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The Power Sector Climate Energy Bill is in fantasy land! View PDF with full comments.
Why would labeling CO2 as a pollutant be such a catastrophic decision?
Claims that CO2 is a pollutant are a myth and are absolutely false. In fact, lowering levels of carbon dioxide would actually inhibit plant growth and food production. What we see happening in Washington right now is the replacement of politics for science in conversations about CO2.
Could this happen soon?
Yes, Congress and federal regulators are poised to make a misguided and reckless decision that will stifle our long term economic recovery and long-term enhancement of plant and animal life on Earth. The Environmental Protection Agency will hold hearings to justify their plan to label CO2 as a pollutant. Congress will also consider cap-and-trade legislation that, if enacted, will make Wall Street, a few inside investors and the government a fortune, but will cost everyone else in higher food and utility bills.
It's not too late.
Polling indicates that most people will change their opinion when presented with the facts.
What you can do.
About CO2 Is Green
CO2 is Green is a 501(C)(4) non-profit organization. Our mission is to support scientifically and economically sound public policy on environmental issues. Currently, we are especially concerned with federal proposals that would interfere with nature's dependence on carbon dioxide (C02).
CO2 is not a pollutant. CO2 makes Earth green because it supports all plant life. It is Earth's greatest airborne fertilizer. Even man-made CO2 contributes to plant growth that in turn sustains humanity and ecosystems.
CO2 Is Green is working to insure that all federal laws or regulations are founded upon science and not politics or scientific myths. No one wants the plant and animal kingdoms, including humanity, to be harmed if atmospheric CO2 is reduced. The current dialog in Washington needs to reflect these inalterable facts of nature. We cannot afford to make mistakes that would actually harm both the plant and animal kingdoms.
CO2 is Not a Pollutant
Humans inhale and exhale CO2 with every breath. How could anyone expect you to believe CO2 is a human health hazard? Read more >>
Is Earth Warming?
NO: The Inconvenient Truth: The World is now cooling, not warming. Read more>>
What is the causing the cooling?If you guessed the sun.You are correct >>
Why Do People Believe These Myths?
What Skeptics Are Saying The relationship of CO2 and Global Warming is sparking conversations around the world. Here are comments from known individuals and organizations on the topic. Notable Quotes >> News Blog >>
Join Our Community
You are not alone.Many already support our cause.
Stay Informed
President Barack Obama's plan to tighten fuel efficiency for medium- and heavy-duty trucks is not good for the nation, says Leighton Steward, chairman of Plants Need C02. [More]
Selected Highlights of Dr. [More]
More Videos
Isolated for 42 days in chambers of ambient and elevated CO2 concentrations, we periodically document the growth of cowpea plants (Vigna unguiculata) via time-lapse photography.
This study commissioned by PlantsNeedCo2.org Foundation.


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Here are some of the memorable images as the music industry celebrated its big night at the Billboard Music Awards.
Follow AP photographers and photo editors on Twitter: http://apne.ws/15Oo6jo
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Bees swarm from truck crash near Washington-Idaho border
COEUR D'ALENE, Idaho (AP) — Authorities say bees are swarming near the Washington-Idaho border after a tractor-trailer full of the buzzing insects tipped over, spilling its load on Sunday. Full Story
(Chris Pizzello/Chris Pizzello/Invision/AP)
Will latest inflammatory comments tarnish Trump's brand?
NEW YORK (AP) — Is Donald Trump's business empire as Teflon-coated as his hair appears to be? Trump has found himself on the receiving end of the catchphrase he made famous on his reality show "The Apprentice" — "You're fired! Full Story
(Photo by Laura Segall/ Getty)
Bristol Palin now says pregnancy was planned
Daughter of Sarah Palin fired back at critics, after announcing last week she was pregnant.

subset: commoncrawl


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Product Description
P/N: PP7690 / 10-1113 (Replaces Lennox P/N: 12156009)
Exhaust Blower Motor w/Housing & Gasket. Fits properly without field modifications. Includes correct wire leads, gasket & heat sensor holes.
Fits the following pellet stoves:
- Fits All Advantage II-T, III & Plus Series Stoves WP2 / WP7
- Fits Early Models, Legend & Quest.


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Welcome to the 3-star Mercure Hotel Hamburg Arena in the district of Stellingen to the north of Hamburg. For fans of Hamburg soccer club it is a stone's throw from the Imtech Arena. O2 World and Hagenbeck zoo are also nearby.
Holiday in style in the north of the Hanseatic city: our 3-star Mercure Hotel Hamburg Arena has 105 comfortable rooms and two meeting rooms that are ideal for your business or private functions, accommodating up to 30 people. The city's attractions are just a few minutes away on line 3 of the S-Bahn, which stops close to the hotel. If arriving by train, go to Altona train station, which is 2.8 miles (4.5 km) away. The airport is 5 miles away. Reach us by car via the A7.


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499 Riverdale St
West Springfield, MA 01089
Enter your registered email address to request a password reset link.
Whether you're looking for a new Subaru BRZ, Legacy, Impreza, Forester, Outback or XV Crosstrek, you'll find the model you need in the colors and trim you want in our Subaru showroom. Our friendly sales team is here to answer any questions you might have so you can find the new Subaru that suits your lifestyle. Whether you're looking for a vehicle that can handle weekend off-road adventures or one that can get you to work during even the worst of New England winters, we'll help you get behind the wheel.
Take a look at our current inventory of new Subaru models at our Western Massachusetts Subaru dealership, then come down to take the one you want on a test-drive.
Bertera Subaru is a West Springfield Subaru dealer that focuses on establishing long term relationships with our customers. People come to Bertera Subaru because they know what to expect from our new and used car dealership. We would like to have the opportunity to earn your business and invite you to experience the Bertera Subaru difference for yourself. It's all about you!
* Although every reasonable effort has been made to ensure the accuracy of the information contained on this site, absolute accuracy cannot be guaranteed. This site, and all information and materials appearing on it, are presented to the user "as is" without warranty of any kind, either express or implied, including but not limited to the implied warranties of merchantability, fitness for a particular purpose, title or non-infringement. All vehicles are subject to prior sale. Price does not include applicable tax, title, and license. Not responsible for typographical errors.


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- Are between 18 and 55 years old
- Are not claustrophobic
- Do not have permanent metal implants
- Can commit to participating in multiple sessions over the course of several months
- Participate in interview and questionnaires
- Play computer games during MRI scans
- Receive a copy of their brain scan
- Be compensated $15 per hour or more for participating
MRI Research Study on Depression
Researchers at Virginia Tech Carilion Research Institute are conducting a new research study investigating emotional reactions in brain responses in people who suffer from depression. We may first invite you to come in for an interview about some of your experiences and how you are feeling. We may then ask you to come back and do some activities during a functional magnetic resonance imaging (fMRI) scan, which uses a magnet and radio waves (no x-rays!). Counseling may also be available for those who are interested.
Eligible participants must:
- Be 18-55 years old
- Have problems with depression
- Not taking antidepressants
- Not have any metal implants
- Not be claustrophobic
- Receive free counseling
- Participate in interviews and questionnaires
- Play computer games during MRI scans
- Be paid $15 per hour or more for participating
Compensation: Interview: $15/hour Scanning: $20-60 per scanning session plus a high resolution image of your brain. Free counseling.
If you would like to participate, please contact Cari at 540-526-2032 or email firstname.lastname@example.com.
The Human Neuroimaging Laboratory at Virginia Tech Carilion Research Institute (VTCRI) located in Roanoke, Virginia would like to invite you to participate in a variety of groundbreaking studies!
- Eligibility: healthy adults, age 18-64
- Compensation: at least $20.00
- Primary goal: To study the response of the normal brain to patterns of stimuli, rewards, and decision-making
- Institute sponsor: Human Neuroimaging Laboratory labs.vtc.vt.edu/hnl
- Study timeframe/duration: 1-3 hours per visit
If you are interested in volunteering, please visit: http://vtcri.info/jkzexq
To contact us via e-mail: email@example.com; or call 540-526-2034
The Virginia Tech Carilion Research Institute is conducting a brain imaging study on cigarette smokers. Eligible participants must meet the following criteria:
- Current smokers, age 18-55
- Smoke at least 5 cigarettes per day
- Have been smoking for the past year
You will be compensated for your time. Eligible participants typically make $50 for the first session and $30 for the second session, with the potential to earn an additional $75. We have two locations, Blacksburg and Roanoke, and scheduling is very flexible to best accommodate your schedule. If interested, please contact Andre at 540-526-2068 firstname.lastname@example.com for more information.
- Deployment impacts veterans in many ways
- We use new FMRI technology to understand how deployment can affect the biology of the brain
- Have the study described and questions answered by study staff before deciding to participate
- Participate in a videotaped interview about your life experiences
- Fill out some questionnaires
- Complete computer tasks during an fMRI scan which may include:
- Viewing positive, negative, & neutral images- including some that are combat related
- Playing simple computer games
- Be asked to provide a saliva sample for genetic analyses
- Receive a CD copy of your structural brain scan
- Be compensated $15 per hour for the interview & questionnaire session and $20 or more for the fMRI scan depending on how you play the game
- OEF/OIF Veterans who are:
- Between 18 & 64 years old
- Free from metal in their body
- Not claustrophobic
(540) 526-2032, email@example.com, http://info.vtc.vt.edu/vets


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Montreal Canadiens (13-9-2) at Buffalo Sabres (5-19-1), 7 p.m.
(SportsNetwork.com) - The Montreal Canadiens will try to match their longest winning streak of the season when they visit the lowly Buffalo Sabres in Wednesday's clash at First Niagara Center.
Montreal has won its past three outings and can tie a four-game run from Oct. 10-17 with another victory on Wednesday. The Canadiens have seemed to turn the corner after beginning November on a four-game slide. The club is 5-1-1 in seven games since that slump from earlier this month.
After beginning this current run with a 6-2 win over Minnesota, the Habs have turned in consecutive 3-2 regulation decisions against Washington and Pittsburgh. They beat the Capitals in D.C. on Friday before returning home to down the Penguins on the following night.
Max Pacioretty's hot play has helped sparked Montreal's current streak and the winger was named the NHL's Second Star of the Week after scoring five goals in his past three games.
