The National Education Association of the United States Committee on Secondary School Studies known as the NEA Committee of Ten was a working group of educators that convened in 1892. They were charged with taking stock of current practices in American high schools and making recommendations for future practice. They collected data via surveys and interviews with educators across the United States, met in a series of multi-day committee meetings, and developed consensus and dissenting reports.

Background
Education is a matter left up to individual states and territories in the United States. This meant that each state developed its own system, including its own structure for secondary education, or high school. These disparate systems often led to a disconnect between high schools in the same state or large gaps between the skills students had when they left high school and what colleges were looking for. The rise of the common school helped even out differences in different states grammar schools but by the late 1800s, a desire for educational standardization had manifested across the country. Across the nation and within communities, there were competing academic philosophies which the Committee of Ten aimed to resolve.  One philosophy favored rote memorization, whereas another favored critical thinking.  One philosophy designated American high schools as institutions that would divide students into college-bound and working-trades groups from the start; these institutions sometimes further divided students based on race or ethnic background.  Another philosophy attempted to provide standardized courses for all students.  Somewhat similarly, another philosophy promoted classic Latin/Greek studies, whereas other philosophies stressed practical studies.

Membership of the Committee of Ten
To resolve these issues, the National Education Association formed The 1892 Committee of Ten.  The committee was largely composed of representatives of higher education. Its subgroups, consisting of eight to ten members each, were convened by the following individuals:
Charles William Eliot, President of Harvard University, Cambridge, Massachusetts Chairman
William T. Harris, Commissioner of Education, Washington, D.C.
James B. Angell, President of the University of Michigan, Ann Arbor, Michigan
John Tetlow, Head Master of the Girls’ High School, Boston, Massachusetts
James Monroe Taylor, President of Vassar College, Poughkeepsie, New York
Oscar D. Robinson, Principal of the High School, Albany, New York
James H. Baker, President of the University of Colorado, Boulder, Colorado
Richard Henry Jesse, President of the University of Missouri, Columbia, Missouri
James C. Mackenzie, Head Master of the Lawrenceville School, Lawrenceville, New Jersey
Henry Churchill King, Professor in Oberlin College, Oberlin, Ohio

Recommendations

The committee provided its recommendations in a report published in 1894 that answered an initial set of eleven questions, and outlined important curricular knowledge within each major instructional specialty including Latin, Greek, English, "Other Modern Languages", mathematics, and the sciences (physics, chemistry, and astronomy).

Twelve years of education were recommended, with eight years of elementary education followed by four years of high school.  The committee was explicitly asked to address tracking, or course differentiation based upon postsecondary pursuit. The committee responded unanimously that "...every subject which is taught at all in a secondary school should be taught in the same way and to the same extent to every pupil so long as he pursues it, no matter what the probable destination of the pupil may be, or at what point his education is to cease." In addition to promoting equality in instruction, they stated that by unifying courses of study, school instruction and the training of new teachers could be greatly simplified.

These recommendations were generally interpreted as a call to teach English, mathematics, and history or civics to every student every academic year in high school.  The recommendations also formed the basis of the practice of teaching chemistry, and physics, respectively, in ascending high school academic years.

The Committee identified the need for more highly qualified educators, and proposed that universities could enhance training by offering subject-education courses, lowering tuition and paying travel fees for classroom teachers and that superintendents, principals or other "leading teachers" could show other teachers, "... by precept and example, how to [teach] better".

See also
21st century skills
Flexner Report
Committee of Seven, American Historical Association, 1896-1898

References

External links

 Report of the Committee of Ten

Education policy in the United States
History of education in the United States
Secondary education in the United States


The T205 was a baseball card set issued in 1911 by the American Tobacco Company through 11 different cigarette brands owned by it. The collection is considered a landmark set in the history of baseball card collecting.

History

The name T205 refers to the catalog designation assigned by Jefferson Burdick in his book The American Card Catalog. It is also known informally as the "Gold Borders" set due to the distinctive gold borders surrounding the lithographs on each card.

The T205 set consists of 221 cards, which includes many variations and short prints. The set consists of three different leagues: the American, National, and Minor Leaguers. The American League can be identified by the baseball diamond surrounding the portrait of the player sporting their team logo near the top. The National League displays a simple colored background with the first-ever use of a facsimile autograph of the player. Minor Leaguers are made up of 12 cards printed with noticeably different and more detailed borders. The cards measure 1-7/16" x 2-5/8" which is considered by many collectors to be the standard tobacco card size.

The T205 set is one of the most popular sets of the tobacco/pre-war era, second only to T206. The large number of variations, number of stars, and colorful artwork give it enormous appeal to collectors. There are 27 Baseball Hall of Fame members in the set (in alphabetical order): Home Run Baker, Chief Bender, Roger Bresnahan, Mordecai Brown, Frank Chance, Fred Clarke, Ty Cobb, Eddie Collins, Hugh Duffy, Johnny Evers, Clark Griffith, Miller Huggins, Hughie Jennings, Walter Johnson, Addie Joss, Rube Marquard, Christy Mathewson, John McGraw, Tris Speaker, Joe Tinker, Bobby Wallace, Zack Wheat, Cy Young.

With a little effort the set can be completed minus the most difficult card to obtain, the elusive Hoblitzell no stats.

Brands marketed
T205 cards were issued with 17 different backs, representing the 11 different brands of cigarettes/tobacco with which the cards were issued. Due to the same card having different backs, there are actually far more than 220 "different" T205 cards.

Brands that commercialised T205 cards were:

 American Beauty
 Broad Leaf
 Cycle
 Drum
 Hassan
 Hindu
 Honest Long Cut
 Piedmont
 Polar Bear
 Sovereign
 Sweet Caporal

Notes
The sports memorabilia community recently discovered an uncorrected error on Cycle brand cards of Hall of Fame pitcher Christy Mathewson. While his pitching record should (and typically does) read 37-11, on Cycle cards it is listed as 37-1. While it is difficult to determine rarity and value due to a lack of market data, the card is expected to be more common and less expensive than the Hoblitzell no-stats variation.

References

External links

 Gallery on T205.org website
 Gallery on Flickr
 Virtual collection of T205 cards

Baseball cards


Chong may refer to:

 Chong (surname), the romanization of several Chinese and Korean surnames
 Chong or Pear people of Thailand and Cambodia
 Chong language
 Chong or Limbu people of eastern Nepal, Bhutan, and northeastern India
 ancient Chinese state 崇, allegedly attacked by King Wen of Zhou.

See also
Chung (disambiguation)
Zhong (disambiguation)
Zhang (disambiguation)

Language and nationality disambiguation pages


Cockett () is the name of an electoral ward in the City and County of Swansea, Wales, UK. The ward is coterminous with the Cockett community. It elects three councillors.

The electoral ward consists of some or all of the following areas: Cadle, Cwmdu, Coedweig, Gendros, Gors, Fforestfach and Cockett, in the parliamentary constituency of Swansea West.  The ward is bounded by the wards of Kingsbridge and Penderry to the north; Cwmbwrla to the east; Townhill to the south east; Sketty and Killay North to the south; and Gowerton to the west.

Following a local government boundary review, effective from the 2022 local elections, Waunarlwydd was removed from the Cockett ward to become its own ward (and community). As a result, the number of councillors elected in Cockett reduced from four to three.

Local Council Elections

2022
Turnout for the 2022 local election was 27.7%.

2017
Turnout for the 2017 local election was 32.73%.

2015 by-election
The 2015 by-election results were announced alongside the 2015 UK General Election results, in the Swansea Maritime Quarter. The turnout was 6253 out of 10528 registered electors, i.e. 59.4%: almost double the 2012 turnout.

The results were:

2012
The turnout for Cockett in the 2012 local council elections was 32.89%. The results were:

1999
In 1999, Dr Dai Lloyd, who had captured a seat from Labour at a by-election topped the poll and Plaid Cymru also captured a second seat.

1995
The first election to the new unitary City and County of Swansea Council took place in 1995. All four seats were won by Labour although the Plaid Cymru candidate, local GP Dai Lloyd also polled strongly.

Districts of Cockett
The suburb of Cockett is a residential area in the ward.

The suburb of Fforestfach lies immediately north of the suburb of Cockett.

References

Swansea electoral wards


Gopikabai (December 20, 1724 – August 11, 1778) was Peshwin of Maratha Empire, as the wife of
Peshwa Balaji Baji Rao (also called Nanasaheb Peshwa). She had a very orthodox religious upbringing and belief. After the death of Nanasaheb Peshwa, she tried to expand her power over the Peshwa and the administration. She influenced her son Madhavrao Peshwa, who by sidelining Raghunathrao at her urging, assumed control. However, after trying to interfere in administrative matters, namely to save her brother from punishment, she was confined to Nashik. In 1773 she was freed after the death of Madhavarao and went back to Pune. Afterwards, Gopikabai became part of the priestly class. She developed a rivalry with other women in the Peshwa's household. She was the mother of three successive Peshwas.

Childhood

Gopikabai was the daughter of Bhikaji Naik Raste of Wai, near Pune.
Gopikabai was noticed by Radhabai,
the mother of Peshwa Baji Rao I, during her visit to the Raste family. She was impressed by Gopikabai's orthodox observance of religious fasting and rituals and selected her to marry Balaji Bajirao (Nanasaheb), the eldest son of Baji Rao I and grandson of Radhabai. Gopikabai was well versed in priestly religious matters and the prevailing customs followed in priestly Brahmin families.

Orthodox upbringing
Gopikabai faced severe drawbacks in her later life as she was underexposed or never given proper training in handling court administrative or military matters. Her orthodox religious upbringing was thought to be a major cause of her haughty behaviour and narrow-minded outlook. Some of the crueler decisions which Gopikabai took in later life, including severing relations with her second son Madhavrao are traced to her orthodox upbringing. Gopikabai's religious upbringing left her unable to understand court politics which Shahu and Nanasaheb Peshwa were pursuing.

Envy and ego
After her husband became Peshwa, Gopikabai was unable to get along with the other women in the Peshwa's household and developed a rivalry with her cousin Anandibai who was married to the Peshwa's brother Raghunathrao. There was also a rift between Gopikabai and Parvatibai, the wife of the Peshwa's cousin Sadashivrao Bhau which occurred when Shahu and Nanasaheb Peshwa selected Parvatibai's niece Radhikabai to marry her eldest son Vishwasrao. Gopikabai insisted on sending Vishwasrao along with Sadashivrao Bhau (Bhausaheb) to battle against Abdali as she did not want Bhausaheb to take all the accolades after defeating Abdali and wanted Vishwasrao to play a bigger role. She did this to ensure that Vishwasrao becomes the next Peshwa after Nanasaheb. She suspected Nanasaheb of planning to make Bhausaheb the next Peshwa.

Death of Nanasaheb Peshwa
Gopikabai blamed Radhikabai for being a bad omen and causing the death of her son Vishwasrao during the Third battle of Panipat. Instead of giving emotional support, Gopikabai continually nagged Nanasaheb Peshwa that he was responsible for the death of her son which was a major cause of Nanasaheb Peshwa's death from depression at Parvati near Pune.

