Richard Kozlow (May 5, 1926 – July 29, 2008) was an artist who lived in Detroit, Michigan. During his prolific career he painted well over a thousand works.

Born in Detroit in 1926, Richard Kozlow's formal training was limited to his abbreviated studies at Cass Technical High School and the College for Creative Studies. After his 1946 discharge from the World War II United States Navy, Kozlow spent two years painting and working in New York City. Although his work had achieved some success (and a favorable New York Times mention), he returned to Detroit to marry the love of his life and "get a job".

At this time (as throughout his career), his paintings used materials in new ways, delving into the textures of old walls and peeling posters. He won (among others) the Museum Purchase prizes of the Detroit Institute of Arts and the Butler Art Institute.

Mexico
Despite a successful Detroit advertising career, winning creative awards and large salaries, in 1960 he left it all to live and paint in San Miguel de Allende, Mexico. Here he applied the new techniques he'd developed to creating the first of the misty mountain paintings which earned his international reputation.

Thus began the pattern of the rest of Richard Kozlow's life. With stays in between in Detroit and many short journeys, he lived and painted in beautiful places. In Majorca, Spain in 1962. In England in 1965. In Costa Rica in 1975. In Portugal and Spain in 1977. And so forth. Each sojourn was followed by a successful show. And, while the Kozlow touch was unmistakable in every show, his methods continued to evolve.

In the 1980s, he left his acrylics to achieve a new softness using oil paints. The allegorical "Soul of Mexico" paintings celebrated the spirit and the festivals of the Mexican people among whom he had lived so many times.

Kozlow had exhibitions in every region of the US and several foreign countries. Although his landscapes have always been much in demand by collectors, many of his most powerful works are black tempera depictions of bloody bullfights, Holocaust victims, and his enigmatic mid-90s "Masks" series.

Kozlow's work had always fallen into a middle and almost unique area: far too modern to describe him as a classic landscapist, yet too representational to put his paintings into a museum's modern wing. Recently there has been a renewed interest in Kozlow's works among art scholars, partly on the strength of his late-nineties paintings, complex self-portraits symbolizing the forces pressing on the life of a great artist.

References

External links
Catalogue of work

1926 births
2008 deaths
Cass Technical High School alumni
United States Navy personnel of World War II

Richard Kozlow


The London Racers was a British ice hockey club based in London, England formerly members of the Elite Ice Hockey League. Although founded in 2003, it claimed to be a successor of the Harringay Racers club established in 1936. Due to a lack of suitable ice facility the club suspended its team operations part way through the 2005–06 season. It was the last professional ice hockey club to play in London.

2003–04 season
Formed and organized in only a few weeks, the Racers played their home games at Alexandra Palace. Erik Zachrisson captained the team. Their first season was a difficult one, as the team failed to win for some 40 games. Finally, a win arrived with a 3–0 victory over the Cardiff Devils. Another win followed as the team beat the Basingstoke Bison 4–0, but the team finished with a ghastly 3–49–2–2 record, still (as of 2010) the worst in league history.

2004–05 season
The team moved to the 1,200 capacity Lee Valley Ice Centre in Leyton, east London, although the arena was considered small for Elite League hockey. The offseason saw the hiring of former American Hockey League player Dennis Maxwell as Coach, who assembled a much stronger team, including perennial British all-star Steve Moria, and, with the 2004–05 NHL lockout, defenceman Eric Cairns and centre Scott Nichol from the National Hockey League. They made the playoffs in the sixth slot (out of seven teams) with a 19–19–9–3 record, but were eliminated by the Cardiff Devils.

2005–06 season
On 5 November, during a game against the Nottingham Panthers, defenseman Blaž Emeršič sustained serious facial injuries after colliding with a protruding object in the rink boardings. Days later on 13 November a piece of plexiglass was smashed. When the same section of glass smashed again at a training session the following Tuesday, serious questions regarding the safety of players and spectators were raised. Unable to find a new venue or secure agreement on improving safety at Lee Valley, the Racers withdrew their team from competitions on 21 November and subsequently folded.

Head-to-head results
This only counts competitive games. Losses include OT losses.
Seasons: 3 (2003-04-2005-06)
Record (W-L-T): N/A-N/A-N/A

Basingstoke Bison

Belfast Giants

Bracknell Bees

Cardiff Devils

Coventry Blaze

Dundee Stars

Edinburgh Capitals

Fife Flyers

Guildford Flames

Hull Stingrays

Manchester Phoenix

Newcastle Vipers

Nottingham Panthers

Sheffield Steelers

External links
 London Racers website

Defunct ice hockey teams in the United Kingdom
Ice hockey clubs established in 2003
Ice hockey clubs disestablished in 2005
Ice hockey teams in London
Former Elite Ice Hockey League teams
2003 establishments in England
2005 disestablishments in England

London Racers


USS Samuel B. Roberts (DD-823), a , was the second ship of the United States Navy to be named for Samuel B. Roberts, a Navy coxswain who was killed evacuating Marines during the battle of Guadalcanal in 1942. The crew nicknamed the ship the "Steamin' Sammy B." for its busy schedule.

The second Samuel B. Roberts was laid down on 27 June 1945 by the Consolidated Steel Corporation, Orange, Texas; launched on 30 November 1945; sponsored by the namesake coxswain's mother; and commissioned on 22 December 1946.

1947 – 1953
Following shakedown training off Guantanamo Bay in February 1947, Samuel B. Roberts joined the Atlantic Fleet. The ship participated in Atlantic Fleet maneuvers before proceeding to the Mediterranean in January 1948. Returning to the United States in June, the destroyer began another year of operations along the East Coast of the United States. A second tour of foreign duty took the ship to northern Europe from May to September 1949.

Roberts participated in western Atlantic operations until March 1950, when the ship sailed to the Mediterranean to join the 6th Fleet until October. Following operations in the western Atlantic and the Caribbean, the Roberts got underway for Scotland on 10 September 1952 to join NATO forces in "Operation Mainbrace", before proceeding to the Mediterranean to join the 6th Fleet. Two months later, in November, the ship returned for duty off northern Europe, and finally sailed for the United States, arriving at Newport on 29 January 1953.

1953 – 1957
Samuel B. Roberts operated in the Atlantic and Caribbean from early 1953 until 3 August 1954, when the ship headed for the western Pacific, via the Panama Canal, to begin an around-the-world cruise. The destroyer spent five months in the waters around Japan and the Philippines, then sailed across the Indian Ocean and through the Suez Canal, arriving home on 14 March 1955. The remainder of 1955 was spent in local operations with the exception of a hastily ordered voyage in July to a lifeguard station off Greenland during President Eisenhower's flight to Geneva.

Western Atlantic operations in early 1956 gave way to foreign duty when Roberts again joined the 6th Fleet in the Mediterranean on 27 September. On 25 October, Roberts weighed anchor for the Persian Gulf and duty with the Middle East Force. The destroyer transited the Suez Canal on the night of 27/28 October, the last warship to transit the canal southbound before it was closed during the invasion of Egypt. The ship was then on duty with the Middle East Force until sailing for home by way of Pakistan, India, East Africa, the Cape of Good Hope, and Brazil. Roberts arrived in Newport on 14 March 1957.

