The Course of Empire is a series of five paintings created by the English-born American painter  Thomas Cole between 1833 and 1836. It is notable in part for reflecting popular American sentiments of the times, when many saw pastoralism as the ideal phase of human civilization, fearing that empire would lead to gluttony and inevitable decay. The theme of cycles is one that Cole returned to frequently, such as in his The Voyage of Life series. The Course of Empire comprises the following works: The Course of Empire – The Savage State; The Arcadian or Pastoral State; The Consummation of Empire; Destruction; and Desolation. All the paintings are oil on canvas, and all are 39.5 inches by 63.5 inches (100 cm by 161 cm) except The Consummation of Empire which is 51″ by 76″ (130 cm by 193 cm). All five paintings are currently in the collection of the New York Historical Society.

Overview

The series of paintings depicts the growth and fall of an imaginary city, situated on the lower end of a river valley, near its meeting with a bay of the sea.  The valley is distinctly identifiable in each of the paintings, in part because of an unusual landmark: a large boulder is situated atop a crag overlooking the valley.  Some critics believe this is meant to contrast the immutability of the earth with the transience of man.

A direct source of literary inspiration for The Course of Empire paintings is Lord Byron's Childe Harold's Pilgrimage (1812–18).  Cole quoted lines from Canto IV in his newspaper advertisements for the series:

A quote by Bishop Berkeley also can be used to describe the series:

Cole designed these paintings to be displayed prominently in the picture gallery on the third floor of the mansion of his patron, Luman Reed, at 13 Greenwich Street, New York City. The layout was approximately as shown here, according to Cole's installation diagram (adopted to the fireplace). The series was acquired by The New-York Historical Society in 1858 as a gift of the New-York Gallery of Fine Arts and remains in their collection today.

The Course of Empire

The Savage State, or The Commencement of the Empire

The first painting, The Savage State, shows the valley from the shore opposite the crag, in the dim light of a dawning stormy day. Clouds and mist shroud much of the distant landscape, hinting at the uncertain future.  A hunter clad in skins hastens through the wilderness, pursuing a fleeing deer; canoes paddle up the river; on the far shore can be seen a clearing with a cluster of tipis around a fire, the nucleus of the city that is to be.  The visual references are those of Native American life. This painting depicts the ideal state of the natural world. It is a healthy world, unchanged by humanity.

Description by Thomas Cole
No. 1., which may be called the 'Savage State,' or 'the Commencement of Empire,' represents a wild scene of rocks, mountains, woods, and a bay of the ocean. The sun is rising from the sea, and the stormy clouds of night are dissipating before his rays. On the farthest side of the bay rises a precipitous hill, crowned by a singular isolated rock, which, to the mariner, would ever be a striking land-mark. As the same locality is represented in each picture of the series, this rock identifies it, although the observer's situation varies in the several pictures. The chase being the most characteristic occupation of savage life, in the fore-ground we see a man attired in skins, in pursuit of a deer, which, stricken by his arrow, is bounding down a water-course. On the rocks in the middle ground are to be seen savages, with dogs, in pursuit of deer. On the water below may be seen several canoes, and on the promontory beyond, are several huts, and a number of figures dancing round a fire. In this picture, we have the first rudiments of society. Men are banded together for mutual aid in the chase, etc. The useful arts have commenced in the construction of canoes, huts, and weapons. Two of the fine arts, music and poetry, have their germs, as we may suppose, in the singing which usually accompanies the dance of savages. The empire is asserted, although to a limited degree, over sea, land, and the animal kingdom. The season represented is Spring.

The Arcadian or Pastoral State

In the second painting, The Arcadian or Pastoral State, the sky has cleared and we are in the fresh morning of a day in spring or summer. The viewpoint has shifted further up the river, as the crag with the boulder is now on the left-hand side of the painting; a forked peak can be seen in the distance beyond it. Much of the wilderness has given way to cultivated land and agriculture, with plowed fields and lawns visible. Various activities go on in the background: plowing, boat-building, herding sheep, dancing; in the foreground, an old man sketches what may be a geometrical problem with a stick. On a bluff on the near side of the river, a megalithic temple has been built, and smoke (presumably from sacrifices) arises from it. The images reflect an idealized, pre-urban Archaic Greece. This work shows humanity at peace with the land. The environment has been altered, but not so much so that it or its inhabitants are in danger. Yet the construction of the warship and the concerned mother watching as her child sketches a soldier, herald the emerging imperial ambitions.

Description by Thomas Cole
No. 2. – The Simple or Arcadian State, represents the scene after ages have passed. The gradual advancement of society has wrought a change in its aspect. The 'untracked and rude' has been tamed and softened. Shepherds are tending their flocks; the ploughman, with his oxen, is upturning the soil, and Commerce begins to stretch her wings. A village is growing by the shore, and on the summit of a hill a rude temple has been erected, from which the smoke of sacrifice is now ascending. In the fore-ground, on the left, is seated an old man, who, by describing lines in the sand, seems to have made some geometrical discovery. On the right of the picture, is a female with a distaff, about to cross a rude stone bridge. On the stone is a boy, who appears, to be making a drawing of a man with a sword, and ascending the road, a soldier is partly seen. Under the trees, beyond the female figure, may be seen a group of peasants; some are dancing, while one plays on a pipe. In this picture, we have agriculture, commerce, and religion. In the old man who describes the mathematical figure – in the rude attempt of the boy in drawing – in the female figure with the distaff—in the vessel on the stocks, and in the primitive temple on the hill, it is evident that the useful arts, the fine arts, and the sciences, have made considerable progress. The scene is supposed to be viewed a few hours after sunrise, and in the early Summer.

The Consummation of Empire

The third painting, The Consummation of Empire, shifts the viewpoint to the opposite shore, approximately the site of the clearing in the first painting. Both sides of the river valley are now covered in colonnaded marble structures, whose steps run down into the water. The megalithic temple seems to have been transformed into a huge domed structure dominating the river-bank. The mouth of the river is guarded by two pharoi, and ships with lateen sails go out to the sea beyond.  A joyous crowd gathers on the balconies and terraces as a scarlet-robed king or victorious general crosses a bridge connecting the two sides of the river in a triumphant procession. In the foreground, lower right, there is what seems to be a royal court. Amongst them, under the elaborate fountain, are two boys clad in red and green, with one drowning a toy boat, while another seemingly pleading him. The adults nearby are inattentive of the discordant behavior, busy in their affairs. Further to the right, amongst the individuals fixed on the procession, a queenly woman sits atop a gilded throne. The look of the painting suggests the height of Ancient Rome. The decadence seen in every detail of this cityscape foreshadows the inevitable fall of this mighty civilization.

Description by Thomas Cole
In the picture No. 3, we suppose other ages have passed, and the rude village has become a magnificent city. The part seen occupies both sides of the bay, which the observer has now crossed. It has been converted into a capacious harbor, at whose entrance, toward the sea, stand two phari. From the water on each hand, piles of architecture ascend – temples, colonnades and domes. It is a day of rejoicing. A triumphal procession moves over the bridge near the fore-ground. The conqueror, robed in purple, is mounted in a car drawn by an elephant, and surrounded by captives on foot, and a numerous train of guards, senators, etc. – pictures and golden treasures are carried before him. He is about to pass beneath the triumphal arch, while girls strew flowers around. Gay festoons of drapery hang from the clustered columns. Golden trophies glitter above in the sun, and incense rises from silver censers. The harbor is alive with numerous vessels – war galleys, and barks with silken sails. Before the doric temple on the left, the smoke of incense and of the altar rise, and a multitude of white-robed priests stand around on the marble steps. The statue of Minerva, with a victory in her hand, stands above the building of the Caryatides, on a columned pedestal, near which is a band with trumpets, cymbals, etc. On the right, near a bronze fountain and in the shadow of lofty buildings, is an imperial personage viewing the procession, surrounded by her children, attendants, and guard. In this scene is depicted the summit of human glory. The architecture, the ornamental embellishments, etc., show that wealth, power, knowledge, and taste have worked together, and accomplished the highest meed of human achievement and empire. As the triumphal fete would indicate, man has conquered man – nations have been subjugated. This scene is represented as near mid-day, in the early Autumn.

Destruction

The fourth painting, Destruction, has almost the same perspective as the third, though the artist has stepped back a bit to allow a wider scene of the action, and moved almost to the center of the river. The action is the sack and destruction of the city, in the course of a tempest seen in the distance.  It seems that a fleet of enemy warriors has overthrown the city's defenses, sailed up the river, and is busy ransacking the city and killing its inhabitants and raping women. The bridge across which the triumphant procession had crossed is broken; a makeshift crossing strains under the weight of soldiers and refugees. Columns are broken, and fire breaks from the upper floors of a palace on the river bank.

In the foreground a statue of some venerable hero (posed like the Borghese Gladiator) stands headless, still striding forward into the uncertain future. In the waning light of late afternoon, the dead lie where they fell, in fountains and atop the monuments built to celebrate the affluence of the now fallen civilization. The scene is perhaps suggested by the Vandal sack of Rome in 455.

On the other hand, internal strife and civil war seem also implicated. A catapult positioned on the left bank faces the structural damage on the right bank, exemplified by the contrasting states of the pharoi and suggestive of a prolonged split in the city. The most interesting, however, seem the two men in the fountain at the bottom right: the one in green is resting wearily atop the other, seemingly in contemplation of the heavy price paid, as the other in red lies dead in the water. Allusive of the two boys near the fountain in the previous painting of the series, similarly clad in red and green, the discord may have foreshadowed a civil war. We can see the same colors in the red and green banners on different sides of the river; the green banners mostly on the temple side and the red banners predominantly on the palace side. This may also show the still ongoing war between traditionalism and modernism.

Description by Thomas Cole
No. 4.– The picture represents the Vicious State, or State of Destruction. Ages may have passed since the scene of glory – though the decline of nations is generally more rapid than their rise. Luxury has weakened and debased. A savage enemy has entered the city. A fierce tempest is raging. Walls and colonnades have been thrown down. Temples and palaces are burning. An arch of the bridge, over which the triumphal procession was passing in the former scene, has been battered down, and the broken pillars, and ruins of war engines, and the temporary bridge that has been thrown over, indicate that this has been the scene of fierce contention. Now there is a mingled multitude battling on the narrow bridge, whose insecurity makes the conflict doubly fearful. Horses and men are precipitated into the foaming waters beneath; war galleys are contending: one vessel is in flames, and another is sinking beneath the prow of a superior foe. In the more distant part of the harbor, the contending vessels are dashed by the furious waves, and some are burning. Along the battlements, among the ruined Caryatides, the contention is fierce; and the combatants fight amid the smoke and flame of prostrate edifices. In the fore-ground are several dead and dying; some bodies have fallen in the basin of a fountain, tinging the waters with their blood. A female is seen sitting in mute despair over the dead body of her son, and a young woman is escaping from the ruffian grasp of a soldier, by leaping over the battlement; another soldier drags a woman by the hair down the steps that form part of the pedestal of a mutilated colossal statue, whose shattered head lies on the pavement below. A barbarous and destroying enemy conquers and sacks the city. Description of this picture is perhaps needless; carnage and destruction are its elements.