Ascendency and reign of Madhavrao
After the death of Nanasaheb Peshwa, a dispute arose about appointments in the Peshwa administration. Chhatrapati Shahu had died without an heir and by this time the post of Peshwa had become hereditary. Gopikabai, advised by her brother, attempted to involve herself in administrative matters. Since Vishwasrao, Nanasaheb's first son and legal heir, had already died, a dispute arose whether Madhavrao, Nanasaheb's second son, or Raghunathrao, Nanasaheb's younger brother should ascend the post. This was fueled by the fact that Gopikabai's relations with Anandibai, the wife of Raghunathrao, were not cordial.

Finally, it was decided that Madhavrao would ascend the post of Peshwa, under the guidance of Raghunathrao. This decision was a setback for Gopikabai who had hoped to have a controlling influence over her son on becoming the Peshwa but now would have to take up matters with Raghunathrao, who in turn was under the strong influence of his wife Anandibai. Moreover, Gopikabai's lack of proper training for court administration made her susceptible to poor advice from courtiers spoiling her relationship with her son. With help from her brother Sardar Raste, who had become an influential moneylender, she tried to influence her son Madhavrao Peshwa.

Madhavrao Peshwa started taking an active part in administrative matters and displayed an intelligent decision-making ability. Gopikabai urged him to be assertive and do away with Raghunathrao's control over his administration. A few wrong decisions on Raghunathrao's part caused a wide rift in the administration. Sardar Raste collaborated with Nizam of Hyderabad and Bhonsale of Nagpur during their invasion of Pune against Raghunathrao's administration.

Confinement at Nashik
By sidelining Raghunathrao, Madhavrao Peshwa assumed control of the Peshwa administration. One of his first acts was to punish those who had assisted Nizam, prominent among them Sardar Raste. Gopikabai, who pleaded for mercy for her brother, was sternly warned of the consequences of such an act and was told not to interfere in administrative matters. When she persisted, she was confined to Nashik. Gopikabai remained at Nashik, performing orthodox Hindu rituals, until the death of Madhavrao in 1773 from tuberculosis. As Madhavrao died without an heir, Raghunathrao again made his claim for control of the Peshwa administration at Anandibai's insistence.

Return to Pune
Narayanrao, Gopikabai's third son, was appointed Peshwa. Upon Narayanrao's appointment, Gopikabai returned to Pune and again began to interfere in the administration. During this time, Gopikabai involved herself increasingly in religious rituals. This was during an era when the Brahmin way of life was at its zenith, and huge monetary grants were given for performing religious rituals. The priestly class occupied an important administrative post.

Narayanrao's administration was paralyzed by debt and increasing opposition to him especially from Raghunathrao and Anandibai led to him being murdered. This incident was another setback for Gopikabai, and she again lost the control which she had gained a year and a half earlier and had to return to Nashik.

In popular culture
 In the 1994 Hindi TV series The Great Maratha, Gopikabai's character was portrayed by Shama Deshpande.
 In the 2014 Indian Marathi-language film, Rama Madhav, she is portrayed by Mrinal Kulkarni.
 In the 2019 Hindi film, Panipat, Gopikabai's character was portrayed by Padmini Kolhapure.
 In 2019 Marathi TV series, Swamini, she was portrayed by Aishwarya Narkar.

References

1724 births
1778 deaths
Peshwa dynasty
Women from the Maratha Empire


Gallier House is a restored 19th-century historic house museum located on Royal Street in the French Quarter of New Orleans, Louisiana.

It was originally the home of prominent New Orleans architect, James Gallier Jr. Construction began in 1857 and he moved in with his wife and children in 1860.

The fully furnished house includes a courtyard garden, elegant carriageway, and slave quarters. The interior is restored and furnished in the style of the 1850s. The home boasts numerous technological and architectural advancements for its time, offering a glimpse into 19th-century cutting-edge design. It was declared a National Historic Landmark in 1974 for its association with Gallier, one of the city's most important architects of the mid-19th century.

In 1996, the Woman's Exchange became the steward of this historic house after acquiring it from Tulane University.  The Gallier House reflects an accurate and comprehensive historic restoration of one of New Orleans’ time-honored landmarks.

Architecture
The house is eclectic, combining Italianate features such as stucco treatment with classical elements like the formal front entrance. The stucco covering protected the soft, locally-made brick from erosion by wind and water. The building was constructed of brick-on-brick foundations which increase the width below the surface.

The front entry is protected by the original cast iron gate.  Much of the cast iron in the French Quarter was purchased from catalogs, so it was not as unique as the wrought iron.  The front gate of Gallier House, however, was designed by James Gallier Jr. specifically for this house.

Interior

See also
Hermann-Grima House, another French Quarter historic house museum operated by the Woman's Exchange
List of National Historic Landmarks in Louisiana
National Register of Historic Places listings in Orleans Parish, Louisiana

References

External links

National Historic Landmarks in Louisiana
French Quarter
Museums in New Orleans
Historic house museums in Louisiana
Houses completed in 1857
Houses in New Orleans
National Register of Historic Places in New Orleans
Historic district contributing properties in Louisiana
1860 establishments in Louisiana
Slave cabins and quarters in the United States
Woman's Exchange movement


James Gallier Jr. (September 25, 1827 – May 16, 1868), was a prominent architect in New Orleans, Louisiana. His father, James Gallier was also a New Orleans architect.

James Gallier Jr. graduated from the University of North Carolina in 1848, and the following year he succeeded to his father's architectural firm. In 1853, he married Josephine A. Villavaso of St. Bernard Parish, Louisiana. The couple had four daughters. During the Civil War, Gallier served in the Orleans Light Horse Louisiana Cavalry.

He died at age 40 just a few years after the Civil War. New Orleans was experiencing a yellow fever epidemic during this period; it is likely that Gallier succumbed to the disease.

Significant works
 The Third Christ Church Cathedral on Canal Street (1846).  No longer exists.
 Preservation Resource Center (Leeds Iron Foundry, 1852), on Tchoupitoulas Street.
 Gallier House (1857), on Royal Street in the French Quarter.  A National Historic Landmark.
 French Opera House (1859), on Bourbon Street in the French Quarter. Burned down in 1919.
 The Luling Mansion (1865), 1436 Leda Street, converted to the Louisiana Jockey Club (1871-1905).

References

External links
Southeastern Architectural Archive, Special Collections Division, Tulane University
Portrait of James Gallier Jr., in KnowLA, Encyclopedia of Louisiana

1827 births
1868 deaths
19th-century American architects
Deaths from yellow fever
British emigrants to the United States


Bogdan Korczowski (born 1954) is a contemporary Polish painter.

Korczowski is a native of Cracow, Poland who graduated from the Jan Matejko Academy of Fine Arts (ASP) Kraków. He obtained his diploma in 1978 in the studio of Wlodzimierz Kunz. Next, he moved to Paris to study at the École nationale supérieure des Beaux-Arts, where he was granted a diploma in 1985 in the studio of Abraham Hadad.

In 1980, Korczowski began a series of paintings called The Letters, which included embellished symbols and ideograms. In June 1989 a large solo exhibition Korczowski-Paintings took place in Warsaw's Zacheta National Gallery of Art. It was a proof that despite his debut as a performance artist and general tendency for the contemporary art to experiment with new, cutting edge concepts, Korczowski remained faithful to the most traditional art medium: painting. In 1986, he received "the Regional Council of Ile-de-France Award" in Paris. In 1988, Korczowski received a Pollock-Krasner Foundation grant in New York.

In 1998 the Polish Institute in Paris organized a Korczowski retrospective exhibition. In 2004, he participated in Season Polski in France (Nova Polska). In 2010, BWA in Gorzow Wielkopolski (Poland) presented the Three Decades of Painting 1979-2009 exhibition, which included a retrospective-personal look at Korczowski's work. In 2011 the Paul Delouvrier Museum in Evry/Paris opened an solo exhibition of his latest paintings Orbium Coelestium. In 2012 the Orangerie de Gustave Caillebotte in Yerres/Paris presented a large solo exhibition.

As an artist working with such media as abstract paintings and photographs (Polaroid), Korczowski has been showing his works in the US and Europe since 1974. So far, he has staged over 120 individual exhibitions in Paris, New York, Zürich and throughout Poland.

Korczowski lives and works in Paris, France.

References

External links
 Official website

1954 births
Living people
20th-century Polish painters
20th-century Polish male artists
21st-century Polish painters
21st-century male artists
Polish male painters


G. Sudhakaran (born 1 November 1950) is an Indian politician. He is former Minister for Public Works in the Pinarayi Vijayan ministry of the Kerala Legislative Assembly. He belongs to the Communist Party of India (Marxist) and represented the Ambalappuzha constituency from 2006 till 2021.

Career

Politician

He is Member, CPI (M), Alappuzha District Committee and State Committee. He was elected to Kerala Legislative Assembly in 1996 and 2006.

Author
He published books including:

Aaranu née Obama (Collection of Poems).
Unni Makane Manohara (Collection of Poems).
Sannithanathile Kazhuthakal (Collection of Poems).
Kanal Vazhiyil Kari Puralathe (Collection of Selected Niyamasabha Speeches).

References

Communist Party of India (Marxist) politicians from Kerala
Malayali politicians
Living people
1950 births
People from Alappuzha district
Kerala MLAs 1996–2001
Kerala MLAs 2011–2016
Kerala MLAs 2016–2021
Government Law College, Thiruvananthapuram alumni


Soshana Afroyim (born Susanne Schüller; September 1, 1927 – December 9, 2015) was an Austrian painter of the Modernism period. Soshana was a full-time artist and traveled frequently, exhibiting her work internationally.  During her journeys, she portrayed many well known personalities and her art developed in different directions. Her early period artwork was largely naturalistic in nature, showing landscapes and portraits. Later her style developed towards abstract art, strongly influenced by Asian calligraphy.

Life

Childhood
Soshana Afroyim was born in 1927 as Susanne Schüller in Vienna, Austria, into a Jewish middle-class family. Her younger brother Maximilian was born two years later. Her father, Fritz Schüller, owned a cufflink factory and her mother, Margarethe Schüller, was a sculptor. Shoshana first went to the Rudolf Steiner School, but soon changed to the alternative Schwarzwald School. She started to paint and draw at a very young age. Her mother supported Shoshana's creativity and collected her works.

Fleeing Vienna
At the age of eleven, Shoshana witnessed the annexation of Austria. "I watched Hitler's triumphant entry to Vienna. I remember well how I looked out of the window (...) and saw how he was welcomed by the cheering crowd as he drove in his open car (...). I turned cold and was horribly frightened."

The family decided to leave Austria. Fritz Schüller, who had been born in Brno, had a Czech passport and left the country first. Margarethe, Shoshana and Maximilian fled to Switzerland, then Paris, where Fritz had waited for them and finally in 1939 they reached London, where they would stay two years. Shoshana attended the Northwood College and in 1940 the Chelsea Polytechnic School, where she had painting and drawing lessons and learned about fashion design. Due to the Blitz, the Schueller family had to take refuge in air-raid shelters almost every night. The experience was very stressful for Soshana. She expressed her stress and emotions through drawings.

Emigration to America
Soshana's father fled to Spain and via Tangier, followed by New York. In 1941 he managed to get an affidavit for his family and booked three tickets for the S.S. Madura, the last civil ship that would leave Europe. In 1941, Soshana, her mother and her brother arrived at Ellis Island, in New York City. She enrolled at Washington Irving High School and attended painting classes under the guidance of artist Beys Afroyim, future plaintiff-appellant in Afroyim v. Rusk.