Pacioretty, who notched a natural hat trick in last Tuesday's win over the Wild, pumped home two more goals to lead the Canadiens in their 3-2 win over the visiting Penguins. Pacioretty's second tally came 1:20 after Tomas Plekanec had given the Canadiens a 2-0 lead in the third period.
"Obviously, winning three games in a row is good for anyone's confidence," said Pacioretty. "Everyone is contributing and it's good for the team's confidence."
Carey Price made 29 saves for Montreal, which wound up holding on for the victory after James Neal scored twice in the third period for Pittsburgh. Price expects to get the start tonight and is 10-9-7 with a 2.04 goals against average in 26 career games against Buffalo.
Montreal is 6-4-0 as the visiting team this season and is beginning a brief two-game swing on Wednesday. The Habs will complete the residency with Friday's rematch against the Caps.
Buffalo, meanwhile, is still last in the NHL standings this season with 11 points off a dreadful 5-19-1 record.
Things haven't gotten much better since Ted Nolan replaced fired head coach Ron Rolston on an interim basis. The Sabres won their first game with Nolan back behind the bench, beating Toronto on Nov. 15, but have since dropped four straight in regulation.
The Sabres have scored a total of five goals during their current 0-4 stretch and the club has been held to one tally in each of its past three outings. Buffalo is averaging only 1.64 goals per game, making the Sabres the lowest- scoring team in the NHL this season.
Buffalo last played on Sunday when it was dealt a 3-1 loss by the visiting Detroit Red Wings. The score was tied at 1-1 heading into the third period, but the Red Wings added a power-play goal from Johan Franzen and an empty- netter from Daniel Alfredsson to skate away with the win in the final 20 minutes.
Cody Hodgson scored the lone goal for Buffalo in the first period, while Sabres forward Steve Ott missed a penalty shot in the middle stanza.
Ryan Miller stopped 31 shots in the loss.
"You can't just be satisfied with a little glimmer of what we feel is the right way to play," Miller said. "We have to not let teams back in the game."
The recent loss came at the start of a three-game homestand and dropped Buffalo's record at First Niagara Center to 2-10-1 this season. The Sabres have taken four of the last six meetings with the Canadiens in Western New York and Buffalo has claimed five of the past seven encounters overall.
Miller expects to get the start Wednesday against Montreal. The former Vezina Trophy winner is 25-10-6 with a 2.33 GAA in 41 outings versus the Habs.


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At the GM Performance Build Center in Wixom, Michigan, you won't find anybody piecing together hybrid engines, diesel mills, or powerplants fueled by used cooking grease. They're not tasked with making tree huggers happy, although the engines they turn out are surprisingly Mother Earth friendly. Their sole job is to produce the general's most powerful and extreme engines-mechanical works of art that are as powerful as they are reliable. in short, they're in the horsepower business.
Most GM plants are staffed by hundreds of people and dozens of robots, but the Wixom plant is different. it's an almost intimate affair. With only 38 employees-25 of them master builders-the Performance Build Center (PBC) combines the efficiency of technology with oldschool race engine building principals. The result is engines that put out big power and, at the same time, have commuter car reliability.
Opened in '03, the PBCs first mission was to hand-assemble the 427ci lS7 for the new C6 ZO6. later, it was also given the task of meticu- lously assembling the blown lSa engine in the V-series Caddies. But now they have a new beast lurking under their roof-the supercharged lS9. Conceived after the introduction of the 505hp lS7, the lS9 was designed to be the pinnacle of GM pushrod technology.
Engineers were given three rules: The lS9 had to make huge power; the engine had to be as reliable as any other GM production engine; and it had to fit in a C6 Corvette. Meeting any two of these goals was pretty easy, they said, but accomplishing all three required a huge amount of engineering and innovation. The result is a mechanical masterpiece that is to V-8 engines what Jessica alba is to the female form-jaw dropping.
It's not so much that the engine churns out 638 horsepower and 604 lb-ft of torque. it's that it does it so smoothly and effortlessly. The lS9 is a supercharged engine that doesn't suffer the typical fate of heat soak because the blower isn't pushed near its capacity. it idles smoother than a less-powerful lS7, and it's nearly impossible to hear the blower spinning under the hood. Sure, you could go crazy hot rodding an lS7 and make the same power, but it would be nowhere as civilized as an lS9. Then again, the lS9 is only civilized in terms of items like idle quality. When it comes to putting down power, it's the proverbial barbarian at the gate.
GM decided from the get-go that this engine had to be hand-built like the lS7, but gM doesn't hand-build something like you and i would. With its resources, it's about as high-tech a procedure as it gets while still under human control. When we got the invite to go inside Wixom to help build one of the first-production engines, we nearly pulled a tendon in our rush to book a flight. After all, history was about to be made and we had no intention of missing out.
The new lS9 exceeds the lS7 in every area except one- displacement. The main reason for the drop in displacement was strength. GM's plan for the lS9 included a supercharger and the 427ci block wasn't strong enough to reliably hold up to the intended boost. instead, a beefed-up 6.2-liter lS3 block is used. Starting in '09, all 6.2l blocks, including truck blocks, will feature this 20 percent increase in bulkhead strength. The 319-T5 aluminum block, with forged steel bearing caps, is deck-plated bored and honed. By sharing the casting across the lS3 line, costs will be kept down. after the blocks arrive they are inspected and re-cleaned on site.


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The wonders of the museum brought here to Bloomsbury from all around the world's imagined corners are numberless. How can they be named? As well tally each leaf of a tree. They come here out of the living minds of generations of men and women now dead – Greek and Assyrian, Aztec and Inuit, Chinese and Indian – who have conceived and carved and hammered and tempered and cast these objects to represent the worlds around them, visible and invisible.
The British Museum was established in 1753, largely based on the collections of the physician and scientist Sir Hans Sloane. The museum first opened to the public on 15 January 1759 in Montagu House in Bloomsbury, on the site of the current museum building. Its expansion over the following two and a half centuries has resulted in the creation of several branch institutions, the first being the British Museum of Natural History in South Kensington in 1887. Until 1997, when the current British Library building opened to the public, the British Museum was unique in that it housed both a national museum of antiquities and a national library in the same building. Since 2001 the director of the Museum has been Neil MacGregor.
As with all other national museums and art galleries in Britain, the Museum charges no admission fee, although charges are levied for some temporary special exhibitions.
Though principally a museum of cultural art objects and antiquities today, the British Museum was founded as a "universal museum". Its foundations lie in the will of the physician and naturalist Sir Hans Sloane (1660–1753). During the course of his lifetime Sloane gathered an enviable collection of curiosities and whilst not wishing to see his collection broken up after death, he bequeathed it to King George II, for the nation, for the princely sum of £20,000.
At that time, Sloane's collection consisted of around 71,000 objects of all kinds including some 40,000 printed books, 7,000 manuscripts, extensive natural history specimens including 337 volumes of dried plants, prints and drawings including those by Albrecht Dürer and antiquities from Egypt, Greece, Rome, the Ancient Near and Far East and the Americas.
On 7 June 1753 King George II gave his formal assent to the Act of Parliament which established the British Museum. The Foundation Act, added two other libraries to the Sloane collection. The Cottonian Library, assembled by Sir Robert Cotton, dated back to Elizabethan times and the Harleian library, the collection of the Earls of Oxford. They were joined in 1757 by the Royal Library, assembled by various British monarchs. Together these four "foundation collections" included many of the most treasured books now in the British Library including the Lindisfarne Gospels and the sole surviving copy of Beowulf.
The British Museum was the first of a new kind of museum - national, belonging to neither church nor king, freely open to the public and aiming to collect everything. Sloane's collection, whilst including a vast miscellany of objects, tended to reflect his scientific interests. The addition of the Cotton and Harley manuscripts introduced a literary and antiquarian element and meant that the British Museum now became both national museum and library.
The body of trustees decided on a converted 17th-century mansion, Montagu House, as a location for the museum, which it bought from the Montagu family for £20,000. The Trustees rejected Buckingham House, on the site now occupied by Buckingham Palace, on the grounds of cost and the unsuitability of its location.
With the acquisition of Montagu House the first exhibition galleries and reading room for scholars opened on 15 January 1759. In 1757 King George II gave the Old Royal Library and with it the right to a copy of every book published in the country, thereby ensuring that the Museum's library would expand indefinitely. The predominance of natural history, books and manuscripts began to lessen when in 1772 the Museum acquired its first antiquities of note; Sir William Hamilton's collection of Greek vases. During the few years after its foundation the British Museum received several further gifts, including the Thomason Collection of Civil War Tracts and David Garrick's library of 1,000 printed plays, but yet contained few ancient relics recognisable to visitors of the modern museum.
From 1778 a display of objects from the South Seas brought back from the round-the-world voyages of Captain James Cook and the travels of other explorers fascinated visitors with a glimpse of previously unknown lands. The bequest of a collection of books, engraved gems, coins, prints and drawings by Clayton Mordaunt Cracherode in 1800 did much to raise the Museum's reputation however Montagu House became increasingly crowded and decrepit and it was apparent that it would be unable to cope with further expansion.
The museum's first notable addition towards its collection of antiquities, since its foundation, was by Sir William Hamilton (1730–1803), British Ambassador to Naples, who sold his collection of Greek and Roman artefacts to the museum in 1784 together with a number of other antiquities and natural history specimens. A list of donations to the Museum, dated 31 January 1784 refers to the Hamilton bequest of a "Colossal Foot of an Apollo in Marble". It was one of two antiquities of Hamilton's collection drawn for him by Francesco Progenie, a pupil of Pietro Fabris, who also contributed a number of drawings of Mount Vesuvius sent by Hamilton to the Royal Society in London.
