Colonel Mordaunt's Cock Match

Colonel Mordaunt's Cock Match, sometimes called Colonel Mordaunt's Cock Fight, is a painting by Johann Zoffany. The painting records British colonial life in the Indian court of Asaf-Ud-Dowlah. The painting is part of the Tate Gallery collection. The painting was completed in February 1788, four years after the event it records. A recent cleaning has revealed the original colours and the arousal of the central figure.

History
Johann Zoffany was a German-born painter who had become a successful portrait painter in London. Among his principal patrons were the royal family. Queen Charlotte had sent Zoffany to Florence where he had agreed to paint the Tribuna of the Uffizi. The agreed price was high and he was paid £300 a year. Zoffany stayed seven years. On his return he brought for Queen Charlotte the painting of The Tribuna of the Uffizi that included within the body of the Uffizi a number of British residents in Florence. The painting received a cool reception because it included people who were not considered appropriate or desirable. Against advice, Zoffany had included people such as Sir Horace Mann, 1st Baronet, British consul at Florence, and the painter Thomas Patch. Patch had been expelled from Rome for a homosexual act; at this time homosexuality was illegal in the eyes of both the church and the state. One figure who was thought acceptable was George Nassau Clavering-Cowper, 3rd Earl Cowper, who is shown on the left of the painting contemplating the aesthetic virtues of the Niccolini-Cowper Madonna - which Zoffany eventually sold to him.

Zoffany had to leave the country as all of his usual commissions were no longer forthcoming. He never again got a royal commission. He had hoped to sail with Captain Cook, but as a second choice he elected to make the long journey to Lucknow. His fellow painter, Ozias Humphrey, was already painting portraits of the wealthy employees of the British East India Company and of Indian princes. He may have told Zoffany of the opportunities available in Lucknow.

In Lucknow, Zoffany met the main players at the court. The nominal head of the State of Oudh was Asaf-Ud-Dowlah, although the governor Warren Hastings was the British representative. He commanded the power of the British East India Company, and it was Hastings who commissioned the painting of the cockmatch by Zoffany. In time, Hastings was summoned back to England to face charges of corruption laid by Edmund Burke which took years to dismiss.

Versions

There are at least two different versions of the painting of the cock match. The two attributed to Zoffany are the Daylesford version (above) and the Ashwick version. Both are clearly the same composition but the Daylesford version contains many more background figures and subtle variations. Different people are included and they are arranged in subtly different ways.

The Daylesford painting was sent back to England when it was complete. There is a story that the painting was lost at sea and recreated later by Zoffany but that is not now thought to be true. However there are other studies of the same subject. About 1790 a key was published which identifies many people in the painting. There is an engraving by Richard Earlom which is of the Daylesford version. Less well known is a painting from the Indian court which seems to show the same subject matter.

People in the painting(s)
Both of Zoffany's versions of the painting show at their centre Asaf-Ud-Dowlah, the Nawab. This man was held in very low regard, but he was the nominal head of state. His favourites included Colonel John Mordaunt and Claude Martin. Mordaunt was the illegitimate and nearly illiterate son of the Earl of Peterborough. He had managed to be assigned to Warren Hastings and through him he was appointed head of security. His real role however included organising entertainments. Mordaunt and his employer were said to have shown the same low tastes in entertainment. Even at that time, cockfighting was not well regarded in British society. Mordaunt had arranged for British birds to be brought to India, where he used them to take on local cockerels.

Claude Martin was a Frenchman who had switched sides to the British. Clever and skilful, Martin is shown on the right sitting on a couch. Martin's contemporaries shown in both versions of the painting include the Frenchman Antoine Polier. Polier made his fortune in Lucknow which he eventually took back to France. He was unlucky enough to arrive in the middle of the French Revolution and he was stabbed to death at Poitiers for being a noble. Wombwell (on the right) was the local paymaster.

Zoffany is included in the painting, as is Ozias Humphrey, although in the Ashwick version Zoffany is more surreptitious and the figure of Humphrey has been thought to be a Lieutenant Humphrey. Both versions include a scene where a young Moslem boy is being publicly groped by a Hindu man. A nearby spectator appears to be held back from expressing his indignation. Another detail is the sexual arousal of Asaf-Ud-Dowlah. This detail is said to be more obvious now that the painting has been cleaned. Some say this may be Warren Hastings' joke to show the Nawab of Awadh in this way. His homosexuality is well recorded. His favourite, Hassan Raza Khan, is the figure in the red turban who is at the centre of the scene. He is said to have hundreds of wives whom he ignored and he died without children.

Claude Martin, in a letter to Ozias Humphrey, made an interesting observation on Colonel Mordaunt's role:
Colonel Mordaunt is now at the vizier's court, hunting, fighting cocks and doing all he can to please the Nabob in the expectation of being paid the large sums due to him by the Prince... although the Prince has dark and sinister intentions, but I fear much of his success, as the vizier is not much willing to pay his debts particularly to Europeans for what I know of his character I think it such that if one could read in his heart then one would perceive it loaded with many dark and sinister intentions and as you know those that conpose his court you then ought to know man he is. A man that delight in elephants and cock fighting would delight in much worse if he feared nothing

References

Category:Paintings by Johann Zoffany
Category:1788 paintings
Category:Collection of the Tate galleries


Judy Stamps

Judy A. Stamps is a professor and researcher within the Department of Evolution and Ecology at University of California, Davis. Broadly, her research focuses on conservation ecology and ethology. Specifically, her research is centered in behavioral ecology, habitat selection, animal personality, plasticity in lizard communication, and implications of developmental processes for problems in behavioral ecology and conservation biology.

Education
Judy A. Stamps completed her Bachelor's (BA) at the University of California, Berkeley in 1969, majoring in Zoology. She then continued her studies and completed her Masters of Science (M.Sc.) in 1971 and Doctorate of Philosophy (PhD) in 1974.

Scientific contribution and honors/awards
Judy Stamps specializes in animal behavior, and she has received many awards including her most recent one for ‘’Distinguished Animal Behaviorist’’ by the Animal Behavior Society (ABS) in 2007. Judy Stamps also received several other honors including the Allee Award (ABS 1972), Fellow Award (AAAS 1983, ABS 1991), Exemplar Award (ABS 1994), and the Mildred Mathias Award (1999).

References

2013, Animal Behavior 86(3): 641-649
"Convergent evolution in the territorial communication of a classic adaptive radiation: Caribbean Anolis lizards", 2013, Animal Behavior 85(6): 1415-1426.

Category:Living people
Category:Conservation biologists
Category:University of California, Berkeley alumni
Category:University of California, Davis faculty
Category:Year of birth missing (living people)


Teldenia desma

Teldenia desma is a moth in the family Drepanidae. It was described by Wilkinson in 1967. It is found in New Guinea.

The length of the forewings is 13-14.5 mm for males and 14–16 mm for females. The forewings are white, but the costa is buff. There is a double lunulate postmedial, a single lunulate subterminal and dotted terminal fasciae which are buff or brown and often very faint. The hindwings are as the forewings, but the costa is white.

References

Category:Moths described in 1967
Category:Drepaninae


Virgin of Los Remedios

The Virgin of Los Remedios () or Our Lady of Los Remedios (, ) is a title of the Virgin Mary developed by the Trinitarian Order, founded in the late 12th century. The devotion became tied to the Reconquista of Spain, then still at its height. In the following century it spread to other parts of Europe. When Spain began the exploration and conquest of the Americas, it was a favorite devotion of the Spanish conquistadores. It remains a popular devotion in Spain and Latin America.

Spain
The Virgin of Los Remedios is the patron saint of the Roman Catholic Diocese of San Cristóbal de La Laguna and the island of Tenerife.

Mexico
It is believed that the best known image in the Western Hemisphere under this title of Mary was brought to Mexico by the conquistadores. It is a small statue, measuring 27 cm (about 10.5 inches) in height. This image is strongly linked with the Spanish Conquest, especially the episode known as the Noche Triste or "Night of Sorrows". It is said Cortés led his men to an indigenous religious sanctuary to escape the Aztecs, stopping here on their way to Otumba. According to legend, one of Cortés's soldiers, Gonzalo Rodríguez de Villafuerte, was carrying a small image of the Virgin Mary and hid her under a maguey plant in order to retrieve and pay homage to her later if he survived. During a later battle in this area, the Spanish reported seeing a young girl throwing dirt into the eyes of the Aztecs to help the Spanish. Another legend states that this image appeared at the Cerro de los Pajaros, where a chapel was built in 1574, which later was expanded in 1628 with a vaulted roof and cupola.

Being connected with the Conquest, this image of the Virgin is considered to be “Spanish” and a patroness to them and to the indigenous who adopt Spanish ways. She is considered one of the Virgins who correlate with the four cardinal directions (in her case, the west), along with the Virgins of Guadalupe, of la Piedad and de la Bala.

Despite her importance to the area, this image was kept at the Mexico City Cathedral until 1810, when it was moved to her sanctuary in Naucalpan, dressed as a general. It was proclaimed a patroness of Spain and the “guardian of the Spanish Army.” The purpose of this was to counter Miguel Hidalgo’s use of the Virgin of Guadalupe as a symbol of his independence movement.

This image was center of one of the first annual processions to be held in Mexico, which went from the Church of Santa Veracruz in Mexico City to her home sanctuary in Los Remedios National Park. Its feast day is celebrated on September 1, when the sanctuary is profusely decorated with white flowers, including a carpet of flower petals in the San Miguel Arcangel esplanade. This sanctuary is not located in the mountainous western part of the municipality where Los Remedios National Park stands.  Her feast day is celebrated with dances knowns as “Los Apaches,” “Los Moros,” “Chichimecas” and “Pastorcitas,” with 450th anniversary of her finding celebrated in 1990.

Brazil
 Catedral de Nossa Senhora dos Remédios, in Caxias, Maranhão

See also
 Our Lady of Guadalupe
 Virgin of Candelaria
 Virgen de los Remedios de Pampanga
 Our Lady of Manaoag
 Our Lady of La Naval de Manila
 Santa Remedios Church
 Our Lady of Remedies (disambiguation), other places named after this title

References

External links

Category:Titles of Mary
Category:Trinitarian Order
Category:Statues of the Madonna and Child


Public interest

The public interest is "the welfare  or well-being of the general public" and society.

