Essence Uhura Atkins (born February 7, 1972) is an American actress. She began her career appearing on television sitcoms, before her regular role on the short-lived first African-American prime-time drama Under One Roof (CBS, 1995).

Atkins is best known for her roles on television comedies. From 1997 to 1999, she starred as Tasha Yvette Henderson in The WB sitcom Smart Guy. She later went to star as Dee Dee Thorne in UPN sitcom Half & Half (2002–2006), Suzanne Kingston-Persons in TBS comedy series Are We There Yet? (2010–2013) and as Ashley Wayne in NBC sitcom Marlon (2016–2018). In film, Atkins has appeared in How High (2001), Deliver Us from Eva (2003), Dance Flick (2009), A Haunted House (2013), A Haunted House 2 (2014), and The Noel Diary (2022).

Career
Atkins began her career as a teenager guest starring on NBC sitcom The Cosby Show in 1986. The following years she spent playing guest roles on sitcoms include Family Matters, before landing co-leading role opposite James Earl Jones and Vanessa Bell Calloway in the short-lived first African-American prime-time soap opera Under One Roof in 1995. The following year, she co-starred with Keri Russell in the short-lived NBC teen soap opera Malibu Shores. One of her television roles was in the Saved by the Bell spin-off, Saved by the Bell: The College Years in 1993. She appeared in the pilot, but when Tiffani-Amber Thiessen, a regular from the original, opted to return, Atkins's character was written out.

From 1997 to 1999, Atkins starred in the WB sitcom Smart Guy as the older sister Tasha Yvette Henderson. From 2002 to 2006 she starred alongside Rachel True in the UPN sitcom Half & Half playing Dee Dee Thorne, her half-sister. She also had supporting roles in films How High (2001), Deliver Us from Eva (2003) opposite Gabrielle Union, and Dance Flick (2009). From 2010 to 2013, she starred in the TBS sitcom series Are We There Yet? opposite Terry Crews. Atkins later starred alongside Marlon Wayans in the parody films A Haunted House (2013) and A Haunted House 2 (2014). In 2016, she was cast opposite Wayans in his NBC sitcom Marlon. it was canceled after two seasons in 2018.

In 2019, Atkins was cast in a leading role in the Oprah Winfrey Network drama series Ambitions opposite Robin Givens.

Personal life
In September 2009, Atkins married
All-American collegiate football free safety Jaime Mendez. They met Valentine's Day 2008 through the online dating service Match.com. Her Half and Half co-star Valarie Pettiford performed during the reception.

On August 9, 2011, the couple announced via Twitter that they were expecting their first child together. Essence gave birth to their son in December 2011. The couple divorced in 2016.

Filmography

Film

Television

Awards and nominations

References

External links

1972 births
Living people
20th-century American actresses
21st-century American actresses
African-American actresses
American television actresses
American film actresses
American child actresses
Actresses from Brooklyn
African-American child actresses
20th-century African-American women
20th-century African-American people
21st-century African-American women
21st-century African-American people

Essence Atkins


SpongeBob SquarePants: Legend of the Lost Spatula is a 2001 platform action video game developed by Vicarious Visions and published by THQ for the Game Boy Color handheld game console. It is the first video game to be based on SpongeBob SquarePants. The game's story centers on SpongeBob SquarePants, a sea sponge who lives in the undersea town of Bikini Bottom and works for Mr. Krabs as the fry cook of the Krusty Krab fast food restaurant. SpongeBob is destined to become the ocean's greatest fry cook, and must embark on a quest to retrieve a golden spatula from the Flying Dutchman, a pirate ghost. The game features platforming-style gameplay, as well as many characters from the television series.

Gameplay

As SpongeBob, the player embarks on an undersea quest to find the Flying Dutchman's Golden Spatula in order to become the ocean's greatest short-order cook. If SpongeBob gets hit, his clothing falls off. If SpongeBob is wearing a jacket power-up, he loses it when he is hit. If he takes a hit with no jacket, his pants fall off, leaving him to run around in his underwear. If his underwear falls off, he loses a life.  Along the way, SpongeBob meets and interacts with many of the show's popular recurring characters like Mr. Krabs, Squidward Tentacles, Sandy Cheeks, and Patrick Star. The game uses elements of adventure and side-scrolling gameplay.

Reception

The game has received mixed reviews. Frank Provo of GameSpot said "One could argue that SpongeBob SquarePants: Legend of the Lost Spatula is geared toward the younger audience of the TV series, which would explain the game's simplified gameplay and lack of variety. However, while the plot is endearing and the characters will no doubt appeal to the series' fans, there is no evidence to suggest that children would actually enjoy playing a game this unremarkable – let alone adults". Provo criticized the game for its "simplified gameplay" and "lack of variety", but gave praise to the graphics, saying the game "at least looks decent". Jon Griffith of IGN complimented the game as a "decent platformer" with "large levels, multiple objectives, and amusing characters" but criticized it for its password saving system, confusing level design, and difficulty in certain aspects of gameplay.

References

External links
 Information page at IGN
 Information page at GameSpot

2001 video games
Engine Software games
Game Boy Color games
Game Boy Color-only games
Side-scrolling video games
Single-player video games
Legend of the Lost Spatula
THQ games
Vicarious Visions games
Video games developed in the United States


A trade secret is a formula, practice, process, design, instrument, pattern, or a collection of information which is not generally known, invented or created, by which a business can obtain an economic advantage over competitors or customers. In some jurisdictions, such secrets are referred to as "confidential information" or "classified information".

With its broad definition of eligible subject matter, trade secret law protects a wide range of valuable information, including information that would not be eligible for protection under existing patent, trademark, or copyright law. This could include formulae and recipes, proprietary databases, business processes and methods, information about costs, pricing, margins, overhead, manufacturing processes, proprietary computer software programs, customer lists, and strategic plans and marketing programs.

There are three factors that are common to all definitions of a trade secret, a trade secret is information that:
 Is not generally known to the public;
 Grants some sort of economic benefit on its holder (where this benefit must derive specifically from its not being generally known, not just from the value of the information itself);
 Is the subject of reasonable efforts to maintain its secrecy.
The unauthorized acquisition, use, or disclosure of such secret information in a manner contrary to honest commercial practices by others is regarded as an unfair practice and a violation of the trade secret protection.

References

Secrecy
Trade
Intellectual property law

Trade secret


Johan Kenkhuis (born 7 May 1980 in Vriezenveen, Overijssel) is an Olympic medal winning Dutch swimmer.

From a young age, Kenkhuis had a strong interest in swimming. In 1998, he won gold medals in both the 100 meter and 200 meter freestyle events in the European Junior Championships. At the 2000 Olympic Games in Sydney, Australia, Johan was a member of the bronze medal 4×200 meter freestyle relay team. He also helped the Netherlands win a silver medal at the FINA World Championships in Fukuoka, Japan in 2001 as a member of the 4×100 meter freestyle relay team.

However, by 2002, he was growing tired of the sport and close to retirement. His coach, Fedor Hes, helped him develop a different training strategy which involved spending more time on dry land. Seemingly invigorated by the new training style, Johan quickly progressed enough to win fourth place at the 50 meter freestyle event in the World Championships in Barcelona, Spain. He finished only 0.01 seconds behind the bronze medalist.

In the 2004 Olympic Games, Johan was a member of the Dutch Olympic swim team. As the starting swimmer in the 4×100 meter freestyle relay, alongside Pieter van den Hoogenband, Mitja Zastrow, and Klaas-Erik Zwering he played a critical role in securing a silver medal in the event.

Kenkhuis is currently living in Amsterdam where he is a member of De Dolfijn SPAX swim club but trains with XLence Swimteam. He is a Business and Marketing major at the Johan Cruyff University in Amsterdam.

Kenkhuis was one of only eleven openly gay athletes to participate in the 2004 Olympic Games in Athens. In November 2006 he announced that he would quit swimming on the highest level after the 2006 European Championships Short Course in Helsinki, Finland.

See also
 Dutch records in swimming
 Gay athletes

References

External links
Zwemkroniek Online Profile
XLence Swimteam Profile

1980 births
Living people
Dutch gay men
Dutch LGBT sportspeople
Dutch male freestyle swimmers
Olympic bronze medalists for the Netherlands
Olympic bronze medalists in swimming
Olympic silver medalists for the Netherlands
Olympic swimmers for the Netherlands
People from Vriezenveen
Swimmers at the 2000 Summer Olympics
Swimmers at the 2004 Summer Olympics
World Aquatics Championships medalists in swimming
Gay sportsmen
LGBT swimmers
Medalists at the FINA World Swimming Championships (25 m)
European Aquatics Championships medalists in swimming
Medalists at the 2004 Summer Olympics
Medalists at the 2000 Summer Olympics
Olympic silver medalists in swimming
Sportspeople from Overijssel
21st-century Dutch LGBT people

Johan Kenkhuis


A suit, lounge suit, or business suit is a set of clothes comprising a suit jacket and trousers of identical textiles generally worn with a collared dress shirt, necktie, and dress shoes. A skirt suit is similar, but with a matching skirt instead of trousers. It is currently considered semi-formal wear or business wear in contemporary Western dress codes, however when the suit was originally developed it was considered an informal or more casual option compared to the prevailing clothing standards of aristocrats and businessmen. The lounge suit originated in 19th-century Britain as sportswear and British country clothing, which is why it was seen as more casual than citywear at that time, with the roots of the suit coming from early modern Western Europe formal court or military clothes. After replacing the black frock coat in the early 20th century as regular daywear, a sober one-coloured suit became known as a lounge suit.

Suits are offered in different designs and constructions. Cut and cloth, whether two- or three-piece, single- or double-breasted, vary, in addition to various accessories. A two-piece suit has a jacket and trousers; a three-piece suit adds a waistcoat. Hats were almost always worn outdoors (and sometimes indoors) with all men's clothes until the counterculture of the 1960s in Western culture. Informal suits have been traditionally worn with a fedora, a trilby, or a flat cap. Other accessories include handkerchief, suspenders or belt, watch, and jewelry.