Travelling through America

At the age of 17, she travelled against her parents' will with Beys Afroyim through America. To earn their living during these travels, they painted writers, musicians, statesmen and scientists like Thomas Mann, Franz Werfel, Otto Klemperer, Bruno Walter, Lion Feuchtwanger, Theodore Dreiser and Hanns Eisler.

When the United Nations Conference on International Organization was opened in May 1945 in San Francisco, the couple portrayed well-known delegates, such as the deputy chairman of the UdSSR national planning commission Vasilij Vasilevič Kuznecov.

In 1945, Soshana and Afroyim married. In 1946, their only child Amos was born in New York.

Cuba and the first large exhibition

Because of Beys' activities within the Communist Party, the couple left the US and spent nine months in Cuba, where Soshana had her first exhibition in 1948 at the Circulo de Bellas Artes, Havana. From that time on she used the name "Soshana", the pen name Afroyims gave her, meaning "Lily" in Hebrew (the more common spelling is Shoshana - שושנה). After a short stay in the US, they moved to Europe and eventually to Israel.

The family was financially poor and Soshana didn't want to live her life as a traditional housewife. They divorced in 1950 with mutual consent. She returned with her son to Vienna in 1951.

Vienna and Paris

Back to Vienna
Soshana returned to Vienna with her son and eventually gave Beys full custody. In 1951, she enrolled at the University of Applied Arts in Vienna and in 1952 to the Academy of Fine Arts Vienna, where she painted under the guidance of Prof. Sergius Pauser, Albert Paris Gütersloh and Prof. Herbert Boeckl. Unhappy with academic art practice, she relocated in Paris, France in 1952.

Paris
Upon relocation to Paris, Soshana lived and worked in the former studio of André Derain. She eventually moved into another studio at Impasse Ronsin next to Brâncuși. She became very close with the artist, whom she described as loving her "like a daughter." Later, she lived in another studio that was previously owned by Gauguin.

Soshana struggled financially as a full-time artist in Paris. She described it as a "bittersweet time." She became acquainted with the artists Kupka, Auguste Herbin, Ossip Zadkine, César, Pignon, Bazaine, Max Ernst, Yves Klein,  Alexander Calder, Wifredo Lam, Sam Francis, Jean-Paul Sartre, Affandi, Lain Bangdel, and Marc Chagall. She considered Alberto Giacometti one of her best friends. In 1953, Soshana met the Zurich gallery owner Max G. Bollag, who became a major promoter of her work.

In Paris, Soshana had multiple exhibitions in the André Weil Gallery and Salon d'Automne, the Salon des Réalités Nouvelles and the Salon de Mai, where she met Pablo Picasso for the first time. He invited her to visit him at his Villa in Vallauris and drew a portrait of her in 1954.

World travel

In 1956,  Soshana traveled through Asia. She had organised herself an invitation by for a Chinese Ministry of Culture to exhibit in Beijing and on her way to China, she visited India, Thailand, Cambodia and Japan, where became interested in and inspired by Indian philosophy, Hinduism and Buddhism.
She was impressed by the art of calligraphy and learned art techniques on rice paper from Buddhist monks in Kyoto and Chinese painters in Hangzhou. The art of calligraphy became formative for her painting style. In 1957 she arrived in Beijing, where her exhibition took place in the Emperor's palace.

In 1959 Soshana travelled through Africa, where she portrayed Albert Schweitzer in Lambaréné, eventually returning to Paris.

In the same year she became acquainted with the Italian artist Pinot Gallizio. They worked together in Paris and Alba del Piemonte, Italy. In a letter written by Gallizio, to his gallerist Otto and Heicke Van de Loo in Munich, he announced '20 paintings were made in September 1959 in Paris, together with Soshana', adding 'results formidable'.

Through Gallizio, Soshana got in contact with the COBRA group, among others to Karel Appel and Asger Jorn. But because she is a woman, they did not accept her as a full member of the art group.

Instead, Soshana started a collaboration with the O´Hana Gallery in London, where she had three exhibitions in 1959, 1960 and 1963. In 1962, she had an exhibition at Château Grimaldi in Antibes.

Mexico

In 1964, Soshana traveled to Mexico for various exhibitions, living many months in Cuernavaca, known as the "City of Eternal Spring" and a refuge for many artists and intellectuals of the 1960s. She became friends with Mexican artists such as Rufino Tamayo, Siqueiros, José Luis Cuevas and Mathias Goeritz. In 1965, she met Adolph Gottlieb for the first time and later in New York, they developed a deep friendship. In 1966, an exhibition of Soshana's work took place in the Palacio de Bellas Artes.

Second journey around the world
During the course of her second trip around the world in 1968, Soshana visited the South Seas, the Caribbean, Thailand, Bali, Australia, India, Sikkim, Nepal, Afghanistan, Iran and Israel. In 1969, the Chogyal entrusted her with painting portraits of the king and the queen of Sikkim and the same year she became a member of the Theosophical Society.

In 1972, Soshana moved to Jerusalem, where she planned four exhibitions in the Old Jaffa Gallery. But when the Yom Kippur War broke out, they were all cancelled. Soshana left Israel and moved 1974 to New York.

New York

From 1974 to 1985, she lived and worked in New York City. Before she moved into her studio in Queens, she stayed in the Chelsea Hotel in Manhattan, where she was able to pay her rent with paintings. Soshana knew many people of the New York art scene, like Mark Rothko, Francesco Clemente, Joseph Hirshhorn and her close friend Adolph Gottlieb. Despite gaining international attention for her work and exhibiting frequently, Soshana felt unsatisfied with her living situation and uncomfortable in New York. She returned to Vienna in 1985.

Return to Vienna
Upon her return to Vienna, she continued to travel until she had to stop due to health problems in 2005. Thereafter, she moved to a nursing home and continued to paint. She died on December 9, 2015. Her son, Amos, serves as her manager and promoter. In 2008, the Austrian National Library took over her creative estate, comprising manuscripts, photos, letters, documents etc. and made it available for public consultation.

Work

Early years
In her early work, Soshana links individual elements from the tradition of Fauvism with the compact, hermetic view of American Realism and is noticeably imbued with a spirit of youthful insouciance.

Soshana received her first lasting artistic influences at an art school in New York City, starting at the age of fourteen. Before she started to create abstract paintings in the early 1950s, she painted in a style of colorful, archaizing Realism.
A style, which is connected to the political art in the period around 1945, as a minor transition phase between the earlier and more famous Realisms of the 1930s (New Objectivity, Verismo, Precisionism, Magical Realism, etc.) and the abstract painting of the 1950s.
Already the bombings of the London Blitz, had triggered artistic reflections in the drawing of the budding artist Soshana. Her teacher in New York and later husband Beys Afroyim, who was a committed Communist, led her much deeper into narrative art and contemporary Social Realism.
Afroyim and Soshana were very involved in the political activistic New York art circles, consisting mainly of European immigrants.

On her travels with Beys Afroyim through the US and later Cuba, Israel and Europe, Soshana painted street sceneries (e.g. Old Street in NY City, 1943, or Street in L.A., 1945), factory workers (e.g. the series My Sweatshop in New York, 1944), people she met on the way(e.g. Two Black Youths, 1944, oder Young Man with a Straw, 1945) and many landscapes. Overmore she portrayed many artists and politicians (e.g. Franz Werfel on his deadbed, 1945, or Otto Klemperer, 1945). These portraits reflect the critical intellectual environment, the Afroyim couple moved in.
All of the persons depicted have a distinctly melancholic look and are all either frontal or three-quarter-view portraits, which focus completely on the person represented. From the perspective of bold Social Realism, she interpreted the psychology of European immigrants in Los Angeles and European delegates to the founding conference of the United Nations in San Francisco.
Soshanas working-class milieu studies on the other hand show a high affinity with famous regionalists and socialrealists such as Thomas Hart Benton, Grant Wood, the Soyer Brothers or the Mexican Muralists José Clemente Orozco and Diego Rivera.

Up to 1948, Soshana remained faithful to a compact, colorful and expressive Social Realism. In these early paintings, figures are modeled roughly with a few broad brush strokes without any detail; landscapes and citiscapes always open up to the beholder from a slightly elevated point of view. The scenes appear mostly in a neutral light, with neither houses nor figures casting shadows, yet these landscapes with the saturated application of colors, exude an almost cheerful mood, which can be interpreted as an echo of Fauvism.
Soshana's paintings of European Alpine landscapes, which she began creating upon her return to Vienna in 1951, already show her first steps into Art Informel.

Paris, Asia and the Art Informel
When Soshana moved to Paris in 1952, she became part of the so-called École de Paris, a representative of the Paris School.

Influenced by the intense contact with other artists from all over the world, Soshana turned her style from Expressive Realism into the Informel. Step by step she eliminated the object from her paintings and followed suit with the international art jargon of the time after 1945.
Her Paris paintings are being connected with Abstract Expressionism and compared by experts to those of Jackson Pollock, Georges Mathieu and Hans Hartung.

From the second half of the 1950s, Soshanas works increasingly show informel characteristics. Like so many other artists of her time, she was fascinated by Asian calligraphic aesthetics and the philosophy behind it. She had many Asian friends in Paris (e.g. Tobashi, Fujino, Walasse Ting) and made her first experiments with calligraphic techniques. But the decisive impulse for an intense engagement in studies of traditional Far Eastern art was her first journey to Asia in 1957. She learned how to use Chinese ink on paper and soon applied the new technique on her oil paintings.

Although she devoted a big part of her work to the abstract art, Soshana never completely gave up the representational and kept interweaving occasional figures into her paintings.

Mexico and the Abstract Surrealism
Many of Soshana's paintings contain Surrealistic motives, like an infinite horizon, expanded endless spaces, in which mysterious shapes, masks or heads seem to float.
The use of an Surrealistic language is due to Soshana's travels to Mexico. In 1960 she made her first visit to that country, which was – due to its political antifaschist position - at that time particularly appealing for artists and intellectuals from Europe.

Soshana is one of those "children of the language of painting in Mexico", a "pintora filomexicana".
All her life she had a deep and magic connection with the country, which is also reflected in her work. The paintings she created in Mexico or are reminiscent of Mexico have a very special character, they hold within the typical flamboyant colors and the contrasts of that country.
Soshana refined a technique, she once had developed by chance in her Paris studio years before, when it had rained through the leaky glass roof onto her watercolours and dried, leaving bright spots with dark edges. Soshana began to imitate this effect with turpentine on her oil paintings, the result was a "kind of drip painting in reverse" which resembled the structure of liquid crystal, as she describes herself: "Some biochemists say that my paintings resemble what you see, when you look into a microscope"

Loneliness and Pain
A lonely figure, a dark silhouette or a single head between heavy bars, surrounded by wild strokes inside the perspective of a tunnel – motives like these run like a red thread through Soshanas whole work and have earned her a reputation as "Cassandra of the canvas, a prophetess of doom, an artist of the Atomic Age, a painter of anxiety and loneliness, of disease and dementia, of unemployment, pain, and death." (The Mainichi, Japan 1957)

Political works
Soshana was seriously affected by political events since her childhood. At the age of 11, she watched Hitler marching into Vienna, later the family had to flee from the Nazi regime. Soshana used drawing and painting as an outlet to deal with these traumatic events, like in a drawing, she called "Hitler as Cloun".
Themes like The Cold War, the Yom Kippur War, the atomic age or terrorism can be found over and over again in Soshana's Oeuvre. When she returned to Vienna in 1985, she worked up the time of the Nazi regime and the Holocaust. During Kurt Waldheim's election campaign in 1987/88, she made a series of paintings and collages, in which she incorporated Nazi propaganda texts. Soshana also painted motive cycles of the wars in Yugoslavia, the attacks on the World Trade Center or the wars on Iraq.

