The World as Will and Representation (WWR; , WWV), sometimes translated as The World as Will and Idea, is the central work of the German philosopher Arthur Schopenhauer. The first edition was published in late 1818, with the date 1819 on the title-page. A second, two-volume edition appeared in 1844: volume one was an edited version of the 1818 edition, while volume two consisted of commentary on the ideas expounded in volume one. A third expanded edition was published in 1859, the year prior to Schopenhauer's death. In 1948, an abridged version was edited by Thomas Mann.

In the summer of 1813, Schopenhauer submitted his doctoral dissertation—On the Fourfold Root of the Principle of Sufficient Reason—and was awarded a doctorate from the University of Jena. After spending the following winter in Weimar, he lived in Dresden and published his treatise On Vision and Colours in 1816. Schopenhauer spent the next several years working on his chief work, The World as Will and Representation. Schopenhauer asserted that the work is meant to convey a "single thought" from various perspectives. He develops his philosophy over four books covering epistemology, ontology, aesthetics, and ethics. Following these books is an appendix containing Schopenhauer's detailed Criticism of the Kantian Philosophy.

Taking the transcendental idealism of Immanuel Kant as his starting point, Schopenhauer argues that the world humans experience around them—the world of objects in space and time and related in causal ways—exists solely as "representation" () dependent on a cognizing subject, not as a world that can be considered to exist in itself (i.e., independently of how it appears to the subject's mind). One's knowledge of objects is thus knowledge of mere phenomena rather than things in themselves. Schopenhauer identifies the thing-in-itself — the inner essence of everything — as will: a blind, unconscious, aimless striving devoid of knowledge, outside of space and time, and free of all multiplicity. The world as representation is therefore the "objectification" of the will. Aesthetic experiences release one briefly from one's endless servitude to the will, which is the root of suffering. True redemption from life, Schopenhauer asserts, can only result from the total ascetic negation of the "will to life". Schopenhauer notes fundamental agreements between his philosophy, Platonism, and the philosophy of the ancient Indian Vedas.

The World as Will and Representation marked the pinnacle of Schopenhauer's philosophical thought; he spent the rest of his life refining, clarifying and deepening the ideas presented in this work without any fundamental changes. The first edition was met with near-universal silence. The second edition of 1844 similarly failed to attract any interest. At the time, post-Kantian German academic philosophy was dominated by the German idealists—foremost among them G. W. F. Hegel, whom Schopenhauer bitterly denounced as a "charlatan".

English translations
In the English language, this work is known under three different titles. Although English publications about Schopenhauer played a role in the recognition of his fame as a philosopher in later life (1851 until his death in 1860) and a three volume translation by R. B. Haldane and J. Kemp, titled The World as Will and Idea, appeared already in 1883–1886, the first English translation of the expanded edition of this work under this title The World as Will and Representation appeared by E. F. J. Payne (who also translated several other works of Schopenhauer) as late as in 1958 (paperback editions in 1966 and 1969). A later English translation by Richard E. Aquila in collaboration with David Carus is titled The World as Will and Presentation (2008). The latest translation by Judith Normam, Alistair Welchman, and Christopher Janaway is titled The World as Will and Representation (Volume 1: 2010, Volume 2: 2018).

There is some debate over the best way to convey, in English, the meaning of Vorstellung, a key concept in Schopenhauer's philosophy and used in the title of his main work. Schopenhauer uses Vorstellung to describe whatever comes before in the mind in consciousness (as opposed to the will, which is what the world that appears to us as Vorstellung is in itself.) In ordinary usage, Vorstellung could be rendered as "idea" (thus the title of Haldane and Kemp's translation.) However, Kant uses the Latin term repraesentatio when discussing the meaning of Vorstellung (Critique of Pure Reason A320/B376). Thus, as is commonly done, one might use the English term 'representation' to render Vorstellung (as done by E. F. J. Payne in his translation.) Norman, Welchman, and Janaway also use the English term 'representation'. In the introduction, they point out that Schopenhauer uses Vorstellung the same way Kant uses it — 'representation' "stands for anything that the mind is conscious of in its experience, knowledge, or cognition of any form — something that is present to the mind. So our first task in The World as Will and Representation is to consider the world as it presents itself to us in our minds."

In the introduction to his translation with David Carus (first published 2008), philosopher Richard Aquila argues that the reader will not grasp the details of the philosophy of Schopenhauer properly without rendering Vorstellung as "presentation." It is the notion of a performance or theatrical presentation – of which one is the spectator – that is key in this interpretation. The world that we perceive can be understood as a "presentation" of objects in the theatre of our own mind. Vorstellung can refer to what is presented or to the process of presenting it. Schopenhauer argues that what does the "presenting" – what sets the world as 'presentation' before one – is the cognizant subject itself. The primary sense of Vorstellung used by Schopenhauer, Aquila writes, is that of what is presented to a subject: the presented object (qua presented, as opposed to what it is "in itself"). Aquila argues that translating Vorstellung as 'representation' fails to "bring out the dual notion of that which is 'set before' a cognizant subject as its object, and the presentational activity of the subject therein engaged" and is potentially misleading from Schopenhauer's principal point.

Relationship to earlier philosophical work

Schopenhauer demands that his doctoral dissertation On the Fourfold Root of the Principle of Sufficient Reason, which appeared in 1813, be read before WWR as an introduction. Referring to On the Fourfold Root, Schopenhauer states in the preface to the first edition of WWR that it is "absolutely impossible to truly understand the present work unless the reader is familiar with this introduction and propaedeutic, and the contents of that essay are presupposed here as much as if they had been included in the book".

Furthermore, Schopenhauer states at the beginning that his book assumes the reader's prior knowledge of the philosophy of Immanuel Kant. Schopenhauer asserted that his philosophy was the natural continuation of Kant's, and is regarded by some as remaining more faithful to Kant's metaphysical system of transcendental idealism, expounded in the Critique of Pure Reason (1781), than any of the other later German idealists. However, The World as Will and Representation contains an appendix entitled "Critique of the Kantian philosophy", in which Schopenhauer rejects most of Kant's ethics and significant parts of his epistemology and aesthetics. As Schopenhauer explains: "However much I take the achievements of the great Kant as my point of departure, a serious study of his works has nonetheless enabled me to discover significant errors, and I have had to separate these errors out and show them to be unsound so that I could then presuppose and apply what is true and excellent in his theories in a pure form, freed from these errors."

Schopenhauer saw the human will as our one window to the reality behind the world as representation, i.e. the external world as we experience it through our mental faculties. According to Schopenhauer, the will is the 'inner essence' of the entire world, i.e. the Kantian thing-in-itself (Ding an sich), and exists independently of the forms of the principle of sufficient reason that govern the world as representation. Schopenhauer believed that while we may be precluded from direct knowledge of the Kantian noumenon, we may gain knowledge about it to a certain extent (unlike Kant, for whom the noumenon was completely unknowable). This is because, according to Schopenhauer, the relationship between the world as representation and the world as it is 'in itself' can be understood by investigating the relationship between our bodies (material objects, i.e. representations, existing in space and time) and our will. Another important difference between the philosophies of Schopenhauer and Kant is Schopenhauer's rejection of Kant's doctrine of twelve categories of the understanding. Schopenhauer claims that eleven of Kant's categories are superfluous "blind windows" meant for the purposes of architectonic symmetry. Schopenhauer argues that there are three a priori forms by which our minds render our experience of the world intelligible to ourselves: time, space, and causality.

Schopenhauer also states in his introduction that the reader will be at his best prepared to understand the theories in The World as Will and Representation if he has lingered in the school of "the divine Plato": Schopenhauer frequently acknowledges Plato's influence on the development of his theories and, particularly in the context of aesthetics, speaks of the Platonic forms as existing on an intermediate ontological level between the representation and the Will. The reader will be at an even further advantage if they are already familiar with the ancient Indian philosophy contained within the Upanishads.

Development and structure of the work
The development of Schopenhauer's ideas took place very early in his career (1814–1818) and culminated in the publication of the first volume of Will and Representation in 1819. This first volume consisted of four books—covering his epistemology, ontology, aesthetics and ethics, in order. Much later in his life, in 1844, Schopenhauer published a second edition in two volumes, the first a virtual reprint of the original, and the second a new work consisting of clarifications to and additional reflections on the first. His views had not changed substantially.

Schopenhauer states in the preface to the first edition that The World as Will and Representation aims to "convey a single thought." The resulting structure of the work is therefore, in his words, "organic rather than chainlike," with all of the book's earlier parts presupposing the later parts "almost as much as the later ones presuppose the earlier." Each of the work's four main parts function as "four perspectives [Gesichtspunkte], as it were, on the one thought." Thus Schopenhauer counsels reading the book more than once, with considerable patience the first time. Schopenhauer addresses the structure of the work in the following passage from Book IV, section 54:

His belated fame after 1851 stimulated renewed interest in his seminal work, and led to a third and final edition with 136 more pages in 1859, one year before his death. In the preface to the latter, Schopenhauer noted: "If I also have at last arrived, and have the satisfaction at the end of my life of seeing the beginning of my influence, it is with the hope that, according to an old rule, it will last longer in proportion to the lateness of its beginning."

Volume 1
Schopenhauer used the word will as a human's most familiar designation for the concept that can also be signified by other words such as desire, striving, wanting, effort and urging. Schopenhauer's philosophy holds that all nature, including man, is the expression of an insatiable will. It is through the will, the in-itself of all existence, that humans find all their suffering. Desire for more is what causes this suffering. He argues that only aesthetic pleasure creates momentary escape from the will. Schopenhauer's concept of desire has strong parallels in Buddhist thought. Buddhism identifies the individual's pervasive sense of dissatisfaction as driving craving, roughly similar to what Schopenhauer would call the will to life. Both assert that remedies for this condition include contemplative, ascetic activities.

