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Using the woodlands as an outdoor classroom
Protecting the biodiversity of the woodlands
Open access for both locals and visitors
The Cormonachan Community Woodlands, situated on the west shore of Loch Goil half way between Lochgoilhead and Carrick Castle and is in the Argyll Forest Park and the Loch Lomond & The Trossachs National Park.
Welcome to Cormonachan Community Woodlands
The Cormonachan Community Woodlands (Scottish Charity No: SC050840) are 63.9 ha of ancient Atlantic oak & hazel woodlands and part of Scotland's Rainforest and have the status of being 'Ancient Semi Natural Woodlands' (ASNW) being preserved for Conservation, Education and Recreation, with oaks of 300 years old or more
and with areas of old coppiced hazel probably from at least 100 years ago.
COVID-19 PANDEMIC NOTICE
The Cormonachan Community Woodlands paths are open 24/7 to local walkers and visitors for exercise.
Please observe the current social distancing requirements and our 'Leave No Trace' policy – Thank you.
"Upper Cormonachan Paths Project Fund"
The "Upper Cormonachan Paths Project Fund" has now reached £17,500.00 as at 23rd July 2021 from members and other donations. Cormonachan Community Woodlands Ltd has now raised more than the 5% of the construction costs that is £12,657.33 . the paths construction cost of £253,146.66 inc. VAT requires the major funding. We have now applied to three funders for grants for the balance of £235,859.42 inc. VAT in June (funding approved from two funders for £106,879.20 on 24th December 2021 from Agri -Environmental Climate Scheme – Improving Public Access through SRDP plus an additional £900.00 from Lochgoil Community Trust) and September 2021 to be shared between the three funders. The third funder applied to was National Lottery Heritage Fund but as they ran out of money, we have been asked to re-apply for the balance required.
For the Conservation of Upper Cormonachan, the 16th century Medieval Settlement (old village) and access to view the beautiful Cormonachan Falls with 2 km of new access paths with four viewpoints from the Contemplation Shelter by the existing 2.5 km of paths and joining up with the forest road to the west of the woodlands and a new car park by Cormonachan Burn road bridge to commence from early 2022 onwards, providing we obtain the full funding.
Secretary, Cormonachan Community Woodlands Ltd
http://www.cormonachan-woodlands.co.uk/cormonachan-history/future-projects/
Much of the area of Cormonachan Community Woodlands had been under planted with Sitka Spruce by Forest and Land Scotland in the past. Many of those areas were felled in the late nineties and later in 2006 and are continuing to be now and into the future. New planting of oaks, rowan, hazel, birch and other native trees have been and are taking place with 679 native trees planted over the last 18 months and a further 210 to be planted over the next few years.
Rhododendron ponticum and bracken (invasive species) have increased in quantity especially in the northern felled section of the woodlands, however a programme of clearance is reducing much of this now with most being completely cleared by the spring of 2022.
Bluebells abound throughout the woodlands along with other woodland plants including; primroses, wild garlic, wood sorrel, lesser celandine, honeysuckle, ferns and an array of fungi appear in the autumn.
The most important wildlife to reside in these woodlands are red squirrels and pine martens that are high on the agenda for protection.
This is a joint community woodlands project started in 1998, with co-operation between Ardroy Outdoor Education Centre (then owned by Fife Council), Lochgoil Community Development Trust, Lochgoil Primary School and Forestry Enterprise Scotland (The Scottish Ministers), who owned the original 20 hectare section of the Atlantic Oak Woodlands at that time. Formal agreement was originally reached in May 2006 for the partnership to be responsible for managing the woodlands to improve their bio-diversity and also to develop them as an education resource.
A new agreement between Cormonachan Woodlands Association founded in 2015, AOEC Trust Ltd. (Ardroy Outdoor Education Centre, now a social enterprise trust) and Forestry & Land Scotland (formally called Forest Enterprise Scotland) was signed in December 2016 for an initial ten year period to 31st December 2026. The new management area of the woodlands has now been extended to 63.9 hectares including a PAWS area of 8.9 ha; a distance of 1.5 miles from Cormonachan Burn to Clach Bhadach by Lochwood on the west side of the road. See the Location page. Since 1st April 2020, the organisation has been converted to a not-for-profit limited company by guarantee – Cormonachan Community Woodlands Ltd. (Company No: SC697915) and is run by a Board of Directors, all voluntary. A 20-year Lease for the woodlands is about to be exchanged in the autumn of 2020 for the Memorandum of Understanding with Forestry and Land Scotland, the land owners.
