La New Catholic Encyclopedia (NCE) è una enciclopedia sui temi inerenti al cristianesimo cattolico pubblicata dalla The Catholic University of America con sede in Washington.

La New Catholic Encyclopedia ha avuto una sua prima edizione nel 1967.

Nella sua seconda edizione del 2002, la più recente, essa consta di 15 volumi per circa 12.000 voci curate da circa 200 accademici cattolici, acquisendo ulteriori due volumi di supplementi nel corso degli anni successivi.

Comitato editoriale dell'enciclopedia
 Direttore esecutivo: Berard L. Marthaler, O.F.M.Conv., S.T.D., Ph.D.
 Curatori associati:
 Gregory F. LaNave, Ph.D.
Jonathan Y. Tan, Ph.D.
Richard E. McCarron, Ph.D.
Denis J. Obermeyer Director of The Catholic University of America Press
David J. McGonagle, Ph.D.

Curatori
John Borelli, Ph.D., Associate Director of Secretariat for Ecumenical and Interreligious Affairs, United States Conference of Catholic Bishops, Washington, D.C.
Drew Christiansen, S.J., Ph.D., Senior Fellow, Woodstock Theological Center, Washington, D.C.
Anne M. Clifford, C.S.J., Ph.D., Associate Professor of Theology, Duquesne University, Pittsburgh, Pennsylvania
Raymond F. Collins, M.A., S.T.D., Professor of New Testament, The Catholic University of America, Washington, D.C.
Cyprian Davis, O.S.B., S.T.L., Ph.D., Professor of Church History, Saint Meinrad School of Theology, Saint Meinrad, Indiana
Dennis M. Doyle, Ph.D., Associate Professor of Religious Studies, University of Dayton, Dayton, Ohio
Angelyn Dries, O.S.F., Ph.D., Associate Professor of Religious Studies, Cardinal Stritch University, Milwaukee, Wisconsin
Arthur Espelage, O.F.M., J.C.D., Executive Coordinator, Canon Law Society of America, Washington, D.C.
Eugene J. Fisher, Ph.D., Associate Director of Secretariat for Ecumenical and Interreligious Affairs, United States Conference of Catholic Bishops, Washington, D.C.
Edward J. Furton, Ph.D., Editor-in-Chief, The National Catholic Bioethics Quarterly, Brighton, Massachusetts
James F. Garneau, Ph.D., Academic Dean, The Pontifical College Josephinum, Columbus, Ohio
J. A. Wayne Hellmann, O.F.M.Conv., Dr. Theol., Professor of Theological Studies, St. Louis University, St. Louis, Missouri
Joseph T. Kelley, Ph.D., D.Min., Director of the Center for Augustinian Study, Merrimack College, North Andover, Massachusetts
Judith M. Kubicki, C.S.S.F., Ph.D., Assistant Professor of Theology, Fordham University, Bronx, New York
William P. Loewe, Ph.D., Associate Professor of Religion and Religious Education, The Catholic University of America, Washington, D.C.
Rose M. McDermott, S.S.J., J.C.D., Associate Professor of Canon Law, The Catholic University of America, Washington, D.C.
R. Bruce Miller, M.S.L.S., Head, Theology/Philosophy, Canon Law Libraries, The Catholic University of America, Washington, D.C.
Francis J. Moloney, S.D.B., S.T.L., S.S.L., D.Phil., Professor of Biblical Studies, The Catholic University of America, Washington, D.C.
Katherine I. Rabenstein, B.S.F.S., Senior Credentialing Specialist, American Nurses Association, Washington, D.C.
Joel Rippinger, O.S.B., M.A., S.T.L., Subprior, Marmion Abbey, Aurora, Illinois

Comitato editoriale dei due volumi di supplemento
Direttore esecutivo: Robert L. Fastiggi Professor of Systematic Theology Sacred Heart Major Seminary Detroit, Michigan Associate Editors
Curatori:
Rev. Joseph W. Koterski, SJ Professor Department of Philosophy Fordham University, New York
Frank J. Coppa Professor of History St. John's University, New York

Note

Voci correlate
 Catholic Encyclopedia

Enciclopedie cattoliche

New Catholic Encyclopedia


Jean Deslauriers (24 June 1909 – 30 May 1978) was a Canadian conductor, violinist, and composer. As a conductor he had a long and fruitful partnership with the Canadian Broadcasting Corporation; conducting orchestras for feature films and television and radio programs for more than 40 years. He also worked as a guest conductor with orchestras and opera companies throughout Canada and served on the conducting staff of the Opéra du Québec. The Canadian Encyclopedia describes him as "a conductor with a sober but efficient technique, who was always faithful to the written score [and] equally at ease conducting concerts, opera, and lighter repertoire." His best-known compositions are his Prélude for strings and the song, La Musique des yeux. He is the father of soprano Yolande Deslauriers-Husaruk.

Life and career
Born in Montreal, Deslauriers was a child prodigy and began his career as a concert violinist as a young teenager. He studied the violin with Émile Taranto and Camille Couture. He notably gave annual concert tours with singers Paul Dufault and Joseph Saucier in Canada and the United States between 1924 and 1929. He also studied with Claude Champagne (orchestration) Auguste Descarries (counterpoint and instrumentation), Romain-Octave Pelletier I (harmony and solfège) between 1918 and 1923. During the early 1930s he worked as a violinist and conductor aboard cruise ships.

In 1935 Deslauriers became a member of the Montreal Symphony Orchestra with whom he played for the next decade. In 1936 he began working for CBC Radio in Montreal as a conductor, conducting orchestras for such programs as Radio-Concerts canadiens, Théâtre lyrique Molson, and Concerts d'opéras among others. As television became a more established medium he also conducted for CBC TV programs like L'Heure du concert, Sérénade, and Concerts populaires. He notably conducted the orchestra for the LaFlèche Trophy Award-winning radio and television program Serenade for Strings from 1937 to 1957. Following World War II he began arranging and conducting the scores for many films for the CBC. In 1954 he conducted one of the first opera broadcasts by CBC TV with a televised version of Gioachino Rossini's The Barber of Seville. He conducted several more opera broadcasts for the CBC, including performances of André Messager's Monsieur Beaucaire (1954), Charles Gounod's Roméo et Juliette (1971) and Giacomo Puccini's Madama Butterfly (1977).

During the 1960s and 1970s Deslauriers was highly active as a guest conductor with symphony orchestras in such Canadian cities as Montreal, Quebec City, Toronto, Ottawa, Halifax, Vancouver, and Winnipeg. He notably conducted the Toronto Symphony Orchestra in the world premiere of Robert Turner's Three Episodes for Orchestra in 1966 and conducted the premiere of François Morel's Prismes-Anamorphoses with the CBC Symphony Orchestra in 1968. He also worked as a conductor for opera productions, notably serving as the music director of the Théâtre lyrique du Québec from 1967 to 1970 and as the assistant conductor of the Opéra du Québec from 1972 to 1975. During the 1970s he worked as a guest conductor for productions with the Canadian Opera Company and the Edmonton Opera. He also taught on the music faculty of the Conservatoire de musique du Québec à Trois-Rivières where he was the first conductor of the school's orchestra.

Having never retired, Deslauriers died in Saint-Jérôme, Quebec in 1978 at the age of 68. Upon his death, his large collection of musical scores was donated to the library at the Conservatoire de musique du Québec à Montréal. His personal papers are part of the collection at the Bibliothèque et Archives nationales du Québec. In 1975 the Montreal concert auditorium Plateau Hall was renamed the Salle Jean-Deslauriers in his honor.

References

1909 births
1978 deaths
Canadian male composers
Male conductors (music)
Canadian classical violinists
Male classical violinists
Academic staff of the Conservatoire de musique du Québec à Trois-Rivières
20th-century Canadian conductors (music)
20th-century classical violinists
20th-century Canadian composers
20th-century Canadian male musicians
20th-century Canadian violinists and fiddlers
Canadian male violinists and fiddlers

Jean Deslauriers


Norton Disney is a small village and civil parish on the western boundary of the North Kesteven district of Lincolnshire, England. It is situated on the border with the adjacent county of Nottinghamshire and shares a boundary with Collingham in that county. This county and parish boundary of Collingham and Norton Disney also splits the Potter Hill area which has important Iron Age and Roman archaeology. The population of the civil parish at the 2011 census was 226. It lies midway between Lincoln and Newark,  to the south-east of the A46.

Norton Disney was one of the seats of the Disney family, an Anglicised version of the original French surname d'Isigny, of Isigny-sur-Mer, Normandy, from whom film producer Walt Disney's family might be descended. The Disney family were also lords of the manor in Swinderby, Carlton-le-Moorland and Kingerby.

The Church of England Parish Church, St Peter's, is a Grade I listed building. The village has one public house, The Green Man, formerly the St Vincent Arms.

History
The Disney family were lords of the manor subsequent to the conquest in 1066; a charter of 1386 naming their estate as Disnayland. They continued to be lords of the manor up until 17th century. Within the parish church there are a number of memorials to the family. There is a commemorative brass in the medieval church of St Peter commemorating three generations of the d'Isigny or Disney family, made about 1580. In the bottom panel is an inscription reading:
"The lyfe, conversacion and Service, of the first above named William Disney and of Richard Disney his sonne were comendable amongest ther Neighbours trewe and fathefull to ther Prince and cuntre & acceptable Thallmighty of whom the truth they are received to Salvation accordinge to the Stedfast faythe which they had in & throughe the mercy and merit of Christ our savior Thees thuthes are thus sett for the that in all ages God maybe thankfully Glorified for thes and suche lyke his gracius benifites."

There have been two manor houses in Norton Disney: an original moated manor house opposite the church, now demolished, and a 17th-century replacement, sited off Main Road, Norton Disney.

The lordship of the manor subsequently passed on in the following two centuries with Lord St Vincent's estate, the Brown family taking the title.