Desolation

The fifth painting, Desolation, shows the results decades later. The remains of the city are highlighted in the livid light of a dying day. The landscape has begun to return to wilderness and no humans are to be seen; but the remnants of their architecture emerge from beneath a mantle of trees, ivy, and other overgrowth. The broken stumps of the pharoi loom in the background. The arches of the shattered bridge and the columns of the temple are still visible; a single column looms in the foreground, now a nesting place for birds. The sunrise of the first painting is mirrored here by a moonrise, a pale light reflecting in the ruin-choked river while the standing pillar reflects the last rays of sunset. This gloomy picture suggests how all empires could be after their fall. It is a harsh possible future in which humanity has been destroyed by its own hand.

Description by Thomas Cole
The fifth picture is the scene of Desolation. The sun has just set, the moon ascends the twilight sky over the ocean, near the place where the sun rose in the first picture. Day-light fades away, and the shades of evening steal over the shattered and ivy-grown ruins of that once proud city. A lonely column stands near the fore ground, on whose capitol, which is illumined by the last rays of the departed sun, a heron has built her nest. The doric temple and the triumphal bridge, may still be recognised among the ruins. But, though man and his works have perished, the steep promontory, with its insulated rock, still rears against the sky unmoved, unchanged. Violence and time have crumbled the works of man, and art is again resolving into elemental nature. The gorgeous pageant has passed – the roar of battle has ceased – the multitude has sunk in the dust – the empire is extinct.

This cycle reflects Cole's pessimism, and is often seen as a commentary on Andrew Jackson and the Democratic Party. (Note, for instance, the military hero at the center of "Consummation".) However, some Democrats had a different theory of the course of empire. They saw not a spiral or cycle but a continuing upward trajectory. Levi Woodbury, a Democrat and a justice of the United States Supreme Court, for instance, responded to Cole by saying that there would be no destruction in the United States.

L'Allegro

Another painting by Thomas Cole, called L'Allegro or Italian Sunset, though from 1845 and not part of The Course of Empire series, contains a very similar imagery and motif. Depicting an idyllic scene of a sunset of Italian landscape, we see Mediterranean looking ruins strewn around a river, with a familiar looking promontory in the background. Notably however, this promontory is lacking the identifiable singular boulder on the top. On the forefront, the ruined leftovers of a bridge cross the river, though of different masonry than the one from the series. Lower right, we see a stream overflowing an ancient terrace, similar to the one in Desolation, and of those containing a fountain in The Consummation of Empire and Destruction.

The extent of human presence and development in L'Allegro parallels that of The Arcadian State, with the added presence of the ruins of a previous empire. Settled life is hidden atop the promontory, and pastoralism is visible by the lawns, the cows on the further bank, and the goats being herded on the foreground, with some walking and resting atop the ruins. Finally, the dancing people at the focus of the painting are reminiscent of those in The Arcadian State.

See also
 List of paintings by Thomas Cole

Notes

References

Sources

Painting series
Romantic paintings
1830s paintings
Hudson River School paintings
Paintings by Thomas Cole
Landscape paintings
Architecture paintings
Paintings in New York City
19th-century allegorical paintings
Allegorical paintings by American artists
Maritime paintings
Moon in art
Sun in art

The Course of Empire (paintings)


Pepe Gotera y Otilio, or more complete Pepe Gotera y Otilio, chapuzas a domicilio (roughly: Pepe Leak and Otilio, botched jobs home delivered) are Spanish comic characters of the series of the same name created by Francisco Ibáñez Talavera in 1966 focusing on the comic adventures of two bumbling and disastrous workmen.

Plot
The main characters are Pepe Gotera and Otilio, who form a peculiar company of reparations and other manual jobs.
Pepe Gotera is the boss, the foreman, meaning that he only gives orders and works as little as possible. He always wears a red bowler hat and a Groucho Marx-style mustache.
Otilio is who does the hard work, although he is more concerned about lunch time than the reparations he has to do. He is fat and wears a blue cap and overall. At the beginning of every comic he appears eating completely absurd and excessive dishes (such as a sandwich of elephant, whale, cow, etc.) and later when working he uses very rustic and unsafe methods for carrying out the work.

Actually none of them work, and they cause trouble and all kinds of disasters in the places they visit, such as landslides, flooding, explosions and many more variants.

As with Mort and Phil (the most famous series of the author), is always Pepe Gotera, the boss, who ends up paying the blunders of his partner, and because of their ineptitude most of the comics finish with a customer angered by the result of their efforts.

Publication
The first strip of the workers appeared on 2 April 1966 in the Tío Vivo magazine. and soon became one of the most popular characters of the author.

In 1985 they had their own short-lived namesake magazine (8 issues) which published a long "apocryphal" (not by Ibáñez) story titled El castillo de los Pelhamcudy, by Juan Martínez Osete.

Influence
Several television critics have commented that the TV series Manos a la obra, broadcast in Antena 3 from 1998 to 2001 is inspired by this comic.

References

External links
Pepe Gotera y Otilio in mortadeloyfilemon.com

Humor comics
Spanish comics titles
Spanish comic strips
Fictional mechanics
Comic strip duos
1966 comics debuts
Comics characters introduced in 1966
Fictional Spanish people
Male characters in comics
Comics set in Spain
Spanish comics characters

Pepe Gotera y Otilio


Greek Wine Cellars, formerly known as Kourtaki Wines, is a large Greek wine producer. Its brands include Kourtaki, Apelia, Calliga, and Kouros. , it sold 3.2 million cases of wine per year, about half in Greece and half abroad.

The company was founded in 1895 by Vassilis Kourtakis, one of the first Greeks to formally study oenology. For the first part of its history it focused on retsina shipped in bulk to tavernas around the country. At Vassilis's retirement, the company was taken over by his son, Dimitris Kourtakis, who had studied oenology in Dijon, France. Dimitris introduced a line of bottled Kourtaki retsina, initially in 500-mL bottle-cap-topped bottles, and later also in 750-mL cork-topped bottles. This became very popular during the 1960s and 1970s; at its peak it was selling 60 million bottles per year, and propelled the company to market dominance.

Dimitri's son, Vassilis Kourtakis, took over on his father's retirement, and began diversifying the company into styles other than retsina, partly as a result of the downturn in retsina's popularity. As part of this process, he introduced a number of new brands alongside the Kourtaki brand. Apelia was introduced as a line of low-cost table wines, while Kouros was introduced as a high-end brand (it became the first Greek wine featured on a non-Greek airline's wine list when Lufthansa added it). The company also purchased several other wine producers during this period, including Calliga of Kefalonia. To emphasize that the company had a wider set of offerings than the Kourtaki brand, Vassilis changed its name in the early 1990s from Kourtaki Wines to Greek Wine Cellars.

References

External links
 Official Greek Wine Cellars website

Wineries of Greece
Food and drink companies established in 1895
1895 establishments in Greece

Greek Wine Cellars


Loretta Mae Long ( Moore; born October 4, 1938) is an American actress. She played the character of Susan Robinson on Sesame Street from 1969 to 2017. Long is also a consultant and public speaker on issues of multiculturalism and education. With the death of Bob McGrath in 2022, she became the show's last surviving original human main cast member.

Career
Long earned her Ph.D. in urban education in 1973 from the University of Massachusetts, Amherst while she was starring on Sesame Street. She has acted in musicals (such as Guys and Dolls) and appeared on the Flip Wilson Show with other Sesame Street cast members during its first season. In the early years, she voiced a few female Muppet characters, including Suzetta Something, Roosevelt Franklin's mother, one of the Anything Muppet backup singers in "Mahna Mahna", and other Muppets where a female voice was needed. Long's character, Susan Robinson, and Bob (Bob McGrath) were the only two remaining puppeteer actors on Sesame Street from its first episode before they were phased out of the show in 2016; Will Lee (Mr. Hooper) died in 1982 and Matt Robinson (the original Gordon) left the show in 1972 and died in 2002.

Before Sesame Street, Long served as co-host of the WNET program Soul! a weekly music, cultural, social and artistic PBS program, from its premier broadcast on September 12, 1968 (when she co-hosted with Alvin Poussaint, the black Harvard psychologist) through December 5, 1968 (when she co-hosted with then-future Soul! sole co-host Ellis Haizlip). At the same time, Long also was a substitute teacher in New York City. She continued to substitute-teach during her early days working for Sesame Street, occasionally causing confusion for students who had watched her on Sesame Street before coming to school and then saw her in their classroom later that same morning.

Education
Long earned her Bachelor of Arts from Western Michigan University in 1960.  Long commuted to the University of Massachusetts on her days off from Sesame Street to complete a Ph.D., awarded in 1973. Her dissertation, "'Sesame Street': A Space Age Approach to Education for Space Age Kids", examined the educational model used on Sesame Street.

Sesame Street
Long's main role on Sesame Street, until the character was phased out in 2016, was Susan, wife of Gordon Robinson. At the beginning of the first season, her character was a housewife; afterwards, her role expanded to that of being a nurse, as well as the mother of adopted son Miles. Long lent her voice to various other Muppet segments on Sesame Street, particularly during the early seasons. On the 8th episode of the first season (1969), she was the voice of the mother Muppet in the song "Five People in My Family."

Music
She recorded Susan Sings Songs from Sesame Street (Scepter Records SPS-584) in 1970, including the "ABC Song" and "If You're Happy and You Know It". The album reached #86 on Billboard's Top LP's chart and was nominated for a Grammy Award in the category Best Recording for Children in 1971, ultimately losing to another Sesame Street recording.

In 1975, Long released a single under her own name on RCA Records called "Rainy Day Friend" with a B-side titled "July the 12th, 1939".

Personal life
Long's father was a welder and her mother was a cosmetics sales representative. On February 10, 2010, Long was struck by a car as she crossed Route 130 near her home in East Windsor, New Jersey, suffering head injuries as a result. She was listed in fair condition following the accident and made a full recovery.