The epigraph to volume one is a quotation from Johann Wolfgang von Goethe: Ob nicht Natur zuletzt sich doch ergründe? ('Might not nature finally fathom itself?'). The quotation comes from a poem to Staatsminister von Voigt, 27 September 1816.

Epistemology (Book I)
The opening sentence of Schopenhauer's work is Die Welt ist meine Vorstellung: "the world is my representation" (alternatively, "idea" or "presentation"). In the first book, Schopenhauer considers the world as representation. Specifically, the first book deals with representation subject to the principle of sufficient reason (German: Satz vom Grunde). In Book III, Schopenhauer returns to considering the world as representation; this time, he focuses on representation independent of the principle of sufficient reason (i.e. the Platonic Idea, the immediate and adequate objecthood of the will, which is the object of art).

Schopenhauer begins WWR by examining the world as it shows itself to us in our minds: objects ordered necessarily by space and time and by cause-and-effect relationships. In our experience, the world is ordered according to the principle of sufficient reason. We perceive a multiplicity of objects related to one another in necessary ways.

Ontology (Book II)
In Book II, Schopenhauer argues that will is the Kantian thing-in-itself: the single essence underlying all objects and phenomena. Kant believed that space and time were merely the forms of our intuition by which we must perceive the world of phenomena, and these factors were absent from the thing-in-itself. Schopenhauer pointed out that anything outside of time and space could not be differentiated, so the thing-in-itself must be one. All things that exist, including human beings, must be part of this fundamental unity. The manifestation of the single will into the multiplicity of objects we experience is the will's objectivation. Plurality exists and has become possible only through time and space, which is why Schopenhauer refers to them as the principium individuationis. The will, as thing-in-itself, lies outside of the principle of sufficient reason (in all its forms) and is thus groundless (though each of the will's phenomena is subject to that principle). The will, lying outside the principium individuationis, is free from all plurality (though its phenomena, existing in space and time, are innumerable).

All phenomena embodies essential striving: electricity and gravity, for instance, are described as fundamental forces of the will. Human capacity for cognition, Schopenhauer asserts, is subordinate to the demands of the will. Moreover, everything that wills necessarily suffers. Schopenhauer presents a pessimistic picture on which unfulfilled desires are painful, and pleasure is merely the sensation experienced at the instant one such pain is removed. However, most desires are never fulfilled, and those that are fulfilled are instantly replaced by more unfulfilled ones.

Aesthetics (Book III)

In Book III, Schopenhauer explores the experience of aesthetic contemplation. When we contemplate something aesthetically, we have knowledge of the object not as an individual thing but rather as a universal Platonic Idea (die Platonische Idee). The individual is then able to lose himself in the object of aesthetic contemplation and, for a brief moment, escape the cycle of unfulfilled desire as a "pure, will-less subject of knowledge" (reinen, willenlosen Subjekts der Erkenntniß). This entails the abandonment of the method of cognition bound to the principle of sufficient reason (the only mode appropriate to the service of the will and science). During the aesthetic experience, we gain momentary relief from the pain that accompanies our striving. Like many other aesthetic theories, Schopenhauer's centers on the concept of genius. Genius, according to Schopenhauer, is possessed by all people in varying degrees and consists of the capacity for aesthetic experience. Those who have a high degree of genius can be taught to communicate these aesthetic experiences to others, and objects that communicate these experiences are works of art.

We consider objects to be beautiful that best facilitate contemplation that is purely objective by a will-less consciousness and express 'elevated' Ideas (such as those of humanity). Schopenhauer compares the experience of something as beautiful to the experience of something as sublime (das Erhabene)—in the latter case, we struggle over our natural hostility to the object of contemplation and are elevated above it. An aesthetic experience does not arise from the object stimulating our will; hence Schopenhauer criticized depictions of nude women and appetizing food, as these stimulate desire and thus hinder the viewer from becoming "the pure, will-less subject of knowledge."

The rest of the Third Book contains an account of a variety of art forms, including architecture, landscape gardening, landscape painting, animal painting, historical painting, sculpture, the nude, literature (poetry and tragedy), and lastly, music. Music occupies a privileged place in Schopenhauer's aesthetics, as he believed it to have a special relationship to the will. Other artworks objectify the will only indirectly by means of the Ideas (the adequate objectification of the will), and our world is nothing but the appearance of the Ideas in multiplicity resulting from those Ideas entering into the principium individuationis. Music, Schopenhauer asserts, passes over the Ideas and is therefore independent of the phenomenal world. He writes:

Ethics (Book IV)

In Book IV, Schopenhauer returns to considering the world as will. He claims in this book to set forth a purely descriptive account of human ethical behavior, in which he identifies two types of behavior: the affirmation and denial of the 'will to life' (Wille zum Leben), which constitutes the essence of every individual. Schopenhauer subsequently elucidated his ethical philosophy in his two prize essays: On the Freedom of the Will (1839)  and On the Basis of Morality (1840).

According to Schopenhauer, the will conflicts with itself through the egoism that every human and animal is endowed with.  Compassion arises from a transcendence of this egoism (the penetration of the illusory perception of individuality, so that one can empathise with the suffering of another) and can serve as a clue to the possibility of going beyond desire and the will.  Schopenhauer categorically denies the existence of the "freedom of the will" in the conventional sense, and only adumbrates how the will can be affirmed or negated, but is not subject to change, and serves as the root of the chain of causal determinism.

Schopenhauer discusses suicide at length, noting that it does not actually destroy the Will or any part of it in any substantial way, since death is merely the end of one particular phenomenon of the Will, which is subsequently rearranged. By asceticism, the ultimate denial of the will as practiced by eastern monastics and by saints, one can slowly weaken the individual will in a way that is far more significant than violent suicide, which is, in fact, in some sense an affirmation of the will.

Schopenhauer's praise for asceticism led him to think highly of Buddhism and Vedanta Hinduism, as well as some monastic orders and ascetic practices found in Catholicism.  He expressed contempt for Protestantism, Judaism, and Islam, which he saw as optimistic, devoid of metaphysics and cruel to non-human animals. According to Schopenhauer, the deep truth of the matter is that in cases of the over-affirmation of the will—that is, cases where one individual exerts his will not only for its own fulfillment but for the improper domination of others—he is unaware that he is really identical with the person he is harming, so that the Will in fact constantly harms itself, and justice is done in the moment in which the crime is committed, since the same metaphysical individual is both the perpetrator and the victim.

According to Schopenhauer, denial of the will to live is the way to salvation from suffering. Salvation can only result from the recognition that individuality is nothing more than an illusion—the world in itself cannot be divided into individuals—which 'tranquilizes' the will. The human who comprehends this would 'negate' his will and thus be freed from the pains of existence that result from the will's ceaseless striving. "Schopenhauer tells us that when the will is denied, the sage becomes nothing, without actually dying." When willing disappears, both the willer and the world become nothing. "...[T]o one who has achieved the will-less state, it is the world of the willer that has been disclosed as 'nothing'. Its hold over us, its seeming reality, has been 'abolished' so that it now stands before us as nothing but a bad dream from which we are, thankfully, awaking." Schopenhauer concludes the Fourth Book with the following statement: "...to those in whom the will has turned and denied itself, this very real world of ours, with all its Suns and Milky Ways, is—nothing." In a footnote, Schopenhauer associates this 'nothing' with the Prajñāpāramitā of Buddhism: the point where subject and object no longer exist.

Criticism of the Kantian Philosophy (Appendix)

At the end of Book 4, Schopenhauer appended a thorough discussion of the merits and faults of Kant's philosophy. Schopenhauer's Kritik der Kantischen Philosophie opens with the following quote from Voltaire from The Age of Louis XIV: "C'est le privilège du vrai génie, et surtout du génie qui ouvre une carrière, de faire impunément de grandes fautes ('It is the privilege of true genius, and above all the genius who opens a new path, to make great errors with impunity.') Schopenhauer asserts that Kant's greatest merit was the distinction between appearance [Erscheinung] and the thing-in-itself [Ding an sich], proving that the intellect always stands between us and things, and thus we cannot have knowledge of things as they may be in themselves. Among Kant's defects, Schopenhauer argues, is the untenable manner in which Kant chose to introduce the thing-in-itself in his Critique of Pure Reason. Schopenhauer also argued that Kant failed to distinguish between intuitive and abstract cognition—that is, intuitive representations from concepts thought merely in the abstract—which gave rise to grave confusions and errors. Criticizing Kant's preference for arranging his philosophical system according to an elegant architectonic symmetry, Schopenhauer at one point describes Kant's twelve categories as a "terrible Procrustean bed into which he violently forces everything in the world and everything that happens in humans."

Volume 2
The second volume consisted of several essays expanding topics covered in the first.  Most important are his reflections on death and his theory on sexuality, which saw it as a manifestation of the whole will making sure that it will live on and depriving humans of their reason and sanity in their longing for their loved ones. Less successful is his theory of genetics: he argued that humans inherit their will, and thus their character, from their fathers, but their intellect from their mothers and he provides examples from biographies of great figures to illustrate this theory. The second volume also contains attacks on contemporary philosophers such as Fichte, Schelling, and Hegel.

The contents of Volume II are as follows.