In 1933 a Roman villa was discovered with two mosaic floors in the parish off Folly Lane. Subsequently excavated in 1934/5 the finds were taken to nearby Newark Museum. The villa site is a scheduled ancient monument of national importance. The site in the following 80 years has revealed complex and a high density of both Middle Iron Age and Roman archaeology. Near by Gallows Nooking Common running along side the A46 between Folly Lane and Hill Holt Wood has an Iron Age and Roman British boundary bank and ditch. It has been excavated three times in 1991, 2001 and 2002. Thought to be a boundary for the Roman Villa. Villa Farm has also revealed through geophysical surveys and two excavations in 2019 and 2022 to be the site of Iron Age roundhouses and a Roman road that runs between North Scaffold Lane and the Roman villa. The fields to the east and south of the Roman Villa had geophysical surveys carried out by the Norton Disney History and Archaeology Group in 2020. These surveys and the group's subsequent excavations in 2021 and 2022 revealed a roundhouse site to the south of the villa. Also extensive evidence of iron smelting dated by XRF analysis to the Middle Iron Age. To the south of Villa Farm, next door Brills Farm in a 2019 excavation showed evidence of Iron Age pottery. In 2023 an excavation near the farmstead confirmed it was a 2-3rd-century farming settlement. The farmstead itself has a double ditched and banked enclosure feature which is potentially Iron Age in origin. Close to the Lincolnshire boundary in 1989 a mounted Iron Age deity was discover by metal detectorists. This deity, aka the "Norton Disney rider god" was subsequently bought by the British Museum. The site is also important in that William Stukeley, the antiquarian, visited Potter Hill in 1722. He described the site as having a Roman pottery and drew a view of the landscape taking in the Fosse Way, Potter Hill, Crococalana and Newark. This correctly linking Crococalana and the Fosse Way within the landscape with Potter Hill as Roman sites. The Roman town of Brough or Crocoalana, on the Fosse Way, just over the border in Nottinghamshire.

During the Second World War, RAF Station Swinderby (later renamed RAF Station Norton Disney) was home to No 93 Maintenance Unit (No 93 MU) from August 1939 until 1958. It was also a mustard gas filling station and required a site decontamination subsequently.

Walt Disney visit

Walt Disney visited the village on the afternoon of Thursday 7 July 1949, in an attempt to trace his ancestry. The visit is recorded in the British magazine Illustrated.

Disney had been in the UK from 20 June 1949, arriving at Southampton on ; he embarked on a six-day motoring holiday with his two teenage daughters, Diane and Sharon, and his wife, with a convoy of cars. After seeing the village, he left for a night at Boroughbridge in North Yorkshire, later visiting 8 Howard Place in Edinburgh on 8 July. He visited Loch Ness. Disney also planned to visit the Derbyshire Peaks, Stratford-upon-Avon, the Scottish Highlands, and Burns country.

His film Treasure Island was being filmed at Denham Film Studios from 4 July 1949, being also filmed at Falmouth and Hartland Quay at Bideford, in Devon, from 4 July 1949 on the Ryelands 158-ton schooner, owned by Plym Shipping Line, for three weeks. It was the first film that Disney had made abroad.

In 2023, Disney historian Sebastien Durand commented on Norton Disney and its connection to Walt Disney: "This is the oldest place in England where you can find a trace of Disney, of Walt Disney's history and his family tree and even his coat of arms. The name comes from here. The exact possibility that Walt Disney is related to that is, I would say, 99%."

See also
Lost Village Festival

References

External links

Villages in Lincolnshire
Civil parishes in Lincolnshire
North Kesteven District
Disney family

Norton Disney


Polyscias murrayi, known as the pencil cedar, is a very common rainforest tree of eastern Australia.

It occurs as a secondary regeneration species in disturbed rainforest areas, often on hillsides. The tree is identified by cylindrical trunk; abruptly forking into many branches, and supporting an impressive dark canopy.

Other common names include the umbrella tree, white basswood and pencilwood.  The range of natural distribution is from the Howe Range, just over the border in the state of Victoria (37° S), up through New South Wales and to Atherton, Queensland (17° S). It also occurs in New Guinea.

Description
This small to medium size tree grows to 25 metres tall with a trunk diameter of 50 cm. It is unbranched at the end of the main trunk, then breaks out into a many branched crown. The cylindrical trunk is mostly smooth, greyish or brown. The base of the tree is not flanged, fluted or buttressed.

Leaves are alternate and pinnate with 8 to 30 leaflets, opposite on the leaf stalk, entire or toothed, ovate lanceolate in shape, 8 to 15 cm long. However, leaves may be much larger on younger trees. Leaf stalks are up to 120 cm long and leaflet stalks 3 to 8 mm long. Between each pair of leaflets on the leaf stalk, a gland may be seen. The midrib is white or paler green, raised under the leaf. Leaf venation is more easily seen on the top of the leaf.

Creamy green flowers form on stalks on umbels in the months of February to March. The fruit is a blue drupe, usually with two lobes, sometimes three. Fruit matures from April to June. Germination from fresh seed is slow.

The fruit is eaten by a variety of birds, including the brown cuckoo dove, Lewin's honeyeater, rose crowned fruit dove, satin bowerbird and superb fruit dove.

Uses
Polyscias murrayi is useful to bush regenerators as a nursery tree, which provides shade for longer lived young trees underneath. It is also an attractive ornamental tree.

References

Notes

Bibliography
  (other publication details, included in citation)

murrayi
Apiales of Australia
Trees of Australia
Flora of New South Wales
Flora of Queensland
Flora of Victoria (state)
Ornamental trees
Taxa named by Ferdinand von Mueller

Polyscias murrayi


Thomas J. Brandon (1908–1982) was a founding member of the New York Workers Film and Photo League.  He later worked as a film distributor for Garrison Films before founding his own company, Brandon Films in November 1940. During the 1950s, Brandon Films owned the largest collection of 16mm available for general release in the United States. He was the first president of the New York Film Council, and helped to found the short-lived Film Forum in 1933 with Pulitzer Prize-winning playwright Sidney Howard. In 1968, Brandon sold his company to Macmillan; the new entity became known as Audio-Brandon. His work in the 1970s to reclaim and publicize the history of 1930s film activism is an important source for film historians.  Brandon's unpublished manuscripts and documents on radical film history are deposited at the New York Museum of Modern Art Film Study Center. Films from his collection were donated to several archives including the Museum of Modern Art and the U.S. Library of Congress, and others.

References

Pioneers: An Interview with Tom Brandon, Fred Sweet, Eugene Rosow, Allan Francovich and Tom Brandon, Film Quarterly, Vol. 27, No. 1 (Autumn, 1973), pp. 12–24
Steven J. Ross, Working-Class Hollywood: Silent Film and the Shaping of Class in America
William Alexander, Film on the Left: American Documentary Film From 1931 to 1942
Russell Campbell, Cinema Strikes Back: Radical Filmmaking in the United States, 1930-42
Brad Chisholm, "Film and Photo League exhibition strategies,"
 MoMA Film Study Center
Labor Related Films in the Library of Congress Collection

Film distributors (people)
1908 births
1982 deaths

Thomas Brandon (film distributor)


Coalville is a city in and the county seat of Summit County, Utah, United States. It is part of the Salt Lake City, Utah Metropolitan Statistical Area. The population was 1,486 as of the 2020 census. Interstate 80 passes through the town, as well as the Weber River, which flows into Echo Reservoir, just north of Coalville.

History

Coalville originally began as a settlement known as Chalk Creek. In 1854, the territorial government in Utah offered a $1000 reward to anyone who could find coal within 40 miles of Salt Lake City. Four years later, Thomas Rhodes found a coal vein in the Chalk Creek area, and coal mining began in earnest. Hundreds of tons of coal were shipped to Salt Lake City, and soon a narrow gauge railroad was built. The settlement was then renamed Coalville, as a result of this early success.

Coalville was officially founded in 1859 by William Henderson Smith, an early Mormon freighter. He noticed that wheat, spilled by other wagons moving through the area, would grow to maturity without being tended. He subsequently convinced four families to settle in the area with him.

Early life in Coalville was difficult, and during winters, the settlers dealt with a constant scarcity of food. When food ran out, they would travel to Salt Lake City for supplies. The local Indian tribes were also hostile for a time, and the settlers built a fort on the advice of Brigham Young. In 1867, Coalville was incorporated.

By 1880, success in the coal industry led to the extension of the railroad into Park City. Then known as the Summit County Railway, the railroad continued to transport coal and was also used for Park City's silver mines.

Unlike most Mormon settlements in Utah and the intermountain west, Coalville city streets are not aligned to the true north. Main Street in Coalville is offset such that it runs slightly north-northwest, and Center street runs slightly east-northeast.

Both the Thomas L. Allen House and the Summit Stake Tabernacle in Coalville are listed on the National Register of Historic Places.

Geography and climate
According to the United States Census Bureau, the city has a total area of , of which  is land and  (12.27%) is water.

Coalville has a high-altitude, warm-summer humid continental climate (Köppen Dfb), characterized by extreme diurnal temperature ranges that range from extremely cold winter nights to hot afternoons in the summer. However, the high altitude and low humidity mean that mornings in the summer remain very cool, and frosts have occasionally occurred—even in July. Precipitation is moderate throughout the year, though with a minimum in summer, and snow accumulation is generally heavy due to the very cold nights between November and March, with a median of  for the year.

Coalville is located at the intersection of two narrow valleys—formed by Chalk Creek and the Weber River. Like other valley locations in northern Utah, Coalville experiences pronounced temperature inversions associated with high-pressure systems during winter months, with low temperatures below 0 °F relatively common. Owing to this localized phenomenon, observed low temperatures are often significantly lower than those forecasted by national agencies.

Demographics

As of the census of 2000, there were 1,382 people, 465 households, and 371 families residing in the city. The population density was 483.9 people per square mile (/km2). There were 495 housing units at an average density of 173.3 per square mile (/km2). The racial makeup of the city was 93.13% White, 0.07% African American, 0.80% Native American, 0.29% Asian, 0.07% Pacific Islander, 4.92% from other races, and 0.72% from two or more races. Hispanic or Latino of any race were 6.87% of the population.

There were 465 households, out of which 47.3% had children under the age of 18 living with them, 68.6% were married couples living together, 8.0% had a female householder with no husband present, and 20.2% were non-families. 18.3% of all households were made up of individuals, and 10.3% had someone living alone who was 65 years of age or older. The average household size was 2.97, and the average family size was 3.41.

In the city, the population was spread out, with 33.8% under 18, 10.7% from 18 to 24, 28.9% from 25 to 44, 15.7% from 45 to 64, and 10.9% who were 65 years of age or older. The median age was 28 years. For every 100 females, there were 104.7 males. For every 100 females aged 18 and over, there were 103.3 males.