Late work
Reminiscences on earlier series of works and a process of compression can be clearly noted in Soshana's late work.

From the 2000s on, her paintings get a very different character, the structures are more quiet, the colours clearer and the forms more simple. The motives sometimes even seem childish and naive, these pictures are little riddles full of irony and phantasy.

Works (selection)
A complete overview over Soshanas works can be found on the homepage.

1944: Workers in a N.Y. Sweatshop, Oil on Canvas, 40,5 x 48 cm
1955: Artists in Paris, Oil on Canvas, 73 x 100 cm
1957: Maroque Marrakesch, Oil on Canvas, 60 x 55 cm
1963: Chinese Tiger, Oil on Canvas, 96 x 162 cm
1972: Terrorist in Munich, Oil on Canvas, 115 x 72 cm
1981: Rainbow, Oil on Canvas, 101 x 76 cm
1988: Concentration Camp, Acryl on Canvas, 116 x 74 cm
1990: Memories of Mexico, Oil on Canvas, 80 x 115 cm
1992: Chorramshar- Iraq, Oil on Canvas, 75,5 x 115 cm
2004: Movement V., Acryl on Canvas, 40 x 60 cm
2007: Life, Oil on Canvas, 60 x 40 cm

Reception

Soshana in the context of Austrian Modernism
Soshana worked internationally in U.S., Israel, France, Mexico, South America, India, Japan, China, Africa, etc. That's why she largely has been denied recognition within the context of 20th-century Austrian art. The foreign press paradoxically always has seen her as an Austrian painter.
Today she is often labelled as a cosmopolitan, a globetrotter, whose work is influenced by experiences on all the continents.

"...ranging in style from more or less abstract impressionism to tachistic calligraphy, Soshana´s paintings represent a diary of her travels showing, page by page, the impressions and visual experiences evoked on her journeys." (Pierre Restany, art historian and art critic, Paris 1969)

Soshana's position as a woman in the art world
"A woman who creates art lives in a test situation, and the examiner can be anyone at all. Because every man and every woman 'knows' what a woman is; therefore every man and every woman can claim the right to reduce the assessment of a woman's art to what she is like as a woman."

At Soshana's time, an art career for a woman was by no means a matter of course. The goal of being able to support oneself by one's own art production seemed – not only for women – nearly impossible, which is why many aspiring women artists completed practical training in some other profession parallel to their art schooling. In most cases it was the teaching profession, which they practiced in art-related spheres. But Soshana chose her own independent self-determined and emancipated way, in an era in which the legal implementation of equal rights of men and women and equal opportunities to work in any profession was simply unthinkable.

In a letter to the co-author of her autobiography, she writes about her role as a pioneer:
"This is why I want to write this book, to say what a struggle I went through to be a woman and an artist and be maybe like 100 years ahead of the times we actually live in."

A good example of how hard it was as a woman artist on the market, is the fact, that even a revolutionary artist group like CoBrA, refused her as a member out of sexistic reasons. And the gallerist of her colleague Pinot Gallizio, with whom she made many paintings, did not want her to sign with Gallizio on the same work.

In the manuscript of her autobiography, Soshana writes about the rejection she encountered also by other gallery owners:
"The owner of the Galerie de France told me in no uncertain terms, that they did not like to take woman artists on contract, it was considered too risky. A woman could get married, have children and abandon her career. Twenty years of publicity and a long-term financial investment in a female artist would be ruined over-night. Since this did not apply in my case, I felt the discrimination against women all the more."

For a very long time, the role of a woman in arts was to be an inspiring muse, not to be a painter herself.
But Soshana understood that she had to develop her own individual, unique artist image and knew very well how to practice successful self-management. She spread exciting, mysterious stories of her life and created a hype around her person.
Her encounters with Picasso were told again and again - especially the story of the day, when she visited him in his villa in Vallauris, to be portrayed and the refused his invitation to stay with him. Soshana tried to use Picassos name to get more attention. The planned booktitel of a never finished autobiographical novel would have referred to that event: The Girl who said No to Picasso.

Still Soshana later mentioned very often that she was torn between her pride of having said "No" and the regret, not to have chosen the easier and safe way at the side of a man.

Awards
 March 2008: Österreichische Post (Austrian Post) issued the commemorative stamp "Soshana" in the series "Modern Art in Austria"
 2 September 2009: Gold Merit Award of the Province of Vienna
 27 May 2010: Austrian Cross of Honour for Science and Art

Exhibitions (selection)

1948: Circulo de Bellas Artes, Havanna
1957: Imperial Palace, Beijing
1960: Museo de Arte, São Paulo
1961: Soshana, Musée Picasso, Antibes
1966: National Museum of Modern Art, Mexico City
1973: Old Jaffa Gallery, Israel
1976: Modern Art Centre, Zurich
1982: Horizon Gallery, New York
1997: Soshana-Retrospective, Palais Pálffy, Vienna
1998: Lentos Museum, Linz, Austria
1999: Musée Matisse, Le Cateau-Cambrésis, France
2006: Book Presentation, Jewish Museum, Vienna
2007: Siddhartha Art Gallery, Kathmandu, Nepal; Agora Gallery, New York; Givatayim Theater, Israel
2008: Khalil Sakakini Cultural Center, Ramallah, Westbank; City Council of Lima, Pancho Fierro Art Gallery, Peru
2009: Yeshiva University Museum, New York; National Bank of Serbia, Belgrade; UCLA Hillel Museum, Los Angeles
2012: Lilly's Art, Vienna; exhibition on the occasion of Soshana's 85th birthday
2013: Exhibition at the Art Center of the Bahrain National Museum
2013: Austrian National Library, Vienna: "Night over Austria. The annexation 1938 - Flight and expulsion", group exhibition; 75 years after the Austrian Anschluss to Nazi Germany, the ONB shows the estates of emigrated Austrian artists.
2013: Exhibition at the Galicia Jewish Museum Kraków, Poland
2013: National Library of Austria, Vienna
2013: Gallery Art Couture Dubai, UAE
2013: Al-Babtain Library Kuwait
2014: Gallery del Ponte Turin, Italy
2014: Gallery Szaal, Vienna
2015: Theater Nestroyhof/Hamakom, Vienna
2015: Deutschvilla Strobl at Wolfgangsee, Austria
2015: Gallery Lendnine, Graz

Museums

Albertina, Graphics Collection, Vienna
Museum of Modern Art, Paris
Museum of Modern Art, Rome
Museum of Modern Art, Rio de Janeiro
Museum of Modern Art, São Paulo
Museum of Modern Art, Mexico
Museum of Modern Art, New Delhi
Museum of Fine Arts, Santa Fé
Bezalel Museum, Jerusalem
The Israel Museum, Jerusalem
Helena Rubinstein Museum, Tel Aviv
Jewish Museum, New York
Leo Baeck Institute, New York
New York Hospital, New York
Stamford Museum, Connecticut
Salisbury Art Gallery, Rhodesia
Farleigh Dickenson University, New Jersey
Hirschhorn Museum, Washington, DC
Musée Matisse, Nice
Musée Picasso, Antibes
Petit Palais, Geneva
Neue Galerie, Linz, Austria
Oberbank Wien

Publications
Karin Jilek: Die Künstlerin Soshana "A broken childhood" (The artist Soshana - "A broken childhood")
in: Fetz/Fingernagel/Leibnitz/Petschar/Pfunder (eds.): Nacht über Österreich. Der Anschluss 1938 – Flucht und Vertreibung (Night over Austria. The annexation 1938 - Flight and Expulsion). Publication on the occasion of an exhibition with the same title at the State Hall of the Austrian National Library, 7.3. - 28.4.2013, Residenz Publishing House 2013
Lisa Bolyos, Katharina Morawek (eds.): Diktatorpuppe zerstört, Schaden gering. Kunst und Geschichtspolitik im Postnazismus
(Dictator doll destroyed, damage low. Arts and Political History in the Postnazi Era).
A book about artists, scientists and activists in search of cultural strategies to disturb Postnazism. On page 50/51: A text about Soshana, Mandelbaum Publishing House 2012,
Birgit Prunner: Soshana. Das Malerische Oevre der 1950er und 1960er Jahre im Licht der internationalen Avantgarde, Diploma Thesis History of Art, University Vienna 2011
Amos Schueller, Angelica Bäumer (eds.): Soshana. Life and Work. Comprehensive monograph on Soshanas life and work, contributing authors: Matthias Boeckl, Afnan Al-Jaderi, Christian Kircher, Marlene Streeruwitz, Martina Pippal, Christian Kloyber et al., Springer, Vienna, New York 2010,
Martina Gabriel, Amos Schueller (eds.): Soshana. An Overview of Soshana's Works, contributing authors: Peter Baum, Max Bollag, Walter Koschatzky, et al., Vienna 2005
Amos Schueller (ed.): Soshana. Paintings and Drawings 1945 – 1997, exhibition catalog of the Retrospective 1997, Palais Pallfy, Vienna 1997
United Artists Ltd. (ed.): Soshana, comprehensive illustrated book, contributing authors: Jean Cassou, Michel Georges-Michel, Waldemar George, Pierre Restany, Tel Aviv 1973
Fetz/ Fingernagel/ Leibnitz/ Petschar/ Pfundner (ed.): Night over Austria. The annexation 1938 -–Flight and Expulsion, Exhibitioncatalogue to Night over Austria. The annexation 1938 - Flight and Expulsion, at the Austrian National Library in Vienna, (7.3.-28.4.2013), Residenz Verlag, Vienna 2013

Film
Everywhere alone. The Artist Soshana (Documentary: 45 min); direction and production: Werner Müller.
Based on Soshana's biography, filmed in Vienna, Paris, Mexico and New York, the film reflects the story of the 20th century.
It contains interviews with the artist herself, with friends, acquaintances and contemporaries.
The documentary about Soshanas life was broadcast in December 2013 on 3Sat.

Miscellaneous
March 2008 Presentation of the special stamp "Soshana" in the series "Modern Art in Austria"
In September 2011 seven Soshana paintings were stolen from a private collection in Vienna
Soshana worked for several years on her autobiography with co-author Toby Falk. It was never finished nor published. The manuscript is in possession of her son Amos Schueller.

References

External links

1927 births
2015 deaths
20th-century Austrian women artists
Jewish women painters
Jewish painters
Jewish emigrants from Austria after the Anschluss to the United Kingdom
Austrian expatriates in the United States
Painters from Vienna
Austrian women painters
Academy of Fine Arts Vienna alumni
Recipients of the Austrian Cross of Honour for Science and Art
Austrian painters
People educated at Northwood College


Control operator may refer to:

 Operator (profession)
 Operators in control flow software programming

See also
 Control (disambiguation)
 Operator (disambiguation)


No Night So Long is a studio album by American singer Dionne Warwick. It was released by Arista Records on July 18, 1980 in the United States. Her second album for the label, Warwick worked with producer Steve Buckingham on the album which was recorded during the spring of that year.

