St. James Cathedral is a Roman Catholic cathedral located at 804 Ninth Avenue in the First Hill neighborhood of Seattle, Washington, United States. It is the mother church of the Archdiocese of Seattle and the seat of its archbishop, currently Paul D. Etienne. The cathedral is named for St. James the Greater, patron saint of the archdiocese, and is the third church in the territory presently known as the Archdiocese of Seattle to bear the name.

The need for a cathedral in Seattle arose in 1903 when Edward O'Dea, bishop of what was then known as the Diocese of Nesqually (later spelled "Nisqually"), elected to move the Episcopal see from Vancouver, Washington, to Seattle. Construction began in 1905. The cathedral was dedicated in 1907. In 1916, the cathedral underwent major renovations as a result of the collapse of its dome; other significant renovations were completed in 1950 and 1994. The cathedral, rectory, and site were designated city landmarks in 1984.

History
The Diocese of Nesqually was established in Vancouver, Washington, on May 31, 1850, by Pope Pius IX. The new diocese's territory was carved from the former Diocese of Walla Walla, which had been abandoned and its territory administered from Oregon City in the wake of the Whitman massacre. Augustin-Magloire Blanchet, the first bishop of the new diocese, dedicated a cathedral in honor of Saints James and Augustine within Fort Vancouver on January 23, 1851.

Blanchet's successor, Aegidius Junger, set out to build a new St. James Cathedral in Vancouver. This building, which was completed in 1885, served as the cathedral for eighteen years and remains a Catholic church to the present day. Junger's successor, Edward O'Dea, realized that Vancouver's importance as an economic and population center was waning and at the urging of Reverend Francis X. Prefontaine, a priest in rapidly growing Seattle, O'Dea moved the episcopal see to Seattle in 1903, and immediately laid plans to build a new cathedral.

O'Dea purchased the current cathedral site in 1903; planning began in 1904, and construction began in early 1905. The laying of the cornerstone of the cathedral took place on November 12, 1905, in the presence of more than five thousand people. It was said to be the largest religious gathering in Seattle up to that time. While the cathedral was under construction, a small temporary structure, St. Edward's Chapel, served as the pro-cathedral for Bishop O'Dea. It was designed by Seattle architect James Stephen and was located on the cathedral block, at the corner of Terry Avenue and Columbia Street. The Diocese of Nisqually was officially renamed the Diocese of Seattle on September 11, 1907, and the cathedral was dedicated on December 22 of that year.

On February 2, 1916, the 60-foot dome that crowned the cathedral collapsed under the weight of heavy snow accumulation. The dome was never rebuilt, and when the cathedral reopened on March 18, 1917, the interior had changed dramatically. Another major renovation took place in 1950, marking the centennial of the diocese. In 1984, the Seattle City Council designated the cathedral, rectory, and grounds as a city landmark.

In 1994, the cathedral underwent its most recent major restoration and renovation, which sought to incorporate changes brought about by the Second Vatican Council. The liturgical design consultant for the renovation was Father Richard S. Vosko, a priest of the Diocese of Albany who has overseen the redesign and renovation of numerous churches and cathedrals around the country. These changes included moving the altar from its original location at the east end of the cathedral to the crossing at the center of the building. The renovation also included the installation of an oculus and skylight above the new altar, where the dome had been. As part of the 1994 renovation, relics of St. Frances Xavier Cabrini were sealed beneath the altar; Cabrini had worshiped at the cathedral while she worked in Seattle from 1903 to 1916.

The cathedral today sponsors numerous outreach ministries, to the poor, the homeless, and the marginalized, such as the Cathedral Kitchen, Homeless Ministry & Nightwatch, St. Vincent de Paul, Environmental Justice, Housing Advocacy, and St. James Immigrant Assistance Program. These are operated out of Cathedral Hall and the Pastoral Outreach Center, once the convent of the Sisters of the Holy Names of Jesus and Mary, who run Holy Names Academy.

Exterior
Major artwork at St. James Cathedral includes an extensive collection of stained glass by Charles Connick, installed in 1917-1920 during the rebuilding of the cathedral following the collapse of the dome. In 1994, three new windows were added, the work of Hans Gottfried von Stockhausen, a noted German stained-glass artist, who has served on the faculty of the Pilchuck School.

In 1999, ceremonial bronze doors were added, the work of German sculptor Ulrich Henn. The central bronze doors portray humanity's pilgrimage to the heavenly Jerusalem. Old Testament scenes begin on the bottom left and show the journey of God's people: the expulsion from Eden, the sacrifice of Noah with a rainbow symbolizing the covenant, and Moses leading the people through the Red Sea. The right side shows Jesus' journey, again beginning from the bottom: his baptism in the Jordan, the healing of the man born blind and the paralyzed man, preaching the Beatitudes, the entry into Jerusalem on Palm Sunday; the betrayal by Judas; the passion and carrying the cross.

In the tympanum above the door, the victorious Lamb of God brings the pilgrimage to its triumphant conclusion in the heavenly city. Rivers flow out of the city, and on the banks spring up trees, covered in fruit for the healing of the nations. Whereas the angel at Eden pointed the way out of paradise, this angel points the way to a new and greater paradise: the Lamb of God enthroned in heaven. A bronze tabernacle by the same artist was installed in 2003. Henn's only other works in the United States are the bronze gates at the National Cathedral in Washington, D.C.
 Above the west door of the cathedral is a black and gilt window (1950) which shows Christ reaching out his hands in blessing. The text reads: "I am the vine, you are the branches" (John 15). The window celebrates the Pacific Northwest in the regional industries of 1950: fishing, shipping, lumber, and manufacturing, and includes a sketch of Mount Rainier. Vines laden with grapes link the northwestern motif with Christ's words.

Above the window, a statue of St. James the Greater, patron of the cathedral, surmounts the west face of the building. The figure of St. John Vianney (d. 1859) stands to the left. This patron saint of parish priests served in the French village of Ars, France. On the right is a statue of St. Frances Xavier Cabrini (d. 1917), first American citizen to be canonized. She worshipped in St. James Cathedral in its early years, when her missionary travels brought her to Seattle to serve Italian immigrants. All three of the façade statues were added as part of the 1950 renovation.

Interior
The west vestibule floor contains a mosaic declaring, DOMUS DEI PORTA COELI: "House of God, Gate of Heaven" (Genesis 28:17). Along the walls of this vestibule white marble tablets honor many parishes and individuals who participated in the 1994 renovation and subsequent major projects. A bronze relief of St. Frances Cabrini recalls the fact that she became a citizen of the United States in Seattle. Tablets to the right of the main doors recognize other donors. Tablets on the east wall of the vestibule list the bishops of the Archdiocese of Seattle and the pastors of the cathedral.

The baptistery and font are directly inside the west doors of the cathedral. The font is inscribed with the Chi Rho (XP), an ancient Greek abbreviation for the name Christ. Infants are baptized in the font throughout the year, while older children and adults descend into the pool to be baptized at the Easter Vigil. The inscription surrounding the baptistery expands on the text in the vestibule, stating "But you are a chosen race, a royal priesthood, a holy nation, God's own people, that you may declare the wonderful deeds of God who called you out of darkness into marvelous light" (1 Peter 2:9). The pool's classical quatrefoil shape echoes the shape of the cathedral itself. Along the north wall stands the most recent addition to the cathedral's devotional works, a shrine honoring Saint John XXIII, the Pope who called the Second Vatican Council. St. James is the only cathedral in the United States with a shrine honoring this beloved saint. Dedicated in 2012 (when John XXIII had been beatified not yet been canonized), it is the work of Seattle artist John Sisko (d. 2016).

From the Ambo or pulpit the scriptures are proclaimed and the homily preached. Randall Rosenthal, a Jewish sculptor, interpreted the prophet Isaiah: "For just as from the heavens the rain and snow come down and do not return there till they have watered the earth, making it fertile and fruitful, giving seed to the one who sows and bread to the one who eats, so shall my Word be, that goes forth from my mouth; it shall not return to me void, but shall do my will, achieving the end for which I sent it" (Isaiah 55:10, 11). The carving uses northwest imagery in its depiction of clouds, rain, and abundant vegetation.
 The Shrine of the Blessed Virgin Mary was designed by parishioner Susan Jones and is meant to evoke the warm and loving darkness of the womb. Following medieval tradition, the stars on the ceiling replicate the heavens as seen above Seattle on the night of December 22, the date of the cathedral's dedication. The statue of the Virgin and Child is modeled on a fifteenth-century statue in the German monastery of Blaubeuren.
The cathedral's original choir space in the west gallery features an organ built by the Boston firm of Hutchings-Votey (Opus 1623). This organ was installed and voiced by E. M. Skinner in 1907. In 1926 the east apse was converted into an additional choir area when a second organ built by Casavant was installed in the east end. In 2000, the Casavant was replaced with the Archbishop Thomas J. Murphy Millennium Organ, built by Rosales Organ Builders of Los Angeles, California (Opus 30) In addition, there is a two-manual organ by Frank Robl (cathedral chapel), and two portable organs by Laukhuff/Zuckerman and Alfred Führer.

The stained-glass windows in the East Apse are the work of Hans Gottfried von Stockhausen. They incorporate some of Charles Connick's 1918 stained glass, which furnish a background for Stockhausen's six roundels illustrating the works of mercy from Matthew 25. In an imaginative way, they portray the works of mercy in scenes from the Passion and Resurrection of Christ. The artist's hope was that in seeing these scenes from the life of Jesus, people would ask, 'Where are these things happening today?'
From top to bottom:

 Jesus at Emmaus, blessing bread: "I was hungry…"
 Jesus crucified, with a soldier putting a sponge to his lips: "I was thirsty…"
 Women greeting Jesus along the way of the Cross: "I was a stranger…"

The right-hand panel shows:
 Jesus mockingly clothed in a purple cloak: "I was naked…"
 Jesus crowned with thorns: "I was sick…"
 Jesus arrested: "I was a prisoner…"

The central window tells the story of baptism. At the top of the window, Christ is baptized by John in the waters of the Jordan, with an angel looking on. In the center, Moses leads the People of Israel through the waters of the Red Sea, a prefiguring of baptism. Finally, at the bottom, in another prefiguring of baptism, Noah floats in the waters of the flood. He reaches toward a dove bearing an olive branch, a sign of life restored. Below that is a golden seed, nurtured by life-giving waters and breaking open to new life. The message written on the seed ties together and makes sense of the two outer windows: "As often as you did it to one of these, the least of my brothers or sisters, you did it to me."(Matthew 25:40)

Chapel

The cathedral chapel is home to an altarpiece by Florentine artist Neri di Bicci, dating to 1456. It represents the Madonna and Child surrounded by six saints including St. Luke, the physician (with an ox), St. Bartholomew (with the knife used to flay him), St. Lawrence, the Deacon (with the grill on which he was martyred and a palm signifying a martyr's victory), St. John the Baptist (who in the painting is depicted proclaiming "Ecce Agnus Dei," "Behold the Lamb of God"), St. Martin, 4th century Bishop of Tours, and St. Sebastian, Roman martyr put to death by arrows. This subject, common in Renaissance art, is known as a sacra conversazione, a "holy conversation," as saints of many different times and places are imagined in "conversation" with Mary and Jesus. The painting underwent a major restoration in 2005 at the Seattle Art Museum, where it was featured as the centerpiece of an exhibit on devotional art of the Renaissance. The original provenance of the painting, and how it came to St. James cathedral, is unknown, although it once hung in the cathedral's baptistery (now the Reconciliation Chapel) until it was moved to the cathedral chapel in 1950.

