negative press generated by the efforts to remove him from The Equitable, Hyde resigned from the company later that same year, gave up most of his other business activities, and moved to France.
(further information and pictures you can get by clicking on the link at the end of page!)
Mariahilferstraße
Mariahilferstraße, 6th, 7th, 14th and 15th, since 1897 (in the 6th and 7th district originally Kremser Sraße, then Bavarian highway, Laimgrubner main road, Mariahilfer main street, Fünfhauserstraße, Schönbrunnerstraße and Penzinger Poststraße, then Schönbrunner Straße), in memory of the old suburb name; Mariahilf was an independent municipality from 1660 to 1850, since then with Gumpendorf, Magdalenengrund, Windmühle and Laimgrube 6th District.
From
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Mariahilferstraße, 1908 - Wien Museum
Mariahilferstraße, 1908
Picture taken from "August Stauda - A documentarian of old Vienna"
published by Christian Brandstätter - to Book Description
History
Pottery and wine
The first ones who demonstrably populated the area of today's Mariahilferstraße (after the mammoth) were the Illyrians. They took advantage of the rich clay deposits for making simple vessels. The Celts planted on the sunny hills the first grape vines and understood the wine-making process very well. When the Romans occupied at the beginning of our Era Vienna for several centuries, they left behind many traces. The wine culture of the Celts they refined. On the hill of today's Mariahilferstraße run a Roman ridge trail, whose origins lay in the camp of Vindobona. After the rule of the Romans, the migration of peoples temporarily led many cultures here until after the expulsion of the Avars Bavarian colonists came from the West.
The peasant Middle Ages - From the vineyard to the village
Thanks to the loamy soil formed the winery, which has been pushed back only until the development of the suburbs, until the mid-17th Century the livelihood of the rural population. "Im Schöff" but also "Schöpf - scoop" and "Schiff - ship" (from "draw of") the area at the time was called. The erroneous use of a ship in the seal of the district is reminiscent of the old name, which was then replaced by the picture of grace "Mariahilf". The Weinberg (vineyard) law imposed at that time that the ground rent in the form of mash on the spot had to be paid. This was referred to as a "draw".
1495 the Mariahilfer wine was added to the wine disciplinary regulations for Herrenweine (racy, hearty, fruity, pithy wine with pleasant acidity) because of its special quality and achieved high prices.
1529 The first Turkish siege
Mariahilferstraße, already than an important route to the West, was repeatedly the scene of historical encounters. When the Turks besieged Vienna for the first time, was at the lower end of today Mariahilferstrasse, just outside the city walls of Vienna, a small settlement of houses and cottages, gardens and fields. Even the St. Theobald Monastery was there. This so-called "gap" was burned at the approach of the Turks, for them not to offer hiding places at the siege. Despite a prohibition, the area was rebuilt after departure of the Turks.
1558, a provision was adopted so that the glacis, a broad, unobstructed strip between the city wall and the outer settlements, should be left free. The Glacis existed until the demolition of the city walls in 1858. Here the ring road was later built.
1663 The new Post Road
With the new purpose of the Mariahilferstrasse as post road the first three roadside inn houses were built. At the same time the travel increased, since the carriages were finally more comfortable and the roads safer. Two well-known expressions date from this period. The "tip" and "kickbacks". In the old travel handbooks of that time we encounter them as guards beside the route, the travel and baggage tariff. The tip should the driver at the rest stop pay for the drink, while the bribe was calculated in proportion to the axle grease. Who was in a hurry, just paid a higher lubricant (Schmiergeld) or tip to motivate the coachman.
1683 The second Turkish siege
The second Turkish siege brought Mariahilferstraße the same fate. Meanwhile, a considerable settlement was formed, a real suburb, which, however, still had a lot of fields and brick pits. Again, the suburb along the Mariahilferstraße was razed to the ground, the population sought refuge behind the walls or in the Vienna Woods. The reconstruction progressed slowly since there was a lack of funds and manpower. Only at the beginning of the 18th Century took place a targeted reconstruction.
1686 Palais Esterhazy
On several "Brandstetten", by the second Turkish siege destroyed houses, the Hungarian aristocratic family Esterhazy had built herself a simple palace, which also had a passage on the Mariahilferstrasse. 1764 bought the innkeeper Paul Winkelmayr from Spittelberg the building, demolished it and built two new buildings that have been named in accordance with the Esterhazy "to the Hungarian crown."
17th Century to 19th Century. Fom the village to suburb
With the development of the settlements on the Mariahilferstraße from village to suburbs, changed not only the appearance but also the population. More and more agricultural land fell victim to the development, craftsmen and tradesmen settled there. There was an incredible variety of professions and trades, most of which were organized into guilds or crafts. Those cared for vocational training, quality and price of the goods, and in cases of unemployment, sickness and death.
The farms were replaced by churches and palaces, houses and shops. Mariahilf changed into a major industrial district, Mariahilferstrasse was an important trading center. Countless street traders sold the goods, which they carried either with them, or put in a street stall on display. The dealers made themselves noticeable by a significant Kaufruf (purchase call). So there was the ink man who went about with his bottles, the Wasserbauer (hydraulic engineering) who sold Danube water on his horse-drawn vehicle as industrial water, or the lavender woman. This lovely Viennese figures disappeared with the emergence of fixed premises and the improvement of urban transport.
Private carriages, horse-drawn carriages and buggies populated the streets, who used this route also for trips. At Mariahilferplatz Linientor (gate) was the main stand of the cheapest and most popular means of transport, the Zeiselwagen, which the Wiener used for their excursions into nature, which gradually became fashionable. In the 19th Century then yet arrived the Stellwagen (carriage) and bus traffic which had to accomplish the connection between Vienna and the suburbs. As a Viennese joke has it, suggests the Stellwagen that it has been so called because it did not come from the spot.
1719 - 1723 Royal and Imperial Court Stables
Emperor Charles VI. gave the order for the construction of the stables to Johann Bernhard Fischer von Erlach. 1772 the building was extended by two houses on the Mariahilferstrasse. The size of the stables still shows, as it serves as the Museum Quarter - its former importance. The Mariahilferstraße since the building of Schönbrunn Palace by the Imperial court very strongly was frequented. Today in the historic buildings the Museum Quarter is housed.
The church and monastery of Maria Hülff
Coloured engraving by J. Ziegler, 1783
1730 Mariahilferkirche
1711 began the renovation works at the Mariahilferkirche, giving the church building today's appearance and importance as a baroque monument. The plans stem from Franziskus Jänkl, the foreman of Lukas von Hildebrandt. Originally stood on the site of the Mariahilferkirche in the medieval vineyard "In Schoeff" a cemetery with wooden chapel built by the Barnabites. Already in those days, the miraculous image Mariahilf was located therein. During the Ottoman siege the chapel was destroyed, the miraculous image could be saved behind the protective walls. After the provisional reconstruction the miraculous image in a triumphal procession was returned, accompanied by 30,000 Viennese.
1790 - 1836 Ferdinand Raimund
Although in the district Mariahilf many artists and historical figures of Vienna lived , it is noticeable that as a residence they rather shunned the Mariahilferstraße, because as early as in the 18th Century there was a very lively and loud bustle on the street. The most famous person who was born on the Mariahilferstrasse is the folk actor and dramatist Ferdinand Raimund. He came in the house No. 45, "To the Golden deer (Zum Goldenen Hirschen)", which still exists today, as son of a turner into the world. As confectioners apprentice, he also had to visit the theaters, where he was a so-called "Numero", who sold his wares to the visitors. This encounter with the theater was fateful. He took flight from his training masters and joined a traveling troupe as an actor. After his return to Vienna, he soon became the most popular comedian. In his plays all those figures appeared then bustling the streets of Vienna. His most famous role was that of the "ash man" in "Farmer as Millionaire", a genuine Viennese guy who brings the wood ash in Butte from the houses, and from the proceeds leading a modest existence.
1805 - 1809 French occupation
The two-time occupation of Vienna by the French hit the suburbs hard. But the buildings were not destroyed fortunately.
19th century Industrialization
Here, where a higher concentration of artisans had developed as in other districts, you could feel the competition of the factories particularly hard. A craftsman after another became factory worker, women and child labor was part of the day-to-day business. With the sharp rise of the population grew apartment misery and flourished bed lodgers and roomers business.
1826
The Mariahilferstraße is paved up to the present belt (Gürtel).
1848 years of the revolution
The Mariahilferstraße this year was in turmoil. At the outbreak of the revolution, the hatred of the people was directed against the Verzehrungssteuerämter (some kind of tax authority) at the lines that have been blamed for the rise of food prices, and against the machines in the factories that had made the small craftsmen out of work or dependent workers. In October, students, workers and citizens tore up paving stones and barricaded themselves in the Mariahilfer Linientor (the so-called Linienwall was the tax frontier) in the area of today's belt.
1858 The Ring Road
The city walls fell and on the glacis arose the ring-road, the now 6th District more closely linking to the city center.
1862 Official naming
The Mariahilferstraße received its to the present day valid name, after it previously was bearing the following unofficial names: "Bavarian country road", "Mariahilfer Grund Straße", "Penzinger Street", "Laimgrube main street" and "Schönbrunner Linienstraße".
The turn of the century: development to commercial street
After the revolution of 1848, the industry displaced the dominant small business rapidly. At the same time the Mariahilferstraße developed into the first major shopping street of Vienna. The rising supply had to be passed on to the customer, and so more and more new shops sprang up. Around the turn of the century broke out a real building boom. The low suburban houses with Baroque and Biedermeier facade gave way to multi-storey houses with flashy and ostentatious facades in that historic style mixture, which was so characteristic of the late Ringstrasse period. From the former historic buildings almost nothing remained. The business portals were bigger and more pompous, the first department stores in the modern style were Gerngross and Herzmansky. Especially the clothing industry took root here.