Over the last decade the woodlands area has been transformed with 2.5 km of long walking paths established for recreation with view points over Loch Goil, a red squirrel trail was provided with information points, a resource centre was also built for educational purposes and many volunteers have cleared much of the area of old tree debris, Sitka spruce and rhododendrons.
Since 2018, there is now a Red Squirrel Hide and Contemplation Shelter alongside the Squirrel Trail that are open all year round.
You can follow us on Facebook.com/cormonachan and Instagram #cormonachan.
Visitors who wish to visit the Cormonachan Woodlands can park their cars in the car park suitable for 8 cars by the television aerial compound – see Latest News.


Add some humor to your pet waste sign. Use this sign to show pet owners that you don't want them on your grass but you have a good attitude about it.
Love Dogs, just not their ???
My husband just put them out can't wait to see the neighbors reaction.
Shipment arrived very quickly and the signs are just what I thought they would be. Highly recommend!
Great sign. Appears to be making the point. The only improvement I recommend is to include mounting screws as part of the deal. Had to scurry around and find some.
I placed this on the corner of our property where dogs frequently pee and have killed several plants. The neighbors think it's funny! I just hope no one steals it!


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Michael Codella p1
// you're reading...
By Simon Sandall ⋅ March 3, 2020 ⋅ Post a comment
READERSVOICE.COM aims to collect a few interesting reading tips. This issue features Michael Codella who wrote the classic New York memoir, Alphaville, 1988, co authored by Bruce Bennett. The book covers Mr Codella's time working for the New York City police, patrolling the housing projects in Alphabet City in the late 1980s. There was a heroin epidemic in Alphabet City at the time.
Alphabet City today has been described as "a bohemian enclave within the East Village". And "a laid-back residential area with trendy restaurants and bars, plus craft cocktail lounges and a popular German beer garden. A mix of students, artists and young families sunbathe and walk their dogs in Tompkins Square Park."
But in 1988, the area wasn't so trendy.
Alphabet City is named after four streets: Avenues A, B, C, and D, the only avenues in Manhattan to have letters for names. The blocks are close to the East River, and are part of the Lower East Side. In 1988 it was a mecca for heroin users and dealers.
In his memoir Alphaville, 1988, Mr Codella tells how he and his partner Gio were assigned to the area by the Housing PD. They patrolled the Avenue D projects, which were public housing like the Wald and Riis buildings. They cruised in a squad car, looking for action. The locals called him Rambo.
He talked with the residents; he met tragic junkies; he mixed with heroin dealers to gather information. The partners made a lot of collars. And they saw some terrible things: One time he found a family who'd been tortured and executed in their living room by drug dealers.
And behind the scenes there were big fish heroin dealers like Davey Blue Eyes. He was the dealer who supplied gangs like the Third and D crew. He thought nothing of shooting his competitors for the heroin market.
In 1988, because of his knowledge of Alphabet City and his successful arrest and conviction rate, Mr Codella worked with the DEA on an investigation of heroin dealing in the Lower East Side. They brought down 40 major heroin dealers in 1990.
It would be hard to find a better New York book than Alphaville, 1988. And Mr Codella gives some good reading tips in this interview.
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"Contestant #15, what is your future ambition?" There I stood at the 2001 Miss Teen America Pageant in fright and excitement. "My name is Trisha and my ambition is to become a succesful fashion designer (with a big cheesy smile)!" It has been a life long dream of mine to be in the fashion industry. However, things did not go as planned.
Hello lovelies! My name is Trisha and I'm blessed with 23 years of life. I am wife of the handsome AJ and a mother to two munchkins, Noah & Caleb. I am originally from South America but grew up in New York. I hold an A.S in Early Childhood Education (loooooooooong story). Currently I'm a stay at home mom.
