Celestia is a real-time 3D astronomy software program that was created in 2001 by Chris Laurel. The program allows users to virtually travel through the universe and explore celestial objects that have been catalogued. Celestia also doubles as a planetarium, but the user is not restricted to the Earth's surface, like in other planetarium software such as Stellarium. Celestia can display objects of various scales using OpenGL.

Celestia is available for AmigaOS 4, Linux, macOS, Microsoft Windows, iOS, and Android. It is free and open source software released under the GNU General Public License.

Celestia's development stopped in 2013, with the final release in 2011. Since then, some of its development team went to work on celestia.Sci, a cosmological visualizer featuring more realistic rendering of galaxies and planets, gravitational lensing, and many other scientifically accurate enhancements, but there have been no updates on the progress of the program since 2020. The original creator of Celestia, Chris Laurel, created Fifth Star Labs shortly after Celestia's development stopped, and began working on an iOS-only planetarium app called Sky Guide. In late 2016, the official Celestia forums were restored, and development restarted under a new development team. As of 2018, beta testing builds of version 1.7.0 are available, as well as the bugfix releases 1.6.2 and 1.6.3, which were released in 2020 and 2023 respectively. Celestia was ported to mobile devices in 2020, and it continues to receive updates and experimental beta versions.

Celestia is available for download from its main website, celestiaproject.space, but it can be obtained from a large multitude of free software websites as well. Between 2001 and May 2017, the former central distribution site SourceForge counted approximately 12 million downloads.

Functions

Celestia versions 1.6.3 and under display the Hipparcos Catalogue (HIP) of 118,322 stars and a compiled catalogue of galaxies, while version 1.7.0 includes stars from the Tycho-2 Catalogue alongside the Hipparcos stars, with some data from Gaia, increasing the star count to over 2 million. Celestia uses the VSOP87 theory of planetary orbits to provide a solar and lunar eclipse finder and to display the orbital paths of planets (including extrasolar planets), dwarf planets, moons, asteroids, comets, artificial satellites, and spacecraft.

Using the installed catalogues, the names of celestial objects can be displayed, including artificial satellites. The names and locations of Earth features such as continents, mountains, seas, oceans, and cities can also be displayed. Surface features on other celestial objects such as craters, basins and canyons can be shown as well.

Celestia allows users to navigate at different speeds, and allow users to orbit stars, planets, moons, and other space objects, track space objects such as spacecraft, asteroids, and comets as they fly by, or travel to and/or fly through galaxies. Light time delay is an optional function.

The time simulated by Celestia can be set to any time 2 billion years forward or backward from the present, although planetary orbits are only accurate within a few thousand years of the present day, and

Celestia simulates the appearance of atmospheres on planets and moons, planetshine on orbiting satellites, and miscellaneous planetary details such as sunrise and sunset. Information about the objects that Celestia draws can also be displayed, such as temperature, distance from observer, radius, rotational period, luminosity, and more.

The user can change Celestia's field of view, and the window can be split into multiple different panes, meaning that several objects can be displayed on the screen at once. Screenshots and movies can be captured in classic or HD resolutions. Celestia's support for gamepads and joysticks is relatively limited.

Celestia can be extended with new objects, and has support for third-party, user-created add-ons available for installation, both fictional and realistic. Add-ons are commonly made up of plain text files, textures, and occasionally 3D models. Celestia also uses the custom CEL scripting language, and improved CELX scripts written in the Lua programming language, which can execute many different commands.

Limitations

The default setting for Celestia's Earth is a spheroid. The irregular surface of the Earth causes low Earth orbit satellites to appear to be in the wrong places in the sky when watched from the surface, even when the Earth's oblateness is specified, as Celestia does not simulate 3D surfaces.

Many types of astronomical objects are not included with Celestia. Variable stars, supernovae, black holes, and nebulae are missing from the standard distribution. Many of these are available as add-ons.

Although objects that form part of a planetary system move, and stars rotate about their axes and orbit each other in multiple star systems, stellar proper motion is not simulated, and galaxies are at fixed locations. As a result, the constellations in Celestia do not gradually change shape as they do in the real world. In addition, Celestia's binary star catalogs only describe a few hundred systems of multiple stars. Most binary star systems cannot be simulated with 100% accuracy because adequate orbital information is not yet available.

Celestia does not include any stars that are more than a few thousand light-years from the Sun because the parallaxes of more distant stars are too small to be accurately measured by the Hipparcos astrometric satellite. However, with the addition of Gaia data in 1.7.0, stars as far away as the Galactic Center are included. In addition, objects in star systems are only drawn to a distance of one light-year from their parent stars, any further and they will simply not be rendered at all. Similarly, there is a render limit for stars at 10 million light-years in versions 1.6.3 and under, increased to 1 billion light-years in 1.7.0. Any stars beyond that limit are not rendered, and stars that are close to the 1.7.0 render limit experience floating point errors, meaning their position is inaccurate. Finally, Celestia does not consider the wobbling of some stars induced by their planets, unless said wobbling is very noticeable.

Wavelength filtering is not implemented in Celestia's engine. The actual rendering tries to match human vision at the observer's position as accurately as possible. This means false-color maps and multi-color nebulae are not part of the official distribution, but many are available as add-ons. Camera artifacts such as lens flare and glare are not rendered.

Celestia also does not simulate gravity. For example, a near-Earth object approaching the Earth will not be deflected by the Earth's gravity unless the person who defined the NEO's trajectory for Celestia included that effect.

Some moons do not cast shadows on their planet during eclipses. This is because irregularly shaped objects do not cast shadows in the current version of Celestia, although this is planned for future versions. Additionally, moons smaller than 0.5% of their parent objects' size do not cast shadows at all, as the original development team decided that they would be too small to be relevant. However, the new development team has considered removing this hard-coded limit.

Most real-world spacecraft such as Voyager 2 are not available in Celestia but are provided as add-ons by users. Additionally, most of the spacecraft included with Celestia 1.6.3 use outdated or low-quality models, such as the stock Mir model which is very basic and barely detailed, and the stock ISS model which hasn't had an update since around 2007, meaning it is missing a lot of modules that have been added to the ISS since then. However, there are many add-ons that replace these models with higher-quality and more up-to-date ones. Fortunately, version 1.7.0 will include better models upon its final release.

Celestia uses the Julian calendar and cannot go back or forward more than 2 billion years, and the default time-setting system cannot go further than the years -9999 or 9999.

Add-ons

Well over 80 GB of extensions are available in addition to the base program, produced by an active user community.

Higher resolution surface textures are available for most Solar System bodies, including Virtual Textures with coverage up to 32768 pixels wide (1.25 km/pixel at the Earth's equator), with selected coverage at higher resolutions. This allows closer views of well-mapped objects that have high-resolution VTs available for download. 3D models of historical and existing spacecraft are available flying in reasonably accurate trajectories, such as Sputnik 1, Voyager 2, the Hubble Space Telescope, and the International Space Station, as are extended data plots for stars (2 million with correct spatial coordinates), DSOs (nebulae, galaxies, open clusters, etc.), as well as catalogs of asteroids and comets, and more than 96,000 locations on the Earth can be drawn by the program. Add-ons also include other objects such as red and blue supergiants, red and brown dwarfs, neutron stars, spinning pulsars, rotating black holes with accretion disks, protostars, Wolf-Rayet stars, star nursery nebulae, supernova remnants, planetary nebulae, galactic redshifts, geological planetary displays (e.g. 3D interiors, topographic and bathymetric maps, paleogeography), planetary aurorae, rotating magnetic fields, animated solar prominences, 3D craters and mountains, and historic collision events (Either spacecraft such as Deep Impact and DART, or meteoric impacts such as the Chelyabinsk meteor).

Numerous scripts are available. These include simple tours, reconstructions of complex space missions such as Cassini–Huygens and Deep Impact, and scripts showing useful information, like size comparisons, or particular events such as multiple simultaneous eclipses of Jupiter's moons or the evolution of a star.

Fictional universes can be depicted, with planetary systems and 3D models—films such as 2001: A Space Odyssey, Star Trek and Star Wars, and TV shows including Stargate SG-1 and Babylon 5. Add-ons illustrating less well-known internet fiction, like Orion's Arm, or role-playing games, like 2300 AD, and personal works by members of the Celestia community depicting fictional planetary systems with inhabited worlds, spacecraft, cities, and special effects can also be added.

Educational add-ons can also be implemented in different languages. These activities provide approximately 40 hours of space journeys and astronomical lessons to include extensive tours of the Celestia universe, the complete life cycle of stars, the Solar System, the human space program, the Search for Extraterrestrial Intelligence (SETI), and depictions of astronomical events such as the formation of the Moon billions of years ago, and the possible terraforming of Mars in the future.

In mid 2016, a large addon pack project called Celestia Origin was created, which replaces all vanilla textures and graphics with higher-quality renderings, adds more minor objects such as TNOs and asteroids, while also adding more extrasolar planets with custom textures, more nebulae with full 3D and accurate models, more stars and galaxies, more star clusters, more spacecraft, and a ton of more enhancements. In 2019, Celestia Forum member FarGetaNik created an addon pack called Project Echoes, featuring higher-quality renderings that replace all vanilla textures. Celestia 1.7.0 appears to use Project Echoes as inspiration for its textures.

Uses in media
NASA and ESA have used Celestia in their educational and outreach programs, as well as for interfacing to trajectory analysis software. The French Space Agency (CNES) created a heavily modified version of Celestia in 2016, called VTS Timeloop, and it has since been used by multiple space agencies, including ESA and CNES themselves.

Celestia was used in the media by the CBS television show NCIS (Season 4, Episode 22: "In the Dark"). Character Timothy McGee explains what Celestia is and how an add-on can allow the user to store a diary within the program, as well. Textures designed by Celestia graphic artists were used in the movie The Day After Tomorrow and the 2008 miniseries The Andromeda Strain. Celestia has also appeared on the Science Channel's Through the Wormhole. Eurogamer's Jim Rossignol named Celestia among a top 20 list of Summer of PC Freeware games in 2006.