The median income for a household in the city was $39,342, and the median income for a family was $43,929. Males had a median income of $32,727 versus $20,833 for females. The per capita income for the city was $17,830. About 5.9% of families and 8.0% of the population were below the poverty line, including 11.9% of those under age 18 and 6.2% of those aged 65 or over.

Education
It is in the North Summit School District. The district consists of North Summit High School, Middle School, and Elementary School. North Summit High School's mascot is the Brave, and the school colors are purple and gold. The school mascot was chosen because of the Western Shoshone tribes that once lived in the area. Members of the North Summit High School drill team are known as "Esona," purportedly from the Shoshone word for "woman." In 1964-65 the Braves won the Class B football state championship. In 2004 when North Summit Middle School was built, a burial plot with five graves was discovered on its construction site. Because of local legend, many thought the graves to contain the remains of Native Americans, however, officials reported the individuals were likely early settlers of Norwegian descent.

Economy
Some residents of the Coalville area pursue careers in farming, ranching, construction, public education, and county government—though many commutes to the Wasatch Front. Ranchers in the area primarily raise beef and dairy cows, sheep, and mink. Crops such as alfalfa and wheat are also cultivated.

There are two grocery stores, five restaurants, two motels, and several small gas/convenience stores. A health clinic serves residents of Coalville and other settlements in northern Summit County, as well as a dental office. Vacant commercial real estate continues to be a problem, especially along the main street, as is the case in many small towns in rural America—an effect of urbanization.

See also

 List of cities and towns in Utah
 Anthony Geary
 Brant Boyer
 Interstate 80
 List of Registered Historic Places in Utah: Summit County
 U.S. Route 530

References

External links

Cities in Utah
Cities in Summit County, Utah
County seats in Utah
Salt Lake City metropolitan area
Populated places established in 1859
1859 establishments in Utah Territory

Coalville, Utah


Theatr Brycheiniog is an arts venue in Brecon, Powys, Wales.

Location
Theatr Brycheiniog is located close to the centre of Brecon, on Canal Wharf fronting the Monmouthshire and Brecon Canal.

Facilities
The complex comprises an 477-seater capacity auditorium for the performance of plays and live acts, a conference centre and spaces for community activities, a gallery and a bar and restaurant. The building has views of the Brecon Beacons National Park. It is built of red brick and with a roof of Welsh slate, to emulate a traditional canal warehouse.

Theatr Brycheiniog has hosted elements of the Brecon Jazz Festival, along with a range of acts including stand up comedians and folk singers, and both national and international orchestras, such as the Berlin Philharmonic wind quartet and the BBC National Orchestra of Wales.

The theatre's current patron is Rachel Podger; the director Michael Bogdanov was patron prior to his death.

References

External links
Theatr Brycheiniog website

Theatres in Wales
Brecon
Tourist attractions in Powys
Buildings and structures in Powys

Theatr Brycheiniog


Family Business is a card game of "mob vengeance" for 2 to 6 players, published by Mayfair Games in 1982, and then again in 1989.

Components
The 1989 Mayfair edition of the game includes:
 One 54-card deck, composed of six families of nine mobsters drawn from historical gangs:
 The Moran Gang (headed by Bugs Moran)
 The New York Mob
 The Capone Mob (headed by Al Capone)
 Murder, Inc.
 The Purple Gang
 The Bank Robbers (including Bonnie and Clyde, Alvin Karpis, John Dillinger, and Ma Barker)
 One 54-card deck of action cards, composed of 26 "contract" cards, 6 "attack" cards, 10 "block" cards and 14 "rescue" cards.
 One "Up Against the Wall" card
 One Cemetery card
 a 4-page rule sheet

Game play
The purpose of the game is to use contract or attack cards to force other players to place their mobsters in the "Up Against the Wall" queue, where they are in danger of being eliminated from the game.

Setup
Each player is given one family of nine mobsters, which are displayed face-up on the table in front of the player. The Up Against the Wall card and Cemetery cards are placed face-up in the centre of the table. The deck of action cards is shuffled and placed facedown on the table.

Play
 If Mob War is active, then the first mobster in the Up Against the Wall queue is eliminated. (see Mob War below)
 The active player draws a card and then plays a contract card or attack card against another player, or a rescue card to save one or more of the player's mobsters from elimination.
 If the active player plays a contract card
 and the defending player plays a block card, then play passes to the defending player.
 and the contract card is not blocked, then the defending player places a mobster in the queue beside the Against the Wall. If, as a result, the queue exceeds five mobsters, then a Mob War starts.
 If the active player plays an attack card, and this results in the queue beside the Against the Wall exceeding five mobsters, then a Mob War starts. Regardless, play passes to the active player's left.
 If the active player plays a rescue card,
 and it is not blocked, then play passes to the player on the active player's left.
 and it is blocked, the play passes to the player who blocked the rescue.

Mob War
A Mob War automatically starts when the Up Against the Wall queue exceeds five mobsters. (Some attack cards can also start a Mob War even if there are five or less mobsters in queue.)

Once a Mob War has begun, at the start of each player's turn, the mobster first in the Up Against the Wall queue the is permanently removed from play and placed on the Cemetery card.

The Mob War ends when all mobsters on the wall have been eliminated, or when someone plays a rescue card that ends the Mob War.

Near the end of the game, when there are six or fewer surviving mobsters, the Mob War is continuous and cannot be stopped.

Winning the game
The player who is the last to have a surviving mobster is the winner.

Reception
In the March 1989 edition of Games International (Issue #3), Brian Walker was happy this "very good game" had been reissued, since it had previously been "very difficult to obtain in the UK when it was first published by the Illinois based Mayfair Games." Walker pointed out that this was a game of luck, not skill, but concluded by giving the game an above-average rating of 4 out of 5, saying, "Go ahead, make your day. Buy this game."

In the February 1991 edition of Dragon (Issue 166), Jim Bambra called the game "an ideal ending to an evening of role-playing when the adventure is finished but it's too early to go home... It's fast, fun, and simple enough to pick up quickly."

Reviews
Backstab #6 ("Service Compris"; French version)
Games #99
Jeux & Stratégie #59

References

External links
 Mayfair Games Homepage
 BoardGameGeek page

Card games introduced in 1982
Dedicated deck card games
Mayfair Games games

Family Business (game)


The National Electronic Library (NEL) is a site funded by the Ministry of Culture of the Russian Federation, which provides Internet users with access to digitized books, newspapers and magazines in Russian libraries, museums and archives. National Electronic Library is a service that searches the full text of books and magazines that was scanned, converted to text using optical character recognition, and stored in its digital database. In 2015, the site posted 1,671,878 books. The site has a mobile application for iOS and Android

History

In January 2003 the Russian State Library applied to the Ministry of Culture of Russia with the initiative to create an electronic library, and in February the National Library of Russia joined the project.

On December 17, 2008, the Russian State Library announced the completion of the project.

Since 2013, the Ministry of Culture has begun to develop the project, allocating funding for the creation of a technology platform, the purchase of copyright and the digitization of printed books.

See also
 List of digital library projects
 Google Books

References

External links
 National electronic library

Full-text scholarly online databases
Scholarly search services
Computer-related introductions in 2004
Russian digital libraries

National Electronic Library


In complex analysis, a branch of mathematics, the antiderivative, or primitive, of a complex-valued function g is a function whose complex derivative is g. More precisely, given an open set  in the complex plane and a function  the antiderivative of  is a function  that satisfies .

As such, this concept is the complex-variable version of the antiderivative of a real-valued function.

Uniqueness

The derivative of a constant function is the zero function. Therefore, any constant function is an antiderivative of the zero function. If  is a connected set, then the constant functions are the only antiderivatives of the zero function. Otherwise, a function is an antiderivative of the zero function if and only if it is constant on each connected component of  (those constants need not be equal).

This observation implies that if a function  has an antiderivative, then that antiderivative is unique up to addition of a function which is constant on each connected component of .

Existence
One can characterize the existence of antiderivatives via path integrals in the complex plane, much like the case of functions of a real variable. Perhaps not surprisingly, g has an antiderivative f if and only if, for every γ path from a to b, the path integral

Equivalently,

for any closed path γ.

However, this formal similarity notwithstanding, possessing a complex-antiderivative is a much more restrictive condition than its real counterpart. While it is possible for a discontinuous real function to have an anti-derivative, anti-derivatives can fail to exist even for holomorphic functions of a complex variable. For example, consider the reciprocal function, g(z) = 1/z which is holomorphic on the punctured plane C\{0}. A direct calculation shows that the integral of g along any circle enclosing the origin is non-zero. So g fails the condition cited above. This is similar to the existence of potential functions for conservative vector fields, in that Green's theorem is only able to guarantee path independence when the function in question is defined on a simply connected region, as in the case of the Cauchy integral theorem.

In fact, holomorphy is characterized by having an antiderivative locally, that is, g is holomorphic if for every z in its domain, there is some neighborhood U of z such that g has an antiderivative on U. Furthermore, holomorphy is a necessary condition for a function to have an antiderivative, since the derivative of any holomorphic function is holomorphic.

Various versions of Cauchy integral theorem, an underpinning result of Cauchy function theory, which makes heavy use of path integrals, gives sufficient conditions under which, for a holomorphic g,

vanishes for any closed path γ (which may be, for instance, that the domain of g be simply connected or star-convex).

Necessity
First we show that if f is an antiderivative of g on U, then g has the path integral property given above. Given any piecewise C1 path γ : [a, b] → U, one can express the path integral of g over γ as

By the chain rule and the fundamental theorem of calculus one then has

Therefore, the integral of g over γ does not depend on the actual path γ, but only on its endpoints, which is what we wanted to show.

Sufficiency
Next we show that if  g is holomorphic, and the integral of g over any path depends only on the endpoints, then g has an antiderivative. We will do so by finding an anti-derivative explicitly.

Without loss of generality, we can assume that the domain U of g is connected, as otherwise one can prove the existence of an antiderivative on each connected component. With this assumption, fix a point z0 in U and for any z in U define the function

where γ is any path joining z0 to z. Such a path exists since U is assumed to be an open connected set. The function f is well-defined because the integral depends only on the endpoints of γ.