After long research and inspiration from blogger Dulce Candy, Maytedoll and many others, I've decided to create this blog to inspire females, whether in high school, college, a mother or just someone looking for an outfit idea. I've had so many family and friends who would always compliment my sense of style and ask, "where did you get that?" or say "I need to go shopping with you." Thanks to all of you who have inspired me and those who look to me for inspiration. In return I present you with this, my FASHION BLOG!
I will be expressing my personal style along with a mix of celebrity outfit recreations. If you have any requests please feel free to contact me via email or comments.
i'm one of ones that always look to you for what's new in fashion you can take anything put them together and makes it look fabulous.


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Bob Ryan
Soviet's Anti-Semitic Operation SIG
Operation SIG was the KGB's operation to use lies, which the Soviets referred to as disinformation to target Muslims with hatred of Jews and Israel throughout the world. The propaganda was intended to increase terroristic attacks against both using similar means as the Nazi's. SIG was short for the Russian being translated to Jewish, Zionist Government.
In 2019, Informing Science released, THE KGB'S OPERATION SIG: A 50-YEAR CAMPAIGN TO INCITE HATRED OF ISRAEL AND JEWS. It has numerous pages of citations explaining how Operation SIG continues to impact the world through the misinformation campaign, which is the purposeful spread of false information, including fabricated history. Just about every false notion anti-Semites have about Israel and the Jewish people today, including the belief of Israel being an apartheid state, originated with Operation SIG.
From the section, Inventing a new narrative, Claiming Jews as the aggressor, of the paper:
"In 1948 the fledgling democratic State of Israel was attacked by five Arab armies bent on its destruction. This reality did not support the ambitions of the USSR, and so the KGB created a replacement narrative of Israel as the aggressor. That new narrative started by talking about the Arabs of the region as a distinct people, the Palestinians, even though these Arabs failed to meet the commonly held criteria of peoplehood. Peoplehood typically is understood as having distinctness in language, religion, history, culture, historical sovereignty, national literature, and such. For example, the Kurds, Armenians, Catalonians, Bangladeshis, Slovakians, Slovenes, and Jews are peoples. The uniqueness of Arab Palestinians needed to be constructed whole cloth but was and is essential to claim the land of Israel as the homeland for Arab Palestinians. "Historically, the Palestinian 'desire for statehood' and 'need for liberation' was invented in large part by the Soviet Union" according to Christopher Fish writing in the Stanford Review (2008). He writes "Palestinian nationalism is, therefore, a historical fabrication born out of a communist thirst for expansion and an Arab resentment of the existence of Israel."
The Soviets were opposed to all democracies, including Israel. Creating the false narrative of Palestinian nationalism purposely resulted in terrorist attacks against Israel, and violent attacks against Jews throughout the world.
Lt. Gen. Ion Pacepa, former deputy chief of Romanian intelligence service was directly involved in Operation SIG. He was one of the highest-ranking Soviets to ever defect.
From 2013, Tablet Magazine, Former Soviet Spy Sees the Long Arm of the KG in Today's Muslim Anti-Semitism, stated:
"By 1978, when Pacepa left Romania for good, the KGB had dispatched 500 undercover agents to target Islamic countries, he writes. Most of them were engineers, medical doctors, teachers, and art instructors. They were part of a Soviet force Pacepa estimates at 4,000, whose job was to spread anti-Semitic and anti-Western hate. The KGB, he writes, distributed several hundred thousand copies of the Protocols in Arabic via these agents and others."
The Protocols referred to are the debunked, Protocols of the Elders of Zion. Just like other anti-Jewish propaganda campaigns of the past, the truth had no bearing on the purposeful lies told to bring about hatred of the Jewish people.
Every vile lie embraced by anti-Semites about Israel and the whole of the Jewish people can be traced back to Operations SIG. It is important to counter the hatred started by the Soviets with the truth.
Propaganda, no matter how effective, can never rewrite history.
Bob Ryan is a novelist of the future via science-fiction, dystopian or a combination of the two, and blogger of the past with some present added in on occasion. He believes the key to understanding the future is to understand the past, since human nature is an unchanging force. As any writer can attest, he spends a great deal of time researching numerous subjects. He is someone who seeks to strip away emotion in search of reason, since emotion clouds judgement. Bob is an American with an MBA in Business Administration. He is a gentile who supports Israel's right to exist as a Jewish state. He is a Christian Zionist who knows God is calling His chosen home as foretold in prophecy.