See also

SpaceEngine
OpenUniverse
Space flight simulation game
List of space flight simulation games
Planetarium software
List of observatory software
Gravity (software)

Notes

References

External links

 GitHub repository Current binaries and source code
 Celestia Archive Repository Archive of Windows, macOS, and Linux binaries
 Official Forums
 Instance of ESA using Celestia
 Celestia.Mobi main site

2001 software
Free astronomy software
Planetarium technology
Astronomy software
Free educational software
Planetarium software for Linux
Science software that uses GTK
AmigaOS 4 software
Science software for macOS
Science software for Windows
Educational software for macOS
Educational software for Windows
Cross-platform free software
Lua (programming language)-scriptable software
Portable software
Freeware
Android (operating system) software

Celestia


The Unicode Consortium is a non-profit organization that develops and publishes the Unicode standard. Anyone who pays the membership fee can become a member.  Many big computing companies (such as IBM, Microsoft, Apple, Oracle and Google) are members of the consortium.

Mark Davis, who works for Google, is the president of the Consortium.

The Unicode Consortium also works with other large organisations, such as ISO. ISO publishes a norm for encoding characters, called ISO 10646, which corresponds to the Unicode encoding.

Other websites
Website of the consortium
Computing

Unicode Consortium


Madness Rules (German: Matto regiert) is a 1947 Swiss crime film directed by Leopold Lindtberg and starring Heinrich Gretler, Heinz Woester and Elisabeth Müller. It is based on the 1936 novel of the same name by Friedrich Glauser. Lead actor Gretler reprised his role of the policeman Jakob Studer from the 1939 film Constable Studer, also adapted from a Glauser novel.

Production
The film was shot between December 1946 and March 1947 at the Bellerive and Rosenhof Studios in Zurich with some location shooting around Königsfelden. The film cost around 395,000 Swiss Francs.

Synopsis
The police investigate the murder of the head of a mental hospital who had recently been in dispute with his colleague over their treatment of a young patient.

Cast
 Heinrich Gretler as Constable Jakob Studer
 Heinz Woester as Doctor Ernst Laduner
 Elisabeth Müller Sister Irma Wasem
 Friedrich Braun as Patient
 Otto Brefin
 Gottlieb Büchi
 Zarli Carigiet as Patient
 Mathilde Danegger as Dr. med Spühler
 Fritz Delius as Patient
 Hugo Döblin as Patient
 Enzo Ertini as Patient
 Hans Gaugler as Leibundgut
 Emil Gerber as Pfleger Jutzeler
 Walburga Gmür  as Patientin
 Emil Gyr  as Patient
 Max Haufler as Pfleger Weyrauch
 Emil Hegetschweiler as Pfleger Gilgen
 Hans Kaes  as Portier Dreyer
 Jörn Kübler  as Patient
 Olaf Kübler  as Herbert Kaplaun
 Max Werner Lenz as Patient
 Adolf Manz  as Georg Caplaun
 Viktor May  as Patient
 Walter Morath  as Dr. med. Neuveville
 Irene Naef  as Margrit Laduner
 Arno Rita as Patient
 Armin Schweizer as Patient
 Johannes Steiner as Dr. med Ulrich Borstli
 Sigfrit Steiner as Kommissar
 Schaggi Streuli as Nachtwächter

References

Bibliography
 Fritsche, Maria. Homemade Men in Postwar Austrian Cinema: Nationhood, Genre and Masculinity. Berghahn Books, 2013.

External links

1947 films
1947 crime films
Swiss crime films
Swiss German-language films
Films directed by Leopold Lindtberg
Films based on Swiss novels
Police detective films
Swiss sequel films
Swiss black-and-white films

Madness Rules


Venturia inaequalis is an ascomycete fungus that causes the apple scab disease.

Systematics
Venturia inaequalis anamorphs have been described under the names Fusicladium dendriticum and Spilocaea pomi. Whether V. inaequalis is a single species or contains several cryptic species has been a matter of debate for a long time. Recent genetic studies have revealed a considerable uniformity of the species. In addition, the fungus Spilocaea pyracanthae, a parasite of Pyracantha appeared not to genetically differ from V. inaequalis, being thus a special form of the latter.

Morphology
The fruiting bodies, ascocarps appear in the form of pseudothecia. They are solitary and embedded into the host plant tissue. A pseudothecium has small dark hairs around its opening, and contains pseudoparaphyses along with asci. The asci contain eight haploid ascospores. The haploid chromosome number of V. inaequalis is seven.

Life cycle
The infection cycle begins in the springtime, when suitable temperatures and moisture promote the release of V. inaequalis ascospores.
These spores rise into the air and land on the surface of a susceptible tree, where they germinate and form a germ tube that can directly penetrate the plant's waxy cuticle. A fungal mycelium forms between the cuticle and underlying epidermal tissue, developing asexually the conidia, that germinate on fresh areas of the host tree, which in turn produce another generation of conidial spores. This cycle of secondary infections continues throughout the summer, until the leaves and fruit fall from the tree at the onset of winter.
V. inaequalis overwinters mostly as immature Perithecia, where sexual reproduction takes place, producing a new generation of ascospores that are released the following spring. Scab lesions located on the woody tissues may also overwinter in place, but will not undergo a sexual reproduction cycle; these lesions can still produce ineffective conidial spores in the spring.

Effectors
Effectors are proteins encoded by pathogens, which act to effect a response from a host cell - often modulating the host immune response. Where a host variety is able to recognise and mount a resistance response to the presence of an effector, the effector is referred to as an Avirulence protein.

Presently, only one effector gene, AvrVg, eliciting a resistance response in Apple has been identified in V. inaequalis

Hosts and symptoms
The Venturia inaequalis pathogen is a fungal organism that produces similar symptoms across a range of woody hosts. These include the common pear (Pyrus spp.), firethorn (Pyracantha spp.), mountain ash (Sorbus spp.), and most notably both commercial apples along with ornamental crabapples (Malus spp.). Symptoms of the infection occur on leaves, fruit, flowers, and young green shoots. Foliar symptoms begin to occur in the early spring around budbreak and mainly present as light green lesions that progress to an olive-brown color with a velvety texture due to conidia formation as time passes. These large scab-like lesions can warp the leaf's shape and can eventually lead to defoliation. Lesions formed by primary infection via ascospores tend to have more distinct borders when compared to lesions as a result of a secondary infection cycle via conidia. Young fruit, often infected by foliar conidia, can also display similar symptoms to infected leaves. In this case the lesions progress to bare, brown and corky spots. The apple skin and flesh can split open as the fruit enlarges, though young fruits often prematurely drop. Mature fruits are more resistant to infection and only form small, black 'pin-head scabs' which might not even be noticeable until after storage.

Importance
Economic loses due to apple scab over an extended period of time far outweigh the impact of any other apple pathogen. Historically one can find examples the symptoms of V.  inaequalis in paintings as far back as the fifteenth century. Fruit production can be limited due to defoliation while limiting fruit bud creation in the following year.  While the disease can cause total crop loss in optimal conditions without management, the main economic impact is due to the reduction in both size and marketable quality of the fruit. This issue is further compounded by the fact that apple cultivars with a high market share, Pink Lady for example, are susceptible to the pathogen while more resistant varieties are less well known or desired by consumers. At an industrial production level these threats are only reliably mitigated by expensive, labor intensive and repeated spraying of pesticides. In regions of apple production where the year's weather is conducive to infection up to 70% of the pesticides applied are used to control for the effects of apple scab. While the main host of economic interest are various apple cultivars the other host species are still affected by the pathogen. Considering most of these are commercially used as ornamental species, flowering crab apples for example, the importance of the pathogen shifts to be a more aesthetic nuisance. In the academic sense V. inaequalis has proved invaluable in the realm of genetic research of pathogenicity. It is one of the first ascomycete fungi to undergo genetic analysis and continues to be useful in that field. The fungi's mechanistic similarity to obligate parasites while still being able to be cultured in media has led to its repeated use in the study of the genes related to pathogenicity.

Management
Protection from initial inoculation, either via sexual ascospores or asexual conidia, with fungicide is the main form of pathogen management. Spray schedules should be created with plant and pathogen development timings in mind and thus should begin with an initial spray at budswell and repeated in 10 to 14 day intervals. Specifics of the spray intervals should also be determined by considering what spray is used, weather patterns (mainly rain and moisture), host species, host growth patterns, and the amount of fungal inoculum present. Cultural practices can also be used to limit or prevent apple scab infection. Orchard design and planting patterns focusing on increased aeration are important in ensuring that susceptible tissues dry prior to initial infection. Proper pruning can further aid this effect. Another form of cultural management is the implementation of proper sanitation. Fallen infected leaves in the fall should be collected and destroyed to reduce the total inoculum able to overwinter and infect the following year. Primary infection is mainly caused by the ascospores that overwinter in the fallen debris and the density of these spores in the spring is directly related to the speed and intensity of an apple scab outbreak. In addition to direct removal of fallen infected tissues, mulching of fallen leaves into the soil to destroy the ascospores is advisable. Application of nitrogenous fertilizer to speed up this process can be done immediately prior to leaf fall or as a ground application. More proactive methods of management exist in the form of genetically resistant cultivars and species. Apple cultivars such as Enterprise, Goldrush, Liberty, Jonafree, Macfree, Prima, Pristine, Redfree, and Sir Prize are resistant to apple scab infection along with multiple varieties of ornamental crab apples. Breeding of resistant lines has seen minimal acceptance in the Americas but more widespread success in Europe, though the durability of this resistance is always a concern.  More recently, biofungicidal methods of control have emerged in studies with some promise being shown by the organism Microsphaeropsis ochracea in reduction of initial ascospore inoculum of up to 70-80 percent. While still requiring a fungicide application, the use of the proposed mycoparasite allows for a delayed and lower volume use of chemicals.