1863 Herzmansky opened
On 3 March opened August Herzmansky a small general store in the Church Lane (Kirchengasse) 4. 1897 the great establishment in the pin alley (Stiftgasse) was opened, the largest textile company of the monarchy. August Herzmansky died a year before the opening, two nephews take over the business. In 1928, Mariahilferstraße 28 is additionally acquired. 1938, the then owner Max Delfiner had to flee, the company Rhonberg and Hämmerle took over the house. The building in Mariahilferstrasse 30 additionally was purchased. In the last days of the war in 1945 it fell victim to the flames, however. 1948, the company was returned to Max Delfiner, whose son sold in 1957 to the German Hertie group, a new building in Mariahilferstrasse 26 - 30 constructing. Other ownership changes followed.
1869 The Pferdetramway
The Pferdetramway made it first trip through the Mariahilferstraße to Neubaugasse.
Opened in 1879 Gerngroß
Mariahilferstraße about 1905
Alfred Gerngross, a merchant from Bavaria and co-worker August
Herzmanskys, founded on Mariahilferstrasse 48/corner Church alley (Kirchengasse) an own fabric store. He became the fiercest competitor of his former boss.
1901 The k.k. Imperial Furniture Collection
The k.k. Hofmobilien and material depot is established in Mariahilferstrasse 88. The collection quickly grew because each new ruler got new furniture. Today, it serves as a museum. Among other things, there is the office of Emperor Franz Joseph, the equipment of Emperor Maximilian of Mexico from Miramare Castle, the splendid table of Charles VI. and the furniture from the Oriental Cabinet of Crown Prince Rudolf.
1911 The House Stafa
On 18 August 1911, on the birthday of Emperor Franz Joseph, corner Mariahilferstraße/imperial road (Kaiserstraße) the "central palace" was opened. The construction by its architecture created a sensation. Nine large double figure-relief panels of Anton Hanak decorated it. In this building the "1st Vienna Commercial sample collective department store (Warenmuster-Kollektivkaufhaus)", a eight-storey circular building was located, which was to serve primarily the craft. The greatest adversity in the construction were underground springs. Two dug wells had to be built to pump out the water. 970 liters per minute, however, must be pumped out until today.
1945 bombing of Vienna
On 21 February 1945 bombs fell on the Mariahilferstrasse, many buildings were badly damaged. On 10th April Wiener looted the store Herzmansky. Ella Fasser, the owner of the café "Goethe" in Mariahilferstrasse, preserved the Monastery barracks (Stiftskaserne) from destruction, with the help other resistance fighters cutting the fire-conducting cords that had laid the retreating German troops. Meanwhile, she invited the officers to the cafe, and befuddled them with plenty of alcohol.
Nazi, Neo-Pagan 'Christmas', Picture reproduced in: 'The Persecution of the Catholic Church in the Third Reich' published in 1940 by Burns Oates
The Swastika replaces the star on top of the Christmas tree.
en.wikipedia.org/wiki/Nazi_persecution_of_the_Catholic_Ch...
Lying, atheist propaganda about Christians being in league with the Nazis - and that the Pope and Catholic Church were complicit in the persecution and of Jews has been propagated and spread by militant, atheist fanatics and other anti-Christian bigots since the end of the 2nd world war.
The truth ...
Hitler and the Nazis were pagan, naturalist, occultists with racial superiority and eugenics policies based on the writings of the German Darwinist, Ernst Haeckel.
They were haters of Christianity and, just like the atheists in all the brutal, communist regimes, their ultimate aim was to eliminate Christianity.
"We live in an era of the ultimate conflict with Christianity. It is part of the mission of the SS to give the German people in the next half century the non-Christian ideological foundations on which to lead and shape their lives. This task does not consist solely in overcoming an ideological opponent but must be accompanied at every step by a positive impetus: in this case that means the reconstruction of the German heritage in the widest and most comprehensive sense."
— Heinrich Himmler, 1937
Here is the real history in "Facts and Documents Translated from the German" and published at the time.
Frontispiece from 'The Persecution of the Catholic Church in the Third Reich' published in 1940 by Burns Oates
www.flickr.com/photos/truth-in-science/14425597587
"The Persecution of the Catholic Church in the Third Reich" Published in 1940 is full (565 pages) of translated copies of original Nazi documents and cartoons lambasting the Church from the 1930's - 1940.
What about quotes from Hitler's writing and speeches, frequently presented by atheists, which allegedly show that Hitler supported Christianity?
It is well known that what Hitler said and what Hitler actually did were two entirely different things. Hitler didn't want to risk antagonising Christians in Germany. So he attempted to give the impression that he was on their side, however, the actions of the Hitler's National Socialist Party proved the exact opposite, as shown in this book.
And - even if Hitler claimed to be Christian, he couldn't have been, because he directly opposed the teaching of Jesus and the Church. This means he was an heretic and therefore would be automatically excommunicated.
Anyone who knows anything about Christianity knows that simply calling oneself Christian doesn't make one Christian. An heretic cannot be a Christian.
So Hitler and the Nazis were not Christian, they totally disregarded Christian, moral teaching and the Ten Commandments.
They believed in situational ethics and moral relativism (which is the essence of the atheist, Humanist Manifesto) just as Stalin, Mao and all the atheist tyrants of the 20th century did.
So Hitler's moral and ethical values were akin to atheist morals and ethics, inasmuch as they had no definitive yardstick. The Nazis abandoned the moral and ethical values of Christianity and were left with ephemeral ethics - which are reliant only on the situation, opinion or fashion. Just like the Humanist Manifesto, with no definitive, moral yardstick or inalienable, God-given rights, there can be no moral or ethical absolutes - right can be deemed to be wrong, and wrong can be deemed to be right. It varies according to the situation or what is judged to be 'necessary'. it is a recipe for tyranny.
Hitler was not strictly an atheist in belief, but he was similar in his ethical and moral relativism.
His ideology is best described as Darwinian inspired paganism. There are documents in this book which prove the Nazis were pagans, not Christians.
There are also documents reproduced in the book which prove that the Church hierarchy did not support the Nazis, that is why so many priests etc. were arrested, imprisoned and tortured on trumped-up charges.
So we know that, as Hitler rejected the teaching of Jesus on morals, he could not possibly be a Christian, regardless of what anyone claims.
The moral values of Christianity are the Ten Commandments and the values espoused in the teaching of Jesus and His Apostles.
Anyone who rejects those values, cannot claim to either be a Christian or to be acting as a Christian. They are based on two principles of loving God and loving one's neighbour (and even enemies) as oneself.
Every Christian has to aspire to those principles. If they fail through weakness they are guilty of sin, for which they can be forgiven with sincere repentance. If they deliberately reject those moral principles they forfeit the right to call themselves Christian. So, it is not possible for a true Christian to knowingly support a tyrannical regime such as the Nazis or the Communists, which murders, tortures or persecutes innocent people. If they do, they cease to be Christians, no matter what they may claim to the contrary.
www.flickr.com/photos/truth-in-science/14425393220
It is obvious from the Nazi cartoon in the image above that the Nazis themselves certainly didn't think the Church or Pope were complicit in supporting Nazism. On the contrary, they obviously thought the Church was complicit in supporting the Jews. Which was in fact, the real truth as presented in the book below - written by a Jewish Rabbi.
'The Myth of Hitler's Pope' - How Pope Pius XII rescued Jews from the Nazis. by Jewish Rabbi David G Dalin.
www.amazon.com/gp/product/0895260344/ref=cm_cr_dpvoterdr?...
What about books, such as; 'Hitler's Pope' by the journalist John Cornwell, which claim that Pope Pius XII was complicit in the persecution and murder of Jews by keeping quiet about the crimes of the Nazis?
Cornwell's book has been completely discredited.
Catholics who attended church in Nazi Germany were left in no doubt that the Church opposed the Nazi regime well before 1940.
'The Persecution of the Catholic Church in the Third Reich' 1940 - has page after page of contemporary source material, such as translated copies of Pastoral letters, Encyclicals and Sermons issued by Bishops, Archbishops and Cardinals read in German churches at the time, including one from a combined Pastoral of Bishops, which criticise the National Socialists and point out the Nazis opposition to Catholicism and Christian civilisation.
Furthermore, Cardinal Pacelli, who became Pius XII, was one of them. And he was singled out for vilification by the Nazis in the Nazi publications of the Schwarze Corps.
So the idea that Catholics didn't know that the Church opposed Hitler and the Nazis is complete balderdash.
Catholic newspapers and publications were systematically banned or censored at the time. So Encyclicals and sermons were the only voice the Church had within Germany.
All German radio and newspapers were controlled by the Nazis. They wouldn't have publicised any public pronouncement by the Pope or any other opposition from the Catholic Church.
So the Church certainly wasn't silent - or complicit with the Nazis. And thousands of Catholics and priests were imprisoned, tortured and executed for being in league with Jews and also falsely accused of being in league with Freemasons and Communists.
The Nazis considered the Catholic Church (and other Christians) an enemy within.
And overwhelming evidence shows that the Pope was actively organising the escape of thousands of Jews from the Nazis. Vatican Radio had to keep the Pope's involvement out of the news in order not to undermine or damage the rescue effort.
The Pope was well aware that antagonising the Nazis with worldwide, public pronouncements from Vatican Radio would lead to an increased crackdown on priests and other Catholics who were working undercover to help Jews escape. It would have been completely counterproductive.
It is very significant that the Jewish Historian, Martin Gilbert, the biographer of Winston Churchill, who knew much more than Cornwell, or any other historical 'revisionists' wanted Pope Pius to be given the title Righteous among Nations.
“As one of the world’s leading experts on the Holocaust and WWII, Sir Martin was well aware of the lifesaving efforts of Pope Pius XII, most especially to save the Jews from the barbarism of the Nazi regime,” Krupp told the Register. “It was Sir Martin who encouraged me to nominate Eugenio Pacelli (Pope Pius XII) to Yad Vashem to be named ‘Righteous Among Nations.’”