Priests

1906–1910 – Monsignor Daniel A. Hanly
1910–1919 – Monsignor William J. Noonan
1919–1935 – Monsignor James G. Stafford
1935–1943 – Father William Henry O'Neill
1943–1954 – Father John Gallagher
1955–1973 – Bishop Thomas E. Gill
1973–1988 – Father William E. Gallagher
1988–present – Very Rev. Michael G. Ryan

See also
List of Catholic cathedrals in the United States
List of cathedrals in the United States

References

External links

Official Cathedral Site
Roman Catholic Archdiocese of Seattle Official Site
 Interior and exterior photographs on Flickr: 1, 2, 3, 4

James Seattle
Landmarks in Seattle
Roman Catholic churches completed in 1907
Roman Catholic churches in Washington (state)
Roman Catholic Archdiocese of Seattle
Roman Catholic churches in Seattle
First Hill, Seattle
1907 establishments in Washington (state)
20th-century Roman Catholic church buildings in the United States

St. James Cathedral (Seattle)


The Four-Step Impact Assessment is an academic framework initiated and published by Jonathan Mann and colleagues at the François-Xavier Bagnoud Center for Health and Human Rights at the Harvard School of Public Health. The assessment takes into account the negotiation of objectives between human rights and public health. Such an approach takes into account a measure of each discipline's respective overlap to expose infringement of goals. Such infringement or confluence can be mapped out in what Mann and colleagues proposed in a 2 by 2 table, as illustrated below.

Assessment
The Four-Step Impact Assessment:

 To what extent does the proposed policy or program represent "good public health"?
 Is the proposed policy or program respectful and protective of human rights?
 How can we achieve the best possible combination of public health and human rights quality?
 How serious is the public health problem?
 Is the proposed response likely to be effective?
 What are the severity, scope and duration of the burdens on human rights resulting from the proposed policy or program?
 To what extent is the proposed policy or program restrictive and intrusive?
 Is the proposed policy or program over inclusive or under inclusive?
 What procedural safeguards are included in the proposed policy or program?
 Will the proposed policy or program be periodically reviewed to assess both its public health effectiveness and its impact on human rights? Identify specific changes to the proposed policy or program that increase its human rights and/or public health quality while maintaining (or even strengthening) its public health effectiveness.
  Finally, does the proposed policy or program (as revised) still appear to be the optimal approach to the public health problem?

As a way to visualize the intersection of both health and human rights, this table places Human Rights Quality on the Y-axis, and Public Health Quality on the X-axis. The levels or rank of both measures are graphically displayed at some point in the cartesian plane. The organizations that jointly supported this framework consisted of Mann's Francois Xavier Bagnoud Center for Health and Human Rights, the International Federation of Red Cross, and Red Crescent Societies.

Background and development

Mann was a central advocate of combining the synergistic forces of public health, ethics and human rights. He theorized and actively promoted the idea that human health and human rights are integrally and inextricably connected, arguing that these fields overlap in their respective philosophies and objectives to improve health, well-being, and to prevent premature death.

In his work, Mann proposed a three-pronged approach that has appropriately acted as a fundamental explanation of the relationship between health and human rights. First, health is a human rights issue. Secondly (and conversely), human rights are a health issue. Human rights violations result in adverse health effects. Thirdly, linkages exist between health and human rights (a hypothesis to be rigorously tested). Literature substantiates the effects of the first two points, but Mann and colleagues proceeded to call for the validation of the third point and challenged the world to practice it. With this framework, Mann attempted to bridge a perceived gap of philosophies, correspondence and vocabulary, education and training, recruitment, and work methods between the disciplines of bioethics, jurisprudence, public health law and epidemiology. Furthermore, Mann knew that the history of "conflictual relationships" between officials of public health and civil liberties workers presented challenges to the pursuit of what he called a "powerful" confluence of health and human rights – a positive approach.4 While conflict between disciplines exists, Mann thought it important to first raise awareness of these challenges. In the spirit of negotiation and acting as mediator, Mann pointed out that such an intersection of fields can only benefit if a common ground in philosophies is uncovered and planted with a flag of cooperation.

References

Notes
 Marks SP. Jonathan Mann's legacy to the 21st century: The human rights imperative for public health. JLME suppl 29. 2000:131–138.
 igon-Borden L. Biography: Dr. Jonathan Mann: champion for human rights in the fight against AIDS Seminars in Pediatric Infectious Diseases. Pediatric HIV Infections in the HAART Era. 2003. 14(4):314-22.
 Campbell C. Prostitution, AIDS, and preventive health behavior. Sm Sci Med. 1991. 32(12):1367-78.
 Institute of Medicine. Future of public health. Washington DC: National Academy Press, 1988:1-7.
 Universal Declaration of Human Rights. JAMA. 1998. 280(5):469-70.

Impact assessment
Public health

Four-step impact assessment


The words Karaite and Qaraite are very confusing and can be used about a few different things:

1) There are some groups of people (whose ancestors came from Central Asia) who have been called Karaite people and the languages of some of these groups of people have also been called Karaite languages. Their ancestors were a type of Christian from the Church of the East sometimes also called Keraites. Many Karaite people say that the word Karaite means "black" in the Turco-Mongol language of their ancestors. That is a traditional Central Asian way to say they were originally from the Northern Turkic tribes.

2) There are also Qaraite people who are mainly Turkic and related to the Karaite people but the Qaraite people mainly converted to Islam. Most people say their name also means "black" but some of these Qaraite people themselves say their name actually comes from an Arabic word for someone good at reading the Quran.

3) There is also a type of Judaism commonly called Karaite Judaism. More accurately it should be spelled in English with a Q not a K, so it should be Qaraite, but Karaite is a more common spelling. In Judaism the word Karaite comes from a Hebrew word meaning "to call out". This Jewish word has a completely different origin from the name used by the Karaite people and Qaraite people. Both words look the same by accident only in English. People who practice Karaite Judaism are called Karaite Jews. In Judaism the term Karaite Language refers to Hebrew.

4) Some Russian Christians -including some of the western groups of the Karaite people- took many ideas from Karaite Judaism but they did not completely give up on Jesus. They became Russian Sabbatarians. They are also called Russian Karaites and Karaite Sabbatarians but there is a big argument about why they are called Karaite. Is it because of their religion? Or is it because some of them descended from the Karaite people or Qaraite people? It seems impossible to know.

Karaite


ʻAbdu'l-Bahá (; Persian: , 23 May 1844 – 28 November 1921), born ʻAbbás (), was the eldest son of Bahá'u'lláh and served as head of the Bahá'í Faith from 1892 until 1921. ʻAbdu'l-Bahá was later canonized as the last of three "central figures" of the religion, along with Bahá'u'lláh and the Báb, and his writings and authenticated talks are regarded as sources of Bahá'í sacred literature.

He was born in Tehran to an aristocratic family. At the age of eight his father was imprisoned during a government crackdown on the Bábí Faith and the family's possessions were looted, leaving them in virtual poverty. His father was exiled from their native Iran, and the family went to live in Baghdad, where they stayed for nine years. They were later called by the Ottoman state to Istanbul before going into another period of confinement in Edirne and finally the prison-city of ʻAkká (Acre). ʻAbdu'l-Bahá remained a political prisoner there until the Young Turk Revolution freed him in 1908 at the age of 64. He then made several journeys to the West to spread the Bahá'í message beyond its middle-eastern roots, but the onset of World War I left him largely confined to Haifa from 1914 to 1918. The war replaced the openly hostile Ottoman authorities with the British Mandate, who appointed him a Knight Commander of the Order of the British Empire for his help in averting famine following the war.

In 1892, ʻAbdu'l-Bahá was appointed in his father's will to be his successor and head of the Bahá'í Faith. He faced opposition from virtually all his family members, but held the loyalty of the great majority of Bahá'ís around the world. His Tablets of the Divine Plan helped galvanize Bahá'ís in North America into spreading the Bahá'í teachings to new territories, and his Will and Testament laid the foundation for the current Bahá'í administrative order. Many of his writings, prayers and letters are extant, and his discourses with the Western Bahá'ís emphasize the growth of the religion by the late 1890s.

ʻAbdu'l-Bahá's given name was ʻAbbás. Depending on context, he would have gone by either Mírzá ʻAbbás (Persian) or ʻAbbás Effendi (Turkish), both of which are equivalent to the English Sir ʻAbbás. He preferred the title of ʻAbdu'l-Bahá ("servant of Bahá", a reference to his father). He is commonly referred to in Bahá'í texts as "The Master".

Early life

ʻAbdu'l-Bahá was born in Tehran, Persia (now Iran) on 23 May 1844 (5th of Jamadiyu'l-Avval, 1260 AH), the eldest son of Bahá'u'lláh and Navváb. He was born on the very same night on which the Báb declared his mission. Born with the given name of ʻAbbás, he was named after his grandfather Mírzá ʻAbbás Núrí, a prominent and powerful nobleman. As a child, ʻAbdu'l-Bahá was shaped by his father's position as a prominent Bábí. He recalled how he met the Bábí Táhirih and how she would take "me on to her knee, caress me, and talk to me. I admired her most deeply". ʻAbdu'l-Bahá had a happy and carefree childhood. The family's Tehran home and country houses were comfortable and beautifully decorated. ʻAbdu'l-Bahá enjoyed playing in the gardens with his younger sister with whom he was very close. Along with his younger siblings – a sister, Bahíyyih, and a brother, Mihdí – the three lived in an environment of privilege, happiness and comfort.  During his young childhood ʻAbdu'l-Bahá witnessed his parents' various charitable endeavours, which included converting part of the home to a hospital ward for women and children.

With most of his life was spent in exile and prison, there was little chance for normal schooling. Even when younger, it was customary not to send children of nobility to schools. Most noblemen were educated at home briefly in scripture, rhetoric, calligraphy and basic mathematics. Many were educated to prepare themselves for life in the royal court. Despite a brief spell at a traditional preparatory school at the age of seven for one year, ʻAbdu'l-Bahá received no formal education. As he grew he was educated by his mother, and uncle. Most of his education however, came from his father. Years later in 1890 Edward Granville Browne described how ʻAbdu'l-Bahá was "one more eloquent of speech, more ready of argument, more apt of illustration, more intimately acquainted with the sacred books of the Jews, the Christians, and the Muhammadans...scarcely be found even amongst the eloquent."

According to contemporary accounts, ʻAbdu'l-Bahá was an eloquent and charming child. When ʻAbdu'l-Bahá was seven, he contracted tuberculosis and was expected to die. Though the malady faded away, he would be plagued with bouts of illness for the rest of his life.