Overview
Economist Lok Sang Ho in his Public Policy and the Public Interest argues that the public interest must be assessed impartially and, therefore, defines the public interest as the "ex ante welfare of the representative individual."  Under a thought experiment, by assuming that there is an equal chance for one to be anyone in society and, thus, could benefit or suffer from a change, the public interest is by definition enhanced whenever that change is preferred to the status quo ex ante. This approach is "ex ante", in the sense that the change is not evaluated after the fact but assessed before the fact without knowing whether one would actually benefit or suffer from it.

This approach follows the "veil of ignorance" approach, which was first proposed by John Harsanyi but popularized by John Rawls in his 1971 Theory of Justice. Historically, however, the approach can be traced to John Stuart Mill, who, in his letter to George Grote, explained that "human happiness, even one's own, is in general more successfully pursued by acting on general rules, than by measuring the consequences of each act; and this is still more the case with the general happiness, since any other plan would not only leave everybody uncertain what to expect, but would involve perpetual quarrelling..."

The Institute of Chartered Accountants in England and Wales argues that applying a detailed definition is likely to result in unintended consequences, in Acting in the Public Interest(2012). Instead, each circumstance needs to be assessed based on criteria such as the relevant public, wants, and constraints. The key to assessing any public interest decision is transparency of the decision-making process, including balancing competing interests.

Law

“Public interest law” is a term that became widely adopted in the United States during and after the social turmoil of the 1960s. It built upon a tradition exemplified by Louis Brandeis, who before becoming a U.S. Supreme Court justice incorporated advocacy for the interests of the general public into his legal practice.
In a celebrated 1905 speech, Brandeis decried the legal profession, complaining that “able lawyers have to a large extent allowed themselves to become adjuncts of great corporations and have neglected their obligation to use their powers for the protection of the people.”  In the late 1960s and 1970s, large numbers of American law school graduates began to seek “relevance” in their work — wishing to have an effect on the social issues that were so visibly and hotly debated within American society at that time. They defined themselves as public interest lawyers in order to distinguish themselves from the “corporate adjuncts” referred to by Brandeis.

Public interest law does not describe a body of law or a legal field; the term was adopted to describe whom the public interest lawyers were representing, rather than what matters they would work on. Instead of representing powerful economic interests, they chose to be advocates for otherwise underrepresented individuals. Consequently, a significant current in public interest lawyering has always emphasized the need to provide legal services to those living in poverty. The term has grown, however, to encompass a broader range of activities of lawyers and non-lawyers working toward a multitude of objectives, including civil rights, civil liberties, women’s rights, consumer rights, environmental protection, and so on. Nevertheless, a common denominator for public interest lawyers in the United States and in a growing number of countries remains the ethic of “fighting for the little guy”—that is, representing the underrepresented and vulnerable segments of society.

Government

Public interest has been considered as the core of "democratic theories of government” and often paired with two other concepts, "convenience" and "necessity". Public interest, convenience and necessity appeared for the first time in the Transportation Act of 1920 and also appeared in the Radio Act of 1927. After that, these three concepts became critical criteria for making communication policies and solving some related disputes.

See also

Cause lawyering
Common good
Condorcet paradox
National interest
Pareto optimality
Radio Act of 1927
Telecommunications Act of 1996
Social Credit System
Social Engineering

References

Category:Human rights
Category:Practice of law
Category:Politics
Interest
Category:Thought experiments in ethics


Emmer (Weser)

Emmer is a river of Lower Saxony and North Rhine-Westphalia, Germany. It flows into the Weser in Emmerthal.

See also
List of rivers of Lower Saxony
List of rivers of North Rhine-Westphalia

References

Category:Rivers of Lower Saxony
Category:Rivers of North Rhine-Westphalia

Category:Rivers of Germany


Golgun

Golgun () may refer to:
 Golgun, Isfahan
 Golgun, Kerman
 Golgun, Razavi Khorasan


Alternative Chassis Engineering

Alternative Chassis Engineering was an English vehicle manufacturer established. It produced buses, coaches and fire appliances. It ceased production in 1992.

References

Category:Companies based in Huddersfield
Category:Defunct bus manufacturers of the United Kingdom
Category:Fire service vehicle manufacturers
Category:Vehicle manufacturing companies disestablished in 1991
Category:1980s establishments in England
Category:1992 disestablishments in England


Zeytinlik

Zeytinlik is a Turkish place name meaning "olive grove." It may refer to:

 Zeytinlik, Artvin, a village in the central district of Artvin Province, Turkey
 Templos, a village in the Kyrenia district of Cyprus, whose Turkish name is Zeytinlik
 Zeitenlik, a World War I Entente military cemetery in Thessaloniki, Greece


Anglo-Saxon dress

Anglo-Saxon dress refers to the clothing and accessories worn by the Anglo-Saxons from the middle of the 5th century through the eleventh century. Archaeological finds in Anglo-Saxon cemeteries have provided the best source of information on Anglo-Saxon costume. It is possible to reconstruct Anglo-Saxon dress using archaeological evidence combined with Anglo-Saxon and European art, writing and literature of the time period. Archaeological finds have both supported and contradicted the characteristic Anglo-Saxon costume as illustrated and described by these contemporary sources.

The collective evidence of cemetery grave-goods indicates that men's and women's costume was not alike. Women's dress changed frequently from century to century, while men's dress changed very little. Women typically wore jewellery, men wore little or no jewellery. The beginning of the seventh century marked the conversion of Anglo-Saxon kingdoms to Christianity. Religious art, symbols and writings from the conversion years greatly influenced costume fashion from this period onward, especially's women's dress and jewellery. Historical research has shown that Anglo-Saxon children wore smaller versions of adult garments.

Clothing worn by the military, the elite class and religious orders was initially similar to the daily garments of the common man and woman. Over time, and with the influence of European culture, the spread of Christianity and the increasing prosperity of Anglo-Saxon England, garments and accessories specific to each group became the standard by which they were identified.

During the Anglo-Saxon era, textiles were created from natural materials: wool from sheep, linen from flax and imported silk. In the fifth and sixth centuries, women were the manufacturers of Anglo-Saxon clothing, weaving textiles on looms in their individual dwellings.  In the seventh thru the ninth centuries, Anglo-Saxon communities changed slowly from primarily small settlements to a mix of small and large settlements, and large estates. Specialized workshops on large landholdings were responsible for the manufacture of textiles and clothing for the estate community. In the tenth and eleventh centuries, the growth of urban centers throughout England expanded the variety and quantity of textiles, clothing, and accessories that were made available to the public and also changed the way in which clothing and accessories were manufactured.

Overview:  Anglo-Saxon England

Anglo-Saxon timeline

The end of Roman rule in Britain led to the withdrawal of the Roman armies in the late fourth and early fifth century.  By the mid-fifth century, an influx of Germanic peoples arrived in England, many leaving overcrowded native lands in Northwestern Europe and others fleeing rising sea levels on the North Sea coast. The middle of the fifth century marked the beginning of the Anglo-Saxon era in England.

The Anglo-Saxon era consists of three different time periods: The early Anglo-Saxon era, which spans the mid-fifth to the beginning of the seventh century; the middle Anglo-Saxon era, which covers the seventh thru the ninth centuries; and the late Anglo-Saxon era, which includes the tenth and eleventh centuries.

Anglo-Saxon identity
In Anglo-Saxon England, clothing and accessories were used to establish identity of gender, age, ethnicity, regionality, occupation and status. Initially, the early migrants to England displayed their Germanic identity through their choices in clothing and accessories. Later, Anglo-Saxon dress was shaped by European costume styles, as well as European art and religious emblems of Christianity. A person's identity as a believer in Christianity was manifested through dress. Cross-shaped designs appear on Kentish disc brooches as early as the late sixth century. Tiny crosses also start appearing on shoulder clasps and on Kentish belt buckles in the seventh century.
Clothing and accessories varied from the functional, the recycled, the symbolic, the elegant, the opulent and the elaborate. Commoners typically possessed one main garment, which they wore daily. Their clothes were often recycled from older, out-of-style clothing and handed-down items. Higher-status individuals typically owned multiple items of clothing and accessories, often made with high-quality and expensive materials, and decorated in intricate detail.

The archaeological record

Archaeological finds in Anglo-Saxon cemeteries have provided the best source of information on Anglo-Saxon dress. Pagan burial practices in the early Anglo-Saxon era included placing grave-goods with the clothed body. Archaeological excavations from this era have provided a rich supply of artefacts that have been analysed and compared to contemporary Anglo-Saxon and European art, writing and literature in order to reconstruct a standard Anglo-Saxon costume. Archaeological evidence for female burials is abundant in the fifth and the sixth centuries. The cemetery evidence for male burials is limited compared to female burials, with primarily belt buckles and other belt fittings and a few pins.

The beginning of the seventh century marked the decline of the pagan tradition of including grave-goods in burials. This change in funerary practice coincided with the Christianisation of Anglo-Saxon England. Beginning in the eighth century, grave-goods, except for simple items like knives and belts, were no longer included with individual burials.  This lack of costume artefacts makes it more challenging for historians and archaeologists to determine what Anglo-Saxons were wearing during the eighth thru the eleventh centuries.

Archaeological evidence from Anglo-Saxon cemeteries have alternately supported and contradicted contemporary illustrations of Anglo-Saxon costume. For example, there are burial finds of finger rings, some engraved with names, in both male and female graves; finger rings never appear in Anglo-Saxon illustrations.  Alternately, the penannular brooch, arm-rings and neck-rings that show up occasionally in Anglo-Saxon art are not supported by any finds from Anglo-Saxon cemetery excavations.

Women's costume

Fifth to sixth centuries

Fifth and sixth century women's costume has been reconstructed by scholars, based on the archaeological evidence of brooches worn in pairs at the shoulders. Researchers continue to fill current gaps of knowledge about female dress during this time period. The female gown is presumed to be ankle-length (women in Anglo-Saxon art and later in medieval art are usually represented in long garments). Currently, there is no archaeological evidence to support this belief. Experiments to recreate early Anglo-Saxon female dress have resulted in the creation of a female costume which includes a long under-gown, with a buckled belt which holds suspended items including knives, keys, amulets, and weaving tools. The long gown is covered with a short peplos, which could be easily hitched up to reach the tools.

The age of a women often designated the costume that would be her daily dress. Dress and accessories, specifically the peplos, the pin, a belt or girdle with tools and keys, was relevant to a woman's age and state of life, especially to the child bearing years and marriage. The peplos was typically worn starting in the teen years and continually worn until a woman was in her forties, past childbearing age.  This long garment, with its paired shoulder brooches, was a comfortable garment for breastfeeding and could expand easily when a woman was pregnant. Though most finds are long, it has sometimes been interpreted as possible to wear a short one. Although the peplos was traditionally worn starting in the teens, archaeological evidence indicates that girls as young as eight years old, wore the peplos, but marked their younger age by fastening their gowns with one brooch instead of two.