All variations of the Maruti Swift Dzire are essentially loaded and brimming with the normal specialized specs. Motor specs incorporate a motor of 1248, which summons up a torque measuring to 190Nm@2000rpm and most extreme energy of 74bhp@4000rpm. It hacks out a normal or giving a general mileage of around 26.4, with a fuel productivity inside a city of 24.4 and on highways the mileage emerges as 28.4.
The architects at Maruti gave Swift Dzire the best of specialized details. Maruti Swift Dzire AMT ZDI Plus is 5 Speed outfitted, with Automatic transmission, Ventilated Disk brakes at the front and Drum brakes at the back alongside MacPherson Strut front suspension and Torsion Beam raise suspension, making it a somewhat safe drive.
In the event that these are the components and specs of Maruti Swift Dzire that worries you more, it offers Multi Function Steering System, PowerWindowsFront, Automatic Climate Control, Vanity Mirror, Front Cup Holders and Power Steering.
To discuss the general particulars of Maruti Swift Dzire, The insides of this drive include Airconditioner, Heater, AdjustableSteering, Digital Odometer and Outside Temperature Display. To give your Automatic those pined for hot looks, there are choices of ABS, Driver Airbag, Passanger Airbag, Adjustable Seats, Central Locking and Anti Theft Alarm. The measurements of Maruti Swift Dzire emerge as 3995mm extensive, 1515mm high, 1735mm wide , which has a limit of seating an aggregate of 5, boot limit being 378-liters and can convey 37 liters of fuel in a go.


Valentine's Day is just around the corner - do you have something special planned for your special someone? Between the February weather and packed restaurants, Valentine's day can be a lot to deal with, but it doesn't have to be! Forget the reservations and treat your sweetheart to a romantic night in. Because we know you lead a busy life, we made sure that this menu is as simple as it is impressive.
We're lucky enough to have a culinary school grad, Ana, on our Wine Concierge team, so last week she and I sat down to put together a simple and romantic three-course meal and paired each course with two different Firstleaf wines.
1/4 teaspoon fine sea salt, or to taste.
3 to 4 tablespoons extra-virgin olive oil.
Add 3 tablespoons of the oil in a slow stream, whisking until the dressing is well blended.
Season with fine sea salt and freshly ground black pepper.
Slice off the peel and pith from oranges and slice into rounds.
Arrange on a platter or on individual serving plates and sprinkle with mint leaves.
Toss arugula with dressing and season with salt and pepper. Add on top of oranges.
Garnish with cheese and slivered almonds and serve!
Great wines tell a story. From the moment you lay eyes on the bottle to the very last drop there's narrative. The Threaded Tale Viognier Blend is like a great book that unfolds as you enjoy it. The different grapes in this Viognier blend all play different parts: Viognier is the protagonist, Vermentino is the best friend, Albariño is the love interest, and Verdelho and Chardonnay are secondary characters. With all of them together the plot unfolds with notes of peaches, citrus, and flowers. Crisp acidity and minerality are the subtext, which turns this novel into a choose your own adventure when paired with different foods.
The island of Sicily lies in the Mediterranean Sea, off the boot tip of southern Italy. It's a sun-drenched island with rolling hills of citrus groves and ancient towns. Winemaking has happened there for thousands of years and has been a staple of their agricultural production alongside olives, salt, and fruit. So, needless to say: they've got history, and they know a thing or two about making great wine. The Tifosi Vino Blanco is a crisp and pure Sicilian wine with bright, fresh flavors of spicy cardamom, tangerine, green pear, and minerality. We think that this is perfectly paired with fresh seafood, just like it is in the old country.
Season ribs with salt and pepper on both sides. In a large skillet or dutch oven, heat oil over medium heat. In batches, brown ribs on all sides; transfer to a 4- or 5-qt. slow cooker. Add carrots, broth, thyme and bay leaf to ribs.
Add onions to the same skillet; cook and stir over medium heat 8-9 minutes or until tender. Add garlic and tomato paste; cook and stir 1 minute longer. Stir in wine. Bring to a boil; cook 8-10 minutes or until liquid is reduced by half.
Add to slow cooker and cook, covered, on low 6-8 hours or until meat is tender.