"In an interview in 2007, Gilbert explained how the wartime pope’s interventions and protestations directly helped to save 4,700 Jewish lives in Rome and that 477 Jews were given refuge in the Vatican. He also documented other ways in which Pius XII rescued Jews persecuted by the Nazis."
"In an earlier interview in 2003, he hoped his research would “restore, in a way, on the foundation of historical fact, the true and wonderful achievements of Catholics in helping Jews during the war.
Pave the Way Foundation also filmed an interview with Gilbert, during which he discussed his personal research on the actions of Pope Pius XII during World War II.
He was eager to see the Holocaust museum Yad Vashem open a file on Pius to study his worthiness to be included in the institution’s “Department of the Righteous.” He also wanted to see the wartime archives opened to the public so that historians could better understand Pius’ role."
Sir Martin Gilbert estimates the Catholic Church saved up to half a million Jewish lives.
books.google.co.uk/books?id=KQvGxx1qG90C&pg=PA191&...
Of course, this is all available in the public domain, but still atheists and other anti-Christian bigots persist in ignoring the truth and continue to propagate distortions and lies. Their motivation is not historical accuracy, but militant, ideological fanaticism.
www.flickr.com/photos/truth-in-science/21486403228
Just keeping this here for as a backup and proof that at least one of >my pictures has been published.
photo published on www.dumblittleman.com/2007/10/10-smartest-ways-to-live-be...
Save your money and one day it'll return the favor.
Ah money... to spend it or to save it, that is the question.
I found this philosophical add on a phone booth a few months ago. And thought it was the perfect time to post it: before black Friday, before the craziness of the holidays, before we start working on all those wish lists, ...
This campaign is sponsored by The American Institute of Certified Public Accountants (AICPA). The bottom of the add sends you to www.feedthepig.org/, an entertaining website to entice us to save our precious dollars. It is full of interesting facts and tips but also videos, calculators, ... I recommend the click. You'll be greeted by Benjamin Bankes, the only pig I know who wears a white tuxedo so well. And of course, you can befriend Benjamin Bankes on MySpace. Of course.
__________________________
used in:
• www.pluggd.in/entrepreneurship-in-india/money-saving-tips...
• www.whereyouarenow.com/blog/2008/09/16/8-steps-to-more-mo...
• www.marketproteges.com/2008/05/this-weeks-feature-saving-...
• www.dumblittleman.com/2007/10/10-smartest-ways-to-live-be...
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Model & Mua : Martina
Photo, lights editing by : Giacomo Macis
Lights set up : canon 430EX II on camera left, and sigma 530Super on camera right/rear the model.
All triggered with cactus wireless system
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Published article : Chora, a village of Amorgos island , Aegean sea
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January 2024
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Opening-act dei Whitesnake all’Alcatraz di Milano il 29 novembre 2015, The Dead Daisies.
Influenced by 70’s and early 80’s hard rock, The Dead Daisies sound is soulful and accessible – equal parts of The Faces, Bad Company and Foreigner: muscular vocals, bluesy riffs, big choruses, powerful melodies and strong hooks. With stellar musicianship and pulverizing live shows, fans across the globe are discovering the band that is bringing back Rock & Roll!
The musical collective is created by a rotating line-up that features some of the best Rock musicians on the planet. This includes: Richard Fortus (Guns N’ Roses/The Psychedelic Furs), Dizzy Reed (Guns N’ Roses/Hookers and Blow), Darryl Jones (The Rolling Stones), Charley Drayton (The X-pensive Winos/The Cult), Jon Stevens (Noiseworks/INXS), Brian Tichy (Ozzy Osbourne/Billy Idol), David Lowy (Red Phoenix/Mink), John Tempesta (The Cult/Rob Zombie), Marco Mendoza (Thin Lizzy/Whitesnake), John Corabi (Motley Crue/RATT), Alex Carapetis (Julian Casablancas + The Voidz/Nine Inch Nails), Bernard Fowler (The Rolling Stones) and Frank Ferrer (Guns N’ Roses/The Psychedelic Furs).
Richard Fortus, originally from St. Louis, Missouri, is probably best know for his ‘other’ position, guitarist with legendary American rock band Guns N’ Roses where he handles both rhythm and lead duties since first joining the band 2001.
Marco Mendoza is a well-known face around the rock music circuit. His bass playing skills have seen him hold down the rhythm section for many legendary bands like Thin Lizzy, Whitesnake, Dolores O'Riordan, Lynch Mob and Ted Nugent among others.
John Corabi was already an established singer in the rock world with bands like Angora and Scream before he joined Motley Crue in 1992 as their new lead singer. He recorded the critically acclaimed self titled album before Vince Neil returned in 1996.
Dizzy Reed is a multi-talented keyboard/vocalist who has been part of The Dead Daisies line-up since 2013.
Brian Tichy started drumming from age 8. He attended the prestigious Berklee College of Music from 1986-1990.
Throughout his career, rhythm guitarist David Lowy has extensively played with various Australian rock bands, including Red Phoenix, Mink and Doc Neeson’s Angels. Read
David Lowy – rhythm guitar
Richard Fortus – lead guitar
Dizzy Reed – keyboards
Marco Mendoza – bass
John Corabi – lead vocals
Brian Tichy – drums
My best sunset photo of the entire week...
Note: this photo was published in a May 14, 2012 Watches Wiki blog, with the same caption and detailed notes that I had written here on this Flickr page. It was also published in an Oct 26, 2012 blog titled "Cayo Hueso."
Note: A large percentage of my "landscape" photos (including the ones in this set) are now copyright-protected, and are not available for downloads and free use. You can view them here in Flickr, but if you would like prints, enlargements, framed copies, and other variations, please visit my SmugMug "Key West" gallery by clicking <a href="Note: A large percentage of my "landscape" photos (including the ones in this set) are now copyright-protected, and are not available for downloads and free use. You can view them here in Flickr, but if you would like prints, enlargements, framed copies, and other variations, please visit my SmugMug "Key West" gallery by clicking here.
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Key West. It’s a familiar phrase to almost all Americans, and it conjures up images of a warm climate, Key West.
It’s a familiar phrase to almost all Americans, and it conjures up images of a warm climate, proximity to Cuba, Jimmy Buffett’s “Margaritaville,” and perhaps a few vague connections to Ernest Hemingway and Tennessee Williams. It is indeed the southernmost city in the continental United States (129 miles southwest of Miami), and is also the southernmost terminus of highway U.S. 1, which originates a couple thousand miles north, up in Maine.
Less well known is the fact that the island was first visited by Europeans in 1521, by none other than Ponce de Leon. Much, much earlier, the island had previously been inhabited by members of the Calusa tribe, who apparently used the island as a communal graveyard. Thus, when the Spanish arrived, they found no resident Native Americans, but they did find a lot of bones; and assuming that the island had been the location of a cataclysmic batter between tribal warriors, they named it “Cayo Hueso” -- which literally means “bone key.” When Great Britain took control of Florida in 1763, they bastardized the name to “Key West,” which has obviously remained its name ever since.
I’ll skip the rest of the history lessons about Spanish and British domination of the island; suffice it to say that the Americans took charge in 1822, when Lt. Commander Matthew Perry sailed his schooner to Key West and claimed all of the Keys as U.S. property – a claim that apparently went uncontested. The Navy has been here ever since, and its first major task was ending acts of piracy which had previously made much of that part of the Caribbean a wild and wooly place indeed.
During the U.S. Civil War, the state of Florida seceded and joined the Confederacy; but because of the naval base, Key West remained in Union hands. Indeed, Key West served as the starting point for what became a relatively successful effort to blockade Confederate shipping along the Atlantic and Gulf coasts, severely limiting its ability to trade with England and Europe.
Key West remained relatively isolated from the rest of Florida (not to mention the rest of the U.S.) until 1912, when it was connected to the Florida mainland via an incredibly expensive and ambitious railroad developed by Henry Flagler. Unfortunately, a massive Labor Day hurricane in 1935 destroyed much of the railroad and killed hundreds of local residents. The U.S. government subsequently rebuilt the rail route as an automobile extension of U.S. Highway 1, which was completed in 1938.
While all of this was going on, Key West also became a haven for at least a few famous artists and writers. Ernest Hemingway initially settled in Key West in 1928, where he wrote A Farewell to Arms. And during the 1930s, he wrote or worked on Death in the Afternoon, For Whom the Bell Tolls, and The Snows of Kilimanjaro. He also used the Depression-era Key West as the setting for To Have and Have Not, which is apparently his only novel set in the United States.
A decade later, Tennessee Williams became a regular visitor to Key West, and is said to have written the first draft of A Streetcar Named Desire while staying at La Concha Hotel in 1947; he continued to list Key West as his primary residence until his death in 1983.
One other small piece of history: Key West turns out to be much closer to Havana than it is to Miami. In the 1890s, half the residents of Key West were said to be of Cuban origin, and the city regularly had Cuban mayors. Cubans were actively involved in roughly 200 factories in the city, producing 100 million cigars annually. And the South American revolutionary hero José Martí made several visits seeking recruits for Cuban independence, and he founded the Cuban Revolutionary Party during visits to Key West. The battleship USS Maine sailed from Key West on its visit to Havana, where it was blown up in an attack that led to the Spanish-American War. And finally, Pan American Airlines was founded in Key West in 1926, originally to fly visitors to Havana.
And thus endeth our short history lesson – none of which was of any particular significance to me during a recent week-long visit to Key West, motivated by a strong desire to escape the cold weather of New York City during the month of February. One other tidbit of trivia had attracted me: I had heard that there was a pier in Key West where the locals and visiting tourists gathered every evening to drink margaritas, sing raucous renditions of “Margaritaville” at the top of their lungs, and admire the sunsets as the sun sank into the western horizon of the Gulf of Mexico.