Beginning in the fifth century, women in Kent wore a slightly different costume, influenced by fashions from the Frankish Empire, than women from other regions of Anglo-Saxon England.  The costume consisted of a front-fastening garment and a Frankish-inspired front-fastening jacket, which was attached by four brooches. In the last third of the sixth century in Kent, women's dresses were fastened by an ornate disk brooch at the throat, replacing  "the coat-based costume fastened by four brooches in two matched pair sets down the length of the coat."   There were other regional variations of women's dress, notably in Anglian areas, where wrist clasps and a third, central brooch and distinctive 'girdle-hangers' were the norm. Women's costume throughout England was enhanced by beads made of glass, paste and amber and less frequently, crystal. Garlands of beads were typically suspended between the shoulder brooches, and other bead clusters often hung from brooches, attached to girdles and were sometimes worn on their own.

Main garment

The typical women's costume of this era was a long peplos-like garment, pulled up to the armpit and worn over a sleeved under-garment, usually another dress. The garment was clasped front to back by fastening brooches at the shoulders. Anglo-Saxon women in this period may or may not have worn a head covering.  The dress could be belted or girdled, and easily adjusted to changes in the woman weight. It is unknown what the Anglo-Saxons called the peplos-style gown.

Linen or wool could be used to make the peplos garment. There has been discussion among historians of whether a preference of one fibre over the other was a matter of fashion changes over time or related to regional differences. Fashion changes tended to begin in eastern England, reflecting contemporary fashion styles in Europe, and those changes would move slowly over time to the West Saxon region.

Survival of fur is rare in Anglo-Saxon cemeteries. It is likely that fleeces and furs were used as garment lining or as warm outer garments. Anglo-Saxon textile and clothing historian, Penelope Walton-Rogers, has recently identified buckled capes of animal pelt that were found in Anglo-Saxon women's graves. A simple poncho made with a neck-opening for the head could have been made from skins of domesticated sheep or cattle. Literary evidence confirms the use of fur garments, primarily in the late Anglo-Saxon period.

Accessories
Evidence of footwear from early Anglo-Saxon graves is rare until the late sixth and seventh centuries. Agricultural labourers shown ploughing and sowing in Anglo-Saxon illustrated manuscripts work barefoot, which may indicate that footwear was not the norm until the middle Anglo-Saxon era.
Clothing fasteners made of organic material are rare finds, although archaeological evidence from urban settlements has shown that Anglo-Saxons were skilled at working organic material, including bone, horn, antler and wood. Evidence shows that the skin of cattle, deer, goat, pig and sheep were used to make leather goods. Although only tiny remnants of leather survive, they are usually attached to buckles and to wrist clasps. Leather was probably used to make belts, suspension straps, and cuffs, although cloth was also used to make those items.

Seventh to ninth centuries
Along with the spread of Christianity in seventh century England, religious art and European fashion inspired changes in women's dress.  These changes were marked by the disappearance of the paired brooch, aside from very small annular and penannular brooches; occasional elaborate, round brooches were also worn individually. Linked pins appeared during the seventh century. There were fewer bead ornaments than before, and amber largely disappeared during this time period.

Main garment
Changes in Anglo-Saxon women's dress began in the latter half of the sixth century in Kent and spread to other regions at the beginning of the seventh century. These fashion changes show the decreasing influence of Northern Europe and the increasing influence of the Frankish Kingdom and the Byzantine Empire  and a revival of Roman culture. Linen is used more widely for garments and under-garments. Although there is little evidence to show whether women wore leggings or stockings under their gowns, it more than likely that these leg-covering were worn, as men typically wore stocking and leggings during this period.

Accessories
During this period, women's jewellery, besides brooches used to fasten clothing, consisted of simple neck ornaments of small glass beads or strands of beads hung on metal rings, strung from shoulder to shoulder over garments. This fashion remained in place until the late seventh century. This era is noticeable for the decline of the paired brooch fashion. Amethyst beads started appearing at this time, along with necklaces of gold and silver wire, and, as a symbol of being Christian, small jewelled crosses.  Occasionally, elaborate, round brooches were worn at the throat. Linked pins were now appearing among grave-goods. There were fewer bead ornaments than before, and amber was no longer used.

Tenth and eleventh centuries

In the tenth and eleventh centuries, the growth of cities throughout England expanded the variety and quantity of textiles, clothing, and accessories that were made available to Anglo-Saxon women. Textiles and accessories could be mass-produced making these items more affordable. For more affluent women, finer materials and more opulent clothing and jewellery were easily obtainable.

Overgarment
Many names for cloak appear during this time period, including , ,  and . A symmetrical cloak draped around the shoulders and fastened with a brooch is fashionable in this period, but is declining in popularity. Hooded cloaks attached by a circular brooch are described in the literature of this time period.

Main garment
Women wearing a sleeveless overgarment, with or without hood, can be seen in artistic representations of this time period. Women in late Anglo-Saxon art are depicted wearing hooded garments: either a scarf wrapped around the head and neck or an unconnected head covering with an opening for the face. It was assumed that the hooded style was influenced by Near Eastern art. Women are shown wearing ankle-length,  tailored gowns. Gowns are often depicted with a distinct border, sometimes in a contrasting colour. In the tenth century, women's arms are typically covered. Sleeves are seen as straight, with a slight flair at the end. Braided or embroidered borders often decorated sleeves. By the eleventh century, multiple sleeve styles had come into fashion.

There is little evidence to show whether women wore leggings or stockings under their gowns in the tenth and the eleventh centuries, although it probable that these clothing items were worn, as men typically wore stocking and leggings during this period.

Accessories
The girdles and buckled belts that were popular in the fifth and sixth century, with tools and personal items suspended from the belt, have gone out of fashion by the tenth century.

In the art of this period, women wear simple ankle shoes and slippers, usually black in colour, but with a contrasting strip of colour on the top of the shoe. Archaeological finds of this period demonstrate that a variety of women's shoe styles were being worn.

Men's costume
Anglo-Saxon burial excavations have uncovered little evidence of what men wore during this period. Weapons were often buried with men, but dress accessories were less likely to be found except for belt buckles. The lack of fasteners and brooches in male graves resulted in few textile remnants of men's clothing. The few textile fragments that have been found, fortunately were found in good condition for analysis.

To reconstruct men's costume from the Anglo-Saxon period, a review can be made of the writing, art and archaeological finds in north-western Europe and Scandinavia from previous centuries and during the Anglo-Saxon era. Romans in the second century described the use of fur and skin garments among the Germanic tribes. With the introduction of the warp-weighted loom in (c. 200 AD), wool clothing would have been available for men and may have replaced or diminished the reliance and fur and skin garments.

Fifth to sixth centuries

Overgarment
Anglo-Saxon men of 5th and 6th century England dressed alike regardless of social rank. The fashions during this time consisted of the cloak, tunic, trousers, leggings, and accessories. Short textile-made cloaks are seen on Roman sculptures of Germanic captives. It has been determined that cloaks were composed of cloth and clasped on one shoulder. Men wearing similarly styled cloaks, clasped with circular brooches, occur in late era Anglo-Saxon drawings and paintings. It is probable that this style of clothing was worn by Germanic tribes on the continent and later when they migrated to England. Male burial artefacts from the fifth to the seventh centuries rarely include brooches; any metalwork uncovered have usually been pins found in the chest area of the body. It is likely that men in this period used brooches made of perishable material, secured their cloaks with leather or cloth laces, covered themselves with cloaks without using clasps, or used poncho-style cloaks.

Because of the lack of Anglo-Saxon male burial finds, archaeologist have looked to earlier period writings from Europe and earlier century finds from Scandinavian peat bogs to predict what Anglo-Saxon men might have worn. It is probable that a short, fur-lined cloak was used with the skin of the animal faced outward and the fur brushed against the undergarments.

Main garment
Roman writers and sculpture of Germanic men depict knee-length or shorter tunics with either short or long sleeves. Clasps were not needed to hold the tunic together because when pulled over the head it would sit snugly around the neck without the use of lacing or ties, indicating that the garment was one continuous piece.  A belt or girdle was usually worn with the tunic and might have had a buckle, and, as Anglo-Saxon historian, Gale Owen-Crocker states, "pouched over the belt".

Historians are reasonably confident that Anglo-Saxon men wore trousers. The Roman poet Ovid described the wearing of trousers by Germanic barbarians. Ankle-length trousers are also seen on Roman sculptures of Germanic men, often with a short tunic, tied around the waist with a belt or draped with a cloak. It is probable that Anglo-Saxon men wore either baggy or narrow trousers, belted at the waist and possibly attached to the legs with either garters or leggings. If loose, the excess material was bunched around the waist and, as Owen-Crocker describes, "hung in folds around the legs". Garters or leggings probably accompanied narrow trousers.

Leggings and footwear
Leg-garments, or leggings were usually worn in pairs; these items served as additional protection for the legs. Linguistic documents from this era reveal that early Anglo-Saxon males wore two types of leg-garments.  The first type of leggings would have been a leather or cloth stocking; the second type was most likely cloth strips or wool tied around the leg. Binding strips to the legs had the added benefit of being able to wind the cloth around or cover the foot for extra warmth and protection.

Footwear has not been found in Anglo-Saxon graveyards in the fifth to sixth centuries. It is likely that Anglo-Saxons, especially agricultural labourers, went barefoot, although linguistic documentation has revealed that there were several shoe types in circulation during this time period: slippers, raw-hide pampooties and pouch-like foot coverings. Anglo-Saxons most likely covered their bare feet, except when working. Shoes presumably would have been made of leather and secured with straps. Hats and hoods were commonly worn, as were gloves and mittens.

Accessories
The only male accessory frequently found in Anglo-Saxon cemeteries is belt hardware. Men's belt hardware tended to be more elaborate than women's belt hardware. Leather remnants have been discovered in male graves attached to buckles, which makes it more than likely that leather belts were a common clothing accessory. Men usually carried a knife, other tools, and sometimes amulets at the waist.

Jewellery was found in very few male graves of this period. Some beads have been uncovered in some male burial sites and may have been decorated a belt or weapon. Anglo-Saxon literary evidence from this time period suggest that men frequently wore rings, but there have been very few rings discovered in Anglo-Saxon male graves.