In the early 19th century the foundations for the extensive collection of sculpture began to be laid and Greek, Roman and Egyptian artefacts dominated the antiquities displays. After the defeat of the French Campaign in the Battle of the Nile, in 1801, the British Museum acquired more Egyptian sculpture and in 1802 King George III presented the Rosetta Stone - key to the deciphering of hieroglyphs. Gifts and purchases from Henry Salt, British Consul General in Egypt, beginning with the Colossal bust of Ramesses II in 1818, laid the foundations of the collection of Egyptian Monumental Sculpture. Many Greek sculptures followed, notably the first purpose-built exhibition space, the Charles Towneley collection, much of it Roman Sculpture, in 1805. In 1806, Thomas Bruce, 7th Earl of Elgin, ambassador to the Ottoman Empire from 1799 to 1803 removed the large collection of marble sculptures from the Parthenon, on the Acropolis in Athens and transferred them to Britain. In 1816 these masterpieces of western art, were acquired by The British Museum by Act of Parliament and deposited in the museum thereafter. The collections were supplemented by the Bassae frieze from Phigaleia, Greece in 1815. The Ancient Near Eastern collection also had its beginnings in 1825 with the purchase of Assyrian and Babylonian antiquities from the widow of Claudius James Rich.
In 1802 a Buildings Committee was set up to plan for expansion of the museum, and further highlighted by the donation in 1822 of the King's Library, personal library of King George III's, comprising 65,000 volumes, 19,000 pamphlets, maps, charts and topographical drawing. The neoclassical architect, Sir Robert Smirke, was asked to draw up plans for an eastern extension to the Museum "... for the reception of the Royal Library, and a Picture Gallery over it ... and put forward plans for today's quadrangular building, much of which can be seen today. The dilapidated Old Montagu House was demolished and work on the King's Library Gallery began in 1823. The extension, the East Wing, was completed by 1831. However, following the founding of the National Gallery, London in 1824, the proposed Picture Gallery was no longer needed, and the space on the upper floor was given over to the Natural History collections.
The Museum became a construction site as Sir Robert Smirke's grand neo-classical building gradually arose. The King's Library, on the ground floor of the East Wing, was handed over in 1827, and was described as one of the finest rooms in London although it was not fully open to the general public until 1857, however, special openings were arranged during The Great Exhibition of 1851. In spite of dirt and disruption the collections grew, outpacing the new building.Archaeological excavations
In 1840 the Museum became involved in its first overseas excavations, Charles Fellows's expedition to Xanthos, in Asia Minor, whence came remains of the tombs of the rulers of ancient Lykia, among them the Nereid and Payava monuments. In 1857 Charles Newton was to discover the 4th-century BC Mausoleum of Halikarnassos, one of the Seven Wonders of the Ancient World. In the 1840s and 1850s the Museum supported excavations in Assyria by A.H. Layard and others at sites such as Nimrud and Nineveh. Of particular interest to curators was the eventual discovery of Ashurbanipal's great library of cuneiform tablets, which helped to make the Museum a focus for Assyrian studies.
Sir Thomas Grenville (1755–1846) was a Trustee of The British Museum from 1830 assembled a fine library of 20,240 volumes, which he left to the Museum in his will. The books arrived in January 1847 in twenty-one horse-drawn vans. The only vacant space for this large library was a room originally intended for manuscripts, between the Front Entrance Hall and the Manuscript Saloon. The books remained here until the British Library moved to St Pancras in 1998.
The opening of the forecourt in 1852 marked the completion of Robert Smirke's 1823 plan, but already adjustments were having to be made to cope with the unforeseen growth of the collections. Infill galleries were constructed for Assyrian sculptures and Sydney Smirke's Round Reading Room, with space for a million books, opened in 1857. Because of continued pressure on space the decision was taken to move natural history to a new building in South Kensington, which would later become the British Museum of Natural History.
Roughly contemporary with the construction of the new building was the career of a man sometimes called the "second founder" of the British Museum, the Italian librarian Anthony Panizzi. Under his supervision, the British Museum Library (now the British Library) quintupled in size and became a well-organised institution worthy of being called a national library. The quadrangle at the centre of Smirke's design proved to be a waste of valuable space and was filled at Panizzi's request by a circular Reading Room of cast iron, designed by Smirke's brother, Sydney Smirke.
Until the mid 19th century the Museum's collections were relatively circumscribed but, in 1851, with the appointment to the staff of Augustus Wollaston Franks to curate the collections, the Museum began for the first time to collect British and European medieval antiquities, prehistory, branching out into Asia and diversifying its holdings of ethnography. Overseas excavations continued and John Turtle Wood discovered the remains of the 4th century BC Temple of Artemis at Ephesos, another Wonder of the Ancient World.
The natural history collections were an integral part of the British Museum until their removal to the new British Museum of Natural History, now the Natural History Museum, in 1887. With the departure and the completion of the new White Wing (fronting Montague Street) in 1884, more space was available for antiquities and ethnography and the library could further expand. This was a time of innovation as electric lighting was introduced in the Reading Room and exhibition galleries.
In 1882 the Museum was involved in the establishment of the independent Egypt Exploration Fund (now Society) the first British body to carry out research in Egypt. A bequest from Miss Emma Turner in 1892 financed excavations in Cyprus. In 1897 the death of the great collector and curator, A.W. Franks, was followed by an immense bequest of 3,300 finger rings, 153 drinking vessels, 512 pieces of continental porcelain, 1,500 netsuke, 850 inro, over 30,000 bookplates and miscellaneous items of jewellery and plate, among them the Oxus Treasure.
In 1898 Baron Ferdinand de Rothschild bequeathed the glittering contents from his New Smoking Room at Waddesdon Manor. This consisted of almost 300 pieces of objets d'art et de vertu which included exquisite examples of jewellery, plate, enamel, carvings, glass and maiolica, in the tradition of a schatzkammer or treasure houses such as those formed by the Renaissance princes of Europe. Baron Ferdinand's will was most specific, and failure to observe the terms would make it void, the collection should be,
placed in a special room to be called the Waddesdon Bequest Room separate and apart from the other contents of the Museum and thenceforth for ever thereafter, keep the same in such room or in some other room to be substituted for it.
By the last years of the nineteenth century, The British Museum's collections had increased so much that the Museum building was no longer big enough for them. In 1895 the trustees purchased the 69 houses surrounding the Museum with the intention of demolishing them and building around the West, North and East sides of the Museum. The first stage was the construction of the northern wing beginning 1906.
All the while, the collections kept growing, Emily Torday collected in Central Africa, Aurel Stein in Central Asia, D.G. Hogarth, Leonard Woolley and T. E. Lawrence excavated at Carchemish. In 1918, because of the threat of wartime bombing, some objects were evacuated to a Postal Tube Railway at Holborn, the National Library of Wales (Aberystwyth) and a country house near Malvern. On the return of antiquities from wartime storage in 1919, some objects were found to have deteriorated. A temporary conservation laboratory was set up in May 1920 and became a permanent department in 1931. It is today the oldest in continuous existence. In 1923, the British Museum, welcomed over one million visitors.
In 1953 the Museum celebrated its bicentenary. Many changes followed: the first full time in house designer and publications officer were appointed in 1964, A Friends organisation was set up in 1968, an Education Service established in 1970 and publishing house in 1973. In 1963 a new Act of Parliament introduced administrative reforms. It became easier to lend objects, the constitution of the Board of Trustees changed and the Natural History Museum became fully independent. By 1959 the Coins and Medals office suite, completely destroyed during the war, was rebuilt and re-opened, attention turned towards the gallery work with new tastes in design leading to the remodelling of Robert Smirke's Classical and Near Eastern galleries. In 1962 the Duveen Gallery was finally restored and the Parthenon Sculptures were moved back into it, once again at the heart of the museum.
By the 1970s the Museum was again expanding. More services for the public were introduced; visitor numbers soared, with the temporary exhibition "Treasures of Tutankhamun" in 1972, attracting 1,694,117 visitors, the most successful in British history. In the same year the Act of Parliament establishing the British Library was passed, separating the collection of manuscripts and printed books from the British Museum. This left the Museum with antiquities; coins, medals and paper money; prints & drawings; and ethnography. A pressing problem was finding space for additions to the library which now required an extra 1 1/4 miles of shelving each year. The Government suggested a site at St Pancras for the new British Library but the books did not leave the museum until 1997.
The departure of the British Library to a new site at St Pancras, finally achieved in 1998, provided the space needed for the books. It also created the opportunity to redevelop the vacant space in Robert Smirke's 19th-century central quadrangle into the Queen Elizabeth II Great Court – the largest covered square in Europe – which opened in 2000.
The ethnography collections, which had been housed in the short-lived Museum of Mankind at 6 Burlington Gardens from 1970, were returned to new purpose-built galleries.
The Museum again readjusted its collecting policies as interest in "modern" objects: prints, drawings, medals and the decorative arts reawakened. Ethnographical fieldwork was carried out in places as diverse as New Guinea, Madagascar, Romania, Guatemala and Indonesia and there were excavations in the Near East, Egypt, Sudan and the UK. The Weston Gallery of Roman Britain, opened in 1997, displayed a number of recently discovered hoards which demonstrated the richness of what had been considered an unimportant part of the Roman Empire. The Museum turned increasingly towards private funds for buildings, acquisitions and other purposes.
The Museum was founded 250 years ago as an encyclopædia of nature and of art. Today it no longer houses collections of natural history, and the books and manuscripts it once held now form part of the independent British Library. The Museum nevertheless preserves its universality in its collections of artefacts representing the cultures of the world, ancient and modern. The original 1753 collection has grown to over thirteen million objects at the British Museum, 70 million at the Natural History Museum and 150 million at the British Library.
The Round Reading Room, which was designed by the architect Sydney Smirke, opened in 1857. For almost 150 years researchers came here to consult the Museum's vast library. The Reading Room closed in 1997 when the national library (the British Library) moved to a new building at St Pancras. Today it has been transformed into the Walter and Leonore Annenberg Centre. This contains the Paul Hamlyn Library of books about the Museum's collections, which is open to all visitors.
With the bookstacks in the central courtyard of the museum now empty, the process of demolition for Lord Foster's glass-roofed Great Court could begin. The Great Court, opened in 2000, while undoubtedly improving circulation around the museum, was criticised for having a lack of exhibition space at a time when the museum was in serious financial difficulties and many galleries were closed to the public. At the same time the African and Oceanic collections that had been temporarily housed in 6 Burlington Gardens were given a new gallery in the North Wing funded by the Sainsbury family.
In technical terms, the British Museum is a non-departmental public body sponsored by the Department for Culture, Media and Sport through a three-year funding agreement. Its head is the Director. The British Museum was run from its inception by a 'Principal Librarian' (when the book collections were still part of the Museum), a role that was renamed 'Director and Principal Librarian' in 1898, and 'Director' in 1973 (on the separation of the British Library).