One event that affected ʻAbdu'l-Bahá greatly during his childhood was the imprisonment of his father when ʻAbdu'l-Bahá was eight years old; the imprisonment led to his family being reduced to poverty and being attacked in the streets by other children. ʻAbdu'l-Bahá accompanied his mother to visit Bahá'u'lláh who was then imprisoned in the infamous subterranean dungeon the Síyáh-Chál. He described how "I saw a dark, steep place. We entered a small, narrow doorway, and went down two steps, but beyond those one could see nothing. In the middle of the stairway, all of a sudden we heard His [Bahá'u'lláh's]…voice: 'Do not bring him in here', and so they took me back".

Baghdad

Bahá'u'lláh was eventually released from prison, but ordered into exile, and ʻAbdu'l-Bahá, then eight years old, joined his father on the journey to Baghdad in the winter (January to April) of 1853. During the journey ʻAbdu'l-Bahá suffered from frost-bite. After a year of difficulties Bahá'u'lláh absented himself rather than continue to face the conflict with Mirza Yahya and secretly secluded himself in the mountains of Sulaymaniyah in April 1854 a month before ʻAbdu'l-Bahá's tenth birthday. Mutual sorrow resulted in him, his mother and sister becoming constant companions. ʻAbdu'l-Bahá was particularly close to both, and his mother took active participation in his education and upbringing. During the two-year absence of his father ʻAbdu'l-Bahá took up the duty of managing the affairs of the family, before his age of maturity (14 in middle-eastern society) and was known to be occupied with reading and, at a time of hand-copied scriptures being the primary means of publishing, was also engaged in copying the writings of the Báb. ʻAbdu'l-Bahá also took an interest in the art of horse riding and, as he grew, became a renowned rider.

In 1856, news of an ascetic carrying on discourses with local Súfí leaders that seemed to possibly be Bahá'u'lláh reached the family and friends. Immediately, family members and friends went to search for the elusive dervish – and in March brought Bahá'u'lláh back to Baghdad. On seeing his father, ʻAbdu'l-Bahá fell to his knees and wept loudly "Why did you leave us?", and this followed with his mother and sister doing the same. ʻAbdu'l-Bahá soon became his father's secretary and shield. During the sojourn in the city ʻAbdu'l-Bahá grew from a boy into a young man. He was noted as a "remarkably fine looking youth", and remembered for his charity. Having passed the age of maturity ʻAbdu'l-Bahá was regularly seen in the mosques of Baghdad discussing religious topics and the scripture as a young man. Whilst in Baghdad, ʻAbdu'l-Bahá composed a commentary at the request of his father on the Muslim tradition of "I was a Hidden Treasure" for a Súfí leader named ʻAlí Shawkat Páshá. ʻAbdu'l-Bahá was fifteen or sixteen at the time and ʻAlí Shawkat Páshá regarded the more than 11,000-word essay as a remarkable feat for somebody of his age. In 1863, in what became known as the Garden of Ridván, his father Bahá'u'lláh announced to a few that he was the manifestation of God and He whom God shall make manifest whose coming had been foretold by the Báb. On day eight of the twelve days, it is believed ʻAbdu'l-Bahá was the first person Bahá'u'lláh revealed his claim to.

Istanbul/Adrianople

In 1863, Bahá'u'lláh was summoned to Istanbul, and thus his family, including ʻAbdu'l-Bahá, then eighteen, accompanied him on his 110-day journey. The journey to Constantinople was another wearisome journey, and ʻAbdu'l-Bahá helped feed the exiles. It was here that his position became more prominent amongst the Bahá'ís. This was further solidified by Bahá'u'lláh's tablet of the Branch in which he constantly exalts his son's virtues and station. The family were soon exiled to Adrianople and ʻAbdu'l-Bahá went with the family. ʻAbdu'l-Bahá again suffered from frostbite.

In Adrianople ʻAbdu'l-Bahá was regarded as the sole comforter of his family – in particular to his mother. At this point ʻAbdu'l-Bahá was known by the Bahá'ís as "the Master", and by non-Bahá'ís as ʻAbbás Effendi ("Effendi" signifies "Sir"). It was in Adrianople that Bahá'u'lláh referred to his son as "the Mystery of God". The title of "Mystery of God" symbolises, according to Bahá'ís, that ʻAbdu'l-Bahá is not a manifestation of God but how a "person of ʻAbdu'l-Bahá the incompatible characteristics of a human nature and superhuman knowledge and perfection have been blended and are completely harmonized". Bahá'u'lláh gave his son many other titles such as G͟husn-i-Aʻzam (meaning "Mightiest Branch" or "Mightier Branch"), the "Branch of Holiness", "the Center of the Covenant" and the apple of his eye. ʻAbdu'l-Bahá ("the Master") was devastated when hearing the news that he and his family were to be exiled separately from Bahá'u'lláh. It was, according to Bahá'ís, through his intercession that the idea was reverted and the family were allowed to be exiled together.

ʻAkká

At the age of 24, ʻAbdu'l-Bahá was clearly chief-steward to his father and an outstanding member of the Bahá'í community. Bahá'u'lláh and his family were – in 1868 – exiled to the penal colony of Acre, Palestine where it was expected that the family would perish. Arrival in ʻAkká was distressing for the family and exiles. They were greeted in a hostile manner by the surrounding population and his sister and father fell dangerously ill. When told that the women were to sit on the shoulders of the men to reach the shore, ʻAbdu'l-Bahá took a chair and carried the women to the bay of ʻAkká. ʻAbdu'l-Bahá was able to procure some anesthetic and nursed the sick. The Bahá'ís were imprisoned under horrendous conditions in a cluster of cells covered in excrement and dirt. ʻAbdu'l-Bahá himself fell dangerously ill with dysentery, however a sympathetic soldier permitted a physician to help cure him. The population shunned them, the soldiers treated them the same, and the behaviour of Siyyid Muhammad-i-Isfahani (an Azali) did not help matters. Morale was further destroyed with the accidental death of ʻAbdu'l-Bahá's youngest brother Mírzá Mihdí at the age of 22. The grieving ʻAbdu'l-Bahá kept a night-long vigil beside his brother's body.

Later in ʻAkká

Over time, he gradually took over responsibility for the relationships between the small Bahá'í exile community and the outside world. It was through his interaction with the people of ʻAkká (Acre) that, according to the Bahá'ís, they recognized the innocence of the Bahá'ís, and thus the conditions of imprisonment were eased. Four months after the death of Mihdí the family moved from the prison to the House of ʻAbbúd. The people of ʻAkká started to respect the Bahá'ís and in particular, ʻAbdu'l-Bahá. ʻAbdu'l-Bahá was able to arrange for houses to be rented for the family, the family later moved to the Mansion of Bahjí around 1879 when an epidemic caused the inhabitants to flee.

ʻAbdu'l-Bahá soon became very popular in the penal colony and Myron Henry Phelps a wealthy New York lawyer described how "a crowd of human beings...Syrians, Arabs, Ethiopians, and many others", all waited to talk and receive ʻAbdu'l-Bahá. He undertook a history of the Bábí religion through publication of A Traveller's Narrative (Makála-i-Shakhsí Sayyáh) in 1886, later translated and published in translation in 1891 through Cambridge University by the agency of Edward Granville Browne.

Marriage and family life

When ʻAbdu'l-Bahá was a young man, speculation was rife amongst the Bahá'ís to whom he would marry. Several young girls were seen as marriage prospects but ʻAbdu'l-Bahá seemed disinclined to marriage. On 8 March 1873, at the urging of his father, the twenty-eight-year-old ʻAbdu'l-Bahá married Fátimih Nahrí of Isfahán (1847–1938) a twenty-five-year-old from an upper-class family of the city. Her father was Mírzá Muḥammad ʻAlí Nahrí of Isfahan an eminent Bahá'í with prominent connections. Fátimih was brought from Persia to ʻAkká after both Bahá'u'lláh and his wife Navváb expressed an interest in her to marry ʻAbdu'l-Bahá. After a wearisome journey from Isfahán to Akka she finally arrived accompanied by her brother in 1872. The young couple were betrothed for about five months before the marriage itself commenced. In the meantime, Fátimih lived in the home of ʻAbdu'l-Bahá's uncle Mírzá Músá. According to her later memoirs, Fátimih fell in love with ʻAbdu'l-Bahá on seeing him. ʻAbdu'l-Bahá himself had showed little inkling to marriage until meeting Fátimih; who was entitled Munírih by Bahá'u'lláh. Munírih is a title meaning "Luminous".

The marriage resulted in nine children. The first born was a son Mihdí Effendi who died aged about 3. He was followed by Ḍíyá'íyyih K͟hánum, Fu'ádíyyih K͟hánum (d. few years old), Rúhangíz Khánum (d. 1893), Túbá Khánum, Husayn Effendi (d.1887 aged 5), Túbá K͟hánum, Rúhá K͟hánum (mother of Munib Shahid), and Munnavar K͟hánum. The death of his children caused ʻAbdu'l-Bahá immense grief – in particular the death of his son Husayn Effendi came at a difficult time following the death of his mother and uncle. The surviving children (all daughters) were; Ḍíyá'íyyih K͟hánum (mother of Shoghi Effendi) (d. 1951) Túbá K͟hánum (1880–1959) Rúḥá K͟hánum and Munavvar K͟hánum (d. 1971). Bahá'u'lláh wished that the Bahá'ís follow the example of ʻAbdu'l-Bahá and gradually move away from polygamy. The marriage of ʻAbdu'l-Bahá to one woman and his choice to remain monogamous, from advice of his father and his own wish, legitimised the practice of monogamy to a people who hitherto had regarded polygamy as a righteous way of life.

Early years of his ministry

After Bahá'u'lláh died on 29 May 1892, the Will and Testament of Bahá'u'lláh named ʻAbdu'l-Bahá as Centre of the Covenant, successor and interpreter of Bahá'u'lláh's writings.

Bahá'u'lláh designates his successor with the following verses:

This translation of the Kitáb-i-ʻAhd is based on a solecism, however, as the terms Akbar and Aʻzam do not mean, respectively, 'Greater' and 'Most Great'. Not only do the two words derive from entirely separate triconsonantal roots (Akbar from k-b-r and Aʻzam from ʻ-z-m), but the Arabic language possesses the elative, a stage of gradation, with no clear distinction between the comparative and superlative. In the Will and Testament ʻAbdu'l-Bahá's half-brother, Muhammad ʻAlí, was mentioned by name as being subordinate to ʻAbdu'l-Bahá. Muhammad ʻAlí became jealous of his half-brother and set out to establish authority for himself as an alternative leader with the support of his brothers Badiʻu'llah and Ḍíyá'u'llah. He began correspondence with Bahá'ís in Iran, initially in secret, casting doubts in others' minds about ʻAbdu'l-Bahá. While most Bahá'ís followed ʻAbdu'l-Bahá, a handful followed Muhammad ʻAlí including such leaders as Mirza Javad and Ibrahim George Kheiralla, an early Bahá'í missionary to America.