Other notable types of suits are for what would now be considered formal occasions—the tuxedo or dinner suit (black tie) and the black lounge suit (stroller)—both which originally arose as less formal alternatives for the prior formal wear standards known as white tie, which incorporated items such as the dress coat, and of morning dress, which incorporated items such as the morning coat with formal trousers.

Originally, suits were always tailor-made from the client's selected cloth. These are now known as bespoke suits, custom-made to measurements, taste, and style preferences. Since the 1960s, most suits are mass-produced ready-to-wear garments. Currently, suits are offered in roughly four ways:
bespoke, in which the garment is custom-made by a tailor from a pattern created entirely from the customer's measurements, giving the best fit and free choice of fabric;
made to measure, in which a pre-made pattern is modified to fit the customer, and a limited selection of options and fabrics is available;
ready-to-wear, off-the-peg (Commonwealth English), or off-the-rack (American English), which is sold as is, although some tailor alteration tends to be required;
suit separates, where lounge jacket and trousers are sold separately in order to minimize alterations needed, including also odd-colored blazers or sports coats as smart casual options

Terminology

The word suit derives from the French suite, meaning "following," from some Late Latin derivative form of the Latin verb sequor = "I follow," because the component garments (jacket and trousers and waistcoat) follow each other and have the same cloth and colour and are worn together.

As a suit (in this sense) covers all or most of the wearer's body, the term "suit" was extended to a single garment that covers all or most of the body, such as boilersuits, diving suits, and spacesuits.

History

The suit's origins trace the simplified, sartorial standard established by the English king Charles II in the 17th century, following the example of his one-time host King Louis XIV's court at Versailles, who decreed that in the English Court men would wear a long coat, a waistcoat (then called a "petticoat"), a cravat (a precursor of the necktie), a wig, knee breeches (trousers), and a hat. The paintings of Jan Steen, Pieter Bruegel the Elder, and other painters of the Dutch Golden Era reveal that such an arrangement was already used in Holland, if not Western Europe as a whole.

The current styles, founded in the Great Male Renunciation of the late 18th century, sharply changed the elaborately embroidered and jewelled formal clothing into the simpler clothing of the British Regency period, which gradually evolved to the stark formality of the Victorian era. In the late 19th century, it was in the search for more comfort that the loosening of rules gave rise to the modern lounge suit.

Brooks Brothers is generally credited with first offering the "ready-to-wear" suit, a suit that was sold already manufactured and sized, ready to be tailored, while Haggar Clothing first introduced the concept of suit separates in the U.S., which are widely found in the marketplace today.

Composition
There are many possible variations in the choice of the style, the garments, and the details of a suit.

Cut

The silhouette of a suit is its outline. Tailored balance created from a canvas fitting allows a balanced silhouette so a jacket need not be buttoned and a garment is not too tight or too loose. A proper garment is shaped from the neck to the chest and shoulders to drape without wrinkles from tension. Shape is the essential part of tailoring that often takes hand work from the start. The two main cuts are double-breasted suits, a conservative design with two columns of buttons, spanned by a large overlap of the left and right sides; and single-breasted suits, in which the sides meat in the centre of the torso with a single column of buttons, overlapping only enough for one, two or three buttons to close, with by convention the jacket front cut so that the lowest button is not designed to close.

Good tailoring anywhere in the world is characterised by strongly tapered sides and minimal shoulder, whereas rack suits are often padded to reduce labour . More casual suits are characterised by less construction and tailoring, much like the sack suit, a loose American style.

There are three ways to buy suits:
 Ready-made and altered "sizes" or precut patterns, a convenience that often is expressed over time with wrinkles from poor shaping, leading to distortion;
 The made-to-measure suit, in which a pre-existing pattern is altered to reflect the individual's preference or nuances of physique to achieve things like the style, lengths, shoulder slope and point-to-point and trouser fitting;
 The custom, bespoke, or tailoring-designed suit, which has at least one basted fitting in which a half-made coat (usually just scraps of cloth basted together) is worn by the client in order to let the tailor readjust the pattern several times before finishing the garment. This process can take the tailor easily 80 hours.

The acid test of authentic tailoring standards is the wrinkle that comes from poor tailoring. Rumples can be pressed out. For interim fittings, "Rock Of Eye" (which means trained freehand based on an experienced artistic eye to match the item to the wearer, trusting the eye over unyielding scripted approach), drawing and cutting inaccuracies are overcome by the fitting.

Fabric
Suits are made in a variety of fabrics, but most commonly from wool, silk or cotton. The two main yarns produce worsteds (where the fibres are combed before spinning to produce a smooth, hard wearing cloth) and woollens (where they are not combed, thus remaining comparatively fluffy in texture). These can be woven in a number of ways, producing flannel, tweed, gabardine, and fresco among others. These fabrics all have different weights and feels, and some fabrics have an S (or Super S) number describing the fineness of the fibres measured by average fibre diameter, e.g., Super 120; the finer the fabric, the more delicate and thus less likely to be long-wearing it will be. Although wool has traditionally been associated with warm, bulky clothing meant for warding off cold weather, advances in making finer and finer fibre have made wool suits acceptable for warmer weather, as fabrics have accordingly become lighter and more supple. Wool fabric is denominated by the weight of a one-square yard piece; thus, the heavier wools, suitable for winter only, are 12–14 oz.; the medium, "three-season" (i.e., excluding summer) are 10–11 oz.; and summer wools are 7–8 oz. (In the days before central heating, heavier wools such as 16 oz. were used in suits; now they are used mainly in overcoats and topcoats.) Other materials are used sometimes, either alone or blended with wool, such as cashmere. Silk alone or blended with wool is sometimes used. Synthetic materials, e.g., polyester, while cheaper, are very rarely recommended by experts. At most, a blend of predominantly wool may be acceptable to obtain the main benefit of synthetics, namely resistance to wrinkling, particularly in garments used for travel; however, any synthetic, blended or otherwise, will always be warmer and clammier than wool alone.  For hot weather, linen is also used, and in the Southern United States, cotton seersucker is worn.

The main four colours for suits worn in business are black, light grey, dark grey, and navy, either with or without patterns. In particular, grey flannel suiting has been worn very widely since the 1930s. In non-business settings or less-formal business contexts, brown is another important colour; olive also occurs. In summer, lighter shades such as tan or cream are popular.

For non-business use, tweed has been popular since Victorian times and still is commonly worn. A wide range of colour is available, including muted shades of green, brown, red, and grey.  Tweeds are usually checked, or plain with a herringbone weave, and are most associated with the country. While full tweed suits are not worn by many now, the jackets are often worn as sports jackets with odd trousers (trousers of different cloth).

The most conventional suit has two or three buttons and is either medium-to-dark grey or navy. Other conservative colours are grey, black, and olive. White and light blues are acceptable at some events, especially in the warm season. Red and the brighter greens are usually considered "unconventional" and "garish".  Tradition calls for a gentleman's suit to be of decidedly plain colour, with splashes of bright colour reserved for shirts, neckties or kerchiefs.

In the United States and the United Kingdom, around the start of the 20th century, lounge suits were never traditionally worn in plain black, this colour instead being reserved for formal wear (including dinner jackets or strollers) and for undertakers. However, the decline of formal wear since the 1950s and the rise of casual wear in 1960s allowed the black suit to return to fashion, as many designers began wanting to move away from the business suit toward more fashion suits.

Traditional business suits are generally in solid colours or with pinstripes; windowpane checks are also acceptable. Outside business, the range of acceptable patterns widens, with plaids such as the traditional glen plaid and herringbone, though apart from some very traditional environments such as London banking, these are worn for business now too. The colour of the patterned element (stripes, plaids, and checks) varies by gender and location. For example, bold checks, particularly with tweeds, have fallen out of use in the US, while they continue to be worn as traditional in Britain. Some unusual old patterns such as diamonds are now rare everywhere.

Inside the jacket of a suit, between the outer fabric and the inner lining, there is a layer of sturdy interfacing fabric to prevent the wool from stretching out of shape; this layer of cloth is called the canvas after the fabric from which it was traditionally made. Expensive jackets have a floating canvas, while cheaply manufactured models have a fused (glued) canvas. A fused canvas is less soft and, if poorly done, damages the suppleness and durability of the jacket, so many tailors are quick to deride fused canvas as being less durable, particularly since they may tend to permanently pucker along the jacket's edges after some use or a few dry cleanings. However, some selling this type of jacket claim that the difference in quality is very small. A few London tailors state that all bespoke suits should use a floating canvas.

Jacket

Front buttons

Most single-breasted suits have two or three buttons, and four or more buttons are unusual. Dinner jackets ("black tie") usually have only one button. It is rare to find a suit with more than four buttons, although zoot suits can have as many as six or more due to their longer length. There is also variation in the placement and style of buttons, since the button placement is critical to the overall impression of height conveyed by the jacket. The centre or top button will typically line up quite closely with the natural waistline. The bottom button is usually not meant to be buttoned and so the jacket is cut such that buttoning the bottom button would ruin the lines and drape of the jacket. It is customary to keep the jacket buttoned while standing and to unbutton the jacket while seated.

Double-breasted jackets have only half their outer buttons functional, as the second row is for display only, forcing them to come in pairs. Some rare jackets can have as few as two buttons, and during various periods, for instance the 1960s and 70s, as many as eight were seen. Six buttons are typical, with two to button; the last pair floats above the overlap. The three buttons down each side may in this case be in a straight line (the 'keystone' layout) or more commonly, the top pair is half as far apart again as each pair in the bottom square. A four-button double-breasted jacket usually buttons in a square.  The layout of the buttons and the shape of the lapel are co-ordinated in order to direct the eyes of an observer. For example, if the buttons are too low, or the lapel roll too pronounced, the eyes are drawn down from the face, and the waist appears larger. There seems to be no clear rule as to on which side the overlap should lie. It usually crosses naturally with the left side to the fore but not invariably. Generally, a hidden button holds the underlap in place.