That pier, as it turns out, is Sunset Pier – and it was located just outside the hotel which I had chosen as the place to stay for the week. And while it turns out that margaritas are indeed consumed there, so are a lot of piña coladas, mojitos, and beers, along with hamburgers, hot dogs and fries: the whole place is a long, crowded, outdoor bar and grill. The raucous singing comes from an amped-up band at one end of the pier, and I’m not sure that anyone actually pays any attention to the sunset.
The sunset-watching, it turns out, is a little further down the pier: a large, open, brick-paved place known as Mallory Square fronts onto the harbor, and an even larger crowd does gather every night to watch the sun go down … as you’ll see in several of the photos in this Flickr set. There is also an amazing assortment of “performers,” for lack of a better name: wise-talking card-sharks; down-and-out guitar-playing musicians; a preacher determined to save the souls of anyone who would listen to him; tightrope walkers, sword-swallowers, and gymnasts; jugglers with machetes and flaming torches, tossed in the air with great abandon while the jugglers balance on 20-foot unicycles; and a guy with a banjo and a loyal dog who wanders around gathering dollar-bill contributions from the crowd, to be stuffed into a large bucket.
Meanwhile, schooners and catamarans drift past the crowd, out in the harbor, crammed with half-drunken tourists determined to get everyone’s attention by howling and yodeling at the top of their lungs. Ocean liners pull into the harbor at the end of Mallory Square, drop anchor and dock in the middle of the night, and then make a huge noisy ceremony of pulling up the gangplank and pulling away from the dock at 5 PM, just an hour before sunset.
Somehow, it all works: if you haven’t seen the scene before, it’s highly entertaining -- and the sunsets are truly fantastic. Of course, if you go back a second time, you’ll start to notice that the same performers are there, going through the same routine with the same patter and speech -- and you start paying less attention to them, and a little more attention to the more traditional vendors lined up a few feet away from the edge of the pier: people selling hot dogs, popcorn, conch fritters, drinks (alcoholic and non-alcoholic), photographs, trinkets, jewelry, paintings, drawings, tarot readings and spiritual advice, and various odds and ends carved and woven and hand-made from bits and pieces of wood, metal, and palm fronds.
By the third or fourth night, the whole thing is completely repetitive – but the sunsets are still gorgeous. In my case, I escaped the Mallory Square scene a couple evenings to go for a sunset cruise on one of the many schooner docked in the neighborhood; I also went out for a ride in a glass-bottom boat to see the local coral reefs. But I passed up the opportunity to para-sail up in the sky above the whole scene, and I also decided to skip the opportunity to rent a jet-ski that would let me zoom around the harbor at breakneck speeds.
If you’re feeling energetic, you can also wander down Duval Street to see the gift shops, the tourist attractions, and the bars (e.g., Sloppy Joe’s, where Hemingway allegedly hung out. You can ride the little tourist “conch train” all around town, which gives you the chance to see every famous historic home and tourist spot in a little over an hour. I’ll confess that I did that, too, though it was so bumpy that I was only able to take one or two photographs …
I did have my camera with me throughout the week, of course, so I took my typical assortment of hundreds (maybe even thousands) of random pictures of anything that seemed interesting. I’m getting better about deleting things, though, so I’ve ended up with a mere 35 photos that I’m uploading to Flickr; hopefully you’ll find them moderately interesting…
Airventure 2014
as published at sploid goo.gl/uaBEQQ
published at www.boldmethod.com/blog/lists/osh14/23-best-airshow-pictu...
This photo and all content taken at Airventure is subject to EAA's copyright and trademark policy
www.eaa.org/en/airventure/about-eaa-airventure-oshkosh/po...
Mark Brennae, CanWest News Service
Published: Wednesday, June 13, 2007 Article tools
OTTAWA — A one-week-old Ontario infant died from complications after undergoing a circumcision in a provincial hospital.
Information about the case was published in the April edition of Paediatric Child Health.
The baby, whose name has been withheld by the parents, passed away after his kidneys became enlarged to seven times their normal size.
The child was born at an unidentified Ontario hospital “sometime in the last three years,” said Dr. Jim Cairns, Ontario’s deputy chief coroner. “The family wants to keep this anonymous.”
No charges were ever laid and no legal action was ever taken in the case.
According to the Paediatric Child Health article, the boy was “bottlefed and was reported to be doing well when he was circumsized.”
Five hours later, the parents returned to their family doctor with the infant, who had become “irritable and had blue discolouration” below the belly button.
Doctors noticed the discolouration and slight swelling of the penis, but sent the child home.
Fourteen hours after the circumcision, according to Cairns, the child was brought to another hospital where doctors noted he was extremely irritable with marked swelling of the penis and bruising to the scrotum.
The child was then transferred to a paediatric centre, where his bladder was diagnosed, Cairns said, to “seven or eight times its normal size.”
The PlastiBell ring, which is used to hold back the foreskin after circumcision, was removed and drained and the child went into shock.
“If the PlastiBell had been taken off five hours after he got there, he would be alive,” said Cairns.
The child’s death was attributed to septic shock — “an overwhelming infection, leading to multi-organ failure,” Cairns said.
“Death is rare after circumcision,” said Cairns. “But complications can happen.”
The case was brought to Cairns’ attention because the circumstances of every death of an Ontario child under five years of age must be reviewed by the provincial coroner’s office.
The Postcard
A postally unused carte postale that was published by Lapina. The card, that has a divided back, was printed in Paris.
Rin Tin Tin
Nénette and Rintintin were the source of the name of the Hollywood film star dog Rin Tin Tin.
Rin Tin Tin (September 1918 – August 10, 1932) was a male German Shepherd dog born in Flirey, France, who became an international star in motion pictures.
He was rescued from a Great War battlefield by an American soldier, Lee Duncan, who nicknamed him "Rinty". Duncan trained Rin Tin Tin, and obtained silent film work for the dog.
Rin Tin Tin was an immediate box-office success, and went on to appear in 27 Hollywood films, gaining worldwide fame. Rin Tin Tin was responsible for greatly increasing the popularity of German Shepherd dogs as family pets.
The immense profitability of his films contributed to the success of Warner Bros. studios, and helped advance the career of Darryl F. Zanuck from screenwriter to producer and studio executive.
After Rin Tin Tin died in 1932, the name was given to several related German Shepherd dogs featured in fictional stories on film, radio, and television. Rin Tin Tin Jr. appeared in some serialized films, but was not as talented as his father.
Rin Tin Tin III, said to be Rin Tin Tin's grandson, but probably only distantly related, helped promote the military use of dogs during World War II. Rin Tin Tin III also appeared in a film with child actor Robert Blake in 1947.
Duncan groomed Rin Tin Tin IV for the 1950's television series The Adventures of Rin Tin Tin, but the dog performed poorly in a screen test, and was replaced in the TV show by trainer Frank Barnes's dogs, primarily one named Flame Jr., called JR, with the public being led to believe otherwise.
Instead of shooting episodes, Rin Tin Tin IV stayed at home in Riverside, California. The TV show Rin Tin Tin was nominated for a PATSY Award in both 1958 and 1959, but did not win.
After Duncan died in 1960, the screen property of Rin Tin Tin passed to TV producer Herbert B. Leonard, who worked on further adaptations such as the 1988–1993 Canadian-made TV show Katts and Dog, which was called Rin Tin Tin: K-9 Cop in the US, and Rintintin Junior in France.
Following Leonard's death in 2006, his lawyer James Tierney made the 2007 children's film Finding Rin Tin Tin, an American–Bulgarian production based on Duncan's discovery of the dog in France.
Meanwhile, a Rin Tin Tin memorabilia collection was being amassed by Texas resident Jannettia Propps Brodsgaard, who had purchased several direct descendant dogs from Duncan, beginning with Rinty Tin Tin Brodsgaard in 1957.
Brodsgaard bred the dogs to keep the bloodline. Brodsgaard's granddaughter, Daphne Hereford, continued to build on the tradition and bloodline of Rin Tin Tin from 1988 to 2011; she was the first to trademark the name Rin Tin Tin.
Hereford also opened a short-lived Rin Tin Tin museum in Latexo, Texas. Hereford passed the tradition to her daughter, Dorothy Yanchak, in 2011. The current dog, Rin Tin Tin XII, owned by Yanchak, takes part in public events to represent the Rin Tin Tin legacy.
The Origins of Rin Tin Tin
Following advances made by American forces during the Battle of Saint-Mihiel, Corporal Lee Duncan, an armourer of the U.S. Army Air Service, was sent forward on the 15th. September 1918, to the small French village of Flirey to see if it would make a suitable flying field for his unit, the 135th. Aero Squadron.
The area had been subjected to aerial bombing and artillery fire, and Duncan found a severely damaged kennel which had once supplied the Imperial German Army with German Shepherd dogs. The only dogs left alive in the kennel were a starving mother with a litter of five nursing puppies, their eyes still shut because they were less than a week old. Duncan rescued the dogs, and brought them back to his unit.
When the puppies were weaned, he gave the mother to an officer and three of the litter to other soldiers, but he kept one puppy of each sex. He felt that these two dogs were symbols of his good luck.
He dubbed them Rin Tin Tin and Nanette after a pair of good luck charms called Rintintin and Nénette that French children often gave to the American soldiers. The soldiers were told that Rintintin and Nénette were lucky lovers who had survived a bombing attack, but the original dolls had been designed by Francisque Poulbot before the war in late 1913 to look like Paris street urchins. Contrary to linguistic clues and popular usage, Poulbot said that Rintintin was the girl doll.
Duncan sensed that Nanette was the more intelligent of the two puppies.
In July 1919, Duncan sneaked the dogs aboard a ship taking him back to the US at the end of the war. When he got to Long Island, New York, for re-entry processing, he put his dogs in the care of a Hempstead breeder named Mrs. Leo Wanner, who trained police dogs.