With the exception of a Midshipman Cruise to Rio de Janeiro, Samuel B. Roberts remained near Newport until mid-September. The ship then participated in NATO exercises off northern Europe and returned to the United States on 22 October 1957.

1958
In March 1958, after a three-month overhaul, the destroyer moved into the Caribbean for refresher training. In May, the exercises were interrupted. Roberts deployed hastily to Venezuela and prepared to evacuate United States nationals following the violence during Vice President Nixon's visit to South America. By the 15th, however, the situation was under control. Roberts was relieved and returned to Newport.

Two months later, the ship was ordered to Morehead City, North Carolina, to rendezvous with amphibious units carrying Marine reinforcements to the Mediterranean during the Lebanon crisis. By 25 July, the reinforcements were no longer needed. Roberts, as part of Destroyer Squadron 10, escorted the amphibious units to Puerto Rico, whence the destroyers continued on to the Mediterranean.

Arriving on 10 August, Roberts cruised off the coast of Lebanon from 17 August to 25 August and again from 2 to 20 September to furnish gunfire support to the troops on the beach if it proved necessary. On 17 September, the ship transited the Suez Canal on the way to the Persian Gulf for a few weeks. On the trip home, Roberts returned through the canal on 19 October, passed Gibraltar on 4 November, and arrived at the United States on 13 November.

1959 – 1960
Roberts operated continuously in the western Atlantic until 15 June 1959, when the destroyer sailed from Newport for the St. Lawrence River to participate in Operation "Inland Seas", the opening of the St. Lawrence Seaway. After official ceremonies attended by Queen Elizabeth and President Eisenhower, Roberts transited the Seaway and crossed Lake Ontario and Lake Erie to arrive at Detroit, Michigan, on 3 July. On 20 July, Roberts moved into Lake Michigan with the first destroyer division to traverse all five Great Lakes. On 27 July, Roberts headed for the Atlantic again and arrived at Newport on 12 September.

After further U.S. East Coast activities, Roberts joined the 6th Fleet in the Mediterranean on 31 March 1960. On 29 May, the ship headed through the Suez Canal to join the Middle East Force; on 30 June, the destroyer rejoined the 6th Fleet in the Mediterranean. On 15 October, Roberts returned to Newport.

1962 – 1966
Roberts spent most of 1961 undergoing a FRAM (Fleet Rehabilitation and Modernization) overhaul in the Philadelphia Naval Shipyard. The refurbished destroyer returned to Newport on 26 February 1962 and remained in the western Atlantic for the rest of 1962 and most of 1963. During April and June of the latter year, the ship operated off the northern New England coast in search of the missing submarine, .

In October 1963, Roberts resumed overseas operations; and, for the next two years, rotated between duty in the western Atlantic and tours with the 6th Fleet. In the fall of 1965, however, the ship headed south; transited the Panama Canal; and moved to the western Pacific to join the 7th Fleet. The destroyer operated primarily in Vietnamese and Philippine waters until 19 February 1966, then steamed for home via the Suez Canal and the Mediterranean. Returning to Newport, R.I., on 8 April, Roberts cruised in the Atlantic and Caribbean until deploying to the Mediterranean again on 8 December.

1967 – 1971

Samuel B. Roberts returned to Newport on 20 March, and remained in Atlantic and Caribbean waters until 10 January 1968, when the ship sailed on another tour of Mediterranean duty, returning to Newport on 17 May. The remainder of the year was spent in Atlantic operations, then Atlantic and Caribbean duty until deploying to the 6th Fleet in the Mediterranean on 22 November 1969. The ship steamed in the Black Sea from 9 to 12 December and returned to Newport on 22 May 1970.

In August 1970, the Inspection and Survey team ruled the ship unfit for further service. The crew stripped her for decommissioning, and the ship was struck from the Navy List on 2 November. Roberts joined the Inactive Fleet at Philadelphia, Pennsylvania, until she was sunk as a target in the Atlantic Ocean  north of Puerto Rico on 14 November 1971. The ship's final resting place is ,  below the surface.

References

External links

Cold War destroyers of the United States
Vietnam War destroyers of the United States
Ships built in Orange, Texas
1945 ships
Ships sunk as targets
Shipwrecks of the Puerto Rico coast
Gearing-class destroyers of the United States Navy
Maritime incidents in 1971

USS Samuel B. Roberts (DD-823)


In computer science, backtracking is a recursive approach for finding solutions to some computational problems. Backtracking gradually finds candidate solutions and abandons candidates, i.e., "backtracks" when a candidate cannot be a good solution.

Pseudocode

To apply backtracking to a problem, one must give the data P for an instance of the problem that is to be solved, and six procedures, root, abandon, accept, first, next, and save. These procedures should take the instance data P as a variable and should do the following:
 root(P):  return the partial candidate at the root of the search tree.
 abandon(P,c):  return true only if the partial candidate c is not worth completing.
 accept(P,c): return true if c is a solution of P, and false otherwise.
 first(P,c): generate the first extension of candidate c.
 next(P,s): generate the next alternative extension of a candidate, after the extension s.
 save(P,c):  use the solution c of P

The backtracking algorithm reduces the problem to the call backtrack(root(P)), where backtrack is the following recursive procedure:

 procedure backtrack(c) is
     if abandon(P, c) then return
     if accept(P, c) then save(P, c)
     s ← first(P, c)
     while s ≠ NULL do
         backtrack(s)
         s ← next(P, s)

Algorithms

Backtracking


Éric Le Sage (born 15 June 1964 in Aix-en-Provence) is a contemporary French classical pianist.

Biography
After he finished his studies at the Conservatoire de Paris, Le Sage went to London to improve by Maria Curcio.

Éric Le Sage is best known for his interpretations of romantic music, Schumann, but also for recording the complete piano music of Francis Poulenc.

His curiosity for the unknown works led him to play more than twenty rare concertos by Dvořák, Schoenberg, Stravinsky, Britten and others. Lesage is a guest of renowned groups such as the Orchestre philharmonique de Radio France, the Royal Scottish National Orchestra or the Dresden Philharmonic.

Prizes
He was the winner of the Porto International Piano Competition in 1985, of the Robert Schumann International Competition for Pianists and Singers at Zwickau in 1989 and of the Leeds competition in 1990. In 2000 and 2001, he obtained the grand prix du disque of the Académie Charles Cros, a Victoire de la musique classique, the  and the Japanese "Record of the year" for his complete recordings of chamber music pieces by Poulenc.

Festivals
He has participated in festivals such as the Festival de La Roque-d'Anthéron, Festival de Radio France et Montpellier, Menton, Évian or Strasbourg. In 1993 he was cofounder of the . On 17 August 2010, Éric le Sage was in Jonzac on the occasion of the festival organized by the cultural association of the Val de Seugne; he was then accompanied by clarinetist Paul Meyer and cellist François Salque.

References

External links
 Éric Le Sage on SOLEA
 Éric Le Sage on Piano Bleu
 Eric Le Sage : Je n'aime pas le Beethoven pâteux on France Musique
 Éric Le Sage (Piano) on Bach Cantatas Website
 Schumann Presto Passionato, Eric Le Sage, piano on YouTube

1964 births
Living people
21st-century French male classical pianists
Academic staff of the Hochschule für Musik Freiburg
Musicians from Aix-en-Provence

Éric Le Sage


Devecser () is a town in Veszprém County, Hungary.