Singles
The album's title track, "No Night So Long", was written by Richard Kerr and Will Jennings, the same team that wrote Warwick's 1979 comeback hit "I'll Never Love This Way Again". The title track is one of two US charting songs from the album, reaching number 23 on the Billboard Hot 100. The other single, "Easy Love," peaked at number 62 on the same chart.  Both songs were also hits on the Adult Contemporary chart with "Easy Love" peaking at number 12 and "No Night So Long" spending three weeks at number 1.

Track listing
All tracks produced by Steve Buckingham.

Personnel
Musicians

 Dionne Warwick – lead and backing vocals
 Randy McCormick – keyboards, rhythm track arrangements
 Joe Neil – synthesizers
 Isaac Hayes – Hammond organ
 Steve Buckingham – guitar, rhythm track arrangements
 Larry Byrom – guitar
 Tom Robb – bass guitar
 James Stroud – drums
 Mickey Buckins – percussion
 Steve Dorff – timpani, orchestra bells, string arrangements and conductor
 Jimmy Getzoff – concertmaster
 Jay Scott – alto saxophone solo
 Tower of Power Horn Section:
 Greg Adams – horn arrangements
 Emilio Castillo – tenor saxophone
 Stephen Kupka – baritone saxophone
 Lenny Pickett – alto saxophone, tenor saxophone
 Mic Gillette – trombone, trumpet, flugelhorn
 Kim Carnes – backing vocals
 Mark Piscitelli – backing vocals
 Nick Uhrig – backing vocals
 Maxine Waters – backing vocals
 Julia Waters – backing vocals

Production

 Producer – Steve Buckingham
 Production Assistants – Kathy Andrews and Jan Bidewell
 Engineers – Alan Chinowsky, Joe Neil and Lenny Roberts.
 Assistant Engineers – Russell Bracher and Alex Kashevaroff
 Recorded at Mastersound Studios (Atlanta, GA); Britannia Studios (Hollywood, CA); Record Plant (Sausalito, CA).
 Mixed at Mastersound Studios
 Mastered by Glenn Meadows at Masterfonics (Nashville, TN).
 Art Direction and Design – Donn Davenport
 Photography – Harry Langdon

Charts

References

External links
No Night So Long at Discogs

Dionne Warwick albums
1980 albums
Albums produced by Steve Buckingham (record producer)
Arista Records albums


The Diocese of Trieste () is a Latin diocese of the Catholic Church in the Triveneto. It has existed since no later than 524, and in its current form since 1977. The bishop's seat is in the Cathedral Basilica of Saint Justus Martyr. It is a suffragan of the Archdiocese of Gorizia.

History
Frugiferus was the first known bishop of Trieste; the diocese was then a suffragan of the archdiocese of Aquileia.

On 28 April 1221, Pope Honorius III confirmed Bishop Conrad's approval of the addition of a thirteenth canon to the Cathedral Chapter.

Among the bishops were: Enea Silvio de' Piccolomini, later Pope Pius II; Pietro Bonomo, a secretary of Emperor Frederick III and Emperor Maximilian I, bishop in 1502, and known as pater concilii in the Fifth Lateran Council (1512); and Giovanni Bogarino, teacher of Archduke Charles of Styria, bishop from 1591.

Provincial reorganizations

The diocese of Trieste was suffragan of the Patriarchate of Aquileia until 1751. The ecclesiastical province of Aquileia was subject to repeated troubles, both internal and external, due partly to the fact that the eastern dioceses of the province (Istria) were politically subject to Austria, while the western dioceses (Veneto) were subject to the Venetian Republic. Both powers had repeated clashes with the Papacy in policy and administration. The War of the Austrian Succession (1740–1748) produced a crisis, since both Venice and the Papacy supported Charles Albert of Bavaria, while Austria supported Maria Theresa, daughter of Charles VI, Holy Roman Emperor. The Austrian government retaliated by sequestering all church benefices in its territories. At the conclusion of the war, both Austria and Venice demanded a resolution of the ecclesiastical problems.

Pope Benedict, in letters of 29 November 1749 and 27 June 1750, invited the two parties to come to an agreement, while for the moment the present arrangements would remain in effect. On 6 April 1751, replies from Austria and Venice were presented to the pope, in the form of a convention between the parties, with the demand that the pope implement it. The patriarchate of Aquileia was abolished, as Article I of their convention required, and was replaced by two ecclesiastical provinces and two archbishoprics on equal footing: Udine and Gorizia. Benedict XIV granted the empress of Austria and her successors the right to nominate the archbishop of Gorizia, and the doge of Venice and his successors the right to nominate to a vacancy at Udine. The diocese of Trieste was transferred to the ecclesiastical province of Gorizia.

From 1788, a series of administrative changes took place in northeastern Italy. The bishop of Pedena, Aldrago Antonin de Piccardi had been transferred to the diocese of Senj e Modruš (Croatia) on 14 February 1785, and was not replaced. On 20 August 1788, diocese of Pedena, was suppressed, and its territory was added to that of Gradisca. Under pressure from Emperor Joseph II, Pope Pius VI then abolished the diocese of Trieste and  Archdiocese of Gorizia in 1788, merging them into the new diocese of Gradisca. On 12 September 1791, at the request of Joseph's brother, Emperor Leopold II, Pope Pius VI divided the diocese of Gradisca into the newly created diocese of Gorizia-Gradisca, or Görz-Gradisca, and a re-established diocese of Trieste, appointing as its bishop the tutor of the Emperor's children, Sigismund Anton, Count of Hohenwart. At the same time, the pope confirmed the right of the emperors to nominate to a vacancy in the diocese of Trieste. Later attempts were made to suppress the see again, but the emperor decreed its preservation, nominating Ignatius Cajetanus von Buset zu Faistenberg bishop of Trieste on 12 February 1796. After his death in 1803 the see remained vacant for eighteen years, because of the disorders caused by the French Revolutionary Republic, the Italian republics and kingdom of Napoleon, the dissolution of the Holy Roman Empire, and the imprisonment of Pope Pius VII from 1809 to 1815.

Emperor Franz II finally appointed Antonio Leonardis da Lucinico as the new bishop of Trieste on 4 March 1821, and he was confirmed by Pope Pius VII on 13 August 1821. But the Emperor and Clemens von Metternich continually resisted the efforts to establish a concordat with the Papacy.

On 20 June 1828, by the papal bull "Locum Beati Petri", Pope Leo XII completed the project which had been begun by Pius VII, the reorganization of the dioceses of the Italian peninsula, Istria, and Dalmatia, whose existence had been interrupted or compromised by the French intrusions. He first suppressed a number of dioceses in Istria and Dalmatia, including Aemonia. The Slovenian diocese of Koper, or Capodistria-Koper, was united with Trieste. Thereafter it was known as the "Diocese of Trieste-Koper (Capodistria)".

Bishop Bartholomew Legat was present at the Synod of Vienna in April 1849, when the Austrian Episcopal Conference was founded. He also defended the views of the minority in the First Vatican Council (1869–1870). In 1909 Bishop Franz Xaver Nagl was appointed coadjutor cum jure successionis to the ninety-year-old Cardinal Prince-Archbishop Anton Gruscha of Vienna.

The Second Vatican Council (1962–1965), in order to ensure that all Catholics received proper spiritual attention, decreed the reorganization of the diocesan structure of Italy and the consolidation of small and struggling dioceses. Pope Paul VI had been working for some time to implement the council's decree. The diocese of Trieste e Capodistria was in an anomalous position, with part of its territory in Italy, and part in the Slovenian Socialist Republic of Yugloslavia. On 27 October 1977, by virtue of the Apostolic Constitution "Prioribus saeculi XIX annis," Koper / Capodistria was restored as an independent diocese once more, being transferred to the ecclesiastical province of Ljubljana from that of Gorizia, and leaving the diocese of Trieste in its present state.

Bishops

Diocese of Trieste
Erected: 6th Century
Latin Name: Tergestinus

To 1200

Frugiferus (attested 549)
...
Severus (attested 571–590)
Firminus (attested 602)
...
Gaudentius (attested 680)
...
Joannes (attested 731)
...
Joannes de Antenori (759–766)
Mauritius (attested 766)
...
Taurinus (attested 911)
...
Radaldus (attested 929)
...
Joannes (attested 948–966)
...
Petrus (attested 991)
Richolfus (attested 1007–1017)
...
Adalgerus (attested 1031–1075)
Heribertus (attested 1079–1082)
...
[Herinicius]
Hartwicus (attested 1106–1115)
Dietmar (attested from 1135 to 1145)
Wernardus (attested 1149–1186)
Henricus (1186–1188)
Liutoldus (attested 1188)
Woscalcus (1190–1200)

From 1200 to 1500

Henricus Ravizza (attested 1200)
Gebhard (attested 1203–1212)
M.
Conrad Bojani (attested 1217–1232)
Leonardus (Wernardus) (attested 1232–1234)
Ulricus (attested 1234–1237)
Arlongus (1251–1255)
Garnerus de Cocania (1255–
Leonardus (attested 1260)
Arlongus (1262–1281)
Olivinus (Alvinus) (attested 1281–1286)
Brisa de Topo (attested 1287–1299)
Joannes de Turris (attested 1299–1300)
Rodulfus Pedrazzani (1300–1320)
Sede vacante (1320–1327)
Gregorius Tanzi, O.P. (1324–1327) Administrator
Guglielmo da Villanova, O.F.M. (1327–1330)
Pax da Vedano, O.P. (1330–1341)
Francesco d' Amelia (1342–1346)
Ludovicus de la Turre (1346–1349)
Antonio Negri (1349–1369)
Angelo (Canopeo) (1369–1382
Enrico de Wiklenstein, O.P. (1383–1396)
Simon Saltarelli, O.P. (1396–1408)
Joannes, O.S.B. (1408–1409)
Nicolaus of Trieste, O.Min. (1409–1416)
Joannes of Trieste (1414) Avignon Obedience
Giacomo Balardi Arrigoni, O.P. (1418–1424)
Martinus Coronini (1424–1441)
Nicolaus de Aldergardis (1441–1447)
Enea Silvio Piccolomini (17 Apr 1447 –1450)
Antonio de Groppo (1451–1485)
Achatius (Acacio) (1486–1500)

1500 to 1830

Pietro Bonomo (5 Apr 1502 – 4 Jul 1546 Died)
Antonio Paragües Castillejo, O.S.B. (21 Aug 1549 –1558)
Giovanni Betta, O.S.B. (3 Apr 1560 – 15 Apr 1565)
Andrea Rapicio (22 Aug 1567 – 31 Dec 1573)
Giacinto Frangipane (1 Mar 1574 – 8 Nov 1574)
Nicolò Coret (28 Feb 1575 – 10 Jul 1590)
Giovanni Wagenring (Bogarino) (22 May 1592 – 1597)
Ursino de Bertiis (7 Aug 1598 – 1 Sep 1620 Died)
Rinaldo Scarlicchio (5 Jul 1621 –1638)
Pompeo Coronini (27 Jan 1631 – 14 Mar 1646)
Antonio Marenzi (10 Sep 1646 – 22 Oct 1662)
Franz Maximilian Vaccano (12 Mar 1663 – 15 Aug 1672)
Giacomo Ferdinando de Gorizzutti (30 Jan 1673 – 20 Sep 1691)
Giovanni Francesco Miller (6 Oct 1692 – 23 Apr 1720)
Joseph Anton von Delmestri von Schönberg (1720–1721)
Lucas Sartorius Delmestri von Schönberg (26 Jun 1724 – 6 Nov 1739)
Leopold Josef Hannibal Petazzi (1740 –1760)
Antonius von Herberstein, C.R. (6 Apr 1761 – 2 Dec 1774)
Franz Philipp von Inzaghi (24 Apr 1775 –1788)
Suppression of diocese of Trieste (1788–1791).
Sigismund Anton von Hohenwart, S.J. (26 Sep 1791 –1794)
Ignatius Cajetanus von Buset zu Faistenberg (27 Jun 1796 – 19 Sep 1803)
Sede vacante (1803–1821)
Antonio Leonardis da Lucinico (1821–1830)