That this f is an antiderivative of g can be argued in the same way as the real case. We have, for a given z in U, that there must exist a disk centred on z and contained entirely within U. Then for every w other than z within this disk

where [z, w] denotes the line segment between z and w. By continuity of g, the final expression goes to zero as w approaches z. In other words, f′ = g.

References

External links

Complex analysis

Antiderivative (complex analysis)


The Synagogue in Svätý Jur, a small town in Slovakia, north-east of the capital Bratislava, was built around 1790. The building is in private ownership and is in a very bad condition.

History
Evidence of a Jewish community in Svätý Jur dates from before 1529, when the Jews were expelled from the town. Settlement of individual Jewish families began again in the 17th century.

The synagogue dates from the late 18th century and resembles a late Baroque rural mansion. In 1876 the building underwent some reconstruction.

It stands in the former Jewish courtyard and was surrounded by other Jewish institutions. These were demolished by the current owner, who acquired the property after World War II.

Today it is used for storage and is dilapidated.

Architecture
On the western side stands a doorway projection with vestibule and women's gallery above. Access to the gallery was through a covered staircase, attached next to it. The sanctuary (the men's prayer room) on the eastern side is a large rectangular hall, emphasised by three bays of windows in the Rundbogenstil.

The Holy Ark stood in the centre of the long side, flanked by two windows (also in Rundbogenstil) and a round window above. Today only an empty niche is visible.

Originally the women's gallery projection opened into the hall. When the synagogue underwent a reconstruction in 1876, interior walls were redecorated with Moorish ornaments and a new women's gallery was constructed. This is supported by cast-iron columns and runs on three sides of the sanctuary.

See also
 List of synagogues in Slovakia

References

Synagogues in Slovakia
18th-century architecture in Slovakia
Synagogues completed in the 1790s

Svätý Jur Synagogue


The Ponale road, Ponale highway or lately Alpine trail D 01 is a former highway that was the first road connection between the Garda Lake area and the Ledro valley.

History
It was constructed by Giacomo Cis between 1848 and 1851 in the steep north-western ranges of the Garda Lake. The road suffered from regular landslides, so a separate road tunnel has been built in 1998. Since then the road had been officially closed, but has been popular by hikers and mountain-bikers. In 2000 another landslide happened with various casualties, so the road had been closed again. Due to the immense popularity of the track with impressive views of the lake and its tunnels it has been reopened after investing €820.000  in 2004.

The old rest station above the Ponale valley is reopened since June 2014.

Hiking trails in Italy
Highways in Italy

Ponale road


Kenneth Escott Kirk (1886–1954), also known as K. E. Kirk, was an English Anglican bishop. He was the Bishop of Oxford in the Church of England from 1937 to 1954. He was also an influential moral theologian, serving for five years as Regius Professor of Moral and Pastoral Theology at Oxford.

Early life and education
Kirk was born in Sheffield on 21 February 1886 and was the son of Frank Herbert Kirk who, in turn, was the son of John Kirk (died 1875), a Methodist minister. He was educated at Sheffield Royal Grammar School and St John's College, Oxford, obtaining a double first in classics. He was accepted for graduate study at Keble College, but moved to London instead to work with the Student Christian Movement (SCM). The group was beginning a ministry to the large numbers of Indian students that were coming to England to study. During his time in London he also opened a residential hall for students of University College, London known as Ealing Hall, served as an assistant to the Department of Philosophy there and held a number of executive positions with SCM. He began the process to become ordained as an Anglican priest and was ordained a deacon on 21 December 1912 and moved to a church near Sheffield to begin a curacy, intending to go back to Keble College to finish his graduate study. When World War I broke out, however, that proved impossible. Instead, he spent 1915–1919 with the British Army as a chaplain in France and Flanders.

Kirk was able to return to Oxford in 1919, as a Prize Fellow at Magdalen College and tutor at Keble College. He began working on his first book of moral theology, Some Principles of Moral Theology, published in 1920. He adopted the method of casuistry, where general ethical principles are applied to the practical situations in which moral decisions are made. He revived the study of Christian ethics using casuistry, drawing on the work of Caroline divine Jeremy Taylor (1613–1667). In 1922 he was appointed Fellow and Chaplain of Trinity College and awarded a Bachelor of Divinity degree followed by a Doctor of Divinity degree in 1926. In 1927 he was named Reader in Moral Theology and in 1933 was made the Regius Professor of Moral and Pastoral Theology. His scholarly reputation rests on the books of moral theology that he wrote during the 1920s and 1930s, especially Conscience and Its Problems and The Vision of God: The Christian Doctrine of the Summum Bonum. In many ways he revived the study of moral theology in the Church of England and is considered one of the leading moral theologians of the 20th century.

Bishop of Oxford
Kirk was consecrated a bishop on St Andrew's Day 1937 (30 November), by Cosmo Lang, Archbishop of Canterbury, at St Paul's Cathedral; he was enthroned as Bishop of Oxford at Christ Church Cathedral on 9 December 1937. He began his episcopacy by re-organizing the large, rural diocese and moving the episcopal offices to the city of Oxford. Kirk issued a temporary seal as the function of Chancellor of the Garter was dissociated from the See of Oxford in the wake of the Abdication Crisis. In piety as well as scholarship, Kirk followed in the tradition of the Oxford Movement, emphasizing the sacramental nature of the Catholic Church and apostolic succession. As a result, at the time of the independence of the Anglican Church in India from the Church of England, Kirk was a leader of the Anglo-Catholic party at Lambeth in 1948 that warned the Church from compromising its catholicity by adopting intercommunion too quickly, when not all of the clergy of the United Church of South India would have received episcopal ordination. He worked with the Archbishops of Canterbury, William Temple and his successor Geoffrey Fisher, and with George Bell, Bishop of Chichester, however, in devising a compromise solution, and in May, 1950 a resolution was passed in the English Convocation allowing for limited intercommunion. Kirk died on 8 June 1954, before the resolution was passed in July, 1955, formally inaugurating the communion of the two churches.

The title of his last published work, Beauty and Bands, is that of a sermon he gave at the episcopal consecration of Glyn Simon in Brecon Cathedral.

Personal life
In 1921 Kirk married Beatrice Caynton Yonge Radcliffe; they had three daughters and two sons. Their elder son was Sir Peter Michael Kirk (1928–1977), a Conservative politician. Beatrice died in 1934. One of their daughters, Patricia, married Eric Waldram Kemp, Chaplain of Exeter College, Oxford and later Bishop of Chichester, and author of The Life and Letters of Kenneth Escott Kirk, Bishop of Oxford, 1937–1954 (London: Hodder & Stoughton, 1959).

Major works
A Study of Silent Minds (1918)
Some Principles of Moral Theology (1920)
Ignorance, Faith and Conformity (1925)
Conscience and Its Problems (1927)
The Vision of God (The Bampton Lectures of 1928) (1931)
The Threshold of Ethics (1933)
Commentary on the Epistle to the Romans (1937)
The Story of the Woodard Schools (1937)

Other works
The Church in the Furnace (contributor) (1917)
Essays Catholic and Critical (contributor) (1926)
Essays on the Trinity and the Incarnation (contributor) (1928)
Marriage and Divorce (1933)
The Fourth River (1935)
The Study of Theology (editor and contributor) (1939)
The Apostolic Ministry (editor and contributor) (1946)
The Church Dedications of the Oxford Diocese (1946)Beauty and Bands'' (collection of articles and sermons) (1955)

References

1886 births
1954 deaths
Clergy from Sheffield
Alumni of St John's College, Oxford
World War I chaplains
Royal Army Chaplains' Department officers
Bishops of Oxford
Fellows of Trinity College, Oxford
Anglo-Catholic bishops
British Army personnel of World War I
English Anglican theologians
Regius Professors of Moral and Pastoral Theology
People educated at Sheffield Grammar School
20th-century English theologians
English Anglo-Catholics
Anglo-Catholic theologians
20th-century Church of England bishops

Kenneth Kirk


A voice interface card or VIC is a hardware interface that simulates a FXS on a router or network switch.  This device port is used to interface telephone voice or other audio-based FXS devices.

Typically, a VIC contains one or more RJ-11 ports, allowing connections to basic telephone service (POTS), equipment, keysets, and PBXes.

References

External links
Understanding Foreign Exchange Office (FXO) Voice Interface Cards

Telephony signals

Voice interface card


John Alexander Inglis of Auchendinny and Redhall FRSE KC LLB (1873–1941) was a Scottish landowner, advocate and historian. He specialised in family histories of Scotland's gentry.

Life

He was born at Montpelier Lawn in Cheltenham in England on 3 February 1873 into a Scottish family. He was the eldest son of Alexander Inglis (1830-1899) of Auchendinny and Redhall: two large estates on the south-west of Edinburgh. His mother was Florence Feeney, daughter of the newspaper proprietor, John Frederick Feeney. His younger brother was Charles Edward Inglis FRS the noted civil engineer. He was the great grandson of both Vice Admiral John Inglis RN and Dr Alexander Monro (tertius).

He was educated at Cheltenham College and won a scholarship to study Law at Christ's College in Oxford University graduating MA.

He qualified as an advocate in Edinburgh in 1898 and was raised to Kings Counsel in 1926. In 1927 he was elected a Fellow of the Royal Society of Scotland. His proposers were James Haig Ferguson, Ralph Allan Sampson, Edward Theodore Salvesen (Lord Salvesen), and Andrew Constable, Lord Constable. He served as the Society's Vice President 1939 to 1942.

He was a Brigadier in the Royal Company of Archers (the King's Bodyguard). In the First World War he was Assistant Food Commissioner for Midlothian in charge of food control. He was also a Trustee of the National Library of Scotland and was involved in its relocation to George IV Bridge.

He died in Edinburgh on 13 August 1941. He is buried with his wife in Dean Cemetery in western Edinburgh. The grave lies midway along the main north-south path, facing west.

Family

In 1903 he was married to Margaret Isabella Fraser (1877 – 1932).

Family tree

Publications
The Monros of Auchinbowie and Cognate Families (1911)
The Scotts of Harperrig (1914)
The Nisbets of Carfin (1916)
The Family of Inglis of Auchindinny and Redhall (1935)
Sir Adam Otterburn, King's Advocate (1935)
Sir John Hay, "The Incendiary" (1578-1654) Clerk Register of Scotland, Provost of Edinburgh (1937)

References

External links

1873 births
1941 deaths
Fellows of the Royal Society of Edinburgh
Scottish lawyers
Scottish landowners
20th-century Scottish historians

John Alexander Inglis


Henry George was an American economist who lived during the 19th century. He was born in Philadelphia in 1839 and died in New York City in 1897. George is best known for his book "Progress and Poverty", which had a big impact on economic thought and politics in America and around the world.