References
{{Reflist|refs=

<ref name="Boone-1971">{{cite journal | last=Boone | first=D M | title=Genetics of Venturia Inaequalis' | journal=Annual Review of Phytopathology | publisher=Annual Reviews | volume=9 | issue=1 | year=1971 | issn=0066-4286 | doi=10.1146/annurev.py.09.090171.001501 | pages=297–318}}</ref>

}}

External links
 Managing Resistance of Venturia inaequalis to the Strobilurin Fungicides
 Apple Scab, Plant Diagnostic Clinic, Cornell University
 Apple Scab, NYS IPM Tree Fruit Crops Fact Sheet Series (Revised), Wayne Wilcox
 Venturia inaequalis'': Tom Volk's Fungus of the Month, September 2002
 Apple and Pear Scab, Keepers Nursery

Fungi described in 1866
Venturiaceae
Fungal tree pathogens and diseases
Apple tree diseases

Venturia inaequalis


Caladenia colorata, commonly known as coloured spider-orchid, small western spider-orchid and painted spider-orchid is a plant in the orchid family Orchidaceae and is endemic to South Australia and possibly Victoria. It is a ground orchid with a single hairy leaf, and usually a single creamy-green flower with blood-red or purple-brown markings and with dark tips on the petals and sepals.

Description
Caladenia colorata is a terrestrial, perennial, deciduous, herb with an underground tuber. It has a single, erect, densely felted, dark green, linear to elliptic leaf,  long and  wide with a red base.

One or more flowers are borne on a spike  tall. The flowers are usually creamy-green with a maroon, pink, mauve, blood-red or purple-brown markings and are about  across. The colour of the flower is highly variable and can, for example, be entirely purplish-brown. The tips of the petals and sepals are blackish due to the presence of glands and the flowers sometimes have a faint petrochemical or musky fragrance. The dorsal sepal is  long, about  wide and linear near the base, but narrows to a thread-like tail with many brown to blackish glands. The lateral sepals are  long, about  wide and linear to lance-shaped near the base but narrow near the middle to a thread-like tail with many glands. The petals are similar but slightly shorter, and narrower at the base. The labellum is egg-shaped when flattened with an elongated tip that curls under,  long and  wide. The edges of the labellum have reddish teeth up to  long and there are four or six rows of dark reddish-purple, foot-shaped calli along the centre of the labellum. Flowering occurs from August to September.

Taxonomy and naming
Caladenia colorata was first formally described by David L. Jones in 1991 and the description was published in Australian Orchid Research. The type specimen was collected near Hartley. The specific epithet is "from the Latin coloratus, coloured; in reference to the colourful flowers of this species".

Distribution and habitat
This caladenia usually grows in woodland. In South Australia it is found in the Mount Lofty Ranges, in the Murray–Darling basin and in the south-east of the state. In Victoria it has been found between the Glenelg River and the Little Desert National Park in the far west of the state although plants are only tentatively placed in this species, pending further work.

Conservation
Coloured spider-orchid is classified as "Endangered" in Victoria and under the Australian Government Environment Protection and Biodiversity Conservation Act 1999 (EPBC Act). The main threats to the species are grazing by native and feral animals, competition from weed species and illegal plant and flower collecting. It is one of four rare orchid species that have been grown in the Royal Botanic Gardens, Melbourne and reintroduced into the wild.

References

colorata
Plants described in 1991
Endemic orchids of Australia
Orchids of South Australia
Orchids of Victoria (state)
Taxa named by David L. Jones (botanist)

Caladenia colorata


Michael Stivic is a fictional character from the American sitcom, All in the Family. Michael is played by actor Rob Reiner. Michael Stivic is of Polish descent and is the husband to Gloria Stivic in the show. They have one son together. Michael argues with Archie Bunker many times and Archie calls him a "Meathead." After the end of All in the Family Michael was in one episode of Archie Bunker's Place but Rob Reiner did not agree to play the character again in the show Gloria. In Gloria it is said that Michael divorces Gloria to live at a commune in California with another woman.

Fictional American people
Television characters
Fictional characters introduced in 1971

Michael Stivic


Drift to the north is a term used in New Zealand to refer to the internal migration of people from the South Island to the country's main metropolitan area, Auckland, in the North Island. The term is especially common in the cities of Christchurch and Dunedin, university cities whose graduates frequently head either to Auckland or the country's capital, Wellington, which is also in the North Island, after they complete their studies.

Historically, the South Island's population has accounted for an increasingly small proportion of the country's population. In the late 19th century, especially after the Otago Gold Rush, the majority of the country's population was in the South Island. Since then, the South's population has climbed more slowly than the North's, with the latter increasing at a greater rate at least in part from the influx of migrants from the Pacific Islands, for many of whom Auckland is a port of entry. The South Island now accounts for only % of the country's population. The use of the term "drift to the north" for that phenomenon dates from at least 1916 and possibly much earlier.

Recent censuses have shown a slowing of the rate of drift, with increasing numbers of North Islanders heading to the South Island's popular scenic regions such as Central Otago.

References

External links
"Numbers say we're looking north", stuff.co.nz, 25 October 2008. Retrieved 6 March 2013.

Demographics of New Zealand
South Island
New Zealand English
Society of New Zealand
Internal migration

Drift to the north


Join, or Die. is a political cartoon showing the disunity in the American colonies. Attributed to Benjamin Franklin, the original publication by The Pennsylvania Gazette on May 9, 1754, is the earliest known pictorial representation of colonial union produced by an American colonist in Colonial America.

The cartoon is a woodcut showing a snake cut into eighths, with each segment labeled with the initials of one of the American colonies or regions. New England was represented as one segment, rather than the four colonies it was at that time. Delaware was not listed separately as it was part of Pennsylvania. Georgia, however, was omitted completely. As a result, it has eight segments of a snake rather than the traditional 13 colonies. The poster focused solely on the colonies that claimed shared identities as Americans. The cartoon appeared along with Franklin's editorial about the "disunited state" of the colonies and helped make his point about the importance of colonial unity. It later became a symbol of colonial freedom during the American Revolutionary War.

History

Seven Years' War

The French and Indian War was a part of the Seven Years' War which pitted Great Britain alongside the Thirteen Colonies and their native allies against the French, New France and their native allies. Many American colonists wished to gain control over the lands west of the Appalachian Mountains and settle there (or make profits from speculating on new settlements). During the outbreak of the war, the American colonists were divided on whether or not to take the risk of actually fighting the French for control of the lands west of the Appalachian Mountains. The poster quickly became a symbol for the need of organized action against the threat posed by the French and their native allies during the conflict, as while many Americans were unwilling to participate in combat against the French, many more recognized that if the French colonies were not captured they would always pose a risk to the well-being and security of the Thirteen Colonies. Writer Philip Davidson stated that Franklin was a propagandist influential in seeing the potential in political cartoons to stir up public opinion in favor of a certain way of thinking. Franklin had proposed the Albany Plan and his cartoon suggested that such a union was necessary to avoid each colony being captured individually by the French. As Franklin wrote:

American Revolution

Franklin's political cartoon took on a different meaning during the lead up to the American Revolution, especially around 1765–1766, during the Stamp Act Congress. American colonists protesting against the rule of the Crown used the cartoon in The Constitutional Courant to help persuade their fellow colonists to rise up. However, the Patriots, who associated the image with eternity, vigilance, and prudence, were not the only ones who saw a new interpretation of the cartoon. The Loyalists saw the cartoon with more biblical traditions, such as those of guile, deceit, and treachery. Franklin himself opposed the use of his cartoon at this time, but instead advocated a moderate political policy; in 1766, he published a new cartoon MAGNA Britannia: her Colonies REDUCED, where he warned against the danger of Britain losing her American colonies by means of the image of a female figure (Britannia) with her limbs cut off. Because of Franklin's initial cartoon, however, the Courant was thought of in England as one of the most radical publications.

The difference between the use of Join or Die in 1754 and 1765 is that Franklin had designed it to unite the colonies for 'management of Indian relations' and defense against France, but in 1765 American colonists used it to urge colonial unity in favor of resisting laws and edicts that were imposed upon them. Also during this time the phrase "join, or die" changed to "unite, or die," in some states such as New York and Pennsylvania.

Soon after the publication of the cartoon during the Stamp Act Congress, variations were printed in New York, Massachusetts, and a couple of months later in Virginia and South Carolina. In New York and Pennsylvania, the cartoon continued to be published week after week for over a year. On July 7, 1774 Paul Revere altered the cartoon to fit the masthead of the Massachusetts Spy.

Legacy
The cartoon has been reprinted and redrawn widely throughout American history. Variants of the cartoon have different texts, and differently labeled segments, depending on the political bodies being appealed to. During the American Revolutionary War, the image became a potent symbol of the unity displayed by the American colonists and resistance to Parliament and The Crown. In the 19th century, it was redrawn and used by both the Union and Confederacy during the American Civil War.

See also

 Gadsden Flag
 Live Free or Die
 United we stand, divided we fall

References

Further reading

American Revolution
Editorial cartoons
Works about the French and Indian War
Mottos
National symbols of the United States
Works by Benjamin Franklin
1754 works
Propaganda cartoons
Woodcuts
Snakes in art
1754 in politics
1754 in the Thirteen Colonies
18th-century prints
1750s neologisms

Join, or Die


Perła (meaning Pearl) is the third studio album by Polish singer Edyta Górniak, released in Poland on 11 March 2002, via Pomaton EMI. On 24 February 2003, a special edition of Perła was released in Poland with new songs and remixes. On 31 March 2003, the album was retitled Invisible and released internationally by Virgin Records. Songs were mainly written and produced by Absolute. Perła reached number one in Poland and was certified gold.