Nanette was diagnosed with pneumonia; as a replacement, the breeder gave Duncan another female German Shepherd puppy. Duncan travelled to California by rail with his dogs. While Duncan was travelling by train, Nanette died in Hempstead. As a memorial, Duncan named his new puppy Nanette II, but he called her Nanette.
Duncan, Rin Tin Tin, and Nanette II settled at his home in Los Angeles. Rin Tin Tin was a dark sable colour, and had very dark eyes. Nanette II was much lighter in colour.
An athletic silent film actor named Eugene Pallette was one of Duncan's friends. The two men enjoyed the outdoors; they took the dogs to the Sierras, where Pallette liked to hunt, while Duncan taught Rin Tin Tin various tricks. Duncan thought that his dog might win a few awards at dog shows and thus be a valuable source of puppies bred with Nanette for sale.
In 1922, Duncan was a founding member of the Shepherd Dog Club of California, based in Los Angeles. At the club's first show, Rin Tin Tin showed his agility, but also demonstrated an aggressive temper, growling, barking, and snapping.
It was a very poor performance, but the worst moment came afterward when Duncan was walking home. A heavy bundle of newspapers was thrown from a delivery truck and landed on the dog, breaking his left front leg. Duncan had the injured limb set in plaster, and he nursed the dog back to health for nine months.
Ten months after the break, the leg was healed and Rin Tin Tin was entered in a show for German Shepherd dogs in Los Angeles. Rin Tin Tin had learned to leap great heights.
At the dog show while making a winning leap, he was filmed by Duncan's acquaintance Charley Jones, who had just developed a slow-motion camera. Seeing his dog being filmed, Duncan became convinced Rin Tin Tin could become the next Strongheart, a successful film dog that lived in his own full-sized stucco bungalow with its own street address in the Hollywood Hills, separate from the mansion of his owners, who lived a street away next to Roy Rogers.
Duncan later wrote:
"I was so excited over the film idea
that I found myself thinking of it night
and day."
The Film Career of Rin Tin Tin
Duncan walked his dog up and down Poverty Row, talking to anyone in a position to put Rin Tin Tin in film, however modest the role.
The dog's first break came when he was asked to replace a camera-shy wolf in The Man from Hell's River (1922) featuring Wallace Beery. The wolf was not performing properly for the director, but under the guidance of Duncan's voice commands, Rin Tin Tin was very easy to work with. When the film was completed, the dog was billed as "Rin Tan".
Rin Tin Tin would be cast as a wolf or wolf-hybrid many times in his career, because it was much more convenient for filmmakers to work with a trained dog.
In another 1922 film titled My Dad, Rin Tin Tin picked up a small part as a household dog. The credits read:
"Rin Tin Tin – Played by himself".
Rin Tin Tin's first starring role was in Where the North Begins (1923), in which he played alongside silent screen actress Claire Adams. This film was a huge success, and has often been credited with saving Warner Bros. from bankruptcy.
It was followed by 24 more screen appearances. Each of these films was very popular, making such a profit for Warner Bros. that Rin Tin Tin was called "the mortgage lifter" by studio insiders.
A young screenwriter named Darryl F. Zanuck was involved in creating stories for Rin Tin Tin; the success of the films raised him to the position of film producer. In New York City, Mayor Jimmy Walker gave Rin Tin Tin a key to the city.
Rin Tin Tin was much sought after, and was signed for endorsement deals. Ken-L Ration, Ken-L-Biskit, and Pup-E-Crumbles all featured him in their advertisements. Warner Bros. fielded fan letters by the thousands, sending back a glossy portrait signed with a paw print and a message written by Duncan:
"Most faithfully, Rin Tin Tin."
In the 1920's, Rin Tin Tin's success for Warner Bros. inspired several imitations from other studios looking to cash in on his popularity, notably RKO's Ace the Wonder Dog, also a German Shepherd dog.
Around the world, Rin Tin Tin was extremely popular because as a dog he was equally well understood by all viewers. At the time, silent films were easily adapted for various countries by simply changing the language of the intertitles. Rin Tin Tin's films were widely distributed.
Film historian Jan-Christopher Horak wrote that by 1927, Rin Tin Tin was the most popular actor with the very sophisticated film audience in Berlin. One fan wrote:
"He is a human dog, "human in
the real big sense of the word."
A Hollywood legend holds that at the first-ever Academy Awards competition in 1929, Rin Tin Tin was voted Best Actor, but that the Academy of Motion Picture Arts and Sciences, wishing to appear more serious and thus determined to have a human actor win the award, removed Rin Tin Tin as a choice and re-ran the vote, leading to German actor Emil Jannings winning the award.
Author Susan Orlean stated this story as fact in her 2011 book Rin Tin Tin: The Life and the Legend. However, former Academy head Bruce Davis has written that the 1928 ballots, kept in storage at the Academy's Margaret Herrick Library, show a complete absence of votes for Rin Tin Tin.
Davis called the story an urban legend that probably originated in a joke ballot circulated that year by Zanuck, who wanted to mock the concept of the Academy Awards.
Although primarily a star of silent films, Rin Tin Tin did appear in four sound features, including the 12-part Mascot Studios chapter-play The Lightning Warrior (1931), co-starring with Frankie Darro. In these films, vocal commands would have been picked up by the microphones, so Duncan likely guided Rin Tin Tin by hand signals.
Rin Tin Tin and the rest of the crew filmed much of the outdoor action footage for The Lightning Warrior on the Iverson Movie Ranch in Chatsworth, Los Angeles, known for its huge sandstone boulders and widely recognized as the most heavily filmed outdoor shooting location in the history of the movies.
Rin Tin Tin and Nanette II produced at least 48 puppies; Duncan kept two of them, selling the rest or giving them as gifts. Greta Garbo, W. K. Kellogg, and Jean Harlow each owned one of Rin Tin Tin's descendants.
The Death of Rin Tin Tin
On the 10th. August 1932, Rin Tin Tin died at Duncan's home on Club View Drive in Los Angeles. Duncan wrote about the death in his unpublished memoir: He heard Rin Tin Tin bark in a peculiar fashion, so he went to see what was wrong. He found the dog lying on the ground, moments away from death.
In the United States, Rin Tin Tin's death set off a national response. Regular programming was interrupted by a news bulletin. An hour-long program about Rin Tin Tin played the next day.
Newspapers across the nation carried obituaries. Magazine articles were written about his life, and a special Movietone News feature was shown to movie audiences.
In the press, aspects of the death were fabricated in various ways, such as Rin Tin Tin dying on the set of the film Pride of the Legion (where Rin Tin Tin Jr. was working), dying at night, or dying at home on the front lawn in the arms of actress Jean Harlow, who lived on the same street.
In a private ceremony, Duncan buried Rin Tin Tin in a bronze casket in his own backyard with a plain wooden cross to mark the location. Duncan was suffering the financial effects of the Great Depression and could not afford a finer burial, nor even his own expensive house.
He sold his house, and quietly arranged to have the dog's body returned to his country of birth for reburial in the Cimetière des Chiens et Autres Animaux Domestiques, the pet cemetery in the Parisian suburb of Asnières-sur-Seine.
In a ceremony on the 8th. February 1960, Rin Tin Tin was honored with a star on the Hollywood Walk of Fame at 1627 Vine Street.
The Postcard
A postally unused postcard published by C.T. They state on the divided back of the card that it is a genuine Curteich-Chicago 'C.T. Art-Colortone' postcard. (Reg. U.S. Patent Office).
I don't know why they bothered to patent it - the print quality is awful.
C.T. state on the back of the card that a One Cent stamp is required for postage. They also state:
'The Bridal Altar is one of the oldest
and most historic features in Mammoth
Cave.
Many couples have been married at
this spot'.
Mammoth Cave National Park
Mammoth Cave National Park is an American national park in west-central Kentucky, encompassing portions of Mammoth Cave, the longest-known cave system in the world.
Since the 1972 unification of Mammoth Cave with the even-longer system under Flint Ridge to the north, the official name of the system has been the Mammoth–Flint Ridge Cave System.
The park was established as a national park on the 1st. July 1941, and a World Heritage Site on the 27th. October 1981.
The Green River runs through the park. Mammoth Cave is the world's longest known cave system with more than 400 miles (640 km) of surveyed passageways. It is nearly twice as long as the second-longest cave system, Mexico's Sac Actun underwater cave.
The Geology of Mammoth Cave
Mammoth Cave developed in thick Mississippian-aged limestone strata capped by a layer of sandstone, which has made the system remarkably stable. New discoveries and connections add several miles to the cave's known length each year.
At one valley bottom in the southern region of the park, a massive sinkhole has developed. Known as Cedar Sink, the sinkhole features a small river entering one side and disappearing back underground at the other side.
Visiting Mammoth Cave
The National Park Service offers several cave tours to visitors. Some notable features of the cave, such as Grand Avenue, Frozen Niagara, and Fat Man's Misery, can be seen on lighted tours ranging from one to six hours in length.
Two tours, lit only by visitor-carried paraffin lamps, are popular alternatives to the electric-lit routes. Several "wild" tours venture away from the developed parts of the cave into muddy crawls and dusty tunnels.
The Echo River Tour, one of the cave's most famous attractions, took visitors on a boat ride along an underground river. The tour was discontinued for logistic and environmental reasons in the early 1990's.
Mammoth Cave in Prehistory
The story of human beings in relation to Mammoth Cave spans five thousand years. Several sets of Native American remains have been recovered from Mammoth Cave, or other nearby caves in the region, in both the 19th. and 20th. centuries. Most mummies found represent examples of intentional burial, with ample evidence of pre-Columbian funerary practice.
An exception to purposeful burial was discovered when in 1935 the remains of an adult male were discovered under a large boulder. The boulder had shifted and settled onto the victim, a pre-Columbian miner, who had disturbed the rubble supporting it.
The remains of the ancient victim were named "Lost John" and exhibited to the public into the 1970's, when they were interred in a secret location in Mammoth Cave for reasons of preservation as well as emerging political sensitivities with respect to the public display of Native American remains.