Seventh to ninth centuries
This era marked the disappearance of furnished graves, but also saw the installation of some of the wealthiest male burials of the Anglo-Saxon era. The best example is the Sutton Hoo ship burial, which is dated to the early 7th century. It has been determined to be the burial of a king.

Writings of an eighth century historian, Paulus Catena, describe Germanic peoples inhabiting the Italian Peninsula during this time period, "Indeed their clothes were roomy and especially linen, as the Anglo-Saxons were accustomed to have, embellished with rather wide borders woven in various colours" Paulus's description of Anglo-Saxon wearing linen is confirmed by eighth century writers, Bede and Aldhelm. Linen was likely the favoured fabric over wool for garments worn in eighth century Anglo-Saxon England.

There are several clothing references in seventh and eighth century letters. Letters between King Offa of Mercia and the Frankish Emperor Charlemagne demonstrate that clothing in Anglo-Saxon England was similar to Carolignian Frankia. This costume has been described as a short tunic over linen shirt and linen drawers with long stockings. In winter, a cloak was worn over the costume.

Overgarment
Cloak of this period, included the cloak style seen on the Franks Casket, made with rectangular cloth, and fastened so the cloak appeared to be pleated or folded, and held together at the right shoulder with a brooch. Once in place, the brooch was left attached to the garment so that the cloak was slipped over the head. Ninth century art shows a few different styles of cloak: hooded, non-hooded with a frilled collar, and the pleated cloaks arranged over the shoulders and bound at the waist by a belt. These belts were narrower than earlier in the Saxon period, with fewer tools hanging from them. The wrap-over coat made an appearance during this era. This knee-length coat wrapped over the front of the body. Its sleeves were, as Owen-Crocker says, "deep, [with] decorated cuffs which [were] mostly straight". The cloaks of common men were simple and less decorated than cloaks of wealthier men.

Main garment
Human figures start to appear in art during this period. Most of the male figures displayed in Anglo-Saxon art wear short, above-the-knee, girdled tunics. Short tunics were most commonly worn, but longer tunics are seen on Anglo-Saxon sculpture. Eighth century writer Aldhelm describes a linen shirt worn under a tunic. Other contemporary writings describe the use of undergarments. It is possible that loin cloths were used as undergarment or on its own if a tunic was not worn.

Trousers continued to be worn by men. Traditionally worn under a short tunic or with a small cloak, they were typically ankle length. The jacket appeared during this time as well. For those who could afford it, the jacket was made of fur while less costly ones were made of linen. This jacket was waist-length and tended to have a broad collar.

Leggings and footwear
Leggings and stockings continued to be worn in the seventh through to the ninth centuries. Frankish fashion for elaborate gartering was very popular in the seventh century.

From the beginning of the seventh century, shoes become more abundant as burial artefacts. A burial site at Banstead Downs uncovered a male skeleton with soft leather ankle-boots which included eyelets for leather thongs. This boot style is similar to archaeological finds for the same period in York.

Accessories and jewellery
Archaeological finds indicate that the belt continued to be used in Anglo-Saxon male costume in the seventh through to the ninth centuries. Knives were often suspended from belts and in the early seventh century, leather sheaves started to appear with knives. Leather and fabric pouches make their initial appearance during this time period. Many of the buckles were simple and small, although more elaborate and opulent buckles have been discovered. Kent burials include a number of large, triangular belt buckles from male graves. The conversion of Anglo-Saxon England to Christianity is demonstrated in the appearance of buckles with the cross symbols and fish emblem. As seen on the St. Mary Bishophill sculpture in York of two Anglo-Saxon men, horns could be suspended from the belt.

Brooches have been rare in archaeological finds for this period, but it is probable that disc-headed pins and other pins were worn by men as they have been found in Anglo-Saxon settlements. The quoit brooch is a very early type. Disc brooches such as the Harford Farm Brooch appear in Anglo-Saxon art at the beginning of the seventh century, but have not been discovered as archaeological finds in male graves. At the beginning of the ninth century, gold was scarce, and was rarely found on brooches. Brooches were typically created with base metal or silver; the Fuller Brooch and Strickland Brooch are both in silver, as is the Anglo-Scandinavian Ædwen's brooch. The ninth century initiated elaborate finger-rings into Anglo-Saxon fashion.

Gloves were commonly used in Anglo-Saxon England by the beginning of the eighth century.  Falconers wore gloves and depictions of gloves have been found on Anglo-Saxon sculpture. Archaeological evidence has shown that elaborate gloves made with fine material have been found in Europe. This quality and styling of gloves could have easily migrated to England.

Tenth and eleventh centuries

The literary, linguistic and artistic evidence of the tenth and eleventh centuries reveals many examples of male fashion. There are a variety of costumes depicted, shorter garments for the average male and longer garments for elite individuals. Different occupations and functions, like farming, hunting, and soldiering required different styles of clothing.

Overgarment
Cloaks were worn indoors and outdoors and covered both short and long garments. Cloaks were rectangular or square in shape, attached with a brooch and not usually tailored. Circular brooches were the most common style brooches used by men at this time.

Main garment
The short tunic continues to be the standard garment of Anglo-Saxon men. They were usually knee-length, but sometimes worn at a shorter length. The tunic continues to be bound at the waist by a belt or girdle. It is most likely that the tunic fabric was joined at the sides, and the neck opening was probably tied by string, ribbon or cloth. Sleeves were believed to be either short or long, with longer sleeves more likely acting as an undergarment. Undergarments continue to be worn and are more detailed in decoration. Linen shirts or a garment similar to a nightgown could be worn under the main garment.

Leggings and footwear

Art from this period, including the Bayeux Tapestry indicate that men continued to wear leggings and stockings. Leg coverings often cover the shoes and probably covered the foot. The material was likely made of woven cloth as knitting would not be introduced in England until the sixteenth century.

Excavations in late Anglo-Saxon and Anglo-Viking London, Winchester and York has produced many shoes: flat-soled, leather 'turn shoes' (made inside out and then turned), and thonged shoes. The most common type of shoe is the ankle-high shoe, but lower slippers and taller boots also have also been found. Flat, black shoes with a white stripe on top are the typical male footwear seen in Anglo-Saxon art during this time period.

Accessories and jewellery
Knives, suspended from belts and girdles,  no longer appear in Anglo-Saxon art of this period

Brooches of the tenth and eleventh centuries are typically circular. The most opulent brooches are silver, others are base metal. Small, round brooches, worn as cloak fasteners, are often depicted on men in late Anglo-Saxon art. Other brooch types which have been uncovered in late Anglo-Saxon burial finds are not seen in Anglo-Saxon art during this time period.

Children's costume
Grave-goods identified as belonging to children are scarce in Anglo-Saxon cemeteries. The little evidence suggests that children wore clothing that was similar to adults. Children's artefacts that have been found, include wrist and ankle bangles, neck-rings, small knives and beads. The most common accessory found in children's graves is the bead, worn individually or in small numbers. Both boys and girls could be buried with a belt buckle, although buckles were not typically worn until adulthood. Children's and adult's clothing show differences in the type of clothing material worn. A higher percentage of linen is found in children's graves compared to adult burials. Linen may have been preferable for children's garments, since it was much easier to wash repeatedly than wool.

Illustrations and paintings from the sixth to eleventh centuries in England, always depict male children. They are usually seen in short tunics with shirts. Infants are portrayed in long gowns, and either wear no head covering or wear head covering similar to women of the period.

Dress and Status

The wealth of an Anglo-Saxon could be measured by the number and variety of garments, accessories, and jewellery he or she possessed and the quality of those items. Status in jewellery is reflected in size, intricacy, and use of gold, silver and garnet. Wealthier men and women owned footwear in the early Anglo-Saxon era,  a period when many Anglo-Saxons were probably going barefoot. The affluent often had newer clothing and wore the latest fashions in clothing and accessories.

Documentary evidence has shown that luxurious textiles were abundant in Anglo-Saxon England. These materials included imported silks, and textiles and clothing embroidered with gold. Most of these extravagant items were primarily used as religious garments,  but it is also highly likely that royals and the wealthier members of Anglo-Saxon society owned opulent and expensive clothing.

Fifth to seventh centuries

Prosperity was marked by ownership of gold: buckles, brooches and gold embroidery or brocading on garments. Ornate buckles and clasps identified the wearer as important men of the seventh century. The jacket appeared during this time as well. For those who could afford it, the jacket was made of fur while less costly ones were made of linen. Pile woven cloaks, which probably imitated fur in their shaggy effect, were a high status alternative for men in the seventh century. The extremely affluent male buried AD 625 in the Sutton Hoo Ship Burial (mound 1) was supplied with two pairs of shoes, several yellow-dyed cloaks, and possible alternative sets of jewelled belt equipment.

"The Sutton Hoo Mound 1 warrior can be characterized as equipped in the manner of a Roman general....His helmet is modelled ultimately on a fourth-century Roman cavalry parade helmet, his shield is similarly an oversized decorated parade item, and the gold and garnet decorated shoulder clasps probably fastened a leather tunic and imitate the epaulettes of Roman body armour. He also possessed a ring mail shirt, while a showy gold belt buckle and the garnet and gold fittings to his sword and sword belt help to complete the picture."

Eighth and ninth centuries

Leggings were more elaborate from the seventh to the ninth centuries with Frankish dress fashion providing the inspiration. In wealthier graves of this time period, buckles could be found under the knees and ankles of skeletal remains. Lace remnants found near the legs of skeletons in Kent is another indication of Frankish influence in clothing.

Art of this era was abundant in illustrations of English kings wearing long garments. The change from shorter tunics to long garments was likely influenced by European fashion. Gowns were often loose, with a variety of sleeve styles.

Tenth and eleventh centuries

Fur, which has been used in previous centuries to keep the body warm, was becoming more popular outside of England, In England, fur became more of a fashion choice as a luxury item during the tenth and eleventh centuries

Military dress

Historian Gale Owen-Crocker, in her book, Dress in Anglo-Saxon England writes, "Despite allusions to mailcoats in the heroic poetry of the Anglo-Saxon period, the general absence of archaeological evidence for them, even in graves equipped with fine weapons, suggests that, at least in the earlier centuries of the Anglo-Saxon era, they were a rare luxury, and it was not unusual to fight without protective clothing; on the Franks Casket some spear-carriers are not equipped with armour".

Burial finds from the fourth or early fifth century in Oxfordshire (prior to the Anglo-Saxon migration) have found evidence that military leaders of that time period wore belts that were elaborate, wide, and fastened by "a narrow strap which was riveted to the broad belt and passed through a buckle which was much narrower than the belt itself" leaving the end of the belt to hang down; attached to the belt were pouches which allowed soldiers to carry their weapons.