Filmography

References

External links

1938 births
Living people
Actresses from Michigan
University of Massachusetts Amherst College of Education alumni
RCA Records artists
Scepter Records artists
People from East Windsor, New Jersey
People from Paw Paw, Michigan
20th-century American actresses
21st-century American actresses
American television actresses
African-American actresses
American voice actresses

Loretta Long


Daphne Joyce Maynard (born 5 November 1953) is a American author kent for writin wi candor aboot her life, as well as for her wirks o feection an hunders o essays an newspaper columns, aften aboot parentin an faimily. The 1998 publication o her memoir, At Home in the World, made her the object o intense creeticism amang some members o the leeterar warld for haein revealed the story o the relationship she haed wi author J. D. Salinger when he wis 53 an she wis 18. Maynard is the mither o actor Wilson Bethel.

Selectit wirks

Feection
 Baby Love (1981)
 To Die For (1992)
 Where Love Goes (1995)
 The Usual Rules (2003)
 The Cloud Chamber (2005)
 Labor Day (2009)
  The Good Daughters (2010)
 After Her (2013)

Nan feection
 Looking Back (1973)
 Domestic Affairs (1987)
 At Home In The World (1998)
 Internal Combustion (2006)
 "A Good Girl Goes Bad" (2007), in Bad Girls: 26 Writers Misbehave, edited by Ellen Sussman.
 "Your Friend Always" (2007), in Mr. Wrong: Real-Life Stories About the Men We Used to Love, editit bi Harriet Brown.
 "Someone Like Me, But Younger" (2009), in The Face in the Mirror: Writers Reflect on Their Dreams of Youth and the Reality of Age, editit bi Victoria Zackheim.
 "Straw into Gold" (2013) in Knitting Yarns: Writers on Knitting, editit bi Ann Hood, published bi W. W. Norton & Company.

Freemit airtins

1953 births
20t-century American novelists
21st-century American novelists
American memoirists
American fowk o Roushie-Jewish strynd
American weemen novelists
Livin fowk
Fowk frae Marin Coonty, Californie
Fowk frae Durham, New Hampshire
Phillips Exeter Academy alumni
Varsity o Soothren Maine faculty
Writers frae Californie
Writers frae New Hampshire

Joyce Maynard


In computer engineering, an execution unit is a part of a CPU (not to be confused with the CPUs main control unit) that performs specific operations or calculations. It may have its own internal control sequence unit, some registers, and other internal units such as a sub-ALU or FPU, or some smaller, more specific components.

Now modern CPUs have multiple parallel execution units, referred to as scalar or superscalar design. The simplest arrangement is to use one, the bus manager, to manage the memory interface, and the others to perform calculations. Additionally, modern CPUs execution units are usually pipelined.

Other websites
 The Department's Computer Science Research Center on the UMass Faculty

Microprocessor design

Execution unit


Charles-Gaspard Tarieu de Lanaudière (September 9, 1769 – June 7, 1812) was a seigneur and political figure in Lower Canada.

He was born Charles Tarieu de La Naudière in Quebec City in 1769, the son of seigneur Charles-François Tarieu de La Naudière, and studied at London. He inherited the seigneury of Saint-Vallier from his father. He was a lieutenant in the Royal Canadian Volunteer Regiment and also served as lieutenant-colonel in the local militia during the War of 1812. In 1792, he married Suzanne-Antoinette, the daughter of Pierre-Paul Margane de Lavaltrie. Lanaudière was elected to the Legislative Assembly of Lower Canada for Warwick in 1796. In 1804, he was elected in Leinster and he was named to the Legislative Council in 1811. He died at Lavaltrie while still in office in 1812.

His half-brother Charles-Louis also served on the legislative council. His daughter Charlotte married Barthélemy Joliette, and his sister Marie-Anne married François Baby.

External links

Charles-Gaspard
1769 births
1812 deaths
Politicians from Quebec City
Members of the Legislative Assembly of Lower Canada
Members of the Legislative Council of Lower Canada

Charles-Gaspard Tarieu de Lanaudière


"Sleeping sickness" is also another name for Narcolepsy.

Sleeping sickness, or African trypanosomiasis, is an infectious disease.  It is caused by parasites from the species Trypanosoma brucei.

People get African trypanosomiasis from the tsetse fly.  Because of this, it is most common in certain areas of Africa, especially Sub-Saharan Africa, where the tsetse fly lives.  Researchers say that about 70 million people, in 36 countries, are at a high risk for getting sleeping sickness. As of 2010, sleeping sickness had caused around 9,000 deaths per year (compared to 34,000 in 1990).

In 2013, about 30,000 people had African trypanosomiasis.  Also, about 7,000 more people were getting the disease every year.  More than 80% of these people in the Democratic Republic of the Congo.

Medications can treat African trypanosomiasis.  The treatment is usually done in a hospital, because the drugs have many side effects.  For sleeping sickness that was not treated early, the medications used for treatment are based on arsenic, a poison.  These medications are dangerous, and about 5% of people die from taking them.

The best way to protect against African trypanosomiasis is to protect against insect bites.

Signs and symptoms
The signs and symptoms of African trypanosomiasis happen in two stages.

The hemolyphatic phase
Common symptoms in this stage include:
 A fever that comes and goes
 Headaches
 Pain in the joints
 Itching
 Lymphadenopathy: As the parasite gets into the lymphatic system, the body's lymph nodes swell, sometimes to very large sizes
 A chancre (red sore) where the person was bitten by the tsetse fly (sometimes)

If African trypanosomiasis is not treated at this point, the parasite will also get into the circulatory system and defeat the body's natural defenses.  If this happens, the person can have:
 Anemia
 Kidney problems
 Problems with hormones
 Heart problems

The neurological phase
This phase begins when the parasite invades the central nervous system by passing through the blood–brain barrier.

In this stage, one of the most common symptoms is trouble sleeping.  This is where the name "sleeping sickness" comes from.  People in this stage often cannot sleep normally, and may be up all night and then sleep during the day..

Other symptoms in this stage can include:
 Mental confusion
 Tremor
 Muscle weakness
 Weakness or paralysis of an arm or leg
 Movements that the person cannot control, like a person with Parkinson syndrome
 Psychosis
 Feeling easily annoyed or being aggressive

Without treatment, a person with African sleeping sickness will go into a coma; (thus the name) all their important organs will stop working; and they will die.Damage caused in the neurological phase cannot be fixed.

References

Diseases spread by insects
Diseases caused by protozoa

Sleeping sickness


Sycamore Valley Ranch, formerly Neverland Ranch or Neverland Valley Ranch, is a developed property in Santa Barbara County, California, located at 5225 Figueroa Mountain Road, Los Olivos, California, on the edge of Los Padres National Forest. It was the home and private amusement park of American entertainer Michael Jackson from 1988 until 2005. The ranch is about 5 miles (8 km) north of unincorporated Los Olivos, and about eight miles (13 km) north of the town of Santa Ynez.

Originally named Zaca Laderas Ranch, the estate was renamed Sycamore Valley Ranch shortly after it was purchased by property developer William Bone in 1981. In 1988, the ranch was sold to Michael Jackson, who renamed it after Neverland, the fantasy island in the story of Peter Pan, a boy who never grows up. Jackson first went to the ranch when he visited Paul McCartney, who was staying there during their filming of the "Say Say Say" video in 1983. According to Jackson's sister La Toya, he expressed interest in someday owning the property at that time.

Jackson left the property in 2005 shortly after his acquittal on child molestation charges and never returned; he owned it until his death in 2009. After several price drops, American billionaire businessman Ronald Burkle, a close family friend of Jacksons, purchased it in 2020 for $22 million.

Background
The estate was originally known as the Zaca Laderas Ranch at the time of its purchase by the property developer William Bone in 1981. Bone renamed the estate the Sycamore Valley Ranch and moved there with his family. Bone commissioned the architect Robert Altevers to design the principal buildings on the ranch, and the pair spent two and a half years researching potential designs and ideas. The  main house was completed in 1982, based on a design by Altevers, with formal gardens, a stone bridge, and a  lake with a  waterfall. Bone later said that in building the house he had "...a desire to express everything I had learned in 15 years of home building...I achieved here all the things I wanted to do in my business but could not". He had considered converting the property to a country club but did not do so.

Residence of Michael Jackson

Prior to taking up residence at the ranch, Jackson lived with his family at Hayvenhurst. He purchased the estate from Bone in March 1988 for an unknown amount. Some sources indicate $19.5 million while others suggest it was closer to $30 million. The property was initially purchased by a trust with Jackson's lawyer, John Branca, and his accountant, Marshall Gelfand, as trustees, for reasons of privacy. The arrangement was later rescinded by Jackson in April 1988 and he became the ultimate owner of the property. It was Jackson's home as well as his private amusement park, with numerous artistic garden statues and a petting zoo.

The property included three railroads: one  narrow gauge named "Neverland Valley Railroad", with a steam locomotive named Katherine after his mother (Crown  (2B), built-in 1973), and two coaches. The other was a  narrow gauge, with a C. P. Huntington replica locomotive made by Chance Rides. There was also a custom-made private electric train that was purchased by Jackson for his own children, Michael Jr, Paris, and Michael II. The train was manufactured in 2001 by a German company Elektro-Mobiltechnik. The train was set up in the yard at Neverland behind the main house and had  of track.

There was also a Ferris wheel, Carousel, Zipper, Octopus, Pirate Ship, Wave Swinger, Super Slide, roller coaster, bumper cars, and an amusement arcade. The master closet also contained a secret safe room for security.

Some of the events that took place at the Ranch included the wedding of Elizabeth Taylor and Larry Fortensky in 1991 and the live Oprah Winfrey interview of Jackson in the year 1993. In 1995, Jackson and his then-wife Lisa Marie Presley-Jackson hosted children from around the world for a three-day World Children's Congress, a series of seminars and workshops on issues facing kids around the globe, as part of the 50th anniversary celebration of the United Nations.

Neverland Ranch was searched extensively by police officers in connection with the People v. Jackson trial after he was charged with multiple counts of molesting a minor in 2003. Jackson was acquitted of all charges. However, Jackson stated he would never live at the property again as he no longer considered the ranch a home and did not return to Neverland. Jackson's sister, La Toya, wrote of her experience staying at the ranch during her brother's trial in her 2012 memoir Starting Over. The main house at Neverland Ranch was closed as a cost-cutting measure, while Jackson lived in Bahrain at the hospitality of Sheik Abdullah, the ruler's son.