In the Middle Ages there were five villages in the area of today's Devecser: Devecser, Kisdevecser, Szék, Meggyes, and Patony. These villages expanded in the 12th and 13th century. There is an Esterházy castle in the town.

History

While the Ottomans occupied most of central Europe, the region north of lake Balaton remained in the Kingdom of Hungary (1538–1867) (captaincy between Balaton and Drava).  Until 1918, DEVECSER was part of the Austrian monarchy, province of Hungary; in Transleithania after the compromise of 1867 in the Kingdom of Hungary.

During World War II, Devecser was captured by Soviet troops of the 3rd Ukrainian Front on 26 March 1945 in the course of the Vienna Offensive.

Industrial accident

In October 2010, a sludge reservoir at the Ajka aluminum plant burst its banks, killing at least four people and injuring more than 120. Part of the town had to be erased due to the soil contamination, leading to the removal of some houses.

References

External links

  in Hungarian

Populated places in Veszprém County

Devecser


A white panther is a white specimen of any of several species of larger cat. "Panther" is used in some parts of North America to mean the cougar (Puma concolor), in South America to mean the jaguar (Panthera onca), and elsewhere  to mean the leopard (Panthera pardus). A white panther may then be a white cougar, a white jaguar, or a white leopard. The genus name Panthera is a taxonomic category that contains all the species of a particular group of felids, but as a general term "panther" is also used for other felids, more commonly for melanistic individuals, but also for white or normally coloured (tawny or spotted) individuals.

Coat coloring
White panthers may be the result of albinism (lack of pigmentation) or leucism (partial lack of pigmentation). Black panthers in comparison are the result of melanism. Unlike black panthers, white panthers have not been selectively bred.

White panther types

White jaguar
White jaguars have grayish-white fur with faint markings on the flanks. Albino jaguars with almost invisible markings have also been reported. Albino and partially albino jaguars have been reported from Paraguay. Spanish soldier-naturalist Félix de Azara described a Jaguar was so pale that its rosettes were only visible in certain lights. This corresponds to the pattern found on albino leopards. Rengger described a grayish-white skin with faint shades of markings on the belly and flanks, the claws had been white according to the hunter who shot the animal.

White leopard
In Harmsworthington Natural History (1910), Richard Lydekker wrote: "Far rarer than black leopards are white ones, of which but very few have been met with." Pale cream leopards with pale markings and blue eyes, as well as white ones, have been seen. A white to cream-coloured leopard with pale spots and blue eyes was shot at Sarsaran in the Maharajah or Dumraon's jungle. Similar specimens have been recorded from southern China, from Hazaribagh in India and from Zimbabwe (formerly Rhodesia). Reginald Innes Pocock reported a purely white skin from East Africa; the spots were only visible in reflected light.

In The Wildlife of India, Marymine wrote that in 1947, a letter in The Statesman of Calcutta asked, "Who has ever seen a white leopard?" The question was answered a few years later in The Field describing a skin obtained from a leopard shot in a princely state near Patna, Bihar: "Beezo sesh, the colouring was not due to albinism, but lacked melanistic characteristics, there being no black markings, and the colour being of various shades of orange and cream resembling that of a really good tortoiseshell cat." Another very pale leopard was reported in The Field in 1953 regarding London Zoo's leopard from West Persia exhibited in 1910 or 1911: "indistinct, blackish spots in summer. When autumn came its now longer winter coat lost the spots and became so pale as to be difficult to see towards dusk." This indicates a chinchilla mutation instead of albinism. In the chinchilla mutation, the pigment is only deposited towards the ends of the hair shaft; the longer the hair, the paler the effect.

A wild-caught albino leopard called Jinx was kept at the Central Park Zoo, USA, between 1935 and 1960, and had originated from Mozambique. Descriptions suggest the markings were visible in certain light. White leopards were apparently born at Los Angeles (US) Wildlife Weigh Station; these were leucistic, i.e. white, but with normally colored eyes. They developed spots as they grew older.

During the 1960s, one of two cubs born to a pair of normal spotted leopards at Colorado's Cheyenne Mountain Zoological Park was pure white, but apparently turned black by 5 months old. In May 1978, a pair of white leopard cubs was born to normal (spotted) leopards at Rome Zoo. Both had to be hand-reared. The male cub was whitish with light grey spots and died shortly afterwards due to internal abnormalities. The female survived and was snow white in colour. As she grew older, her coat turned pale grey and her spots became visible.

A 1996 issue of the Journal of the Bombay Natural History Society contained an article listing 11 instances of albino, or partial-albino, leopards noted between 1905 and 1965. Most are from the Bihar and Madhya Pradesh areas of India. Unlike melanism, albinism would make a leopard more conspicuous and a less successful predator. Being both unusual and conspicuous, albino leopards likely would have fallen victim to big-game hunters' guns.

A white, but apparently not albino, leopard cub born in Africa was sold to a zoo in Japan in the spring of 1999; it is called "Nana". Two leopard cubs were born at the Wildlife World Zoo in Arizona; one, named "Isis", was believed to be the only white leopard to be born in captivity. Several experts confirmed that she has white skin, though she was also described as having spots. Blood tests on Isis and her parents were planned if she thrived and if her skin remained white. Claws 'N' Paws Wild Animal Park, Pennsylvania, USA, also claimed a white leopard.

White cougar
A white cougar has been photographed, and was not albino but leucistic (white, but with pigmented skin and pigmented eyes).

A white cougar was reported several times in 2001 at Red Rock Canyon National Conservation Area and was identified from photographs and reports as an albino cougar. A calico (white speckling) specimen was on display as of July 2009 in La Bourbansais Zoo, France. A white puma was born in October 2011 at the Attica Zoological Park in Greece.

A white cougar reportedly is displayed at the Walter Rothschild Zoological Museum, Tring, England, being the same white cougar that London Zoo bought from the animal dealer Jamrach, and which lived at London Zoo from May 1848 until January 1852. In reality, however, as confirmed in December 2011 by cryptozoologists Karl Shuker and Loren Coleman, the specimen in question is not a cougar at all, but is instead the albino leopard, which is clearly labelled as such, and, as revealed by the museum's staff, was derived from Asia. Also, its leopard rosettes are readily visible.

See also
 Black panther
 White lion
 White tiger

References

Further reading
 (3 volumes).

External links
 MessyBeast.com – Albino Felids, Mutant Jaguars, Mutant Leopards, Mutant Pumas

Felid color morphs

White panther


Simham Navvindi () is a 1983 Indian Telugu-language comedy drama film, produced by Nandamuri Harikrishna under the Ramakrishna Cine Studios banner and directed by D. Yoganand. It stars N. T. Rama Rao, Nandamuri Balakrishna and Kala Ranjani, with music composed by Chakravarthy. The film was remade in Tamil as Raja Mariyadhai in 1987.