Research beginning in the late 1950's led by Patty Jo Watson, of Washington University in St. Louis, Missouri, has done much to illuminate the lives of the late Archaic and early Woodland peoples who explored and exploited caves in the region.
Preserved by the constant cave environment, dietary evidence yielded carbon dates enabling Watson to determine the age of the specimens. An analysis of their content allows determination of the relative content of plant and meat in the diet of either culture over a period spanning several thousand years. This analysis indicates a timed transition from a hunter-gatherer culture to plant domestication and agriculture.
Another technique employed in archaeological research at Mammoth Cave, was experimental archaeology, in which modern explorers were sent into the cave using the technology that was employed by the ancient cultures whose leftover implements lie discarded in many parts of the cave. The goal was to gain insight into the problems faced by the ancient people who explored the cave.
Ancient human remains and artifacts within the caves are protected by various federal and state laws. One of the most basic facts to be determined about a newly discovered artifact is its precise location and situation. Even slightly moving a prehistoric artifact contaminates it from a research perspective. Explorers are properly trained not to disturb archaeological evidence, and some areas of the cave remain out-of-bounds for even seasoned explorers, unless the subject of the trip is archaeological research on that area.
Besides the remains that have been discovered in the portion of the cave accessible through the Historic Entrance of Mammoth Cave, the remains of cane torches used by Native Americans, as well as other artifacts such as drawings, gourd fragments, and woven grass moccasin slippers are found in the Salts Cave section of the system in Flint Ridge.
Though there is undeniable proof of their existence and use of the cave, there is no evidence of further use past the archaic period. Experts and scientists have no answer as to why this is, making it one of the greatest mysteries of Mammoth Cave to this day.
Earliest Written History
The 31,000-acre (13,000 ha) tract known as the "Pollard Survey" was sold by indenture on the 10th. September 1791 in Philadelphia by William Pollard. 19,897 acres (8,052 ha) of the Pollard Survey between the North bank of Bacon Creek and the Green River were purchased by Thomas Lang, Jr..
Lang was a British American merchant from Yorkshire, England. He bought the land on the 3rd. June 1796 for £4,116, but the land was lost to a local county tax claim during the War of 1812.
Legend has it that the first European to visit Mammoth Cave was either John Houchin or his brother Francis Houchin, in 1797. While hunting, Houchin pursued a wounded bear to the cave's large entrance opening near the Green River.
Some Houchin Family tales have John Decatur "Johnny Dick" Houchin as the discoverer of the cave, but this is highly unlikely because Johnny Dick was only 10 years old in 1797, and was unlikely to be out hunting bears at such a tender age.
His father John is the more likely candidate from that branch of the family tree, but the most probable candidate for discoverer of Mammoth Cave is Francis "Frank" Houchin, whose land was much closer to the cave entrance than his brother John's.
There is also the argument that their brother Charles Houchin, who was known as a great hunter and trapper, was the man who shot the bear and chased it into the cave. The shadow over Charles's claim is the fact that he was residing in Illinois until 1801.
Contrary to this story is Brucker and Watson's 'The Longest Cave', which asserts that the cave was certainly known before that time. Caves in the area were certainly known before the discovery of the entrance to Mammoth Cave. Even Francis Houchin had a cave entrance on his land very near the bend in the Green River known as the Turnhole, which is less than a mile from the main entrance to Mammoth Cave.
The land containing this historic entrance was first surveyed and registered in 1798 under the name of Valentine Simons. Simons began exploiting Mammoth Cave for its saltpeter reserves.
Mammoth Cave in the 19th. Century
In partnership with Valentine Simon, various other individuals owned the land through the War of 1812, when Mammoth Cave's saltpeter reserves became significant due to the Jefferson Embargo Act of 1807 which prohibited all foreign trade.
The blockade starved the American military of saltpeter and therefore gunpowder. As a result, the domestic price of saltpeter rose and production based on nitrates extracted from caves such as Mammoth Cave became more lucrative.
In July 1812, the cave was purchased from Simon and other owners by Charles Wilkins and an investor from Philadelphia named Hyman Gratz. Soon the cave was being mined for calcium nitrate on an industrial scale, utilizing a labor force of 70 slaves to build and operate the soil leaching apparatus, as well as to haul the raw soil from deep in the cave to the central processing site.
A half-interest in the cave changed hands for ten thousand dollars (equivalent to over $150,000 in 2020). After the war when prices fell, the workings were abandoned and it became a minor tourist attraction centering on a Native American mummy discovered nearby.
When Wilkins died his estate's executors sold his interest in the cave to Gratz. In the spring of 1838, the cave was sold by the Gratz brothers to Franklin Gorin, who intended to operate Mammoth Cave purely as a tourist attraction, the bottom long having since fallen out of the saltpeter market.
Gorin was a slave owner, and used his slaves as tour guides. One of these slaves would make a number of important contributions to human knowledge of the cave, and become one of Mammoth Cave's most celebrated historical figures.
Stephen Bishop, an African-American slave and a guide to the cave during the 1840's and 1850's, was one of the first people to make extensive maps of the cave, and named many of the cave's features.
Stephen Bishop was introduced to Mammoth Cave in 1838 by Franklin Gorin. Gorin wrote, after Bishop's death:
"I placed a guide in the cave – the celebrated and
great Stephen, and he aided in making the discoveries.
He was the first person who ever crossed the Bottomless
Pit, and he, myself and another person whose name I have forgotten were the only persons ever at the bottom of
Gorin's Dome to my knowledge.
After Stephen crossed the Bottomless Pit, we discovered
all that part of the cave now known beyond that point. Previous to those discoveries, all interest centered in
what is known as the 'Old Cave' ... but now many of the
points are but little known, although as Stephen was wont
to say, they were 'grand, gloomy and peculiar'."
In 1839, Dr. John Croghan of Louisville bought the Mammoth Cave Estate, including Bishop and its other slaves from their previous owner, Franklin Gorin. Croghan briefly ran an ill-fated tuberculosis hospital in the cave in 1842-43, the vapors of which he believed would cure his patients. A widespread epidemic of tuberculosis ultimately claimed the life of Dr. Croghan in 1849.
Throughout the 19th. century, the fame of Mammoth Cave grew so much that the cave became an international sensation. As a result of the growing renown of the cave, the cave boasted famous visitors such as actor Edwin Booth (his brother, John Wilkes Booth, assassinated Abraham Lincoln in 1865), singer Jenny Lind (who visited the cave on the 5th. April 1851), and violinist Ole Bull who together gave a concert in one of the caves. Two chambers in the caves have since been known as "Booth's Amphitheatre" and "Ole Bull's Concert Hall".
By 1859, when the Louisville and Nashville Railroad opened its main line between these cities, Colonel Larkin J. Procter owned the Mammoth Cave Estate. He also owned the stagecoach line that ran between Glasgow Junction (Park City) and the Mammoth Cave Estate. This line transported tourists to Mammoth Caves until 1886, when he established the Mammoth Cave Railroad.
Early 20th. century: The Kentucky Cave Wars
The difficulties of farming life in the hardscrabble, poor soil of the cave-country influenced local owners of smaller nearby caves to see opportunities for commercial exploitation, particularly given the success of Mammoth Cave as a tourist attraction.
The "Kentucky Cave Wars" was a period of bitter competition between local cave owners for tourist money. Broad tactics of deception were used to lure visitors away from their intended destination to other private show caves. Misleading signs were placed along the roads leading to the Mammoth Cave. A typical strategy during the early days of automobile travel involved representatives (known as "cappers") of other private show caves hopping aboard a tourist's car's running board, and leading the passengers to believe that Mammoth Cave was closed, quarantined, caved in or otherwise inaccessible.
In 1906, Mammoth Cave became accessible by steamboat with the construction of a lock and dam at Brownsville, Kentucky.
In 1908, Max Kämper, a young German mining engineer, arrived at the cave by way of New York. Kämper had just graduated from technical college and his family had sent him on a trip abroad as a graduation present. Originally intending to spend two weeks at Mammoth Cave, Kämper spent several months.
With the assistance of Stephen Bishop, Kämper produced a remarkably accurate instrumental survey of many kilometers of Mammoth Cave, including many new discoveries. Reportedly, Kämper also produced a corresponding survey of the land surface overlying the cave: this information was to be useful in the opening of other entrances to the cave, as soon happened with the Violet City entrance.
The Croghan family suppressed the topographic element of Kämper's map, and it is not known to survive today, although the cave map portion of Kämper's work stands as a triumph of accurate cave cartography: not until the early 1960's and the advent of the modern exploration period would these passages be surveyed and mapped with greater accuracy.
Kämper returned to Berlin, and from the point of view of the Mammoth Cave country, disappeared entirely. It was not until the turn of the 21st. century that a group of German tourists, after visiting the cave, researched Kämper's family and determined his fate: the young Kämper was killed in trench warfare in the Great War on the 10th. December 1916 at the Battle of the Somme.
Famed French cave explorer Édouard-Alfred Martel visited the cave for three days in October 1912. Without access to the closely held survey data, Martel was permitted to make barometric observations in the cave for the purpose of determining the relative elevation of different locations. He identified different levels of the cave, and correctly noted that the level of the Echo River within the cave was controlled by that of the Green River on the surface.
Martel lamented the 1906 construction of the dam at Brownsville, pointing out that this made a full hydrogeologic study of the cave impossible. Among his precise descriptions of Mammoth Cave, Martel suggested that Mammoth Cave was connected to Salts and Colossal Caves: this would not be proven correct until 60 years after Martel's visit.
In the early 1920's, George Morrison created, via blasting, a number of entrances to Mammoth Cave on land not owned by the Croghan Estate. Absent the data from the Croghan's secretive surveys, performed by Kämper, Bishop, and others, which had not been published in a form suitable for determining the geographic extent of the cave, it was now conclusively shown that the Croghans had been for years exhibiting portions of Mammoth Cave which were not under land they owned. Lawsuits were filed and, for a time, different entrances to the cave were operated in direct competition with each other.