Supplements to the First Book
First Half: The Doctrine of the Representation of Perception (through § 1 – 7 of Volume I)
  On the Fundamental View of Idealism
  On the Doctrine of Knowledge of Perception or Knowledge of the Understanding
  On the Senses
  On Knowledge a Priori

Second Half: The Doctrine of the Abstract Representation or of Thinking
  On the Intellect Devoid of Reason
 On the Doctrine of Abstract Knowledge, or Knowledge of Reason
 On the Relation of Knowledge of Perception to Abstract Knowledge
 On the Theory of the Ludicrous
 On Logic in General
 On the Science of Syllogisms
 On Rhetoric
 On the Doctrine of Science
 On the Methods of Mathematics
 On the Association of Ideas
 On the Essential Imperfections of the Intellect
 On the Practical Use of Our Reason and on Stoicism
 On Man's Need for Metaphysics

Supplements to the Second Book
 On the Possibility of Knowing the Thing-in-Itself
 On the Primacy of the Will in Self-Consciousness
 On Objectification of the Will in the Animal Organism
 On Retrospect and More General Consideration
 On Objective View of the Intellect
 On the objectification of the Will in Nature without Knowledge
 On Matter
 On Transcendent Considerations on the Will as Thing-in-Itself
 On Teleology
 On Instinct and Mechanical Tendency
 On Characterization of the Will-to-Live

Supplements to the Third Book
 On Knowledge of the Ideas
 On the Pure Subject of Knowing
 On Genius
 On Madness
 On Isolated Remarks on Natural Beauty
 On the Inner Nature of Art
 On the Aesthetics of Architecture
 On Isolated Remarks on the Aesthetics of the Plastic and Pictorial Arts
 On the Aesthetics of Poetry
 On History
 On the Metaphysics of Music

Supplements to the Fourth Book
 On Preface
 On Death and Its Relation to the Indestructibility of Our Inner nature
 On Life of the Species
 On the Hereditary Nature of Qualities
 On the Metaphysics of Sexual Love [+ Appendix]
 On the Affirmation of the Will-to-Live
 On the Vanity and Suffering of Life
 On Ethics
 On the Doctrine of the Denial of the Will-to-Live
 On the Road to Salvation
 On Epiphilosophy

Influence
The first decades after its publication The World as Will and Representation was met with near silence. Exceptions were Goethe and Jean Paul. Goethe immediately started to read the magnum opus of Schopenhauer when it arrived and "read it with an eagerness as she [ Ottilie von Goethe ] had never before seen in him". Goethe told his daughter-in-law that he had now pleasure for an entire year, because he would read it completely, contrary to his custom of sampling pages to his liking. The influence of Schopenhauer can be read in Gespräche mit Goethe and .

In the years where the work was largely ignored, Jean Paul praised it as "a work of philosophical genius, bold, universal, full of penetration and profoundness—but of a depth often hopeless and bottomless, akin to that melancholy lake in Norway, in whose deep water, beneath the steep rock-walls, one never sees the sun, but only stars reflected", on which Schopenhauer commented: "In my opinion the praise of one man of genius fully makes good the neglect of a thoughtless multitude".

This neglect came to an end in the last years of his life. Schopenhauer would become the most influential philosopher in Germany until World War I. Especially artists were attracted to the work. No philosopher had given so much importance to art: one fourth of The World as Will and Representation is concerned with aesthetics. To be mentioned are Wagner (Influence of Schopenhauer on Tristan und Isolde), Schönberg, Mahler, who cites The World as Will and Representation as "the most profound writing on music he had ever encountered", Thomas Mann, Hermann Hesse, Jorge Luis Borges, Tolstoy, D. H. Lawrence and Samuel Beckett.

The philosophers Friedrich Nietzsche and Philipp Mainländer both described the discovery of The World as Will and Representation as a revelation. Nietzsche commented, "I belong to those readers of Schopenhauer who know perfectly well, after they have turned the first page, that they will read all the others, and listen to every word that he has spoken".

Charles Darwin quoted The World as Will and Representation in The Descent of Man. Some read ideas in it that can be found in the theory of evolution, for example, that sexual instinct is a tool of nature to ensure the quality of the offspring. Schopenhauer argued in favor of transformism by pointing to one of the most important and familiar evidences of the truth of the theory of descent, the homologies in the inner structure of all the vertebrates.

Schopenhauer's discussions of language and ethics were a major influence on Ludwig Wittgenstein.

Schopenhauer's views on the independence of spatially separated systems, the principium individuationis, influenced Einstein, who called him a genius. Schrödinger put the Schopenhauerian label on a folder of papers in his files "Collection of Thoughts on the physical Principium individuationis".

See also

References

Further reading
 Bryan Magee, The Philosophy of Schopenhauer, Oxford University Press, 1997 (reprint),
 Schopenhauer, Arthur. The World as Will and Representation. Dover. Volume I, . Volume II,
 Susanne Möbuß, Schopenhauer für Anfänger: Die Welt als Wille und Vorstellung – eine Lese-Einführung (introduction in German to The World as Will and Representation), 1998.

External links

 Die Welt als Wille und Vorstellung, complete text in German

1819 non-fiction books

1844 non-fiction books

Aesthetics books
Epistemology books
Ethics books
Metaphysics books
Works by Arthur Schopenhauer
Works about philosophical pessimism

The World as Will and Representation


A fire class is a system of categorizing fire with regard to the type of material and fuel for combustion. Class letters are often assigned to the different types of fire, but these differ between territories; there are separate standards for the United States, Europe, and Australia. The fire class is used to determine the types of extinguishing agents that can be used for that category.

Ordinary combustibles: Class A

Class A fires consist of ordinary combustibles such as wood, paper, fabric, and most kinds of trash. They may be extinguished by water, wet chemical suppression, or dry chemical powder.

Flammable Liquids: Class B (EU and AU)

Class B fires are those where the fuel is flammable or combustible liquid. The US system includes flammable gases in their "Class B". In the European/Australian system, flammable liquids are designated "Class B" having flash point less than . These fires follow the same basic fire tetrahedron (heat, fuel, oxygen, chemical reaction) as ordinary combustible fires, except that the fuel in question is a flammable liquid such as gasoline, or gas such as natural gas. A solid stream of water should never be used to extinguish this type because it can cause the fuel to scatter, spreading the flames.

The most effective way to extinguish a liquid fire is by inhibiting the chemical chain reaction of the fire, which can be done by dry chemical or Halon extinguishing agents. Smothering with CO2 or, for liquids, foam is also effective. Halon has fallen out of favor in recent times (except for aircraft fire extinguishing systems) because it is an ozone-depleting material; the Montreal Protocol declares that Halon should no longer be used. Chemicals such as FM-200 are now the recommended halogenated suppressant.

Flammable Gases: Class B (US) / Class C (EU/AU)

Fires where the fuel is flammable or combustible gas are classified as "Class C" in the European/Australian system, and "Class B" along with flammable liquids in the US system. Due to the gaseous nature of the fuel, these fires are difficult to extinguish. The most effective techniques for the control of a flammable gas fire are to stop the flow of fuel (by turning off any gas taps or valves) or to displace the oxygen. Control of fires involving flammable gases where the gas source cannot be controlled must be carefully managed. If the flames are extinguished, but the gas continues to leak, an explosive atmosphere may be created, and the gas may find a source for reignition outside of the originally affected area. Strategies employed to manage these fires may include trying to direct or contain the fire to prevent the ignition of other fuels whilst work is done to control the fuel supply.

Metal: Class D

Class D fires involve combustible metals – especially alkali metals like lithium and potassium, alkaline earth metals such as magnesium, and group 4 elements such as titanium and zirconium.

Metal fires represent a unique hazard because people are often not aware of the characteristics of these fires and are not properly prepared to fight them. It is also not always clear what type of metal is burning. Therefore, even a small metal fire can spread and become a larger fire in the surrounding ordinary combustible materials. Certain metals catch fire in contact with air or water (for example, sodium), which exacerbates this risk. Monolithic masses of combustible metals do not usually represent great fire risks because heat is conducted away from hot spots so efficiently that the heat of combustion cannot be maintained. In consequence, significant heat energy is required to ignite a contiguous mass of combustible metal. Generally, metal fires are a hazard when the metal is in the form of sawdust, machine shavings, or other metal "fines", which combust more rapidly than larger blocks due to their increased surface-area-to-volume ratio. Metal fires can be ignited by the same ignition sources that would start other common fires.

Special care must be taken when extinguishing metal fires. Water and other common firefighting agents can exacerbate metal fires and make them worse. The National Fire Protection Association recommends that metal fires be fought with dry powder extinguishing agents that work by smothering and heat absorption. Different metals require different extinguishing agents and for a particular metal, agents cannot necessarily be substituted for one another. The most common agents are sodium chloride granules and graphite powder. In recent years, powdered copper has also come into use. These dry powder extinguishers should not be confused with those that contain dry chemical agents. The two are not the same, and only dry powder should be used to extinguish a metal fire. Using a dry chemical extinguisher in error, in place of dry powder, can be ineffective or actually increase the intensity of a metal fire.

Electrical: Class C (US) / Class E (AU) / Unclassified (EU)

Fires predominantly involving electricity have different classifications in each of the three systems. They are classified as a "Class E" fire under the Australian system, "Class C" under the American system, and are classified based on the ignited fuel type under the European system (which previously shared the "Class E" classification with the Australian system). Electrical fires are fires involving potentially energized electrical equipment. This sort of fire may be caused by short-circuiting machinery or overloaded electrical cables. These fires can be a severe hazard to firefighters using water or other conductive agents, as electricity may be conducted from the fire, through water, to the firefighter's body, and then earth. Electrical shocks have caused many firefighter deaths.

Electrical fire may be fought in the same way as an ordinary combustible fire, but water, foam, and other conductive agents are not to be used. While the fire is or possibly could be electrically energized, it can be fought with any extinguishing agent rated for electrical fire. Carbon dioxide CO2, NOVEC 1230, FM-200 and dry chemical powder extinguishers and even baking soda are especially suited to extinguishing this sort of fire. PKP should be a last resort solution to extinguishing the fire due to its corrosive tendencies. Once electricity is shut off to the equipment involved, it will generally become an ordinary combustible fire.

Cooking oils and fats (kitchen fires): Class F (EU/AU) / Class K (US)

Fires involving cooking oils and fats are classified as "Class F" under the European and Australian systems, and "Class K" under the American system. Though such fires are technically a subclass of the flammable liquid/gas class, the special characteristics of these types of fires, namely the higher flash point, are considered important enough to recognize separately. Some special extinguishers designed for this use smother the fire by turning the oil into a foam. A water mist can also be used. As with Class B fires, a solid stream of water should never be used to extinguish this type because it can cause the fuel to scatter, spreading the flames. Commercial kitchens may also have a fire suppression system built into the exhaust hood to release an extinguishing agent onto the stove top, releasing automatically with a fusible link or manually using a pull station. Sometimes fire blankets are used to stop a fire in a kitchen or on a stove.