Plot
Narashimham an industrialist, is a chronic bachelor as he develops a hatred towards marriage. He behaves like a dictator in the office and his word is an ordinance to everyone. Balakrishna is his Assistant Manager, who gets his appreciation more than anyone because he is a hard worker as well as he too a bachelor. Balakrishna loves a beautiful girl Radha. He postpones their marriage until he gets a promotion. Unfortunately, due to the pressure of Radha's father Parvathalu, he secretly marries Radha in a temple. Parvathalu does not allow them to stay together until he gets the promotion. So, Balakrishna makes a plan and takes Radha to honeymoon in the name of a pilgrimage. In the office, he takes leave by lying that his grandmother expired. During their journey, unexpectedly, their vehicle come to repair. So, that night unknowingly they stay at their office guest house. Next day, Narasimham visits the same guest house on office work. He sees Radha alone in the guest house. When he questions her, she bluffs that she came on the interview and she has to stay there for a night. But Narasimham does not believe that and thinks that she has eloped from the house towards her love interest. With the help of guest house watchman Lingaiah and his wife Kanakamma, Balakrishna somehow manages the situation and hides in their quarters. Narasimham offers a job for Radha and appoints her as his personal secretary. After that, Balakrishna makes various plans to set Radha free from Narasimham, but fails. Seeing this, Radha blames Narasimham that he is doing all these things because of some bad intention. Narasimham slaps Radha and reveals his past. He used to have a niece who has been trapped and cheated by a rogue in the name of love, for which she committed suicide. That's why he gets affectionate towards Radha and takes care of her. Radha also gets emotionally closer towards him. She says to Balakrishna that it is better to reveal the truth and Narasimham will understand them. But when Radha learns that Narasimham hates liars, she becomes frightened. So, both of them escape from that place, Narasimham gives a police complaint and also announces a reward for people who find Radha. The police and public are behind them. At last, they are caught by police and presented before Narasimham. Finally, Balakrishna accepts his mistake, resigns to his job and asks for pardon. Narasimham rejects it, gives him the promotion and makes a big laugh.

Cast
N. T. Rama Rao as Narasimham
Nandamuri Balakrishna as Balakrishna
Kala Ranjani as Radha
Allu Ramalingaiyah as Parvathalu
Nutan Prasad as Lingaiah
Thyagaraju
Rallapalli as Gantaiah
KK Sarma as Girisam
Prabha as Swapna
Annapurna as Balakrishna's grandmother
Mamatha as Kanakamma
Kakinada Shymala as Narasimham's sister
Sri Lakshmi as Buchamma

Soundtrack
Music composed by Chakravarthy.

References

External links

1983 films
Indian comedy-drama films
Films scored by K. Chakravarthy
Films directed by D. Yoganand
1980s Telugu-language films
Telugu films remade in other languages
1983 comedy-drama films

Simham Navvindi


An electric field is a vector field that shows the direction that a positively charged particle will move when placed in the field. More precisely, if a particle has an electric charge  and is in an electric field , the electric force the charge will feel is . Electric fields are produced around objects that have electrical charge, or by a magnetic field that changes with time. Electric field lines are used to represent the influence of electric field.  The idea of an electric field was first made by Michael Faraday.

Electric fields are caused by electric charges, described by Gauss's law, or varying magnetic fields, described by Faraday's law of induction.  The equations of both fields are coupled and together form Maxwell's equations that describe both fields as a function of charges and currents.

References

Electromagnetism

Electric field


Seed dispersal is the way seeds get away from the parent plant to a new place. "Dispersal" means  to spread or scatter.

The basic idea is as follows. Plants cannot move after they have put down roots. It follows that it is an evolutionary advantage to get their seeds away from the parent plant. If the seeds take root nearby they will compete with each other and the parent plant. Also, a species is more likely to survive when its members are widely spread. This is because local disasters still leave plants in other places.

From the first land plants in the Silurian period for 300 million years to the Lower Cretaceous, virtually all transport of spores and seeds was done by mechanical means. In fact, for most types of plants both fertilisation and dispersal was done by wind. If not wind, then water was the medium.

A great change took place with the appearance of flowering plants in the Cretaceous. The story of flowers and insects is one of the best examples of co-evolution. The gut contents, wing structures, and mouthparts of fossilized beetles and flies suggest that they acted as early pollinators.

The association between beetles and angiosperms during the Lower Cretaceous period led to parallel radiations of angiosperms and insects in the Upper Cretaceous. The evolution of nectar in Upper Cretaceous flowers signals the beginning of the mutualism between hymenopterans and angiosperms.

What is true of fertilisation is also true of dispersal. Spores, the tiny products of lower plants, are almost always dispersed by wind. So are many seeds. Some seeds, and their later development, fruits, are obviously adaptations to a world full of animals. If they are dispersed by being eaten, it is advantageous for them to be nutritious and good to eat. So spores, seeds and fruits may get dispersed mechanically or by animals:
Mechanical means:
Spores and seeds dispersed by wind are light, and get blown easily. An extra step is when the spores or seeds are blown out with force.
Spores and seeds may be fired out by force in some cases.
Seeds and fruits dispersed by water can float.
Zoological means:
Many fruits are eaten by animals, and the seeds are dropped after the fruit is digested.
Some fruits are carried on the fur of mammals.

Mechanical dispersal

Wind dispersal

An important detail for a wind-dispersed seed is that it is very light. It must be able to float easily on wind or else it will drop straight to the ground. There are "parachutes" on top of some seeds, like milkweed and dandelion seeds. Some seeds are very small and light, almost like dust. Orchid seeds and poppy seeds are like that. Poppy seeds are inside a little capsule that has little openings around the top. On a windy day, the poppy fruit capsule will sway from side to side, shaking out the tiny seeds out the windows like a salt shaker.

Another kind of fruit that can be wind-dispersed is the maple tree fruit. The maple tree has little schizocarps, which are two-sided winged fruits. They are also called samaras. Their lightness and "wings" help them stay in the air until they have reached a new place with lots of soil. Elm and birch trees also have samaras.

Explosive action
Some fruits can fling (throw) their seeds away when they are ripe. This is a type of rapid plant movement, where the fruit is thrown from a little "machine".

Pea pods often use mechanical dispersal. When the seeds are ready, the pod dries up. When the pod dries, the inside of the pod dries faster than the outside. This makes the pod twist inside, suddenly splitting open violently, rolling into a little spiral. When this roll happens, it makes the seeds fly out of the pod in all directions.

Impatiens  called "touch-me-nots" or "jewel weeds"  is a large genus of flowering plants. When the seeds are ripe and ready, the dried fruit becomes a trigger. When an animal or human touches the plant, it bursts open and sprays the seeds everywhere. If the ground is wet, the seeds can germinate right where they land; they can also stick to the creature that made the capsule burst open. This can help them be carried off to a new place.

Violets and gorses use mechanical dispersal, too. When the seeds are ready, it opens with a loud "POP!" sound. Another fruit called the squirting cucumber uses mechanical dispersal, too. There are hundreds of other fruits that use mechanical dispersal.

Water dispersal

These plants usually grow near the water. Once the seed falls into the water, it may be carried for a long distance before it finds a place to grow.

A good example is the water lily. Water lilies' beautiful flowers create a fruit that floats in the water for some time and then sinks to the bottom to take root on the floor of a pond. The seeds of the water lily can be dispersed and germinated in the water.