In the early 20th. century, Floyd Collins spent ten years exploring the Flint Ridge Cave System (the most important legacy of these explorations was the discovery of Floyd Collins' Crystal Cave and exploration in Salts Cave) before dying at Sand Cave, Kentucky, in 1925.
While exploring Sand Cave, Floyd dislodged a rock onto his leg while in a tight crawl-way and was unable to be rescued before dying of starvation. Attempts to rescue Collins created a mass media sensation; the resulting publicity would draw prominent Kentuckians to initiate a movement which would soon result in the formation of Mammoth Cave National Park.
The National Park Movement (1926–1941)
As the last of the Croghan heirs died, momentum grew among wealthy citizens of Kentucky for the establishment of Mammoth Cave National Park. Private citizens formed the Mammoth Cave National Park Association in 1924. The park was authorized on the 25th. May 1926.
Donated funds were used to purchase some farmsteads in the region, while other tracts within the proposed national park boundary were acquired by right of eminent domain. In contrast to the formation of other national parks in the sparsely populated American West, thousands of people were forcibly relocated in the process of forming Mammoth Cave National Park. Often eminent domain proceedings were bitter, with landowners paid what were considered to be inadequate sums. The resulting acrimony still resonates within the region to this day.
The New Entrance, closed to visitors since 1941, was reopened on the 26th. December 1951, becoming the entrance used for the beginning of the Frozen Niagara tour.
The longest cave (1954–1972)
By 1954, Mammoth Cave National Park's land holdings encompassed all lands within its outer boundary with the exception of two privately held tracts. One of these, the old Lee Collins farm, had been sold to Harry Thomas of Horse Cave, Kentucky, whose grandson, William "Bill" Austin, operated Collins Crystal Cave as a show cave in direct competition with the national park, which was forced to maintain roads leading to the property. Condemnation and purchase of the Crystal Cave property seemed only a matter of time.
In February 1954, a two-week expedition under the auspices of the National Speleological Society was organized at the invitation of Austin: this expedition became known as C-3, or the Collins Crystal Cave Expedition.
The C-3 expedition drew public interest, first from a photo essay published by Robert Halmi in the July 1954 issue of True Magazine, and later from the publication of a double first-person account of the expedition, 'The Caves Beyond: The Story of the Collins Crystal Cave Expedition' by Joe Lawrence, Jr. (then president of the National Speleological Society) and Roger Brucker.
The expedition proved conclusively that passages in Crystal Cave extended toward Mammoth Cave proper, at least exceeding the Crystal Cave property boundaries. However, this information was closely held by the explorers: it was feared that the National Park Service might forbid exploration were this known.
In 1955 Crystal Cave was connected by survey with Unknown Cave, the first connection in the Flint Ridge system.
Some of the participants in the C-3 expedition wished to continue their explorations past the conclusion of the C-3 Expedition, and organized as the Flint Ridge Reconnaissance. This organization was incorporated in 1957 as the Cave Research Foundation. The organization sought to legitimize the cave explorers' activity through the support of original academic and scientific research. Notable scientists who studied Mammoth Cave during this period include Patty Jo Watson.
In March 1961, the Crystal Cave property was sold to the National Park Service for $285,000. At the same time, the Great Onyx Cave property, the only other remaining private inholding, was purchased for $365,000. The Cave Research Foundation was permitted to continue their exploration through a Memorandum of Understanding with the National Park Service.
Colossal Cave was connected by survey to Salts Cave in 1960, and in 1961 Colossal-Salts cave was similarly connected to Crystal-Unknown cave, creating a single cave system under much of Flint Ridge. By 1972, the Flint Ridge Cave System had been surveyed to a length of 86.5 miles (139.2 km), making it the longest cave in the world.
During the 1960's, the Cave Research Foundation (CRF) exploration and mapping teams found passageways in the Flint Ridge Cave System that penetrated under Houchins Valley and came within 800 feet (240 m) of known passages in Mammoth Cave.
In 1972, CRF Chief Cartographer John Wilcox pursued an aggressive program to finally connect the caves, fielding several expeditions from the Flint Ridge side as well as exploring leads in Mammoth Cave.
On a July 1972 trip, deep in the Flint Ridge Cave System, Patricia Crowther—with her slight frame of 115 pounds (52 kg)—crawled through a narrow canyon later dubbed the "Tight Spot", which acted as a filter for larger cavers.
A subsequent trip past the Tight Spot on the 30th. August 1972, by Wilcox, Crowther, Richard Zopf, and Tom Brucker discovered the name "Pete H" inscribed on the wall of a river passage with an arrow pointing in the direction of Mammoth Cave. The name is believed to have been carved by Warner P. "Pete" Hanson, who was active in exploring the cave in the 1930's. Hanson had been killed in World War II. The passage was named Hanson's Lost River by the explorers.
Finally, on the 9th. September 1972, a six-person CRF team of Wilcox, Crowther, Zopf, Gary Eller, Stephen Wells, and Cleveland Pinnix (a National Park Service ranger) followed Hanson's Lost River downstream to discover its connection with Echo River in Cascade Hall of Mammoth Cave.
With this linking of the Flint Ridge and Mammoth Cave systems, the "Everest of Speleology" had been climbed. The integrated cave system contained 144.4 miles (232.4 km) of surveyed passages and had fourteen entrances.
Recent Discoveries
Further connections between Mammoth Cave and smaller caves or cave systems have followed, notably to Proctor/Morrison Cave beneath nearby Joppa Ridge in 1979.
Proctor Cave was discovered by Jonathan Doyle, a Union Army deserter during the Civil War, and was later owned by the Mammoth Cave Railroad, before being explored by the CRF. Morrison cave was discovered by George Morrison in the 1920's. This connection pushed the frontier of Mammoth exploration southeastward.
At the same time, discoveries made outside the park by an independent group called the Central Kentucky Karst Coalition or CKKC resulted in the survey of tens of miles in Roppel Cave east of the park.
Discovered in 1976, Roppel Cave was briefly on the list of the nation's longest caves before it was connected to the Proctor/Morrison's section of the Mammoth Cave System on the 10th. September 1983. The connection was made by two mixed parties of CRF and CKKC explorers. Each party entered through a separate entrance and met in the middle before continuing in the same direction to exit at the opposite entrance. The resulting total surveyed length was near 300 miles (480 km).
On the 19th. March 2005, a connection into the Roppel Cave portion of the system was surveyed from a small cave under Eudora Ridge, adding approximately three miles to the known length of the Mammoth Cave System.
The newly found entrance to the cave, now termed the "Hoover Entrance", had been discovered in September 2003, by Alan Canon and James Wells. Incremental discoveries since then have pushed the total to more than 400 miles (640 km).
It is certain that many more miles of cave passages await discovery in the region. Discovery of new natural entrances is a rare event: the primary mode of discovery involves the pursuit of side passages identified during routine systematic exploration of cave passages entered from known entrances.
Related and Nearby Caves
At least two other massive cave systems lie short distances from Mammoth Cave: the Fisher Ridge Cave System and the Martin Ridge Cave System.
The Fisher Ridge Cave System was discovered in January 1981 by a group of Michigan cavers associated with the Detroit Urban Grotto of the National Speleological Society. So far, the Fisher Ridge Cave System has been mapped to 125 miles (201 km).
In 1976, Rick Schwartz discovered a large cave south of the Mammoth Cave park boundary. This cave became known as the Martin Ridge Cave System in 1996, as new exploration connected the 3 nearby caves of Whigpistle Cave (Schwartz's original entrance), Martin Ridge Cave, and Jackpot Cave.
As of 2018, the Martin Ridge Cave System had been mapped to a length of 34 miles (55 km), and exploration continues.
Biology and Ecosystem
The following species of bats inhabit the caverns: Indiana bat, gray bat, little brown bat, big brown bat, and the eastern pipistrelle bat.
All together, these and more rare bat species such as the eastern small-footed bat had estimated populations of 9–12 million just in the Historic Section.
While these species still exist in Mammoth Cave, their numbers are now no more than a few thousand at best. Ecological restoration of this portion of Mammoth Cave, and facilitating the return of bats, is an ongoing effort. Not all bat species here inhabit the cave; the red bat is a forest-dweller, and is found underground only rarely.
Other animals which inhabit the caves include: two genera of crickets, a cave salamander two genera of eyeless cave fish, a cave crayfish, and a cave shrimp.
Common fossils of the cave include crinoids, blastoids, and gastropods. The Mississippian limestone has yielded fossils of more than a dozen species of shark. In 2020, scientists reported the discovery of part of a Saivodus Striatus, a species comparable in size to a modern great white shark.
The Mammoth Cave Name
The cave's name refers to the large width and length of the passages connecting to the Rotunda just inside the entrance. The name was used long before the extensive cave system was more fully explored and mapped, to reveal a mammoth length of passageways.
No fossils of the woolly mammoth have ever been found in Mammoth Cave, and the name of the cave has nothing to do with this extinct mammal.
Currently Available Tours
Currently (2022) available tours operating in Mammoth Cave are:
-- Accessible Tour
-- Cleaveland Avenue Tour
-- Discovery Self-Guided
-- Domes and Dripstones Tour
-- Extended Historic Tour
-- Frozen Niagara Tour
-- Gothic Avenue Tour
-- Grand Avenue Tour
-- Grand Historic Tour
-- Great Onyx Lantern Tour
-- Historic Tour
-- Mammoth Passage Tour
-- River Styx Tour
-- Star Chamber Tour
-- Violet City Lantern Tour
-- Wondering Woods Tours
Content description: View from above of 5 Cambridge Center construction site. Several workers can be seen on top of the building.