Lapels

The jacket's lapels can be notched (also called "stepped"), peaked ("pointed"), shawl, or "trick" (Mandarin and other unconventional styles). Each lapel style carries different connotations and is worn with different cuts of suit. Notched lapels, the most common of the three, are usually only found on single-breasted jackets and are the most informal style. They are distinguished by a 75-to-90 degree "notch" at the point where the lapel meets the collar. Peaked lapels have sharp edges that point upward towards the shoulders. Double-breasted jackets usually have peaked lapels, although peaked lapels are sometimes found on single breasted jackets as well. Shawl lapels are a style derived from the Victorian informal evening wear, and as such are not normally seen on suit jackets except for tuxedos or dinner suits. For black tie events, only jackets with pointed and shawl lapels should be worn.

In the 1980s, double-breasted suits with notched lapels were popular with power suits and the New Wave style.

In the late 1920s and 1930s, a design considered very stylish was the single-breasted peaked-lapel jacket. This has gone in and out of vogue periodically, being popular once again during the 1970s, and is still a recognised alternative. The ability to properly cut peaked lapels on a single-breasted suit is one of the most challenging tailoring tasks, even for very experienced tailors.

The width of the lapel is a varying aspect of suits and has changed over the years. The 1930s and 1970s featured exceptionally wide lapels, whereas during the late 1950s and most of the 1960s suits with very narrow lapels—often only about  wide—were in fashion. The 1980s saw mid-size lapels with a low gorge (the point on the jacket that forms the "notch" or "peak" between the collar and front lapel). Current (mid-2000s) trends are towards a narrower lapel and higher gorge. Necktie width usually follows the width of the jacket lapel.

Lapels also have a buttonhole, intended to hold a boutonnière, a decorative flower. These are now only commonly seen at more formal events. Usually, double-breasted suits have one hole on each lapel (with a flower just on the left), while single-breasted suits have just one on the left.

Pockets

Most jackets have a variety of inner pockets and two main outer pockets, which are generally either patch pockets, flap pockets, or jetted ("besom") pockets.
The patch pocket is, with its single extra piece of cloth sewn directly onto the front of the jacket, a sporting option, sometimes seen on summer linen suits or other informal styles. The flap pocket is standard for side pockets, and has an extra lined flap of matching fabric covering the top of the pocket. A jetted pocket is most formal, with a small strip of fabric taping the top and bottom of the slit for the pocket. This style is most often on seen on formalwear, such as a dinner jacket.

A breast pocket is usually found at the left side, where a pocket square or handkerchief can be displayed.

In addition to the standard two outer pockets and breast pocket, some suits have a fourth, the ticket pocket, usually located just above the right pocket and roughly half as wide. While this was originally exclusively a feature of country suits, used for conveniently storing a train ticket, it is now seen on some town suits. Another country feature also worn sometimes in cities is a pair of hacking pockets, which are similar to normal ones, but slanted; this was originally designed to make the pockets easier to open on horseback while hacking.

Sleeves
Suit jackets in all styles typically have three or four buttons on each cuff, which are often purely decorative (the sleeve is usually sewn closed and cannot be unbuttoned to open). Five buttons are unusual and are a modern fashion innovation. The number of buttons is primarily a function of the formality of the suit; a very casual summer sports jacket might traditionally (1930s) have had only one button, while tweed suits typically have three and city suits four. In the 1970s, two buttons were seen on some city suits. Today, four buttons are common on most business suits and even casual suits.

Although the sleeve buttons usually cannot be undone, the stitching is such that it appears they could. Functional cuff buttons may be found on high-end or bespoke suits; this feature is called a surgeon's cuff and "working button holes" (U.S.). Some wearers leave these buttons undone to reveal that they can afford a bespoke suit, although it is proper to leave these buttons done up. Modern bespoke styles and high-end off-the-rack suits equipped with surgeon's cuffs have the last two buttons stitched off-centre, so that the sleeve hangs more cleanly should the buttons ever be undone. Certainty in fitting sleeve length must be achieved, as once working button holes are cut, the sleeve length essentially cannot be altered further.

A cuffed sleeve has an extra length of fabric folded back over the arm, or just some piping or stitching above the buttons to allude to the edge of a cuff. This was popular in the Edwardian era, as a feature of formalwear such as frock coats carried over to informalwear, but is now rare.

Vents
A vent is a slit in the bottom rear (the "tail") of the jacket. Originally, vents were a sporting option, designed to make riding easier, so are traditional on hacking jackets, formal coats such as a morning coat, and, for practicality, overcoats. Today there are three styles of venting: the single-vented style (with one vent at the centre), the ventless style, and the double-vented style (one vent on each side). Vents are convenient, particularly when using a pocket or sitting down, to improve the hang of the jacket, so are now used on most jackets. Ventless jackets are associated with Italian tailoring, while the double-vented style is typically British.  Dinner jackets traditionally have no vents.

Waistcoats

Waistcoats (called vests in American English) were almost always worn with suits prior to the 1940s. Due to rationing during World War II, their prevalence declined, but their popularity has gone in and out of fashion from the 1970s onwards. A pocket watch on a chain, one end of which is inserted through a middle buttonhole, is often worn with a waistcoat; otherwise, since World War I, when they came to prominence of military necessity, men have worn wristwatches, which may be worn with any suit except the full evening dress (white tie). Although many examples of waistcoats worn with a double-breasted jacket can be found from the 1920s to the 1940s, that would be unusual today (one point of a double-breasted jacket being, it may be supposed, to eliminate the waistcoat). Traditionally, the bottom button of a waistcoat is left undone; like the vents in the rear of a jacket, this helps the body bend when sitting. Some waistcoats can have lapels; others do not.

Trousers
Suit trousers are always made of the same material as the jacket. Even from the 1910s to 1920s, before the invention of sports jackets specifically to be worn with odd trousers, wearing a suit jacket with odd trousers was seen as an alternative to a full suit. However, with the modern advent of sports jackets, suit jackets are always worn with matching trousers, and the trousers are worn with no jacket or the appropriate jacket.

Trouser width has varied considerably throughout the decades. In the 1920s, trousers were straight-legged and wide-legged, with a standard width at the cuff of . After 1935, trousers began to be tapered in at the bottom half of the leg. Trousers remained wide at the top of the leg throughout the 1940s. By the 1950s and 1960s, a more slim look had become popular. In the 1970s, suit makers offered a variety of styles of trousers, including flared, bell bottomed, wide-legged, and more traditional tapered trousers. In the 1980s, these styles disappeared in favor of tapered, slim-legged trousers.

One variation in the design of trousers is the use or not of pleats. The most classic style of trouser is to have two pleats, usually forward, since this gives more comfort sitting and better hang standing. This is still a common style, and for these reasons of utility has been worn throughout the 20th century. The style originally descended from the exaggeratedly widened Oxford bags worn in the 1930s in Oxford, which, though themselves short-lived, began a trend for fuller fronts. The style is still seen as the smartest, featuring on dress trousers with black and white tie. However, at various periods throughout the last century, flat-fronted trousers with no pleats have been worn, and the swing in fashions has been marked enough that the more fashion-oriented ready-to-wear brands have not produced both types continuously.

Turn-ups on the bottom of trousers, or cuffs, were initially popularised in the 1890s by Edward VII, and were popular with suits throughout the 1920s and 1930s. They have always been an informal option, being inappropriate on all formalwear.

Other variations in trouser style include the rise of the trouser. This was very high in the early half of the 20th century, particularly with formalwear, with rises above the natural waist, to allow the waistcoat covering the waistband to come down just below the narrowest point of the chest. Though serving less purpose, this high height was duplicated in the daywear of the period. Since then, fashions have changed, and have rarely been that high again, with styles returning more to low-rise trousers, even dropping down to have waistbands resting on the hips. Other changing aspects of the cut include the length, which determines the break, the bunching of fabric just above the shoe when the front seam is marginally longer than height to the shoe's top. Some parts of the world, such as Europe, traditionally opt for shorter trousers with little or no break, while Americans often choose to wear a slight break.

A final major distinction is made in whether the trousers take a belt or braces (suspenders). While a belt was originally never worn with a suit, the forced wearing of belts during wartime years (caused by restrictions on use of elastic caused by wartime shortages) contributed to their rise in popularity, with braces now much less popular than belts. When braces were common, the buttons for attaching them were placed on the outside of the waistband, because they would be covered by a waistcoat or cardigan, but now it is more frequent to button on the inside of the trouser. Trousers taking braces are rather different in cut at the waist, employing extra girth and also height at the back. The split in the waistband at the back is in the fishtail shape.  Those who prefer braces assert that, because they hang from the shoulders, they always make the trousers fit and hang exactly as they should, while a belt may allow the trouser waist to slip down on the hips or below a protruding midsection, and requires constant repositioning; also, they allow, indeed work best with, a slightly looser waist which gives room for natural expansion when seated.

Suit trousers, also known as dress pants in the US, are a style of trousers intended as formal, semi-formal, or informal wear. They are often made of either wool or polyester (although many other synthetic and natural textiles are used) and may be designed to be worn with a matching suit jacket. Suit trousers often have a crease in the front of each pant leg, and may have one or more pleats. Suit trousers can be worn at many formal and semi-formal occasions combined with a shirt that has no tie and a more relaxed fashion, which can be considered smart casual dress.

Breeches
As an alternative to trousers, breeches (or knickers in variations of English where this does not refer to underwear) may be worn with informal suits, such as tweed. These are shorter, descending to just below the knees, fastened closely at the top of the calf by a tab or button cuff. While once common, they are now typically only worn when engaged in traditional outdoor sports, such as shooting or golf. The length and design is closely related to the plus-fours (and plus-sixes etc.) worn for sport, but differ in having no bagginess. They are usually designed to be worn with long socks meeting just below the knee, but riding breeches, worn with long boots such as top boots, are long enough to meet the boot and display no sock.