Diocese of Trieste e Capodistria
United: 30 June 1828 with the Diocese of Capodistria and territory added from the suppressed Diocese of Novigrad
Latin Name: Tergestinus et Iustinopolitanus
Metropolitan: Archdiocese of Gorizia

Matteo Raunicher (30 Sep 1831 – 20 Nov 1845 Died)
Bartolomeo Legat (21 Dec 1846 – 12 Feb 1875 Died)
Juraj Dobrila (1875–1882)
Giovanni Nepomuceno Glavina (3 Jul 1882 – 1895 Resigned)
Andrija Marija Sterk (25 Jun 1896 – 17 Sep 1901 Died)
Franz Xaver Nagl (9 Jun 1902 – 19 Jan 1910)
Andrea Karlin (6 Feb 1911 – 15 Dec 1919 Resigned)
Angelo Bartolomasi (15 Dec 1919 – 11 Dec 1922 Appointed, Bishop of Pinerolo)
Luigi Fogar (9 Jul 1923 – 30 Oct 1936 Resigned)
Antonio Santin (16 May 1938 – 28 Jun 1975 Retired); Archbishop (personal title) in 1963

Diocese of Trieste17 October 1977: Split into the Diocese of Koper and the Diocese of TriesteLorenzo Bellomi (17 Oct 1977 – 23 Aug 1996 Died)
Eugenio Ravignani (4 Jan 1997 – 4 Jul 2009 Retired)
Giampaolo Crepaldi (4 Jul 2009 – 24 April 2023 Retired ), Archbishop (personal title)
Enrico Trevisi (23 April 2023 – currently)

Coadjutor Bishops

Wilhelm von Leslie (1711-1716), did not succeed to see; appointed Bishop of Vác, Hungary

Other priests of the diocese of Trieste who became bishops
Aldrago Antonio de Piccardi, appointed Bishop of Pedena, Austria in 1766
Franz von Raigesfeld, appointed auxiliary bishop of Ljubljana, (now in) Slovenia in 1795
Guido Pozzo, appointed Almoner of the Office of Papal Charities and titular archbishop in 2012

Notes and references

Bibliography
Reference works for bishops
 pp. 783–785.
   (in Latin)
 archived

Studies
Babudri, Francesco (1921. "Nuovo sillabo cronologico dei vescovi di Trieste." . In: Archeografo Triestino. III serie, vol. 9 (1921), pp. 157-243.
Cappelletti, Giuseppe (1851). Le chiese d'Italia dalla loro origine sino ai nostri giorni. . Volume 8. Venezia: Antonelli, 1851.
Cuscito, Giuseppe (1988). La diocesi di Trieste: note storiche. . [Documenti della chiesa di Trieste, Vol. 18]. Trieste: Diocesi di Trieste 1988.
Kandler, Pietro (1829). Duomo di Trieste. . Archeogr. Triest., 1829.
Kandler, Pietro (1847). Pel fausto ingresso di Monsignore Illustrissimo e Reverendissimo D. Bartolomeo Legat, vescovo di Trieste e Capodistria ...: nella sua chiesa di Trieste il di 18. Aprile 1847. . Trieste: I. Papsch, 1847.
Kandler, Pietro (1849). Fasti sacri e profani di Trieste e dell' Istria. . Trieste: Weis, 1849.
Kandler, Pietro (1855). Indicazioni per riconoscere le cose storiche del Litorale. . Trieste: Lloyd, 1855.
Kandler, Pietro (ed.) (1869). Documenti di principi austriaci dal 1217 al 1526, tratti dal codice diplomatico istriano. . Trieste: Tipogr. del Lloyd Austriaco, 1869.
Kehr, Paul Fridolin (1925). Italia Pontificia Vol. VII:2 Venetiae et Histria, Pars II. Berlin: Weidmann .
Lanzoni, Francesco (1927). Le diocesi d'Italia dalle origini al principio del secolo VII (an. 604)''. . Faenza: F. Lega, pp. 847–881.
Schwartz, Gerhard (1907). Die Besetzung der Bistümer Reichsitaliens unter den sächsischen und salischen Kaisern: mit den Listen der Bischöfe, 951-1122. Leipzig: B.G. Teubner. pp. 41–43.
.  Archived

Trieste
Trieste
Culture in Trieste


The  ("War of Sticks") of 1802 resulted in the collapse of the Helvetic Republic, the renewed French occupation of Switzerland and ultimately the Act of Mediation dictated by Napoleon on 19 February 1803. The conflict itself was between insurgents, mostly drawn from the rural population, and the official forces of the  Helvetic Republic. The term Stäckli, or "wooden club," from which the conflict draws its name, refers to the improvised weaponry of the insurgents.

The Swiss war
Following the Treaty of Lunéville, the French troops left Switzerland during the summer of 1802, resulting in rapid destabilization of the country. This instability reached a head with the open rebellion which originated in Central Switzerland and was centered around the cities of Zürich and Bern, as well as rural parts of the Swiss plateau in the cantons Aargau and Solothurn. The war began with an engagement at Rengg pass in Pilatus on 28 August, followed by artillery attacks on Bern and Zürich during September, and a skirmish at Faoug on 3 October. After several hostile clashes with the under-equipped and less motivated forces of the Helvetic Republic, the central government capitulated militarily on 18 September, retreating from Bern to Lausanne, and then collapsed entirely. It was succeeded by cantonal governments, and a Tagsatzung in Schwyz led by Alois von Reding.

With the more liberal order of the Helvetic Republic, anti-Jewish sentiment rose, as accusations emerged that Jews were unfairly profiting from the unpopular new order. On the 21st of September 1802, the hatred and resentment came to a head in the so-called “Zwetschgenkrieg” or plum war. In an outbreak of violence, spurred on by antisemitic rumours, an armed horde of 800 farmers, craftsmen and some patricians assaulted the Surbtal Jews, looting and destroying their homes and belongings. The attack was not entirely unexpected, tensions having built up over several days, and the Christian inhabitants of Endingen and Lengnau were largely unaffected. The Jews did not receive compensation for the damages, and the perpetrators did not face any consequences.

Napoleon was concerned that the instability of Switzerland could infect Europe at large, and was authorized to negotiate a settlement between the feuding sides. His Act of Mediation made concessions to the demands of the insurgents, abandoning the centralist structure of the Helvetic Republic in favor of a more federalist approach. He likewise stated the natural state of Switzerland was federal and that attempts to force any other system upon them were unwise.

The British response
French intervention constituted a breach of the Treaty of Amiens, which was used as a pretext by the United Kingdom to resume their war against France on 18 May 1803. The French involvement within the internal affairs of the Swiss was exemplary of Britain's worry that it was to have a diminishing role in continental affairs. Though the British often attempted to stay removed from the internal struggles of the Continent, the actions of Napoleon's France threatened to upset the existing order and thus Britain's existing economic supremacy.  While the Acts of Mediation enforced by French intervention did not particularly upset the Swiss order, in fact restoring much of pre-existing traditions and forms of Swiss government from before the French Republican invasion, it was a technical violation of the Treaty of Amiens, which prohibited such foreign meddling by France.

In regards to civil response to the actions of the French, William Wordsworth's poem Thought of a Briton on the Subjugation of Switzerland was directly inspired by the events of the Stecklikrieg.  His poetry of the period was his response to the "easy jingoism" which he considered to often captivate the British populace.  In the Subjugation of Switzerland, he relates his experiences on the differences between the "place" of a nation and the "politics" of one.  He saw the French intervention in Switzerland as a repudiation of the philosophy of the Revolution and supported the British declaration of the continuation of the war against France, though he did still sympathize with the values initially claimed by the French Revolution.

References

External links

Abschnitt in der Geschichte des Kantons Bern seit 1798

Wars involving Switzerland
Conflicts in 1802
1802 in Europe
Campaigns of the Napoleonic Wars
1802 in Switzerland
August 1802 events
September 1802 events
October 1802 events
Helvetic Republic
Civil wars in Switzerland


Michael C. Aish (born 21 February 1961) is a former Australian rules footballer who played for the Norwood Football Club in the South Australian National Football League (SANFL).

Career
Aish and long time Norwood teammate Garry McIntosh continually resisted many big-money offers to move to Melbourne to play in the Victorian Football League (VFL) and remained loyal to Norwood and South Australian football. This was helped also by the SANFL's controversial player retention scheme where the league paid to keep as many South Australian players in the local league as possible rather than see them cross the border to play for VFL clubs.

Aish was the second son of former Norwood captain and coach Peter Aish. He had two siblings; his older brother Andrew also played league football for Norwood, and his younger sister Susan represented South Australia in both netball and softball. He won the SANFL's highest individual honor, the Magarey Medal in 1981 at the age of just 20 and was a premiership player with Norwood in 1982 when they defeated Glenelg in the Grand Final and again in 1984 when the Redlegs defeated Port Adelaide to become the first team in SANFL history to win the premiership after finishing the minor round in 5th place. His son Jesse has also played senior football for Norwood.

From 1987 to 1989, he was club captain and won Norwood's best and fairest in 1981, 1983, 1984 and 1992, emulating his father Peter who won the club's best and fairest award in 1960. Aish represented South Australia 15 times at interstate football, captaining the side in 1986 and 1989 as well as earning All-Australian selection in 1983 and 1986.

Awards and achievements
Michael Aish retired after Norwood's Grand Final loss to Woodville-West Torrens in 1993. When the Norwood 'Team of the Century' was chosen, Aish was named as ruck-rover.

Aish was one of 113 inaugural inductees into the South Australian Football Hall of Fame in 2002.

On 24 October 2000, Aish was awarded the Australian Sports Medal for being a "recipient of the highest individual honour in South Australian Football".

On 27 June 2023, Aish was inducted in to the Australian Football Hall of Fame.

References

Bibliography

External links

Living people
Magarey Medal winners
Norwood Football Club players
South Australian State of Origin players
All-Australians (1953–1988)
Australian rules footballers from South Australia
Recipients of the Australian Sports Medal
South Australian Football Hall of Fame inductees
1961 births
Australia international rules football team players


The Code Project Open License (CPOL) is a software license published by The Code Project, a community site for software developers.  The license is mainly applied to content that is being published on the site.

License

The main points subject to the terms of the license are:
Source Code and Executable Files can be used in commercial applications;
Source Code and Executable Files can be redistributed; and
Source Code can be modified to create derivative works;
No claim of suitability, guarantee, or any warranty whatsoever is provided. The software is provided "as-is";
The Article(s) accompanying the Work may not be distributed or republished without the Author's consent;
Executable Files and Source Code  may not be distributed with any technological measures that control access or use of the Work in a manner inconsistent with the terms of the License.

The license itself grants copyright and patent protection to the developer. The Code Project has a comparison of the CPOL to open-source licenses on their site.  Further, the license provides a distinction and clarification between the source code available for download and the source code's author's articles and writings about that content.