Neverland Ranch had a central role in the allegations against Jackson of child sexual abuse; it is one of the main sites where Jackson's accusers have said the sexual abuse took place. The ranch's association with sexual abuse allegations was described as a possible reason for a significant decrease in value.

Financial status
Reports of foreclosure proceedings against Neverland Ranch were published in 2007. A spokesperson for Jackson said that the loan was merely being refinanced and Jackson (later his estate) remained the majority stake holder, with a legal retention of 87.5% of the ranch.

On February 25, 2008, Jackson received word from Financial Title Company, the trustee, that unless he paid off $24,525,906.61 by March 19, a public auction would go forward of the land, buildings, and other items such as the rides, trains, and art. On March 13, 2008, Jackson's lawyer L. Londell McMillan announced that a private agreement had been reached with the private investment group, Fortress Investment, to save Jackson's ownership of the ranch. Before the agreement, Jackson owed three months' arrears on the property. McMillan did not reveal the details of the deal.

On May 12, 2008, a foreclosure auction for the ranch was canceled after Colony Capital, an investment company run by billionaire Tom Barrack, purchased the loan, which was in default. The selling price was $22.5 million. In a press release, Jackson stated, "I am pleased with recent developments involving Neverland Ranch and I am in discussions with Colony and Tom Barrack with regard to the Ranch and other matters that would allow me to focus on the future."

On November 10, 2008, Jackson transferred the title to Sycamore Valley Ranch Company, LLC, and neighbors reported immediate activity on the property, including the amusement rides being trucked along the highway. Jackson still owned an unknown stake in the property, since Sycamore Valley Ranch was a joint venture between Jackson (represented by McMillan) and an affiliate of Colony Capital. The Santa Barbara County Assessor's Office stated Jackson sold an unknown proportion of his property rights for $35 million. Subsequent news reports however, indicated that Colony Capital had invested only $22.5 million in the property. In any event, reliable sources indicate that Colony is the majority owner.

Kyle Forsyth, Colony's project manager, described the estate's Tudor-style buildings and savanna-like grasslands as "English country manor meets Kenya." Colony hoped to sell the ranch, located in Santa Barbara County, in its entirety. Subdividing it, says Forsyth, "would destroy it".

The Zipper, Lolli Swing and Spider rides were purchased by Helm and Sons Amusements which also purchased rides for Jackson while Neverland's private amusement park was in operation. Butler Amusements, of Fairfield, California purchased six of the rides. Since their sale, these rides have appeared at county and state fairs across California, Oregon and Washington, sometimes with signs describing their Neverland origin. Archway Amusements Corp of Imperial, Missouri purchased the  ferris wheel which was originally custom made for Jackson in 1990 for $215,000 by the manufacturer Eli Bridge Company of Jacksonville, Illinois.

Some rides were more permanently installed. The Dragon Wagon kiddie coaster is in operation at Coney Island, New York City. The Sea Dragon swinging ship ride was purchased in 2008 by Beech Bend Park in Bowling Green, Kentucky. The bumper cars were permanently installed at CalExpo, site of the California State Fair. In 2013, the billionaire British heir and businessman Jo Bamford made plans to buy the ranch, but never finished the deal.

Death of Michael Jackson

Following Jackson's death, press reports during June 28–29, 2009, claimed that his family intended to bury him at the Neverland Ranch, eventually turning it into a place of pilgrimage for his fans, similar to how Graceland has become a destination for fans of Elvis Presley. Jackson's father Joseph Jackson later denied the reports. Construction equipment and gardeners entered the grounds on July 1, prompting speculation that preparations were being made for something related to Jackson's death, but local officials stated that a burial there would be only allowed if the owners of the ranch would go through a permitting process with county and state government before establishing a cemetery at the site. Jackson's 2002 will gives his entire estate to a family trust.

The ranch was the setting for two media appearances on July 2, 2009. Jermaine Jackson took The Today Show's Matt Lauer on a tour of the main house, and he was interviewed on the grounds of the house by Larry King for his show. In January 2013, musical artist Lady Gaga announced her willingness to help Jackson's children in keeping the ranch by investing in the property.

Restoration

The amusement rides and animals were gone by 2009, replaced with a meditative zen garden and a section decorated with Peter Pan, Jackson's favorite fictional hero.

In May 2015, it was announced that the Neverland Ranch, renamed Sycamore Valley Ranch, would be put up for sale with an initial price tag of $100 million. By that time, Colony NorthStar had completed extensive renovations to the property. Many people, including fans, protested and disagreed with the decision. Jermaine Jackson, elder brother of Michael, wrote an open letter to Colony NorthStar expressing his disagreement with their decision.

As of May 2016, the  ranch, jointly owned by the Jackson estate and Colony NorthStar, was put up for sale by Sotheby's International Realty with an asking price of $100 million. The price included the  six bedroom Normandy-style mansion, the four-acre lake with waterfall, a pool house, three guest houses, a tennis court, and a  movie theater and stage. The train station and railway tracks were also included. According to Time, the owners were seeking a buyer who did not plan to turn the ranch into a Jackson museum.

Due to lack of interest, the asking price of the ranch had fallen to $67 million by February 2017. The property was still on the market in early 2018, at the same price, with Coldwell Banker. In February 2019, the asking price was reduced to $31 million. The listing agent for the ranch said nothing had changed except the price. The structures and landscaping are still maintained.

In December 2020, billionaire Ron Burkle, a former family friend of Jackson, purchased the property for $22 million as a "land banking opportunity".

References

External links

 Night images of Neverland Ranch
 Aerial photos of Neverland, before and after removal of rides
 The Pinnacle List - Showcase of Neverland
 Website Michael Jackson

1988 establishments in California
2 ft gauge railways in the United States
Defunct amusement parks in California
Houses completed in 1982
Houses in Santa Barbara County, California
Michael Jackson
Ranches in California
Santa Ynez Valley

Neverland Ranch


The Winter War () is a 1989 Finnish war film directed by Pekka Parikka, and based on the novel Talvisota by Antti Tuuri. It is set in the Winter War and tells the story of a Finnish infantry regiment from Southern Ostrobothnia fighting on the Karelian Isthmus, focusing mainly on a platoon of reservists from Kauhava. The film was released in Finland and Sweden on 30 November 1989, the 50th anniversary of the beginning of the Winter War, and in the United States in December 1989.

The film won six Jussi Awards and was selected as the Finnish entry for the Best Foreign Language Film at the 63rd Academy Awards, but was not accepted as a nominee.

Plot
On 13 October 1939, reservists of the Finnish army are called up for active duty as the threat of Soviet invasion becomes likely. Martti and Paavo Hakala, two farmer brothers from Kauhava, Southern Ostrobothnia, join other men from the municipality in a half-platoon under the command of Second Lieutenant Jussi Kantola. After mustering at the local school, the men ride the train to Seinäjoki to join the rest of the Finnish Army's 23rd Regiment, under the command of Lieutenant-Colonel Matti Laurila. After weeks of practice, the regiment goes to the Karelian Isthmus, where Kantola's men help civilians evacuate their village in the potential war zone. Laurila gives a speech to the regiment before marching to the Taipale River, where Kantola's men help in building defenses in preparation for the anticipated Soviet attack.

On 6 December, the Battle of Taipale begins on Finnish Independence Day, and the Finns are shelled by Soviet artillery advancing to the frontline. The Red Army gathers outside the Finnish trenches, and the next day the Finns are strafed by the Soviet Air Force as the Red Army launches a human wave attack with T-26s, but hold them back. Paavo is wounded and sent home, where he attends the funeral of four Kauhava men killed in the attack. Paavo recovers and returns to the front, but is soon killed in a direct hit from Soviet artillery in front of Martti. Several times, the Soviets attack and enter the Finnish trenches, but the Finns manage to push them back. Kantola is ordered to retake a casemate captured by the Soviets when he left it unattended, with the Finns driving out the Soviets but suffering high casualties in the assault and destroying the casemate. On 27 December, the Soviets halt their attack on the Taipale front and Kantola's men go to Yläjärvi for rest and recuperation, and Martti manages to get home leave.

When Martti returns, the unit goes to Vuosalmi near the village of Äyräpää to prevent the Soviets from crossing the Vuoksi River. The Finns try to fend off Soviet human wave attacks but are overwhelmed and Martti is almost killed when a Soviet soldier buttstrokes him, forcing the Finns to retreat. On 5 March, Martti, Kantola and the surviving Finns cover a counterattack by the men of Nurmo, but a delay allows the Soviets to get into an advantaged position. The Finns face more human wave attacks and are overwhelmed by the mass of Soviet soldiers. On the morning of 13 March, the Finns are almost overrun when the fighting stops at eleven o'clock as the Moscow Peace Treaty takes effect.

Cast

Source:

 Taneli Mäkelä - Private Martti Hakala, a farmer and a competent soldier. While the regiment is waiting near Taipale he plows the fields of a farmer who has gone to Rautu to build fortifications.
 Vesa Vierikko - 2nd Lieutenant Jussi Kantola, Martti's immediate superior. He puts Paavo into Martti's squad at Martti's request.
 Timo Torikka - Private Pentti Saari. He is usually eating something or playing his mandolin. He often complains about the lack of food.
 Heikki Paavilainen - Private Vilho Erkkilä. Looking like a college student, he quotes patriotic poetry on the train. He is Martti and Paavo's half brother.
 Antti Raivio - Corporal Erkki Somppi. The shortest man and leader of the 1st Squad in Kantola's half-platoon, he first appears issuing belts and cockades to the men at Kauhava School.
 Esko Kovero - Medical Corporal Juho "Jussi" Pernaa, the half-platoon's medic.
 Martti Suosalo - Private Arvi Huhtala, a skirt-chaser who smokes cigarettes with built-in holders and combs his hair when he's nervous.
 Markku Huhtamo - Private Aatos Laitila. An older and pious man, he finds humor in taking Soviet propaganda leaflets for "a little wipe".
 Matti Onnismaa - Corporal Veikko Korpela. A skilled machine-gunner, he gets blasted by a flamethrower tank, but survives, only mildly singed.
 Konsta Mäkelä - Private Paavo Hakala, Martti's younger brother.
 Tomi Salmela - Private Matti Ylinen, Anna Ylinen's older brother. On the train, he drinks liquor from a bottle Pentti claims is his. He carries a blue wind-up clock, whose ticking seems to calm his nerves.
 Samuli Edelmann - Private Mauri Haapaluoma, a replacement who is so unprepared that Aatos gives him his gloves.
 Vesa Mäkelä - Lieutenant Yrjö Haavisto, aide-de-camp to Col. Laurila.
 Aarno Sulkanen - Captain Kaarlo Sihvo. He comes to the dugout to chew Kantola out when Russians take an unattended bunker.
 Kari Kihlström - Lieutenant Jorma Potila. He stands with Colonel Laurila as Laurila inspires the troops.
 Esko Salminen - Lieutenant-Colonel Matti Laurila, commanding officer of the 23rd Regiment of the Finnish Army.
 Ari-Kyösti Seppo - Private Ahti Saari, Pentti Saari's younger brother. He is naive and inexperienced, so the act of killing Russians distresses him.
 Kari Sorvali - Sergeant-Major Hannu Jutila. As a logistics officer, his first act is to find a field kitchen that has gone missing.
 Esko Nikkari - Private Yrjö "Ylli" Alanen, an older, experienced soldier who is almost always whittling a piece of wood. His participation in Finland's Civil War of 1918 gives him an insouciance regarding combat.
 Ville Virtanen - 2nd Lieutenant Jaakko Rajala, an arrogant officer who bears a grudge against Martti for a minor act of insubordination. He becomes more humble as he witnesses the true nature of war.
 Pirkko Hämäläinen - Marjatta Hakala, Martti's wife.
 Leena Suomu - Liisa Hakala, Martti and Paavo's mother. She has asked Martti to watch over Paavo.
 Tarja Heinula - Anna Ylinen, Paavo's fiancée and Matti Ylinen's sister.
 Miitta Sorvali - Karelian hostess.