Muhammad ʻAlí and Mirza Javad began to openly accuse ʻAbdu'l-Bahá of taking on too much authority, suggesting that he believed himself to be a Manifestation of God, equal in status to Bahá'u'lláh. It was at this time that ʻAbdu'l-Bahá, to provide proof of the falsity of the accusations leveled against him, in tablets to the West, stated that he was to be known as "ʻAbdu'l-Bahá" an Arabic phrase meaning the Servant of Bahá to make it clear that he was not a Manifestation of God, and that his station was only servitude. ʻAbdu'l-Bahá left a Will and Testament that set up the framework of administration. The two highest institutions were the Universal House of Justice, and the Guardianship, for which he appointed Shoghi Effendi as the Guardian. With the exception of ʻAbdu'l-Bahá and Shoghi Effendi, Muhammad ʻAlí was supported by all of the remaining male relatives of Bahá'u'lláh, including Shoghi Effendi's father, Mírzá Hádí Shírází. However Muhammad ʻAlí's and his families statements had very little effect on the Bahá'ís in general – in the ʻAkká area, the followers of Muhammad ʻAlí represented six families at most, they had no common religious activities, and were almost wholly assimilated into Muslim society.

First Western pilgrims

By the end of 1898, Western pilgrims started coming to Akka on pilgrimage to visit ʻAbdu'l-Bahá; this group of pilgrims, including Phoebe Hearst, was the first time that Bahá'ís raised up in the West had met ʻAbdu'l-Bahá. The first group arrived in 1898 and throughout late 1898 to early 1899 Western Bahá'ís sporadically visited ʻAbdu'l-Bahá. The group was relatively young containing mainly women from high American society in their 20s. The group of Westerners aroused suspicion for the authorities, and consequently ʻAbdu'l-Bahá's confinement was tightened. During the next decade ʻAbdu'l-Bahá would be in constant communication with Bahá'ís around the world, helping them to teach the religion; the group included May Ellis Bolles in Paris, Englishman Thomas Breakwell, American Herbert Hopper, French , Susan Moody, Lua Getsinger, and American Laura Clifford Barney. It was Laura Clifford Barney who, by asking questions of ʻAbdu'l-Bahá over many years and many visits to Haifa, compiled what later became the book Some Answered Questions.

Ministry, 1901–1912

During the final years of the 19th century, while ʻAbdu'l-Bahá was still officially a prisoner and confined to ʻAkka, he organized the transfer of the remains of the Báb from Iran to Palestine. He then organized the purchase of land on Mount Carmel that Bahá'u'lláh had instructed should be used to lay the remains of the Báb, and organized for the construction of the Shrine of the Báb. This process took another 10 years. With the increase of pilgrims visiting ʻAbdu'l-Bahá, Muhammad ʻAlí worked with the Ottoman authorities to re-introduce stricter terms on ʻAbdu'l-Bahá's imprisonment in August 1901. By 1902, however, due to the Governor of ʻAkka being supportive of ʻAbdu'l-Bahá, the situation was greatly eased; while pilgrims were able to once again visit ʻAbdu'l-Bahá, he was confined to the city. In February 1903, two followers of Muhammad ʻAlí, including Badiʻu'llah and Siyyid ʻAliy-i-Afnan, broke with Muhammad ʻAli and wrote books and letters giving details of Muhammad ʻAli's plots and noting that what was circulating about ʻAbdu'l-Bahá was fabrication.

From 1902 to 1904, in addition to the building of the Shrine of the Báb that ʻAbdu'l-Bahá was directing, he started to put into execution two different projects; the restoration of the House of the Báb in Shiraz, Iran and the construction of the first Bahá'í House of Worship in Ashgabat, Turkmenistan. ʻAbdu'l-Bahá asked Aqa Mirza Aqa to coordinate the work so that the house of the Báb would be restored to the state that it was at the time of the Báb's declaration to Mulla Husayn in 1844; he also entrusted the work on the House of Worship to Vakil-u'd-Dawlih.

During this period, ʻAbdu'l-Bahá communicated with a number of Young Turks, opposed to the reign of Sultan Abdul Hamid II, including Namık Kemal, Ziya Pasha and Midhat Pasha, in an attempt to disseminate Bahá'í thought into their political ideology. He emphasized Bahá'ís "seek freedom and love liberty, hope for equality, are well-wishers of humanity and ready to sacrifice their lives to unite humanity" but on a more broad approach than the Young Turks. Abdullah Cevdet, one of the founders of the Committee of Union and Progress who considered the Bahá'í Faith an intermediary step between Islam and the ultimate abandonment of religious belief, would go on trial for defense of Bahá'ís in a periodical he founded.

'Abdu'l-Bahá also had contact with military leaders as well, including such individuals as Bursalı Mehmet Tahir Bey and Hasan Bedreddin. The latter, who was involved in the overthrow of Sultan Abdülaziz, is commonly known as Bedri Paşa or Bedri Pasha and is referred to in Persian Bahá'í sources as Bedri Bey (Badri Beg). He was a Bahá'í who translated 'Abdu'l-Baha's works into French.

ʻAbdu'l-Bahá also met Muhammad Abduh, one of the key figures of Islamic Modernism and the Salafi movement, in Beirut, at a time when the two men were both opposed to the Ottoman ulama and shared similar goals of religious reform. Rashid Rida asserts that during his visits to Beirut, ʻAbdu'l-Bahá would attend Abduh's study sessions. Regarding the meetings of ʻAbdu'l-Bahá and Muhammad ʻAbduh, Shoghi Effendi asserts that "His several interviews with the well-known Shaykh Muhammad ʻAbdu served to enhance immensely the growing prestige of the community and spread abroad the fame of its most distinguished member."

Due to ʻAbdu'l-Bahá's political activities and alleged accusation against him by Muhammad ʻAli, a Commission of Inquiry interviewed ʻAbdu'l-Bahá in 1905, with the result that he was almost exiled to Fezzan. In response, ʻAbdu'l-Bahá wrote the sultan a letter protesting that his followers refrain from involvement in partisan politics and that his tariqa had guided many Americans to Islam. The next few years in ʻAkka were relatively free of pressures and pilgrims were able to come and visit ʻAbdu'l-Bahá. By 1909 the mausoleum of the Shrine of the Báb was completed.

Journeys to the West

The 1908 Young Turks revolution freed all political prisoners in the Ottoman Empire, and ʻAbdu'l-Bahá was freed from imprisonment. His first action after his freedom was to visit the Shrine of Bahá'u'lláh in Bahji. While ʻAbdu'l-Bahá continued to live in ʻAkka immediately following the revolution, he soon moved to live in Haifa near the Shrine of the Báb. In 1910, with the freedom to leave the country, he embarked on a three-year journey to Egypt, Europe, and North America, spreading the Bahá'í message.

From August to December 1911, ʻAbdu'l-Bahá visited cities in Europe, including London, Bristol, and Paris. The purpose of these trips was to support the Bahá'í communities in the west and to further spread his father's teachings.

In the following year, he undertook a much more extensive journey to the United States and Canada to once again spread his father's teachings. He arrived in New York City on 11 April 1912, after declining an offer of passage on the RMS Titanic, telling the Bahá'í believers, instead, to "Donate this to charity." He instead travelled on a slower craft, the RMS Cedric, and cited preference of a longer sea journey as the reason. After hearing of the Titanic's sinking on 16 April he was quoted as saying "I was asked to sail upon the Titanic, but my heart did not prompt me to do so." While he spent most of his time in New York, he visited Chicago, Cleveland, Pittsburgh, Washington, D.C., Boston and Philadelphia. In August of the same year he started a more extensive journey to places including New Hampshire, the Green Acre school in Maine, and Montreal (his only visit to Canada). He then travelled west to Minneapolis, San Francisco, Stanford, and Los Angeles before starting to return east at the end of October. On 5 December 1912 he set sail back to Europe.

During his visit to North America he visited many missions, churches, and groups, as well as having scores of meetings in Bahá'ís' homes, and offering innumerable personal meetings with hundreds of people. During his talks he proclaimed Bahá'í principles such as the unity of God, unity of the religions, oneness of humanity, equality of women and men, world peace and economic justice. He also insisted that all his meetings be open to all races.

His visit and talks were the subject of hundreds of newspaper articles. In Boston newspaper reporters asked ʻAbdu'l-Bahá why he had come to America, and he stated that he had come to participate in conferences on peace and that just giving warning messages is not enough. ʻAbdu'l-Bahá's visit to Montreal provided notable newspaper coverage; on the night of his arrival the editor of the Montreal Daily Star met with him and that newspaper along with The Montreal Gazette, Montreal Standard,  and  among others reported on ʻAbdu'l-Bahá's activities. The headlines in those papers included "Persian Teacher to Preach Peace", "Racialism Wrong, Says Eastern Sage, Strife and War Caused by Religious and National Prejudices", and "Apostle of Peace Meets Socialists, Abdul Baha's Novel Scheme for Distribution of Surplus Wealth." The Montreal Standard, which was distributed across Canada, took so much interest that it republished the articles a week later; the Gazette published six articles and Montreal's largest French language newspaper published two articles about him. His 1912 visit to Montreal also inspired humourist Stephen Leacock to parody him in his bestselling 1914 book Arcadian Adventures with the Idle Rich. In Chicago one newspaper headline included "His Holiness Visits Us, Not Pius X but A. Baha," and ʻAbdu'l-Bahá's visit to California was reported in the Palo Altan.

Back in Europe, he visited London, Edinburgh, Paris (where he stayed for two months), Stuttgart, Budapest, and Vienna. Finally, on 12 June 1913, he returned to Egypt, where he stayed for six months before returning to Haifa.

On 23 February 1914, at the eve of World War I, ʻAbdu'l-Bahá hosted Baron Edmond James de Rothschild, a member of the Rothschild banking family who was a leading advocate and financier of the Zionist movement, during one of his early trips to Palestine.

Final years (1914–1921)

During World War I (1914–1918) ʻAbdu'l-Bahá stayed in Palestine and was unable to travel. He carried on a limited correspondence, which included the Tablets of the Divine Plan, a collection of 14 letters addressed to the Bahá'ís of North America, later described as one of three "charters" of the Bahá'í Faith. The letters assign a leadership role for the North American Bahá'ís in spreading the religion around the planet.

Haifa was under real threat of Allied bombardment, enough that ʻAbdu'l-Bahá and other Bahá'ís temporarily retreated to the hills east of ʻAkka.

ʻAbdu'l-Bahá was also under threats from Cemal Paşa, the Ottoman military chief who at one point expressed his desire to crucify him and destroy Bahá'í properties in Palestine. The swift Megiddo offensive of the British General Allenby swept away the Turkish forces in Palestine before harm was done to the Bahá'ís, and the war was over less than two months later.

Post-war period

The conclusion of World War I led to the openly hostile Ottoman authorities being replaced by the more friendly British Mandate, allowing for a renewal of correspondence, pilgrims, and development of the Bahá'í World Centre properties. It was during this revival of activity that the Bahá'í Faith saw an expansion and consolidation in places like Egypt, the Caucasus, Iran, Turkmenistan, North America and South Asia under the leadership of ʻAbdu'l-Bahá.

The end of the war brought about several political developments that ʻAbdu'l-Bahá commented on. The League of Nations formed in January 1920, representing the first instance of collective security through a worldwide organization. ʻAbdu'l-Bahá had written in 1875 for the need to establish a "Union of the nations of the world", and he praised the attempt through the League of Nations as an important step towards the goal. He also said that it was "incapable of establishing Universal Peace" because it did not represent all nations and had only trivial power over its member states. Around the same time, the British Mandate supported the ongoing immigration of Jews to Palestine. ʻAbdu'l-Bahá mentioned the immigration as a fulfillment of prophecy, and encouraged the Zionists to develop the land and "elevate the country for all its inhabitants... They must not work to separate the Jews from the other Palestinians."