Accessories
Accessories for suits include neckties, shoes, wristwatches and pocket watches, pocket squares, cufflinks, tie clips, tie tacks, tie bars, bow ties, lapel pins, and hats.

Etiquette

Buttoning the suit jacket

The buttoning of the jacket is primarily determined by the button stance, a measure of how high the buttons are in relation to the natural waist. In some (now unusual) styles where the buttons are placed high, the tailor would have intended the suit to be buttoned differently from the more common lower stance. Nevertheless, some general guidelines are given here.

Double-breasted suit coats are almost always kept buttoned. When there is more than one functional buttonhole  (as in a traditional six-on-two arrangement), only  one button need be fastened;  the wearer may elect to fasten only the bottom button, in order to present a longer line (a style popularised by Prince George, Duke of Kent).

Single-breasted suit coats may be either fastened or unfastened. In two-button suits the bottom button is traditionally left unfastened except with certain unusual cuts of jacket, e.g. the paddock. Legend has it that King Edward VII started the trend of leaving the bottom button of a suit as well as waistcoat undone.

When fastening a three-button suit, the middle button is fastened, and the top one sometimes, but the bottom is traditionally not designed to be. Although in the past some three-button jackets were cut so that all three could be fastened without distorting the drape, this is no longer the case. A four-button suit is uncommon. The one-button suit has regained some popularity (it is also one of the classic styles of Savile Row tailoring). With a single-breasted suit, the buttons are usually unfastened while sitting down to avoid an ugly drape. A double-breasted suit is often able to be left buttoned, to avoid the difficulty of constantly redoing the inner button (the "anchor button") when standing up.

Shirts with suits

Socks with suits
In the United States it is common for socks to match either the shoe (particularly black socks with black shoes) or the trouser leg. This latter is preferred as it makes the leg appear longer, provides a smoother visual transition between the pant leg and the shoe, and minimises the attention drawn by a trouser leg tailored to be too short. A more general rule is for socks to be darker than the shade of the trousers, but potentially a different, instead matching some other part of the outfit such as the shirt or necktie. With patterned socks, ideally the background colour of the sock should match the primary colour of the suit and the other colors should coordinate with other parts of the outfit.

Socks are preferably at least mid-calf height, if not knee-height (over-the-calf), and are usually made predominantly of cotton or wool, though luxury or dress socks may use more exotic blends such as silk and cashmere. Before World War II, patterned socks were common, and a variety of designs like Argyle or contrasting socks were commonly seen. After WWII, socks became more subdued in colour. In lieu of over-the-calf length (which will stay up by itself), some men still use garters to hold up their socks, but this is unusual.

Women

Suit-wearing etiquette for women generally follows the same guidelines used by men, with a few differences and more flexibility.

For women, the skirt suit or dress suit are both acceptable; a blouse, which can be white or coloured, usually takes the place of a shirt. Women's suits can also be worn with coloured tops or T-shirts. Also, women usually wear suits in professional settings, rather than as general formal attire, as men do.

Women's suits come in a larger variety of colours, such as darks, pastels, and gem colours.

Women generally do not wear neckties with their suits, but some do. Fancy silk scarves that resemble a floppy ascot tie became popular in North America in the 1970s. By the 1980s, women were entering the white-collar workforce in increasing numbers, and their dress fashions adopted looks not dissimilar from men's business wear. By the early to mid-1980s, conservatively tailored skirt suits were the norm, in the same colours and fabrics considered standard in men's suits. These were typically worn with buttoned-up collared blouses, usually white or some pastel in colour. These were frequently accessorised with a version of the bow tie, usually the same fabrics, colours, and patterns as men's neckties and bow ties, but tied in a fuller bow at the collar. Pantyhose are worn with the skirt suit in black, nude or white.

Fashion

Western world

Throughout the 20th and 21st centuries, the tailors of England, Italy, Spain, and France have been the leaders in the design of men's suits. The slim-fitting mohair and sharkskin suits developed in London and Milan during the 1960s were widely imitated by the mod subculture, and underwent a large scale revival during the late 2000s to mid 2010s due to their association with James Bond and Don Draper from Mad Men.

Due to the humid climate, Italian suits are frequently made in shades of light grey, sand or stone to reflect the sunlight. Typical fabrics include lightweight flannel, a wool and mohair blend, and linen or chino cloth for hot weather.

Elsewhere in the Mediterranean, suits are considered impractical without constant air conditioning. As a result, most non-conservative businesses, regardless of size or wealth, tend to use casual clothes even in formal meetings. Some professions, such as banking, law, and certain government employees that deal directly with the public do have a more formal dress code.

Some Israeli branches of American firms tend to imitate their American counterparts' style of business casual, smart casual and informal clothing. However, many conservative Israeli professionals, especially Hasidic Jews, continue to wear the traditional single-breasted black, navy blue or grey rekel.

United States

Because wearing a suit conveys a respectable image, many people wear suits during the job interview process. An interview suit is usually a conservative style, and often made of blue or grey fabric. Interview suits are frequently composed of wool or wool-blend fabric, with a solid or pin stripe pattern. The style of an interview suit, however, will depend on the organizational culture of the industry in which a person seeks employment.

In the Southwestern United States, men's suits often feature detailing inspired by traditional Western wear, such as a pointed yoke and arrow pockets. Suit coats similar in appearance to the Ike jacket are also widespread, and it is common practice to wear cowboy boots instead of conventional dress shoes. Country music singers and modern pop stars like Post Malone or Brandon Flowers of The Killers sometimes wear flashy Nudie suits with rhinestones and intricate embroidery.

In modern society, men's suits have become less common as an outfit of daily wear. During the 1990s, driven in part by the meteoric rise of newly successful technology companies with different cultural attitudes, the prevailing management philosophy of the time moved in favour of more casual attire for employees; the aim was to encourage a sense of openness and egalitarianism. "Business casual" dress still tends to be the norm for most workers up to and sometimes including mid-level management. Traditional business dress as an everyday style has been prevalent in middle- and upper-level corporate management (now sometimes collectively referred to as "suits"), and the professions (particularly law). Over time, suits have become less common at the executive level aside for job candidates and formal events, remaining in widespread use at other lives such as among middle-class hotel clerks and salespeople. Casual dress has also become common in Western academic institutions, with traditional business attire falling in popularity.

For many men who do not wear suits for work, particularly in Western society, wearing a suit is reserved for special occasions, such as weddings, funerals, court appearances, and other more formal social events. Hence, because they are not a daily outfit for most men, they are often viewed as being "stuffy" and uncomfortable. The combination of a tie, belt and vest can be tight and restrictive compared to contemporary casual wear, especially when these are purchased at minimal cost and quality for rare occasions, rather than being made to be worn comfortably. This tendency became prevalent enough that the Christian Science Monitor reported that a suit combined with a necktie and slacks was "a design that guarantees that its wearer will be uncomfortable."
 During the late 1960s and early 1970s, men's suits became less commonly worn, in much the same way that skirts and dresses were dropped by many women in favour of trousers. This was seen as a liberation from the conformity of earlier periods and occurred concurrently with the women's liberation movement.

Also remarkable is that the suit now frequently appears in Rock, Heavy Metal and Gothic happenings, even though such groups were once known for a rather rebellious tradition of clothing. Artists and bands such as Nick Cave, Interpol, Marilyn Manson, Blutengel and Akercocke are known for the use of formal clothing in music videos and stage performances. The suit also appears when fans dress for styles such as Lolita, Victorian and Corporate Gothic.

East and South Asia
In 20th-century China, the Communist regime encouraged citizens to wear the Mao suit due to its egalitarian and utilitarian design.

After the independence of India, there was a backlash against Western fashions due to their association with the previous colonialist regime. Instead, professional Indian men began wearing the five button Nehru suit, made from khadi to support the local textile industry. During the 1960s, these suits became fashionable among the British mod subculture due to their use by The Beatles. These made a brief comeback during the mid 2000s, but since 2010 they have been out of fashion in the West.

In the tropical Philippines, a former colony of the United States of America, a suit is called terno; the jacket that comes with it is called amerikana. Because of the hot tropical climate, this formal wear is worn only when necessary, including formal, social or business events. Filipinos rarely wear a suit, and the youth would probably wear one only to a high school or college prom, in which case it might be rented. At any occasion where a suit is worn, it would also be acceptable to wear a long-sleeved  or a short-sleeved barong tagalog, the national dress of the Philippines.

See also
  Western dress codes
 Semi-formal wear
 Black tie
 Black lounge suit
 Informal wear
 Casual
 Smart casual
 Business casual

References

Sources

External links

 Emily Post's Etiquette: The Clothes of a Gentleman, 1922

Suit


Luminiferous aether is a substance once believed to fill the Universe and explain how the transmission of waves of light can happen. People believed that light was a kind of wave. Waves travel over the surface of water in a pond, through the air in a room, etc. All waves that people had studied before had travelled through a medium. The speed of sound through steel is much higher than through air, so people imagined that light must travel through a similar medium too. Since light travels faster than anything else, light should travel through something more rigid (like steel) faster than anything else. But at the same time this substance must have a very low viscosity so that it would not slow down the movements of planets and cause them to eventually fall into their suns. The people coming before Albert Einstein believed this substance to exist, and they called it the "Luminiferous aether."

If an observer was to travel on a boat moving through an ocean current, then they could observe changes in the rate that waves appeared to travel depending on the relationship of the observer to the current.

Physicists conducted experiments to attempt to make this question become clear. The Michelson-Morley Experiment showed that there was no medium through which light travelled. It showed that there is no Luminiferous aether.

The easiest way to see the general idea is to imagine a very fast spaceship moving at one half the speed of light from one star to another. The spaceship has two light-speed meters, one pointing backward and one pointing forward. Since the spaceship is moving away from the photons given off by the yellow star, and running toward the photons given off by the blue star, our ordinary experience leads us to expect that we would measure the speed of the yellow photons as 150,000 kilometres per second, and the speed of the blue photons as 450,000 kilometres per second. However both photons are measured at 300,000 km/sec. Thereby this result indicates that speeds do not change relative to the movement of the spaceship.