A board of 25 trustees (with the Director as their accounting officer for the purposes of reporting to Government) is responsible for the general management and control of the Museum, in accordance with the British Museum Act of 1963 and the Museums and Galleries Act of 1992. Prior to the 1963 Act, it was chaired by the Archbishop of Canterbury, the Lord Chancellor and the Speaker of the House of Commons. The board was formed on the Museum's inception to hold its collections in trust for the nation without actually owning them themselves, and now fulfil a mainly advisory role. Trustee appointments are governed by the regulatory framework set out in the code of practice on public appointments issued by the Office of the Commissioner for Public Appointments. For a list of current trustees, see here
The Greek Revival façade facing Great Russell Street is a characteristic building of Sir Robert Smirke, with 44 columns in the Ionic order 45 ft (13.7 m) high, closely based on those of the temple of Athena Polias at Priene in Asia Minor. The pediment over the main entrance is decorated by sculptures by Sir Richard Westmacott depicting The Progress of Civilisation, consisting of fifteen allegorical figures, installed in 1852.
The construction commenced around the courtyard with the East Wing (The King's Library) in 1823–1828, followed by the North Wing in 1833–1838, which originally housed among other galleries a reading room, now the Wellcome Gallery. Work was also progressing on the northern half of the West Wing (The Egyptian Sculpture Gallery) 1826–1831, with Montagu House demolished in 1842 to make room for the final part of the West Wing, completed in 1846, and the South Wing with its great colonnade, initiated in 1843 and completed in 1847, when the Front Hall and Great Staircase were opened to the public. The Museum is faced with Portland stone, but the perimeter walls and other parts of the building were built using Haytor granite from Dartmoor in South Devon, transported via the unique Haytor Granite Tramway.
In 1846 Robert Smirke was replaced as the Museum's architect by his brother Sydney Smirke, whose major addition was the Round Reading Room 1854–1857; at 140 feet (42.6 m) in diameter it was then the second widest dome in the world, the Pantheon in Rome being slightly wider.
The next major addition was the White Wing 1882–1884 added behind the eastern end of the South Front, the architect being Sir John Taylor.
In 1895, Parliament gave the Museum Trustees a loan of £200,000 to purchase from the Duke of Bedford all 69 houses which backed onto the Museum building in the five surrounding streets - Great Russell Street, Montague Street, Montague Place, Bedford Square and Bloomsbury Street. The Trustees planned to demolish these houses and to build around the West, North and East sides of the Museum new galleries that would completely fill the block on which the Museum stands. The architect Sir John James Burnet was petitioned to put forward ambitious long-term plans to extend the building on all three sides. Most of the houses in Montague Place were knocked down a few years after the sale. Of this grand plan only the Edward VII galleries in the centre of the North Front were ever constructed, these were built 1906-14 to the design by J.J. Burnet, and opened by King George V and Queen Mary in 1914. They now house the Museum's collections of Prints and Drawings and Oriental Antiquities. There was not enough money to put up more new buildings, and so the houses in the other streets are nearly all still standing.
The Duveen Gallery, sited to the west of the Egyptian, Greek & Assyrian sculpture galleries, was designed to house the Elgin Marbles by the American Beaux-Arts architect John Russell Pope. Although completed in 1938, it was hit by a bomb in 1940 and remained semi-derelict for 22 years, before reopening in 1962. Other areas damaged during World War II bombing included: in September 1940 two unexploded bombs hit the Edward VII galleries, the King's Library received a direct hit from a high explosive bomb, incendiaries fell on the dome of the Round Reading Room but did little damage; on the night of 10 to 11 May 1941 several incendiaries fell on the south west corner of the Museum, destroying the book stack and 150,000 books in the courtyard and the galleries around the top of the Great Staircase – this damage was not fully repaired until the early 1960s.
The Queen Elizabeth II Great Court is a covered square at the centre of the British Museum designed by the engineers Buro Happold and the architects Foster and Partners. The Great Court opened in December 2000 and is the largest covered square in Europe. The roof is a glass and steel construction with 1,656 uniquely shaped panes of glass. At the centre of the Great Court is the Reading Room vacated by the British Library, its functions now moved to St Pancras. The Reading Room is open to any member of the public who wishes to read there.
Today, the British Museum has grown to become one of the largest Museums in the world, covering an area of over 13.5 acres or 75,000 m² of exhibition space, showcasing approximately 50,000 items from its collection. There are nearly one hundred galleries open to the public, representing 2 miles (3.2 km) of exhibition space, although the less popular ones have restricted opening times. However, the lack of a large temporary exhibition space has led to the £100 million North West Development Project to provide one and to concentrate all the Museum's conservation facilities into one Conservation Centre. This project was announced in July 2007, with the architects Rogers Stirk Harbour and Partners, and is expected for completion by 2011.
The British Museum houses the world's largest and most comprehensive collection of Egyptian antiquities outside the Egyptian Museum in Cairo. A collection of immense importance for its range and quality, it includes objects of all periods from virtually every site of importance in Egypt and the Sudan. Together they illustrate every aspect of the cultures of the Nile Valley (including Nubia), from the Predynastic Neolithic period (c. 10,000 BC) through to the Coptic (Christian) times (12th century AD), a time-span over 11,000 years.
Egyptian antiquities have formed part of the British Museum collection ever since its foundation in 1753 after receiving 160 Egyptian objects from Sir Hans Sloane. After the defeat of the French forces under Napoleon at the Battle of the Nile in 1801, the Egyptian antiquities collected were confiscated by the British army and presented to the British Museum in 1803. These works, which included the famed Rosetta Stone, were the first important group of large sculptures to be acquired by the Museum. Thereafter, Britain appointed Henry Salt as consul in Egypt who amassed a huge collection of antiquities. Most of the antiquities Salt collected were purchased by the British Museum and the Musée du Louvre. By 1866 the collection consisted of some 10,000 objects. Antiquities from excavations started to come to the Museum in the later 19th century as a result of the work of the Egypt Exploration Fund under the efforts of E.A. Wallis Budge. The collection stood at 57,000 objects by 1924. Active support by the Museum for excavations in Egypt continued to result in useful acquisitions throughout the 20th century until changes in antiquities laws in Egypt led to the suspension of policies allowing finds to be exported. The size of the Egyptian collections now stands at over 110,000 objects.
In autumn 2001 the eight million objects forming the Museum's permanent collection were further expanded by the addition of six million objects from the Wendorf Collection of Egyptian and Sudanese Prehistory. These were donated by Professor Fred Wendorf of Southern Methodist University in Texas, and comprise the entire collection of artefacts and environmental remains from his excavations between 1963 and 1997. They are in the care of the Department of Ancient Egypt and Sudan.
The seven permanent Egyptian galleries at the British Museum, which include its largest exhibition space (Room 4, for monumental sculpture), can display only 4% of its Egyptian holdings. The second-floor galleries have a selection of the Museum's collection of 140 mummies and coffins, the largest outside Cairo. A high proportion of the collection comes from tombs or contexts associated with the cult of the dead, and it is these pieces, in particular the mummies, that remain among the most eagerly sought after exhibits by visitors to the Museum.Key highlights of the collections Include:
The Department of Greek and Roman Antiquities of the British Museum has one of the world's largest and most comprehensive collections of antiquities from the Classical world, with over 100,000 objects. These mostly range in date from the beginning of the Greek Bronze Age (about 3200BC) to the reign of the Roman Emperor Constantine I in the 4th century AD, with some pagan survivals.
The Cycladic, Minoan and Mycenaean cultures are represented, and the Greek collection includes important sculpture from the Parthenon in Athens, as well as elements of two of the Seven Wonders of the Ancient World, the Mausoleum at Halikarnassos and the Temple of Artemis at Ephesos.
The Department also houses one of the widest-ranging collections of Italic and Etruscan antiquities and extensive groups of material from Cyprus. The collections of ancient jewellery and bronzes, Greek vases and Roman glass and silver are particularly important.
Key highlights of the collections include:
Formerly the Department of the Ancient Near East, the Department recently became the Department of the Middle East when the collections from the Islamic world were moved from the Department of Asia into this department.
With approximately 330,000 objects in the collection, the British Museum has the greatest collection of Mesopotamian antiquities outside Iraq. The holdings of Assyrian, Babylonian and Sumerian antiquities are among the most comprehensive in the world.
The collections represent the civilisations of the ancient Near East and its adjacent areas. These include Mesopotamia, Persia, the Arabian Peninsula, Anatolia, the Caucasus, parts of Central Asia, Syria, Palestine and Phoenician settlements in the western Mediterranean from the prehistoric period until the beginning of Islam in the 7th century. The collection includes six iconic winged human-headed statues from Nimrud and Khorsabad. Stone bas-reliefs, including the famous Royal Lion Hunt relief's (Room 10), that were found in the palaces of the Assyrian kings at Nimrud and Nineveh. The Royal Library of Ashurbanipal at Nineveh and Sumerian treasures found in Royal Cemetery's at Ur of the Chaldees.
The earliest Mesopotamian objects to enter collections purchased by the British Museum in 1772 from Sir William Hamilton. The Museum also acquired at this early date a number of sculptures from Persepolis. The next significant addition (in 1825) was from the collection of Claudius James Rich. The collection was dramatically enlarged by the excavations of A. H. Layard at the Assyrian sites of Nimrud and Nineveh between 1845–1851.