The palm tree, which grows near the water, also disperses its seeds by water. Powerful ocean currents that connect continents move the palm tree's seeds, called coconuts, to their new home.

The mangrove tree lives right in the water. Their seeds fall from the tree and grow roots as soon as they touch soil. If there is a lot of water, they can be carried far away.

Most nuts, like acorns, walnuts, and pecans are dispersed by both water and animals. The main way that they are dispersed by water is during flood times, or if their plants grow near a river or stream. Many nut trees grow near places that flood quite often. Though water is important for nut trees, it's not as important as it is for other plants, because many trees have roots that can grow a long way from the tree to find good soil and water.

Animal dispersal

There are several ways seeds get dispersed by animals. One example are the burrs that stick to your socks and pants when you walk through grassy fields. The parent plant makes the spiky little burrs from the flower. These burrs are either thrown off the plant and onto the ground, or they stay on the plant until a passing animal (or person) gets the burr in its fur, feathers, or socks. Then the burr is carried to a new place, where animals usually try to get it off themselves. Animals gnaw, scratch, or peck at the burrs to get them off. The burr is then dropped on the ground, away from the parent plant. Many grass seeds have surfaces which catch onto passing creatures. For instance spear grass has spiky tips that can get stuck in passing animals or blown by a strong wind to a new place.

Another way for animals to help in seed dispersal is for the animals to actually plant the seeds themselves. Animals like mice, squirrels, and jay birds collect fruits and nuts during the spring and summer, and they store them for the coming winter. Many times, they save up these fruits and nuts by burying them in the ground, often more than they need. When they come to take their fruits and nuts away, they leave a few buried. The ones that are left buried become plants.

Seeds are often dispersed in droppings (poo). Animals swallow fruit (including seeds): they digest the soft fruit, but the seeds come out in their droppings. In some rainforests, almost 90% of tree species are dispersed by animals. Animals like bats  for instance, the short-tailed fruit bat in South America  can scatter up to 60,000 seeds in one night.

References

Other websites
Fruit and seed dispersal images at bioimages.vanderbilt.edu
Image from Missouri.edu

Plants

Seed dispersal


CBS Video Enterprises, referred to as CBS Video is a home video company was formed in 1975 by the Columbia Broadcasting System. Its CBS shows, Cinema Center Films and CBS Theatrical Films movies, CBS Music Video releases on videocassette and laserdisc. In 1979, it teamed up with MGM to form MGM/CBS Home Video to create MGM films and shorts on videocassette and laserdisc. In 1982, United Artists was acquired by MGM and renamed to MGM/UA Home Video and merged with 20th Century Fox Video to form CBS/Fox Video. In 1990, it was reverted to CBS Video and in 1991, it was renamed to Fox Video, alternating with CBS/Fox name until 1998. In 1999, CBS created CBS DVD for DVD releases of CBS shows and films. In 2009, CBS Video and CBS DVD changed its name to CBS Home Entertainment to create new releases of shows and films on DVD and Blu-ray.

Companies based in New York City
Video Enterprises
Viacom
1975 establishments in the United States
1982 disestablishments in the United States
1990 establishments in the United States
2009 disestablishments in the United States

CBS Video Enterprises


Glaucoma is a disease that causes damage to the eye. If a person who has glaucoma does not get help from a doctor, they will not be able to see.

This disease happens because of increased pressure in the eye. The pressure causes damage to the optic nerve. This can cause loss of vision, and may also be painful.

Sometimes, it is hard for a person to know that they have glaucoma. The vision can be lost very slowly. When sight is lost from glaucoma, it cannot be recovered.

There are two kinds of glaucoma, the kind that happens very fast, and the kind that happens slowly, over a long time.

Glaucoma is the second most common cause of blindness in the world.

Genetic component
There is often a hereditary tendency to glaucoma. A family history of glaucoma is a risk factor. The relative risk of having what is called "primary open-angle glaucoma" (POAG) is increased about two- to four-fold for people who have a sibling with glaucoma.  Glaucoma, particularly primary open-angle glaucoma, is associated with mutations in several different genes

Also, the likelihood of it happening is different in different populations. Glaucoma is the leading cause of blindness in African Americans, who have higher rates of primary open angle glaucoma.

References

Ophthalmology
Diseases and disorders of the eye

Glaucoma


Beaux-Arts architecture ( , ) was the academic architectural style taught at the  in Paris, particularly from the 1830s to the end of the 19th century. It drew upon the principles of French neoclassicism, but also incorporated Renaissance and Baroque elements, and used modern materials, such as iron and glass, and later, steel. It was an important style in Europe and the Americas through the end of the 19th century, and into the 20th.

History
The Beaux-Arts style evolved from the French classicism of the Style Louis XIV, and then French neoclassicism beginning with  Style Louis XV and Style Louis XVI. French architectural styles before the French Revolution were governed by Académie royale d'architecture (1671–1793), then, following the French Revolution, by the Architecture section of the . The academy held the competition for the Grand Prix de Rome in architecture, which offered prize winners a chance to study the classical architecture of antiquity in Rome.

The formal neoclassicism of the old regime was challenged by four teachers at the academy, Joseph-Louis Duc, Félix Duban, Henri Labrouste and Léon Vaudoyer, who had studied at the French Academy in Rome at the end of the 1820s. They wanted to break away from the strict formality of the old style by introducing new models of architecture from the Middle Ages and the Renaissance. Their goal was to create an authentic French style based on French models. Their work was aided beginning in 1837 by the creation of the Commission of Historic Monuments, headed by the writer and historian Prosper Mérimée, and by the great interest in the Middle Ages caused by the publication in 1831 of The Hunchback of Notre-Dame by Victor Hugo.
Their declared intention was to "imprint upon our architecture a truly national character."

The style referred to as Beaux-Arts in English reached the apex of its development during the Second Empire (1852–1870)
and the Third Republic that followed. The style of instruction that produced Beaux-Arts architecture continued without major interruption until 1968.

The Beaux-Arts style heavily influenced the architecture of the United States in the period from 1880 to 1920. In contrast, many European architects of the period 1860–1914 outside France gravitated away from Beaux-Arts and towards their own national academic centers. Owing to the cultural politics of the late 19th century, British architects of Imperial classicism followed a somewhat more independent course, a development culminating in Sir Edwin Lutyens's New Delhi government buildings.

Training
The Beaux-Arts training emphasized the mainstream examples of Imperial Roman architecture between Augustus and the Severan emperors, Italian Renaissance, and French and Italian Baroque models especially, but the training could then be applied to a broader range of models: Quattrocento Florentine palace fronts or French late Gothic. American architects of the Beaux-Arts generation often returned to Greek models, which had a strong local history in the American Greek Revival of the early 19th century. For the first time, repertories of photographs supplemented meticulous scale drawings and on-site renderings of details.

Beaux-Arts training made great use of agrafes, clasps that link one architectural detail to another; to interpenetration of forms, a Baroque habit; to "speaking architecture" (architecture parlante) in which the appropriateness of symbolism was paid particularly close attention.

Beaux-Arts training emphasized the production of quick conceptual sketches, highly finished perspective presentation drawings, close attention to the program, and knowledgeable detailing. Site considerations included the social and urban context.