Recent research
A recent study is much more precise than the one by Michelson and Morley, but it still shows that the speed of light is constant no matter which direction one is moving in.

References

Physics
History of science

Luminiferous aether


The 5.56×45mm NATO round, pronounced "five-five-six", is an intermediate cartridge and the main bullet type used by guns made for NATO militaries. It was first used in the Vietnam War as the main bullet used by the US military.

Early in the Vietnam War, the main gun used by American soldiers was the M14. Many soldiers complained that the 7.62mm NATO round used by the M14 was too heavy and that the gun kicked back too hard to shoot accurately when shooting in full-automatic fire. To solve this problem, the US military decided replace the M14 and the 7.62mm NATO by creating a new rifle that would shoot lighter bullets with less kickback. That gun would be the M16A1, the first standard issue gun to fire the 5.56mm NATO bullet.

Even though the M16A1 had many design flaws that would cause the gun to jam, the 5.56 bullet performed well in battle. The 5.56 did so well that the Soviet Union made its own intermediate cartridge, the 5.45 x 39mm, to compete with NATO.

Guns that use the 5.56 include the M16, the M4 carbine, the AR-15, the FAMAS, the G36, the SCAR-L, and the M249 light machine gun.

Pistol and rifle cartridges
Military cartridges

5.56×45mm NATO


Peter Bruce Andrews (born 1937) is an American mathematician and Professor of Mathematics, Emeritus at Carnegie Mellon University in Pittsburgh, Pennsylvania, and the creator of the mathematical logic Q0. He received his Ph.D. from Princeton University in 1964 under the tutelage of Alonzo Church. He received the Herbrand Award in 2003. His research group designed the TPS automated theorem prover. A subsystem ETPS (Educational Theorem Proving System) of TPS is used to help students learn logic by interactively constructing natural deduction proofs.

Publications
Andrews, Peter B. (1965). A Transfinite Type Theory with Type Variables. North Holland Publishing Company, Amsterdam.
Andrews, Peter B. (1971). "Resolution in type theory". Journal of Symbolic Logic 36, 414–432.
Andrews, Peter B. (1981). "Theorem proving via general matings". J. Assoc. Comput. March. 28, no. 2, 193–214.
Andrews, Peter B. (1986). An introduction to mathematical logic and type theory: to truth through proof. Computer Science and Applied Mathematics. . Academic Press, Inc., Orlando, FL.
Andrews, Peter B. (1989). "On connections and higher-order logic". J. Automat. Reason. 5, no. 3, 257–291.
Andrews, Peter B.; Bishop, Matthew; Issar, Sunil; Nesmith, Dan; Pfenning, Frank; Xi, Hongwei (1996). "TPS: a theorem-proving system for classical type theory". J. Automat. Reason. 16, no. 3, 321–353.
Andrews, Peter B. (2002). An introduction to mathematical logic and type theory: to truth through proof. Second edition. Applied Logic Series, 27. . Kluwer Academic Publishers, Dordrecht.

References

External links
Peter B. Andrews

1937 births
Living people
20th-century American mathematicians
21st-century American mathematicians
American logicians
Mathematical logicians
Carnegie Mellon University faculty
Princeton University alumni

Peter B. Andrews


The Royal Diaries is a series of 20 books published by Scholastic Press from 1999 to 2005. In each of the books, a fictional diary of a real female figure of royalty as a child throughout world history was written by the author. The Royal Diaries was a spin-off of Scholastic's popular Dear America series. While Dear America, My Name Is America, and My America were all cancelled in 2004, The Royal Diaries continued until 2005.

Unlike Dear America, which consisted of diaries of young girls living during pivotal periods in American history, The Royal Diaries  is a series that features women of royalty from all over the world.  The series is fictional, though it involves real historical figures.  Facts and images concerning the historical figure featured in the book are given at the end of each of the books.

Subjects in The Royal Diaries
The Royal Diaries has covered many famous women in royalty, including Jahanara, Marie Antoinette, Eleanor of Aquitaine, Queen Elizabeth I, Mary, Queen of Scots, Isabella I of Castile, Cleopatra VII, the Grand Duchess Anastasia Nikolaevna, Catherine the Great, Empress Elisabeth, and Queen Victoria.  The series has also covered less known women, such as Queen Seondeok of Silla, Anacaona of the Taínos, Weetamoo of the Pocassets, the Lady of Ch'iao Kuo of the Hsien, the Lady of Palenque of the Mayans, and Nzingha of Ndongo. It also covers the life and customs of these women. The target age for these books is nine to twelve.

Books in the series
Elizabeth I: Red Rose of the House of Tudor, England, 1544 by Kathryn Lasky (1999)
Cleopatra VII: Daughter of the Nile, Egypt, 57 B.C. by Kristiana Gregory (1999)
Isabel: Jewel of Castilla, Spain, 1466 by Carolyn Meyer (2000)
Marie Antoinette: Princess of Versailles, Austria-France 1769 by Kathryn Lasky (2000)
Anastasia: The Last Grand Duchess, Russia, 1914 by Carolyn Meyer (2000)
Nzingha: Warrior Queen of Matamba, Angola, Africa, 1595 by Patricia McKissack (2000)
Kaiulani: The People's Princess, Hawaii, 1889 by Ellen Emerson White (2001)
Lady of Ch'iao Kuo: Warrior of the South, Southern China, 531 A.D. by Laurence Yep (2001)
Victoria: May Blossom of Britannia, England, 1829 by Anna Kirwan (2001)
Mary, Queen of Scots: Queen Without a Country, France, 1553 by Kathryn Lasky (2002)
Sŏndŏk: Princess of the Moon and Stars, Korea, 595 A.D. by Sheri Holman (2002)
Jahanara: Princess of Princesses, India, 1627 by Kathryn Lasky (2002)
Eleanor: Crown Jewel of Aquitaine, France, 1136 by Kristiana Gregory (2002)
Elisabeth: The Princess Bride, Austria-Hungary, 1853 by Barry Denenberg (2003)
Kristina: The Girl King, Sweden, 1638 by Carolyn Meyer (2003)
Weetamoo: Heart of the Pocassets, Massachusetts-Rhode Island, 1653 by Patricia Clark Smith (2003)
Lady of Palenque: Flower of Bacal, Mesoamerica, A.D. 749 by Anna Kirwan (2004)
Kazunomiya: Prisoner of Heaven, Japan, 1858 by Kathryn Lasky (2004)
Anacaona: Golden Flower, Haiti, 1490 by Edwidge Danticat (2005)
Catherine: The Great Journey, Russia, 1743 by Kristiana Gregory (2005)

TV films
In 2000, HBO created three TV films based on three of the Royal Diaries books: Elizabeth I: Red Rose of the House of Tudor (England, 1544), Isabel: Jewel of Castilla (Spain, 1466), and Cleopatra: Daughter of the Nile (Egypt, 57 BC). The title characters were portrayed by Tamara Hope, Lisa Jakub and Elisa Moolecherry, respectively.

Reruns of these adaptations also aired on Qubo.

TV series
In November 2021, it was reported that Legendary Television and Scholastic Entertainment were developing a television series adaptation.

See also
Dear America
My America

External links
The Royal Diaries at scholastic.ca

References

Series of children's books
Young adult novel series
Children's historical novels
American historical novels
American children's novels
Fictional diaries
Monarchy in fiction

The Royal Diaries


A hostage is a person who is held captive against his or her will. Hostages are often taken (held captive) to force someone else to do something for their captors (the people who took them hostage). Hostages are taken for many different reasons.

 Kidnapping is the act of taking a hostage and asking for a sum of money, called ransom. If the ransom is paid, the hostage is freed. If the ransom is not paid, the hostage is killed.
 During some crimes, for example when robbing a bank, hostages may be taken to stop the police from attacking. The hostages are commonly used to help the thief escape by either stopping the police from shooting them or by freeing a hostage if the police will do something, for example, getting the robbers a car or a helicopter.
 Hostages may be taken for political reasons. This is mostly done as a form of terrorism. It is often done to get prisoners freed or get attention for a group or issue.

Kidnapping

Hostage


John Joseph Anderson (December 14, 1873 – July 23, 1949), nicknamed "Honest John", was a Norwegian-born American professional baseball first baseman and outfielder. He played fourteen seasons in Major League Baseball (MLB) for the Brooklyn Grooms/Bridegrooms, Washington Senators, Brooklyn Bridegrooms/Superbas, Milwaukee Brewers/St. Louis Browns, New York Highlanders, Washington Senators, and Chicago White Sox between 1894 and 1908.

Anderson was the first of only three Major League baseball players to have been born in Norway.  He first appeared in the National League in , when he signed with the Brooklyn Grooms.  He spent the next three full seasons with Brooklyn and was primarily used as an outfielder, and batted over .300 in both  and .

During the  season, he was sold to the Washington Senators, only to be sold back to Brooklyn four months later.  Nevertheless, he managed to have one of his best seasons, leading the National League with 22 triples and also leading the league in slugging percentage and extra-base hits.  Anderson stayed in Brooklyn for the  before being purchased by the Milwaukee Brewers of the newly formed American League.

Anderson was one of the league's best hitters in the AL's first year as a Major League in .  (In , the American League was still considered a minor league.)  As the Brewers' first baseman, he finished second in the league in base hits and doubles, trailing only Nap Lajoie in both categories, ranked third in runs batted in behind Lajoie and Buck Freeman, and was sixth in the league with a .330 average.

He stayed with the franchise when it relocated to St. Louis in  to become the Browns. He played two seasons in St. Louis and recorded virtually identical .284 batting averages in those years.

On September 24, 1903, Anderson tried to steal second base when the base was already occupied.  This particular mistake was often referred to as a "John Anderson play" in the early part of the century

Anderson was dealt to the New York Highlanders before the  season in exchange for Jack O'Connor.  He played one full season in New York and batted .278 with the club.  He started the  season in New York but was waived after a slow start.  The Washington Senators (officially a different franchise from the team he played for in 1898) claimed him off of waivers, and he recovered to bat .279 on the season, good enough for ninth in the AL in the midst of the dead-ball era.