See also
 Fire control
 Fire extinguisher

References

External links
 Classification of Portable Fire Extinguishers, Occupational Safety and Health Administration
 Evacuation Plans and Procedures eTool, Occupational Safety and Health Administration
 Information on Fire Extinguishers, The Fire Safety Advice Centre
 Australian Fire Classes, Futura Fire – Australia
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James Douglas  (21 March 1675 – 2 April 1742) was a Scottish physician and anatomist, and Physician Extraordinary to Queen Caroline.

Life and works
One of the seven sons of William Douglas (died 1705) and his wife, Joan, daughter of James Mason of Park, Blantyre, he was born in West Calder, West Lothian, in 1675. His brother was the lithotomist John Douglas (died 1759).

In 1694 he graduated MA from the University of Edinburgh and then took his medical doctorate at Reims before going to London in 1700.

He worked as an obstetrician, and gaining a great reputation as a physician, was elected Fellow of the Royal Society of London in 1706, FCP in 1721.

One of the most respected anatomists in the country, Douglas was also a well-known man-midwife.  He was asked to investigate the case of Mary Toft, an English woman from Godalming, Surrey, who in 1726 became the subject of considerable controversy when she tricked doctors into believing that she had given birth to rabbits.  Despite his early scepticism (Douglas thought that a woman giving birth to rabbits was as likely as a rabbit giving birth to a human child), Douglas went to see Toft, and subsequently exposed her as a fraud.

Douglas practiced midwifery and performed public dissections at home.

Douglas mentored and befriended anatomist and surgeon William Hunter (1718–1783), whom he met in 1740 when Hunter came to London.
Hunter would live in the Douglas household and remained there after Douglas died in London on 2 April 1742, leaving a widow and two children.

Douglas produced a series of manuscript English, French, Latin and Greek grammars, and an ample index to the works of Horace. A Treatise on English Pronunciation by James Douglas (1914) was edited by Anna Paues. Another edition was due to Börje Holmberg (Lund, 1956). He undertook botanical studies, notably his monograph on the Guernsey Lily.

Terminology
As a result of Douglas's investigations of female pelvic anatomy, several anatomical terms bear his name:

Douglas pouch
Peritoneal space formed by deflection of the peritoneum.

Douglasitis
Inflammation of Douglas pouch.

Douglas abscess
Suppuration in Douglas pouch, most often seen in appendicitis or adnexitis.

Douglas fold
A fold of peritoneum forming the lateral boundary of Douglas pouch.

Douglas line
The arcuate line of the sheath of the rectus abdominis muscle.

Douglas septum
The septum formed by the union of Rathke's folds, forming the rectum of the fetus.

Footnotes

External links
Who Named It? (James Douglas)
Papers and Drawings of James Douglas, Glasgow University Library archives
Douglas papers

1675 births
1742 deaths
Scottish anatomists
Reims University (1548–1793) alumni
Fellows of the Royal Society
18th-century Scottish medical doctors
Scottish obstetricians
Alumni of the University of Edinburgh
Scottish midwives
Freemasons of the Premier Grand Lodge of England
People from West Calder

James Douglas (physician)


Brigadoon is a 1954 American Metro-Goldwyn-Mayer musical film made in CinemaScope and color by Ansco based on the 1947 Broadway musical of the same name by Alan Jay Lerner and Frederick Loewe. The film was directed by Vincente Minnelli and stars Gene Kelly, Van Johnson, and Cyd Charisse. Brigadoon has been broadcast on American television and is available in VHS, DVD and Blu-ray formats.

Plot
Americans Tommy Albright and Jeff Douglas are on a hunting trip in Scotland and become lost in the woodlands. They happen upon Brigadoon, a miraculously blessed village that rises out of the mists every hundred years for only a day. (This was done so that the village would never be changed or destroyed by the outside world.)  Tommy falls in love with village lass Fiona Campbell, whose younger sister Jean, is about to be married to Charlie Dalrymple. When Tommy and Jeff happen upon clues about the village and its people that make no sense, Fiona takes them to see Mr. Lundie, the village schoolmaster, who tells them the story of Brigadoon and the miracle. If any villager ever leaves Brigadoon, the spell will be broken and the village will vanish forever. Furthermore, Lundie tells them, any outsider who wishes to stay must love someone in the village strongly enough to accept the loss of everything he or she knew in the outside world. That evening, Mr. Lundie officiates at the wedding of Jean and Charlie, which Tommy and Fiona attend. Interrupting the wedding, the jealous Harry Beaton announces he is leaving Brigadoon to make everything disappear, since the girl he loves, Jean, is marrying another man.   Harry's words cause mass chaos among the townspeople and they all rush to stop him. Harry almost crosses the bridge but is stopped short by Tommy. They scuffle and Tommy is knocked unconscious. With men closing in on him, Harry climbs up a tree to hide but is accidentally gunned down by Jeff, who skipped the wedding to go hunting. Harry falls dead to the ground and is soon found by the men. Fiona frantically searches for and finds Tommy. Confessing their love for each other, they decide to marry, allowing Tommy to stay in Brigadoon for good. But while Fiona goes off to find Mr. Lundie, Tommy tells Jeff about his plan. Jeff, drunk and remorseful of accidentally killing Harry, tells Tommy he can't just leave everything in the real world behind for this girl he's only known a day. Fiona returns with Mr. Lundie, but Tommy confesses that he cannot stay. Fiona says she understands but is heartbroken and they say good-bye before Brigadoon completely disappears. Tommy and Jeff cross the bridge and walk away.

Back in New York City, Tommy can think only of Fiona.  Unable even to talk with his fiancée, Tommy ends his relationship with her and calls Jeff, telling him to get the first flight back to Scotland. He and Jeff return to the same spot where they were lost, though Jeff reminds him again the village will not be there.  But suddenly Tommy sees lights start to appear through the mist and runs toward them.  Brigadoon reappears and Tommy gets to the foot of the bridge to see Mr. Lundie half-awake on the other side saying: "Tommy, lad, you! My, my, you must really love her. You woke me up." Tommy seems stunned that Brigadoon has been brought back, but Mr. Lundie reminds him: "I told ye, if you love someone deeply enough, anything is possible ... even miracles."

Tommy then runs across the bridge and reunites with Fiona as the village fades back into the mist.

Cast

Production
Producer J. Arthur Rank acquired the rights of the official play in February 1951. According to the press, Metro-Goldwyn-Mayer "paid a fortune" for the rights, and Gene Kelly and Kathryn Grayson were named in the leads a month later. By the time they were cast, a script was not written yet, although it was reported that Alan Jay Lerner was expected to start on the script a week later. Furthermore, Alec Guinness was also set for a role and David Wayne, Moira Shearer and Donald O'Connor were under consideration for one. Judy Garland was attached to the film at one point in production.

According to the film's director, Vincente Minnelli, O'Connor competed with Steve Allen and Bill Hayes for the role of 'Jeff'. Cyd Charisse replaced Grayson in March 1953. Elaine Stewart was cast in the fourth lead in November 1953, and it was reported that she was more enthusiastic about working with Minnelli than with Kelly.

Because of Kelly's commitments to other film projects, production was delayed for a while, and it did not begin until 1953. Initially, Minnelli and Kelly wanted to film on location in Scotland. Unfortunately, an unpredictable climate and higher location production costs (the latter not compatible with MGM President Dore Schary's thriftiness), forced them to change course. Kelly and producer Arthur Freed traveled to Scotland to confirm for themselves if the weather was too unreliable, and they agreed with the studio. In Kelly's biography it was stated that "the weather was so bad that we had to agree with the studio. So we came back to the United States and started looking for locations here. We found some highlands above Monterey [in Big Sur] that looked like Scotland. But then the studio had an economy wave, and they clamped the lid on that idea." Much to the disappointment of the cast and crew and the delight of Dore Schary, filming had to take place on the sound stages at MGM instead.

Dancer-actor James Mitchell had originated the part of Harry Beaton in the original 1947 Broadway production of Brigadoon and scored a great success. When the film began shooting in 1953, Mitchell was already under contract to Metro-Goldwyn-Mayer and had just completed work on the Fred Astaire musical film The Band Wagon which was directed by Vincente Minnelli and co-starred Cyd Charisse. However, rather than have Mitchell reprise his stage role, the studio instead cast New York City Ballet dancer Hugh Laing as Harry Beaton. In December 1954, a few months after the release of Brigadoon, Mitchell and Charisse made a cameo appearance dancing with each other to the song "One Alone" in the M-G-M Sigmund Romberg musical biography film Deep in My Heart.

In addition, rather than being filmed in the expensive original three-strip Technicolor process with the 1.33:1 square-frame aspect ratio, the film was shot in single-strip Metrocolor and utilized CinemaScope, the newly patented 20th Century Fox 2.55:1 anamorphic widescreen process.

Musical numbers
 "Once in the Highlands/Brigadoon/Down on MacConnachy Square" – Eddie Quillan, Villagers, and Offscreen M-G-M Chorus
 "Waiting for My Dearie" – Cyd Charisse (dubbed by Carol Richards) and Dee Turnell (dubbed by Bonnie Murray)
 "I'll Go Home with Bonnie Jean" – Jimmy Thompson (dubbed by John Gustafson), Gene Kelly, Van Johnson and Chorus
 "The Heather on the Hill" – Gene Kelly, Danced by Gene Kelly and Cyd Charisse
 "Almost Like Being in Love" – Sung and Danced by Gene Kelly
 "The Wedding Dance" – Danced by Jimmy Thompson and Virginia Bosler
 "The Chase" – Sung by men pursuing Hugh Laing
 "The Heather on the Hill" – Danced by Gene Kelly and Cyd Charisse
 "I'll Go Home with Bonnie Jean" (reprise) – Sung offscreen by Jimmy Thompson, Carol Richards and Chorus
 "The Heather on the Hill" (reprise)  – Sung offscreen by Jimmy Thompson, Carol Richards and Chorus
 "Waitin' for My Dearie" (reprise) – Sung offscreen by Jimmy Thompson, Carol Richards and Chorus
 "Finale: Brigadoon"  –  M-G-M Chorus
Source:IMDb

Complete sound and picture footage of three of the deleted musical numbers has survived, and it is included in the latest DVD release of the film.