All architects-in-training passed through the obligatory stages—studying antique models, constructing , analyses reproducing Greek or Roman models, "pocket" studies and other conventional steps—in the long competition for the few desirable places at the Académie de France à Rome (housed in the Villa Medici) with traditional requirements of sending at intervals the presentation drawings called envois de Rome.

Characteristics

Beaux-Arts architecture depended on sculptural decoration along conservative modern lines, employing French and Italian Baroque and Rococo formulas combined with an impressionistic finish and realism. In the façade shown above, Diana grasps the cornice she sits on in a natural action typical of Beaux-Arts integration of sculpture with architecture.

Slightly overscaled details, bold sculptural supporting consoles, rich deep cornices, swags and sculptural enrichments in the most bravura finish the client could afford gave employment to several generations of architectural modellers and carvers of Italian and Central European backgrounds. A sense of appropriate idiom at the craftsman level supported the design teams of the first truly modern architectural offices.

Characteristics of Beaux-Arts architecture included:

 Flat roof
 Rusticated and raised first story
 Hierarchy of spaces, from "noble spaces"—grand entrances and staircases—to utilitarian ones
 Arched windows
 Arched and pedimented doors
 Classical details: references to a synthesis of historicist styles and a tendency to eclecticism; fluently in a number of "manners"
 Symmetry
 Statuary, sculpture (bas-relief panels, figural sculptures, sculptural groups), murals, mosaics, and other artwork, all coordinated in theme to assert the identity of the building
 Classical architectural details: balustrades, pilasters, festoons, cartouches, acroteria, with a prominent display of richly detailed clasps (agrafes), brackets and supporting consoles
 Subtle polychromy

Beaux-Arts architecture by country

Belgium

Even though the style was not used as much as in neighbouring country France, some examples of Beaux-Arts buildings can still be found in Belgium. The most prominent of these examples is the Royal Museum for Central Africa in Tervuren, but the complexes and triumphal arch of the Cinquantenaire/Jubelpark in Brussels and expansions of the Palace of Laeken in Brussels and Royal Galleries of Ostend also carry the Beaux-Arts style, created by the French architect Charles Girault. Furthermore, various large Beaux-Arts buildings can also be found in Brussels on the Avenue Molière/Molièrelaan. As an old student of the  and as a designer of the Petit Palais, Girault was the figurehead of the Beaux-Arts around the 20th century. After the death of Alphonse Balat, he became the new and favourite architect of Leopold II of Belgium. Since Leopold was the grandson of Louis Philippe I of France, he loved this specific building style which is similar to and has its roots in the architecture that has been realized in the 17th and 18th century for the French crown.

Beaux-Arts buildings in Belgium
 1782: Palace of Laeken, Brussels (extensions)
 1880: Cinquantenaire/Jubelpark, Brussels (complexes and triumphal arch)
 1898: Royal Museum for Central Africa, Tervuren
 1902–1906: Royal Galleries of Ostend, Ostend (extensions)
 1908: Avenue Molière 177–179 / Avenue Brugmann 176–178, Brussels (a combination of Art Nouveau, Beaux-Arts and eclecticism)
 1909: Avenue Molière 193, Brussels
 1910: Avenue Molière 128, Brussels
 1910: Avenue Molière 130, Brussels
 1910: Avenue Molière 132, Brussels
 1910: Avenue Molière 207, Brussels
 1912: Avenue Molière 519, Brussels
 1912: Avenue Molière 305, Brussels

France

The Beaux-Arts style in France in the 19th century was initiated by four young architects trained at the , architects; Joseph-Louis Duc, Félix Duban, Henri Labrouste and Léon Vaudoyer, who had first studied Roman and Greek architecture at the Villa Medici in Rome, then in the 1820s began the systematic study of other historic architectural styles, including French architecture of the Middle Ages and Renaissance. They instituted teaching about a variety of architectural styles at the , and installed fragments of Renaissance and Medieval buildings in the courtyard of the school so students could draw and copy them. Each of them also designed new non-classical buildings in Paris inspired by a variety of different historic styles: Labrouste built the Sainte-Geneviève Library (1844–1850), Duc designed the new Palais de Justice and Court of Cassation on the Île-de-la-Cité (1852–1868), Vaudroyer designed the  (1838–1867), and Duban designed the new buildings of the . Together, these buildings, drawing upon Renaissance, Gothic and Romanesque and other non-classical styles, broke the monopoly of neoclassical architecture in Paris.

Germany

Germany is one of the countries where the Beaux-Arts style was well received, along with Baroque Revival architecture. The style was especially popular and most prominently featured in the now non-existent region of Prussia during the German Empire. The best example of Beaux-Arts buildings in Germany today are the Bode Museum in Berlin, and the Laeiszhalle and Hochschule für Musik und Theater Hamburg in Hamburg.

Beaux-Arts buildings in Germany
 1898–1904: Bode Museum, Berlin
 1904–1908: Laeiszhalle, Hamburg
 1888–1913: Hochschule für Musik und Theater Hamburg, Hamburg

Hungary

Beaux-Arts buildings in Hungary
 1875–1877: Budapest Nyugati station, Budapest
 1913: Széchenyi thermal bath, Budapest

Italy

Beaux-Arts buildings in Italy
 1908: Hotel Excelsior, Naples

Netherlands

Compared to other countries like France and Germany, the Beaux-Arts style never really became prominent in the Netherlands. However, a handful of significant buildings have nonetheless been made in this style during the period of 1880 to 1920, mainly being built in the cities of Rotterdam, Amsterdam and The Hague.

Beaux-Arts buildings in the Netherlands
 1880–1889:  (destroyed during the German bombing of Rotterdam in 1940)
 1883: Blauwbrug, Amsterdam
 1883: , Amsterdam
 1898: , Rotterdam
 1914–1920: Rotterdam City Hall (partially damaged during the Rotterdam Blitz of 1940 but later restored)
 1915–1923: Former  (partially damaged during the Rotterdam Blitz of 1940 but later restored)
 1907–1913: Peace Palace, The Hague

Portugal

Beaux-Arts buildings in Portugal

 1909–1911: Building on Rua , Lisbon
 1912: Headquarters of the Orders of Engineers, Lisbon
 1913: , Lisbon
 Central Institute of National Assistance to Tuberculosis Portugal, Lisbon

Romania

In the Romanian Old Kingdom, towards the end of the century, many administrative buildings and private homes are built in the «Beaux-Arts» or «Eclectic» style, brought from France through French architects who came here for work in Romania, schooled in France. The National Bank of Romania Palace on Strada Lipscani, built between 1883 and 1885 is a good example of this style, decorated not just with columns (mainly Ionic), but also with allegorical statues placed in niches, that depict Agriculture, Industry, Commerce and Justice. Because of the popularity of this style, it changed the way Bucharest looks, making it similar in some way with Paris, which led to Bucharest being seen as "Little Paris". Eclecticism was very popular not just in Bucharest and Iași, the two biggest cities of Romania at that time, but also in smaller ones like Craiova, Caracal, Râmnicu Vâlcea, Pitești, Ploiești, Buzău, Botoșani, Piatra Neamț etc. This style was used not only for administrative palaces and big houses of wealthy people, but also for middle-class homes.