Archaeological excavations in the 1990s uncovered three 7th century male graves, each with tablet-woven bands. The clothing remnants appeared to be part of a jacket garment. The artefacts were analysed and later interpreted to be the front borders of a wrap-over fighting jacket, as seen on the Sutton Hoo helmet panels and other 7th century art. Historians believe that Anglo-Saxon soldiers wore wrap-over, knee-length coats decorated like chain mail with sleeves that narrowed at the wrists. The jacket would be decorated with "patterned tablet woven bands stitched to the front opening and perhaps also to the hem and cuffs....Most of the comparative material suggests that the jacket was usually worn over trousers."
In the ninth and tenth centuries, military attire did not differ much from that of civil attire. The only changes were in the form of short linen tunics with metal collars and the addition of a sword, spear, shield, and helmet. Weapons and clothes fittings worn on the battlefield were highly decorated with jewellery techniques, as seen in the discoveries at Sutton Hoo and in the Staffordshire Hoard; the concept of parade wear did not exist for the Anglo-Saxons.

Dress and religion

19th century costume historian and writer, James Planché, believed that the clergy of the 9th and 10th centuries dressed similarly to the laity, except when saying mass. Beginning in the later 8th century, the clergy were forbidden to wear bright colours or expensive or valuable fabrics. He also asserted that the clergy wore linen stockings.

The clergy of the 11th century had shaved heads and wore hats which, according to Planché, were "slightly sinking in the centre, with the pendent ornaments of the mitre attached to the side of it". Other garments included the chasuble, the outermost liturgical vestment, which retained its shape, and the dalmatics, a tunic like vestment with large, bell shaped sleeves, which tended to be arched on the sides. The pastoral staff was generally found to be plain in colour and ornamentation.

Clothing construction

Raw materials

From the fifth to the eleventh centuries, the raw materials available to create textiles were wool from sheep, linen from flax and imported silk. Wool was produced from a variety of sheep breeds, including primitive brown sheep (ancestors to the Soay sheep breed), white sheep brought by the Romans to Britain and black-faced sheep who were introduced during the Viking invasions. Clothing made from the wool of sheep, would be available in a selection of colour variations from white to brown and black. Silk was not cultivated in England, but imported as finished garments, lengths of cloth or sewing/embroidery threads.

According to Owen-Crocker, "Linen production was a longer process, involved planting flax seed, weeding, harvesting, removal of seed pods, retting(rotting) the woody stems in water or a dewy field, drying, beating, and ‘scrutching’ the flax stems to break them and release the fibres inside, then repeated heckling or combing of those fibres to prepare them for spinning."

Manufacturing
In the fifth and sixth centuries, women were the manufacturers of Anglo-Saxon clothing, weaving textiles on looms in their homes. About 70% of a woman's year was spent making textiles. Between the seventh and ninth centuries, Anglo-Saxon communities changed slowly from small villages to larger villages and larger estates. Specialised workshops on the big estates would be responsible for the manufacture of textiles and clothing for the residents of the estate. In the tenth and eleventh centuries, the growth of urban centres around England changed the variety and quantity of materials, clothing, and accessories that people had access to and the way in which clothing and accessories were manufactured.

Dye-testing of textile remnants from Anglo-Saxon graves has revealed that clothing was not dyed in the Anglo-Saxon era, except for tablet-woven-bands which edged women's garments. This could signify that artificial pigment was never present or that garment colour has been lost over time due to deterioration. It is probable that garments were not washed often. Washing would fade any artificial dyes that had been used, and laundering would diminish the natural weather-proof qualities of wool. Analysis of textile fragments from burial artefacts has indicated the absence of felting,  which shows the lack of frequent washing.

Anglo-Saxon jewellery

Men and women's garments were fastened by brooches, buckles, clasps and pins. Jewellery could be created from a variety of metals, including iron, copper alloy (bronze), silver or gold, or a combinations metals. The precious metals were obtained by melting down older metal objects, including Roman coins. Many brooches and buckles were decorated by techniques including casting, engraving and inlaying.

Jewellery fashion

Fashion changes in women's jewellery occurred frequently in the Anglo-Saxon era. In sixth century Kent, for example, single jewelled disc brooches were in style until the end of the sixth century when more elaborate plate brooches with cloisonné garnet and glass settings were the fashion. This fashion trend was followed by opulent composite jewelled brooches that disappeared around the middle of the seventh century. Dress pins began to appear at the beginning of the seventh century. Pendants also became fashionable at this time.  Necklets came into fashion, typically created with silver-wire rings and coloured glass beads.

In male graves, belt sets with triangular plates inspired by  Frankish fashion appear in the late sixth century and span the first half of the seventh century. Later in the seventh century, small buckles with rectangular plates become typical.

Finger rings are worn in the early Anglo-Saxon era, but declined in popularity in the seventh and eighth centuries, and became fashionable again in the ninth century. At the end of the seventh century, circular brooches increased in popularity over long brooches, and annular and disc brooches start appearing in grave-goods. Eighth century circular brooches are rarely found, but many examples have been found from the ninth to eleventh centuries.

Brooches which resemble modern safety pins appear in the seventh century. Straight pins continue to be popular in the seventh century, and are sometimes made of gold and silver. Garlands of beads, which decorated women's garments in the fifth and sixth centuries, fade from view in the seventh century.
The most noticeable jewellery fashion change in the seventh and eighth century was the use of necklace pendants. These style pendants were inspired by a combination of Frankish, Byzantine and Roman art. Straight pins continue to be popular in the tenth and eleventh centuries. They are considered functional items during this time period and are being mass-produced. Finger rings continue to be popular.

Jewellery production
In the early Anglo-Saxon era, jewellery was created by itinerant craftsmen who would move from village to village. In the seventh thru the ninth centuries, the Anglo-Saxon communities changed slowly from small villages to increasingly larger villages and large estates. On larger estates, specialised workshops would be responsible for the manufacture of jewellery and metalwork for the residents of the estate. In the tenth and eleventh centuries, the growth of urban centers throughout England changed the variety and quantity of jewellery made available to Anglo-Saxons and the methods in which jewellery was produced.

See also

History of Anglo-Saxon England
Early medieval European dress
Staffordshire Hoard
Weaponry in Anglo-Saxon England
Christianisation of Anglo-Saxon England
Anglo-Saxon brooches
Quoit brooch
Kingston Brooch
Fuller Brooch

References

Citations

Bibliography

Further reading

Category:5th-century fashion
Category:6th-century fashion
Category:7th-century fashion
Category:8th-century fashion
Category:9th-century fashion
Category:10th-century fashion
Category:11th-century fashion
Category:Anglo-Saxon society

Category:Early Germanic clothing


Brant (goose)

The brant, or brent goose (Branta bernicla), is a species of goose of the genus Branta. The black brant is a pacific North American subspecies.

The Brent System, a major oilfield, was named after the species.

Description

The brant is a small goose with a short, stubby bill. It measures  long,  across the wings and weighs . The under-tail is pure white, and the tail black and very short (the shortest of any goose).

The species is divided into three subspecies:
 Dark-bellied brant B. b. bernicla (Linnaeus, 1758)
 Pale-bellied brant B. b. hrota (Müller, 1776) (sometimes also known as light-bellied brent goose in Europe, and Atlantic brant in North America)
 Black brant B. b. nigricans (Lawrence, 1846) (sometimes also known as the Pacific brant in North America)

Some DNA evidence suggests that these forms are genetically distinct; while a split into three separate species has been proposed, it is not widely accepted, with other evidence upholding their maintenance as a single species.

The body of the dark-bellied form is fairly uniformly dark grey-brown all over, the flanks and belly not significantly paler than the back. The head and neck are black, with a small white patch on either side of the neck. It breeds on the Arctic coasts of central and western Siberia and winters in western Europe, with over half the population in southern England, the rest between northern Germany and north-western France.

The pale-bellied brant appears blackish-brown and light grey in colour. The body is different shades of grey-brown all over, the flanks and belly are significantly paler than the back and present a marked contrast. The head and neck are black, with a small white patch on either side of the neck. It breeds in Franz Josef Land, Svalbard, Greenland and northeastern Canada, wintering in Denmark, northeast England, Ireland and the Atlantic coast of the U.S. from Maine to Georgia, as well as in a  small but significant area, le Havre de Regnéville, centered on the Sienne Estuary in Manche (Northern France).
In Ireland it is recorded in winter from a number areas including Lough Foyle, Strangford Lough, Tralee Bay and Castlemain Harbour.

The black brant appears blackish-brown and white in colour. This form is a very contrastingly black and white bird, with a uniformly dark sooty-brown back, similarly-coloured underparts (with the dark colour extending furthest back of the three forms) and a prominent white flank patch; it also has larger white neck patches, forming a near-complete collar. It breeds in northwestern Canada, Alaska and eastern Siberia, and winters mostly on the west coast of North America from southern Alaska to California, but also some in east Asia, mainly Japan.

The Asian populations of the black brant populations had previously been regarded as a separate subspecies orientalis based on purported paler upperparts coloration; however, it is generally now believed that this is not correct.

A fourth form (known variously as gray brant, intermediate brant, or grey-bellied brent goose) has been proposed, although no formal subspecies description has been made as yet, for a population of birds breeding in central Arctic Canada (mainly Melville Island), and wintering on Puget Sound on the American west coast around the U.S./Canada border. These birds are intermediate in appearance between black brant and pale-bellied brant, having brown upperparts and grey underparts which give less of a contrast with the white flank patch. Given that this population exhibits mixed characters, it has also been proposed that, rather than being a separate subspecies, it is actually a result of interbreeding between these two forms.

Habitat

It used to be a strictly coastal bird in winter, seldom leaving tidal estuaries, where it feeds on eel-grass (Zostera marina) and the seaweed, sea lettuce (Ulva). On the east coast of North America, the inclusion of sea lettuce is a recent change to their diet, brought about by a blight on eelgrass in 1931. This resulted in the near-extirpation of the brant. The few that survived changed their diet to include sea lettuce until the eelgrass eventually began to return. Brants have maintained this diet ever since as a survival strategy. In recent decades, it has started using agricultural land a short distance inland, feeding extensively on grass and winter-sown cereals. This may be behavior learned by following other species of geese. Food resource pressure may also be important in forcing this change, as the world population increased over 10-fold to 400,000-500,000 by the mid-1980s, possibly reaching the carrying capacity of the estuaries. In the breeding season, it uses low-lying wet coastal tundra for both breeding and feeding. The nest is bowl-shaped, lined with grass and down, in an elevated location, often near a small pond.