At Nimrud, Layard discovered the North-West Palace of Ashurnasirpal II, as well as three other palaces and various temples. He also opened in the Palace of Sennacherib at Nineveh with 'no less than seventy-one halls'. As a result a large numbers of Lamassu's, bas-reliefs, stelae, including the Black Obelisk of Shalmaneser III were brought to the British Museum. Layard's work was continued by his assistant, Hormuzd Rassam and in 1852–1854 he went on to discover the North Palace of Ashurbanipal at Nineveh with many magnificent reliefs, including the famous Royal Lion Hunt scenes. He also discovered the Royal Library of Ashurbanipal, a large collection of cuneiform tablets of enormous importance. W. K. Loftus excavated in Nimrud between 1850–1855 and found a remarkable hoard of ivories in the Burnt Palace. Between 1878–1882 Rassam greatly improved the Museum's holdings with exquisite objects including the Cyrus Cylinder from Babylon, the bronze gates from Balawat, and a fine collection of Urartian bronzes. Rassam collected thousands of cuneiform tablets, today with the acquisition of further tablets in the 20th century, the collection now numbers around 130,000 pieces. In the 20th century excavations were carried out at Carchemish, Syria, between 1911–1914 and in 1920 by D. G. Hogarth and Leonard Woolley, the latter assisted by T. E. Lawrence. The Mesopotamian collections were greatly augmented by excavations in southern Iraq after the First World War. From Tell al-Ubaid in 1919 and 1923–1924, directed by H. R. Hall came the bronze furnishings of a Sumerian temple, including life-sized lions and a panel featuring the lion-headed eagle Indugud. Woolley went onto to excavate Ur between 1922–1934, discovering the 'Royal Cemeteries' of the 3rd millennium BC. Some of the masterpieces include the 'Standard of Ur', the 'Ram in a Thicket', the 'Royal Game of Ur', and two bull-headed lyres.
Although the collections centre on Mesopotamia most of the surrounding areas are well-represented. The Achaemenid collection was enhanced with the addition of the Oxus Treasure in 1897, by acquisition from the German scholar Ernst Herzfeld, and then by the work of Sir Aurel Stein. From Palmyra there is a large collection of nearly forty funerary busts, acquired in the 19th century. A group of stone reliefs from the excavations of Max von Oppenheim at Tell Halaf, purchased in 1920. More excavated material from the excavations of Max Mallowan at Chagar Bazar and Tell Brak in 1935–1938, and from Woolley at Alalakh in the years just before and after the Second World War. The collection of Palestinian material was strengthened with the acquisition in 1980 of around 17,000 objects found at Lachish by the Wellcome-Marston expedition of 1932–1938.
A representative selection, including the most important pieces, are on display in 13 galleries and total some 4500 objects. The remainder form the study collection which ranges in size from beads to large sculptures. They include approximately 130,000 cuneiform tablets from Mesopotamia.
The museum's collection of Islamic art, including archaeological material, numbers about 40,000 objects, one of the largest of its kind in the world. As such, it contains a broad range of Islamic pottery, paintings, tiles, metalwork, glass, seals, and inscriptions.Key Highlights of the Collections include:
Nimrud: Alabaster bas-reliefs from:
Alabaster bas-reliefs from:
Royal Library of Ashurbanipal:
Wider Collection:
The Department of Prints and Drawings holds the national collection of Western Prints and Drawings. It ranks as one of the largest collections in existence alongside the Musée du Louvre and the Hermitage as one of the top three collections of its kind.
Since its foundation in 1808 the Prints and Drawings collection has grown to international renown as one of the richest and most representative collections in the world. There are approximately 50,000 drawings and over two million prints. The collection of Drawings covers the period 14th century to the present, and includes many works of the highest quality by the leading artists of the European school. The collection of Prints covers the tradition of fine printmaking from its beginnings in the 15th century up to the present, with near complete holdings of most of the great names before the 19th century.
There are magnificent groups of drawings by Leonardo da Vinci, Raphael, Michelangelo, (including his only surviving full-scale cartoon), Dürer (a collection of 138 drawings is one of the finest in existence), Peter Paul Rubens, Rembrandt, Claude and Watteau, and virtually complete collections of the works of all the great printmakers including unsurpassed holdings of prints by Dürer (99 engravings, 6 etchings and a substantial number of his 346 woodcuts), Rembrandt and Goya. More than 30,000 British drawings and watercolours include important examples work by Hogarth, Sandby, Turner, Girtin, Constable, Cotman, Cox, Gillray, Rowlandson and Cruikshank, as well as all the great Victorians. There are about a million British prints including more than 20,000 satires and outstanding collections of works by William Blake and Thomas Bewick.
The scope of the Department of Asia is extremely broad, its collections of over 75,000 objects covers the material culture of the whole Asian continent (from East, South, Central and South-East Asia) and from the Neolithic up to the present day.
Key highlights of the collections include:
The British Museum houses one of the world's greatest and most comprehensive collections of Ethnographic material from Africa, Oceania and the Americas, representing the cultures of indigenous peoples throughout the world. Over 350,000 objects spanning two million years tells the story of the history of man, from three major continents and many rich and diverse cultures.
The Sainsbury African Galleries display 600 objects from the greatest permanent collection of African arts and culture in the world. The three permanent galleries provide a substantial exhibition space for the Museum's African collection comprising over 200,000 objects. A curatorial scope that encompasses both archaeological and contemporary material, including both unique masterpieces of artistry and objects of everyday life.
Highlights of the African collection include a magnificent brass head of a Yoruba ruler from Ife, Nigeria; Asante goldwork from Ghana and the Torday collection of Central African sculpture, textiles and weaponry.
The Americas collection mainly consists of 19th and 20th century items although the Inca, Aztec, Maya and other early cultures are well represented; collecting of modern artefacts is ongoing.
The British Museum is home to one of the world's finest numismatic collections, comprising about a million objects. The collection spans the entire history of coinage from its origins in the 7th century BC to the present day. There are approximately 9,000 coins, medals and banknotes on display around the British Museum. More than half of these can be found in the HSBC Money Gallery (Gallery 68), while the remainder form part of the permanent displays throughout the Museum.
The prehistoric collections cover Europe, Africa and Asia, the earliest African artefacts being around 2 million years old. Coverage of Europe extends to the present day.
This department was founded in 1920. Conservation has six specialist areas: ceramics & glass; metals; organic material (including textiles); stone, wall paintings and mosaics; Eastern pictorial art and Western pictorial art. The science department has and continues to develop techniques to date artefacts, analyse and identify the materials used in their manufacture, to identify the place an artefact originated and the techniques used in their creation. The department also publishes its findings and discoveries.
This department covers all levels of education, from casual visitors, schools, degree level and beyond. The Museum's various libraries hold in excess of 350,000 books, journals and pamphlets covering all areas of the museum's collection. Also the general Museum archives which date from its foundation in 1753 are overseen by this department; the individual departments have their own separate archives covering their various areas of responsibility.
It is a point of controversy whether museums should be allowed to possess artefacts taken from other countries, and the British Museum is a notable target for criticism. The Elgin Marbles and the Benin Bronzes are among the most disputed objects in its collections, and organisations have been formed demanding the return of both sets of artefacts to their native countries of Greece and Nigeria respectively.
The British Museum has refused to return either set, stating that the "restitutionist premise, that whatever was made in a country must return to an original geographical site, would empty both the British Museum and the other great museums of the world". The Museum has also argued that the British Museum Act of 1963 legally prevents any object from leaving its collection once it has entered it. Nevertheless, it has returned items such as the Tasmanian Ashes after a 20 year long battle with Australia. Critics have particularly argued against the right of the British Museum to own objects which it does not share with the public.
Supporters of the Museum claim that it has provided protection for artefacts that might have otherwise been damaged or destroyed if they had been left in their original environments. While some critics have accepted this, they also argue that the artefacts should now be returned to their countries of origin if there is sufficient expertise and desire there to preserve them.
The British Museum continues to assert that it is an appropriate custodian and has an inalienable right to its disputed artefacts under British law.
Department of the Ancient Near East
Department of Greek and Roman AntiquitiesExhibitions Forgotten Empire Exhibition (October 2005 - January 2006)
a. Sculptures and applied art are in the Victoria and Albert Museum, the British Museum houses earlier art, non-Western art, prints and drawings, and art of a later date is at Tate Modern. The National Gallery, holds the National Collection of Western European Art, with Tate Britain deposited with British Art from 1500.
b. By the Act of Parliament it received a name - the British Museum. The origin of the name is not known; the word 'British' had some resonance nationally at this period, so soon after the Jacobite rebellion of 1745; it must be assumed that the Museum was christened in this light.
c. The estimated footage of the various libraries as reported to the Trustees has been summarised by Harris (1998), 3,6: Sloane 4,600, Harley 1,700, Cotton 384, Edwards 576, The Royal Library 1,890.
d. This was perhaps rather unfortunate as the title to the house was complicated by the fact that part of the building had been erected on leasehold property (the Crown lease of which ran out in 1771); perhaps that is why George III paid such a modest price (nominally £28,000) for what was to become Buckingham Palace. See Colvin et al. (1976), 134.
e. Understanding of the foundation of the National Gallery is complicated by the fact that there is no documented history of the institution. At first the National Gallery functioned effectively as part of the British Museum, to which the Trustees transferred most of their most important pictures (ex. portraits). Full control was handed over to the National Gallery in 1868, after the Act of Parliament of 1856 established the Gallery as an independent body.
f. Ashmole, the Keeper of the Greek and Roman Antiquities appreciated the original top-lighting of these galleries and removed the Victorian colour scheme, commenting:
The old Elgin Gallery was painted a deep terracotta red, which, though in some ways satisfactory, diminished its apparent size, and was apt to produce a depressing effect on the visitor. It was decided to experiment with lighter colours, and the walls of the large room were painted with what was, at its first application, a pure cold white, but which after a year's exposure had unfortunately yellowed. The small Elgin Room was painted with pure white tinted with prussian blue, and the Room of the metopes was painted with pure white tinted with cobalt blue and black; it was necessary, or practical reasons, to colour all the dadoes a darker colour
g. Ashmole had never liked the Duveen Gallery:
It is, I suppose, not positively bad, but it could have been infinitely better. It is pretentious, in that it uses the ancient Marbles to decorate itself. This is a long outmoded idea, and the exact opposite of what a sculpture gallery should do. And, although it incorporates them, it is out of scale, and tends to dwarf them with its bogus Doric features, including those columns, supporting almost nothing which would have made an ancient Greek artist architect whince. The source of daylight is too high above the sculptures, a fault that is only concealed by the amount of reflection from the pinkish marble walls. These are too similar in colour to the marbles...These half-dozen elementary errors were pointed out by everyone in the Museum, and by many scholars outside, when the building was projected.
It was not until the 1980s that the installation, of a lighting scheme removed his greatest criticism of the building.
h. The Cairo Museum has 150,000 artefacts, with leading collections reposited at the Musee du Louvre (60,000), Petrie Museum (80,000), The Metropolitan Museum of art (36,000), University of Pennsylvania (42,000), Museum of Fine Arts, Boston (40,000), Museo Egizio, Turin (32,500 objects).