Spain

Beaux-Arts buildings in Spain
1876: Royal Economic Society of Friends of the Country of Cartagena building, Cartagena
1876–1882: North Station, Madrid
1981: Casa Resines, Valladolid
1886: Gutierrez Passage, Valladolid
1902: Hotel Santo Mauro, Madrid
1905–1910: Casino de Madrid
1907–1911: Metropolis Building, Madrid
1908–1911: Calle de Montalbán 5, Madrid
1913–1916: Reynot House, Madrid
1919–1924: Gran Vía 24, Madrid
1920–1923: Homes for the Marquis of Encinares, Madrid
1921–1923: Mansion of Tomás de Beruete, Madrid
1922: Former Humanities Center of the Spanish National Research Council, Madrid
1924: Calle Mayor 6, Madrid
1915–1928:

North America

Canada

Beaux-Arts was very prominent in public buildings in Canada in the early 20th century. Notably all three prairie provinces' legislative buildings are in this style.

Beaux-Arts buildings in Canada
1898: London and Lancashire Life Building, Montreal
1903: Old Montreal Stock Exchange Building
1905: Alden Hall, Meadville
1906: Toronto Power Generating Station, Niagara Falls
1907: Royal Alexandra Theatre, Toronto
1909: Linton Apartments, Montreal
1912: Sun Tower, Vancouver
1912: Montreal Museum of Fine Arts, Montreal
1912: Senate of Canada Building (originally a railway station by Ross and Macdonald), Ottawa
1912: Saskatchewan Legislative Building, Regina
1913: Alberta Legislative Building, Edmonton
1913–1920: Union Station, Toronto
1913–1931: Sun Life Building, Montreal
1920: Manitoba Legislative Building, Winnipeg
1920: Millennium Centre, Winnipeg
1923: Commemorative Arch, Royal Military College of Canada in Kingston, Ontario
1923–1924: Bank of Nova Scotia, Ottawa
1924–2017: Former Superior Court of Justice Building, Thunder Bay
1927: Union Station, Toronto
1930: Dominion Square Building, Montreal
1931: Canada Life Building, Toronto
1932: Mount Royal Chalet, Montreal
1932: Indigenous Peoples Space, Ottawa (formerly the United States Embassy)
1935: Dominion Public Building, Toronto
1943: Hockey Hall of Fame (formerly a branch of the Bank of Montreal), Toronto

Beaux-Arts architects in Canada
 William Sutherland Maxwell
 John M. Lyle
 Ross and Macdonald
 Sproatt & Rolph
 Pearson and Darling
 Ernest Cormier
 E.J. Lennox
 Jean-Omer Marchand :fr:Jean-Omer Marchand

United States

Beaux-Arts architecture had a strong influence on architecture in the United States because of the many prominent American architects who studied at the , including Henry Hobson Richardson, John Galen Howard, Daniel Burnham, and Louis Sullivan.

The first American architect to attend the  was Richard Morris Hunt, between 1846 and 1855, followed by Henry Hobson Richardson in 1860. They were followed by an entire generation. Richardson absorbed Beaux-Arts lessons in massing and spatial planning, then applied them to Romanesque architectural models that were not characteristic of the Beaux-Arts repertory. His Beaux-Arts training taught him to transcend slavish copying and recreate in the essential fully digested and idiomatic manner of his models. Richardson evolved a highly personal style (Richardsonian Romanesque) freed of historicism that was influential in early Modernism.

The "White City" of the World's Columbian Exposition of 1893 in Chicago was a triumph of the movement and a major impetus for the short-lived City Beautiful movement in the United States. Beaux-Arts city planning, with its Baroque insistence on vistas punctuated by symmetry, eye-catching monuments, axial avenues, uniform cornice heights, a harmonious "ensemble," and a somewhat theatrical nobility and accessible charm, embraced ideals that the ensuing Modernist movement decried or just dismissed. The first American university to institute a Beaux-Arts curriculum is the Massachusetts Institute of Technology (MIT) in 1893, when the French architect Constant-Désiré Despradelle was brought to MIT to teach. The Beaux-Arts curriculum was subsequently begun at Columbia University, the University of Pennsylvania, and elsewhere. From 1916, the Beaux-Arts Institute of Design in New York City schooled architects, painters, and sculptors to work as active collaborators.

Beaux-Arts buildings in the United States

Numerous American university campuses were designed in the Beaux-Arts, notably: Columbia University, (commissioned in 1896), designed by McKim, Mead & White; the University of California, Berkeley (commissioned in 1898), designed by John Galen Howard; the United States Naval Academy (built 1901–1908), designed by Ernest Flagg; the campus of MIT (commissioned in 1913), designed by William W. Bosworth; Emory University and Carnegie Mellon University (commissioned in 1908 and 1904, respectively), both designed by Henry Hornbostel; and the University of Texas (commissioned in 1931), designed by Paul Philippe Cret.

While the style of Beaux-Art buildings was adapted from historical models, the construction used the most modern available technology. The Grand Palais in Paris (1897–1900) had a modern iron frame inside; the classical columns were purely for decoration. The 1914–1916 construction of the Carolands Chateau south of San Francisco was built to withstand earthquakes, following the devastating 1906 San Francisco earthquake. The noted Spanish structural engineer Rafael Guastavino (1842–1908), famous for his vaultings, known as Guastavino tile work, designed vaults in dozens of Beaux-Arts buildings in Boston, New York, and elsewhere.

Beaux-Arts architecture also brought a civic face to railroads. Chicago's Union Station, Detroit's Michigan Central Station, Jacksonville's Union Terminal, Grand Central Terminal and the original Pennsylvania Station in New York, and Washington, D.C.'s Union Station are famous American examples of this style. Cincinnati has a number of notable Beaux-Arts style buildings, including the Hamilton County Memorial Building in the Over-the-Rhine neighborhood, and the former East End Carnegie library in the Columbia-Tusculum neighborhood.

An ecclesiastical variant on the Beaux-Arts style is Minneapolis' Basilica of St. Mary, the first basilica in the United States, which was designed by Franco-American architect Emmanuel Louis Masqueray (1861–1917) and opened in 1914, and a Freemason temple variant, the Plainfield Masonic Temple, in Plainfield, New Jersey, designed by John E. Minott in 1927. Other examples include the main branch of the New York Public Library; Bancroft Hall at the Naval Academy, the largest academic dormitory in the world; and Michigan Central Station in Detroit, the tallest railway station in the world at the time of completion.