Polish editions
In Poland, Perła was originally released as a two-CD set, with Polish-language songs on the first disc, and English-language tracks on the second disc. Most English songs were written by Tracy Ackerman, Andy Watkins and Paul Wilson, and produced by a British music production team Absolute. Górniak also recorded Polish versions of "The Story So Far" and "The Day Before the Rain", titled "Perła" and "Słowa jak motyle", respectively.

One year later, Perła was re-released as a special edition with new songs and remixes. The first CD featured ballads, and the second-one uptempo songs. The new tracks included Absolute-produced international single "Impossible" and "Talk to Me", and also "Calling You" and "Don't You Know You" produced by Andy Duncan. The album also included remixes of "Impossible" and "Perła", and an extended version of "Sleep with Me". "Cross My Heart" was retitled "X My Heart". However, four songs were excluded from the re-released album: "If You Could", "The Day Before the Rain", "Prezenty" and the original version of "Perła".

Track listing

Notes
  signifies an additional producer
  signifies an executive producer

Charts

Certifications

International edition

Perła was retitled Invisible and released internatinally on 31 March 2003, via Virgin Records. It included songs already released on Perła and the new single "Impossible", which entered the charts in Germany, Austria and Switzerland.

Track listing

Notes
  signifies an additional producer
  signifies an executive producer

Release history

References

Edyta Górniak albums
2002 albums
2003 albums

Perła (album)


Brown Robin is the 97th Child ballad from the collection of 305 ballads from England and Scotland, and their American variants, collected by Francis James Child in the late nineteenth century. The ballad tells the story of a king's daughter who brings her lover, Brown Robin, into the castle and back out without being discovered by the king. The second variant comes from the ballad "Love Robbie."

History

"Love Robbie"
The second variant in Child's Popular English and Scottish Ballads comes from the ballad "Love Robbie," which dates to as far back as the mid-18th century.  William Christie collected the ballad in Buckie, Banffshire, from a Scottish woman whose father and grandfather originally sang the ballad. Her father was a well-known ballad-singer, given the name "Meesic' (Music) "given to him in the end of [the 18th] century by the populace.

Synopsis
A king's daughter waits on the table at supper and she falls in love with Brown Robin.  She gets her father and the porter drunk and takes Robin to her bower. They stay until morning, but he does not think he can escape.  After she persuades her father to let her and her maids gather flowers in the woods, she dresses Brown Robin as one of them.  They comment that he makes a sturdy lady but let him go.

In some variants, the tale ends there.  In others, the porter shoots Brown Robin, and the king hangs him at his daughter's request.  In still others, the daughter goes with Brown Robin, and the porter arranges her reconciliation with her father, for which she settles money on him.

References

External links

Brown Robin Sacred-texts.com

Child Ballads
Scottish folklore
Culture in Moray
Books about Scotland

Brown Robin


Yule House is a five-story office building situated at 309-311 Little Collins Street, Melbourne, Australia. It was constructed in 1932 from a design by Melbourne-based architecture firm, Oakley & Parkes. Yule House was one of Melbourne's first commercial buildings to exhibit the Streamline Moderne style (a branch of Art Deco) of architecture and began the style's rise in popularity throughout the 1930s. The current Yule House stands as a redesigned fireproof replacement of the original, which was destroyed by fire in 1931.   William Yule had been the owner of the land since the early 1900s and it remained part of his estate until 1985.

Description
William Yule, had been known of Percy Oakley of Oakley and Parkes, and commissioned the firm to redesign the Yule house following the fire. By Parkes' accounts, the construction was impacted by the weak economic climate at the time. However, the redesign used modern materials in a new and interesting way while achieving fire resistance, as per Yule's request.

The structural material was reinforced concrete, supporting the Streamline Modern direction of the design.  The Collins Street façade features light-coloured terracotta faience tiles sourced from an Australian tile company Wunderlich, Ltd. Large protruding horizontal beams banded with three thin recessed strips of green tile define the floor levels and characterise the Streamline Modern Style. Large steel-framed, multi-paned windows sit between each beam; their thin vertical struts offering relief from the bold horizontality of the façade. The narrow site width made the span of these windows possible and allowed the maximum amount of natural light to penetrate the building; a desirable feature given the built-up surroundings.

In sans-serif Eric Gill style letter face, 'YULE HOUSE,' is embossed in plate metal above the entrance on the first floor horizontal beam. Both the street number and the construction date are inscribed on the second and top beams respectively.  Highly suggestive of the Modern period, the parapet is finished asymmetrically with the right hand column extending beyond the roof line.

The ground floor includes two retail shops with a central entrance tiled in beige terrazzo, with pink skirtings.  While one shop front window has since been altered, the original design featured two steel-framed symmetrical curved glass showcases. Terrazzo tiles continue into the building, lining the walls of the entrance, lower staircase, and housing the glass showcases, tenants' directory, and the original brass-cased fire alarm. Office spaces are situated above the first floor. The small width of the building meant that a continuous column-free vertical span could be achieved providing unobstructed space on each floor.

Key influences

The Yule House was one of Melbourne's first Commercial Streamline Moderne buildings. Its design exhibited no attempts to revitalise past architectural styles, showing instead indications of early 1900s European stylings. According to some observers, the tight geometric formations of the terracotta tile are said to be indicative of the work of Architect Walter Gropius and the 1920s department stores of Erich Mendelsohn.

Awards
In 2009 the Yule House was nominated by the Art Deco and Modernism Society for the Victorian State Heritage Register. It was subsequently accepted in 2010.

References

Office buildings in Melbourne
Heritage-listed buildings in Melbourne
Art Deco architecture in Melbourne
1932 establishments in Australia
Buildings and structures in Melbourne City Centre
Buildings and structures completed in 1932
Collins Street, Melbourne

Yule House


Kindred Hospital - San Francisco Bay Area is a 99-bed long-term acute care facility in San Leandro, California, US. The hospital is operated by Kindred Healthcare based in Louisville, Kentucky.

History
The hospital that currently operates as Kindred Hospital- San Francisco Bay Area was founded in the early 1960s as San Leandro Memorial Hospital.  In 1966, the hospital was purchased by a non-profit Christian based organization, the Vesper Society, and began operating as Vesper Memorial Hospital

The Vesper Society continued to operate Vesper Memorial as a general acute care facility until 1984, when the hospital, along with sister facility, Vesper Society Hospital in nearby Hayward, was sold to Texas-based for profit Republic Health Corporation in a $40 million transaction.

In the mid-1990s, Vencor, Inc purchased the facility and converted it from a general acute care hospital to a long-term acute care facility. In 2001, Vencor, Inc. changed its name to Kindred Healthcare and continues to operate the facility today.

References

External links
 Official website

Hospitals in Alameda County, California
Buildings and structures in San Leandro, California


Modernism in the Catholic Church attempts to reconcile Catholicism with modern culture, specifically an understanding of the Bible and Catholic tradition in light of the historical-critical method and new philosophical and political developments of the late 19th and early 20th centuries.

The term modernism—generally used by critics of rather than adherents to positions associated with it—came to prominence in Pope Pius X's 1907 encyclical Pascendi Dominici gregis. The Pope condemned modernism as "the synthesis of all heresies".

Writing in the Catholic Encyclopedia in 1911, the Jesuit Arthur Vermeersch gave a definition of modernism in the perspective of the Catholic heresiology of his time: "In general we may say that modernism aims at that radical transformation of human thought in relation to God, man, the world, and life, here and hereafter, which was prepared by Humanism and eighteenth-century philosophy, and solemnly promulgated at the French Revolution."

The modernist movement was influenced and accompanied by Protestant theologians and clergy like Paul Sabatier and Heinrich Julius Holtzmann. On the other hand, modernist theologians were critical of Protestant theology and engaged in apologetics of the Catholic Church against a Protestant understanding of Christianity, as in the famous attack of Alfred Loisy in L'Évangile et l'Église (1902) on Adolf von Harnack's Das Wesen des Christentums (1900). The modernist movement has a parallel in the Church of England where the journal The Modern Churchman was founded in 1911.

The controversy on modernism was prominent in French and British intellectual circles and, to a lesser extent, in Italy, but, in one way or another, concerned most of Europe and North America. Pope Pius X saw modernism as a universal threat which required a global reaction.

Dimensions of the controversy over modernism

Although the so-called modernists did not form a uniform movement, they responded to a common grouping of religious problems which transcended Catholicism alone around 1900: first of all the problem of historicism, which seemed to render all historical forms of faith and tradition relative; secondly, through the reception of modern philosophers like Immanuel Kant, Maurice Blondel, and Henri Bergson, the neo-scholastic philosophical and theological framework set up by Pope Leo XIII had become fragile. The assertion that objective truth is received subjectively is fundamental for the entire controversy. This focus on the religious subject engendered a renewed interest in mysticism, sanctity and religious experience in general. The aversion against a religious "extrinsicism" also led to a new hermeneutics for doctrinal definitions which were seen as secondary formulations of an antecedent (immanent) religious experience (George Tyrrell; cfr. also the Christian personalism of Lucien Laberthonnière).

The controversy was not restricted to the field of philosophy and theology. On the level of politics, Christian Democrats like the layman Marc Sangnier in France and the priest Romolo Murri in Italy, but also the left wing of the Centre Party and the Christian Unions in Germany, opted for a political agenda which was no more completely controlled by the hierarchy. Pope Pius X reacted by excommunicating Murri in 1909, by dissolving Sangnier's Sillon movement in 1910, and by issuing the encyclical  in 1912 which clearly favoured the German Catholic workers' associations over and against the Christian Unions. Furthermore, antimodernists like Albert Maria Weiss OP, and the Swiss Caspar Decurtins, which were both favoured by Pius X, would even find "literary modernism" on the field of the Catholic belles-lettres which did not meet their standards of orthodoxy.