He remained in Washington for the next two seasons.  In , Anderson tied for the American League lead in stolen bases with Elmer Flick.  He left Washington after his contract was purchased by the Chicago White Sox for the  season.  Late that season, when the White Sox faced the Cleveland Naps with both involved in a tight pennant race, Anderson would prove to be the last out in the second ever perfect game in MLB's modern era, pitched by Addie Joss in a tight pitching duel that also saw Anderson's future Hall of Fame team mate Ed Walsh strikeout 15 and allow only one run.  Anderson retired from the Major Leagues at the conclusion of the 1908 season.

Anderson retired with a .290 career average, 50 home runs, and 978 runs batted in.  He also finished his career with 124 triples, currently tying him for 91st place all-time in that category.

He died at the age of 75 in Worcester, Massachusetts.

See also
 List of Major League Baseball career triples leaders
 List of Major League Baseball career stolen bases leaders
 List of Major League Baseball annual stolen base leaders
 List of Major League Baseball annual triples leaders

References

External links

John Anderson at Baseball Almanac
John Anderson at Baseballbiography.com

1873 births
1949 deaths
Major League Baseball first basemen
Major League Baseball left fielders
Brooklyn Grooms players
Brooklyn Bridegrooms players
Brooklyn Superbas players
Washington Senators (1891–1899) players
St. Louis Browns players
New York Highlanders players
Washington Senators (1901–1960) players
Chicago White Sox players
Milwaukee Brewers (1901) players
Major League Baseball players from Norway
Sportspeople from Sarpsborg
American League stolen base champions
19th-century baseball players
Haverhill (minor league baseball) players
Worcester (minor league baseball) players
Providence Grays (minor league) players
Norwegian emigrants to the United States

John Anderson (outfielder)


Boris Berezovsky (Russian: Бори́с Вади́мович Березо́вский; born Moscow, 4 January 1969) is a famous Russian pianist. Berezovsky studied at the Moscow Conservatory. In 1988 he became well known in the West when he gave a recital in the Wigmore Hall in London. Two years later he won the gold medal at the 1990 International Tchaikovsky Competition in Moscow.

Boris Berezovsky gives concerts all over the world. He plays concertos with many of the great orchestras including the Royal Concertgebouw Orchestra, New York Philharmonic, Philadelphia Orchestra, Orchestre de la Monnaie, Rotterdam Philharmonic, Danish National Radio Symphony Orchestra, NDR Hamburg, Hessischer Rundfunk, New Japan Philharmonic, City of Birmingham Symphony Orchestra and with conductors such as Kurt Masur, Wolfgang Sawallisch, Vladimir Ashkenazy, Mikhail Pletnev and Antonio Pappano. Berezovsky has also made many recordings.

Berezovsky has a daughter, Evelyne Berezovsky (born 1991), who is also a pianist. He now lives in Brussels. Boris is an excellent jazz pianist and performs with his trio in Russian clubs.

References

Russian pianists
1969 births
Living people

Boris Berezovsky (pianist)


Sciþþia land ƿæs grundscēat in Eurasie, in þǣm þe lēode (þe Sciþþie hātton) gēara ƿunodon. Sciþþie stōƿe and brādnesse varied over time from þǣm Altai landscipe þǣr ætgadre cumað Mongolia, Cina, Russland, and Casahstan, to þǣre niþerhealfe Donua ēa and Tracie. Saka sindon Asianisca Sciþþie.

The most significant Sciþþisca mægþa hƿærof ealda bēc teallað, oneardedon seo steppe-ƿang betƿeonum Dnieper ēa and Danais ēa. Þa folc in the periphery steppes are usually referred as "Sciþþie", ac hie ne cƿāþ Iranisca gereordas. Priscus, the Byzantine emissary to Ætlan referred to Attila's followers repeatedly sƿa "Sciþþie". However, since most of the significant areas have for a long time been inhabitated by Iranian groups, it is held that the Sciþþie ƿæron of Iranian origin. Our knowledge of their language, Scythian is fram þrim ƿordum found to have strong similarity with Eastern Iranian.

To the best of our knowledge, the Scythians were a culture with no writing system. Most knowledge of the Scythians derives from antique Crēciscum texts.

Etymologically, "Old Iranian Saka, Greek Scythai and Sogdian Sughde, as well as the biblical Hebrew Ashkenaz (þurh Syrian Askuzai) appear all to derive from *skuza, an ancient Indo-European word for archer, cf. English scēotan." (Torday, Mounted archers).

Scythian society

The Scythians formed a network of nomadic tribes of horse-riding conquerors. See Domestication of the horse. They invaded many areas in the steppes of Eurasia, including areas in present-day Kazakhstan, Azerbaijan and southern Russia. Ruled by small, closely-allied ēlites, Scythians had a reputation for their archers, and many gained employment as mercenaries. Scythian elite were buried in kurgans, high barrows heaped over chamber-tombs of larch-wood, a wood that may have had special significance as a tree of life-renewal, since it is a deciduous conifer that stands out starkly in winter against other evergreens, but returns to life every spring. Burials at Pazyryk in the Altai Mountains have included some spectacularly-preserved Scythians of the "Pazyryk culture" including the "Ice Maiden" of the 5th century BC.

Scythian warrior-women may have inspired tales of the Amazons in Greek myth.

A Pazyryk burial found in the 1990s seems to confirm at least part of the legend. It contained the skeletons of a man and a woman, each with weapons, arrowheads, and an axe. "The woman was dressed exactly like a man. This shows that certain women, probably young and unmarried, could be warriors, literally Amazons. It didn't offend the principles of nomadic society", according to one of the archaeologists interviewed for the 1998 NOVA documentary "The Ice Mummies".

Stǣr

To date no certain explanation exists to account for the origin of the Scythians or details of how they migrated to the Caucasus and Ukraine, but the majority of scholars believe that they migrated westward from Central Asia between 800 BC and 600 BC.

The Scythians never had a writing system, so until recent archaeological developments most of our information about them came from the Greeks. Homer called them "the mare-milkers"; Herodotus described them in detail: their costume consisted of padded and quilted leather trousers tucked into boots, and open tunics. They rode with no stirrups or saddles, just saddlecloths. Herodotus' histories allegedly report that Saka Scythians used marijuana, but the specific reference is unclear. The Scythian philosopher Anacharsis visited Athens in the 6th century BC and became a legendary sage.

During the 5th to 3rd centuries BC the Scythians prospered. When Herodotus wrote his Histories in the 5th century BC, Greeks distinguished a 'Greater Scythia' that extended a 20-day ride from the Danube River in the west, across the steppes of today's Ukraine to the lower Don basin from 'Scythia Minor'. The Don, then known as Tanaïs, has been a major trading route ever since. The Scythians apparently obtained their wealth from their control over the slave trade from the north to Greece through the Greek Black Sea colonial ports. They also grew grain, and shipped wheat, flocks, and cheese to Greece.

Philip II of Macedon delivered a setback in 339 BC.

Although the Scythians allegedly disappeared in the 1st century BC, Eastern Romans continued to speak conventionally of "Scythians" to designate mounted barbarians in general: in 448 CE the emissary Priscus is led to Ætlan encampment in Pannonie by two mounted "Scythians" who are distinguished from the Goths and Hunnum who also followed Ætlan. Some scholars believe that the Sarmatians, the Alans, and finally the Ossetians descend from them. The latter, the only Iranians who still live in Europe, call their country Iron, and are mostly Christians. They speak an Eastern Iranian language, Ossetic, called by them Ironig or Ironski (i.e. Iranian), which maintains some remarkable features of Gathic Avestan language. At the same time, it has a number of words remarkably similar to their modern German equivalents, such as THAU (tauen, to thaw, as snow) and GAU (district, region). Christianised Gaelic legends also include mention of Scythian origins.

Archaeology and artifacts
Archaeological remains of the Scythians include elaborate tombs containing gold, silk, horses and human sacrifices. Mummification techniques and permafrost have aided in the relative preservation of some remains.

Pazyryk sidaþing

One of the first Bronze Age Scythian burials documented by a modern archaeologist were the kurgans at Pazyryk, Ulagan district of the Gorno-Altai Republic, south of Novosibirsk. The name Pazyryk culture was attached to the finds, five large burial mounds and several smaller ones between 1925 and 1949 opened in 1947 by a Russian archeologist, Sergei Rudenko; Pazyryk is in the Altai Mountains of southern Siberia. The burial mounds concealed chambers of larch logs covered over by large cairns of boulders and stones.

It flourished between the 7th and 3rd centuries BC mountain fastness of a group of Scythians that may have called themselves Sacae. It was the seat of the larger of two related Scythian groups.

All the things a person might use or need in this life were placed in the tomb as grave goods for use in the next. Among the rich or powerful, horses were sacrificed and buried with them. With the ordinary Pazyryks were only ordinary utensils, but in one was found among other treasures the famous Pazyryk Carpet, the oldest surviving wool pile oriental rug. Rudenko summed up the cultural context at one point:

All that is known to us at the present time about the culture of the population of the High Altai, who have left behind them the large cairns, permits us to refer them to the Scythian period, and the Pazyryk group in particular to the fifth century BC. This is supported by radiocarbon dating.

In the Soviet culture, Rudenko could not stress the cultural similarities between Pazyryk and Scythians from the Kuban and lower Dneiper Denu in Europiscum Russlande. Even in more modern times the fæȝer hǣr and white skin and þæt ȝefrosen "Īsmæȝden" and other burials may be seen, but are not mentioned in the Nova segment devoted to these burials. That the ancient culture he studied has become the basis of nomadic tribes of today including modern Altaians, Kirgiz, and Kazakhs is now a source of considerable pride for the Gorno-Altai Republic.