The 1954 original motion picture soundtrack was originally incomplete, but was re-released with deleted songs, alternative takes, and undubbed vocals.

Reception
Bosley Crowther in The New York Times of September 17, 1954, described the film as "curiously flat and out-of-joint, rambling all over creation and seldom generating warmth or charm."  Crowther admired the costumes, sets, and decor but deplored the omission of several musical numbers.  He found fault with the film's two stars and its director: "the personable Gene Kelly and Cyd Charisse have the lead dancing roles. Even so, their several individual numbers are done too slickly, too mechanistically. What should be wistful and lyric smack strongly of trickery and style ... Mr. Kelly's [performance] is as thin and metallic as a nail; Miss Charisse's is solemn and posey ... Vincente Minnelli's direction lacks his usual vitality and flow." He concluded by noting the film was "pretty weak synthetic Scotch." Variety posted a lukewarm review, calling the dance staging "not particularly arresting, although a few of the numbers will have a desired effect on the audience, and the vocals fail to give the tunes the tonal impact needed to put them over." Harrison's Reports wrote of the film: "It has much to recommend it from the viewpoint of the production values, and there are individual musical sequences that are nimble, gay, and cheery, but some of the other production numbers are long drawn out and tedious, and on the whole the picture's fantasy theme misfires." John McCarten of The New Yorker wrote: "There are times in this version of 'Brigadoon' when one is seized by the wild hope that the exposition of the town's dilemma will be quickly boiled down to an essence, so that Gene Kelly and Cyd Charisse can get on with their dancing. The problems of the community are always getting in the way though ... I rather regretted that they weren't able to cut loose with their musical paces more often." The Monthly Film Bulletin called the film "a sizeable disappointment. Overloaded with Hollywood-Scottish trappings, with tartans, bagpipes and a wedding celebration preceded by a miniature sort of gathering of the clans, the tenuous romantic fantasy is slackly developed ... and the whimsical dream-world it creates holds no compelling attractions."

Leonard Maltin in his reappraisal feels this adaptation was unfairly overlooked when it first appeared and particularly praises the "lovely" score, orchestrated mainly by Conrad Salinger, and the performance of Van Johnson as Jeff Douglas.

Box office
According to MGM records the film earned $1,982,000 in the US and Canada and $1,293,000 and resulted in a loss of $1,555,000.

Awards and honors
The film was nominated for three Academy Awards in 1955:
 Best Art Direction-Set Decoration, Color – (Cedric Gibbons, E. Preston Ames, Edwin B. Willis, F. Keogh Gleason)
 Best Costume Design, Color – (Irene Sharaff)
 Best Sound, Recording – Wesley C. Miller (MGM)

The film won a 1955 Golden Globe:
 Best Cinematography, Color – (Joseph Ruttenberg)

Also, the film is recognized by American Film Institute in these lists:
 2002: AFI's 100 Years...100 Passions – Nominated
 2004: AFI's 100 Years...100 Songs:
 "Almost Like Being in Love" – Nominated
 2006: AFI's Greatest Movie Musicals – Nominated
 2008: AFI's 10 Top 10:
 Nominated Fantasy Film

See also

 Schmigadoon!

References

External links

See also
 1966 television film

1954 films
1950s romantic fantasy films
1950s musical fantasy films
American musical fantasy films
American romantic fantasy films
American romantic musical films
1950s English-language films
Fictional populated places in Scotland
Films based on musicals
Films directed by Vincente Minnelli
Films produced by Arthur Freed
Films scored by Frederick Loewe
Films set in Scotland
Films with screenplays by Alan Jay Lerner
CinemaScope films
Metro-Goldwyn-Mayer films
Films about time travel
1950s American films

Brigadoon (film)


The Hinterkaifeck murders occurred on the evening of 31 March 1922, when six inhabitants of a small Bavarian farmstead, located approximately  north of Munich, Germany, were murdered by an unknown assailant. The six victims were Andreas Gruber (aged 63), his wife Cäzilia Gruber (aged 72), their widowed daughter Viktoria Gabriel (aged 35), Viktoria's children, Cäzilia (aged 7) and Josef (aged 2), and the maid, Maria Baumgartner (aged 44). They were all found struck dead with a mattock, also known as a "grub axe". The perpetrator(s) lived with the six corpses of their victims for three days. The murders are considered one of the most gruesome and puzzling unsolved crimes in German history.

Four of the dead bodies were found stacked up in the barn, the victims having been lured there, one by one. Prior to the incident, the family and their former maid reported hearing strange noises coming from the attic, which led to that maid leaving. The case remains unsolved to this day.

Location
The farm at Hinterkaifeck was built around 1863.

Less than a year after the murders, and the murder investigation, the farm was completely demolished. Additional evidence was revealed, including a mattock hidden in the attic and a pen-knife found in the hay in the barn.

Murders

Prelude
There were some strange occurrences in and around Hinterkaifeck sometime shortly before the attack. Six months prior to the attack, the family maid had quit. It has been widely claimed that her reason for leaving was that she had heard strange sounds in the attic and believed the house to be haunted. Andreas Gruber found a strange newspaper from Munich on the property in March 1922. He could not remember buying it and initially believed that the postman had lost the newspaper. This was not the case, however, as no one in the vicinity subscribed to the paper. Just days before the murders, Gruber told neighbours he had discovered tracks in the fresh snow that led from the forest to a broken door lock in the farm's machine room.

Later, during the night, they heard footsteps in the attic, but Gruber found no one when he searched the building. Although he told several people about these alleged observations, he refused offers of help and the details went unreported to the police. According to a school friend of the seven-year-old Cäzilia Gabriel, the young girl reported that her mother Viktoria had fled the farm the night before the act after a violent quarrel and only hours later had been found in the forest.

31 March to 1 April 1922
On the afternoon of Friday 31 March 1922, the new maid, Maria Baumgartner, arrived at the farm. Maria's sister had escorted her there and left the farm after a short stay. She was most likely the last person to see the inhabitants alive. It appears that in the late evening, Viktoria Gabriel, her seven-year-old daughter Cäzilia, and her parents Andreas and Cäzilia, were lured to the family barn through the stable, where they were murdered, one at a time. The perpetrator(s) used a mattock belonging to the family farm and killed the family with blows to the head. The perpetrator(s) then moved into the living quarters, where—with the same murder weapon—they killed Josef, sleeping in his bassinet, and Baumgartner, in her bedchamber.

Discovery
Four days passed between the murders and the discovery of the bodies. On 1 April, coffee sellers Hans Schirovsky and Eduard Schirovsky arrived in Hinterkaifeck to take an order. When no one responded to the knocks on the door and the window, they walked around the yard but found no one. They noticed that the gate to the machine house was open, then decided to leave. Cäzilia Gabriel was absent from school without excuse for the next few days, and the family failed to show up for Sunday worship.

Assembler, Albert Hofner, went to Hinterkaifeck on 4 April to repair an engine. He stated that he had not seen any of the family and had heard nothing but the sounds of the farm animals and the dog inside the barn. After waiting for an hour, he decided to start his repair, which he completed in roughly four and a half hours.

Around 3:30 p.m., Lorenz Schlittenbauer sent his son Johann (16) and stepson Josef (9) to Hinterkaifeck to see if they could make contact with the family. When they reported that they had not seen anyone, Schlittenbauer headed to the farm the same day with Michael Pöll and Jakob Sigl. Entering the barn, they found the bodies of Andreas Gruber, his wife Cäzilia Gruber, his daughter Viktoria Gabriel, and his granddaughter Cäzilia. Shortly afterwards, they found the chambermaid, Maria Baumgartner, and the youngest family member, Josef, murdered in the homestead.

Investigation
Inspector Georg Reingruber, and his Department, investigated the killings. Initial investigations were hampered by the number of people who had interacted with the crime scene, moved bodies and items around, and even cooked and eaten meals in the kitchen. The day after the discovery of the bodies, court physician Johann Baptist Aumüller performed autopsies in the barn. It was established that a mattock was the most likely murder weapon, although the weapon itself was not found at the scene. Evidence showed that the younger Cäzilia had been alive for several hours after the assault—she had torn her hair out in tufts while lying in the straw. The skulls of the victims were removed and sent to Munich for further examination.

First suspecting the motive to be robbery, the police interrogated travelling craftsmen, vagrants, and several inhabitants from the surrounding villages, but they abandoned this theory when a large amount of money was found in the house. It was clear that the perpetrator(s) had remained at the farm for several days; someone had fed the cattle, consumed the entire supply of bread from the kitchen, and had recently cut meat from the pantry.

With no clear motive to be gleaned from the crime scene, the police began to formulate a list of suspects. Despite repeated arrests, no murderer has ever been found and the files were closed in 1955. The last interrogations took place in 1986, before detective chief superintendent Konrad Müller retired.

Inconsistencies
In the inspection record of the court commission, it was noted that the victims were probably drawn to the barn by restlessness in the stable resulting in noises from the animals. A later attempt, however, revealed that at least human screams from the barn could not be heard in the living area.