The war also left the region in famine. In 1901, ʻAbdu'l-Bahá had purchased about 1704 acres of scrubland near the Jordan river and by 1907 many Bahá'ís from Iran had begun sharecropping on the land. ʻAbdu'l-Bahá received between 20 and 33% of their harvest (or cash equivalent), which was shipped to Haifa. With the war still raging in 1917, ʻAbdu'l-Bahá received a large amount of wheat from the crops, and also bought other available wheat and shipped it all back to Haifa. The wheat arrived just after the British captured Palestine, and as such was allowed to be widely distributed to allay the famine. For this service in averting a famine in Northern Palestine he received the honour of Knight Commander of the Order of the British Empire at a ceremony held in his honor at the home of the British Governor on 27 April 1920. He was later visited by General Allenby, King Faisal (later King of Iraq), Herbert Samuel (High Commissioner for Palestine), and Ronald Storrs (Military Governor of Jerusalem).

Death and funeral

ʻAbdu'l-Bahá died on Monday, 28 November 1921, sometime after 1:15 a.m. (27th of Rabi' al-awwal, 1340 AH).

Then Colonial Secretary Winston Churchill telegraphed the High Commissioner for Palestine, "convey to the Bahá'í Community, on behalf of His Majesty's Government, their sympathy and condolescence." Similar messages came from Viscount Allenby, the Council of Ministers of Iraq, and others.

On his funeral, which was held the next day, Esslemont notes:

Among the talks delivered at the funeral, Shoghi Effendi records Stewart Symes giving the following tribute:

He was buried in the front room of the Shrine of the Báb on Mount Carmel. His interment there is meant to be temporary, until his own mausoleum can be built in the vicinity of Riḍván Garden, known as the Shrine of ʻAbdu'l-Bahá.

Legacy

ʻAbdu'l-Bahá left a Will and Testament that was originally written between 1901 and 1908 and addressed to Shoghi Effendi, who at that time was only 4–11 years old. The will appoints Shoghi Effendi as the first in a line of Guardians of the religion, a hereditary executive role that may provide authoritative interpretations of scripture. ʻAbdu'l-Bahá directed all Bahá'ís to turn to him and obey him, and assured him of divine protection and guidance. The will also provided a formal reiteration of his teachings, such as the instructions to teach, manifest spiritual qualities, associate with all people, and shun Covenant-breakers. Many obligations of the Universal House of Justice and the Hands of the Cause were also elaborated. Shoghi Effendi later described the document as one of three "charters" of the Bahá'í Faith.

The authenticity and provisions of the will were almost universally accepted by Bahá'ís around the world, with the exception of Ruth White and a few other Americans who tried to protest Shoghi Effendi's leadership.

In volumes of The Bahá'í World published in 1930 and 1933, Shoghi Effendi named nineteen Bahá'ís as disciples of ʻAbdu'l-Bahá and heralds of the Covenant, including Thornton Chase, , John Esslemont, Lua Getsinger, and Robert Turner. No other statements about them have been found in Shoghi Effendi's writings.

During his lifetime there was some ambiguity among Bahá'ís as to his station relative to Bahá'u'lláh, and later to Shoghi Effendi. Some American newspapers reported him to be a Bahá'í prophet or the return of Christ. Shoghi Effendi later formalized his legacy as the last of three "Central Figures" of the Bahá'í Faith and the "Perfect exemplar" of the teachings, also claiming that holding him on an equal status to Bahá'u'lláh or Jesus was heretical. Shoghi Effendi also wrote that during the anticipated Bahá'í dispensation of 1000 years there will be no equal to ʻAbdu'l-Bahá.

Appearance and personality

ʻAbdu'l-Bahá was described as handsome, and bore striking resemblance to his mother. As an adult he reached medium height but he gave the impression of being taller. He had dark hair that flowed to his shoulders, grey coloured eyes, a fair complexion and an aquiline nose. In 1890, Orientalist Edward Granville Browne met him and wrote:

After the death of Bahá'u'lláh, ʻAbdu'l-Bahá began to visibly age. By the late 1890s his hair had turned snow-white and deep lines set on his face. As a young man he was athletic and enjoyed archery, horseback riding and swimming. Even later in his life ʻAbdu'l-Bahá remained active going for long walks in Haifa and Acre.

ʻAbdu'l-Bahá was a major presence for the Bahá'ís during his lifetime, and he continues to influence the Bahá'í community today. Bahá'ís regard 'Abdu'l-Bahá as the perfect example of the teachings of his father and therefore strive to emulate him. Anecdotes about him are frequently used to illustrate particular points about morality and interpersonal relations. He was remembered for his charisma, compassion, philanthropy and strength in the face of suffering. John Esslemont reflected that "['Abdu'l-Bahá] showed that it is still possible, amid the whirl and rush of modern life, amid the self-love and struggle for material prosperity that everywhere prevail, to live the life of entire devotion to God and to the service of one's fellows."

Even ardent enemies of the Bahá'í Faith were on occasion taken by meeting him. Mírzá 'Abdu'l-Muḥammad Írání Mu'addibu's-Sulṭán, an Iranian, and Shaykh 'Alí Yúsuf, an Arab, were both newspaper editors in Egypt who had published harsh attacks on the Bahá'í Faith in their papers. They called on 'Abdu'l-Bahá when he was in Egypt and their attitude changed. Similarly, a Christian clergyman, Rev. J.T. Bixby, who was the author of a hostile article on the Bahá'í Faith in the United States, felt compelled to witness Abdu'l-Bahá's personal qualities. The effect of 'Abdu'l-Bahá on those who were already committed Bahá'ís was greater still.

ʻAbdu'l-Bahá was widely known for his encounters with the poor and dying. His generosity resulted in his own family complaining that they were left with nothing. He was sensitive to people's feelings, and later expressed his wish to be a beloved figure of the Bahá'ís saying "I am your father...and you must be glad and rejoice, for I love you exceedingly." According to historical accounts, he had a keen sense of humour and was relaxed and informal. He was open about personal tragedies such as the loss of his children and the sufferings he'd endured as a prisoner, further enhancing his popularity.

'Abdu'l-Bahá directed the affairs of the Bahá'í community with care. He was inclined to allow a large range of personal interpretations of the Bahá'í teachings as long as these did not obviously contradict fundamental principles. He did, however, expel members of the religion he felt were challenging his leadership and deliberately causing disunity in the community. Outbreaks of persecution of the Bahá'ís affected him deeply. He wrote personally to the families of those who had been martyred.

Works

The total estimated number of tablets that ʻAbdu'l-Bahá wrote are over 27,000 of which only a fraction have been translated into English. His works fall into two groups including first his direct writings and second his lectures and speeches as noted by others. The first group includes The Secret of Divine Civilization written before 1875, A Traveller's Narrative written around 1886, the Resāla-ye sīāsīya or Sermon on the Art of Governance written in 1893, the Memorials of the Faithful, and a large number of tablets written to various people; including various Western intellectuals such as Auguste Forel which has been translated and published as the Tablet to Auguste-Henri Forel. The Secret of Divine Civilization and the Sermon on the Art of Governance were widely circulated anonymously.

The second group includes Some Answered Questions, which is an English translation of a series of table talks with Laura Barney, and Paris Talks, ʻAbdu'l-Baha in London and Promulgation of Universal Peace which are respectively addresses given by ʻAbdu'l-Bahá in Paris, London and the United States.

The following is a list of some of ʻAbdu'l-Bahá's many books, tablets, and talks:
Foundations of World Unity
 Light of the World: Selected Tablets of 'Abdu'l-Bahá.
Memorials of the Faithful
Paris Talks
Secret of Divine Civilization
Some Answered Questions
Tablets of the Divine Plan
Tablet to Auguste-Henri Forel
Tablet to The Hague
Will and Testament of ʻAbdu'l-Bahá
Promulgation of Universal Peace
Selections from the Writings of ʻAbdu'l-Bahá
Divine Philosophy
Treatise on Politics / Sermon on the Art of Governance

See also

Bahá'u'lláh's family
Mírzá Mihdí
Ásíyih Khánum
Bahíyyih Khánum
Munirih Khánum
Shoghi Effendi
House of ʻAbdu'l-Bahá

Further reading

Explanatory notes

Notes

References

Further reading

External links

  Writings and Talks of 'Abdu'l‑Bahá at Bahai.org

 Bahai org: Exemplar, documentary film (2021)
 The Extraordinary Life of 'Abdu'l-Bahá, by the Utterance Project

1844 births
1921 deaths
Bahá'í central figures
Family of Bahá'u'lláh
Burials at Monument Gardens, Haifa
Knights Commander of the Order of the British Empire
19th-century Iranian people
20th-century Iranian politicians
Iranian religious leaders
People from Nur, Iran
Iranian emigrants to the Ottoman Empire

ʻAbdu'l-Bahá


The Marc Pease Experience is a 2009 comedy film directed by Todd Louiso and written by Louiso and Jacob Koskoff. Shot primarily in and around Wilmington and New Hanover County, North Carolina in early 2007, the film is centered on Marc Pease, a man living in the past, when he was the star of his high school's musicals. The film stars Jason Schwartzman as Pease, Ben Stiller as Marc's former mentor, and Anna Kendrick as his love interest.

Plot
In high school, Marc Pease (Jason Schwartzman) ran out on his performance as the Tin Man in a production of The Wiz, succumbing to his stage fright despite his mentor Mr. Jon Gribble's (Ben Stiller) encouragement. Eight years later, he is dating Meg Brickman (Anna Kendrick), a high school senior who is bitter about being in the chorus and not having a principal role in Gribble's latest production of The Wiz. Marc is keen for Gribble to produce the demo tape for his a cappella singing group Meridian 8 (which has already lost four of eight original members). Gribble, however, tries to avoid Marc, frustrated that Marc refuses to leave him alone because of the friendly advice he gave Marc eight years ago.

While tidying Meg's bedroom, Marc finds a tape labelled "Meg singing", but discovers after he listens to it that she is singing with Gribble, and at the end of the song, their noises suggest that they are having sex. Meg, meanwhile, begins to doubt Gribble's sincerity when he tells her what a terrific singer she is when she realizes that she is always in the chorus. Questioning whether she even enjoys singing, she decides to quit. Marc drives to a performance with Meridian 8, where the only way he can keep the group from splitting up is to lie that Gribble has given them the chance to record in a studio. After insisting that he should sing his Tin Man's song, he starts crying on stage, and is later forced to admit that Gribble has not yet responded to his request to produce the demo. That night, the opening night of The Wiz, Marc is working as a chauffeur for a high school prom couple. After dropping them off and cutting off his frequently ridiculed ponytail, he arrives at the show in the interval. He unsuccessfully tries to discuss Meridian 8's demo with Gribble, who brushes him off, then learns from another bandmate that they are losing another member.