In the eyes of the antimodernist reaction, the "modernists" were a uniform and secret sect within the church. In a historical perspective, one can discern networks of personal contacts between "modernists", especially around Friedrich von Hügel and Paul Sabatier. On the other hand, there was a great bandwidth of opinions within the "movement", from people ending up in rationalism (e.g. Marcel Hébert, Albert Houtin, Salvatore Minocchi, and Joseph Turmel) to a mild religious reformism, even including neo-scholastic theologians like Romolo Murri. This perception of a broad movement from left to right was already shaped by the protagonists themselves.

Terminology

The term Liberal Catholicism originally designated a current of thought within the Catholic Church that was influential in the 19th century, particularly in France, that aimed to reconcile the church with liberal democracy. It was largely identified with French political theorists such as Felicité Robert de Lamennais, Henri Lacordaire, and Charles Forbes René de Montalembert. In the second half of the 19th century the term was also applied to theologians and intellectuals like Ignaz von Döllinger, St. George Jackson Mivart, John Zahm, and Franz Xaver Kraus who wanted to reconcile the Catholic faith with the standards of modern science and society in general.

In 1881, the Belgian economist Charles Périn, a conservative Catholic layman, published a volume titled . Périn was the first author to use the term modernism in a Catholic context – before him the Dutch Calvinist Abraham Kuyper had attacked the rationalist German theology of the Protestant Tübingen School as "modernism" (, 1871). For Périn, 'modernism' was a label for the attempts of Liberal Catholics to reconcile Catholicism with the ideals of the French Revolution and of democracy in general. He saw a danger that humanitarian tendencies in secular society would be received within the Catholic Church. This "social" definition of Catholic modernism would be taken up again later by Integralism. Périn's usage of the term modernism was accepted by the Roman journal of the Jesuits, the semi-official , which added the aspect of an exaggerated trust in modern science to this concept. When five exegetical books of the French theologian Alfred Loisy were placed on the Index of Forbidden Books in December 1903, the official papal paper  distinguished between "modernity" and "modernism", which entailed heresy in religion, revolution in politics, and error in philosophy. The term modernism now began to replace older labels like 'Liberal Catholicism' or (especially in Germany) 'Reform Catholicism'.

The connection between 'Liberal Catholicism' and 'modernism' has been subject to controversial discussion. In 1979, Thomas Michael Loome stressed the continuity between the two and talked of a "vertical dimension" of the modernist controversy. This "invention of tradition" was criticized – amongst others – by Nicholas Lash. It is clear, however, that the Joint Pastoral of the English episcopate against "Liberal Catholicism" (December 1900) did not only react on St. George Jackson Mivart, but also on the writings of the later "modernist" George Tyrrell. The letter had been prepared in Rome and was inspired by Rafael Merry del Val who became Tyrrell's chief opponent under Pius X. Furthermore, "modernists" like Tyrrell compared their own difficulties after the publication of  with the difficulties of "liberal Catholics" like Ignaz von Döllinger after Vatican I. In December 1907, Tyrrell wrote to a German correspondent: "Is it not time to reconsider the pseudo-council of 1870 and to ask whether the Alt-Katholiks were not, after all, in the right?  etc. ["You will know them by their fruits"; Matthew 7:16] may surely be used as a criterion of Ultramontanism. Individuals, like myself, can afford to stand aloof as Döllinger did. But can multitudes live without sacraments and external communion? And yet now no educated man or woman will be able to remain in communion with Pius X." Tyrrell was also inspired by the posthumous publication of Lord Acton's History of Freedom and Other Essays in 1907.

History of the modernist controversy
Although the so-called "Modernist Crisis" is usually dated between 1893 (the publication date of Pope Leo XIII's encyclical ) and 1914 (the death of Pope Pius X), the controversy had, and continues to have, both a pre-history and a post-history.

Pre-history: 19th century intellectual ferment

With notable exceptions like Richard Simon or the Bollandists, Catholic studies in the 17th, 18th and 19th centuries had tended to avoid the use of critical methodology because of its rationalist tendencies. Frequent political revolutions, the bitter opposition of "liberalism" to the Church and the expulsion of religious orders from France and Germany had made the church understandably suspicious of the new intellectual currents.

In his encyclical of 1829 , Pope Pius VIII had admonished those who "publish the Bible with new interpretations contrary to the Church's laws" and "skillfully distort the meaning by their own interpretation", in order to "ensure that the reader imbibes their lethal poison instead of the saving water of salvation".

In similar vein, in 1832 his successor Pope Gregory XVI condemned in his encyclical  "shameless science" () deploring that the "divine authority of the Church is[...] subjected to human reason". Gregory also warned Catholics not to read translations of the Bible published by non-Catholic biblical societies, accusing them in his encyclical  (1844) of "scorning divine tradition preserved by the Catholic Church in the teaching of the Fathers" and of "repudiating the very authority of the Church".

Anti-liberalism and hostility towards modernity continued with the new Pope Pius IX: a few months after his election in 1846, Pius promulgated the encyclical , exhorting all Catholic prelates to be on guard against the dangers posed by rationalism, pantheism, socialism, communism and other popular philosophies.

In 1863, Ernest Renan published  (Life of Jesus). Renan had trained for the priesthood before choosing a secular career as a philologist and historian. His book described Jesus as  – a man, no doubt extraordinary, but only a man. The book was very popular, but cost him his chair of Hebrew at the Collège de France. Among Renan's most controversial ideas was that "a miracle does not count as a historical event; people believing in a miracle does." Renan's Jesus is a man of simple piety and almost unimaginable charisma whose main historical significance was his legion of followers.

In the same year 1863, the Church historian Ignaz von Döllinger invited about 100 German theologians to meet in Munich (, 1863) to discuss the state of Catholic theology. In his address, "On the Past and Future of Catholic Theology", Döllinger advocated greater academic freedom of theology within the church, formulating a critique of neo-scholastic theology and championing the historical method in theology. Also in the year 1863, Döllinger's friend Charles de Montalembert gave two powerful speeches at the Catholic Congress in Malines, insisting that the church had to reconcile itself with civil equality and religious freedom.

On 8 December 1864 Pope Pius IX issued the encyclical , decrying what he considered significant errors afflicting the modern age. It condemned certain propositions such as: "the people's will, manifested by what is called public opinion[...] constitutes a supreme law, free from all divine and human control"; on civil law alone depend all rights of parents over their children, and especially that of providing for education; and that religious orders have no legitimate reason for being permitted. Some of these condemnations were aimed at anticlerical governments in various European countries, which were in the process of secularizing education and taking over Catholic schools, as well as suppressing religious orders and confiscating their property. Attached to the encyclical was a , which had been condemned in previous papal documents, requiring recourse to the original statements to be understood. The Syllabus reacted not only to modern atheism, materialism, and agnosticism, but also to Liberal Catholicism and the new critical study of the Bible. It was also a direct reaction to Döllinger's speech in Munich and Montalembert's speeches in Malines. Among the propositions condemned in the Syllabus were:

 "7. The prophecies and miracles set forth and recorded in the Sacred Scriptures are the fiction of poets, and the mysteries of the Christian faith the result of philosophical investigations. In the books of the Old and the New Testament there are contained mythical inventions, and Jesus Christ is Himself a myth."
 "13. The method and principles by which the old scholastic doctors cultivated theology are no longer suitable to the demands of our times and to the progress of the sciences." – Letter to the Archbishop of Munich, , December 21, 1863.
 "15. Every man is free to embrace and profess the Religion he shall believe true, guided by the light of reason." – Apostolic Letter, , 10 June 1851. Allocution , 9 June 1862.

The First Vatican Council was held from December 1869 to October 1870. The council provoked a degree of controversy even before it met. In anticipation that the subject of papal infallibility would be discussed, many bishops, especially in France and Germany, expressed the opinion that the time was "inopportune". Ignaz von Döllinger led a movement in Germany hostile to the definition of infallibility. In Döllinger's view, there was no foundation for this definition in Catholic tradition. After the definition, Döllinger was excommunicated by the Archbishop of Munich Gregor von Scherr in 1871. Montalembert died before the end of the Council.

The dogmatic Constitution on the Catholic Faith, , tried to steer a middle way between rationalism and fideism. It presented a concept of revelation which highlighted the aspect of divine instruction by revelation. The dogmatic Constitution  addressed the primacy of the pope and rejected the idea that decrees issued by the pope for the guidance of the church are not valid unless confirmed by the secular power. It also declared the infallibility of the pope when speaking "ex cathedra" on matters of faith and morals. Other matters were deferred when the Italian infantry entered Rome and the council was prorogued. The Council remained formally open until 1960, when it was officially closed by Pope John XXIII, in order to convene the Second Vatican Council.

The First Vatican Council's decisions were so controversial that they even caused a schism of some German, Swiss, Austrian and Dutch liberal Catholics, who broke away from the Vatican and merged with the Jansenists (who had maintained a somewhat precarious hierarchy in the Netherlands) into the Old Catholic Church, which still exists to this day.

The beginning of the modernist controversy under Leo XIII

Pope Leo XIII, Pius IX's successor, wanted to advance what he understood as the true Christian science in every way: he worked for a revival of Thomism as Christian philosophy, he encouraged the study of history and archaeology, and in 1881 he opened up the Vatican Archives for researchers. In 1887 he encouraged the study of the natural sciences, and in 1891 opened a new Vatican Observatory. Leo's response to the rationalist trend to undermine the authority of sacred scripture, was for the church to have its own trained experts. In 1893, with , Pope Leo gave the first formal authorization for the use of critical methods in biblical scholarship. "Hence it is most proper that Professors of Sacred Scripture and theologians should master those tongues in which the sacred Books were originally written, and have a knowledge of natural science. He recommended that the student of scripture be first given a sound grounding in the interpretations of the Fathers such as Tertullian, Cyprian, Hilary, Ambrose, Leo the Great, Gregory the Great, Augustine and Jerome, and understand what they interpreted literally, and what allegorically; and note what they lay down as belonging to faith and what is opinion.