Production notes

Military hardware
The film depicts a wide array of genuine wartime vehicles and artillery; and when these were not available, replicas were used:
 T-26; Light infantry tank (Soviet)
 Tupolev SB; Twin-engine fast bomber (Soviet)
 Polikarpov I-16; Single engine, single seat fighter used for strafing runs (Soviet)
PstK/36; 37-mm anti-tank gun (Finnish)

Animated special effects were used to simulate tracer projectiles.

Music
In addition to the main title and the incidental music, five pieces play an important role in the film:
Vilppulan urhojen muistolle is the march sung by Finnish troops as the 23rd Regiment marches out of Seinäjoki.
Oi Emma is a traditional Finnish waltz, in which the singer laments the behavior of a perfidious woman. It is the first tune that Pentti Saari plays on his mandolin.
Ah Jeesus Kristus armahda is the hymn played in Kauhava cathedral at the funeral in the middle of the film. It's Virsi 587 in the official 1938 hymnbook (Virsikirja) of the Evangelical Lutheran Church of Finland.
Enkeli taivaan is the Christmas hymn sung by the men.
Ich spür in mir (I feel in me) is from Mazurka (1935), a German film about a singer put on trial for murdering a predatory musician. Pentti plays it on his mandolin and the soldiers whistle it to express their displeasure at a situation that an officer has created.

Awards
Pekka Parikka was nominated for the Golden Bear at the 40th Berlin International Film Festival in 1990.

At the Jussi Awards (Finland's premier film awards) the same year, Talvisota received six awards:
 Best Actor: Taneli Mäkelä
 Best Co-ordinator: Raimo Mikkola
 Best Direction: Pekka Parikka
 Best Music: Juha Tikka
 Best Sound Recording: Paul Jyrälä and team
 Best Supporting Actor: Vesa Vierikko

Taneli Mäkelä also won Best Actor, for his role in the film, at the Rouen Nordic Film Festival.

TV series
An extended television movie version was also made, consisting of five episodes, each with a running time of around 55 minutes. The series has been aired four times on Yle TV2, in 1991, 1999, 2009 and 2015.

Home video
There are three cuts of the film:
International theatrical version (127 min at 24 fps)
Original Finnish theatrical version (197 min at 24 fps)
Extended Finnish TV series version (275 min at 24 fps)

The abridged international cut was released on DVD and VHS in various non-Finnish countries and Blu-ray in Germany. The original Finnish theatrical version had a 4K digital restoration in 2013 as well as various DVDs, has been released on Blu-ray in Finland, Germany and Japan. As of June 2018, the extended TV version has only been released on a basic 2-DVD set in Finland. It is non-anamorphic, has only 2.0 stereo audio and no subtitles or extras.

See also
Rukajärven tie, a 1999 film adapted from another Antti Tuuri novel, about Finland's Continuation War
The Unknown Soldier, 1955 film
The Unknown Soldier, 1985 film
The Unknown Soldier, 2017 film
 List of submissions to the 63rd Academy Awards for Best Foreign Language Film
 List of Finnish submissions for the Academy Award for Best Foreign Language Film
 Winter War in popular culture
Tuuri, Antti: Talvisota: kertomus (The Winter War: A Report), Otava (Helsinki), 1984.

References

External links

1989 films
1980s war films
1980s Finnish-language films
Films based on Finnish novels
Films based on military novels
Films directed by Pekka Parikka
Winter War in popular culture
Films set in 1939
Films set in 1940
Finnish World War II films
Films based on works by Antti Tuuri

The Winter War (film)


The Eurocopter EC130 is a civilian helicopter designed and built in France. It is the latest model in the Ecureuil series. It was designed at the beginning like AS-350B4, but was later named EC130B4. It is a single-turboshaft helicopter built entirely of metal. Some are used by U.S. police services.

Helicopters
EC130

Eurocopter EC130


Mosses from an Old Manse is a short story collection by Nathaniel Hawthorne, first published in 1846.

Background and publication history
The collection includes several previously published short stories, and was named in honor of The Old Manse where Hawthorne and his wife lived for the first three years of their marriage. The first edition was published in 1846.

Hawthorne seems to have been paid $75 for the publication.

Analysis
Many of the tales collected in Mosses from an Old Manse are allegories and, typical of Hawthorne, focus on the negative side of human nature. Hawthorne's friend Herman Melville noted this aspect in his review "Hawthorne and His Mosses":

William Henry Channing noted in his review of the collection, in The Harbinger,  its author "had been baptized in the deep waters of Tragedy", and his work was dark with only brief moments of "serene brightness" which was never brighter than "dusky twilight".

Critical reception
After the book's first publication, Hawthorne sent copies to critics including Margaret Fuller, Rufus Wilmot Griswold, Edgar Allan Poe, and Henry Theodore Tuckerman. Poe responded with a lengthy review in which he praised Hawthorne's writing but faulted him for associating with New England journals, Ralph Waldo Emerson, and the Transcendentalists. He wrote, "Let him mend his pen, get a bottle of visible ink, come out from the Old Manse, cut Mr. Alcott, hang (if possible) the editor of 'The Dial,' and throw out of the window to the pigs all his odd numbers of the North American Review."
A young Walt Whitman wrote that Hawthorne was underpaid, and it was unfair that his book competed with imported European books. He asked, "Shall real American genius shiver with neglect while the public runs after this foreign trash?" Generally, most contemporary critics praised the collection and considered it better than Hawthorne's earlier collection, Twice-Told Tales.

Regarding the second edition, published in 1854, Hawthorne wrote to publisher James T. Fields that he no longer understood the messages he was sending in these stories. He shared, "I remember that I always had a meaning—or, at least, thought I had", and noted "Upon my honor, I am not quite sure that I entirely comprehend my own meaning in some of these blasted allegories... I am a good deal changed since those times; and to tell you the truth, my past self is not very much to my taste, as I see in this book."

Contents

 "The Old Manse" (1846)
 "The Birth-Mark" (1843)
 "A Select Party" (1844)
 "Young Goodman Brown" (1835)
 "Rappaccini's Daughter" (1844)
 "Mrs. Bullfrog" (1837)
 "Fire-Worship" (1843)
 "Buds and Bird-Voices" (1843)
 "Monsieur du Miroir" (1837)
 "The Hall of Fantasy" (1843)
 "The Celestial Railroad" (1843)
 "The Procession of Life" (1843)
 "The New Adam and Eve" (1843)
 "Egotism; or, The Bosom-Serpent" (1843)
 "The Christmas Banquet" (1844)
 "Drowne's Wooden Image" (1844)
 "The Intelligence Office" (1844)
 "Roger Malvin's Burial" (1832)
 "P.'s Correspondence" (1845)
 "Earth's Holocaust" (1844)
 "The Old Apple-Dealer" (1843)
 "The Artist of the Beautiful" (1844)
 "A Virtuoso's Collection" (1842)

Added to second edition in 1854
 "Feathertop" (1852)
 "Passages from a Relinquished Work" (1834)
 "Sketches from Memory" (1835)

References

Further reading

External links

 Literature Related to the Old Manse, Hawthorne in Salem
 Mosses from an Old Manse (1850 edition) at Google Books.

1846 short story collections
Short story collections by Nathaniel Hawthorne

Mosses from an Old Manse


The Eora people are a group of Aboriginal Australians. They were skilled hunter–fisher–gatherers. They lived in family groups (clans) along the coastal area of what is now known as the Sydney basin, in New South Wales, Australia. Their traditional territory spreads from Botany Bay north to Pittwater at the mouth of the Hawkesbury River.

Rock engravings, shell mounds and other evidence found by archaeologists suggests that Eora people may have lived in Australia for over 50 000 years.

Many of the Eora people died during the 1800s as a result of smallpox and other diseases. There are still people who identify as the descendants of the Eora and are living in Sydney today.

Language
The Eora people are made up of many clans (groups) including the Cadigal, the Wanegal, and the Cammeraygal.

They spoke languages now known as Dharug, Dharawal and Kurringgai.  Several Eora words have found their way into Australian English, for example dingo, gibba and woomera.

Lifestyle
The traditional Eora people lived along the coast of the Sydney region, surrounded by beaches, rivers, mountains and forests. Like most indigenous people, they were hunter-gatherers. They did not have a specific piece of land which they owned, but they moved and lived from place to place.

They mainly fed on fresh produce from the sea including fish, turtles and other seafood. There were also many animals they hunted for food, especially ducks, cockatoos and pigeons. They were experts in close-to-shore navigation, fishing and making fire. They travelled along the coast and fished in bark canoes. The Eora people did not grow or plant crops - they ate the berries, seeds and fruit that the land provided. They never took more than what was needed from the land, and managed the land so they wouldn't waste its resources. The women picked herbs which were used in herbal remedies.

The Eora people camped nearby the water and slept in caves when it rained. They kept close to rivers and waterways because it was their main source of food. When it got cold, blankets of animal fur were used for warmth. They also kept warm by keeping small fires going.