Sciþþisc Gelonus (Belsk)
Recent digs in Belsk, Ukraine uncovered a vast city believed to be the Scythian capital Gelonus described by Herodotus. The city's commanding ramparts and vast 40 square kilometers exceeded even the outlandish size reported by Herodotus. Its location at the northern edge of Ukraine's steppe would have allowed strategic control of the north-south trade. Judging by the finds dated to the 5th and 4th centuries BC, craft workshops and Greek pottery abounded, and perhaps so did slaves destined for Greece.

The Ryzhanovka kurgan
A kurgan or burial mound near the village of Ryzhanovka in Ukraine, 75 miles south of Kyiv, has revealed one of the only unlooted tombs of a Scythian chieftain, who was ruling in the forest-steppe area of the western fringe of Scythian lands. There at a late date in Scythian culture (ca. 250 - 225 BC), a recently nomadic aristocratic class was gradually adopting the agricultural life-style of their subjects: the tomb contained a mock hearth, the first ever found in a Scythian context, symbolic of the warmth and comfort of a farmhouse.

Ryzhanovka links
 Archaeology abstract of 1997 article
 the Ryzhanovka Kurgan in Ukraine

"Sciþþisc gold"
Scythian contacts with craftsmen in Crēciscum landbūnessa andlang þǣre norðhealfe þæs Euxinus sǣ resulted in the famous Scythian gold adornments that are among the most glamorous prestige artifacts of world museums. Ethnographically extremely useful also, the gold depicts Scythian men as bearded, long-haired Europeans (though such images may simply have been the projections of the Greek artisans onto the works they were commissioned for). "Greco-Scythian" works depicting Scythians within a much more Hellenic style date from a much later period when Scythians had already much mixed with Greeks, clouding the issue of their origins.

Scythians had a taste for elaborate personal jewelry, weapon ornaments and horse trappings. They executed Central Asian animal motifs with Greek realism: winged griffins attacking horses, battling stags, deer, and eagles, combined with everyday motifs like milking ewes.

In 2000 the touring exhibition 'Scythian Gold' introduced North Americans to the objects made for Scythian nomads by Greek craftsmen north of the Black Sea, and buried with their Scythian owners under burial mounds on the flat plains of what is now Ukraine, most of which researchers unearthed after 1980.

In 2001 man gefund undisturbed Sciþþisce cynelice morþcrundel se illustrated for the first time Scythian animal-style gold that lacked the direct influence of Greek styles. Forty-four pounds of gold weighed down the royal couple in this burial, discovered nēah Kyzyl, Tuvan hēafodstōl.

The idea of Scythia
Genetic research in modern populations reveals that the same Y chromosome haplogroup (R1a) represents a genetic lineage currently found in central and western Asia, India, and in Slavic populations of Eastern Europe. The simplest explanation of this distribution is that this Y-chromosome mutation will have originated in people of the kurgan-building culture of traditional Scythia (see link).

Aside from the findings of modern archaeology and genetics, most of what subesquent generations "knew" of Scythia and Scythians was at second hand, a matter of literary conventions. In the 19th century, the "barbarian" Scythians of literature were transformed into the wild and free hardy and democratic ancestors of all the blond Indo-Europeans. Some modern groups claim to be descended from the Scythians. The Scythians feature in national origin mythologies even of Celts: they are claimed by some romantic nationalist writers to have figured in the formation of the empire of the Medes and likewise of Caucasian Albania, the precursor in Antiquity of the modern-day Azerbaijan Republic.

Modern mythological uses of "Scythian"— when they stray far from the archaeologists' findings— tend often to be as a covert euphemism for the currently deprecated "Aryan." A skeptical reader will judge these uses on a case-by-case basis.

Owing to their reputation as promulgated by Greek historians, the Scythians served as an epitome of savagery and barbarism in the early modern period. Specifically, the early modern English discourse on Ireland frequently resorted to comparisons with this people to prove that the indigenous population of Ireland were descendants of these ancient "bogeymen" and as barbaric as their alleged ancestors. Edmund Spenser wrote that "the Chiefest [nation that settled in Ireland] I Suppose to be Scithians ... which firste inhabitinge and afterwarde stretchinge themselves forthe into the lande as theire numbers increased named it all of themselues Scuttenlande which more brieflye is Called Scuttlande or Scotlande" (A View of the Present State of Ireland, c. 1596). Among the proofs Spenser names for this origin are the alleged Irish customs of blood-drinking, nomadic lifestyle, the wearing of mantles and certain haircuts and "Cryes [or wailings] allsoe vsed amongeste the Irishe which savor greatlye of the Scythyan Barbarisme". William Camden, one of Spenser's main sources, comments on this myth of origin that "to derive descent from a Scythian stock, cannot be thought any waies dishonourable, seeing that the Scythians, as they are most ancient, so they have been the Conquerours of most Nations, themselves alwaies invincible, and never subject to the Empire of others" (Britannia, 1586 etc., Engl. transl. 1610).

 Y-Chromosome Biallelic Haplogroups

Russian composer Sergei Prokofiev wrote an orchestral "Scythian Suite," which represented the height of his 'barbarian' style.

References
Torday, Laszlo (1998). Mounted Archers: The Beginnings of Central Asian History. Durham Academic Press. ISBN 1-900838-03-6.

External links and notes
 Livius articles on ancient history, entry on Scythians/Sacae .
 The early burial in Tuva.
 Scythian myth and culture; map .
 Color illustrations of Scythian gold .
 Published excavations of royal Scythian kurgan (barrow) at Chertomlyk reviewed .
 Herodotus, Histories, Book IV - translated by Rawlinson, the 1942 edition.
 1998 NOVA documentary: "Ice Mummies: Siberian Ice Maiden" Transcript.

Fyrnlēode
Sciþþia

Sciþþia


The Basilica of Saint Servatius is a Roman Catholic church dedicated to Saint Servatius, in the city of Maastricht, the Netherlands. The architecturally hybrid but mainly Romanesque church is situated next to the Gothic church of Saint John, backing onto the town's main square, Vrijthof.

History
The present-day church is probably the fourth church that was built on the site of the grave of Saint Servatius, an Armenian missionary who was bishop of Tongeren and died allegedly in 384 in Maastricht. A small memorial chapel on the saint's grave was replaced by a large stone church built by bishop Monulph around 570. This church was replaced by a larger pilgrim church in the late 7th century, which was then replaced by the present-day structure, which was built in several stages over a period of more than 100 years. The nave was built in the first half of the 11th century, the transept in the second half of the century, and the choir and westwork in the 12th century. The Romanesque church was built during a period in which the chapter of Saint Servatius kept close ties to the Holy Roman Emperors, which resulted in a building that has the characteristics of a German imperial church. The dedication of the church in 1039 was attended by the emperor Henry III and twelve bishops. Most of the church's Medieval provosts were sons of the highest ranking German noble families. Several held the office of chancellor of the German Empire; at least eight provosts went on to become archbishops.

The sculpted Bergportaal, at the south side of the church, was begun around 1180 and can be considered late Romanesque or early Gothic. All the chapels along the side aisles are Gothic (14th and 15th centuries), and so is the vaulted ceiling of the nave and the transept. In 1556 a late Gothic spire was added onto the westwork between the two existing towers. In 1770 the entire westwork was crowned with Baroque helmet spires, designed by the Liège architect Etienne Fayen.

Over the centuries the interior of the church underwent many changes. In the 17th century, the Gothic choir rood screen with sculpted depictions of the life of Servatius was demolished. Fragments from the 14th-century screen were discovered during the 1980s restoration works and are now kept in the church's lapidarium in the East crypt. By the end of the 18th century, the entire church interior had been painted white, the colourful Medieval stained glass windows had been replaced by colourless glass, and the church looked distinctly Baroque.

The north transept holds some epitaphs, of which the one for Egidius Ruyschen in Renaissance style is probably the most original. Nearby is the impressive tomb of the Count and Countess van den Bergh (Johannes  Bossier, 1685), which was transferred from the Dominican church of Maastricht. From the Dominican church were also transferred the ornate confessionals by Daniël van Vlierden (Hasselt, 1700), which are located in various parts of the church.

In 1797 the chapter was dissolved by the French revolutionaries and the church was used as a horse stable by the troops. The furnishings of the church were sold, stolen or trashed. Likewise, most of the church treasures disappeared during the first years of the French occupation. In 1804 the church was returned to the parish but the building was an empty ruin. It was during the period that followed that most of the damage was done. The 11th-century Chapel of Saint Maternus and the 15th-century Koningskapel (built by the French kings Charles VII and Louis XI) were considered irreparable and were demolished. For liturgical reasons, it was deemed necessary to lower the elevated choir, for which the underlying 11th-century crypt was demolished. In 1846 the four panels that belonged to the reliquary chest of Saint Servatius (Noodkist) were sold to an antiques dealer and ended up in the Royal Museums of Art and History in Brussels.

Between 1866 and 1900 the church underwent major restorations during which some of the damage done earlier in the century was reversed. The restoration was led by famous Dutch architect Pierre Cuypers. In 1955 a fire caused Cuypers' Gothic Revival westwork spire to fall through the roof of the church, which made another thorough restoration necessary (1982–1991). During this latter restoration, Cuypers' colourful interior decoration scheme was largely removed. During this most recent restoration, extensive excavations that were carried out in the church and adjacent buildings, revealed a wealth of information about the history of the church and its predecessors.

Religious significance
Through the ages, the presence of the grave of Saint Servatius in the church crypt and the many relics in the church treasury, have drawn large numbers of pilgrims. Starting in the 14th century (but perhaps earlier) a seven-yearly pilgrimage was organized in cooperation with nearby Aachen Cathedral and Kornelimünster Abbey, attracting tens of thousands of visitors to the region. This Pilgrimage of the Relics (Dutch: Heiligdomsvaart) continued until 1632 when Maastricht became affiliated with the Dutch Republic (Capture of Maastricht). The Pilgrimage of the Relics was revived in the 19th century and the tradition continues in our days. The most recent Pilgrimage of the Relics took place from May 24 to June 3, 2018.