The brant goose is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds applies.

Etymology
Branta is a Latinised form of Old Norse brandgás, "burnt (black) goose", and bernicla is the medieval Latin name for the barnacle. The brant and the similar barnacle goose were previously considered one species, formerly believed to be the same creature as the crustacean. That myth can be dated back to at least the 12th century. Gerald of Wales claimed to have seen these birds hanging down from pieces of timber, William Turner accepted the theory, and John Gerard claimed to have seen the birds emerging from their shells. The legend persisted until the end of the 18th century. In County Kerry, until relatively recently, Catholics could eat this bird on a Friday because it counted as fish.

References

Further reading

External links

 BirdGuides Brent Goose Page
 Brent Goose at RSPB: Birds by Name
 BBC Nature - Brent Goose
 Stamps from Canada, Germany, and Jersey at bird-stamps.org (the Brent goose has also featured on stamps from Eire, Finland, and Oman; these can easily be found via any internet search-engine).

 Brant Goose, B.C. Outdoor Wilderness Guide

Category:Branta
Category:Geese
Category:Birds described in 1758
Category:Birds of the Arctic
Category:Natural monuments of Japan
Category:Taxa named by Carl Linnaeus


Craig Tully

Craig Tully (born 7 January 1976) is a Scottish football coach and former professional player who is currently manager of Hawick Royal Albert.

Career

Playing career
Born in Stirling, Tully played as a defender for Victoria Juveniles, Dundee, Forfar Athletic, Ross County, Elgin City, Stenhousemuir, Peterhead, Arbroath, East Stirlingshire and Clyde.

Coaching career
After working as a player-coach for Peterhead, Tully was appointed manager of East Stirlingshire in April 2014.

The Shire were relegated in his second season in charge through the Scottish League Two play-offs in May 2016. Shortly after their relegation, Tully left Ochilview Park after his contract was not renewed. Tully was appointed manager of Lowland League club Hawick Royal Albert in September 2017, suffering relegation to the East of Scotland Football League in his first season with the club.

Managerial statistics

References

Category:1976 births
Category:Living people
Category:Scottish footballers
Category:Dundee F.C. players
Category:Forfar Athletic F.C. players
Category:Ross County F.C. players
Category:Elgin City F.C. players
Category:Stenhousemuir F.C. players
Category:Peterhead F.C. players
Category:Arbroath F.C. players
Category:East Stirlingshire F.C. players
Category:Clyde F.C. players
Category:Scottish Football League players
Category:Association football defenders
Category:Scottish football managers
Category:East Stirlingshire F.C. managers
Category:Hawick Royal Albert F.C. managers
Category:Scottish Professional Football League managers


Maxwell Anderson

James Maxwell Anderson (December 15, 1888 – February 28, 1959) was an American playwright, author, poet, journalist and lyricist.

Early life
Anderson was born in Atlantic, Pennsylvania, the second of eight children to William Lincoln "Link" Anderson, a Baptist minister, and Charlotte Perrimela ('Premely') Stephenson, both of Scots and Irish descent. His family initially lived on his maternal grandmother Sheperd's farm in Atlantic, then moved to Andover, Ohio, where his father became a railroad fireman while studying to become a minister. They moved often, to follow their father's ministerial posts, and Maxwell was frequently sick, missing a great deal of school. He used his time sick in bed to read voraciously, and both his parents and Aunt Emma were storytellers, which contributed to Anderson's love of literature.

During a visit to his grandmother's house in Atlantic, at age 11, he met the first love of his life, Hallie Loomis, a slightly older girl from a wealthier family. His autobiographical tale, Morning, Winter and Night told of rape, incest and sadomasochism on the farm. It was published under a pseudonym, John Nairne Michealson, to prevent offending family. The Andersons bounced between Andover, Ohio, Richmond Center, Ohio, Townville, Pa., Edinboro, Pa., McKeesport, Pa., New Brighton, Pa., Harrisburg, Pa., to Jamestown, North Dakota in 1907, where Anderson attended Jamestown High School, graduating in 1908.

Journalism
As an undergraduate, he waited tables and worked at the night copy desk of the Grand Forks Herald, and was active in the school's literary and dramatic societies. He obtained a BA in English Literature from the University of North Dakota in 1911. He became the principal of a high school in Minnewaukan, North Dakota, also teaching English there, but was fired in 1913 for making pacifist statements to his students. He then entered Stanford University, obtaining an M.A. in English Literature in 1914. He became a high school English teacher in San Francisco: after three years he became chairman of the English department at Whittier College in 1917. He was fired after a year for public statements supporting Arthur Camp, a jailed student seeking status as a conscientious objector.

Anderson moved to Palo Alto to write for the San Francisco Evening Bulletin, but was fired for writing an editorial stating that it would be impossible for Germany to pay off its war debt. So he moved to San Francisco to write for the San Francisco Chronicle, but was fired after contracting the Spanish flu and missing work. Alvin Johnson hired Anderson to move to New York City and write about politics for The New Republic in 1918, but he was fired after an argument with Editor-in-Chief Herbert David Croly.

Anderson found work at The New York Globe, and the New York World. In 1921, he founded The Measure: A Journal of Poetry, a magazine devoted to verse. He wrote his first play, White Desert, in 1923; it ran only twelve performances, but was well-reviewed by the book reviewer for the New York World, Laurence Stallings, who collaborated with him on his next play, What Price Glory?, which was successfully produced in 1924 in New York City. Afterwards he resigned from the World, launching his career as a dramatist.

Dramatist
His plays are in widely varying styles, and Anderson was one of the few modern playwrights to make extensive use of blank verse. Some of these were adapted as movies, and Anderson wrote the screenplays of other authors' plays and novels – All Quiet on the Western Front (1939) and Death Takes a Holiday (1934) – in addition to books of poetry and essays. His first Broadway hit was the 1924 World War I comedy-drama, What Price Glory, written with Laurence Stallings. The play made use of profanity, which caused censors to protest. But when the chief censor (Rear Admiral Charles Peshall Plunkett) was found to have written far more obscene letters to General Chamberlaine, he was discredited: soldiers really did speak that way.

The only one of his plays that he himself adapted to the screen was Joan of Lorraine, which became the film Joan of Arc (1948) starring Ingrid Bergman, with a screenplay by Anderson and Andrew Solt. When Bergman and her director changed much of his dialogue to make Joan "a plaster saint" he called her a "big, dumb, goddamn Swede!" Anderson was awarded the Pulitzer Prize in 1933 for his political drama Both Your Houses, and twice received the New York Drama Critics Circle Award, for Winterset, and High Tor.

Anderson enjoyed great commercial success with a series of plays set during the reign of the Tudor family, who ruled England, Wales and Ireland from 1485 until 1603. One play in particular – Anne of the Thousand Days – the story of Henry VIII's marriage to Anne Boleyn – was a hit on the stage in 1948, but did not reach movie screens for 21 years. It opened on Broadway starring Rex Harrison and Joyce Redman, and became a 1969 movie with Richard Burton and Geneviève Bujold. Margaret Furse won an Oscar for the film's costume designs.

Another of his Tudor plays, Elizabeth the Queen opened in 1930 with Lynn Fontanne as Elizabeth and Alfred Lunt as Lord Essex. It was later adapted to the screen as The Private Lives of Elizabeth and Essex (1939), starring Bette Davis and Errol Flynn. Directed by John Ford, Mary of Scotland (1936) was an adaptation of his play of the same name involving Elizabeth I, starring Katharine Hepburn as Mary, Queen of Scots, Fredric March as the Earl of Bothwell, and Florence Eldridge as Elizabeth. The original play had been a hit on Broadway starring Helen Hayes in the title role.

His play The Wingless Victory was written in verse and premiered in 1936 with Broadway actress Katharine Cornell in the lead role. It received mixed reviews.

Adaptations and awards
Honorary awards include the Gold Medal in Drama from the National Institute of Arts and Letters in 1954, an honorary doctor of literature degree from Columbia University in 1946, and an honorary doctor of humanities degree from the University of North Dakota in 1958.

Two of Anderson's other historical plays, Valley Forge, about George Washington's winter there with the Continental Army, and Barefoot in Athens, concerning the trial of Socrates, were adapted for television. Valley Forge was adapted for television on three occasions – in 1950, 1951 and 1975. Anderson wrote book and lyrics for two successful musicals with composer Kurt Weill. Knickerbocker Holiday, about the early Dutch settlers of New York, featured Walter Huston as Peter Stuyvesant. The show's standout number, "September Song", became a popular standard. So did the title song of Anderson and Weill's Lost in the Stars, a story of South Africa based on the Alan Paton novel Cry, The Beloved Country.

Anderson's long-running 1927 comedy-drama about married life, Saturday's Children, in which Humphrey Bogart made an early appearance, was filmed three times – in 1929 as a part-talkie, in 1935 (in almost unrecognizable form) as a B-film Maybe It's Love and once again in 1940 under its original title, starring John Garfield in one of his few romantic comedies, along with Anne Shirley and Claude Rains. The play was also adapted for television in three condensed versions in 1950, 1952 and 1962.

His last successful Broadway stage play was 1954's The Bad Seed, Anderson's adaption of the William March novel. He was hired by Alfred Hitchcock to write the screenplay for Hitchcock's The Wrong Man (1957). Hitchcock also contracted with Anderson to write the screenplay for what became Vertigo (1958), but Hitchcock rejected his screenplay Darkling, I Listen.

Personal life
Anderson married Margaret Haskett, a classmate, on August 1, 1911 in Bottineau, North Dakota. They had three sons, Quentin, Alan, and Terence.

In 1929, Anderson wrote what would prove to be a prophetic play, Gypsy, about a vain, neurotic liar who cheats on her husband then commits suicide by inhaling gas after he catches her. It is around this same time, circa 1930, that Anderson began a relationship with a married woman, Gertrude Higger (married name, Mab Maynard, stage name Mab Anthony). The affair led Anderson to split with Haskett, who died in 1931 following a car accident and stroke.

Mab divorced her husband, singer Charles V. Maynard, and moved in with Anderson. She was a significant help with clerical duties, but had expensive tastes and spent Anderson's money freely. Their daughter, Hesper, was born August 1934. Anderson left Higger following the discovery of her affair with Max's friend, TV producer Jerry Stagg. The combination of losing Anderson, their massive tax debt, and the loss of her home proved too much for Gertrude, who on March 21, 1953, after several unsuccessful attempts, committed suicide by breathing car exhaust. Hesper wrote a book, South Mountain Road: A Daughter's Journey of Discovery describing how following her mother's suicide, she unearthed the fact that her parents never married.