On the night after the crime, three days before the bodies were discovered, the artisan Michael Plöckl happened to pass by Hinterkaifeck. He observed that the oven had been heated by someone. That person had approached him with a lantern and blinded him, whereupon he hastily continued on his way. Plöckl also noticed that the smoke from the fireplace had a revolting smell. This incident was not followed up and no investigation was conducted to determine what had been burned that night in the oven.

On 1 April at 3:00 a.m., the farmer and butcher, Simon Reißländer, on his way home near Brunnen, saw two mysterious figures at the edge of the forest. When the strangers saw him, they turned around so that their faces could not be seen. Later, when he heard of the murders in Hinterkaifeck, he thought it possible that the strangers might be involved.

In the middle of May 1927, a stranger was said to have stopped a resident of Waidhofen at midnight, asking him questions about the murder before shouting that he was the murderer and then running into the woods. The stranger was never identified.

Suspects

Karl Gabriel
Karl Gabriel was the husband of widowed Viktoria Gabriel. He had reportedly been killed in December 1914, during the First World War, by a shell attack in Arras, France, but his body had never been recovered. After the murders, people began to speculate about whether he had in fact died in the war. Viktoria had conceived and given birth to her son Josef in her husband's absence. The boy was rumoured to have been the product of an incestuous "relationship" between Viktoria and her father Andreas, which was documented in court and known in the village. Andreas was found to be raping his daughter and the town convicted them both of incest.

After the end of the Second World War, war captives from the Schrobenhausen region who were released prematurely from Soviet captivity claimed that they had been sent home by a German-speaking Soviet officer who claimed to be the Hinterkaifeck murderer. However, some of the men later revised their statements, which diminishes their credibility. Many theorized that the Soviet officer in question might have been Karl Gabriel, because those who claimed to have seen Gabriel after his reported death testified that he had wanted to go to Russia.

Lorenz Schlittenbauer
Shortly after the death of his first wife in 1918, Lorenz Schlittenbauer was believed to have had a relationship with Viktoria Gabriel and fathered Josef. Schlittenbauer came under suspicion by locals early in the investigation because of his several suspicious actions immediately after the discovery of the bodies. When Schlittenbauer and his friends arrived to investigate, they had to break a gate to enter the barn because all of the doors were locked. However, immediately after finding the four bodies in the barn, Schlittenbauer apparently unlocked the front door with a key and (suspiciously) entered the house alone. A key to the house had gone missing several days before the murders, though it is also possible that Schlittenbauer, as a neighbor or as Viktoria's potential lover, might have been given a key. When asked by his companions why he had gone into the house alone when it was unclear if the murderer might still be there, Schlittenbauer allegedly stated that he went to look for his son Josef. It is known that Schlittenbauer had disturbed the bodies at the scene, thus potentially compromising the investigation.

For many years after, local suspicion remained on Schlittenbauer because of his strange comments, which were seen as indicating knowledge of details that only the killer would recall. According to his information in the files for the case, local teacher Hans Yblagger discovered Schlittenbauer visiting the remains of the demolished Hinterkaifeck in 1925. Upon being asked why he was there, Schlittenbauer stated that the perpetrator's attempt to bury the family's remains in the barn had been hindered by the frozen ground. This was seen as evidence that Schlittenbauer had intimate knowledge of the conditions of the ground at the time of the murders, although being a neighbor and familiar with the local land, he may have been making an educated guess. Another speculation was that Schlittenbauer murdered the family after Viktoria demanded financial support for young Josef. Before his death in 1941, Schlittenbauer conducted and won several civil claims for slander against persons who described him as the "murderer of Hinterkaifeck".

Gump brothers
Adolf Gump was listed as a suspect as early as 9 April due to his connections to the Freikorps Oberland.

In 1951, prosecutor Andreas Popp investigated brothers Adolf and Anton Gump in relation to the murders at Hinterkaifeck. Their sister, Kreszentia Mayer, claimed on her deathbed that Adolf and Anton had committed the murders. As a result, Anton Gump was remanded to police custody, but Adolf had already died in 1944. After a short time, however, Anton was dismissed again, and in 1954, the case against him was finally discontinued because he could not be proven to have participated in the crime.

Karl S. and Andreas S.
In 1971, a woman named Therese T. wrote a letter citing an event in her youth: At the age of 12, she witnessed her mother receiving a visit from the mother of the brothers Karl and Andreas S. The woman claimed that her sons from Sattelberg were the two murderers of Hinterkaifeck. The mother said, "Andreas regretted that he lost his penknife" in the course of the conversation. In fact, when the farm was demolished in 1923, a pocket knife was found that could not be clearly assigned to anyone. However, the knife could have easily belonged to one of the murder victims. This track was followed without result. Kreszenz Rieger, the former maid of Hinterkaifeck, was certain she had already seen the penknife in the yard during her service.

Peter Weber
Peter Weber was named a suspect by Josef Betz. The two worked together in the winter of 1919-20 as labourers and they shared a room. According to Betz, Weber spoke of a remote farm, Hinterkaifeck. Weber knew that only one old couple lived there with their daughter and her two children. It is likely he knew about the incest between Gruber and his daughter. Betz testified in a hearing that Weber had suggested killing the old man to get the family's money. When Betz did not respond to the offer, Weber stopped talking about it.

Bichler brothers and Georg Siegl
The former maid, Kreszenz Rieger, worked from November 1920 to about September 1921 at Hinterkaifeck. She suspected the brothers Anton and Karl Bichler to have committed the murders. Anton Bichler had helped with the potato harvest at Hinterkaifeck and therefore knew the premises. Rieger said Bichler talked to her often about the Gruber and Gabriel family. Anton reportedly suggested that the family ought to be dead. The maid also emphasised in her interrogation that the farm dog, who barked at everyone, never barked at Anton. In addition, she reported speaking with a stranger through her window at night. The maid believed that it was Karl Bichler, the brother of Anton. She thought that Anton and Karl Bichler could have committed the murder together with Georg Siegl, who had worked at Hinterkaifeck and knew of the family fortune. Supposedly, Siegl had broken into the home in November 1920 and stolen a number of items, though he denied it.  He did state that he had carved the handle of the murder weapon when he was working at Hinterkaifeck and knew that the tool would have been kept in the barn passage.

Thaler brothers
The Thaler brothers were also suspected, according to a statement by the former maid, Kreszenz Rieger. The brothers had already committed several minor burglaries in the area before the crime. Rieger said that Josef Thaler stood at her window at night and asked her questions about the family, but she gave no answer. In conversation, Josef Thaler claimed to know which family member was sleeping in which room and stated that they had a lot of money. During their conversation, Rieger noted that there was another person nearby. According to her statement, Josef Thaler and the stranger had looked at the machine house and turned their eyes upwards.

Paul Mueller
Author Bill James, in his book, The Man from the Train, alleges that a man known as Paul Mueller, a German migrant, may have been responsible for the murders. Mueller was the only suspect in the 1897 murder of a Massachusetts family, and James believes Mueller killed dozens of victims based on research in American newspaper archives. The Hinterkaifek murders bear some similarities to Mueller's suspected crimes in the United States, including the slaughter of an entire family in their isolated home, use of the blunt edge of a farm tool as a weapon (a pick axe), moving and stacking bodies of the victims, and the apparent absence of robbery as a motive. James suspects that Mueller, described as a German immigrant in contemporary media, might have departed the US for his homeland by 1912 after private investigators and journalists began to notice and publicize patterns in family murders across state lines.

Legacy

Many books and newspaper articles have been devoted to the murders. A series of articles by Josef Ludwig Hecker in the Schrobenhausener Zeitung revived interest in the murders.

A documentary film, Hinterkaifeck – Symbol des Unheimlichen (1981), is based on the Leuschner book; Hans Fegert adapted the book, directed the film (shot on Super 8, with sound), and was the cameraman. The film was shown regularly in Ingolstadt. Ten years later, Reinhard Keilich's play Hinterkaifeck – Deutschlands geheimnisvollster Mordfall (1991) was produced, and at the same time Kurt K. Hieber produced another documentary, shot on location, and shown on television and in local cinemas. Also in 1991, radio station Funkhaus Ingolstadt aired a documentary, Hinterkaifeck – auf den Spuren eines Mörders, and the Abendzeitung (München) ran a series of articles called Die sechs Toten vom Einödhof – Bayerns rätselhaftestes Verbrechen.

In 2007, 15 students of the Polizeifachhochschule (police academy) in Fürstenfeldbruck examined the case using modern criminal investigation techniques. In their final report (in German), they confirmed the meticulousness of the investigation at the time, but criticized the lack of professional forensics. In particular, the failure to take fingerprints was criticized, as this was already common practice at the time. Although it is almost certain that the murderer(s) can no longer be identified, all authors of the report independently agreed on who the main suspect in the case was. However, his name was not mentioned out of consideration for his descendants.

In 2017, the last chapter of The Man from the Train, by Bill James and his daughter Rachel McCarthy James, briefly discusses the murders at Hinterkaifeck. The authors explain the possibility that the German crimes might have been committed by Paul Mueller, the titular serial killer the authors believe killed several families in the United States under similar circumstances between 1898 and 1912. The murders attributed to Mueller, including the Villisca axe murders, were apparently random nighttime home invasions in or near small railroad towns that left entire families bludgeoned to death with the blunt end of an axe, and were probably motivated by a sadistic and necrophilic attraction to prepubescent girls. The authors rate the chances of Mueller as the Hinterkaifeck killer as "more or less a toss-up" but conclude "there's no real reason to believe that it's not him".

See also
 Axe murder
 List of unsolved murders

References

Bibliography
 Guido Golla (2016). Hinterkaifeck: Autopsie eines Sechsfachmordes. Norderstedt, .