Although  tried to encourage Catholic biblical studies, it created also problems. In the encyclical, Leo XIII excluded the possibility of restricting the inspiration and inerrancy of the bible to matters of faith and morals. Thus, he interfered in the lively discussion about biblical inspiration in France, where Maurice d'Hulst, the founder of the Institut Catholique de Paris, had opted for a more open solution in his article on . Not only exegetes of this "école large" were now in trouble, but also the prominent French theologian Alfred Loisy who worked for a thoroughly historical understanding of the Bible, in order to open up spaces for theological reform. The Roman Congregation of the Index began to prepare a censuring of Loisy's main works, but until the death of Leo XIII in 1903 no decision was taken, as there was also considerable resistance within the Roman Curia against a premature judgment on matters of biblical interpretation.

On the whole, the official Catholic attitude to the study of Scripture at the turn of the 20th century was one of cautious advance, and at the same time of a growing appreciation of what had promise for the future. In 1902, Pope Leo XIII instituted the Pontifical Biblical Commission, which was to adapt Catholic Biblical studies to modern scholarship and to protect Scripture against attacks.

Marie-Joseph Lagrange
In 1890 the École Biblique, the first Catholic school specifically dedicated to the critical study of the bible, was established in Jerusalem by Dominican Marie-Joseph Lagrange. In 1892 Pope Leo XIII gave his official approval. While many of Lagrange's contemporaries criticized the new scientific and critical approach to the Bible, he made use of it. Lagrange founded the , and his first articles drew sharp criticism, but Pope Leo was not inclined to discourage new ideas. As long as Pope Leo lived, Lagrange's work quietly progressed, but after Leo's death, an ultra-conservative reaction set in. The historical-critical method was considered suspect by the Vatican. Père Lagrange, like other scholars involved in the 19th-century renaissance of biblical studies, was suspected of being a modernist. In 1912 Lagrange was given an order for the  to cease publication and to return to France. The École itself was closed for a year, and then Lagrange was sent back to Jerusalem to continue his work.

Duchesne and Loisy

Louis Duchesne was a French priest, philologist, teacher, and amateur archaeologist. Trained at the École pratique des Hautes Études in Paris, he applied modern methods to church history, drawing together archaeology and topography to supplement literature and setting ecclesiastical events within the contexts of social history. Duchesne held the chair of ecclesiastical history at the Institut Catholique de Paris, and was frequently in contact with like-minded historians among the Bollandists, with their long history of critical editions of hagiographies. Duchesne gained fame as a demythologizing critical historian of the popular, pious lives of saints produced by Second Empire publishers. However, his , 1906–1911 (translated as Early History of the Christian Church) was considered too modernist by the church at the time, and was placed on the Index of Forbidden Books in 1912.

Alfred Loisy was a French Catholic priest, professor and theologian generally credited as the "father of Catholic Modernism". He had studied at the Institut Catholique under Duchesne and attended the course on Hebrew by Ernest Renan at the Collège de France. Harvey Hill says that the development of Loisy's theories have to be seen also in the context of France's Church-State conflict, which contributed to Loisy's crisis of faith in the 1880s. In November 1893, Loisy published the last lecture of his course, in which he summed up his position on biblical criticism in five propositions: the Pentateuch was not the work of Moses, the first five chapters of Genesis were not literal history, the New Testament and the Old Testament did not possess equal historical value, there was a development in scriptural doctrine, and Biblical writings were subject to the same limitations as those by other authors of the ancient world. When his attempts at theological reform had failed, Loisy came to regard the Christian religion more as a system of humanistic ethics than as divine revelation. He was excommunicated in 1908.

The climax of the controversy under Pius X

Pope Pius X, who succeeded Leo XIII in August 1903, engaged almost immediately in the ongoing controversy. Reacting on pressure from the Parisian Archbishop Cardinal François-Marie-Benjamin Richard, he transferred the censuring of Loisy from the Congregation of the Index to the Supreme Sacred Congregation of the Holy Office. Already in December 1903, Loisy's main exegetical works were censured. At the same time the Holy Office began to prepare a syllabus of errors contained in the works of Loisy. Due to ongoing internal resistance, especially from the Master of the Sacred Palace, the papal theologian Alberto Lepidi OP, this Syllabus was published only in July 1907 as the decree , which condemned sixty-five propositions from the field of biblical interpretation and the history of dogma.  did not mention the term modernism, and it seems that Pius X and his close collaborators like Cardinal Rafael Merry del Val and Cardinal José de Calasanz Vives y Tutó were not satisfied with the document.

Therefore, in the summer of 1907, another document was prepared in a small circle around the pope, and already in September 1907 Pius X promulgated the encyclical , which formulated a synthesis of modernism and popularized the term itself. The encyclical condemned modernism as embracing every heresy.  described the "modernist" in seven "roles": as purely immanentist philosopher, as believer who relies only on their own religious experience, as theologian who understands dogma symbolically, as historian and biblical scholar who dissolves divine revelation by means of the historical-critical method into purely immanent processes of development, as apologete who justifies the Christian truth only from immanence, and as reformer who wants to change the church in a radical way. Agnosticism, immanentism, evolutionism and reformism are the keywords used by the pope to describe the philosophical and theological system of modernism. The encyclical describes the modernist as an enemy of scholastic philosophy and theology and resistant to the teachings of the magisterium; their moral qualities are curiosity, arrogance, ignorance, and falsehood. Modernists deceive the simple believers by not presenting their entire system, but only parts of it. Therefore, the encyclical wants to reveal the secret system of modernism.  contained also disciplinary measures for the promotion of scholastic philosophy and theology in the seminaries, for the removal of suspect professors and candidates for the priesthood, for a more rigid censuring of publications and for the creation of an antimodernist control group in every diocese. All bishops and superiors of religious orders had to report regularly on the execution of these measures.

Pius frequently condemned the movement, and was deeply concerned that its adherents could go on believing themselves strict Catholics while understanding dogma in a markedly untraditional sense (a consequence of the notion of evolution of dogma). Therefore, in 1910, he introduced an anti-modernist oath to be taken by all Catholic priests, while he shut down "the only notable American Catholic magazine", the Ecclesiastical Review "precisely when it was needed to challenge the increasing influence of John Dewey's pragmatism."

To ensure enforcement of these decisions, Monsignor Umberto Benigni organized, through his personal contacts with theologians and laymen in various European countries, a secret network of informants who would report to him those thought to be teaching condemned doctrine or engaging in political activities (like Christian Democratic Parties, Christian Unions) which were also deemed to be "modernist" because they were not controlled by the Catholic hierarchy. This group was called the , i.e. Fellowship of Pius (V), the code name was . Its frequently overzealous and clandestine methods often hindered rather than helped the Church in its combat with modernism. Benigni also published the journal /, which initiated press campaigns against practical and social modernism throughout Europe. Benigni fell out with Cardinal Secretary of State Rafael Merry del Val in 1911. The  was eventually dissolved in 1921. Recent research has stressed the antisemitic character of Benigni's antimodernism.

In America

With his slogan "Church and Age unite!", Archbishop John Ireland of Saint Paul, Minnesota, became the hero of reformers in France (Félix Klein), Italy and Germany (Herman Schell) in the 1890s. The modernist controversy in the United States was thus initially dominated by the conflict on "Americanism", which after  was also presented as a "forerunner" of modernism in Catholic heresiology. "Americanism" was perceived as an influence of classical liberalism in the Catholic Church in the United States, particularly regarding the concept of separation of Church and State. Such tendencies alarmed Pope Leo XIII, who condemned them, at the urging of Archbishop Ireland's old opponent from Minnesota Archbishop John Joseph Frederick Otto Zardetti, in the apostolic letter  (1899). Archbishop Ireland had to be extremely careful to avoid condemnation for his views.

Following the issuing of , the antimodernist measures were especially felt in the Archdiocese of New York: The New York Review was a journal produced by Saint Joseph's Seminary. It printed papers by leading Catholic Biblical experts who were part of the newly emerging schools of Biblical criticism, which raised eyebrows in Rome. Around 1908, the Review was discontinued, ostensibly for financial reasons, although there is strong evidence that it was suppressed for modernist tendencies. Despite his support for modernization, Archbishop Ireland actively campaigned against modernism following the  encyclical: this apparently inconsistent behavior stemmed from Ireland's concept of a "golden mean" between "ultraconservatism", rendering the Church irrelevant, and "ultraliberalism," discarding the Church's message.

Post-history in the 20th and 21st centuries
After the pontificate of Pius X, there was a gradual abatement of attacks against modernists. The new Pope Benedict XV, who was elected to succeed Pius X in 1914, once again condemned modernism in his encyclical , but also urged Catholics to cease condemning fellow believers. Nevertheless, theological antimodernism continued to influence the climate within the church. The Holy Office, until 1930 under the guidance of Cardinal Rafael Merry del Val, continued to censure modernist theologians and rationalist exegesis was once again condemned by the Pontiff in his encyclical .

In the 1930s, Loisy's opera omnia were placed on the . During World War I, French propaganda claimed that the Catholic Church in Germany was infested with modernism. Already in 1913 it had been claimed by the French academic Edmond Vermeil that the Catholic Tübingen School in the mid-19th century, with its interest for the "organic development" of the church in history, was a "forerunner" of "modernism" – a claim which has been debated ever since.