After hearing the Tin Man's song from outside the auditorium, Marc goes inside and drags Gribble out into an empty classroom. Marc confronts him about his empty promises for Meridian 8 to record in a studio. Gribble tells Marc that he is still living as if he were in high school, and an angered Marc threatens to play Meg's tape to the school principal and expose Gribble's affair with a student. As they fight, Marc accuses Gribble of denying Meg a main role as a means of revenge on him, and destroys the tape for Meg's sake. He then goes backstage and breaks up with Meg because she is too young for him. Seeing that the actor of the Wiz has injured himself, Marc takes his cape, runs onto the stage and sings the Wiz's song. Meg runs away but decides that she loves singing and returns to the stage. Marc's performance is met with cheers from the audience, and he is overjoyed.

One year later, having left exorcised his Wizard of Oz demons, Marc is working as a professional singer under the title "The Marc Pease Experience".

Cast
 Jason Schwartzman as Marc Pease.
 Ben Stiller as Mr. Jon Gribble, Marc's overzealous former mentor.
 Anna Kendrick as Meg Brickman, a high school senior, romantically involved with both Pease and Gribble.
 Jay Paulson as Gerry
 Ebon Moss-Bachrach as Gavin
 Gabrielle Dennis as Tracey
 Amber Wallace as Ilona
 Shannon Holt as Debbie
 Austin Herring as Mr. Edwards
 Kelen Coleman as Stephanie
 Joe Inscoe as Mr. Brickman
 Matt Cornwell as Rick Berger
 Preston Corbell as The Winged Monkey
 Damien Haas as Techie
 Tyler Easter as The Lion
 Brittney McNamara as Dorothy
 Jared Grimes as The Wiz
 Dylan Hubbard as The Tinman
 Chaz McNeil as Brendan/The Scarecrow

Production
The Marc Pease Experience is Todd Louiso's second directorial project, having previously directed Love Liza (2002) and acted in minor roles in High Fidelity (2000), Thank You for Smoking (2006) and Snakes on a Plane (2006). Jason Schwartzman was signed to star in the film by February 2007, with Ben Stiller in talks. Final funding from Paramount Vantage and producer Michael London was received in early February, with production slated to start in March. Anna Kendrick's role in the film was announced in mid-April, after filming had begun.

Principal photography began on March 12, 2007, in the state of North Carolina, where the entirety of the film was shot. Various locations around Wilmington and New Hanover County were used for filming, including Wilmington's Eugene Ashley High School and the school's auditorium. Filming continued through March and into April. On the last day of shooting at Eugene Ashley High, Stiller presented the school's morning announcements.

A number of student interns from the University of North Carolina at Wilmington's Film Studies Department were actively involved in The Marc Pease Experiences production as part of their internship program. After principal photography was completed, during post-production Louiso "realized we needed to go back and add some stuff". The 2007–2008 Writers Guild of America strike began at this time, however, and so there was a delay of six months before the extra scenes could be scripted and filmed.

Release
The Marc Pease Experience had a limited release into 10 U.S. markets on August 21, 2009. The film opened in San Francisco, Chicago, Philadelphia, Miami, Dallas, Cleveland, Minneapolis, Seattle, Sacramento, and Boston in what was described by Drew Taylor of The Playlist as only "an obligation by the studio to release the film theatrically".

In a New Yorker profile of Ben Stiller, Stiller and his agent, Nick Stevens, acknowledged asking the studio to bury the film to protect the star's reputation for making hit movies. "The completed film fell well short of [Stiller's] hopes. 'Paramount could have put it out there as the next big Ben Stiller movie,' he says, 'but that would have been fooling the audience.' Nick Stevens called Paramount to ask the studio to weigh the short-term loss of limiting the film's release against the long-term relationship with his filmmaker. Paramount released the film domestically in just ten theatres for a single week, and it grossed exactly $4,033."

Box office
The film grossed $3,000 from 10 screens on its opening weekend with a per-screen average of only $300. By the end of its domestic run, the film had grossed $4,033 and an international addition of $386,551, totaling $390,584.

Critical reception
Before the film's release, Alex Billington of FirstShowing.net dubbed it "the next Rushmore" — which also starred Jason Schwartzman in the lead — based on the similar character elements.

In spite of this early buzz, however, critical response was overwhelmingly negative. Roger Ebert called it "badly written and inertly directed, with actors who don't have a clue what drives their characters". The A.V. Club's Nathan Rabin, in a "D+" review, asked, "Who could have guessed a concept as promising and long overdue as a musical Jason Schwartzman vehicle would lead to such a regrettable little nothing?"

On review aggregator website Rotten Tomatoes, the film holds an approval rating of 18% based on 11 reviews, with an average rating of 3.18/10.

References

External links

2009 films
2009 comedy films
American comedy films
Films about music and musicians
Films shot in North Carolina
Paramount Vantage films
Films scored by Christophe Beck
2000s English-language films
Films directed by Todd Louiso
2000s American films

The Marc Pease Experience


Carlos W. Simons QC (born 8 October 1954) is a Turks and Caicos Islands lawyer and politician.

Career
SImons served on a four-member interim Advisory Council He from July 1986 to 3 March 1988 after two previous Chief Ministers were forced to resign and ministerial government in the territory was suspended. Ministerial government resumed after elections were held in early 1988.

He was a member of the National Democratic Alliance during the suspension of government in the 1980s and is now the deputy leader of the Progressive National Party. He is standing as an at-large representative (i.e. for the All-Island District) in the 2012 general election.

Education
Simons attended City University London for his LL.B., and went on to the Inns of Court School of Law. He was called to the bar of England and Wales in 1983, and the following year was admitted to practice as an attorney at law at the Supreme Court of the Turks and Caicos Islands.

References

1954 births
Living people
Progressive National Party (Turks and Caicos Islands) politicians
Turks and Caicos Islands lawyers
Alumni of the University of London

Carlos Simons


Mary Tregear, FBA (11 February 1924 – 17 December 2010) was a British museum curator and art historian specializing in Chinese art.

She was born in Wuchang, China. After studying at Bristol University and SOAS, University of London, she taught in the Central China University for three years. She was then a curator at Hong Kong University's Fung Ping Shan Museum, also lecturing. In 1961 she joined the Ashmolean Museum, Oxford, where she was Assistant Keeper for the Chinese collection, and then Keeper of Eastern Art, 1987-1991.

She was a fellow of St Cross College, Oxford, a fellow of the British Academy, and President of the Oriental Ceramic Society from 1978 to 1980.

Main publications

Catalogue of Chinese Greenware, Ashmolean Museum, Oxford, 1976.
Chinese Ceramics in the Ashmolean Museum. An illustrated handbook to the collections, Ashmolean Museum, Oxford, 1979.
 Chinese Art, Thames and Hudson (World of Art series), London, 1980 and 2nd edn 1997 (still in print in 2017).
Song Ceramics, Thames and Hudson, London, 1982.
Kiln Sites of Ancient China (by Penelope Hughes-Stanton and Rose Kerr, ed. by Mary Tregear), Oriental Ceramic Society, 1980
Oriental Lacquer: Chinese and Japanese lacquer from the Ashmolean Museum(O.R. Impey and Mary Tregear), Ashmolean Museum, Oxford, 1983.

References

Sources
Obituary at Oxford Today

1924 births
2010 deaths
British curators
British art historians
Fellows of the British Academy
Women art historians
Alumni of SOAS University of London
Historians of East Asian art
British women historians
British expatriates in China
Fellows of St Cross College, Oxford

Mary Tregear


Grand Hotel is a 1932 American pre-Code drama film directed by Edmund Goulding and produced by Metro-Goldwyn-Mayer. The screenplay by William A. Drake is based on the 1930 play of the same title by Drake, who had adapted it from the 1929 novel Menschen im Hotel by Vicki Baum. To date, it is the only film to have won the Academy Award for Best Picture without being nominated in any other category.

MGM remade the film as Week-End at the Waldorf in 1945. The  German remake Menschen im Hotel was released in 1959, and it served as the basis for the 1989 Tony Award-winning stage musical Grand Hotel. In 1977, MGM announced a musical remake, to take place at Las Vegas' MGM Grand Hotel and directed by Norman Jewison, but the production was cancelled.

Grand Hotel has proven influential in the years since its release. The iconic line "I want to be alone", famously delivered by Greta Garbo, placed number 30 in AFI's 100 Years...100 Movie Quotes. In 2007, the film was selected for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant".

Plot

Doctor Otternschlag, a disfigured veteran of World War I and a permanent resident of the Grand Hotel in Berlin, observes "People coming, going. Nothing ever happens" — after which a great deal transpires.

Baron Felix von Gaigern, who squandered his fortune and supports himself as a card player and occasional jewel thief, befriends Otto Kringelein, a dying accountant who has decided to spend his remaining days in the lap of luxury. Kringelein's former employer, industrialist General Director Preysing, is at the hotel to close an important deal, and he hires stenographer Flaemmchen to assist him. She aspires to be an actress and shows Preysing some magazine photos for which she posed.

Another guest is Russian ballerina Grusinskaya, whose career is on the wane. When the baron is in her room to steal her jewelry and she returns from the theatre, he hides in her room and overhears her contemplating suicide. He comes out of hiding and engages her in conversation. The two fall in love and spend the night together. The following morning, the baron returns Grusinskaya's jewels, and she forgives his crime. She invites him to accompany her to Vienna, an offer he accepts.

The baron is desperate for money to pay his way out of the criminal group he has been working with. He and Kringelein start a card game, and Kringelein wins everything, then becomes intoxicated. When he drops his wallet, the baron stashes it in his pocket, intending to keep not only the winnings but the funds that will see Kringelein through the last weeks of his life. However, moved by the sight of  Kringelein's despair, the baron – who desperately needs the money, but has become very fond of Kringelein – pretends to have discovered the wallet and returns it to him.

As part of a desperate merger plan, Preysing must travel to England, and he asks Flaemmchen to accompany him. Later, when the two are in her room—which opens onto his—Preysing sees the shadow of the baron rifling through his belongings. He confronts the baron; the two struggle, and Preysing bludgeons the baron with the telephone, killing him. Flaemmchen sees what happened and tells Kringelein, who confronts Preysing. He insists he acted in self-defense, but Kringelein summons the police, and Preysing is arrested.

Grusinskaya departs for the train station, expecting to find the baron waiting for her there. Meanwhile, Kringelein offers to take care of Flaemmchen, who suggests they seek a cure for his illness. As they leave the hotel, Doctor Otternschlag again observes "Grand Hotel. Always the same. People come. People go. Nothing ever happens."

Cast

 Greta Garbo as Grusinskaya, the dancer
 John Barrymore as Baron Felix von Gaigern
 Joan Crawford as Flaemmchen, the stenographer
 Wallace Beery as General Director Preysing
 Lionel Barrymore as Otto Kringelein
 Lewis Stone as Dr. Otternschlag
 Jean Hersholt as Senf, the porter
 Robert McWade as Meierheim
 Purnell B. Pratt as Zinnowitz
 Ferdinand Gottschalk as Pimenov
 Rafaela Ottiano as Suzette
 Morgan Wallace as Chauffeur
 Tully Marshall as Gerstenkorn
 Frank Conroy as Rohna
 Murray Kinnell as Schweimann
 Edwin Maxwell as Dr. Waitz
 Allen Jenkins as Hotel Meat Packer

Production

Producer Irving Thalberg purchased the rights to Vicki Baum's novel Menschen im Hotel for $13,000 and then commissioned William A. Drake to adapt it for the stage.
It opened on Broadway at the National Theatre on November 13, 1930, and ran for 459 performances. Pleased with its success, Thalberg had Drake and Béla Balázs write the screenplay, and had a budget at $700,000.
There was some controversy about Greta Garbo, with her strong Swedish accent, playing a Russian.