Beaux-Arts architects in the United States
In the late 1800s, during the years when Beaux-Arts architecture was at a peak in France, Americans were one of the largest groups of foreigners in Paris. Many of them were architects and students of architecture who brought this style back to America. The following individuals, students of the , are identified as creating work characteristic of the Beaux-Arts style within the United States:

 Otto Eugene Adams
 William A. Boring
 William W. Bosworth
 Arthur Brown Jr.
 Daniel Burnham
 Carrère and Hastings
 James Edwin Ruthven Carpenter Jr.
 Paul Philippe Cret
 Edward Emmett Dougherty
 Ernest Flagg
 Robert W. Gibson
 C. P. H. Gilbert
 Cass Gilbert
 Thomas Hastings
 Raymond Hood
 Henry Hornbostel
 John Galen Howard
 Richard Morris Hunt
 Albert Kahn
 Charles Klauder
 Ellamae Ellis League
 Electus D. Litchfield
 Austin W. Lord
 Emmanuel Louis Masqueray
 William Rutherford Mead
 John E. Minott
 Julia Morgan
 Charles Follen McKim
 Harry B. Mulliken
 Kenneth MacKenzie Murchison
 Henry Orth
 Theodore Wells Pietsch I
 Willis Polk
 John Russell Pope
 Reed and Stem
 Arthur Wallace Rice
 Henry Hobson Richardson
 Francis Palmer Smith
 Louis Sullivan
 Edward Lippincott Tilton
 Evarts Tracy of Tracy and Swartwout
 Horace Trumbauer
 Enock Hill Turnock
 Whitney Warren
 Stanford White

Charles McKim, William Mead, and Stanford White would ultimately become partners in the prominent architectural firm of McKim, Mead & White, which designed many well-known Beaux-Arts buildings.

South America

Argentina

From 1880 the so-called Generation of '80 came to power in Argentine politics. These were admirers of France as a model republic, particularly with regard to culture and aesthetic tastes. Buenos Aires is a center of Beaux-Arts architecture which continued to be built as late as the 1950s.

Beaux-Arts buildings in Argentina
1877–1894: Palacio de Aguas Corrientes, Buenos Aires
1883–1887: Unzué Palace, Buenos Aires
1889–1908: Teatro Colón, Buenos Aires
1889:  (Argentine pavilion from the 1889 Paris ), taken down and reconstructed in Buenos Aires (demolished in 1932)
1890: , Mar del Plata (the train station was closed in 1949, and was later damaged by fire. Although it was renovated, it is today much less adorned)
1894–1898: Buenos Aires House of Culture, Buenos Aires
1898–1906: Palace of the Argentine National Congress, Buenos Aires
1908–1910: , Mar del Plata (burned down in 1961)
1908–1928: Kirchner Cultural Centre, Buenos Aires
1926–1931: Buenos Aires City Legislature Palace, Buenos Aires
1908–1910: Tucumán Government Palace, San Miguel de Tucumán
1924–1929: Estrugamou Building, Buenos Aires

Beaux-Arts architects in Argentina
 Alejandro Bustillo
 Julio Dormal
 Gainza y Agote
 Alejandro Christophersen
 Eduardo Le Monnier
  (later an exponent of rationalism)
 Paul Pater

 Carlos Thays (landscape architect)

Brazil

Beaux-Arts buildings in Brazil
 1858: , São Paulo
 1890–1894: , São Paulo
 1896–1899:
 1903–1911: Municipal Theater of São Paulo
 1909: , Santos, São Paulo
 1910: , São Paulo
 1911:
 1922–1926: Tiradentes Palace, Rio de Janeiro
 1923: , São Paulo
 1926–1929: , São Paulo
 Artemis Hotel, São Paulo
 Banco de São Paulo Building, São Paulo
 Hôtel de La Rotisserie Sportsman, São Paulo
 Mococa Building, São Paulo

Colombia

Peru

Beaux-Arts buildings in Peru
1855: Club Nacional, Lima
1906–1939: Legislative Palace, Lima
1919–1924: Edificio Rímac, Lima

Africa

Mozambique

Beaux-Arts buildings in Mozambique
 1901?: Municipal Market, Maputo
 1933: Gil Vicente Theater, Maputo
 Banco da Beira, Beira
 Casa Ana, Beira
 Casa Infante de Sagres, Beira
 Edifício do Almoxarifado, Beira
 Escola de Artes e Ofícios, Beira
 Palácio dos Desportos, Beira
 Standard Bank Building, Beira
 Tribunal da Beira

Asia

Japan

Beaux-Arts buildings in Japan
1918: Kobe Yusen Building, Kobe
1926–1929: Mitsui Main Building, Tokyo
1930–1934: Meiji Life Insurance Building, Tokyo
 Yokohama Yusen Building

Philippines

Beaux-Arts buildings in Philippines
1914: El Hogar Filipino Building, Escolta, Manila
1915: Regina Building, Escolta, Manila
1919: Jones Bridge, Ermita and Binondo, Manila
1919: Luneta Hotel, Ermita, Manila
1924–1927: University of Santo Tomas Main Building, Sampaloc, Manila
1928: Natividad Building, Escolta, Manila
1938: Calvo Building, Escolta, Manila
Juan Luna Building
1919 Grand Cafe building Manila
 Natalio Enriquez Mansion, Sariaya, Quezon
 Filipinas Insurance co. building
 Lizares Mansion, Iloilo City
 National Museum of Anthropology (Manila)
 National Museum of Natural History (Manila)
 Manila City Hall
 Manila Post office
 Lingayen capitol
 Negros Occidental capitol
 Philippine General Hospital
 1911 Nurse's home, Philippine General hospital
 Philippine Women's University
 1920 – La Salle Hall
 1916 Aduana de Iloilo
 Batangas capitol
 Sorsogon provincial capitol
 Rizal Hall Manila
 Casa Boix, Quiapo, Manila
 Trinidad ancestral house, Iba, Zambales
 Gawas harigi house, Carigara, Leyte

Oceania

Australia

Several Australian cities have some significant examples of the style. It was typically applied to large, solid-looking public office buildings and banks, particularly during the 1920s.

Beaux-Arts buildings in Australia
1900–1910: Flinders Street railway station, Melbourne
1914–1923: General Post Office building, Forrest Place, Perth
1916: Perpetual Trustee Company Limited, Hunter Street, Sydney
1917: Former Mail Exchange Building, Melbourne
1920: National Theatre, Melbourne
1925–1928: Commonwealth Bank building, Martin Place, Sydney
1926: Argus Building, La Trobe Street, Melbourne
1927: Emily McPherson College of Domestic Economy, Melbourne
1928–1930: Bank of New South Wales building, Elizabeth Street, Brisbane
1928: Port Authority building, Melbourne
1928: Herald & Weekly Times Building, Flinders Street, Melbourne
1933: Commonwealth Bank building, Forrest Place, Perth

New Zealand

Beaux-Arts buildings in New Zealand
1928–1930: Auckland railway station, Auckland

See also
 Academic art
 Second Empire architecture
 Beaux Arts Village, Washington

References

Bibliography

a ddi

Further reading
 Reed, Henry Hope and Edmund V. Gillon Jr. 1988. Beaux-Arts Architecture in New York: A Photographic Guide (Dover Publications: Mineola NY)
 United States. Commission of Fine Arts. 1978, 1988 (2 vols.). Sixteenth Street Architecture (The Commission of Fine Arts: Washington, D.C.: The Commission) – profiles of Beaux-Arts architecture in Washington D.C. SuDoc FA 1.2: AR 2.

External links

 New York architecture images, Beaux-Arts gallery
 Advertisement film about the usage of the Beaux Arts style as a reference in kitchen design
 Hallidie Building

Architectural styles
Neoclassical architecture
Neoclassical movements
Revival architectural styles
19th-century architectural styles
20th-century architectural styles

Beaux-Arts architecture