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Well, I ate entirely too much over the Christmas holiday. On such unspeakable items as a dip consisting of two kinds of cheese to multiple slices of chess pie, I overindulged.
And, sadly, I'm about to head off to Nashville for the Music City Bowl, where I can say with serious conviction that we'll not be stopping by any health food stores along the way.
So I decided to spend this window of time between Christmas and the bowl trip eating as healthily as possible in a feeble attempt to detox. Now, any deer my father has killed in the past 20 years would wholeheartedly tell you that I am not at all a vegetarian, but I do keep a vegetarian cookbook on hand for times like these when I need to lighten up my diet.
Perhaps my favorite vegetarian meals come with a south-of-the-border flair. I routinely order vegetable-only dishes at Mexican restaurants because I love the taste of warm, spicy, sauteed vegetables and rice. That is, of course, if I don't fill up on the chips and salsa first.
In my little cookbook I found a recipe for Mexican-Style Quinoa that looked wonderful and easy. Underneath the title was a paragraph describing it as having the taste of "delicious fresh salsa," so without much further thought I darted to the store for the ingredients.
For those of you who are unfamiliar with quinoa (I knew what it was but had never cooked or eaten it before), quinoa is like a combination of oatmeal and brown rice. It's creamy and crunchy and has a bit of a nutty taste. While most people consider quinoa to be a grain, it's actually in the same family as some leafy green veggies such as spinach and Swiss chard. It's a healthy carbohydrate. (Those exist? Yes!)
Delicious is a word that barely does justice to how good this recipe was; additionally, the preparation was effortless. I ate it with some hot braided bread, and it was even good the next day served cold.
Easy and good are my two major requirements for a "keeper" recipe, and in light of how whipped we all are from the holidays, I thought I'd share this uncomplicated concoction.
I wish you all a happy, healthy new year, and go Dawgs!
Mexican-Style Quinoa
u 1 tsp olive oil
u 1 red onion, diced
u 3 cloves garlic, minced
u 3/4 c. uncooked quinoa
u 1 1/2 c. broth (I use chicken broth)
u 1 tsp cumin
u 1/4 tsp. cayenne pepper
salt and pepper to taste
u 1 cup frozen sweet corn
u 2 roma tomatoes, diced
u 1 T lime juice
u 2 cans black beans, rinsed and drained
u 1/2 c cilantro, chopped
Heat oil in saucepan. Stir in onion and garlic. Mix in quinoa and cover with broth. Add spices. Bring to a boil, reduce heat and simmer 20 minutes. Stir in corn, simmer five more minutes. Add remaining ingredients. Sprinkle with feta.
Kate Salter is a lecturer at Mississippi State University. Email her at email@example.com [2].
[1] http://starkvilledailynews.com/sites/default/files/delkect_0.jpg
[2] mailto:email@example.com


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Posted 20 October 2010 - 16:15
Posted 20 October 2010 - 16:59
Posted 20 October 2010 - 17:04
Would torrents benefit from using an SSD much?
Posted 20 October 2010 - 17:08
Still debaiting on the Revo...
The only problem with building my own system is choosing a case to put it all in. Most Mini-ITX cases look fugly and I don't really want an optical drive, which they account for.
This guys Atom build is making me want to build my own...
Would torrents benefit from using an SSD much?
Posted 21 October 2010 - 08:43
I read in one of the review that the zbox makes an annoying noise. Not very loud but it does.
Decider to go with a Zotac Z-Box, can pick them up cheap and I have a spare gig of DDR2 ram from an old laptop, so only need a HDD.
Thanks for the advice!
Posted 21 October 2010 - 08:52
Posted 14 July 2013 - 06:53
I used a NAS, but could not replace the HD correctly after it no longer worked, so I'm back to using an old, small notebook running on XP with a HD attached to it.
I'm thinking of getting a router with DD-WRT, Bittorrent software, etc., installed, then attaching an external HD to the USB port.
I'd like to know if anyone has been able to use these routers, and if the external HD can still be connected to a Win 7 desktop, etc., in case I need to replace the external HD or switch it for another. Also, does the amount of RAM of the torrent box, NAS, or router, affect torrent performance or the system? Finally, can I back up the router settings and content (such as the list of trackers, etc.) and restore them, in case something goes wrong with the router and I need to do a factory restore?
I'm asking this because I experienced a lot of difficulty with trying to replace the HD of a NAS, and I had to do a lot of things on the telnet level just to back up configurations, copy tracker files, etc.
Posted 14 July 2013 - 06:58
Still debaiting on the Revo...
The only problem with building my own system is choosing a case to put it all in. Most Mini-ITX cases look fugly and I don't really want an optical drive, which they account for.
I'm going mini-ITX with my next upgrade, and unless I see something cooler before then, this is the case I plan to go with http://www.newegg.co...N82E16811112406. Of course, you may not want to spend that much on a case for a torrent box.
Edit: Ugh, I didn't realize this thread was that old and had been bumped, so that case didn't exist when the discussion was relevant. Oh well, I still think it's a cool case.


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The Possibilities Continue : Sewing Center Development
It's been surreal to see the possibilities here in India. The past several days have been filled with meetings and planning to see what we need to get all the right things to make it happen. The largest key factors are the people. We are continually interviewing and waiting for the right trainer, manager to make sure that they have the same vision as our mission. We met with a man that was from the Dalit untouchable community that apparently is skilled in export manufacturing. Our true test of his skills? We had him reproduce the Sharkie blankie from scratch.
We were impressed to say the least. He had no pattern, just our Sharkie blanket. The other indication that he has an eye. The fabric that I gave him was cut in a different direction just to save fabric and he was able to tell. Only a trained eye would know that.
One more indication of the possibility of this happening occurred as I was standing on the road leading up to the entrance to the sewing center. I saw an amazing black, red and yellow swallowtail butterfly . Then I proceeded to see at least 15 or more yellow butterflies fluttering all throughout the road. Then it struck me…this is the beginning of my own personal rebirth.
A couple of weeks back for my final project in my fashion design class, I chose the theme "Chrysalitic Emergence" for my collection. I designed a series of evening dresses that were based on the concept of a caterpillar's transformation. This was a very personal collection as I feel in this time and place in my life, I'm being transformed into something new and beautiful. But in order for that to happen I needed to purge the ugliness, the self-doubt and insecurities of my past for this to happen.
I am continually amazed by the pieces that are coming together at just the right time for this project. The next two days we are off to meet with Blossom, a women's undergarment manufacturer and Kara Weaves, a hand loom women's cooperative.


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Monet and the Mediterranean
- Dates: October 10, 1997 through January 4, 1998
- Collections: European Art
June 1997: The Brooklyn Museum of Art Shops will offer a wide range of Monet-inspired items when the Museum presents the upcoming exhibition Monet and the Mediterranean, which opens at the Museum on October 10, 1997. Included will be boxed sets of notecards, posters, postcards, jewelry, ceramics, painting kits, and many other Monet products.
A full-color catalogue of Monet and the Mediterranean, by Joachim Pissarro, organizing curator and great-grandson of painter Camille Pissarro, will also be available. It features 105 paintings from Monet's travels to Venice and the coasts of Italy and France with cityscapes, seascapes, lush palm trees, and olive groves. The softcover edition of the catalogue is $24 (Museum members, $21.60), and the hardcover edition is $45 (Museum members, $39.50).
All-cotton T-shirts depicting one of Monet's vibrant landscapes will be available for $15 (Museum members, $13.50). The shops will also feature cotton baseball caps in assorted colors that bear the signature of the artist ($15; Museum members, $13.50).
The Doges' Palace in Venice, a painting in the collection of the Brooklyn Museum of Art that appears in the exhibition, is featured on several gift products such as a 24["] x 36" poster ($15; Museum members, $13.50), a whimsical mousepad ($17; Museum members, $15.30), a set of twenty notecards with three other Monet images ($12.95; Museum members, $11.65), a hand-painted keepsake box ($22; Museum members, $19.80), and a coffee mug ($7; Museum members, $6.30).
Also available in the Museum Shops will be a Monet umbrella ($35; Museum members, $31.50) and totebag ($25; Museum members, $22.50), which feature a detail from one of Monet's Venetian canals, and a graceful gold-tone gondola pin ($19.95; Museum members, $17.95).
Other Monet and the Mediterranean items featured in the shops will be puzzles, calendars, Monet screen savers, Monet-inspired stained glass windows, jewelry, holiday cards, and Mediterranean-influenced glassware and ceramics.
All of these products will be available in both the Brooklyn Museum of Art's Shop and at the Museum Shop at Equitable Center, located at 787 Seventh Avenue. Assorted Monet-related children's items will be sold at the artSmart® Children's Shop in the Brooklyn Museum of Art.
Monet and the Mediterranean is a major international loan exhibition of 71 paintings by the great French [I]mpressionist Claude Monet (1840–1926) executed during three trips to the French and Italian Rivieras in 1884 and 1888 and Venice in 1908. It will be presented at the Brooklyn Museum of Art from October 10, 1997, through January 4, 1998. Monet and the Mediterranean, assembled from public and private collections worldwide, will include several series of paintings by the artist that have never before been exhibited together.
The exhibition at the Brooklyn Museum of Art is sponsored by The Chase Manhattan Bank. Major support is provided by The Florence Gould Foundation.
Dated and timed tickets are being sold for Monet and the Mediterranean. For more information or to purchase tickets, call the Monet hotline at 1-888-44-MONET.
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1995 - 2003. 1997, 177-178. View Original 1 . View Original 2
Date unknown, 1997: THE ITALIAN AND FRENCH RIVIERAS, 1884
When Claude Monet (1840–1926) made a brief tour of the Mediterranean coasts of France and Italy with Renoir in 1883, he was confronted with challenging new pictorial problems. In early 1884, he set off for the region again on his own and produced in the picturesque Italian seaside town of Bordighera a series of works that he considered completely new. In Monet's views of the small village and its surroundings Bordighera appears overcome by wild vegetation and pressed against the sea or the mountains. The series includes paintings of the Moreno garden and its groves of rare and spectacular species of palm trees, the alpine countryside of the valley of Sasso Vintimigilia and the valley of the Nervia, and the town of Dolceacqua. Monet ended his Mediterranean sojourn on the French coast, where he painted a series of views of Cap Martin, then relatively unknown, and of Monte Carlo, which he considered the most beautiful spot on the French Riviera.