The film was seen as an artistic achievement in its art direction and production quality. The lobby scenes were extremely well done, portraying a 360° desk. This set allowed audiences to watch the hotel action from all around the characters. It changed the way sets were made from that point onward.

It was the first film to feature brothers Lionel and John Barrymore together.

"I want to be alone"
As Grusinskaya, Greta Garbo delivers the line "I want to be alone", and, immediately following, she says "I just want to be alone." Soon after, in conversation with Baron Felix von Geigern, she says "And I want to be alone." Referring to its legendary use as a characterization of her personal reclusive life, Garbo later insisted "I never said I want to be alone; I only said, 'I want to be let alone.' There is all the difference."

Critical reception

Alfred Rushford Greason of Variety comparing the film to the stage production, wrote "[it] may not entirely please the theatregoers who were fascinated by its deft stage direction and restrained acting, but it will attract and hold the wider public to which it is now addressed". He added, "The drama unfolds with a speed that never loses its grip, even for the extreme length of nearly two hours, and there is a captivating pattern of unexpected comedy that runs through it all, always fresh and always pat."

Mordaunt Hall of The New York Times praised the performances of Greta Garbo and John Barrymore, in a mostly positive review. "The picture adheres faithfully to the original", he said, "and while it undoubtedly lacks the life and depth and color of the play, by means of excellent characterizations it keeps the audience on the qui vive."

Film Daily called it an "engrossing drama" that "never lags", and "one of the classiest moving picture affairs you've seen in a long time".

John Mosher of The New Yorker called it a "tricky, clever film", praising Goulding as "a director at last to give Garbo her due" and for his "ingenious" camera work, "relishing, I suspect, the advantages the screen offers in these respects over the stage, where the awkward constant shifting of scenes clogged the action of the play".

The film holds an 88% approval rating on Rotten Tomatoes, based on 50 reviews, with an average rating of 7.6/10. The site's consensus reads: "Perhaps less a true film than a series of star-studded vignettes, Grand Hotel still remains an entertaining look back at a bygone Hollywood era."

Writing in 2009, Blake Goble of The Michigan Daily called it "the original Ocean's Eleven for its star power", and compared it to Gosford Park "for its dense structure and stories". He added "[T]he pacing is quick, the acting is eloquent, and the stories are actually interesting. It's pure theatricality. But Hotel lasted thanks to its simplicity, and the star power doesn't hurt either. This is grand, old Hollywood captured on film."

Box office
Grand Hotel was a massive commercial success upon its release. According to MGM records, the film earned $1,235,000 in the U.S. and Canada and $1,359,000 in other markets, resulting in a profit of $947,000.

Aborted late 1970s musical remake

In his memoir Adventures in the Screen Trade, screenwriter William Goldman recalls being contacted by director Norman Jewison about doing a remake of the film as a musical, to be set at the original MGM Grand Hotel in Las Vegas (now Bally's). It would also be filmed at the hotel, named for the film and opened just four years earlier, where MGM had not yet allowed any filming of its luxurious interiors. Goldman was very enthusiastic, since even though movie musicals were not very popular with studios or audiences at the time, he believed Grand Hotel could be an exception, recalling the classic Hollywood movie musicals of the 1940s and 1950s, with the real interiors of the Grand, never before seen on screen, as their setting. Goldman also worried that he was being seen too much as a screenwriter of thrillers and wanted to show that he was not a genre writer.

MGM executives, initially cooperative, began to have second thoughts about the project once one of them remembered that Jewison had final cut in his contract, meaning the studio could not force him to make changes to the film before release. Goldman characterized their perception of the hotel as "Pristine. Unsullied. The diamond in the Metro crown", and believed they feared the film would not depict the Grand this way, instead focusing on the less glamorous aspects of Las Vegas. Goldman wrote a draft of the script with far more detail than he normally added to make clear that this was not his or Jewison's intention, but the studio was not sufficiently persuaded. As a compromise, they offered Jewison final cut on any material filmed outside the hotel, but not inside. Jewison was unwilling to accept that, and the project fell through.

Four years later, Jewison called Goldman again and said the hotel, now under separate management from the studio, was again interested. Staff at the hotel took Goldman on tours of the building as part of his research. While visiting the suites on the uppermost floors, never rented but instead comped to heavy gamblers and their entourages, he was told that director Hal Ashby had used one for a scene in the then-unreleased Lookin' to Get Out, apparently after Caesar's Palace had refused him permission to use one of their suites.

Goldman and Jewison learned that in the scene Ashby filmed at the Grand, one of the main characters goes into the suite with a prostitute while his friend waits outside. This was at odds with the image of the Grand management had gone to great lengths to avoid projecting in 1977. After the 1981 MGM film ...All the Marbles, set in the world of women's professional wrestling, staged its climax at the MGM Grand in Reno, Nevada, Goldman felt the Grand had lost its mystique and so lost his enthusiasm for working on the film; the project was dropped.

Home media
Warner Home Video released the first Region 1 DVD on February 3, 2004. The film is in 4:3 frame format, with audio tracks in English and French, and subtitles in English, French, and Spanish. Bonus features include Checking Out: Grand Hotel, a documentary about the making of the film; a 1932 newsreel with highlights of the Hollywood premiere; Nothing Ever Happens, a 1933 Vitaphone short film spoofing Grand Hotel; and theatrical trailers.

The 2013 Warner Home Video Blu-ray release of Grand Hotel contains an audio commentary track by film historians Jeffrey Vance and Mark A. Vieira.

References

External links

 Grand Hotel essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 , pages 193-195

1932 films
1932 drama films
American drama films
American films based on plays
Films based on Austrian novels
Films set in Germany
Films set in Berlin
American black-and-white films
Best Picture Academy Award winners
United States National Film Registry films
Films directed by Edmund Goulding
Metro-Goldwyn-Mayer films
Films set in hotels
Films produced by Irving Thalberg
Films based on adaptations
Articles containing video clips
1930s English-language films
Films about accountants
1930s American films

Grand Hotel (1932 film)


Solbourne Computer, Inc. was originally a vendor of computer systems based in Longmont, Colorado, United States, at first 52% owned by Matsushita. In the late 1980s and early 1990s, the company produced a range of computer workstations and servers based on the SPARC microprocessor architecture, largely compatible with Sun Microsystems' Sun-4 systems. Some of these are notable for supporting symmetric multiprocessing some time before Sun themselves produced multiprocessor systems. Even when Sun produced multiprocessor systems, SunOS uses an asymmetric multiprocessing model rather than OS/MP's symmetric multiprocessing model; Sun would not adopt symmetric multiprocessing until the release of Solaris 2.0 in 1992.  Due to the cost of engineering and producing new systems to compete with Sun's increasingly competitive hardware offerings and the loss of symmetric multiprocessing as a distinguishing feature, in 1994, Solbourne left the computer hardware business, with Grumman Systems Support Corporation taking over support for Solbourne customers until 2000.

In 1994, Walt Pounds assumed the role of CEO of Solbourne, and the Solbourne headquarters were moved to Boulder, Colorado.  From that point until July 2008, Solbourne focused on providing consulting services and solutions based on Oracle Applications and associated technologies. Solbourne established a strong reputation in the Oracle E-Business Suite community, and became a dominant provider of consulting services to state and local Oracle E-Business Suite customers.

On July 11, 2008, Solbourne closed a transaction to sell substantially all of the company assets to Deloitte Consulting.  The Solbourne management team and more than 100 professionals joined Deloitte's Enterprise Applications, Technology Integration and Human Capital service areas.

Models
Solbourne's range comprises the following:
 Multiprocessor workstations and servers using the KBus 64-bit inter-processor bus:
 Series4: 16.67 MHz Fujitsu MB86900 processor(s)
 Series5: 33 MHz Cypress CY7C601 processor(s)
 Series5e: 40 MHz Cypress CY7C601 processor(s)
 Series6: 33 MHz SuperSPARC processor(s)
 Series6E: 50 MHz SuperSPARC processor(s)
 Single-processor IDT (Integrated DeskTop) workstations based on the Panasonic MN10501 KAP SPARC-compatible processor:
 S3000: portable workstation with integrated plasma display
 S4000: 33 MHz CPU "pizza-box"-style desktop workstation
 S4000DX: 36 MHz S4000 with secondary processor cache

The MN10501 processor had been developed by Solbourne in association with Matsushita, providing a single-chip product featuring an integrated floating-point arithmetic unit, memory management hardware, branch prediction logic, 8 KB of cache memory, a 64-bit data bus, and "mostly 64-bit data paths on chip".

Operating systems
All Solbourne systems run OS/MP, a modified version of SunOS 4.1 supporting multiprocessor systems. The final release of OS/MP was 4.1D, corresponding to SunOS 4.1.3.

, some work has been done in porting OpenBSD to Solbourne IDT workstations.

References

External links
 Deloitte Consulting and Solbourne
 Solbourne corporate website
 Solbourne Shack Web Page (archive.org copy)
 OpenBSD/solbourne
 Floodgap Solbourne Solace (with another copy of the Solbourne Shack pages)

2008 mergers and acquisitions
American companies established in 1986
American companies disestablished in 2008
Computer companies established in 1986
Computer companies disestablished in 2008
Defunct computer companies of the United States
Defunct computer hardware companies
SPARC microprocessor products

Solbourne Computer


A santon is a small hand-painted figurine cast in terracotta or a similar material that is used for building nativity scenes. Santons are a traditional product of the Provence region of southeastern France. A maker of santons is called a santonnier.

The word "santon" comes from the Provençal "santoun," or "little saint."  They became popular during the French Revolution, when the churches were closed and the larger, traditional nativity scenes in churches prohibited.  Smaller figurines began appearing in homes, and quickly gained popularity.

The traditional manufacture of santons is centred on Marseille, Aix-en-Provence, Arles and Aubagne. In the month leading up to Christmas, there are traditional santon fairs all over Provence where santons of all sizes can be acquired to decorate domestic creches.

Apart from the standard figures and animals associated with the nativity (including elephants and camels), there are countless other santons depicting traditional characters from Provençal village life, including the motley fool, the miller and the blind man.  Another common figure is a shepherd facing the mistral and the other winds of Provence, holding his hat, with his cloak blowing.

References

External links
 The Santons of Provence - The official website of France (in English)
 Christmas Cribs and Santons - By Notreprovence.fr (in English)

Provence
Culture of France
Christmas traditions
Nativity of Jesus in art

Santon (figurine)


For the Love of Rusty is a 1947 American drama film directed by John Sturges. It was the third of the "Rusty" film series involving the adventures of German Shepherd Rusty and his human companions - young Danny Mitchell (Ted Donaldson) and his pals. This film details Danny's friendship with an eccentric and itinerant "veterinarian" Dr. Fay (Aubrey Mather), and Danny's attempts to form a closer relationship with his father (Tom Powers). In this installment, Rusty was played for the first time by Flame, who would portray Rusty in four of the eight Rusty films.