Between World War I and the Second Vatican Council, Réginald Garrigou-Lagrange  was a "torchbearer of orthodox Thomism" against modernism. Garrigou-Lagrange, who was a professor of philosophy and theology at the Pontifical University of Saint Thomas Aquinas, , is commonly held to have influenced the decision in 1942 to place the privately circulated book  (Étiolles-sur-Seine 1937) by Marie-Dominique Chenu  on the Vatican's "Index of Forbidden Books" as the culmination of a polemic within the Dominican Order between the  supporters of a speculative scholasticism and the French revival Thomists who were more attentive to historical hermeneutics, such as Yves Congar

At the beginning of the 1930s, Congar read the  of Loisy and realised that modernism had addressed problems in theology which were still not resolved by scholastic theology. Chenu and Congar, two protagonists of the , began to prepare a dossier on this topic. In 1946, Congar wrote to Chenu that scholastic theology had already begun to "liquidate" itself on a daily basis and that the Jesuits were among the fiercest "liquidators". Congar's  was also suspected of modernism because its methodology derived more from religious experience than from syllogistic analysis. As a result, the  was condemned by Pope Pius XII in his encyclical .

A first relaxation of the strict anti-modernist measures imposed by Pius X came in 1943: on that year, Pope Pius XII issued the encyclical , regulating the issue of biblical exegesis. The encyclical inaugurated the modern period of Roman Catholic Biblical studies by encouraging the study of textual criticism (or 'lower criticism'), pertaining to text of the Scriptures themselves and transmission thereof (for example, to determine correct readings) and permitted the use of the historical-critical method (or 'higher criticism') to be informed by theology, Sacred Tradition, and ecclesiastical history on the historical circumstances of the text, hypothesizing about matters such as authorship, dating, and similar concerns. Catholic biblical scholar Raymond E. Brown  described the encyclical as a "Magna Carta for biblical progress".

The Oath Against Modernism was abolished on 17 July 1967 by the Congregation for the Doctrine of the Faith with the approval of Pope Paul VI.

However, in his encyclical , Pope Paul VI once again condemned modernism as "an error which is still making its appearance under various new guises, wholly inconsistent with any genuine religious expression" and described it as "an attempt on the part of secular philosophies and secular trends to vitiate the true teaching and discipline of the Church of Christ".

Reference to modernism continues to be frequent among conservative and traditionalist Catholics.

Notable persons involved in the Modernist controversy
John Ireland (1838–1918), Archbishop of Saint Paul. Considered one of the leaders of Americanism, he later turned against modernism.
Louis Duchesne (1843–1922), priest and philologist, one of his books was placed on the
Alfred Loisy (1857–1940), priest and theologian, excommunicated for his views in 1908 and his opera omnia was placed on the . Later became an agnostic and a secular scholar at the .
George Tyrrell (1861–1909), expelled from the Society of Jesus in 1906 for his views and excommunicated in 1908
Maude Petre (1863–1942), English nun, close friend of Tyrrell, and a participant in the modernist movement as well as one of its first historians and critics
Ernesto Buonaiuti (1881–1946), who as a scholar of the history of Christianity and of religious philosophy, was a leader in the Italian modernist movement and was excommunicated in 1925
Pierre Batiffol (1861–1929), historian of dogma
Friedrich von Hügel (1852–1925), philosopher of religion
Wilfrid Ward (1856–1916), English essayist and biographer
Henri Bremond (1865–1933), French literary scholar, sometime Jesuit, and Catholic philosopher
Joseph Schnitzer (1859–1939), historian of dogma in Munich
Giovanni Semeria (1867–1931), Barnabite priest, preacher
Carl Muth (1867–1944), editor of the cultural and religious journal Hochland
Herman Schell  (1850–1906), German theologian
Franz Xaver Kraus (1840–1901), church historian, "Liberal Catholic"

In popular culture
 Irish comedian Dermot Morgan parodied the Modernist trend of the Post-Vatican II Catholic Church in Ireland while appearing on the RTÉ television show The Live Mike between 1979 and 1982. On the show, Morgan played a range of comic characters, including Father Trendy, a trying-to-be-cool hippie-priest, who wore an Elvis haircut, a leather jacket and who was given to drawing ludicrous parallels between religious and non-religious life in two-minute 'sermons' to the camera. Morgan's model for the character was Father Brian D'Arcy, a left-wing Passionist priest who was trying to be the chaplain to the show business community in Dublin.
 In the episode "The Bishop's Gambit" of the British TV series Yes, Minister (season 1, episode 7), Prime Minister Jim Hacker discusses candidates for an Anglican bishopric with Cabinet Secretary Sir Humphrey Appleby. The Church Commissioners have suggested a candidate who is a "modernist". Sir Humphrey later explains to the PM that "modernist" is ecclesiastical code for an atheist Anglican clergyman.

See also

 Americanism (heresy)
 Integrism
 Liberal Catholicism
 Nouvelle Théologie
 Biblical criticism
 Joseph Malègue
 Désiré-Joseph Mercier

References

Bibliography

Cf.

External links
 Bourmaud, Fr. Dominique, One Hundred Years of Modernism: A Genealogy of the Principles of the Second Vatican Council
 — Fr. Réginald Garrigou-Lagrange, O.P., explains why Thomism is the solution to the present crisis of Modernism in the Church.
 Providentissimus Deus, Leo XIII, 18 November 1893
 Lamentabili sane, Pius X, 3 July 1907
 Pascendi dominici gregis, Pius X, 8 September 1907
International Catholic University: James Hitchcock, Introduction to Modernism: Essays with bibliography arranged by subjects, headed "Note: Most of the works dealing with Modernism are sympathetic to the Modernists, and students should maintain a critical stance towards the assigned readings."
Fr. Michael Morton, "Catholic Modernism (1896-1914)"

Catholicism-related controversies

Modernism in the Catholic Church


In the context of manufacturing integrated circuits, wafer dicing is the process by which die are separated from a wafer of semiconductor following the processing of the wafer. The dicing process can involve scribing and breaking, mechanical sawing (normally with a machine called a dicing saw) or laser cutting.  All methods are typically automated to ensure precision and accuracy.
Following the dicing process the individual silicon chips may be encapsulated into chip carriers which are then suitable for use in building electronic devices such as computers, etc.

During dicing, wafers are typically mounted on dicing tape which has a sticky backing that holds the wafer on a thin sheet metal frame. Dicing tape has different properties depending on the dicing application.  UV curable tapes are used for smaller sizes and non-UV dicing tape for larger die sizes. Dicing saws may use a dicing blade with diamond particles, rotating at 30,000 RPM and cooled with deionized water.  Once a wafer has been diced, the pieces left on the dicing tape are referred to as die, dice or dies. Each will be packaged in a suitable package or placed directly on a printed circuit board substrate as a "bare die".  The areas that have been cut away, called die streets, are typically about 75 micrometres (0.003 inch) wide. Once a wafer has been diced, the die will stay on the dicing tape until they are extracted by die-handling equipment, such as a die bonder or die sorter, further in the electronics assembly process.

The size of the die left on the tape may range from 35 mm on a side (very large) to 0.1 mm square (very small). The die created may be any shape generated by straight lines, but they are typically rectangular or square-shaped.  In some cases they can be other shapes as well depending on the singulation method used.  A full-cut laser dicer has the ability to cut and separate in a variety of shapes.

Materials diced include glass, alumina, silicon, gallium arsenide (GaAs), silicon on sapphire (SoS), ceramics, and delicate compound semiconductors.

Stealth dicing

Dicing of silicon wafers may also be performed by a laser-based technique, the so-called stealth dicing process. It works as a two-stage process in which defect regions are firstly introduced into the wafer by scanning the beam along intended cutting lines and secondly an underlying carrier membrane is expanded to induce fracture.

The first step operates with a pulsed Nd:YAG laser, the wavelength of which (1064 nm) is well adapted to the electronic band gap of silicon (1.11 eV or 1117 nm), so that maximum absorption may well be adjusted by optical focusing. Defect regions of about 10 µm width are inscribed by multiple scans of the laser along the intended dicing lanes, where the beam is focused at different depths of the wafer. The figure displays an optical micrograph of a cleavage plane of a separated chip of 150 µm thickness that was subjected to four laser scans, compare. The topmost defects are the best resolved and it is realized that a single laser pulse causes a defected crystal region that resembles the shape of candle flame. This shape is caused by the rapid melting and solidification of the irradiated region in the laser beam focus, where the temperature of only some µm3 small volumes suddenly rises to some 1000 K within nanoseconds and falls to ambient temperature again. The laser is typically pulsed by a frequency of about 100 kHz, while the wafer is moved with a velocity of about 1 m/s. A defected region of about 10 µm width is finally inscribed in the wafer, along which preferential fracture occurs under mechanical loading. The fracture is performed in the second step and operates by radially expanding the carrier membrane to which the wafer is attached. The cleavage initiates at the bottom and advances to the surface, so a high distortion density must be introduced at the bottom.

It is the advantage of the stealth dicing process that it does not require a cooling liquid. Dry dicing methods inevitably have to be applied for the preparation of certain microelectromechanical systems (MEMS), in particular, when these are intended for bioelectronic applications. In addition, stealth dicing hardly generates debris and allows for improved exploitation of the wafer surface due to smaller kerf loss compared to wafer saw. Wafer grinding may be performed after this step, to reduce die thickness.

Dice before grind
The DBG or "dice before grind" process is a way to separate dies without dicing.  The separation occurs during the wafer thinning step.  The wafers are initially diced using a half-cut dicer to a depth below the final target thickness.  Next, the wafer is thinned to the target thickness while mounted on a special adhesive film and then mounted on to a pick-up tape to hold the dies in place until they are ready for the packaging step.  The benefit to the DBG process is higher die strength. Alternatively, plasma dicing may be used, which replaces the dicer's saw with DRIE plasma etching.

The DBG process requires a back grinding tape that has the following attributes, 1) strong adhesive force (prevents infiltration of grinding fluid and die dust during grinding), 2) absorption and/or relief of compression stress and shear stress during grinding, 3) suppresses cracking due to contact between dies, 4) adhesive strength that can be greatly reduced through UV irradiation.

See also
 Wafer bonding

References

Semiconductor device fabrication

Wafer dicing


Vivian Zahl Olsen (born 24 January 1942) is a Norwegian artist, graphic designer and illustrator.