Monet again spent late winter and early spring on the French Riviera four years later. He took up residence for about twelve weeks in the small fortified town of Antibes. The group of works he painted there of the pink and golden silhouette of the town and its old fort protruding into the bay, of Antibes seen from the gardens of LaSalis, and of the nearby coastal areas, such as the beach of Juan-les-Pins and the rock formations of Cap d'Antibes, are bright and extraordinarily colorful. They represent Monet's attempt to portray in a new pictorial vocabulary the plain immensity of the sea, the depth of the sky, the Alps at the horizon.
More than twenty years later Monet traveled for the last time to the Mediterranean, to the eastern coast of Italy, where he undertook a group of Venetian cityscapes. They were to be his last series of works outside his home in Giverny. The Venice series is a group of smooth, fully integrated, masterfully composed works. Painting the Doges' Palace, San Giorgio Maggiore, the Grand Canal, Santa Maria della Salute, and various adjacent palaces, Monet turned Venice into his own outdoor studio. He depicted the ornate facades of Venice under the intense light of the Adriatic tempered by the surrounding haze of the canals.
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1995 - 2003. 1997, 179-180. View Original 1 . View Original 2
July 1997: A major international loan exhibition will assemble for the first time more than 60 little-known paintings by the great French Impressionist Claude Monet (1840–1926) executed during three trips to the French and Italian Rivieras in 1884 and 1888 and to Venice in 1908. It will be presented at the Brooklyn Museum of Art October 10, 1997 through January 4, 1998. Monet and the Mediterranean, will include several series that have never before been seen together. Assembled from public and private collections worldwide, many of the paintings have been inaccessible to students as well as the general public.
Monet and the Mediterranean is organized by the Kimbell Art Museum in Fort Worth, in association with the Brooklyn Museum of Art. The exhibition is supported by an indemnity from the Federal Council of the Arts and the Humanities.
The exhibition at the Brooklyn Museum of Art is sponsored by The Chase Manhattan Bank. Major support is provided by The Florence Gould Foundation.
In Bordighera and Antibes, Monet began to work in what has become known as his "serial procedure," in which he executed more than one picture of a subject from a similar vantage point, but under different circumstances. In some cases the divergences were formal[,] such as size, finish, or chromatic scale. In others the differences were objective, among them weather, lighting, the condition of the sea, or subjective renderings modified by the artist's mood.
Monet and the Mediterranean will include several such series, among them his views of the olive groves of Bordighera, those of a stand of pines in Cap d'Antibes, and a series of the Ducal Palace in Venice, including one from Brooklyn's permanent collection.
Monet's first exposure to the Mediterranean was in late 1883. Weary after completing a commission of six decorative panels for a luxurious Paris apartment, he set off with Renoir to visit the Riviera and Monaco. Fascinated by what he saw, he returned alone in January 1884 to the Italian fishing village and resort of Bordighera and to the Sasso Valley. Over the course of some ten weeks he worked obsessively to produce 35 landscapes, one portrait, and two still lifes. Enroute back to Paris he stopped in Menton for another two weeks where he painted an additional eleven works.
[two repeated paragraphs deleted]
This experience introduced important changes in Monet's work. "In the exotic, wild, exuberant aspects of the South, he discovered a source of profoundly challenging new pictorial problems. This challenge drew from him some of the most powerful, resonant, and innovative painting he had ever produced—work that went well beyond Impressionism," writes Joachim Pissarro, the author of the book that accompanies the exhibition. Pissarro, who organized the exhibition for the Kimbell Art Museum where he is Chief Curator, is the great-grandson of the painter Camille Pissarro.
In 1888 he returned to the South to spend nearly three months in the fortified town of Antibes where he created 39 paintings. Unlike the dense, chaotic images of wild vegetation that he produced on his first trip, his renderings of Antibes are bright and spare in their composition and focused on the immensity of the sea and sky, a shift of emphasis which marked Monet's continuing quest for new pictorial limits.
Monet made one last trip away from Giverny to Venice on the Adriatic, one of many seas comprising the Mediterranean. He remained there from September through December, during which time he executed some 125 paintings, although he had at first proclaimed that he was "too old to paint such beautiful things." Among this remarkable output were groups of Venice cityscapes including paintings of San Marco, San Giorgio Maggiore, Santa Maria della Salute, and various nearby palaces.
In the course of his travels "Monet was like a prospector looking for the biggest pictorial yield," writes Pissarro. He had little curiosity about the cities and cultures he visited. Rather, his travels were obsessive pictorial searches during which he would often work 12 hour days.
Monet has been the subject of numerous exhibitions in recent years among them Claude Monet: 1840-1926, at the Art Institute of Chicago in 1994; Monet in the '90s: The Series Paintings, at the Museum of Fine Arts, Boston, the Art Institute of Chicago, and the Royal Academy of Arts, London, in 1989; and Monet's Years at Giverny: Beyond Impressionism, at The Metropolitan Museum of Art, New York, in 1978. Nevertheless only a few of Monet's Mediterranean [pieces] have been included in these recent exhibition[s], in part because so many of these works have remained in private collections and have not even been reproduced in color until the publication of the Monet and the Mediterranean catalogue.
The fully-illustrated publication reproduced more than 200 paintings from Monet's Mediterranean series, along with commentaries that introduce each group of works. Joachim Pissarro's essay draws upon Monet's extensive correspondence with Alice Hoschede[,] [t]he confidante, lover[,] and eventual wife of Monet. Included are critical responses, from the 1880s to the present, these paintings have evoked. The book is published by Rizzoli International Publications in association with the Kimbell Art Museum and will be available in the Museum Shop in a softcover museum edition ($24) and in hardcover ($45).
The exhibition at the Brooklyn Museum of Art has been coordinated by Elizabeth Easton, Associate curator of European Painting and Sculpture.
Dated and timed tickets will be sold for Monet and the Mediterranean. Tickets will go on sale starting June 2 at a cost [of] $8. For more information or to purchase tickets, call the Monet hotline, 1-888-44-MONET. Tickets cannot be exchanged or refunded. Tickets will also be on sale at the Museum. Tickets for members and children five and under are free, but must be reserved in advance for a specific date and time. There will also be an audio tour available.
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1995 - 2003. 1997, 181-187. View Original 1 . View Original 2 . View Original 3 . View Original 4 . View Original 5 . View Original 6 . View Original 7
September 1997: A large-scale video wall composed of twenty-four video cubes measuring two feet by three feet each and installed in the Grand Lobby of the Brooklyn Museum of Art has been created to enhance the Monet and the Mediterranean exhibition, on view October 10, 1997 through January 4, 1998.
The six foot by twenty-four foot digitally programmed wall has been specially commissioned by Museum Director Arnold Lehman and coordinated by Vice Director of Education Deborah Schwartz. It was produced by Robin White of Owen Electric Pictures and designed and programmed by Jon Stolzberg of V-PLEX.
"We are enormously excited by this unusual means of enhancing the experience of visitors to Monet and the Mediterranean by using state-of-the art technology that transforms the standard exhibition video into a highly creative source of information. It is certain to educate and entertain our visitors," comments Dr. Lehman.
The video wall presentation, entitled Visions of Monet, will take fifteen minutes to view in its entirety. The monitors will explore the life and work of Claude Monet (1840–1926) and introduce visitors to the Brooklyn Museum of Art. Each monitor will present a series of visual segments organized around a specific subject, including a combination of stills, moving images, text, and music.
Monet and the Mediterranean, the first Monet exhibition in New York City in twenty years, presents for the first time sixty-five paintings that the French Impressionist executed during trips to the French and Italian Rivieras and to Venice in the late nineteenth and early twentieth centuries. The video wall will complement the exhibition by presenting archival and contemporary views of the locales of the subjects of the paintings in the exhibition, along with footage of the paintings themselves in order to demonstrate how Monet's vision transformed the landscapes. Not only will it focus on the locales—the Italian fishing village of Bordighera, Cap d'Antibes, and Venice—it will also explore Monet's motifs—nature, light, and water. Also included is a chronological presentation of Monet's life and career, including rare film footage of the artist painting in Giverny. The sections of the video wall that serve as an introduction to the Museum will include stills and videos of the Museum's galleries and collections. Incidental music by composers who were contemporaries of Monet, such as Rachmaninoff and Debussy, will be a part of the presentation.
Robin White is a television producer and media curator. A partner in Owen Electric Pictures in New York, she has produced for National Geographic Television, City Arts on WNET TV, and for corportions. A media-education consultant, she has worked extensively with museums.
Jon Stolzberg programmed his first video wall in 1986, shortly after the medium was introduced in the United States. Since then he has programmed over two hundred video walls for major corporations and cultural institutions throughout the world.
Monet and the Mediterranean is organized by the Kimbell Art Museum, Fort Worth, in association with the Brooklyn Museum of Art. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
The exhibition at the Brooklyn Museum of Art is sponsored by The Chase Manhattan Bank. Major support is provided by The Florence Gould Foundation and CBS 2 (WCBS TV).
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1995 - 2003. 1997, 188-189. View Original 1 . View Original 2
October 1997: Sacha Guitry's 1952 C[eu]x De Che[z] Nous, which includes 1915 footage of the Impressionist painters, is included in The Impressionists' Eye: Films About Monet at the Brooklyn Museum of Art from November 1 to December 14. The films are presented in conjunction with the Museum's current international loan exhibition, Monet and the Mediterranean, which continues through January 4. Tickets for the films are $6; $4 for Museum members, students, and older adults.
Other films include Linnea in Monet's Garden, an animated story adapted from the popular children's book of the same title, and Memories of Monet, a narration of the relationship between Monet and the American artist Lil[l]a Cabot Perry.