Today, the Basilica of Saint Servatius is the main church of the Deanery of Maastricht, which belongs to the Diocese of Roermond. The church continues to be a center of Catholicism in Maastricht (the other main church being the Basilica of Our Lady). The church was made a Basilica Minor by Pope John Paul II during his visit in 1985.

Art historical significance
Although the present building conveys a rather hybrid image of architectural styles, the church of Saint Servatius is considered to be one of the most important religious buildings in the former Prince-Bishopric of Liège. Both the East choir and the Westwork of the Maastricht church have been influential in the development of Romanesque architecture in the Meuse and Rhine valleys. Several authors have pointed out the significance of the South portal's late Romanesque sculpture for the early development of Gothic sculpture in France.

Romanesque sculpture
Both the exterior of the East choir and the interior of the westwork of Saint Servatius contain architectural sculpture that is considered amongst the most interesting in the Mosan region. The 34 elaborately carved capitals in the Westwork depict scenes from books well-known to the canons, such as Saint Augustine's De Civitate Dei and various bestiaries. Recurrent themes are: botanical ornaments, animals, humans fighting with animals, humans entangled in plants, and humans engaged in daily activities. A close relationship has been established by art historians between the Maastricht Westwork capitals and those of the East choir of Our Lady's in Maastricht, the Rolduc crypt, the dwarf gallery of the Doppelkirche Schwarzrheindorf (Bonn), and the Wartburg palace (near Eisenach).

Also in the Westwork of Saint Servatius is a sculpted Romanesque choir screen, also referred to as the double relief. The lower rectangular part depicts the Virgin and Child in a mandorla held by two angels, the upper part shows Christ handing over the keys of Heaven to Saint Peter and Saint Servatius. The relief closely relates to a choir screen in Saint Peter's in Utrecht. Elsewhere in the church a 12th-century tympanum depicting the Majestas Domini can be found as part of a former portal. The choir ceiling shows remnants of ceiling paintings, depicting the visions of Zechariah. This may be the only surviving work by a once important group of Maastricht and Cologne based painters, who received high praise from Wolfram von Eschenbach in his Parzival.

The church's South portal (Bergportaal) contains sculpture that marks the period of transition between late Romanesque and early Gothic sculpture. The sculpted tympanum and the two inner archivolts date from around 1180 and are Romanesque is style, the rest of the portal can be considered Gothic and dates from around 1215.

Treasury

Since the donation of a silver reliquary in the shape of a Roman triumphal arch by Charlemagne's biographer Einhard in c. 830, the church has acquired many treasures, most of which are now kept in the Treasury. Amongst the highlights are the reliquary shrine and the reliquary bust of Saint Servatius, the key, the cup, the crozier and the pectoral cross of Saint Servatius, a large patriarchal cross, and many other reliquaries and liturgical vessels, as well as an important collection of medieval ivories and textiles.

Sources and footnotes

 Elizabeth den Hartog: Romanesque Sculpture in Maastricht. Maastricht, 2002
 A.M. Koldeweij: Der gude Sente Servas. Assen/Maastricht, 1985
 Aart J.J. Mekking: De Sint-Servaaskerk te Maastricht. Utrecht/Zutphen, 1986

Further reading
  (2017): Order and Confusion. The Twelfth-Century Choir of the St. Servatius Church in Maastricht. Clavis Kunsthistorische Monografieën Deel XXIV. Clavis Stichting Middeleeuwse Kunst, Utrecht.

External links

 Official site Basilica of Saint Servatius
 Official site Heiligdomsvaart

Roman Catholic churches in the Netherlands
Churches in Maastricht
Rijksmonuments in Maastricht
Servatius
Romanesque architecture in the Netherlands
Mosan art

Basilica of Saint Servatius


is a Japanese prefecture in the Chūgoku region of the island of Honshu. The capital is the city of Matsue. It has the second smallest population of any prefecture in Japan.

Shimane Prefecture is part of the San'in area. San'in means "the shady side of the mountains". There is a mountain range separating Shimane and neighboring Tottori from Hiroshima and Okayama. That means that the weather here is much wetter than further to the south.

History
The area of Shimane Prefecture includes the old provinces of Iwami Province, Izumo Province, and Oki Province.

Early history
The history of Shimane starts with Japanese mythology. In these myths, the Shinto god Ōkuninushi lived in Izumo, an old province in Shimane. Izumo Shrine honors this god.

Later on in the Kamakura period, the Kamakura Shogunate forced Emperor Gotoba and Emperor Godaigo into exile on Oki Island. Emperor Godaigo got away from Oki and successfully fought back against the shogunate.

Middle Ages
During the Muromachi period, many clans fought over this area because there was a lot of silver. The Kyogoku clan controlled Izumo and Oki. However, after the Ōnin War, the Amago clan in Gassan-Toda castle increased in power, and the Masuda clan controlled Iwami. Iwami Ginzan Silver Mine was in between Amago clan territory and Masuda clan territory, so there were many battles between these lords for the large amount of silver. However, in 1566 Mouri Motonari (毛利元就) conquered Izumo, Iwami, and Oki. After over 30 years of Mori control, in 1600 Horio Yoshiharu entered Izumo and Oki after the Battle of Sekigahara which Mouri lost. Horio Yoshiharu decided to move and build Matsue Castle instead of Gassan-Toda. The castle was completed soon after Yoshiharu's death. Later in 1638, the grandson of Tokugawa Ieyasu, Matsudaira Naomasa entered the castle because the Horio clan had no heir. Matsudaira's family ruled until the end of the han system.

The Iwami area was split into 3 clans. The mining district was under direct control of the Shogunate. The Hamada clan and the Tsuwano clan each controlled their own areas. Iwami Ginzan produced silver and was one of the nation's largest silver mine by the early 17th century. The Hamada clan was on the shogunate's side in the Meiji Restoration, and the castle was burned down. The Tsuwano clan, despite the Matsudaira (relative of the shogun) rule was on the emperor's side in the restoration.

Historic sites
 Iwami Ginzan Silver Mine (石見銀山) is a UNESCO World Heritage Site
 Yunotsu - An old onsen town with architecture preserved from the 1920s

Geography
Shimane faces the Sea of Japan on its north.  Its southeastern border meets Tottori Prefecture, Hiroshima Prefecture and Yamaguchi Prefecture.

Cities

 Matsue (松江) - The prefectural capital city, Matsue has an original castle. Most castles in Japan have been rebuilt in modern times. Lafcadio Hearn lived and wrote here.
 Izumo (出雲) - Site of Izumo Taisha, one of Japan's most famous shrines.
 Hamada (浜田) - Fishing port and recreation area.
 Tsuwano (津和野) - This is also called "Little Kyoto". Mori Ogai was born here.
 Masuda (益田) - The westernmost city in Shimane and long-time home of Sesshu, an important artist in Japanese history.
 Gotsu (江津) - A small industrial city between Hamada and Oda.
 Ōda (大田) - Close to Iwami Ginzan and Mt. Sanbe.
 Yasugi - Site of the Adachi Art Museum.

National Parks
National Parks are established in about 6% of the total land area of the prefecture.

Shrines and Temples
Izumo taisha, Mononobe jinja, Mizuwakasu jinja and Yurahime jinja are the chief Shinto shrines (ichinomiya) in the prefecture.

Related pages
 Provinces of Japan
 Prefectures of Japan
 List of regions of Japan
 List of islands of Japan
 :Category:People from Shimane Prefecture

References

Other websites

 Shimane Prefecture website

Shimane Prefecture


In Norse mythology, Fenrir (Old Norse: "he who dwells in the marshes"), also known as Fenrisúlfr (Old Norse: "Fenrir's wolf"), or Vanargand ("Monster of the River Van"), is a giant, monstrous wolf, son of Loki and the giantess Angrboða, and the brother of Hel and Jörmungandr.

Fenrir was tied up by the gods but was destined to break free from his bonds and devour Odin during Ragnarök, after which he is killed by Odin's son, Víðarr.

Fenrir has two sons, Hati ('hate') and Skoll.

The Legend of Fenrir
Odin found out about a prophecy that the children of Loki and Angora would cause trouble for the gods. He had Fenrir brought to him along with its brother Jörmungandr and its sister Hel.

After throwing Jörmungandr into the sea and sending Hel into the land of the dead, Odin had the wolf raised among the Æsir. Only the god Týr was brave enough to feed the growing monster. The wolf got stronger and stronger. The gods were scared that he would eventually destroy them. They tried to chain it up. He agreed to be chained two times. Both times he easily broke the chains.

Odin had the dwarfs make the chain Gleipnir ("deceiver" or "entangler"). It looked like a silken ribbon but was made of six magical ingredients: the sound of a cat's step, the beard of a woman, the roots of a mountain, bear's sensibility, fish's breath, and bird's spittle.

The gods challenged Fenrir to break this chain as well. The wolf saw how thin and well made Gleipnir was and thought it was a trick. He agreed to try and break the chain, but only if one of the gods would put his hand in the wolf's mouth. He believed this would force them to free him if he could not break the chain. Only Týr was willing to put his hand in the wolf's mouth. Fenrir tried to break the chain. The more he tried, the tighter the chain held him. When the gods would not free him, the wolf bit off Týr's hand at the wrist.

It is said that at Ragnarök, the wolf will break free. He will join forces with the enemies of the gods and will then eat Odin. After that Viðarr, Odin's son, will slay the wolf to avenge his father's death.

Other names and spellings

Fenrisúlfr
Vanargand, (anglicized), "Monster of The River"
Hróðvitnir, 'the famous wolf'
Fenris Wolf (an English translation of Fenrisulfr)
Fenrisulf (an Anglicized form)
Fenris (not found in the Old Norse sources)
Fenrisulven (modern Norwegian, Swedish and Danish form)pir
Fenrisúlvur (Faroese)

Norse mythology
Legendary creatures

Fenrir