Plot

Busy attorney Hugh Mitchell wants to become closer to his son, Danny, whom he knows little. He starts arranging a luncheon, but soon finds out that Danny prefers going to the carnival. Still he attends the luncheon, and brings along his dog Rusty, a German Shepherd. All the other boys attending with their fathers are quite amused when Rusty starts fighting with another dog, and the luncheon is abruptly interrupted.

The calamity that ensues enrages Hugh and disintegrates the chances of father and son coming closer. Instead Danny becomes friends with an eccentric traveling veterinarian, Dr. Francis Xavier Fay, who arrives to town. Hugh doesn't look kindly upon the friendship between his son and the doctor.

In an attempt to get their son back, Hugh and his wife Ethel invites the doctor to dinner one night, hoping that the doctor will seem out of place. But the doctor is very comfortable in the civilized and sophisticated setting in the attorney home.

Hugh decides to take Danny to the carnival to make him happy. Danny brings Rusty with him. When a man kicks at the dog, it attacks him and Hugh is quite upset with the dog's behavior, forcing it to wear a muzzle in the future.

In the night, Danny run away with his dog, taking refuge in the doctor's camp in the woods. Ethel suggest they leave the boy alone for a while, and Danny gets to live in a tree house at the doctor's, with his dog.

Hugh pays the doctor a visit to talk about his son, and gets the advice to try and understand and be friends with his son. Later in the night, when the doctor has fallen asleep with his gas stove on, Rusty smells the gas and tries to warn them about the danger. Rusty crawls under the trailer and is injured when the trailer collapses to the ground. Danny wakes up when the dog cries out, and wakes up the doctor, who is unconscious from the gas.

Danny goes home to his parents and the doctor treats Rusty at the camp. Hugh and his son are finally reconciled and go back to the doctor's camp together. Rusty is in bandages and able to come home with Danny.

Already the next day, Ethel comes to the camp looking for the dog, which has escaped and run around in the neighborhood. The doctor tells Ethel that this is perfectly normal, and decides it is time for him to leave and go to the next town.

Cast
 Ted Donaldson as Danny Mitchell
 Tom Powers as Hugh Mitchell
 Ann Doran as Ethel Mitchell
 Aubrey Mather as Dr. Francis Xavier Fay
 Sid Tomack as Moe Hatch
 George Meader as J. Cecil Rinehardt
 Mickey McGuire as Gerald Hebble
 Ralph Dunn as Policeman (uncredited)
 Dick Elliott as Bill Worden (uncredited)
 Harry Hayden as Mr. Hebble (uncredited)
 Dwayne Hickman Doc Levy Jr. (uncredited)
 Olin Howland as Frank Foley (uncredited)
 Teddy Infuhr as Tommy Worden (uncredited)
 Wally Rose as Bit Role (uncredited)
 Fred F. Sears as Doc Levy (uncredited)
 Almira Sessions as Sarah Johnson (uncredited)

See also
 Adventures of Rusty
 Rusty (film series)

References

External links

Films directed by John Sturges
1947 films
American drama films
1947 drama films
Columbia Pictures films
American black-and-white films
Rusty (film series)
1940s English-language films
1940s American films
Films about veterinarians

For the Love of Rusty


William Wilson is a short story written by Edgar Allan Poe in 1839.

The theme is doppelganger. The narrator is a dying man of "a noble descent"  who choses not to embody a record of his later years of unspeakable misery, and unpardonable crime-he calls himself William Wilson because, although denouncing his profligate past, he does not accept full blame for his actions, saying that "man was never thus ... tempted before". and tells the story of how he "Fell" from "grace":Years before while attending a school in england Another boy at his school looks and acts like himself, and was even born on the same day, January 19th (Poe's actual birth day) 1813. Angered at being given "good" advice William steals into the boy bedroom but is shocked to find his double now resembles himself; he runs away from the school in horror.The first Wilson goes to the bad in life, but is haunted by his good double. After being subject to admonished at Eaton [while preparing to give a profane oath at a drinking party]  and his honor destroyed at Oxford [where he is exposed at trying to cheat at cards], William  is haunted by his double in subsequent years, who thwarts plans described by William as driven by ambition [in Rome], revenge [in Paris], passionate Love [in Naples], and avarice [In Egypt] and even follows him to other cities [Vienna, Berlin, Moscow]. One thing William cannot understand is that while no one knows anything about his double, his double always seems to know everything about William. At Carnival time in Rome William prepares to seduce the not unwilling young wife of a elderly nobleman. When his double appears the enraged William drags his double into a anterooom and challenges him to a sword duel where he kills the double. Distracted for a second he finds instead his double a mirror Reflected at him, he sees "mine own image, but with features all pale and dabbled in blood": apparently the dead double, "but he spoke no longer in a whisper". The narrator feels as if he is pronouncing the words: "You have conquered, and I yield. Yet, henceforward art thou also dead—dead to the World, to Heaven, and to hope! In me didst thou exist—and, in my death, see by this image, which is thine own, how utterly thou hast murdered thyself.

Poe later admitted he had got the idea from a previous story by Washington Irving about a character who kills his double.

19th-century American short stories
Short stories by Edgar Allan Poe

William Wilson (short story)


Giuseppe Antonio Rolla (18 April 1798, in Parma – 19 March 1837, in Dresden) was an Italian violin and viola virtuoso and composer.

Antonio Rolla studied violin with his father, composer Alessandro Rolla. In 1803 the family is moved to Milan where Antonio began to work at a young age. He became a violinist with the Teatro di Pavia in the spring of 1807, but lost the post with the fall of the Napoleonic Empire in 1814.  Having maintained contacts with the town of his birth, Rolla presented a concert at the Teatro Ducale in Parma on 11 June 1818.  In a letter written in 1820, Niccolò Paganini praised Rolla's ability after they had played violin duets at the request of his father.  In 1821, Rolla became the concertmaster of the Teatro Comunale in Bologna and performed along with his father at the Teatro alla Scala in Milan in 1823.  The same year, he accepted the position of concertmaster at the Staatskapelle in Dresden on the recommendation of Paganini.  Rolla contracted an illness in 1836 and died the following year at the age of 38.

Rolla was highly regarded as an instrumentalist and composed a few works, notably for violin and viola, of which the most famous are the posthumously published 24 Cadenzas for solo violin.

Selected works
 Sinfonia (1816)
 Concerto a violino (1817)
 Divertimento a flauto (1818)
 12 Valzer (12 Waltzes) for string orchestra, Op.1
 Rondò alla polacca for violin and orchestra, Op.3
 Variazioni for violin and string trio, Op.10
 Variazioni brillanti in F for viola and orchestra, Op.13 (1822)
 Terzo rondò alla polacca preceduto da un Adagio di introduzione for violin and string orchestra, Op.15
 Tema variato for violin and string quintet or string orchestra
 Divertimento for 2 violins and orchestra
 Variazioni for violin and orchestra
 Introduzione e variazioni sopra un tema dell'opera "La Gazza ladra" di Rossini for violin and string quartet or orchestra
 Andante con variazioni for viola and orchestra
 6 Piccole pastorale (6 Idylles) for viola solo (1836–1837)
 Esercizi (Exercises) for violin solo
 Studi (Studies) for violin solo
 24 Cadenze (24 Cadenzas) for violin solo

Sources
 Famiglia Rolla al Dizionario della musica di Parma

References

External links

1798 births
1837 deaths
19th-century classical composers
19th-century classical violinists
19th-century Italian male musicians
Composers for violin
Concertmasters
Italian classical composers
Italian classical violinists
Italian classical violists
Italian male classical composers
Italian Romantic composers
Male classical violinists
Musicians from Parma
20th-century violists

Antonio Rolla


Theme Park Studio is an amusement park simulator game developed by Pantera Entertainment. The project began seeking funding on Kickstarter in 2013 and has been released in phases since February 2014. It allows users to design and build their own theme parks featuring roller coasters and flat rides; similar to RollerCoaster Tycoon 3. The game utilizes Oculus Rift, HTC Vive, and OSVR to allow users to experience roller coasters in a virtual reality format.

Gameplay
Theme Park Studio allows users to design and build their own custom theme parks with the use of an extensive toolset. Users are able to place pathways, scenery, foliage and a combination of flat rides and roller coasters to produce a virtual theme park of their imagination.

The game also features other modules such as terrain editing and the ability to easily manipulate the environment through weather and lighting. Users will have the ability to script their own mini games and work with a wide variety of particle effects.

Development
Theme Park Studio was announced on 20 November 2012. In April 2013, Pantera began a Kickstarter campaign that successfully raised 101,433 US dollars by its end date in May. On 27 February 2014, Pantera released Phase 1 of the Early Access campaign on Steam Since then, the game has gradually been rolled out in further stages including the ability to design and animate flat rides, as well as being able to design and test roller coasters.

The game is being released in phases via Steam. The first three phases released include access to building paths, foliage, structures, flat rides, and a present library of roller coasters.

On 25 November 2016, the game was released via retail. Later, on 2 December 2016, the game was brought out of Steam Early Access.

See also
 NoLimits 2
 RollerCoaster Tycoon 3
 Planet Coaster

References

External links
 Theme Park Studio official website

2016 video games
Amusement park simulation games
Oculus Rift games
Roller coaster games and simulations
Simulation software
Video games with Steam Workshop support
Video games developed in the United States
Video games using procedural generation
Windows games
Windows-only games
Single-player video games

Theme Park Studio


Nickelodeon Productions is a television production and distribution company. It produces and distributes television series for the TV network, Nickelodeon that was founded in 1989. It is the production company of live-action programming produced for the network (and occasionally Paramount+). Nickelodeon Animation Studios programming is also credited as being produced by Nickelodeon Productions. It also has its own filming studio, Nickelodeon Movies. It has produced lots of movies for example, The SpongeBob SquarePants Movie, The SpongeBob Movie: Sponge Out of Water, The SpongeBob Movie: Sponge on the Run, The J Team, and many more.

Nickelodeon

Nickelodeon Productions


A computing platform is a well defined set of hardware or software that allows application programs to run. Typical platforms include the hardware architecture, the operating system, as well as runtime libraries. The programming language Java is an example of Software Platform. An example for a hardware platform is SPARC.

Related pages
Cross-platform

Computers
Operating systems

Computing platform


Transperth is the brand of the public transport system in Perth, Western Australia. Transperth was launched in 1986. It supplies public bus, train and ferry services.

Train services run on five lines that spread over the Perth metropolitan area. The lines are named Joondalup, Midland, Fremantle, Armadale, and Mandurah. The Mandurah was opened late in 2007. All trains are operated using electricity. A new line to the Perth Airport via the Bayswater railway station is being constructed which is expected to be compeleted in mid-2021.

Bus services run throughout the metropolitan area. A circular bus route is the CircleRoute
which links major shopping centres, universities and railway stations.

Ferry services operate across the Swan River between the Perth CBD and South Perth. The ferry is popular for people to go to the zoo located in South Perth.

Passengers can take rides by buying cash tickets or using the ticket system known as SmartRider.

Australian railways

Transperth