In "Progress and Poverty", George argued that land should be owned by the community as a whole, rather than by individuals. He believed that if land were treated as a common resource, rather than a commodity to be bought and sold, it would benefit everyone, not just the wealthy.

George's ideas became known as Georgism, and they continue to be influential in modern discussions about economics and social justice. Georgism proposes a tax on the unimproved value of land, which would replace other forms of taxation and create a more equitable society.

Aside from his economic work, George was also involved in politics. He ran for mayor of New York City in 1886 on the United Labor Party ticket, and received over 30% of the vote. His campaign focused on issues of economic inequality and corruption in government.

George's ideas and legacy continue to be debated and studied to this day. His work has influenced figures as diverse as Winston Churchill, Sun Yat-sen, and Martin Luther King Jr.

American economists
1839 births
1897 deaths

Henry George


Pepper's ghost is an illusion technique, used in the theatre, cinema, amusement parks, museums, television, and concerts, in which an image of an object off-stage is projected so that it appears to be in front of the audience.

The technique is named after the English scientist John Henry Pepper (1821–1900), who popularised the effect with a theatre demonstration in 1862. This launched an international vogue for ghost-themed plays which used this novel stage effect during the 1860s and subsequent decades.

The illusion is widely used for entertainment and publicity purposes. These include the Girl-to-Gorilla trick found in old carnival sideshows and the appearance of "ghosts" at the Haunted Mansion and the "Blue Fairy" in Pinocchio's Daring Journey, both at Disneyland in California. Teleprompters are a modern implementation of Pepper's ghost. The technique was used to display a life-size illusion of Kate Moss at the 2006 runway show for the Alexander McQueen collection The Widows of Culloden.

In the 2010s the technique has been used to make virtual artists appear onstage in apparent 'live' concerts, with examples including Elvis Presley, Tupac Shakur, and Michael Jackson. It is often wrongly described as "holographic". Such setups can involve custom projection media server software and specialized stretched films. The installation may be a site-specific one-off, or a use of a commercial system such as the Cheoptics360 or Musion Eyeliner.

Products have been designed using a clear plastic pyramid and a smartphone screen to generate the illusion of a 3D object.

Effect

The core illusion involves a stage specially arranged into two rooms or areas, one into which audience members can see, and a second (sometimes referred to as the "blue room") that is hidden to the side. A plate of glass (or Plexiglas or plastic film) is placed somewhere in the main room at an angle that reflects the view of the blue room towards the audience. Generally, this is arranged with the blue room to one side of the stage, and the plate on the stage rotated around its vertical axis at 45 degrees. Care must be taken to make the glass as invisible as possible, normally hiding the lower edge in patterning on the floor and ensuring lights do not reflect off it. The plate catches a reflection from a brightly lit actor in an area hidden from the audience. Not noticing the glass screen, the audience mistakenly perceive this reflection as a ghostly figure located among the actors on the main stage. The lighting of the actor in the hidden area can be gradually brightened or dimmed to make the ghost image fade in and out of visibility.

When the lights are bright in the main room and dark in the blue room, the reflected image cannot be seen. When the lighting in the blue room is increased, often with the main room lights dimming to make the effect more pronounced, the reflection becomes visible and the objects within the blue/hidden room seem to appear, from thin air, in the space visible to the audience. A common variation uses two blue/hidden rooms, one behind the glass in the main room, and one to the side, the contents of which can be switched between 'visible' and 'invisible' states by manipulating the lighting therein.

The hidden room may be an identical mirror-image of the main room, so that its reflected image exactly matches the layout of the main room; this approach is useful in making objects seem to appear or disappear. This illusion can also be used to make an object, or person—reflected in, say, a mirror—appear to morph into another (or vice versa). This is the principle behind the Girl-to-Gorilla trick found in old carnival sideshows. Another variation: the hidden room may itself be painted black, with only light-coloured objects in it. In this case, when light is cast on the room, only the light objects strongly reflect that light, and therefore appear as ghostly, translucent images on the (invisible) pane of glass in the room visible to the audience. This can be used to make objects appear to float in space.

The type of theatre use of the illusion which John Henry Pepper pioneered and repeatedly staged in the 1860s were short plays featuring a ghostly apparition which interacts with other actors. An early favourite showed an actor attempting to use a sword against an ethereal ghost, as in the illustration. To choreograph other actors' dealings with the ghost, Pepper used concealed markings on the stage floor for where they should place their feet, since they could not see the ghost image's apparent location. Pepper's 1890 book includes such detailed explanation of his stagecraft secrets, disclosed in his 1863 joint application with co-inventor Henry Dircks to patent this ghost illusion technique.

The hidden area is typically below the visible stage but in other Pepper's Ghost set-ups it can be above or, quite commonly, adjacent to the area visible to the viewers. The scale can be very much smaller, for instance small peepshows, even hand-held toys. The illustration shows Pepper's initial arrangement for making a ghost image visible anywhere throughout a theatre.

Many effects can be produced via Pepper's Ghost. Since glass screens are less reflective than mirrors, they do not reflect matte black objects in the area hidden from the audience. Thus Pepper's Ghost showmen sometimes used an invisible black-clad actor in the hidden area to manipulate brightly lit, light-coloured objects, which can thus appear to float in air. Pepper's very first public ghost show used a seated skeleton in a white shroud which was being manipulated by an unseen actor in black velvet robes. Hidden actors, whose heads were powdered white for reflection but whose clothes were matte black, could appear as disembodied heads when strongly lit and reflected by the angled glass screen.

Pepper's Ghost can be adapted to make performers apparently materialise from nowhere or disappear into empty space. Pepper would sometimes greet an audience by suddenly materialising in the middle of the stage. The illusion can also apparently transform one object or person into another. For instance, Pepper sometimes suspended on stage a basket of oranges which then 'transformed' into jars of marmalade.

Another 19th century Pepper's Ghost entertainment featured a figure flying around a theatre backcloth painted as the sky. The hidden actor, lying under bright lights on a rotating, matte black table, wore a costume with metallic spangles to maximise reflection on the hidden glass screen. This foreshadows some 20th century cinema special effects.

History

Precursors
Giambattista della Porta was a 16th-century Neapolitan scientist and scholar who is credited with a number of scientific innovations.  His 1589 work Magia Naturalis (Natural Magic) includes a description of an illusion, titled "How we may see in a Chamber things that are not" that is the first known description of the Pepper's ghost effect.

Porta's description, from the 1658 English language translation (page 370), is as follows.

From the mid-19th century, the illusion, today known as Pepper's Ghost, became widely developed for money-making stage entertainments, amid bitter argument, patent disputes, and legal action concerning the technique's authorship. A popular genre of entertainment was stage demonstrations of scientific novelties. Simulations of ghostly phenomena through innovative optical technology fitted these well. Phantasmagoria shows, which simulated supernatural effects, were also familiar public entertainments. Previously, these had made much use of complex magic lantern techniques, like the multiple projectors, mobile projectors, and projection on mirrors and smoke, which had been perfected by Étienne-Gaspard Robert/Robertson in Paris early in the century. The new illusion, soon to be labeled Pepper's Ghost, offered a completely different and more convincing way to produce ghost effects, using reflections not projection.

A claim to be the first user of the new illusion in theatres came from the Dutch-born stage magician Henrik Joseph Donckel, who became famous in France under the stage name Henri Robin. Robin said he had spent two years developing the illusion before trying it in 1847 during his regular shows of stage magic and the supernatural in Lyons. However, he found this early rendering of the ghost effect made little impression on the audience. He wrote: "The ghosts failed to achieve the full illusory effect which I have subsequently perfected." The shortcomings of his original techniques "caused me great embarrassment, I found myself forced to put them aside for a while."

While Robin later became famous for many effective, imaginative, and complex applications of 'Pepper's Ghost' at Robin's own theatre in Paris, such shows only began mid-1863 after John Henry Pepper had demonstrated his own method for staging the illusion at the London Polytechnic in December 1862. Jean-Eugene Robert-Houdin, contemporary French grand master of stage magic, regarded Robin's performances and other 1863 ghost shows in Paris as "plagiarists" of Pepper's innovation. Jim Steinmeyer, a modern technical and historical authority on Pepper's Ghost, has expressed doubts as to the reliability of Robin's claims for his 1847 performances. Whatever Robin did in 1847, by his own account it produced nothing like the stage effect whereby Pepper, and later Robin himself, astonished and thrilled audiences during 1863.

In October 1852 Pierre Séguin, an artist, patented in France a portable peepshow-like toy for children, which he named the 'polyoscope'. This used the very same illusion, based on reflection, which ten years later Pepper and Dircks would patent in Britain under their own names. Although creating illusory images within a small box is appreciably different from delivering an illusion on stage, Séguin's 1852 patent was eventually to lead to the defeat of Pepper's 1863 attempt to control and license the 'Pepper's Ghost' technique in France as well as in Britain.

Pepper described Séguin's polyoscope:

"It consisted of a box with a small sheet of glass, placed at an angle of forty-five degrees, and it reflected a concealed table, with plastic figures, the spectre of which appeared behind the glass, and which young people who possessed the toy invited their companions to take out of the box, when it melted away, as it were, in their hands and disappeared."

In 1863 Henri Robin maintained that Séguin's polyoscope had been inspired by his own original version of the stage illusion, which Séguin had witnessed while painting magic lantern slides for another part of Robin's show.

Dircks and Pepper
Henry Dircks was an English engineer and practical inventor who from 1858 strove to find theatres which would implement his vision of a sensational new genre of drama featuring apparitions which interacted with actors on stage. He constructed a peepshow-like model which demonstrated how reflections on a glass screen could produce convincing illusions. He also outlined a series of plays featuring ghost effects, which his apparatus could enable, and worked out how complex illusions, like image transformations, could be achieved through the technique. But in terms of applying the effect in theatres, Dircks seemed unable to think beyond remodelling theatres to resemble his peepshow model. He produced a design for theatres which required costly, impractical rebuilding of an auditorium to host the illusion. The theatres, which he approached, were not interested. In another bid to attract interest, he advertised his models for sale and in late 1862 the models' manufacturer invited John Henry Pepper to view one.