Anderson married once more, to ABC's TV Celanese Theater Production Assistant, Gilda Hazard, on June 6, 1954. This final marriage was a happy one, lasting until Anderson's 1959 death.

Anderson was an atheist.

Death
Anderson died in Stamford, Connecticut, on February 28, 1959, two days after suffering a stroke. He was 70 years old. He was cremated. Half of his ashes were scattered by the sea near his home in Stamford. The other half was buried in Anderson Cemetery near his birthplace in rural northwestern Pennsylvania. The inscription on his tombstone reads:

Archive
The largest collection of Maxwell Anderson's papers - over sixty boxes - is housed at the Harry Ransom Center at the University of Texas at Austin and includes published and unpublished manuscript materials for plays, poems, and essays, as well as over 2,000 letters, diaries, financial papers, nearly 1,500 family photographs, and personal memorabilia are preserved along with 160 books from the playwright's library. The archive was placed at the Ransom Center in 1961 by Anderson's widow, Mrs. Gilda Hazard Anderson. Smaller collections of Anderson's papers can be found at institutions around the world including the Chester Fritz Library, the New York Public Library for the Performing Arts, and the University of North Carolina at Chapel Hill.

Stage productions

White Desert – 1923
What Price Glory – 1924 (with Laurence Stallings) – a war drama
First Flight – 1925 (with Laurence Stallings)
The Buccaneer – 1925 (with Laurence Stallings)
Outside Looking In – 1925
Saturday's Children – 1927
Gods of the Lightning – 1929 (with Harold Hickerson)
Gypsy – 1929
Elizabeth the Queen – 1930 – a historical drama in blank verse
Night Over Taos – 1932
Both Your Houses – 1933 – Pulitzer Prize for Drama
Mary of Scotland – 1933 – a historical drama in blank verse
Valley Forge – 1934
Winterset – 1935 – New York Drama Critics' Circle Award
The Masque of Kings – 1936
The Wingless Victory – 1936
The Star-Wagon – 1937
High Tor – 1937 New York Drama Critics Circle Award
The Feast of Ortolans – 1937 – one-act play
Knickerbocker Holiday – 1938 – book and lyrics

Second Overture – 1938 – one-act play
Key Largo – 1939
Journey to Jerusalem – 1940
Candle in the Wind – 1941
The Miracle of the Danube – 1941 – one-act play
The Eve of St. Mark – 1942
Your Navy – 1942 – one-act play
Storm Operation – 1944
Letter to Jackie – 1944 – one-act play
Truckline Café – 1946
Joan of Lorraine (partially written in blank verse) – 1946
Anne of the Thousand Days – 1948 – a historical drama in blank verse
Lost in the Stars – 1949 – book and lyrics
Barefoot in Athens – 1951
The Bad Seed – 1954
High Tor – 1956 (TV score)
The Day the Money Stopped – 1958 – (with Brendan Gill)
The Golden Six – 1958

Filmography
What Price Glory – 1926 – film
Saturday's Children – 1929 – play
The Cock-Eyed World – 1929 – story
All Quiet on the Western Front – 1930 – adaptation & dialogue
The Guardsman – 1931 – one scene from Elizabeth the Queen is featured, just after the opening credits of the film
Rain – 1932 – adaptation
Washington Merry-Go-Round – 1932 – story
Death Takes a Holiday – 1934 (screenplay only; the play was written in Italian by Alberto Casella and translated into English by Walter Ferris)
We Live Again – 1934 – adaptation, from Tolstoy's Resurrection
The Lives of a Bengal Lancer – 1935 – uncredited contributing writer
Maybe It's Love – 1935 – play Saturday's Children
So Red the Rose – 1935 – screenplay
Mary of Scotland – 1936 – play
Winterset – 1936 – play
The Private Lives of Elizabeth and Essex – 1939 – play
Key Largo – 1939 – play (almost completely rewritten for the 1948 film of the same name)
Saturday's Children – 1940 – play
Knickerbocker Holiday – 1944 – play
The Eve of St. Mark – 1944 – play
Winterset – 1945 – TV – play
A la sombra del puente – 1946 – play
Joan of Lorraine - 1946 – play
Joan of Arc – 1948 – screenplay (revised from the 1946 play Joan of Lorraine)
Pulitzer Prize Playhouse – 1950 TV Series – play – four episodes
Celanese Theatre – 1951 TV Series – play – two episodes
What Price Glory? – 1952 – play
The Alcoa Hour – 1955 TV Series – play – episode "Key Largo"
The Bad Seed – 1956 – play
The Wrong Man – 1956 – novel The True Story of Christopher Emmanuel Balestrero
Never Steal Anything Small – 1959 – play The Devil's Hornpipe
Ben-Hur – 1959 – uncredited
Barefoot in Athens – 1966 – TV – play
The Star Wagon – 1967 – TV – play
Elizabeth the Queen – 1968 – TV – play
Anne of the Thousand Days – 1969 – play
Valley Forge – 1975 – TV – play
Lost in the Stars – 1974 – play
The Bad Seed – 1985 – TV – play
Meet Joe Black (1998) (earlier screenplay) (inspiration)

Lyrics
September Song (from Knickerbocker Holiday), by far his most famous song lyric
Lost in the Stars (from Lost in the Stars)
Cry, The Beloved Country (from Lost in the Stars)
When You're in Love
There's Nowhere to Go but Up
It Never Was You
Stay Well
Trouble Man (from Lost in the Stars)
Thousands of Miles

Bibliography
You Who Have Dreams – 1925 – a book of poetry
The Essence of Tragedy and Other Footnotes and Papers – 1939 – essays
Off Broadway Essays About the Theatre – 1947 – essays
Notes on a Dream – 1972 – poetry

References

Sources
The National Cyclopedia of American Biography vol. 60: pp. 323–325
Dictionary of American Biography, Supplement Six: pp. 14–16
Bibliography by M. Cox (1958, repr. 1974)
The Life of Maxwell Anderson by Alfred S. Shivers, PhD, published by Stein and Day, New York, 1983.

External links

Category:1888 births
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Category:American atheists
Category:Pulitzer Prize for Drama winners
Category:Members of the American Academy of Arts and Letters
Category:University of North Dakota alumni
Category:Writers from Stamford, Connecticut
Category:People from Jamestown, North Dakota
Category:People from Crawford County, Pennsylvania
Category:Writers from North Dakota
Category:Writers from Pennsylvania
Category:Disease-related deaths in Connecticut
Category:20th-century American dramatists and playwrights
Category:American male dramatists and playwrights
Category:20th-century American male writers
Category:People from Andover, Ohio


Contact paper

Contact paper is an adhesive paper used as a covering or lining.

Description
Contact paper is an inexpensive material that has a decorative surface on one side and a highly adhesive material on the other side. The paper sticks to the desired surface with minimal effort. It is usually sold in roll form and the material is cut to size by the user. While its traditional use was as a shelf or drawer liner, it can be used in many creative ways. Teachers often use it for creative projects at school. Other uses of contact paper include use as laptop skins and protective book covers.

Types of Contact Paper
Contact paper is usually categorized by the kind of surface that it is supposed to stick to. Some of the types of contact paper include:
 Adhesive Contact Paper
 Shelf Liner Contact Paper
 Stainless Steel Contact Paper
 Glass Contact Paper
 Vinyl Contact Paper

Uses
 Commonly used to line or cover kitchen and bathroom cabinets and drawers, counter tops, bookshelves, closet shelving, and pantry areas
 Covering up or protecting areas which have become (or could become) stained or ruined because of a project. Examples include art projects, foods and liquids, destructive substances
 The clear variety can be used for laminating books, art projects, posters, pictures, or other objects
 As part of a collage

Application
Most contact paper products feature an easy-to-peel liner and an adhesive that allows for repositioning of the material during installation. The material can be cut to size with scissors for custom applications depending on the requirement.

References

Category:Paper


Alice Blake

Alice Rufie Jordan Blake (10 October 1864 - 29 November 1893) was the first female graduate of Yale University. After application and rejection from several other schools, she was able to enter Yale's law program after discovering that school regulations did not explicitly forbid female applicants.

Early life
Alice Rufie Jordan was born in Norwalk, Ohio. After graduation from high school at the age of sixteen, she became the University of Michigan's youngest entrant to the literature program. At the age of 20, she entered the University of Michigan Law School, and before graduation passed the court test (an early type of bar exam) that enabled her to practice law in the state of Michigan.

Time at Yale
Wanting to continue her studies, Jordan applied to Columbia Law School and Harvard Law School in 1885. After rejection from both male-only schools, she applied to Yale using her first initials. When she arrived to register, she faced opposition from the Corporation, but because the regulations did not explicitly prohibit female applicants, she was permitted to proceed with her studies. A year later, Blake graduated with a bachelor's of law in 1886 with the support of the faculty. While Blake was the first female graduate at Yale, she would remain as the only female law graduate until 1920. At the meeting with the Corporation where they approved the list of new law graduates, they noted that "it is to be understood that the courses of instruction [throughout Yale] are open to persons of the male sex only, except where both sexes are specifically included.”

Marriage and Death
Jordan married fellow lawyer George D. Blake in 1888, and moved to Seattle, Washington. She had been interviewed stating her desire to practice law even after her marriage.  Jordan Blake died at the age of 29 in Chicago, Illinois in 1893.

References

Category:Yale University alumni
Category:1864 births
Category:1893 deaths
Category:Michigan lawyers
Category:University of Michigan College of Literature, Science, and the Arts alumni
Category:People from Norwalk, Ohio
Category:University of Michigan Law School alumni


Lake Marie

Lake Marie is a small freshwater lake in Umpqua Lighthouse State Park, near Winchester Bay, Oregon, USA.  It has a sandy beach at one end for swimming and day use, hiking trails surrounding it, and is overlooked by a couple of log cabins which can be rented.

References

 http://www.traveloregon.com/Explore-Oregon/Oregon-Coast/Outdoor-Recreation/Camp-Oregon/Camping/Umpqua-Lighthouse-State-Park.aspx
 http://www.oregonstateparks.org/park_121.php
 http://www.hikercentral.com/campgrounds/117781.html
 http://www.oregon.gov/OPRD/PLANS/docs/masterplans/umpqua_lighthouse.pdf

External links
http://www.oregonstateparks.org/park_121.php

Marie
Marie
Category:Protected areas of Douglas County, Oregon


SS Naramata

SS Naramata is a steam tug commissioned by the Canadian Pacific Railway (CPR) company. She pushed barges and broke ice on Okanagan Lake from 1914 to 1967. After over 50 years of service, the boat was eventually retired and left to rest in Penticton beside her sister ship, SS Sicamous. In 2001, she was purchased by the S.S. Sicamous Restoration Society and is currently undergoing extensive renovations. Naramata is the only interior steam tug to be preserved in the province of British Columbia, Canada.