External links
 Interviews, pictures, maps and theories (German)

1922 murders in Germany
20th-century mass murder in Germany
Axe murder
Family murders
Murders
Incest
March 1922 events
Mass murder in 1922
Murder in Bavaria
Stabbing attacks in Germany
Unsolved mass murders
Unsolved murders in Germany

Hinterkaifeck murders


Standing for Something: 10 Neglected Virtues That Will Heal Our Hearts and Homes is a self-improvement book by Gordon B. Hinckley, the 15th president of the Church of Jesus Christ of Latter-day Saints. The foreword to the book was written by Emmy Award-winning journalist Mike Wallace, and it bears endorsements by William J. Bennett, Stephen R. Covey, and United States Senator Joe Lieberman.

The book became a New York Times Best Seller in 2000 in the "advice and how-to category," and it received the 2000 Devotional Award from the Association for Mormon Letters.

The book's ten virtues
Hinckley composed ten virtues:

 Virtue 1 - Love: The Lodestar of Life
 Virtue 2 - Where There Is Honesty, Other Virtues Will Follow
 Virtue 3 - Making a Case for Morality
 Virtue 4 - Our Fading Civility
 Virtue 5 - Learning: "With All Thy Getting, get Understanding"
 Virtue 6 - The Twin Virtues of Forgiveness and Mercy
 Virtue 7 - Thrift and Industry: Getting Our Houses in Order
 Virtue 8 - Gratitude: A Sign of Maturity
 Virtue 9 - Optimism in the Face of Cynicism
 Virtue 10 - Faith: Our Only Hope

References

Self-help books
LDS non-fiction
Random House books
2000 non-fiction books
2000 in Christianity
Books by Gordon B. Hinckley
Works by presidents of the church (LDS Church)

Standing for Something


James Grant Schoenfeld (born September 4, 1952) is a Canadian professional ice hockey executive and former player. He most recently was the assistant general manager with the New York Rangers of the National Hockey League (NHL), as well as an interim assistant coach. He was previously a player and a head coach in the NHL for several teams.

Biography

Playing career
After a junior career with the London Knights, Hamilton Red Wings, and Niagara Falls Flyers, he was drafted by the Buffalo Sabres and would play eleven seasons with that team, including spending time as the team's captain.  He also played for the Detroit Red Wings and Boston Bruins.  He retired as an NHL player in 1985.

Coaching/general management career
Since retirement, he has served as the head coach of several NHL teams, including the Sabres, New Jersey Devils, Washington Capitals, and Phoenix Coyotes. As an NHL head coach, Schoenfeld has compiled a record of 256–246–78 (.509). In 2007, he was promoted from the head coach of the Hartford Wolf Pack of the American Hockey League to assistant general manager of the New York Rangers, the Wolf Pack's NHL affiliate. At the time, he was also assigned to be the general manager of the Wolf Pack until he was relieved of those duties in 2017.

Schoenfeld is remembered for an altercation with NHL referee Don Koharski after game 3 of the 1988 Wales Conference Finals after his New Jersey Devils lost 6–1 to the Boston Bruins. During the argument Koharski fell down and falsely accused Schoenfeld of pushing him. As people yelled at Schoenfeld, at least one saying "you're done", believing that he'd pushed Koharski, Schoenfeld continued arguing with Koharski who said he hoped that the entire exchange was on videotape. Schoenfeld yelled back, "Good, 'cause you fell, you fat pig! Have another doughnut! Have another doughnut!" as Koharski and the other officials headed to their dressing room. Schoenfeld was suspended by League disciplinarian Brian O'Neill for the following game, but the Devils sought a court order to overturn the suspension. About 40 minutes before the start of the game, New Jersey Superior Court Judge James F. Madden issued a restraining order allowing Schoenfeld to coach, subsequently triggering a walkout by the scheduled game 4 officials: referee Dave Newell and linesmen Gord Broseker and Ray Scapinello. After more than an hour's delay, three local off-ice officials – Paul McInnis, Jim Sullivan and Vin Godleski – were tracked down to work the game. The Devils went on to win the game by a score of 3–1, but Schoenfeld was later suspended for game 5, fined $1,000, his team $10,000, and the officials returned to work.

This incident was parodied later in the movie Wayne's World, when a rather large and apathetic police officer named Officer Koharski hung out at the counter of Stan Mikita's Doughnut Shop. The movie used Stan Mikita's as the name of a doughnut shop, as a parody reference to the chain Tim Hortons. Coincidentally, during the final part of his career, Tim Horton himself teamed on defense with a young Jim Schoenfeld with the Buffalo Sabres. Later, Schoenfeld often paired with Jerry Korab.

On July 23, 2007, Schoenfeld was named New York Rangers assistant general manager to Glen Sather, replacing Don Maloney (who had become general manager of the Phoenix Coyotes franchise). Ken Gernander took over the head coach position in Hartford, while Schoenfeld retained his position of general manager for the farm team. On April 26, 2009, while serving as interim assistant coach for the Rangers under head coach John Tortorella, Schoenfeld stepped in to act as head coach for game 6 of the Eastern Conference Quarterfinals against the Washington Capitals following Tortorella's one-game suspension for inappropriate fan contact in game 5 of the series. He stepped down from his positions of senior vice president and assistant general manager on May 16, 2019.

Broadcasting career
In 1992, he joined ESPN as color commentator for regular season games with play-by-play man Gary Thorne. However, in the 1993 playoffs, he worked as the studio analyst with Al Morganti, the other studio analyst, and host John Saunders.

Musical career
Schoenfeld also recorded two albums during his time in Buffalo, both of which were recorded in collaboration with Buffalo Music Hall of Fame singer and producer John Valby (before Valby's turn toward more ribald material). The first, Schony, was released in 1973 and credited solely to Schoenfeld; the album consisted mostly of cover versions of a broad variety of songs (often radically rearranged from the originals), with two originals: the Valby-penned bluegrass tune "Barbecue in Heaven" and Schoenfeld's own "Before." He recorded a second album in 1974 entitled The Key Is Love; this album, which was credited to both Schoenfeld and Valby, consisted of all original songs.

Career statistics

Coaching record

References

External links

1952 births
Living people
Arizona Coyotes coaches
Boston Bruins players
Buffalo Sabres captains
Buffalo Sabres coaches
Buffalo Sabres draft picks
Buffalo Sabres players
Canadian ice hockey defencemen
Canadian people of German descent
Cincinnati Swords players
Detroit Red Wings players
Hamilton Red Wings (OHA) players
London Knights players
National Hockey League broadcasters
National Hockey League first-round draft picks
New Jersey Devils coaches
New York Rangers coaches
New York Rangers executives
Niagara Falls Flyers players
Ice hockey people from Cambridge, Ontario
Washington Capitals coaches
Canadian ice hockey coaches

Jim Schoenfeld


Spelbound are a gymnastic troupe from the United Kingdom who rose to fame in 2010, winning the fourth series of Britain's Got Talent. The prize was £100,000 and the opportunity to appear at the 2010 Royal Variety Performance.  They also performed in the Britain's Got Talent Live tour. They have since performed at numerous venues and have been featured in advertisements.

History

Early years and lineup (2009–2010)
The original group was composed of seven boys and six girls with ages ranging from 12 to 24. They were Adam McAssey, Adam Buckingham, Alex Uttley, Jonathan Stranks, Douglas Fordyce, Edward Upcott, Nicholas Illingworth, Katie Axten, Leighanne Cowler, Lauren Kemp, Hollianne Wood, Abigail Ralph and Amy Mackenzie. Between them, they have won numerous medals in their sport, acrobatic gymnastics, which is an internationally recognized type of gymnastics.  Additionally, some of them have taken home European and World medals. Six members (Upcott, Fordyce, Uttley, Stranks, McAssey and Buckingham) went on to the 2010 world championships subsequent to BGT with gold medals in their respective disciplines (men's pair and men's four) in the senior category, also 11-16 age group women's pair Ralph and Mackenzie won a silver medal.

They have competed for their club and for Great Britain all over Europe, including the 2008 Acrobatic Gymnastics World Championships, with six of them competing for GB in Taiwan at the 2009 World Games, an Olympic style event for non-Olympic events.

Britain's Got Talent (2010)

Spelbound auditioned for BGT, and wowed the judges and the crowd from the start. They performed to the song 'O Fortuna' a poem originally written in the 13th century as part of a collection known as the Carmina Burana, and set to music in 1935/36 by the German composer Carl Orff.  They went on to the semi-finals and finals, significantly beating Twist and Pulse in the final round to win the competition in front of over 15 million TV viewers.

They received £100,000 to split amongst themselves, and went on to perform at the Royal Variety Show in December. Unfortunately they did not get to meet the Royal Party of Prince Charles and the Duchess of Cornwall as the Royal car had been attacked by protesters on the streets of London whilst on the way to the show at the London Palladium. They did attend the show but were whisked away by the police straight after the show. Earlier that year, they performed on the game show Magic Numbers, hosted by Stephen Mulhern and accompanied Welsh opera singer Katherine Jenkins at the Concert for Heroes at Twickenham Stadium.

At the end of 2010, they released their first DVD featuring 9 live routines performed before a theatre audience.

Change of lineup

In November 2010, Katie Axten left the troupe to go to University in Portsmouth. Katie was replaced by Edward Upcott's younger sister, Alice Upcott.  At the age of twelve, Alice displaced Amy Mackenzie as the youngest member in the troupe.

The troupe then remained unchanged for approximately 17 months until April 2012 when original members Leighanne Cowler and Amy Mackenzie stepped down. Leighanne, who is a gymnastics coach, decided to focus all her attention on her coaching career and Amy, who had been training as a competition base since retiring as a top in October 2011, wanted to focus fully on her competition career and upcoming GCSEs, they were both replaced by senior women's pair Alanna Baker and Poppy Spalding. In June 2012 Adam McAssey left the troupe to also focus on his coaching career and was replaced by Alice Upcott's competition partner Dominic Smith.

In August 2012 it was announced that more original members Hollianne Wood, Lauren Kemp, Abigail Ralph, Douglas Fordyce and Edward Upcott were leaving Spelbound for new ventures.
Hollianne, Lauren and Abigail were replaced by senior women's group Elise Matthews, Georgia Lancaster and Millie Spalding, the sister of Poppy Spalding.