John Henry Pepper was a scientific all-rounder who was both an effective public educator in science and an astute, publicity-conscious, commercial showman. In 1854, he became the director and sole lessee of the Royal Polytechnic where he held the title of Professor. The Polytechnic ran a mix of science education courses and eye-catching public displays of scientific innovations.

After seeing Dircks' peepshow model in 1862, Pepper quickly devised an ingenious twist whereby, through adding an angled sheet of glass and a screened-off orchestra pit, almost any theatre or hall could make the illusion visible to a large audience. First public performance in December 1862—a scene from Charles Dickens's The Haunted Man—produced rapturous responses from audience and journalists. A deal was struck between Pepper and Dircks whereby they jointly patented the illusion. Dircks agreed to waive any share of profits for the satisfaction of seeing his idea implemented so effectively. Their joint patent was obtained provisionally in February 1863 and ratified in October 1863.

Before Dircks' partnership with Pepper was a full year old, Dircks published a book which accused Pepper of plotting to systematically stamp Pepper's name alone on their joint creation. According to Dircks, while Pepper took care to credit Dircks in any communications to the scientific community, everything which reached the general public—like newspaper reports, advertisements and theatre posters—mentioned Pepper alone. Whenever Dircks complained, he said, Pepper would blame careless journalists or theatre managers. However, the omission had occurred so repeatedly that Dircks believed that Pepper was deliberately striving to fix his name alone in the minds of the general public. A good half of Dircks' 106-page book, The Ghost, comprises such recriminations with detailed examples of how Pepper hid Dircks' name.

An earlier 1863 Spectator article had presented the Dircks/Pepper partnership thus:

"This admirable ghost is the offspring of two fathers…. To Mr. Dircks belongs the honour of having invented him…. and Professor Pepper has the merit of having improved him considerably, fitting him for the intercourse of mundane society, and even educating him for the stage."

Popularity
Short plays using the new ghost illusion swiftly became sensationally popular. Pepper staged many dramatic and profitable demonstrations, notably in the lecture theatre of London's Royal Polytechnic. By late 1863, the illusion's fame had spread extensively with ghost-centred plays performed at multiple London venues, Manchester, Glasgow, Paris, and New York. Royalty attended. There was even a shortage of plate glass because of demand from theatres for glass screens. A popular song from 1863 celebrated the 'Patent Ghost':

By his own account, Pepper, who was entitled to all profits, made considerable earnings from the patent. He ran his own performances and licensed other operators for money. In Britain, he was initially successful in suing some unlicensed imitators, deterring others by legal threats, and defeating a September 1863 court action by music-hall proprietors who challenged the patent. However, while in Paris in summer 1863 to assist a licensed performance, Pepper had proved unable to stop Henri Robin and several others who were already performing unlicensed versions there. Robin successfully cited Séguin's pre-existing patent of the polyoscope, of which Pepper had been ignorant. During the next four years Robin developed spectacular and original applications of the illusion in Paris. One famous Robin show depicted the great violinist Paganini being troubled in his sleep by a demon violinist, who repeatedly appeared and disappeared.

During the next two decades, performances using the illusion spread to several countries. In 1877 a patent was registered for the United States. In Britain, theatre productions using Pepper's Ghost toured far outside major cities. The performers travelled with their own glass screens and became known as "spectral opera companies". Around a dozen such specialist theatre companies existed in Britain. A typical performance would comprise a substantial play where apparitions were central to the plot, like an adaption of Dickens' A Christmas Carol, followed by a short comic piece which also used ghost effects. One company, for instance, 'The Original Pepper's Ghost and Spectral Opera Company' had 11 ghost-themed plays in its repertoire. Another such company during a single year, 1877, performed at 30 different places in Britain, usually for a week but sometimes for as long as six weeks. By the 1890s, however, novelty had faded and the vogue for such theatre was in steep decline. Pepper's Ghost remained in use however at sensational entertainments comparable to 'dark rides' or 'ghost trains' at modern funfairs and amusement parks: a detailed account survives of audience participation in two macabre entertainments, which both used Pepper's Ghost, within a 'Tavern of the Dead' show which visited Paris and New York in the 1890s.

Since the 1860s, "Pepper's Ghost" has become a universal term for any illusion produced via a reflection on an unnoticed glass screen. It is routinely applied to all versions of the illusion, which are now quite common in 21st century displays, peepshows, and installations in museums and amusement parks. However, the specific optics in these modern displays often follow Séguin's or Dircks' earlier designs rather than the modification for theatres which first brought Pepper's name into enduring usage.

Modern uses

Systems
Several proprietary systems produce modern Pepper's ghost effects. The "Musion Eyeliner" uses thin metalized film placed across the front of the stage at an angle of 45 degrees towards the audience; recessed below the screen is a bright image supplied by an LED screen or powerful projector. When viewed from the audience's perspective, the reflected images appear to be on the stage. The "Cheoptics360" displays revolving 3D animations or special video sequences inside a four-sided transparent pyramid. This system is often used for retail environments and exhibitions.

Amusement parks

The world's largest implementation of this illusion can be found at The Haunted Mansion and Phantom Manor attractions at several Walt Disney Parks and Resorts. There, a -long scene features multiple Pepper's ghost effects, brought together in one scene. Guests travel along an elevated mezzanine, looking through a -tall pane of glass into an empty ballroom. Animatronic ghosts move in hidden black rooms beneath and above the mezzanine. A more advanced variation of the Pepper's Ghost effect is also used at The Twilight Zone Tower of Terror.

The walk-through attraction Turbidite Manor in Nashville, Tennessee, employs variations of the classic technique, enabling guests to see various spirits that also interact with the physical environment, viewable at a much closer proximity. The House at Haunted Hill, a Halloween attraction in Woodland Hills, California, employs a similar variation in its front window to display characters from its storyline.

An example that combines the Pepper's ghost effect with a live actor and film projection can be seen in the Mystery Lodge exhibit at the Knott's Berry Farm theme park in Buena Park, California, and the Ghosts of the Library exhibit at the Abraham Lincoln Presidential Library and Museum in Springfield, Illinois, as well as the depiction of Maori legends called A Millennium Ago at the Museum of Wellington City & Sea in New Zealand.

The Hogwarts Express attraction at Universal Studios Florida uses the Pepper's ghost effect, such that guests entering "Platform " seem to disappear into a brick wall when viewed from those further behind in the queue.

The Curse at Alton Manor, an attraction at the Alton Towers theme park in Staffordshire, England, uses multiple Pepper's ghost effects. These include the ride's preshow, where characters are projected inside an empty doll's house before disappearing as the room is bathed in ultraviolet light, and a scene where Emily Alton, the attraction's central antagonist, appears in a corporeal form before vanishing, in a similar fashion to effects used at the Disney parks. The effect was also used in the ride's previous iterations, The Haunted House and Duel: The Haunted House Strikes Back; where Emily Alton and her cat Snowy could be seen as small corporeal ghosts inside a doll's house in the attraction's queue, similar to the preshow in the current iteration of the attraction.

Museums
Museums increasingly use Pepper's ghost exhibits to create attractions that appeal to visitors. In the mid-1970s James Gardener designed the Changing Office installation in the London Science Museum, consisting of a 1970s-style office that transforms into an 1870s-style office as the audience watches.  It was designed and built by Will Wilson and Simon Beer of Integrated Circles.  Another particularly intricate Pepper's ghost display is the Eight Stage Ghost built for the British Telecom Showcase Exhibition in London in 1978.  This display follows the history of electronics in a number of discrete transitions.

More modern examples of Pepper's ghost effects can be found in various museums in the United Kingdom and Europe.  Examples of these in the United Kingdom are the ghost of Annie McLeod at the New Lanark World Heritage Site, the ghost of John McEnroe at the Wimbledon Lawn Tennis Museum, which reopened in new premises in 2006, and one of Sir Alex Ferguson, which opened at the Manchester United Museum in 2007. Other examples include the ghost of Sarah (who picks up a candle and walks through the wall) and also the ghost of the Eighth Duke at Blenheim Palace.

In October 2008 a life-sized Pepper's ghost of Shane Warne was opened at the National Sports Museum in Melbourne, Australia. The effect was also used at the Dickens World attraction at Chatham Maritime, Kent, United Kingdom. Both the York Dungeon and the Edinburgh Dungeon use the effect in the context of their 'Ghosts' shows.

Another example can be found at Our Planet Centre in Castries, St Lucia, which opened in May 2011, where a life-size Charles III and Governor-General of the island appear on stage talking about climate change.

German company Musion installed a holostage in the German Football Museum in Dortmund in 2016.

Television, film and video
Teleprompters are a modern implementation of Pepper's ghost used by the television industry. They reflect a speech or script and are commonly used for live broadcasts such as news programmes.

On 1 June 2013, ITV broadcast Les Dawson: An Audience With That Never Was. The program featured a Pepper's ghost projection of Les Dawson, presenting content for a 1993 edition of An Audience with... to be hosted by Dawson but unused due to his death two weeks before recording.

In the 1990 movie Home Alone, the technique is used to show Harry with his head in flames, as result of a blow torch from a home invasion gone bad. CGI was not able to produce the desired results. The James Bond movie Diamonds are Forever features the girl-to-gorilla trick in one scene.

Early electro-mechanical arcade machines, such as Midway's "Stunt Pilot" and Bally's "Road Runner," both made in 1971, use the effect to allow player-controlled moving vehicles to appear to share the same space as various obstacles within a diorama.  Electrical contacts, connected to the control linkages, sense the position of the vehicle and obstacles, simulating collisions in the games' logic circuits without the models physically touching each other. Various arcade games, most notably Taito's 1978 video game Space Invaders and SEGA's 1991 video game Time Traveler, used a mirror-based variation of the illusion to make the game's graphics appear against an illuminated backdrop.

Concerts

An illusion based on Pepper's ghost involving projected images has been featured at music concerts (often erroneously marketed as "holographic").

At the 2006 Grammy Awards, the Pepper's ghost technique was used to project Madonna with the virtual members of the band Gorillaz onto the stage in a "live" performance. This type of system consists of a projector (usually DLP) or LED screen, with a resolution of 1280×1024 or higher and brightness of at least 5,000 lumens, a high-definition video player, a stretched film between the audience and the acting area, a 3D set/drawing that encloses three sides, plus lighting, audio, and show control.