The Eora were very spiritual people. They believed that inside everything was a living spirit. They also believed that if land was taken away from them that all the spirits in that land would also die. Celebrations, rituals and ceremonies were an important part of life for the Eora peoples. Some initiation ceremonies were secret and only attended by males. As part of the boys' initiation, knowledge and beliefs were passed on for their role as an adult. Boys went through a tooth ceremony in which their front tooth was knocked out. The missing tooth was a sign to others that the boy had been initiated. Girls learned cooking and knowledge of medicinal plants and roots, and how to track small animals.

Arrival of the First Fleet
The Eora peoples are the traditional owners of the land that is now inner Sydney. They were present during the arrival of the First Fleet.

When the First Fleet arrived in January, 1788 transporting thousands of prisoners, the Eora peoples thought the ships had come to stop for supplies and water. Some of the Eora believed the ships were in fact spirits. They soon realised that the British had come to stay.

Governor Phillip wanted to establish friendly relationships with the Eora peoples and commanded the convicts and marines to treat them well. It wasn't long before clashes broke out between the two groups. Both the Eora and the European settlers were responsible for attacks. People on both sides were killed.

Fighting with European settlers, the introduction of new diseases like smallpox, and the destruction of their natural food sources saw about 90 per cent of the Eora people die out between 1788 and 1900.

Many Eora peoples moved away from the Sydney region to escape from European settlers and the diseases that were spreading in the area such as smallpox. Some who stayed adopted European customs like wearing clothes, smoking pipes of tobacco and drinking alcohol. They gave up their traditional ways of life and depended on settlers to give them food.

Notable people
Bennelong, a Wangal of the Eora peoples, served as a link between the British colony at Sydney and the Eora people in the early days of the colony. He was given a brick hut on what became known as Bennelong Point where the Sydney Opera House now stands. He traveled to England in 1792 along with Yemmerrawanne and returned to Sydney in 1795. His wife, Barangaroo, was an important Cammeraygal woman from Sydney's early history who was a powerful and colourful figure in the colonisation of Australia. She is commemorated in the naming of the suburb of Barangaroo, in east Darling Harbour.

References

People from New South Wales
Indigenous Australian people

Eora


GROMACS is a molecular dynamics package mainly designed for simulations of proteins, lipids, and nucleic acids. It was originally developed in the Biophysical Chemistry department of University of Groningen, and is now maintained by contributors in universities and research centers worldwide. GROMACS is one of the fastest and most popular software packages available, and can run on central processing units (CPUs) and graphics processing units (GPUs). It is free, open-source software released under the GNU General Public License (GPL), and starting with version 4.6, the GNU Lesser General Public License (LGPL).

History
The GROMACS project originally began in 1991 at Department of Biophysical Chemistry, University of Groningen, Netherlands (1991–2000). Its name originally derived from this time (GROningen MAchine for Chemical Simulations) although currently GROMACS is not an abbreviation for anything, as little active development has taken place in Groningen in recent decades. The original goal was to construct a dedicated parallel computer system for molecular simulations, based on a ring architecture (since superseded by modern hardware designs). The molecular dynamics specific routines were rewritten in the programming language C from the Fortran 77-based program GROMOS, which had been developed in the same group.

Since 2001, GROMACS is developed by the GROMACS development teams at the Royal Institute of Technology and Uppsala University, Sweden.

Features
GROMACS is operated via the command-line interface, and can use files for input and output. It provides calculation progress and estimated time of arrival (ETA) feedback, a trajectory viewer, and an extensive library for trajectory analysis. In addition, support for different force fields makes GROMACS very flexible. It can be executed in parallel, using Message Passing Interface (MPI) or threads. It contains a script to convert molecular coordinates from Protein Data Bank (PDB) files into the formats it uses internally. Once a configuration file for the simulation of several molecules (possibly including solvent) has been created, the simulation run (which can be time-consuming) produces a trajectory file, describing the movements of the atoms over time. That file can then be analyzed or visualized with several supplied tools.

OpenCL and CUDA are possible for actual GPUs of AMD, Intel, and Nvidia with great acceleration against CPU based runs since Version 5 or higher.
In Version 2021 OpenCL is deprecated and SYCL is in early new support.

Easter eggs
, GROMACS' source code contains approximately 400 alternative backronyms to GROMACS as jokes among the developers and biochemistry researchers. These include "Gromacs Runs On Most of All Computer Systems", "Gromacs Runs One Microsecond At Cannonball Speeds", "Good ROcking Metal Altar for Chronical Sinner", "Working on GRowing Old MAkes el Chrono Sweat", and "Great Red Owns Many ACres of Sand". They are randomly selected to possibly appear in GROMACS's output stream. In one instance, such an bacronym, "Giving Russians Opium May Alter Current Situation", caused offense.

Applications
Under a non-GPL license, GROMACS is widely used in the Folding@home distributed computing project for simulations of protein folding, where it is the base code for the project's largest and most regularly used series of calculation cores. EvoGrid, a distributed computing project to evolve artificial life, also employs GROMACS.

See also

References

External links

 GROMACS forums
 Tutorials: official tutorials, unofficial tutorial by Justin Lemkul, unofficial tutorial by Wes Barnett, usage on the bwHPC Clusters in Germany
 Specific versions: GROMACS on GPUs by NVIDIA, binaries of GROMACS 4.6.5 for Windows / Cygwin

Free software programmed in C
Molecular dynamics software

GROMACS


Frederick Ward, also known as "Captain Thunderbolt", was an Australian bushranger. He lived in northern New South Wales. Some people thought he was like Robin Hood, who robbed from the rich to help the poor.

Early life
Ward was born Windsor, New South Wales in 1835. His father, Michael Ward, had been sent to Australia as a convict in 1815. Fred was one of eleven children. He was arrested in 1856 for selling 50 stolen horses, and sent to prison on Cockatoo Island for ten years. After four years he was given a ticket of leave which meant he was able to leave the gaol as long as he reported to the police every three months.

Escape from gaol
Ward went to the Mudgee area to work. There he met a girl named Mary Ann Bugg who had a convict father and aboriginal mother. Mary Ann fell pregnant soon afterwards. Ward took her back to her father's farm near Dungog and did not report to the Mudgee police on time. His ticket of leave was cancelled. When he reached the Mudgee police station, he was also arrested for stealing the horse he was riding. He was sent back to Cockatoo Island to finish his six years in gaol plus another three for the stolen horse.

On 11 September 1863, he and Fred Britten escaped from gaol. They swam from Cockatoo Island and headed north to the New England district in north-east New South Wales. The government put up a reward of £25 for Ward's capture. Late in October 1863, they robbed a woman at Gostwyck Hut, near Armidale, and stole a shotgun and some bacon. A few days later they were seen by the police near Thunderbolt's Rock. In the gunfight that followed Ward was shot in the back of the left knee. The two bushrangers split up soon afterwards.

Bushranger

In December 1863, Ward tried to take money from the toll keeper on the road between Maitland and Rutherford. There were only a few shillings in the cash box. Ward took the money but later gave it back. As he left, he told the toll keeper that his name was "Captain Thunderbolt". He then went into the Spread Eagle Inn (hotel) and asked for food. When he asked for his bill, the owner, Mrs. Byrne, told him that there was no charge. He replied that since she was so nice, he was not going to rob her. The police began to search for him but he managed to escape.

A quiet life
In 1864, Ward and Mary Ann lived quietly in the north-western plains near Bourke. Early in 1865 he joined up with three other men and formed his first gang. His three companions were McIntosh, Thomas Hogan (also known as The Bull), and a youth called John Thompson. They robbed travellers and stations near Collarenebri. A group of police from Bourke followed their tracks and found their camp in the bush. The gang escaped but Mary Ann and her two children were captured by the police. They started to take her to Bourke but she pretended she was having a baby and they left her at a nearby station. Ward went to the station and rescued his family, and took gunpowder and food. Ward and his first gang broke up after young Thompson was shot and nearly killed in April 1865 at Millie near Moree. Mary Ann was arrested again in 1866 and also in 1867 but she was soon released from prison because of support from the community.

1865 and after
Late in 1865, Ward formed his second bushranging gang with Patrick Kelly and Jemmy the Whisperer. They robbed as far south as
Quirindi, Currabubula and Carroll. At Carroll they had another shoot-out with the police in December 1865 where a trooper was shot in the arm. The gang split up early in January 1866.

Ward had another quiet year in 1866. Early in 1867 he took on another young accomplice, Thomas Mason. They carried out robberies from near Scone as far north as the Queensland border. Mason was captured by the police in September 1867. Later that year, Ward and Mary Ann separated. Mary Ann lived for the rest of her life at Mudgee where she died in 1905.

In 1868 Ward took on another young accomplice, William Monckton, and they committed many robberies in northern New South Wales. They separated in December 1868 and soon afterwards Monckton was captured by the police. Ward did not have any other accomplices. Some claim that Thunderbolt was involved in about 80 robberies and stole about £20,000, but his takings were much smaller than that.

Captured

On 25 May 1870 the police at Uralla were told that Thunderbolt was robbing travellers at Blanch's Royal Oak Inn, near Thunderbolt's Rock Constable Alexander Binney Walker chased after Ward on horseback for six or seven miles until they reached Kentucky Creek, south-west of Uralla. Ward jumped off his horse and began swimming across the creek. Constable Walker shot Thunderbolt's horse, then he shot and killed Ward himself. Ward was later buried at Uralla.

While there have been stories that it was Ward's brother William who was killed, these stories are easily disproven.

Heritage
Thunderbolt's Rock and Blanch's Royal Oak Inn were added to New South Wales State Heritage List in July 2012. This listing will protect the site which are now important places for tourists who come to the area. The site of his death at Kentucky Creek, and his grave, have also been added to the Heritage List.

Other websites
 This site has a list of all Thunderbolt's robberies and other activities
 This site has a list of all Thunderbolt's known robberies

References

1836 births
1870 deaths
Bushrangers
People from New South Wales

Frederick Ward (bushranger)


An Annapolis Story (alternative titles: The Blue and Gold and Navy Air Patrol) is a 1955 American drama film directed by Don Siegel and starring John Derek, Diana Lynn and Kevin McCarthy.<ref>"Overview: 'An Annapolis Story." IMDb. Retrieved; November 14, 2015.</ref> The film was a product of the newly formed Allied Artists company but with a low budget.