Status as an open-source license

The "Open" in the name Code Project Open License refers to the license offering accessibility to the software's source code. The license is not "Open" as defined by the Open Source Initiative because it places restrictions on how the software can be used, such as forbidding its use in illegal, immoral or improper material as well as a prohibition on commercial distribution of the code in isolation.

The CPOL is strictly for source code that is gratis, but is not recognized as a free or open license by the Free Software Foundation due to the restrictions within the CPOL forbidding usage for illegal purposes and the restrictions on selling the code without coupling it to a larger application. The license is thus incompatible with the GNU General Public License and some other free software licenses, and inconsistent with the Open Source Definition, which requires that a license not discriminate against fields of endeavor.  The Apache Software Foundation does not accept code under this license.

See also
Free software licence
Open-source software

References

External links
Code Project Open License (CPOL)
The Code Project
Code Project's comparison of licenses

Software licenses


Paston is a village and civil parish in the English county of Norfolk. The village is  north-east of North Walsham and  south-east of Cromer. It is  north-east of the city of Norwich. The village sits astride the coast road between Mundesley and Bacton. The nearest railway station is at North Walsham for the Bittern Line which runs between Sheringham, Cromer and Norwich. The nearest airport is Norwich International.

The village gives its name to the Pastonian Stage, a British regional subdivision of the Pleistocene Epoch. The village was served by Paston & Knapton railway station on the North Walsham to Cromer section of the Norfolk and Suffolk Joint Railway from 1881 until 1964.

History
The manor of Paston is listed in the Domesday Book of 1086 as Pastuna from the Roman name Terra Pastorini ("Shepherds' Land"), one of the many English holdings of William de Warenne, 1st Earl of Surrey. The listing mentions the church and a mill. From about 1400, it was dominated by the de Paston family (later Paston), who had taken their surname from their seat. Clement Paston was sufficiently wealthy to have his son William Paston (1378–1444) educated as a lawyer and he later become a judge. The family went on to acquire lands throughout the county of Norfolk and became wealthy and part of the county gentry. Indeed, there is an old saying in Norfolk that "There was never a Paston poor, a Heydon a coward or a Cornwallis a fool". The Paston family are remembered today mostly for the Paston Letters, a rare surviving collection of fifteenth-century private and business letters. In 1597, Sir William Paston (1528–1610) moved the main family seat to Oxnead. The last Paston in the male line was William Paston, 2nd Earl of Yarmouth (d.1732). The Paston estate was then acquired by Baron Anson, passing in the early nineteenth century to the Mack family.

Archaeological test pits were dug in 2012. The report was published online.

Parish church of Saint Margaret
The parish church of Saint Margaret dates from the 14th century and is constructed from flint. English Heritage has given it Grade I listed building status. It has an embattled tower which looks down on a thatched roof. The porch is on the south side and opens into a plain nave and chancel which is divided by a 15th-century rood screen. The church has been restored three times, in 1601, 1843 and 1869. In 1922 medieval wall paintings were uncovered, one depicting Saint Christopher carrying the Christ child, another depicting the legend of the three kings who, when hunting merrily in the forest, suddenly encountered three hanging skeletons. There is also a small figure from a 'weighing of souls' and the remains of some post-Reformation texts.

The Paston family monuments are situated at the eastern end of the building. That of Katherine Knevet/Knyvett (d.1628) (the wife of Sir Edmund Paston (d.1632)) stands on the north side of the chancel. This was created by Nicholas Stone, master-mason to King Charles I, who was frequently employed by the Paston family. It includes a verse epitaph written by the famous metaphysical poet John Donne, Dean of St Paul's Cathedral in the  City of London. The monument is made of alabaster and pink-veined marble and features a semi-recumbent effigy of Lady Paston sculpted in white marble and surrounded by numerous allegorical figures. Stone also designed the adjoining monument to her husband Sir Edmund Paston (d.1632), comprising a plain urn on a bare base in an aedicule of black Doric columns. Pevsner commented: "the contrast between the severity of the one and the ebullience of the other is startling". The chancel also contains three chest tombs, the one at the eastern end probably of John Paston (d.1466) who was originally buried in Bromholm Priory following a magnificent funeral at which were consumed  forty barrels of ale.

Surviving monuments to the Mack family include stained glass windows and  memorial plaques within the nave. The east window in memory of John Mack (d.1867) of Paston Hall was made by the firm of Clayton and Bell. The south window next to the doorway of the rood loft is dedicated to Lt Cdr Ralph Michael Mack of the Royal Navy who went down with his ship HMS Tornado off the Dutch coast in 1917.

The Paston Family

The village is best known for its association with the Paston family, who resided in an earlier building on the site of the present Paston Hall. The family is most noted for the Paston Letters, a collection of letters and papers, consisting of the correspondence of members of the family, and others connected with them, between 1422 and 1509, and including some state papers and other important documents. Most of the Paston letters and associated documents are now in the British Library, but a few are in the Bodleian Library, Oxford, at Magdalen College, Oxford, and at Pembroke College, Cambridge.

In a letter dated 4 February 1445, Agnes Paston, the widow of William Paston, advised her son Edmond Paston (1425–49) 'to think once of the day of your father's advice to learn the law; for he said many times that whosoever should dwell at Paston should have need to con defend himself'. The letter goes on to list several disputes with neighbours. One of these was with the vicar of Paston concerning William's diversion of a highway from the south to the north side of Paston Hall, situated next to the church. This perhaps helps to explain why today the lychgate entrance to the church  stands on a small path to Paston Hall rather than on the road to the north. The dispute continued for a few years and in about 1451 Agnes wrote to another son, John Paston (1421–66), to tell him how an argument broke out on the subject after evensong on the Sunday before St Edmund's Day (i.e. in mid November). She was in the church when a certain Clement Spicer came up to her and demanded to know why she had closed the king's way. Warren Harman, who had been leaning over the parclose screen and listening, then intervened, condemning the  change' and saying the 'town' was £100 worse off as a result. Agnes told him to mind his own business, but he followed her out into the churchyard and said that he would have 20 nobles off her for closing the road and would open it again. Agnes warned that he would have to pay for his actions if he did. The row then moved on to whether Agnes had taken too much hay from land she let to Harman at North Walsham. Bidding her to take no more than four acres, he strode off.

Life in Paston at this time was dangerous because of raids from the sea by French ships. Agnes, in another letter to John Paston dated 11 March 1450 and written at Norwich, reports that Richard Lynsted had been to see her from Paston that day and had let her know that Warren Harman's half-brother had been 'taken with enemies' while walking along the sea side. Two pilgrims, a man and a woman, had also been attacked. The woman was robbed but allowed to go. The man was led down to the sea but when he managed to convince the raiders that he was indeed a pilgrim, they gave him money and put him back on land. Agnes also mentions that the pirates .

Paston Hall

The original Paston Hall was built by William Paston (1378–1444) and was partly destroyed by fire during the reign of King Henry VIII (1509-1547) and was replaced by a 'great rose-coloured mansion' that appears in a portrait of Sir William Paston (1528–1610).  According to Blomefield's History of Norfolk (1739/75) the new building had two court-yards, the inner one containing a well. Blomefield reported that the great hall was still standing but the chambers and chapel were in ruins. The canting arms of the Barre/Barrey/Berry family (Argent, a chevron between three bear's heads couped at the neck sable muzzled and collared or) could still be seen carved over a doorway, symbolising the 1420 marriage of William Paston of Paston, Judge, son and heir of Clement Paston and Beatrix Somerton, to Agnes Barrey, a daughter and co-heiress of Sir Edmund Barrey.

In the eighteenth century Baron Anson acquired the estate from the impecunious William Paston, 2nd Earl of Yarmouth, and rebuilt the manor house on the same site. The remnants of the old house were left standing. An account written in 1796 states that the ruins stood at the east side of the courtyard with new domestic rooms on the north and south sides and a turreted gateway on the west. The gateway was described as being built of flint with quoins of freestone, with extensive cellars. An engraving of 1823 shows several polygonal chambers; excavations carried out in 1900 revealed the foundations of a hexagonal chamber. In 1824 John Mack acquired the estate and built the surviving house which incorporates parts of the Anson house and the Tudor cellars.

At various times Paston Hall has been surrounded by outhouses, shrubberies, orchards and lawns. To the south east is a small field known as the 'Duffus', which was the site of a medieval dovecote reached by a path along a double hawthorn hedge.

Paston Great Tithe Barn

The tithe barn was built by Sir William Paston (1528–1610), the founder of the Paston Grammar School in North Walsham, in 1581 and was used to store and thresh corn. The barn is constructed of flint and brick with an alternate tie and hammerbeam roof, which is thatched. The barn is  long and  wide; to the apex the height is . It has Grade II* listed building status. Pevsner remarks that the roof span does not require hammer beams and that 'they are here for show: the Renaissance magnate's love of bravado and expression of wealth'.

Stow Mill

Just on the Paston side of the boundary with Mundesley stands Stow Mill. This is a tarred brick tower windmill built between 1825 and 1827 by James Gaze. The mill operated as a flour mill between 1828 and 1930. The mill is a Grade II listed building.

See also

Paston Letters
Paston Great Barn
Robert Paston, 1st Earl of Yarmouth
William Paston, 2nd Earl of Yarmouth
Paston & Knapton railway station
Bromholm Priory
Bacton Gas Terminal
Oxnead

References

Bibliography

Bennett, Henry S (1932) The Pastons and their England: Studies in an Age of Transition, Cambridge, Cambridge University Press (2nd edition)
Davis, Norman (1971) Paston Letters and Papers of the Fifteenth Century – Part I, Oxford, The Clarendon Press
Davis, Norman (1983) The Paston Letters, Oxford, The World's Classics: Oxford University Press
Hinde, Thomas (ed.) (1996) The Domesday Book: England's Heritage Then and Now, London, Colour Library Direct Ltd
Hughey, Ruth (ed.) (1941) 'The Correspondence of Lady Katherine Paston 1603–1627', Norfolk Record Society, xiv 1941
Ketton-Cremer, R. W. (1969) Norfolk in the Civil War, London, Faber and Faber
Lorraine, Herbert (undated), Paston: Some Notes on the Church of St Margaret and the Paston Family; this version published by Paston Parochial Church Council; originally published in 1949 at North Walsham by Rounce and Wortley
Mee, Arthur (1974) Norfolk (King's England), London, Hodder and Stoughton
Pevsner, Nikolaus and Wilson, Bill (1997) The Buildings of England: Norfolk 1: Norwich and the North-East, London, Penguin Books
Yaxley, David (1977) Portrait of Norfolk, Norwich, Robert Hale Ltd

External links

Home page of the Paston Heritage Society
Historical information on Paston at GENUKI Norfolk
Paston in a Vision of Britain through Time
Information on Stow Mill, Paston
Literary Norfolk page on Paston

Villages in Norfolk
Civil parishes in Norfolk
North Norfolk


Demaenetus () was an Athenian commander during the Corinthian War. In 389 BC, he was one of the commanders in an engagement close to Aegina that resulted in a Spartan defeat and the death of the Spartan commander Gorgopas. One Athenian unit under Chabrias prepared an ambush while another under Demaenetus drew Gorgopas out of Aegina and into the trap by openly marching through the area.