During Dr. Dre and Snoop Dogg's performance at the 2012 Coachella Valley Music and Arts Festival, a projection of deceased rapper Tupac Shakur appeared and performed "Hail Mary" and "2 of Amerikaz Most Wanted". The use of this approach was repeated in 2013 at west coast Rock the Bells dates, featuring projections of Eazy-E and Ol' Dirty Bastard.

On 18 May 2014, during the Billboard Music Awards, an illusion of deceased pop star Michael Jackson, other dancers, and the entire stage set was projected onto the stage for a performance of the song "Slave to the Rhythm" from the posthumous Xscape album.

On 21 September 2017, the Frank Zappa estate announced plans to conduct a reunion tour with the Mothers of Invention that would make use of Pepper's ghosts of Frank Zappa and the settings from his studio albums. Initially scheduled to run through 2018, the tour was later pushed back to 2019.

A projection of Ronnie James Dio performed at the Wacken Open Air festival in 2016.

Swedish supergroup ABBA returned to the stage in May 2022, as digital avatars performing much-loved hits. The technology used for this show is wrongly assumed to be a pepper's ghost effect. The technology used is a huge opaque seamless flat led-screen, with careful integration of show effects inside the theatre to create a layered dynamic experience that creates a realistic illusion of depth, as described by the show's director Baillie Walsh.

Political speeches
NChant 3D telecast, live, a 55-minute speech by Narendra Modi, Chief Minister of Gujarat, to 53 locations across Gujarat on 10 December 2012 during the assembly elections. In April 2014, they projected Narendra Modi again at 88 locations across India.

In 2014, Turkish Prime Minister Recep Tayyep Erdogan delivered a speech via Pepper's ghost in Izmir.

In 2017, French Presidential candidate Jean-Luc Mélenchon gave a speech using Pepper's ghost at a campaign event in Aubervilliers.

See also
 Camera lucida
 Camera obscura
 Front projection effect
 Head-up display
 Magic lantern
 Optical illusion
 Reflector sight
 Schüfftan process
 Catadioptric telescope

References

Further reading

 Pepper, John Henry (1890). The True History of the Ghost. London: Cassell & Co.

 Gbur, Gregory J. (2016). Dircks and Pepper: a Tale of Two Ghosts. Skulls in the Stars website]
 Hopkins, Albert A. (1897). Magic, Stage Illusions, Special Effects and Trick Photography. New York: Dover Publications.
 Dircks, Henry (1863). The Ghost, London: E & F.N. Spon.
 Robert-Houdin, Jean-Eugene (1881). The Secrets of Stage Conjuring. London: George Routledge.

External links

Magic tricks
Optical illusions
Phantasmagoria

Pepper's ghost


The Whizbanger That Emmental Built (2006) is a children's novel written by New Zealand author, Reuben Schwarz. The novel tells the story of Emmental Baker, daughter of famed writer Nial Baker, and her adventures with the bizarre inventor Chaida Manning. The Whizbanger That Emmental Built was published by in 2006 by Penguin Books, under the banner of Puffin Books.

Reuben Schwarz
Reuben Schwarz (12 December 1978) was born in New Zealand, but moved to Canada as a child. Raised in Alberta and West Vancouver, British Columbia, Reuben earned a Bachelor of Science degree from the University of British Columbia.

After failing to be accepted to medical school, Schwarz enrolled at the University of Toronto. There he was the editor of the student newspaper, The Independent Weekly.

In 2004 Schwarz returned to New Zealand, earning a Graduate Diploma in Journalism from the University of Canterbury in Christchurch. Upon graduation, Schwarz began reporting for The Dominion Post in Wellington. Schwarz is the winner of two Qantas Media Awards.

Schwarz's first children's novel, The Whizbanger That Emmental Built, was published in 2006 by Penguin Books, under the banner of Puffin Publishing.

Synopsis
The Whizbanger That Emmental Built tells the story of Emmental Baker, a bright but shy girl. Emmental's mother has recently died and her father, infamous writer and recluse Niall Baker, has relocated the family to the imaginary town of Dropsham in the hopes of curing his writer's block.

Emme struggles to fit in her new surroundings, persecuted by her teacher Mrs. Hanlin and bullied by class brute Rory Blunt. With her father despondent and detached, Emme finds friendship with her neighbor, bizarre inventor Chaida Manning. As Emme's friendship with Manning grows, she learns to accept her creativity and individualism, gaining self-confidence.

Themes
Typical children's literary themes are expressed in Whizbanger. The main character, Emmental Baker, is vulnerable, and oppressed by society (her school teacher Mrs. Hanlon and classmate Rory Blunt). This theme is consistent throughout children's literature, from the fairytales of the Cinderella genre to J.K. Rowling's Harry Potter.

Characters

Emmental Baker

Emmental, or "Emme" is the protagonist of the story. She is shy and gentle, yet creative and bright. Suffering the death of her mother and the neglect of her author father, she finds strength in her own imagination.

Niall Baker

Emme's father, Niall is the author of eleven acclaimed novels and three not-so-acclaimed ones; he struggles from writer's block. His wife, Emme's mother, is recently deceased.

Chaida Manning

Chaida Manning is the bizarre inventor of atrocities, such as the Wooshraker and Pitchaptchapitcha. Ultimately Chaida is Emme's salvation, teaching her to trust her imagination.

Rory Blunt

Rory Blunt is the violent antagonist and Emme's classmate. Typical of a bully, he picks on defenseless Emme. He is also prone to bouts of violence and paranoia. Rory takes pleasure is bashing things, at times returning home to retrieve his best bashing boots.

Awards

In 2007, The Whizbanger That Emmental Built was shortlisted for Library Association of New Zealand's (LIANZA) Esther Glen Award. This award is given to a writer of the book that is considered by the panel of librarians to be the most distinguished contribution to literature for children and young adults for that year. The award was established in 1945 and named in honour of Christchurch journalist and children's writer Esther Glen (1881–1940).

References

2006 novels
Children's novels
New Zealand children's books
2006 children's books
21st-century New Zealand novels

The Whizbanger That Emmental Built


Bazilije Stjepan Pandžić (30 January 1918 – 16 April 2019) was a Bosnian historian, archivist and orientalist. He entered the Franciscan Order in 1935 and was ordained for a priest in 1941. From 1947 to 1985 he was the general archivist and analyst of the Franciscan Order in Rome. In 1958 he was elected vice-president of the International Association of Church Archives. He turned 100 in January 2018, and in April 2019, died at the age of 101.

Biography

Pandžić was born on January 30, 1918, in Drinovci, district Ljubuški, Bosnia and Herzegovina, then still part of the Austro-Hungarian Empire, into Roman Catholic family of Bosnia and Herzegovina Croats. He lived in Zagreb. He finished elementary school in his hometown in 1929, high school in Široki Brijeg in 1938, entered the novitiate of the Franciscan Order (OFM) in Humac. He began his philosophical and theological studies in Mostar, and he was ordained to the priesthood in 1941. In 1942 he continued his studies in Rome and earned his licentiate in 1943. At the Pontifical Antonianum University he received his doctorate in theology in 1945 with a thesis on the history of Trebinje-Mrkan. In 1947 he studied archive science, paleography and diplomacy at the Vatican School (associated to Vatican archives), acquiring the title paleographus et archivarius. At the Roman State University (La Sapienza), Department of Islamic Sciences (Arabic, Persian and Turkish), he earned his doctorate in philosophy in 1951.

He wanted to do research in the Ottoman archives in Istanbul on the history of Bosnia, Herzegovina, Dalmatia and Dubrovnik. However, in 1947 he was appointed to the position of the general service registrar (archivist) of the Franciscan Order (OFM) in Rome, a position which he held up to 1985. In the function of archivist he participated in international conferences in Paris, Moscow, Florence, etc. and co-operated in the publications of their journals. He was also elected to administrative positions in professional associations. In his book Archivistica ecclesiastica which was published by the Vatican's archives in 1967, he summarized his experiences as an archivist. His entire professional life was dedicated to research in the various Vatican archives. He published twenty-one scientific books and the three books of memoirs, a large number of scholarly papers, and hundreds of magazine articles. He wrote mainly in Latin, Croatian and Italian, and occasionally in English, French, German and Spanish. Besides in his homeland, Bosnia and Herzegovina, Pandžić's works are published internationally, in various countries including Vatican City, Italy, Croatia, Spain, Argentina, United States, Germany, France, Switzerland, Austria and Poland.

For a general history of the Franciscan Order the two most important, monumental volumes are Annales Minorum, i. e. a continuation of the series which the Irish Franciscan friar Lucas Wadding had started in the 17th century. For the study of the history of missions within the series Historia missionum Ordinis Fratrum Minorum he was responsible for the 4th Volume: Regiones Proximi Orientis et Paeninsulae Balcanicae in 1974.

As an expert of the Congregation for the Saints he worked under several popes. He issued three so-called "positions" (positiones), i.e., historical-critical editions of the life and work of individuals to be canonized. His first one was on Nicholas Tavelić in 1961 which resulted in Pope Paul VI's canonization of Nicholas Tavelić in 1970. Another positio in 1970 brought forth critical source material about the life of Beatrice de Silva, of Spanish origin. The third in 1983 concerned the German Franciscan Liberatus Weiss and companions.

Bazilije Pandžić was one of the founders and editors of the publishing house ZIRAL in 1970. While in exile 70 books were published before moving in 1991 to Mostar. Bazilije Pandžić was the co-founder of the Croatian Historical Institute in Rome. While being in exile, he published newspaper articles in the Croatian Catholic Messenger and Croatian Almanac of Chicago. After his return to the homeland he participated in various scientific conferences and contributed to journals such as Nova et vetera, Bosna franciscana, Herzegovina franciscana, Kršni zavičaj, Naša ognjišta, Vrutak, etc. Since 1995 he lived in Zagreb where he continued his scholarly research. He published several works, including the three-volume Acta Franciscana Hercegovinae in 2003 and 2009, and Herzegovinian Franciscans: Seven centuries with the people in 2001. His collected, scientific works, amount to about 10,000 pages, including 24 monographs. After the publication of the collected works he published two more books: the second, enlarged edition of the comprehensive work Herzegovinian Franciscans, and a book of fundamental-theological reflections titled U susret Bogu (Towards God).