Monet and the Mediterranean is a major international loan exhibition that comprises sixty-five exceptional paintings by the great French Impressionist Claude Monet (1840-1926) produced during his trips to the Italian Riviera (1884), the French Riviera (1888), and Venice (1908). These paintings, from public and private collections, have seldom, if ever, been shown to the public, and many have never been reproduced in color. They reveal Monet's fascination with the luxuriant and dazzling landscape of the Mediterranean and his obsession with perfecting the task of "painting light." The exhibition includes several series of works that have never before been seen together, including his views of the olive groves of Bordighera, the pine trees on Cap d'Antibes, and the Ducal Palace in Venice. Each of these series represents a style of painting markedly different from the styles with which Monet had established his reputation in the north. As he attempted to reconcile the Mediterranean's architecture with its lush and exotic landscape, Monet created some of the most beautiful and visually complex paintings of his career.
The Impressionists' Eye: Films About Monet
Iris and B. Gerald Cantor Auditorium
Tickets are $6; $4 for Museum members, students, and older adults.
Saturday November 1
1 p.m.
Linnea In Monet's Garden (1992).
Directed by Lena Anderson and Christina Bjork. 16mm. 30 min.
Adapted from the children's book of the same title by Christina Bjork. Animated story about a young Swedish girl, Linnea, who travels with her neighbor to France to visit the famous gardens of her favorite artist, Claude Monet, at Giverny. Blends animation and live action with photographs of Monet and reproductions of his paintings.
6 p.m.
Avec Claude Monet (1966).
Directed by Dominique Delouche. 16mm. 22mm.
Relates stages in the life and art of French [I]mpressionist painter Claude Monet to the places where he lived and worked.
Memories Of Monet (1984).
Directed by Meredith Martindale and Toby Molenaar. 16mm. 28 min.
First-person narration evokes the friendship between Claude Monet and the American artist Lilla Cabot Perry, who, with her husband, spent ten summers at Giverny between 1889 and 1909. Blends location shots of Monet's gardens at Giverny with photographs of paintings he executed from 1889 until his death. Narrated by Claire Bloom.
Ceux de Chez Nous (1952). Directed by Sacha Guitry. 40 min.
The film features footage from 1915 of such French artistic figures as Claude Monet, Edgar Degas, Camille Saint-Saëns, Anatole France, Sarah Bernhardt, Pierre-Auguste Renoir and his son Jean, Auguste Rodin, and Edmond Rostand.
Sunday November 2
1 p.m.
Linnea In Monet's Garden (repeats)
Saturday November 8
1 p.m.
Linnea In Monet's Garden (repeats)
6 p.m.
D'ici à là et de là à ici (1986). Directed by Jean-Loup Hirat. Video. 5 min.
A brief look at places associated with French painter Claude Monet, at the materials painters use, including palette, brushes, and pencils[,] and at the forms and values of painting, such as line, curve, square, and black and gray.
Four Views of a Landscape (1976). Directed by Sheila Graber. 16mm. 4 min.
Uses animation in a humorous manner to present four interpretations of a landscape theme by painters Claude Monet, Vincent van Gogh, John Constable, and Joseph Mallord William Turner.
Monet In London (1974). Directed by David Thompson. 16mm. 18 min.
Claude Monet's devotion to "the fog that gives London its fullness" brought him, during the winters of 1899 and 1901 to the Savoy Hotel[,] where he began the Thames series. Live action footage of the Thames and contemporary photos of London set the paintings in context. Narrated by Michael Gough.
The Open Air: Monet and the Impressionists (1979). Directed by Wolf Arnold. Video. 28 min.
Traces the origins of French Impressionist painting during the second half of the nineteenth century by focusing on one of its chief artists, Claude Monet, his physical environment, some of his early works, and his first teacher, Eugene Boudin. The film also examines the roots of Impressionism: the reaction against the formality of "official art," the escape from studio painting into open-air painting, the response to the threat to painting posed by the new art of photography, and the revived interest in light in all its forms.
Palettes: Japanese Bridges By Claude Monet (1991). Directed by Alain Jaubert. Video. 26 min.
Part of a series in which each episode tells the story of one painting using scientific methods and special video effects. The film depicts how Monet shaped the landscape, gardens, and waterlily ponds at Giverny into the work of art that he then portrayed in his paintings.
Sunday November 9
1 p.m.
Linnea In Monet's Garden (repeats)
Saturday December 13th
1 p.m.
Linnea In Monet's Garden (repeats)
6 p.m.
Ceux de Chez Nous (repeats)
Memories Of Monet (repeats)
Open Air (repeats)
Sunday, December 13
3 p.m.
Ceux de Chez Nous (repeats)
Memories Of Monet (repeats)
Open Air (repeats)
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1995 - 2003. 1997, 190-192. View Original 1 . View Original 2 . View Original 3
December 1997: The exhibition Monet and the Mediterranean at the Brooklyn Museum of Art will be extended by two additional weeks until Sunday, January 18, 1998, through generous additional funding by The Chase Manhattan Bank. The exhibition opened on October 10, 1997, and was originally scheduled to close on January 4, 1998. All sixty-five paintings, which were executed by Claude Monet during three trips to the French and Italian Rivieras and to Venice, will remain through the extension of the exhibition.
The Brooklyn Museum of Art will also expand the hours, effective immediately, of Monet and the Mediterranean, as well as of portions of the first floor, and all three on-site shops, to accommodate the demand for tickets. Monet and the Mediterranean is organized by the Kimbell Art Museum, Fort Worth, in association with the Brooklyn Museum of Art. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
The exhibition at the Brooklyn Museum of Art is sponsored by The Chase Manhattan Bank. Major support is provided by The Florence Gould Foundation and CBS 2 (WCBS TV).
"The audience for this remarkable exhibition has greatly exceeded our expectations and has attracted record-breaking crowds from all over the world. We are delighted, by extending the exhibition and lengthening the hours, that it will be possible to make the exhibition available to even more visitors. The BMA is extremely grateful to all of the private and public lenders to Monet and the Mediterranean for making this possible," commented Museum Director Arnold L. Lehman.
William B. Harrison, Jr., Vice Chairman of The Chase Manhattan Corporation, noted, "Monet and the Mediterranean has offered Chase a wonderful opportunity to continue a long, and exceptionally strong, tradition of supporting the visual arts and to contribute to the thriving cultural life of Brooklyn, where we've had a presence for many years. We are thrilled to help extend the life of this exhibition."
The expanded hours will include opening the Monet exhibition on Monday, December 29, and Tuesday, December 30, from 10 a.m. to 6 p.m., and on New Year's Day from 11 a.m. to 6 p.m., all days that the Museum would normally be closed to the public.
Monet and the Mediterranean will also open an hour earlier, at 10 a.m., on Saturdays and Sundays, and on Sundays will also remain open an hour later until 7 p.m.
The exhibition will remain open until 8 p.m. on Friday, December 26; Sunday, December 28; Friday, January 2; and on closing day, Sunday, January 18.
Additional information and tickets are available at the Museum or by calling 1-888-44-MONET.
Regular hours for the Brooklyn Museum of Art are Wednesday through Friday, 10 a.m. to 5 p.m.; Saturday, 11 a.m. until 9 p.m.; and on Sunday from 11 a.m. to 6 p.m.
For the run of the exhibition the Museum has created special group packages that include exhibition tickets and lunch at a selection of Brooklyn's leading restaurants. Special hotel packages are available through a partnership with Marriott, and Amtrak is offering a discount to passengers traveling from Philadelphia to see the exhibition. Special discounts on exhibition tickets are also available to Chase Credit Card and Chase Banking Card (with the Mastercard logo) customers.
Other Brooklyn institutions and restaurants, among them the Brooklyn Botanic Garden and Gage & Tollner restaurant, have reported a surge in business since the opening of Monet and the Mediterranean.
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1995 - 2003. 1997, 193-194. View Original 1 . View Original 2
Press Coverage of this Exhibition
- ARTSeptember 7, 1997 By ROBERTA SMITHGuide to new art season; photos (M)
- WHAT'S DOING IN; New YorkSeptember 21, 1997 By TERRY TRUCCO*New York City beckons travelers with signs of new life all over; roundup of things to do and see and some advice on where to stay and eat; map; table; photos (L)
- The Art Behind the Art Show; Wheeling and Dealing to Get Monet to BrooklynOctober 2, 1997 By TERRY PRISTINBrooklyn Museum of Art's show, Monet and the Mediterranean, which begins Oct 10, is expected to be most popular exhibition ever mounted by institution; it is end result of months of wrangling and horse trading by Elizabeth W Easton, curator of show, with her counterparts at other museums; photos (M)
- NEWS SUMMARYOctober 2, 1997 "INTERNATIONAL A3-10 Israel Secret Service Tied To Attack on Hamas Leader Officially inspired news reports in Israel and Jordan offer mounting evidence that Israel's release of the religious leader of Hamas, a militant Islamic movement, was a gesture meant to placate King Hussein after a failed Israeli attempt to assassinate a Hamas political leader..."
- ART REVIEW; A Tourist Expanding His HorizonsOctober 10, 1997 By MICHAEL KIMMELMANMichael Kimmelman reviews Brooklyn Museum's exhibit Monet and the Mediterranean; 65 paintings in show were inspired by trips artist took between 1883 and 1908; photos (M)
- Spare TimesOctober 10, 1997 List of some happenings for children in New York this weekend; photo (S)
- Art GuideOctober 17, 1997 Selective listing and capsule reviews of art, design and photography exhibitions in New York City; photos (M)
- Price No Object at Armory ShowOctober 17, 1997 By CAROL VOGELInternational Fine Art and Antique Dealers Show at Seventh Regiment Armory features high-end offerings from many of the world's leading dealers; photo (M)
- Not Your Father's Art Museum; Brooklyn's Got Monet, but Also Karaoke, Poetry and DiscoOctober 27, 1997 By DOUGLAS MARTINArticle discusses how Brooklyn Museum of Art is coming up with offbeat and unexpected ways to attract people; opening of disco, staging karaoke nights and poetry readings are being used to bolster attendance, which remains at around 300,000 annually; photo (M)
- CalendarOctober 29, 1997 "What to Eat When in Peru A demonstration and tasting of Peruvian cooking will be given by chefs from Lima, Peru, tomorrow from 5:30 to 8 P.M. at the French Culinary Institute, 462 Broadway (Grand Street). Tickets are $15; proceeds will be donated to Unicef. Reservations: (212) 219-8890. What to Eat When in Deep Woods A field trip about wild edible..."