Local identifier: 020_01_01_029
Type of resource: still image
Genre/form: black-and-white prints (photographs)
Date: approx. 1980
Physical description: 1 photograph : print, black and white ; 12.5 x 8.8 cm
Digital origin: reformatted digital
Date notes: Date approximated.
Acquisition notes: Donated by the Cambridge Redevelopment Authority in July 2014.
Description standard: dcrmg
Subject headings:
Cambridge Redevelopment Authority
Kendall Square (Cambridge, Mass.)
Design and construction
Urban renewal--Massachusetts--Cambridge
Host collection: Cambridge Redevelopment Authority Records, 1952-2000
Physical location: Cambridge Public Library
Conditions Governing Use: The material in this collection is subject to copyright and intellectual property restrictions. It is the responsibility of the researcher to understand and observe copyright law and to identify and satisfy the holders of all copyright. Researchers must obtain written permission from the copyright holder(s) if they wish to publish materials from this collection. Questions concerning copyright and permission to publish should be directed to the Cambridge Room, Cambridge Public Library Archives and Special Collections.
Please use the following format when citing materials from this collection: [Identification of item], Cambridge Redevelopment Authority Records, 1952-2000, 020, [Box#, Folder title], Cambridge Room, Cambridge Public Library Archives and Special Collections.
For more from this collection: cambridgeroomcollections.wordpress.com/2016/03/30/cambrid...
This photo of rice growing in Southern Brazil has been published online in a Rice Today article, by the International Rice Research Institute (IRRI), called Country Snapshots: Brazil, in Rice Today
An international scientific team recently published a new map of the ocean floor based on Earth’s gravity field, and it is a particularly useful tool. The maps were created through computer analysis and modeling of new satellite data from ESA’s CryoSat-2 and from the NASA-CNES Jason-1, as well as older data from missions flown in the 1980s and 90s. via NASA ift.tt/1P11qGS
Deirdré took this photo & gave me permission to publish it.
Move cursor into photo, then move cursor into the boxes that magically appear if you want the name of the musician.
To see everyone much much larger, move cursor into the photo; RIGHT click; now select ORIGINAL; you will now need to use the horizontal & vertical scroll bars to see everyone.
southpawbc-photosATyahoo.com (substitute the @ sign for the AT letters)
Please email me, IF you the know the names of any of the unidentified musicians in this or any other photo. I'll keep you "anonymous" if you wish.....or add a comment if you have a flickr.com account.
The tour that I went on today was lead by Pat Liddy (who I highly recommend) and sponsored by Dublin City Council (thanks). Toured part of the Liberties and despite the fact that I live not far from the area and despite that I went to Kevin Street College I saw parts of the the city that I never saw before. I will revisit most of the area when the weather is better and I will of course publish some more photographs.
Pat Liddy is a well-known Dublin historian, author and artist who has developed a unique walking tour service for Dublin. Covering the inner city and, by advance request, the coastal villages, waterways, hills and intriguing suburbs, the tours are compiled by Pat Liddy himself based on his years of experience, historical research and the collection of anecdotal and legendary stories of Ireland's Capital City
The Liberties of Dublin, Ireland were manorial jurisdictions that existed since the arrival of the Anglo-Normans in the 12th century. They were town lands united to the city, but still preserving their own jurisdiction. The most important of these liberties were the Liberty of St. Sepulchre, under the Archbishop of Dublin, and the Liberty of Thomas Court and Donore belonging to the Abbey of St. Thomas (later called the Earl of Meath's Liberty). Today's "Dublin Liberties" generally refer to the inner-city area covered by these two liberties.
Many places in The Liberties still have connections with a turbulent past in which political upheaval or dire poverty were the order of the day. In the 17th century, parts of them became wealthy districts, when the weaving crafts of the immigrant Huguenots had a ready market around the present day Meath Street Market, and a healthy export trade.
In the late 17th century development started in order to house the weavers who were moving into the area. Woolen manufacture was set up by settlers from England, while many Huguenots took up silk weaving, using skills they had acquired in their home country, France. They constructed their own traditional style of house, Dutch Billies, with gables that faced the street. Thousands of weavers became employed in the Coombe, Pimlico, Spitalfields and Weavers' Square.
However, English woolen manufacturers felt threatened by the Irish industry, and heavy duties were imposed on Irish wool exports. The Navigation Act was passed to prevent the Irish from exporting to the whole colonial market, then in 1699 the English government passed the Wool Act which prevented export to any country whatsoever, which effectively put an end to the industry in the Liberties.
A weavers' hall was built by the Weavers' Guild in the Lower Coombe in 1682. In 1745 a new hall was provided, financed by the Huguenot, David Digges La Touche. In 1750 the Guild erected a statue of George II on the front of their hall "as a mark of their sincere loyalty". The hall was demolished in 1965.
In the eighteenth century a revival took place by importing Spanish wool into Ireland, which was helped from 1775 by the Royal Dublin Society, but the events of 1798 and 1803, in which many weavers in the Liberties took part, and the economic decline that set in after the Act of Union, prevented any further growth in this industry in the Liberties.
Similarly, the successful growth of the silk and poplin industries, which was supported by the Royal Dublin Society in the second half of the 18th century, was hindered by an act passed by the Irish government in 1786, which prevented the society from supporting any house where Irish silk goods were sold. When war was declared against France under Napoleon and raw materials were difficult to obtain, the silk weavers suffered greatly.
The final blow came in the 1820s when the British government did away with the tarifs imposed upon imported silk products. From this time on fate of the Liberties was sealed and most of the once-prosperous houses became poverty-stricken tenements housing the unemployed and destitute.
The Tenter House was erected in 1815 in Cork Street, financed by Thomas Pleasants. Before this the poor weavers of the Liberties had either to suspend work in rainy weather or use the alehouse fire and thus were (as Wright expresses it) "exposed to great distress, and not unfrequently reduced either to the hospital or the gaol." The Tenter House was a brick building 275 feet long, 3 stories high, and with a central cupola. It had a form of central heating powered by four furnaces, and provided a place for weavers to stretch their material in bad weather.
Part of the area was redeveloped into affordable housing and parkland by the Iveagh Trust, the Dublin Artisans Dwellings Company and the City Council in the early to mid twentieth century. The appalling slums, dire poverty and hazardous dereliction have now been wiped away, and only a few scattered pockets remain to be demolished.
Hey look! I got another article published over at DPS! It's not my image (I forgot to submit one lol). It's over here:
www.digital-photography-school.com/5-key-skills-for-the-m...
oh and of course the blog, as usual, where you can get more of the same...or better...is over at www.shotslot.net
Woohoo!!
The Postcard
A postally unused carte postale published by L. B. of Dijon and distributed by Ch. Macé of Versailles. The card has a divided back.
The Gardens of Versailles
The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.
Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.
In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.
The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.
The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.
50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.
On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.
In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.
The Du Bus Plan for the Gardens of Versailles
With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.
Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.
Louis XIV
In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.
With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.
From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.
(a) The First Building Campaign
In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.
Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.
The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.
By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.
Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.
(b) The Second Building Campaign
Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.
Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.
With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.
Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".
The Grotte de Thétys
Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.
It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.
The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.
Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.
The Bassin de Latone
Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.
Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.
This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.
The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.
The Bassin d'Apollon
Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.
The Grand Canal
With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.
In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.
The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.
The Parterre d'Eau
Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.
In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.
Evolution of the Bosquets
One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:
-- The Bosquet du Marais
-- The Bosquet du Théâtre d'Eau, Île du Roi
-- The Miroir d'Eau
-- The Salle des Festins (Salle du Conseil)
-- The Bosquet des Trois Fontaines
-- The Labyrinthe
-- The Bosquet de l'Arc de Triomphe
-- The Bosquet de la Renommée (Bosquet des Dômes)
-- The Bosquet de l'Encélade
-- The Bosquet des Sources
In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.
-- The Bassin des Sapins
In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.
Later modifications in the gardens transformed this fountain into the Bassin de Neptune.
-- Pièce d'Eau des Suisses
Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.
This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.
(c) The Third Building Campaign
Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.
The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.
Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.
In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.
In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.
Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.
With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.
To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.
Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.
Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.
During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.
The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.
Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.
(d) The Fourth Building Campaign
Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.
Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.
Louis XV
With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.
In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.
During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).
Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.
In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.
Louis XVI
Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.
Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.
The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.
However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.
The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.
Revolution
In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.
Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.
These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.
Napoléon I
The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.
Restoration
With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.
The July Monarchy; The Second Empire
While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.
With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.
Pierre de Nolhac
With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.
Bosquets of the Gardens
Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.
Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi
These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.
In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.
During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.
Labyrinthe - Bosquet de la Reine
In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.
Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.
Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.
The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.
Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.
Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.
Bosquet de la Montagne d'Eau - Bosquet de l'Étoile
Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.
The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.
Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon
Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.
The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.
In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.
During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.
Île du Roi - Miroir d'Eau - Jardin du Roi
Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.
The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.
The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.
A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.
Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque
In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.
Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.
Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert
The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.
Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.
In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.
Bosquet des Trois Fontaines - Berceau d'Eau
Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.
Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.
In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.
Bosquet de l'Arc de Triomphe
This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.
As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.
Bosquet de la Renommée - Bosquet des Dômes
Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.
At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.
The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.
The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.
Bosquet de l'Encélade
Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.
From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.
When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.
Bosquet des Sources - La Colonnade
Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.
In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.
In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.
Galerie d'Eau - Galerie des Antiques - Salle des Marronniers
Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.
Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.
The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.
Salle de Bal
This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.
Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.
The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.
Replantations of the Gardens
Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.
During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.
Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.
This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.
Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.
However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.
The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.
The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.
Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.
This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.
Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.
Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.
Problems With Water
The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.
The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.
To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.
Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.
The Grand Canal
By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.
With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.
While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.
While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.
In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.
In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.
The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.
Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.
Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.
The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.
In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.
During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.
With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.
Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.
The Canal de l'Eure
One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.
The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.
Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.
However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.
Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.
Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.
The Versailles Gardens In Popular Culture
The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.