Demaenetus also participated in naval operations around Abydos in the following year. He along with fellow commanders Dionysius, Leontichus and Phanias unsuccessfully pursued the Spartan fleet under Antalcidas. However, Antalcidas was able to evade them and link up with an allied Syracusan and Italian squadron at Abydos.

References

Footnotes

Ancient Athenian generals
4th-century BC Athenians
Year of birth unknown
Year of death unknown
Athenians of the Corinthian War


West Itchenor is a village and civil parish, on the Manhood Peninsula, in the Chichester District of West Sussex, England. It lies north of the B2179 Chichester to West Wittering road 4.5 miles (7.3 km) southwest of Chichester. The village lies on the shores of Chichester Harbour.

The parish covers an area of 413 hectares (1020 acres). According to the Office for National Statistics, based on the 2011 Census estimates, 289 people lived in 140 households, of whom 122 were economically active. 99.7% of residents were White and 76.5% identified as Christian. Since the desertion of East Itchenor in the 15th century, the village has been simply referred to as Itchenor.

West Itchenor was an ancient parish of the county of Sussex. Until 1894 it formed part of Manhood Hundred, an ancient division of Chichester Rape. From 1894 to 1933 it was part of Westhampnett Rural District. From 1933 to 1974 it was part of Chichester Rural District, and since 1974 it has been a part of Chichester District.

History
A settlement is thought to have been established during the Roman conquest of Britain in AD 43, however the area was one of the first to be resettled by the South Saxons when they colonialised the south coast. West Itchenor takes its name from the chieftain Icca, who laid claim to its shoreline, and was originally known as Iccanore ('Icca's shore'). The Domesday Book of 1086 names the village as Icenore, with six households, and notes that the land was held by Warin, a vassal  of "Earl Roger" who invaded England with William the Conqueror. In 1187 it was called Ichenore, and by 1243 Westichenor. The manor later became a parcel of the Earl of Arundel.

In 1175 the Lord of the Manor Hugh Esturmy built a chapel in West Itchenor, adjacent to the River Haven; prior to the construction of a sea wall and sluice in 1931, a spring tide would cause the river to rise and surround the building. Between 1180 and 1197 the chapel became a parish church dedicated to St Nicholas, the patron saint of seafarers.

The population of West Itchenor diminished during the Black Death which swept England from 1348, yet the village survived. East Itchenor was part of the contiguous parish of Birdham but was never more than a mansion with around 100 acres of farmland although it did have its own chapel. The latter's subsequent decline in the following century culminated in its unification with Birdham in 1440.

Towards the end of the 19th century, West Itchenor became a popular destination for Londoners who could afford a second home in the countryside and the cost of travelling there. These people, known locally as 'DFLs' (Down from London), have caused the rapid growth of the village since that time. However, despite the increased number of households, the number of full-time and economically active residents has fallen, as house prices have increased with the demand for second homes. This in turn caused the closure of the general store and post office in 1974 and of the local village school. The Itchenor Society estimated in 2012 that over 40% of all households were second homes.

During the Second World War, Itchenor Shipyard served as a base for the Admiralty's manufacturing of Fairmile B motor launches and Itchenor Sailing Club was requisitioned by the British Army, which mounted an anti-aircraft gun at the club to attack approaching Luftwaffe planes. This wartime activity made West Itchenor a restricted area and required residents to produce identification papers as they entered the village.

Economy
Since the 1700s shipbuilding has provided the main source of employment in the village – West Itchenor was the site of a prominent shipyard during the Napoleonic Wars in which a number of warships were launched, such as  in 1808 and  in 1809. In 1800 the Transit, a 101 ft long, four-masted barquentine weighing 200 tons, was built at the yard and is said to have been revolutionary in the design of its hull and rig. During the 19th century construction began to decline, as the development of railways provided a more accessible mode of transport. Shipbuilding in West Itchenor made a modern revival with the opening of Haines Boatyard in 1912. In 1936 a new yard, called the 'Itchenor Shipyard' was built on the site that had seen production during the 18th and 19th centuries.

Northshore Yachts Ltd now occupies the site of the Itchenor Shipyard and has overseen the complete manufacturing of Fisher and Southerly yachts, since the mid-1970s. In April 2013 it was reported that Northshore was experiencing financial difficulties and that the future of the boatbuilding company and its estimated 160 employees is in doubt.

Politics
West Itchenor Parish Council sits seven elected members, with elections taking place every four years. In representing the people of the parish, the councillors meet monthly to discuss matters including planning, community engagement and finance. West Itchenor falls under The Witterings electoral division which returns one member to sit on West Sussex County Council. The village also falls under West Wittering electoral ward which returns two members to sit on Chichester District Council, and is a part of the Chichester constituency, which has been a safe Conservative seat since 1924.

Landmarks

The Church of St. Nicholas is a part of the Prebendary of Wightring. It was founded around 1175 by Hugh Esturmy. In 1935 its parish joined with the Parish of Birdham to make the Parish of Birdham with Itchenor. In 1986 the Parish of Birdham with Itchenor united with the Parish of West Wittering to make the Benefice of West Wittering and Birdham with Itchenor.
Itchenor Sailing Club has been the site of social activity within the village since its founding in 1927. Since then it has hosted national and local sailing competitions, including annual events such as Schools Week and Junior Fortnight. The sailing club is recognised as a Royal Yachting Association Volvo Champion Club and has produced a number of successful olympic sailors.
Chichester Harbour, an Area of Outstanding Natural Beauty and Site of Special Scientific Interest, is located partly within the parish. This is a wetland of international importance, a Special Protection Area for wild birds and a Special Area of Conservation. The harbour is of particular importance for wintering wildfowl and waders of which five species reach numbers which are internationally important.

Notable residents

Artists and writers
 Nicola Green (born 1972), portrait artist
 Jonathan Church (born 1967), stage director
 Susannah Harker (born 1965), actress
 Pete Postlethwaite  (1946–2011), actor
 Polly Adams (born 1939), actress
 David Cobb (1921–2014), maritime artist
 Evelyn Laye  (1900–1996), actress
 William Tracy Wallace (1880–1947), artist and publisher
 Charles Dixon (1872–1934), maritime artist
 Joseph Harker (1855–1927), scene painter and theatrical designer

Business
 Peter Shand Kydd (1925–2006), businessman and former stepfather of Diana, Princess of Wales
 Lord Benson  (1909–1995), accountant and advisor to the Bank of England

Politicians
 Charles Gordon-Lennox, 5th Duke of Richmond (1791–1860), Postmaster General
 Charles Lennox, 3rd Duke of Richmond  (1735–1806), Secretary of State for the Southern Department

Sportspeople
 Stewart Morris  (1909–1991), sailor and Olympic gold medallist
 Wyatt Gibbs (1830–1891), cricketer

Gallery

References

Villages in West Sussex
Chichester District


The 2008 Tour of Qatar was held from 27 January to 1 February 2008 in Qatar. It is a multiple stage road cycling race that took part over six stages with a total of 712.5 kilometres and is part of the 2007–08 UCI Asia Tour.

Stage summary

Other leading top threes

Men's top 10 overall

References
 Official site
 Cyclingnews.com 2008 Tour of Qatar

Tour of Qatar
Tour of Qatar
Tour of Qatar


Elgar Technology College was a secondary school in Worcester, Worcestershire, England, that was formed in 1983 and closed in  2009. It was a co-educational community school with an enrollment of about 860 students aged from 11 to 16. Elgar held Specialist Technology College status.

The school was formed following a merger of Perdiswell School and Samuel Southall Merriman's School. Many students were from socially disadvantaged backgrounds. There were low proportions of students from minority heritage backgrounds and a small number of students for whom English is an additional language. The attainment of students on entry spanned the full ability range but on average was lower than the national figure. There were slightly higher proportions of students with learning difficulties or disabilities.
In 2007, less than 42% of pupils achieved five or more A*-C grades for GCSEs. In 2007 following an Ofsted report the school was placed into special measures; Eleven out of twenty inspection criteria areas were graded as being  exceptionally low.

After failing to improve according to the Ofsted requirements, Elgar Technology College was closed in 2009. The site was taken over and a new school, Tudor Grange Academy, a sister school to Tudor Grange School in Solihull, occupied the premises and opened on 1 September 2009.

References

Schools in Worcester, England
Educational institutions established in 1983
Educational institutions disestablished in 2009
History of Worcestershire
Defunct schools in Worcestershire
1983 establishments in England
2009 disestablishments in England


Bruce Silas Beer (August 19, 1910 in Bethany, Ontario, Canada – January 12, 1998) was a Canadian politician and farmer. He was elected to the House of Commons of Canada in the 1962 as a Member of the Liberal Party to represent the riding of Peel. He was re-elected in 1963, 1965 and for the riding of Peel—Dufferin—Simcoe in 1968. During his federal political career, he was Parliamentary Secretary to the Minister of Agriculture and Parliamentary Secretary to the Minister of Forestry. He was also a Member of the Commons Standing Committee on Agriculture.

External links
 Brampton West Federal Liberal Riding Association: A Lifetime of Good Memories Tracking Politics

1910 births
1998 deaths
Liberal Party of Canada MPs
Members of the House of Commons of Canada from Ontario


Nordin Jbari (born 5 February 1975) is a Belgian former professional footballer who played as a forward.

Career
Jbari was born in Saint-Josse-ten-Noode, Belgium. Just like Sanharib Malki, he started his football career at local team SCUP Jette. Soon after, he went to the youth teams of Anderlecht. He made his début for the first team in 1995. Not getting too many chances at RSCA, Jbari decided to move to AA Gent, where he would only stay one year. During his period with Gent, Jbari would make his début as for Belgium national team. With this success, he went to Club Brugge, who were aiming more towards the top of the Belgian football competition. When his era at the blue and black side ended, Jbari decided to head for foreign football competitions.

Troyes AC was Jbari's next team. He stayed there until the winter break of the 2001–02 season, as he went on loan to the Greek team Aris Thessaloniki F.C. Jbari then returned to Troyes and stayed there for a six further months, until Ligue 2 side Grenoble Foot 38 bought him. But only six months later, Jbari would be an unattached football player.

Jbari then had a successful test period with Cercle Brugge, who had just promoted to the Jupiler League, right before the 2003–04 season, a.o. impressing and scoring in a friendly against Sint-Truiden. Nevertheless, he would sign a contract for one year due to him being prone to injuries. Jbari would become top scorer of the team, and thus raising the interest of other teams. At the end of the season, Jbari decided to go back to his former team AA Gent, who had offered him a better contract than Cercle. However, his move was not as successful as it was the first time he went to Gent. Jbari left and went to La Louvière only one year later. Sadly for Jbari, the team went bankrupt. He quit professional football and found a job.

References

 Cerclemuseum.be

Living people
1975 births
People from Saint-Josse-ten-Noode
Belgian sportspeople of Moroccan descent
Belgian men's footballers
Footballers from Brussels
Men's association football forwards
Belgium men's international footballers
Belgian Pro League players
Ligue 1 players
Ligue 2 players
Super League Greece players
R.S.C. Anderlecht players
K.A.A. Gent players
Club Brugge KV players
ES Troyes AC players
Aris Thessaloniki F.C. players
Grenoble Foot 38 players
Cercle Brugge K.S.V. players
R.A.A. Louviéroise players
Belgian expatriate men's footballers
Belgian expatriate sportspeople in France
Expatriate men's footballers in France
Belgian expatriate sportspeople in Greece
Expatriate men's footballers in Greece