Plot
Brothers Tony and Jim Scott enroll as midshipmen at the United States Naval Academy in Annapolis. Older brother Jim looks after the more impulsive Tony and helps him pass a difficult test so he can play football in the big Army-Navy game. However, Tony cannot follow the coach's directions and is benched. After the game, Jim introduces his brother to his longtime girlfriend Peggy Lord, and a rivalry soon develops over her affections.

With the Korean War looming on the horizon, Jim and Tony are assigned to the same aircraft carrier during training. Jim continues to look out for Tony, even risking his own life. During a maneuver at sea involving helicopter and naval jets, Tony's aircraft plummets off the deck in an aborted takeoff and he is knocked unconscious. Jim dives from a helicopter into the sea to rescue his brother.

When Tony is sent to the Naval Academy hospital to recuperate, he resumes courting Peggy and asks her to marry him. Peggy turns him down and is torn between the two brothers because Jim had already asked her to marry, and she had put him off until after the Korean War is over.

After graduation, the two brothers are no longer close. As they begin advance training as jet pilots at the Pensacola Naval Station, Tony attempts to patch up the relationship, but Jim rebuffs him. Assigned to an aircraft carrier overseas, Tony and Jim are on leave in Tokyo, where Tony meets Peggy, who tells him that it is Jim whom she really loves. He finally accepts the situation, and when he has the chance to make amends, Tony rescues Jim during a dangerous mission while courageously fighting off an enemy fighter during the rescue attempt. Checking on his wounded brother, he sees Peggy is there already and that Jim and Peggy will be happy together.

Cast
 John Derek as Anthony J. "Tony" Scott
 Diana Lynn as Peggy Lord
 Kevin McCarthy as James R. "Jim" Scott
 Alvy Moore as Willie "Seaweed" Warren
 Pat Conway as Tim Dooley
 L. Q. Jones as Watson
 John Kirby as Pete Macklin
 Barbara Brown as Mrs. Scott
 Fran Bennett as Connie Warren
 Betty Lou Gerson as Mrs. Lord
 Robert Osterloh as Midshipman Laisson
 John Doucette as Boxing Coach
 Don Kennedy as McClaren
 Don Haggerty as Lieutenant Prentiss
 Don Keefer as Air Officer
 Sam Peckinpah as Helicopter Pilot (uncredited)

Production
When director Don Siegel was assigned the project, An Annapolis Story was to be shot with a minimal budget, with directions to use as much stock footage as possible. Hampered by budgetary constraints and a minor rebellion from star John Derek, who insisted on switching roles with Kevin McCarthy at the last moment, Siegel made compromises, using his former background as an editor for major studios to his advantage.

Siegel was known for his ability to complete productions on a tight budget. He would plan out scenes meticulously and worked quickly capturing the exact shots that he wanted with very few extra takes.

Reception
Rarely considered one of Siegel's significant films, An Annapolis Story received mildly positive reviews. Hal Erickson commented: "The faces are new and the settings up-to-date, but otherwise An Annapolis Story is the tried-and-true 'two guys and one girl' formula. ... the story centers upon two sibling cadets, Tony (John Derek) and Jim (Kevin McCarthy). The boys battle over the affections of Peggy (Diana Lynn), a triangle that seriously strains their fraternal relationship and compromises their effectiveness as officers-to-be and gentlemen. In the tradition of 1927's Wings, the conflict is resolved ..."

See also
List of American films of 1955

References
Notes

Citations

Bibliography

 Pendo, Stephen. Aviation in the Cinema''. Lanham, Maryland: Scarecrow Press, 1985. .

External links

1955 films
1955 drama films
Allied Artists films
American aviation films
American war drama films
1950s war drama films
Films directed by Don Siegel
Films produced by Walter Mirisch
Korean War aviation films
Films about the United States Navy
1950s English-language films
1950s American films

An Annapolis Story


The flight into Egypt is a story recounted in the Gospel of Matthew (Matthew 2:13–23) and in New Testament apocrypha.  Soon after the visit by the Magi, an angel appeared to Joseph in a dream telling him to flee to Egypt with Mary and the infant Jesus since King Herod would seek the child to kill him. The episode is frequently shown in art, as the final episode of the Nativity of Jesus in art, and was a common component in cycles of the Life of the Virgin as well as the Life of Christ. Within the narrative tradition, iconic representation of the "Rest on the Flight into Egypt" developed after the 14th century.

The Eastern Orthodox Church commemorates this event on 26 December; pre-1962 editions of the Roman Missal of the Catholic Church provide a Mass commemorating the event for 17 February.

Matthew's gospel account

The flight from Herod
When the Magi came in search of Jesus, they went to Herod the Great in Jerusalem to ask where to find the newborn "King of the Jews".  Herod became paranoid that the child would threaten his throne, and sought to kill him ().  Herod initiated the Massacre of the Innocents in hopes of killing the child (Matthew 2:16–Matthew 2:18). But an angel appeared to Joseph in a dream and warned him to take Jesus and his mother into Egypt (Matthew 2:13).

Egypt was a logical place to find refuge, as it was outside the dominions of King Herod, but both Egypt and Judea were part of the Roman Empire, linked by a coastal road known as "the way of the sea", making travel between them easy and relatively safe.

Return from Egypt

After a time, the holy family returned from Egypt. The text states that Herod had died. Herod is believed to have died in 4 BC, and while Matthew does not mention how, the Jewish historian Josephus vividly relates a gory death.

The land that the holy family return to is identified as Judah, the only place in the entire New Testament where Judah acts as a geographic description of the whole of Judah and Galilee (Matthew 2:20), rather than referring to a collection of religious people or the Jewish people in general. It is, however, to Judah that they are described as initially returning, although upon discovering that Archelaus had become the new king, they went instead to Galilee. Historically, Archelaus was such a violent and aggressive king that in the year 6 AD he was deposed by the Romans, in response to complaints from the population.

Prophecy of Hosea

Matthew 2:15 cites Hosea  as prophetically fulfilled in the return of Joseph, Mary and Jesus from Egypt: "... and out of Egypt I called My son".

Matthew's use of Hosea 11:1 has been explained in several ways. A sensus plenior approach states that the text in Hosea contains a meaning intended by God and acknowledged by Matthew, but unknown to Hosea. A typological reading interprets the fulfillment as found in the national history of Israel and the antitypical fulfillment as found in the personal history of Jesus. Matthew's use of typological interpretation may also be seen in his use of Isaiah  and , and Jeremiah . Thus according to the Ignatius Catholic Study Bible, "Hosea 11.1 points back to the Exodus, where God's 'first-born son' (Ex 4:22), Israel, was delivered from slavery under the oppressive Pharaoh. Matthew sees this text also pointing forward, when Jesus, the eternal first-born Son (Rom 8:29), is delivered from the tyrant Herod and later brought out of Egypt (2:21)." Likewise, The Orthodox Study Bible states that the citation of Hosea 11.1 "refers first to Israel being brought out of captivity. In the Old Testament 'son' can refer to the whole nation of Israel. Here Jesus fulfills this calling as the true Son of God by coming out of Egypt. The Anglican scholar N. T. Wright has pointed out that "The narrative exhibits several points of contact with exodus and exile traditions where Jesus' infancy recapitulates a new exodus and the end of exile, marking him out further as the true representative of Israel."

Another reading of Hosea's prophetic declaration is that it only recounts God summoning of the nation of Israel out of Egypt during the Exodus, referring to Israel as God's son in accordance with Moses' declaration to Pharaoh: "Israel is my first-born son; let my son go, that he may serve me" (). The Masoretic Text reads my son, whereas the Septuagint reads his sons or his children; the Masoretic Text is to be preferred, the singular being both consonant with the other words which are in the singular in Hosea 11:1 and with the reference to Exodus 4:22–23. The Septuagint reading may be explained as having been made to conform to the plurals of , they and them.

Historicity
The Gospel of Luke does not recount this story, relating instead that the Holy Family went to the Temple in Jerusalem, and then home to Nazareth. Followers of the Jesus Seminar thus conclude that both Luke's and Matthew's birth and infancy accounts are fabrications. A theme of Matthew is likening Jesus to Moses for a Judean audience, and the Flight into Egypt illustrates just that theme.

Regarding Matthew's infancy narrative, the 20th-century British scholar William Neil has said that "when we look beneath the engaging poetic decor, we come face to face with highly probable history. ... The flight of the Holy Family to nearby Egypt until after Herod's death, and the reason for their settling in Galilee on their return, apart altogether from Luke's information that Nazareth was their home, are also circumstantially probable."

In their commentary on Matthew in the Anchor Bible Series, W. F. Albright and C. S. Mann state that "there is no reason to doubt the historicity of the story of the family's flight into Egypt. The Old Testament abounds in references to individuals and families taking refuge in Egypt, in flight either from persecution or revenge, or in the face of economic pressure."

British scholar R. T. France has also argued in support of the historicity of the narrative. "[Joseph's] choice of Egypt as a place of exile ... was in line with the practice of other Palestinians who feared reprisals from the government; as a neighbouring country with a sizeable Jewish population it was an obvious refuge. And his subsequent avoidance of Judea under Archelaus, and expectation of safety in Galilee, accords with the political circumstances as we know them."

Extra-Biblical accounts

Christian
The story was much elaborated in the "Infancy Gospels" of the New Testament apocrypha with, for example, palm trees bowing before the infant Jesus, Jesus taming dragons, the beasts of the desert paying him homage, and an encounter with the two thieves who would later be crucified alongside Jesus.  In these later tales the family was joined by Salome as Jesus' nurse. These stories of the time in Egypt have been especially important to the Coptic Church, which is based in Egypt, and throughout Egypt there are a number of churches and shrines marking places where the family stayed. The most important of these is the church of Abu Serghis, which claims to be built on the place the family had its home.

One of the most extensive and, in Eastern Christianity, influential accounts of the Flight appears in the perhaps seventh-century Gospel of Pseudo-Matthew, in which Mary, tired by the heat of the sun, rested beneath a palm tree. The infant Jesus then miraculously has the palm tree bend down to provide Mary with its fruit, and release from its roots a spring to provide her with water.

Muslim
The Qur'ān does not include the tradition of the Flight into Egypt, though sūra XXIII, 50 could conceivably allude to it: "And we made the son of Maryam and his mother a sign; and we made them abide in an elevated place, full of quiet and watered with springs". However, its account of the birth of Jesus is very similar to the account of the Flight in the Gospel of Pseudo-Matthew: Mary gives birth leaning against the trunk of a date-palm, which miraculously provides her with dates and a stream. It is therefore thought that one tradition owes something to the other.