Manufacture

Built for CPR, the hull, engine, boiler, and steel fittings of Naramata were pre-manufactured in Port Arthur, Ontario (now Thunder Bay) by Western Dry Dock and Shipbuilding Company, with final assembly taking place in Okanagan Landing. Construction began in September 1913 and was completed by the 20th of April in 1914. Upon completion, the total cost was  and she was given her name in tribute to the beautiful village of Naramata, a town which at that time was responsible for producing a large portion of the valley's fruit supply.

Crew
The crew aboard Naramata consisted of 11-13 men: a captain or first officer, a pilot, two deckhands, a chief engineer, a second engineer, two firemen, one bargeman, and a cook who also served as a steward. The ship was the first on Okanagan Lake to have a flushing toilet and was equipped with a functioning shower. Due to the dirty nature of the job, crew members were required to shower at least once a week. Often, it was a joke that the crew members were considered to be some of the "cleanest and dirtiest" on the lake.

The role of SS Naramata

Naramata would occasionally carry passengers (maximum 22) up or down Okanagan Lake, but she was mainly employed as a tugboat for the Canadian Pacific Railway. CPR tugboats not only pushed and pulled barges filled with valuable goods, but in the winter months they would often work as icebreakers, clearing the way for other larger and often wooden-hulled passenger ships. Naramata would often run ahead of Sicamous with crew members leaving a cardboard trail as a way to mark the clear path. More commonly, however, was the barge service. CPR tugboats could push up to two barges at once, and with barges capable of holding up to ten railcars at one time this was no small feat. When transporting two barges, Naramata would be wedged between them from astern, resulting in a "V"-shape that allowed for easy maneuvering. Alternately, barges could also be pulled from behind the tugs.

Retirement

Naramata  was retired in August 1967.  After her retirement, she was kept at Okanagan Landing and passed through a variety of owners.

Restoration

In 1991, Naramata was sold to the Kettle Valley Railway Heritage Society and the City of Penticton. On October first of that same year, she was moved to Penticton where she remained afloat beside Sicamous until 1993. Upon discovering that the hull had begun to corrode, she was immediately beached in order to prevent sinking.  she is sitting in a pool of water with hopes to beach her permanently next to Sicamous.

In 2001, Naramata was purchased by the S.S. Sicamous Restoration Society, and by 2003 the Society had begun to clean and repaired the damaged ship. This included the removal of three tons of coal and asbestos, general carpentry and safety repairs, and the installation of a steel staircase to allow for easier public access. In 2004 a  grant was awarded to the Society by the Western Economic Diversification Fund, a federal government program. This permitted further restoration of the ship and she received a deep cleaning and a fresh coat of paint. This was followed by the restoration of the pilothouse, some crew cabins, the replacement of numerous windows and the implementation of a security system.

References

Bibliography

Category:Steamships of Canada
Category:1914 ships
Category:Heritage sites in British Columbia
Category:Museum ships in British Columbia


Valeri Nikitin (wrestler)

Valeri Nikitin (born 28 November 1969) is an Estonian former wrestler who competed in the 1992 Summer Olympics, 1996 Summer Olympics and in the 2000 Summer Olympics.

References

Category:1969 births
Category:Living people
Category:Olympic wrestlers of Estonia
Category:Wrestlers at the 1992 Summer Olympics
Category:Wrestlers at the 1996 Summer Olympics
Category:Wrestlers at the 2000 Summer Olympics
Category:Estonian male sport wrestlers
Category:Estonian people of Russian descent


Slade Norris

Slade Norris (born October 25, 1985) is a former American football linebacker. He played college football at Oregon State. He was drafted by the Oakland Raiders in the fourth round of the 2009 NFL Draft.

Norris was also a member of the Seattle Seahawks and Jacksonville Jaguars.

Professional career

Oakland Raiders
Norris was drafted by the Oakland Raiders in the fourth round of the 2009 NFL Draft. He was released at the end of the 2009 training camp but was later re-signed to their practice squad. Norris was promoted to the active roster in November 2009. On December 30, he was placed on injured reserve due to a hamstring injury. He was released from the practice squad by the Raiders on September 23, 2010.

Jacksonville Jaguars
Norris was signed to the Jacksonville Jaguars practice squad on November 10, 2010. He was waived by the Jaguars on August 25, 2011.

Personal life
Norris currently resides in Dallas, Texas.

External links
Oakland Raiders bio
Oregon State Beavers bio

Category:1985 births
Category:Living people
Category:Sportspeople from Portland, Oregon
Category:Players of American football from Oregon
Category:American football linebackers
Category:American football defensive ends
Category:Oregon State Beavers football players
Category:Oakland Raiders players
Category:Seattle Seahawks players
Category:Jacksonville Jaguars players
Category:Detroit Lions players
Category:Jesuit High School (Beaverton, Oregon) alumni
Category:Sportspeople from Vancouver, Washington


Oadby Town F.C.

Oadby Town Football Club is an association football club based in Oadby, Leicestershire. The club plays in the .

History
The exact year of formation is unsure but it is believed to be either 1937 or 1939 under the guise of Oadby Imperial. The club did not have to wait long for their first honours winning the "City Medals" competition in the 1939–40 season. Around 1943 the club merged with a local junior side to become Oadby United, two years later in 1949 they reverted to original name of Oadby Imperial which coincided being accepted into the Leicestershire Senior League Division 2 for the 1949–50 season. The first season saw the club finish in 11th place out of 16.  In 1951 Oadby Imperial changed their name to become Oadby Town FC. In the same year they won the Leicestershire Senior League Division Two Championship and were promoted to Division One (later Division One became the Premier League and Division Two became Division One).

The 1956–57 season saw the club finish as runners-up in the Leicestershire Senior League to Leicester City 'A' and also were runners-up to Whitwick Colliery in the Coalville Charity Cup. It was until 1963 that the club won its first major honours winning the Leicestershire Senior Cup for the first time beating Newfoundpool WMC in the final. The following season saw three pieces of silverware collected. As well as retaining their Leicestershire Senior Cup crown, Oadby also were Leicestershire Senior League champions for the first time and won the Coalville Charity Cup for a second time. It was to be a further four years (1967–68) for Oadby to regain the Senior League crown and for good measure they retained their Senior League title the following year and also added the Leicestershire Challenge and Rolleston Charity Cups. A fourth Senior League crown was achieved in the 1972–73 season. This was to be the last league title for over twenty years as it was not until the 1994–95 season that they regained the title. Titles six, seven and eight came in three consecutive years between 1997 and 1999, the latter resulting in promotion to the Midland Football Alliance.

Oadby Town have won the Leicestershire Senior League eight times and been runners-up seven times. In the 1999–2000 season they joined the Midland Football Alliance, and in their first season in this league they were crowned champions.

In the 2002–03 season Oadby Town were FA Vase semi-finalists, losing out to Brigg Town 3–1 on aggregate.

The 2004–05 season saw the club win their first Leicestershire Challenge Cup crown for over 30 years and 3rd in total, beating fellow Midland Alliance side Barwell 2–1 at the Walkers Stadium in Leicester. The 2006–07 season saw Oadby enter the Rolleston Charity Cup for the first time in nine years and winning the competition for a ninth time beating Barwell 2–1 in the final at Holmes Park. The following season saw Oadby retain the Rolleston Charity Cup beating favourites Hinckley United 4–1 in the final. On top of that they won the Leicestershire Challenge Cup for the fourth time beating Friar Lane & Epworth 3–0 at the Walkers Stadium.

In 2010–11 Oadby Town finished 22nd in the Midland Football Alliance and were relegated to the East Midlands Counties League. Lee Harriman, former Coalville Town chief, was appointed manager for the 2011–12 season. Oadby managed a successful season with a decent run in the FA Vase, being the only team from below Step 5 to reach the 5th Round, losing to Staveley Miners Welfare.

Oadby Town moved across to the United Counties League Division One (Step 6) for the 2012–13 season

Current squad

Ground
Oadby play at WIgston Road. The ground is on the Wigston Road, opposite the Leicester Tigers training ground and in front of Parklands Leisure Centre. Fast food and drink are available at the ground. The average attendance is around 155.

Honours
United Counties League Division One
Champions 2013–14
Midland Alliance
Champions 1999–2000
Leicestershire Senior League Premier Division/Division One
Champions 1963–64, 1967–68, 1968–69, 1972–73, 1994–95, 1996–97, 1997–98, 1998–99
Runners-up 1956–57, 1966–67, 1971–72, 1973–74, 1977–78, 1995–96
Leicestershire Senior League Division Two/One
Champions 1951–52Midland Alliance Joe McGorian Cup winners 2000–01Leicestershire Challenge Cup winners 1968–69, 1970–71, 2004–05, 2007–08Leicestershire Senior Cup winners 1962–63, 1963–64, 1975–76, 1976–77, 1980–81Leicestershire Senior League Cup winners 1977–78, 1993–94, 1994–95Battle of Britain Charity Cup winners 1993–94, 1994–95, 1996–97, 2012–13Coalville Charity Cup winners 1960–61, 1963–64, 1965–66Harborough Charity Cup winners 1983–84, 1988–89Rolleston Charity Cup winners 1958–59, 1959–60, 1968–69, 1975–76, 1988–89, 1993–94, 1996–97, 1997–98, 2006–07, 2007–08City Medals winners 1939–40

RecordsFA CupThird Qualifying Round 1999–2000FA Vase'''
Semi-finals 2002–03

References

External links
Topps Park gallery and description
Official website

Category:Football clubs in England
Category:Leicestershire Senior League
Category:Midland Football Alliance
Category:Football clubs in Leicestershire
Category:Association football clubs established in 1939
Category:East Midlands Counties Football League
Category: United Counties League


Przeździęk Mały

Przeździęk Mały (; ) is a village in the administrative district of Gmina Wielbark, within Szczytno County, Warmian-Masurian Voivodeship, in northern Poland.

It lies approximately  west of Wielbark,  south-west of Szczytno, and  south-east of the regional capital Olsztyn.

References

Category:Villages in Szczytno County