Vivian Zahl Olsen was educated at the Norwegian National Academy of Craft and Art Industry. She has contributed to several television series for the Norwegian Broadcasting Corporation, including  Fru Pigalopp, Flode and Puslespill. She has also illustrated around seventy books, mostly for children.

She was awarded the Jacob Prize (Jacob-prisen) in 1980. She received the Cappelen Prize in 1981. Since 1992, she has been married to Per Haugan.

References

External links
Vivian Zahl Olsen (Bokillustrasjon)
Fru Pigalopp (NRK)

1942 births
Living people
People from Asker
Norwegian illustrators
Norwegian children's book illustrators
NRK people

Vivian Zahl Olsen


Des Hoysted (192325 March 2010) was an Australian radio broadcaster and horse racing identity. He was a racecaller for 51 years in what is widely regarded as the golden era of the Australian turf.

Hoysted called his first race on Boxing Day in 1948 at Wodonga, Victoria, and then joined the ABC in Melbourne as an understudy to Joe Brown. He moved to 2GB in 1952, but made his mark in 1959 when he joined 2UE. He called 20 Melbourne Cups for 2UE and only finished there when the radio station ceased broadcasting the races in 1983.

For many years, Hoysted continued to work around Sydney racetracks, mainly as a broadcast advisor, bon vivant, and tent tipper. He unofficially retired from the track in 2001.

He died at the age of 87, on 25 March 2010 in a Sydney nursing home, survived by his wife, Pat, and children Raymond and Joanne.

References

Australian racecallers
1923 births
2010 deaths

Des Hoysted


The Neighbours is a sculpture by Siegfried Charoux.  It was commissioned in 1957 using funds set aside by London County Council for public art in its housing projects and unveiled in 1959 at  the Quadrant Estate in Islington, N5, London, near Clissold Park. It became Grade II listed building in April 1998.

The sculpture stands approximately  high, on a low brick plinth.  It depicts two life-size human figures, possibly intended to represent working men, sitting alongside each other on a bench.  It was made using synthetic resin mixed with powdered stones, supported by a steel armature and fibreglass matting, creating an appearance similar to terracotta or cemented iron.   It was renovated in 2009, in time for the 50th anniversary of its unveiling.

A  bronze maquette was sold for £2,250 by Christie's in 2011.

References
 The Neighbours sculpture at Highbury Quadrant Estate, National Heritage List for England Historic England
 The Neighbours, Robert Harris Conservation
 The Neighbours maquette, Christie's, 23 March 2011
 Birthday treat for The Neighbours, Islington Tribune, 4 September 2009

Grade II listed buildings in the London Borough of Islington
Outdoor sculptures in London

The Neighbours


A millrind or simply rind is an iron support, usually four-armed or cross-shaped, for the upper ("runner") stone in a pair of millstones.

The rind is affixed to the top of the square-section main shaft or spindle and supports the entire weight of the runner stone, which can be as much as several tons. The face of a runner stone usually has a carved depression, called the "Spanish cross", to accommodate the millrind. The rind is necessary because the grain is fed through the runner stone's central hole, so the spindle cannot be inserted through it like a cartwheel on an axle.

Mechanism
A later refinement, replacing the cross, was to mount a mace onto the spindle, which fitted into a gimbal let into the runner stone. The device allowed the runner stone to move in two planes and thus follow the nether (stationary) stone more closely, but great care had to be taken to ensure that its weight was properly balanced. The separation of the nether stone from the runner, controlling the fineness of the grind, was adjusted by the tenter mechanism: a screw jack to raise or lower the bearing carrying the base of spindle.

In heraldry
The millrind occasionally appears as a charge in heraldry, in which it is often known by the French name fer-de-moline ("iron of a mill"). Like real millrinds, the fer-de-moline is highly variable in form. The 16th century writer Bossewell characterized it as a symbol fit for judges and magistrates, who keep men on a straight course just as a millrind does with a runner stone. However it is more often found in canting arms of families with names such as Miller, Milne and Mills and Turner, Turnor and Turnour.

Another charge based on the millrind is the cross moline, which takes the form of a cross with bifurcated ends (sometimes with a pierced centre and sometimes without). In early blazons the term fer-de-moline often refers to the cross moline.

Gallery

References

Heraldic charges
Grinding mills

Millrind


Earl of Anglesey was a title in the Peerage of England during the 17th and 18th centuries.

History
The first creation came in 1623 when Christopher Villiers was created Earl of Anglesey, in Wales, as well as Baron Villiers. He was the elder brother of George Villiers, 1st Duke of Buckingham and the younger brother of John Villiers, 1st Viscount Purbeck. However, the Earldom and Barony became extinct on the death of his son, the second Earl, in 1661, who in 1644 had married the young widow of his cousin William Villiers, 2nd Viscount Grandison, becoming the step-father of her only child, Barbara Villiers.

The second creation came in 1661 when Arthur Annesley, 2nd Viscount Valentia, was created Earl of Anglesey, in Wales, and Baron Annesley, of Newport Pagnel in the County of Buckinghamshire. The titles were deemed extinct in 1761.

The wife of the Earl was normally given the title of Countess.

Earls of Anglesey

First creation (1623)
Christopher Villiers, 1st Earl of Anglesey (d. 1630)
Charles Villiers, 2nd Earl of Anglesey (d. 1661)

Second creation (1661)
Arthur Annesley, 1st Earl of Anglesey (1614–1686)
James Annesley, 2nd Earl of Anglesey (1645–1690)
James Annesley, 3rd Earl of Anglesey (1670–1702)
John Annesley, 4th Earl of Anglesey (died 1710)
Arthur Annesley, 5th Earl of Anglesey (1678–1737)
Richard Annesley, 6th Earl of Anglesey (1690–1761)

All but the last of these, and various other family members, are believed to be buried in the crypt of St Peter's Old Parish Church, Farnborough, Hampshire.

See also
Duke of Buckingham

References

Extinct earldoms in the Peerage of England

Earl

1623 establishments in England
1661 disestablishments in England
1661 establishments in England
1761 disestablishments in England
Noble titles created in 1623
Noble titles created in 1661

Earl of Anglesey


Garves Wind Farm consists of 5 turbines with an installed capacity of 15 MW.  It is located near Dunloy in County Antrim, Northern Ireland.  It is managed by Entap Limited on behalf of Garves Wind Limited.  London-based project development company Your Energy Ltd bought the scheme from the original developer in 2007.

The five wind turbines are supplied by Danish company Vestas, the largest wind turbine supplier in the world.  The turbines are V90 model with a 3 MW capacity on 80m towers.  The wind farm is expected to generate electricity for the equivalent of 8,387 homes annually.

Northern Irish firm Lagan Construction Limited was awarded the balance of plant contract  to build the wind farm.  Construction started in January 2008 and the wind farm was supplying electricity to the grid by early 2009.

Garves was the first Northern Irish wind farm to be financed in the new single market.  The electricity is sold to Viridian Energy Supply Limited through the Single Electricity Market.

The site has been included in the Ballymoney Borough Council's 2009 and 2010 Countryside Walks Programme.

See also

Energy use and conservation in the United Kingdom
Energy policy of the United Kingdom
Wind power in the United Kingdom

References

Buildings and structures in County Antrim
Wind farms in Northern Ireland

Garves Wind Farm


The  Dr. George McLelland Middleton House and Garage  is a historic building located in the central part of Davenport, Iowa, United States. The residence has been listed on the National Register of Historic Places since 1982.

History
Dr. George Middleton was one of three sons, who all became doctors, of Dr. William Middleton who was a founding member of the School of Medicine at the University of Iowa. He was a general practice doctor in Davenport who also worked as a physician for local industry, including the Chicago, Rock Island and Pacific Railroad. Middleton had this house built in 1903 and lived here until 1918 when he and his wife, who had no children, sold the house when he went into the Army Medical Corps during World War I. The house was built on Dr. William Middleton's estate and George did not receive title to the house until 1915. One of his brothers built the house across the alley. Their parent's home, which is no longer extant, was behind the brother's homes. In 1940 the Dr. George Middleton House became a duplex. It was returned to a single-family home by the early 1980s.

Architecture
Prominent Davenport architect Frederick G. Clausen designed this house in the Neoclassical style. It features a hipped roof and two dormers that have their own hipped roof and gabled rooflines. The dormer unit projects slightly forward and is held in place with brackets. Below the dormers are two round-arch windows that are also bracketed and have an eccentric border. A large porch features four columns of the Doric order and clapboard covered piers. A two-story polygonal bay below a bracketed gable is located on the back of the south side of the house. The second front door from when the house was converted into a duplex remains as does a second-floor sun porch on the rear of the house.

References

Houses completed in 1903
Neoclassical architecture in Iowa
Houses in Davenport, Iowa
Houses on the National Register of Historic Places in Iowa
National Register of Historic Places in Davenport, Iowa


The Star-Gazette is the major newspaper for Elmira, New York. Based in Elmira, the publication is owned by Gannett.

History
The Star-Gazette was the first newspaper of the now massive Gannett conglomerate. It was founded as the weekly Elmira Gazette in 1828 and became an evening daily in 1856. Frank Gannett bought a half-interest in the newspaper in 1906 to begin what would eventually be Gannett Co., Inc. The following year, he merged the Elmira Gazette with a competitor, the Evening Star, to form the Star-Gazette. In 1923, Gannett bought two other competitors in the city: the morning Daily Advertiser and the Sunday Telegram. The Star-Gazette and Advertiser combined as a single all-day newspaper in 1963. The Star-Gazette became a morning publication in 1982. The Telegram nameplate was dropped from the Sunday edition in 1985.

See also

References

External links
Official Website
Mobile website

Daily newspapers published in New York (state)
Elmira, New York
Gannett publications

Star-Gazette