Works

Bazilije Stjepan Pandžić has published 24 books and a multitude of scientific papers in different languages. Following is a list of his monographs. The list of all his published works up to 2010 is in the making (in PDF format).

Works in Croatian
 Dominik Mandić, Rasprave i prilozi iz starije hrvatske povijesti. Bazilije Pandžić (Priredio, zajedno s fra Dionizijem Lasićem). Rim 1963.
 Životopis fra Dominika Mandića. Izdanje ZIRAL knjiga 64, Sabrana djela Dominika Mandića, vol. 12. Bazilije Pandžić. Chicago 1994.
 Hercegovački franjevci. Sedam stoljeća s narodom. Bazilije Pandžić. Mostar-Zagreb: ZIRAL 2001.
 Svjetlo na krovu Afrike. Mučenici fra Liberat Weiss i njegova subraća (3 ožujka 1716). Izdanje Teovizija, Bazilije Pandžić. Zagreb 2003.
 Acta Franciscana Hercegovinae, svezak II (1700–1849). Bazilije Pandžić. Mostar-Zagreb 2003.
 Acta Franciscana Hercegovinae, svezak III (1850–1892). Bazilije Pandžić. Mostar-Zagreb 2003.
 Maksimirska razmišljanja. Bazilije Pandžić. Zagreb 2004.
 Kraljevi i gradovi. Crtice iz hrvatske povijesti. Bazilije Pandžić. Zagreb: Tusculanae editiones.
 Acta Franciscana Hercegovinae, 1206–1699. sv. I.. Sabrao i za tisak pripremio Dominik Mandić, novo izdanje priredio i nadopunio Bazilije S. Pandžić. Mostar/Zagreb: ZIRAL. 2009.
 Priredio (zajedno s fra Dionizijem Lasićem): Dominik Mandić, Rasprave i prilozi iz starije hrvatske povijesti. Bazilije Pandžić. Rim 1963, drugo izdanje Zagreb 2009.
 Tragovi jednog života. Bazilije Pandžić. Zagreb 2009.
 Hercegovački franjevci. Sedam stoljeća s narodom. Bazilije Pandžić. Mostar-Zagreb: ZIRAL; drugo, prošireno izdanje 2011.

Works in Latin
 Annales Minorum, vol. XXXI (1661–1670). Bazilije Pandžić. Rim 1956.
 De dioecesi tribuniensi et mercanensi, u Studia Antoniana, vol. 12. Bazilije Pandžić. Rim 1959.
 Sacra Rituum Congregatio, Sectio historica, n. 12: Sebenicen. Declarationis martyrii B. Nicolai Tavelić sacerdotis professi Ordinis Fratrum Minorum in odium fidei, ut fertur, in civitate Ierusalem interfecti (+1391), Positio super martyrio ex officio concinnata. Bazilije Pandžić. Typis Polyglotis Vaticanis 1961.
 Annales Minorum, vol. XXXII (1671–1680). Bazilije Pandžić. Rim 1964.
 Sacra Congregatio pro causis Sanctorum, Officium Historicum n. 6: Toletana Canonizationis Beatricis de Silva Fundatricis Monialium Franciscalium a Santissima Conceptione († c. 1492), Positio super vita et virtutibus ex officio concinnata. Bazilije Pandžić. Rim 1970.
 Historia missionum Ordinis Fratrum Minorum, vol. IV. Regiones proximi Orientis et paeninsulae Balcanicae. Bazilije Pandžić. Rim 1974.
 Sacra Congregatio pro causis sanctorum, Officium historicum, n. 108: Viennen. Beatificationis seu declarationis martyrii servi Dei et 2 sociorum O. F. M. in odium fidei, uti fertur, anno 1716 in Aethiopia occisorum Positio super martyrio ex officio concinnata. Bazilije Pandžić. Rim 1983.

Works in Italian
 Archivistica ecclesiastica, Pontificia commissione per gli archivi ecclesiastici, vol. III. S. Duca e Bazilije Pandžić. Città del Vaticano 1967.

Works in German
 Sehnsucht nach Äthiopien. Bazilije Pandžić (O.F.M.) und P. Ludwig Raber (O.F.M.). Mödling 1988.
 Juraj Dragišić und Johannes Reuchlin, u Georgius Benignus (Juraj Dragišić), Defensio praestantissimi viri Joannis Reuchlin. Nachdruck und Kommentar. E. v. Erdmann-Pandžić und Bazilije Pandžić. Bamberg 1989.
 Bosna Argentina. Studien zur Geschichte des Franziskanerordens in Bosnien und der Herzegowina. Bazilije Pandžić. Köln, Waimar, Wien: Böhlau Verlag.

Works in English
 A review of Croatian History. Bazilije Pandžić. Chicago 1954.

Literature
 Zvonko Pandžić (priredio/edidit): Stephani Basilii Pandžić, O.F.M. – Opera omnia typis edita. Editio electronico modo confecta. Izdavač: Editiones Tusculanae. Zagreb, 2010.
 Elisabeth von Erdmann-Pandžić, ed. Regiones Paeninsulae Balcanicae et Proximi Orientis. Festschrift für Basilius S. Pandžić. Bamberg, 1988.

References

External links

 Pandžić, Bazilije Stjepan, www.enciklopedija.hr (Croatian).
 Fra Bazilije proslavio 97. rođendan!, fra3.net, 2015-01-30 (Croatian).
 Hercegovac 40 godina čuva tajne Vatikana, vecernji.ba, 2011-01-23 (Croatian).
 Kako sam čuvao Vatikanske tajne, jutarnji.hr, 2008-03-30 (Croatian).

1918 births
2019 deaths
20th-century writers in Latin
21st-century writers in Latin
20th-century Bosnia and Herzegovina historians
Croat writers from Bosnia and Herzegovina
Franciscans of the Franciscan Province of Herzegovina
20th-century Bosnia and Herzegovina Roman Catholic priests
Bosnia and Herzegovina orientalists
Bosnia and Herzegovina archivists
Bosnia and Herzegovina centenarians
Men centenarians
Historians of Franciscan history
21st-century Bosnia and Herzegovina Roman Catholic priests

Bazilije Pandžić


Eagle's Nest Hill (Russian: Орлиное Гнездо) is a hill in the Russian city of Vladivostok.

Previously called Klykova, the peak was renamed in honour of the Russian troops who fought at Mt. St Nicholas in the Shipka Pass during the Russo-Turkish war of 1878.

Geologically the Eagle's Nest is an extinct volcano, part of the Sikhote Alin range.

Eagle's Nest Hill
Eagle's Nest Hill
Geography of Vladivostok

Eagle's Nest Hill


Mark Hayes (born March 28, 1953) is an American composer and arranger. His predominant output is of choral music in the Christian sacred music and gospel music genres.

Biography
Hayes was born in Ladysmith, Wisconsin, and attended elementary school in Normal, Illinois. After receiving a bachelor's degree in piano performance magna cum laude from Baylor University in 1975, he entered a career in composing and arranging music. Hayes moved to Kansas City in the late 1970s.

Hayes' influence in the sacred choral and piano genres have brought him international recognition.

Works
Hayes has written numerous choral arrangements of sacred music and has more than 1,000 publications. He has also published several books of arrangements for solo singers and solo piano, including 10 Christmas Songs for Solo Voice, 10 Spirituals for Solo Voice, and 10 Hymns and Gospel Songs for Solo Voice.

In 2004, Hayes premiered a contemporary setting of the ancient hymn Te Deum at Carnegie Hall, set for choir and soloists.

Awards
He is a recurring recipient of the Standard Award from ASCAP, and was given the Dove Award for Praise and Worship Album of the Year in 1986. He also received the Award for Exemplary Leadership in Christian Music from Baylor University Center for Christian Music Studies.

References

External links

 Lorenz biography: Mark Hayes (b. 1953)

Gospel music composers
Baylor University alumni
1953 births
Living people
People from Ladysmith, Wisconsin

Mark Hayes (composer)


Princess Khamwaen or Concubine Waen () was a daughter of King Bunsan of Vientiane and a concubine (Chao Chom) to King Rama I of Bangkok. She was known for her prominent role in the Siamese court as a favorite companion of the monarch.

Biography

Princess Khamwaen was a daughter of King Bunsan of Vientiane and his wife the Princess of Nong Bualumphu. In 1779, King Taksin of Thonburi sent his general Somdet Chao Phraya Maha Kasatseuk to conquer the Vientiane kingdom. The city did fell and King Bunsan fled into the jungles. Princess Khamwaen was then captured and deported to Thonburi with her whole family including her brothers Prince Nanthasan, Prince Inthavong, and Prince Anouvong. Before reaching Thonburi, Princess Khamwaen became the general's consort.

On the occasion that the Somdet Chao Phraya ordered the total destruction of Nong Bualumphu, Princess Khamwaen pledged to her husband to change his mind. She was then revered by the inhabitants of Nong Bualamphu as Thau Khieu Khom.

At Thonburi, Princess Khamwaen became Maha Kasatseuk's favorite concubine and the target of Lady Nak's anger – the general's principal wife. On an occasion, Lady Nak hit Khamwaen with a wood stick. Hurt, Khamwaen went to the general for help. This led to the alienation between the Somdet Chao Phraya and his wife.

The Somdet Chao Phraya crowned himself king in 1782 as Rama I and founded Bangkok. Princess Khamwaen became Chao Chom Waen. Chao Chom Waen became effectively the first Palace Matron () of the Ratanakosin period, overseeing the court ladies and royal children. She was known for her strictness in governing the royal princes and princesses that she earned the epithet the Lady Tiger (). She was also known for her bravery in coping with the royal temper and suggesting harsh things.

The Chao Chom also became the governess of Princess Kunthon – a daughter of Rama I with his Laotian concubine Chao Chom Manda Thongsuk (daughter of Prince Inthavong) after the death of her mother. Rama I died in 1809. His son Prince Isarasundhorn succeeded as Rama II and made his biological mother Lady Nak the Queen Mother. Therefore, the Chao Chom decided to leave the Grand Palace with Princess Kunthon. (Princess Kunthon later became a princess consort to Rama II)

References

Chao Chom
Thai people of Laotian descent
Year of birth missing
Year of death missing
18th-century Chakri dynasty
19th-century Chakri dynasty

Khamwaen