Numerous later Muslim writers on the life of Jesus did transmit stories about the Flight into Egypt. Prominent examples include Abū Isḥāḳ al-Thaʿlabī, whose ʿArāʾis al-madjālis fī ḳiṣaṣ al-anbiyāʾ, an account of the lives of the prophets, reports the Flight, followed by a stay in Egypt of twelve years; and al-Ṭabarī's History of the Prophets and Kings.

In art

The Flight into Egypt was a popular subject in art, showing Mary with the baby on a donkey, led by Joseph, borrowing the older iconography of the rare Byzantine Journey to Bethlehem.  Nevertheless, Joseph is sometimes holding the child on his shoulders. Before about 1525, it usually formed part of a larger cycle, whether of the Nativity, or the Life of Christ or Life of the Virgin.

From the 15th century in the Netherlands onwards, the non-Biblical subject of the Holy Family resting on the journey, the Rest on the Flight into Egypt became popular, by the late 16th century perhaps more common than the original traveling family.  The family were often accompanied by angels, and in earlier images sometimes an older boy who may represent James the Brother of the Lord, interpreted as a son of Joseph, by a previous marriage.

The background to these scenes usually (until the Council of Trent tightened up on such additions to scripture) included a number of apocryphal miracles, and gave an opportunity for the emerging genre of landscape painting. In the Miracle of the corn, the pursuing soldiers interrogated peasants, asking when the Holy Family passed by. The peasants truthfully said it was when they were sowing their wheat seed; however the wheat has miraculously grown to full height. In the Miracle of the idol a pagan statue fell from its plinth as the infant Jesus passed by, and a spring gushed up from the desert (originally separate, these are often combined). In other less commonly seen legends, a group of robbers abandoned their plan to rob the travelers, and a date palm tree bent down to allow them to pluck the fruit.

During the 16th century, as interest in landscape painting grew, the subject became popular as an individual subject for paintings, often with the figures small in a large landscape. The subject was especially popular with German Romantic painters, and later in the 19th century was one of a number of New Testament subjects which lent themselves to Orientalist treatment. Unusually, the 18th century artist Gianbattista Tiepolo produced a whole series of etchings with 24 scenes from the flight, most just showing different views of the Holy Family travelling.

A subject taking place after the arrival in Egypt is the meeting of the infant Jesus with his cousin, the infant John the Baptist, who, according to legend was rescued from Bethlehem before the massacre by the Archangel Uriel, and joined the Holy Family in Egypt. This meeting of the two Holy Children was to be painted by many artists during the Renaissance period, after being popularized by Leonardo da Vinci and then Raphael with works like Leonardo's Virgin of the Rocks.

The "Flight into Egypt" was a favorite theme of Henry Ossawa Tanner, depicting the Holy Family's clandestine evasion of King Herod's assassins (Matthew 2:12–14). In it Tanner expresses his sensitivity to issues of personal freedom, escape from persecution, and migrations of African-Americans from the South to the North.

Two plays of the medieval Ordo Rachelis cycle contain an account of the flight into Egypt, and the one found in the Fleury Playbook contains the only dramatic representation of the return from Egypt.

In music
The oratorio L'enfance du Christ (1854) by French composer Hector Berlioz relates the events from Herod's dream and his meeting with the Magi through the angels' warning and the flight into Egypt until the Holy Family arrive at Sais.

Two choral works by the German composer Max Bruch take the flight into Egypt as their theme - The Flight of the Holy Family (1863) and The Flight into Egypt (1871).

The German composer Valentin Ruckebier wrote an opera called The Flight To Egypt which was produced and performed in 2021/22 at Teatro Comunale Modena, Linz State Theatre and Serbian National Theatre Novi Sad.

Nazarenes, Nazareth, and Nazirites

While Luke places Jesus' family as being originally from the town of Nazareth, Matthew has the family moving there, fearing Archelaus who was ruling in Judea in place of his father Herod. Nazareth, now a town, is not mentioned by the Old Testament, Josephus or rabbinical sources, though many Christian Bible archaeologists, such as the evangelical and egyptologist Kenneth Kitchen, state that they are fairly sure that a village existed in the area at the time of Jesus. Clarke notes that the location of Nazareth is just to the north of where the large town Sepphoris was located.  At the time, Sepphoris had been largely destroyed in the violence following the death of Herod the Great, and was being rebuilt by Herod Antipas, hence Clarke speculates that this could have been seen as a good source of employment by Joseph, a carpenter.

The difficulty with the brief quote he will be called a Nazarene is that it occurs nowhere in the Old Testament, or any other extant source. The most similar known passage is Judges  where of Samson it says the child shall be a Nazirite, where a nazirite was a specific type of religious ascetic. That the Nazirite and Nazareth are so similar in name, while Nazareth isn't mentioned in any other source until after the Gospels have been written, and that the passage almost parallels one about the birth of a hero who was a Nazirite, has led many to propose that Matthew originally had Jesus being a Nazirite, but it was changed to Nazarene, inventing a location named Nazareth, when the ascetic requirements fell foul of later religious practices. Biblical scholar R. T. France rejects this explanation, stating that Jesus was not a Nazirite and claiming that he is never described as one.

Another theory is that it is based on a prophecy at , which states there shall come forth a rod out of the stem of Jesse, and a Branch shall grow out of his roots: — the Hebrew for branch is נצר (netzer). The priestly clan of the "netzerites" possibly settled in the place which became known as Netzereth/ Nazareth. Bargil Pixner in his work "With Jesus Through Galilee" says that the title Nazarene, given to Jesus, alludes not so much to his town of origin as to his royal descent. While this piece of wordplay is meaningless when translated into Greek, Hebrew wordplay is not unknown in Matthew, underlining the opinion that some parts of this gospel were originally written in Hebrew.

Christian traditions associated with the Flight into Egypt
The Flight into Egypt is one of the listed Seven Sorrows of Mary.

A local French tradition states that Saint Aphrodisius, an Egyptian saint who was venerated as the first bishop of Béziers, was the man who sheltered the Holy Family when they fled into Egypt.

In Coptic Christianity, it is also held that the Holy family visited many areas in Egypt, including Musturud (where there is now the Church of the Virgin Mary), Wadi El Natrun (which has four large monasteries), and Old Cairo, along with Farama, Tel Basta, Samanoud, Bilbais, Samalout, Maadi, Al-Maṭariyyah, Arganus and Asiut among others. It is likewise tradition that the Holy Family visited Coptic Cairo and stayed at the site of Saints Sergius and Bacchus Church (Abu Serga) and the place where the Church of the Holy Virgin (Babylon El-Darag) stands now. At Al-Maṭariyyah, then in Heliopolis and now part of Cairo, there is a sycamore tree (and adjacent chapel) that is a 1672 planting replacing an earlier tree under which Mary was said to have rested, or in some versions hidden from pursuers in the hollow trunk, while pious spiders covered the entrance with dense webs.

Commentary
Cornelius a Lapide, commenting on the flight into Egypt wrote that, "tropologically, Christ fled into Egypt that He might teach us to despise exile, and that we, as pilgrims and exiles on the earth, might pant after and strive for heaven as our true country. Whence Peter Chrysologus says (Serm. 115), "Christ fled that He might make it more tolerable for us, when we have to flee in persecution." S. Gregory Nazian. (Orat. 28) says—"Every land, and no land is my country." No land was Gregory's country, because heaven was his country. Again, every land was his country, because he looked upon the whole world as his country. Thus Socrates, when he was asked what countryman he was, replied, "A citizen of the world."

Justus Knecht notes that the flight shows The Omniscience of God, writing, "God knew that in the morning Herod would send soldiers to Bethlehem, to slay the little boys under two years old; therefore He ordered St. Joseph to flee in the middle of the night. The Lord God knew also the moment of Herod's death, as well as the evil disposition of his son and successor, Archelaus. He therefore warned St. Joseph not to return to Judaea, but to take up his abode at Nazareth in Galilee."

Roger Baxter reflects on the flight in his Meditations writing, "How different are the thoughts of God from the thoughts of men! Christ was no sooner born, than sent into banishment. The Almighty could easily have rid the world of Herod, or have appeased his anger, or have rendered His divine Son invisible; but He adopted the ordinary means of safety, and His Son must fly. Reflect how derogatory this was to the dignity of the Redeemer, and how full of inconveniences. Thus God always treats those whom He loves best. Are you greater or better than the Son of God? Why, then, do you complain when His providence prepares crosses for you?"

See also

 Chapel of the Milk Grotto
 Exsul Familia
 L'enfance du Christ
 Massacre of the Innocents
 Rest on the Flight into Egypt (Caravaggio)
 Saint Joseph's dreams
 Biblical Egypt

References

Further reading

Albright, W.F. and C.S. Mann. "Matthew." The Anchor Bible Series. New York: Doubleday & Company, 1971.
Brown, Raymond E. The Birth of the Messiah: A Commentary on the Infancy Narratives in Matthew and Luke. New York: Doubleday; London: G. Chapman, 1977. Updated ed. 1993.
Clarke, Howard W. The Gospel of Matthew and its Readers: A Historical Introduction to the First Gospel. Bloomington: Indiana University Press, 2003.
France, R.T. The Gospel According to Matthew: an Introduction and Commentary. Leicester: Inter-Varsity, 1985.
France, R.T. "The Formula Quotations of Matthew 2 and the Problem of Communications." New Testament Studies. Vol. 27, 1981.
Gabra, Gawdat (ed.). Be Thou There: The Holy Family's Journey in Egypt. Cairo and New York: The American University in Cairo Press, 2001.
Goulder, M.D. Midrash and Lection in Matthew. London: SPCK, 1974.
Gundry, Robert H. Matthew a Commentary on his Literary and Theological Art. Grand Rapids: William B. Eerdmans Publishing Company, 1982.
Jones, Alexander. The Gospel According to St. Matthew. London: Geoffrey Chapman, 1965.
Schweizer, Eduard. The Good News According to Matthew. Atlanta: John Knox Press, 1975

External links

Further reading on the Flight into Egypt in art
John Calvin's commentary on Matthew 2:19
Orthodox Wiki article on the Flight into Egypt Includes map, info and links to various articles and videos on the subject.

Christian iconography
Coptic Orthodox Church
Nativity of Jesus in the New Testament

Angelic apparitions in the Bible
Gospel of Matthew
Saint Joseph (husband of Mary)
Seven Sorrows of Mary

Flight into Egypt