In 2015 after winning Gold at the World Acrobatic Championships, Elise Matthews, Georgia Lancaster and Millie Spalding, retired from the sport and also left Spelbound. As well as the women's trio retiring, Alice Upcott and Dominic Smith, also did. Alice is now currently working with Michael Flatley's Lord of the Dance: Dangerous Games starring as Little Spirit.

Olympics 2012 London

Spelbound performed twice for the Olympic audience at Wembley Arena for Rhythmic Gymnastics at London 2012 Olympics on 10 and 11 August 2012.

Spelbound also performed twice at the closing ceremony of the London 2012 Summer Olympics in London. Spelbound performed to The Beatles "A Day in the Life" in a gymnastic interpretation of the lyrics to that song. They then performed a second routine on the closing ceremony whilst Ray Davies, lead singer of The Kinks sung Waterloo Sunset.  The Closing Ceremony was watched by 26.3 million viewers in the UK.

Recent events (2011-present)

In May 2011 Spelbound returned to Britain's Got Talent as the star guest to perform a brand new routine based on a musical piece called Nostalgia by Yanni. During the rest of 2011, the group performed many UK shows as well as travelling around the World to places such as Spain, Portugal, Switzerland, Doha, Abu Dhabi, and Dubai on a few occasions where their brand of acrobatic dance has been especially well received.

In March 2012 the group were among the first people to perform at the new Olympic Stadium at a charity test event called the Gold Challenge. Performing a new Olympic inspired routine, the guys achieved a long-held ambition to perform at an Olympic venue.

On 7 April 2012 Spelbound appeared on the ITV Saturday night show, Keith Lemon's Lemonaid. This was also the final performances for both Leighhanne and Amy.

On 19 October 2012 Spelbound performed on Channel 4 telethon called Stand Up To Cancer in a routine which also involved the street dance troupe The A Team.

On 19 November 2012 Spelbound performed on Royal Variety Performance in front of Queen Elizabeth II at Royal Albert Hall with Diversity, Paul Potts and Stavros Flatley. The show aired on 3 December 2012 on ITV1.

Members

References

British acrobatic gymnasts
Britain's Got Talent winners

Spelbound


A storey (British English), story (American English) or floor level is any level part of a building with a floor that could be used by people for work, play,  a place to live, etc. The word is known as storeys in the United Kingdom and stories in the United States.

Both British and American English have different floor numbering systems. In British English, the level above the ground floor is the "first floor", whereas in American English, it is the " second floor".

Basements may be considered storeys, especially if they're partly above ground, as in a walkout basement. In which cases, it's typically called the "lower floor", " lower ground floor ", " terrace level ", etc. In some buildings, the top storey is a finished attic or garret.

Storeys can be used to classify buildings as low-rise, mid-rise or high-rise.

Low-rise buildings have one to four storeys.

A mid-rise building is typically 5-9 storeys.

And a high-rise building is typically 10 or more storeys.

References

Construction

Storey


Çetin Özek (1934 Çorum, Turkey – 16 July 2008 Istanbul) was a prominent Turkish university professor of criminal law, jurist, author and journalist.

Çetin Özek graduated from Istanbul's respected Pertevniyal High School in 1952 and from Istanbul University Law School in 1956. He was an instructor in criminal law at the same university for five years before receiving his doctorate in 1961, with a thesis titled about secularism in Turkey, a subject on which he was going to be known to feel strongly during his entire life.

Between 1962 and 1964, he attended the "Scuola di Perfezionamento di Diritto Penale" at the University of Rome through an Italian state scholarship. Back to Istanbul University, he became a lecturer in 1968, and spent 1969 to 1970 in England for further studies.

Current politics became a decisive factor in his career when he was dismissed from Istanbul University's academic staff following the 1971 "Coup by Memorandum" in Turkey. He could later annul the dismissal through a decision of the Turkish Council of State () and, once back to university, he became a professor in 1978.

In 1983, in conflict with Turkey's newly founded "Council of Higher Education" (YÖK), Özek demissioned from his position at the university, and pursued a career focused on journalism and on legal counselling. He worked for the newspapers Hürriyet, Milliyet and Günaydın, both as columnist and as consultant. He returned to the university to demission again in 1999, this time in conflict with the rector. In the meantime, he pursued his primary profession of lawyer, in the frame of which he sometimes assumed cases, which acquired notoriety and had repercussions. He was also deeply involved in politics, making a name as a staunch supporter of Republican values and a strong critic of rising Islamist or Islamic-tainted movements.

Özek retired from his university career in 2002, although he remained active as a writer. In addition to a dozen books he wrote on matters such as criminal law, freedom of the press and secularism, a festschrift to his honor was published by prominent jurists from Galatasaray University in 2004.

Çetin Özek died on 16 July 2008 at the age of 74 in Istanbul after a long lasting illness. Following a religious funeral at Teşvikiye Mosque, he was laid to rest at the Kozlu Cemetery. He is survived by his daughters Ayşe Özek Karasu, manager of foreign news at Hürriyetand Zeynep Özek, tv producer.

References

1934 births
2008 deaths
People from Çorum
20th-century Turkish lawyers
Turkish legal writers
Turkish journalists
Turkish columnists
Hürriyet people
Milliyet people
Pertevniyal High School alumni
Istanbul University Faculty of Law alumni
Academic staff of Istanbul University
Sapienza University of Rome alumni
Günaydın (newspaper) people
20th-century journalists

Çetin Özek


Harrison Park is a former baseball ground located in Harrison, New Jersey, a town adjacent to Newark, New Jersey. The ground was home to the Newark Peppers of the Federal League in 1915. The field was also known as "Peppers Park" or "Peps Park".

Location
The ballpark was located within the city limits of Harrison, a block and a half east of the Passaic River and a block and a half west of the former Harrison Hudson and Manhattan Railroad (now PATH) station. Home plate was in the northwest corner. The ballpark was bounded by Middlesex Street [now Angelo Cifelli Drive] (north, third base); South 3rd Street (east, left field); Burlington Avenue (south, right field); and South 2nd Street (west, first base). There were (and are) railroad yards skirting the southeast corner of the property; oil tanks were visible behind the right-center field seating, adjacent to the rail yards. An Otis Elevator Company factory stood across the street to the west, near the river.

Baseball
The stadium had a seating capacity of around 21,000. It was a large ballpark, with dimensions of 375 feet in left, 450 feet to center and 375 feet in right; these dimensions, and the fact that baseball was still in its "dead ball" era, made it difficult to hit for power. Just six home runs were hit in Federal League play in Harrison, and only one left the ballpark, hit by the Peps' Emil Huhn (his only career home run). Huhn would be better known as Fred Toney's catcher in the "double no-hit" game on May 2, 1917, where both Toney and Hippo Vaughn tossed no-hitters through nine innings. A crowd of 26,032 attended the opener on April 16, 1915; subsequent crowds were in the 5,000-10,000 range.

Hal Chase, the "Black Prince of Baseball", was involved in an altercation just outside Harrison Park after a game on Sunday, April 25, 1915. Chase, playing for the Federal League team in Buffalo, came to blows with Newark fan Billy Quinn, who had been heckling Chase. Saloon owner (and former boxer) Patrick McGuigan joined the fray and landed a few blows before police broke up the brawl. Chase was uninjured and played the next two days in Harrison.

After the Federal League disbanded at the end of the 1915 season, the ballpark was home to the minor league Newark Bears of the International League until 1923.

Soccer
Harrison Park also hosted several soccer matches in its day and was the home field of West Hudson A.A. of the National Association Football League for their final few seasons.

The National Challenge Cup competition (now the Lamar Hunt U.S. Open Cup) twice held its final match there, in 1918 and again in 1923. On May 4, 1918, after a 2–2 draw between the Fall River Rovers and Bethlehem Steel F.C. in Fall River, the replay was held in Harrison on May 19; Bethlehem Steel won, 3–0, in front of a crowd of 10,000. Five years later, on April 1, 1923, local side Paterson F.C. played St. Louis Scullin Steel F.C. to a 2–2 draw in Harrison with 15,000 in attendance. Scullin declined a rematch, however, as much of their roster were also pro baseball players who had joined their teams; Paterson was awarded the Cup by default.

The site of the ballpark is only a few blocks northwest of the present-day Red Bull Arena, home to the New York Red Bulls of Major League Soccer, and was once used as a parking lot for the arena.

Fate
Harrison Park was destroyed by a fire on August 18, 1923. The site of Harrison Park is now home to a luxury apartment building.

References

Sources
Marc Okkonen, The Federal League of 1914-1915: Baseball's Third Major League, SABR, 1989.

External links
Parts of the ballpark shown on a Sanborn map

Harrison, New Jersey
1924 disestablishments in New Jersey
Sports venues demolished in 1924
Defunct sports venues in New Jersey
Defunct baseball venues in the United States

Harrison Park (New Jersey)


Durango is one of the 39 municipalities of Durango, in north-western Mexico. The municipal seat lies at Durango. The municipality covers an area of 10,041 km².

As of 2010, the municipality had a total population of 582,267, up from 526,659 as of 2005.

The municipality had 1,323 localities, the largest of which (with 2010 populations in parentheses) were: Victoria de Durango (518,709), El Nayar (3,308), Cinco de Mayo (2,249), classified as urban, and La Ferrería (Cuatro de Octubre) (2,021), José María Pino Suárez (2,014), Colonia Hidalgo (1,986), Llano Grande (1,938), Sebastián Lerdo de Tejada (1,712), Villa Montemorelos (1,617), Banderas del Águila (1,274), José Refugio Salcido (1,262), Santiago Bayacora (1,218), Cinco de Febrero (1,131), José María Morelos y Pavón (La Tinaja) (1,072), and El Arenal (San Jerónimo) (1,015), classified as rural.

References

Municipalities of Durango

Durango Municipality