Remove ribs and vegetables; keep warm. Transfer cooking juices to a small saucepan; skim fat. Discard thyme and bay leaf. Bring juices to a boil.
In a small bowl, mix cornstarch and water until smooth; stir into cooking juices.
Return to a boil; cook and stir 1-2 minutes or until thickened. Season with additional salt and pepper to taste. Serve with ribs and vegetables.
The wine experts at Firstleaf have a longstanding love affair with Spanish wine. It's complex, flavorful, and pairs with all kinds of different foods. The newest wine from Paso Del Tiempo was an immediate hit with our team. They raved about the fruit flavors of blackberry, Boysenberry, and cassis, while noting that it's not just the fruit that makes this wine great. It also has beautiful secondary notes that make it something more. The fine-grained tannins, notes of tobacco, and light oak give the Paso Del Tiempo Cabernet Sauvignon a savory, restrained finish that allows it to pair with delicate dishes. We can't wait for you to try it. The judges love it too! It took home 92 points and a Gold medal at the 2018 Sommelier Challenge.
Drinking a complex wine can be a heady experience. With the fruit forward flavors mellowing into the background, you can discover tastes that aren't often associated with wine. The new Malbec from Cien Por Ciento starts with a deep color and rich texture. The notes of plum, blackberry, and black cherry dance on the tongue, but are followed by notes that make this wine a true delight to drink. We get rich notes of pepper, dark chocolate, and hints of savory, roast game. There's something earthy and wild about the flavors, but the part that holds it all together is an intense graphite minerality that plays off the firm structure. It makes the wine a blend of unique flavors that are a delight to sip. Judges love it too and sent it home from the 2019 Texas International Wine Competition and the 2019 Winemaker Challenge with a Silver medal!
In a small saucepan, sprinkle gelatin over water and let stand about 1 minute to soften. Heat gelatin mixture briefly over low heat until gelatin is dissolved and remove the pan from heat.
Split the vanilla bean lengthwise with a paring knife.
In a large saucepan bring cream, half and half, split vanilla bean and sugar to a simmer while stirring. Remove pan from heat and stir in gelatin mixture. Remove vanilla bean and divide cream mixture evenly among six 1/2-cup ramekins (or wine glasses) and cool to room temperature.
Chill ramekins, covered with plastic film, at least 4 hours or overnight.
The first release from Linguist Estates was a Firstleaf and wine critic favorite garnering praise from members and wine judges alike. We are happy to announce the return of the Gold medal winning Linguist Estates with this elegant, Provencal-style rosé. This wine is pure and refreshing, with light notes of plum, strawberry, and pomegranate that are bolstered by a bright acidity and dry mouthfeel. It was made intentionally to be paired with food. This is the kind of wine that is at home at almost any table, especially if there is a festive occasion. We think it will go easily with classic roasted poultry or salmon, but the lively acidity means that it can pair well with dishes rich in umami like tomato bruschetta. It recently took home a Gold medal at the 2019 San Francisco Chronicle Wine Competition and a Silver at the 2019 Winemaker Challenge.
Torrontés is a white grape that is known in insider wine circles as a hidden gem. This grape produces wines with prodigious aromas. We love the exotic floral notes of hibiscus, orange blossom, and gardenias that play off of the crisp, sweet citrus flavors. The Monjitas Blancas has these flavors as well as a prominent mineral structure that rounds out the wine. These notes meld together in an elegant and dry finish. The wine works as well on its own as it does with a meal. The complexity does lend itself to pairing with difficult dishes, and in particular, we have been enjoying this wine with spicy Asian cuisines. Judges love it too. It took home a Silver medal at the 2019 Texas International Wine Competition.
New to Firstleaf? Click below to order this introductory bundle of 6 wines chosen to perfectly pair with each recipe! This 6 bottle bundle is only $40 (+free shipping), so order today and give your Valentine a romantic night in for two.
Already a Firstleaf member? You can still get these wines HERE at member's pricing with free shipping.


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Cormac Ryan Jordan Griffin Jaiden Delaire Kezie Okpala Deishuan Booker Bryan Alberts Daejon Davis Josh Sharma Sports Men's college basketball College basketball basketball College sports Men's basketball Men's sports
Long Beach State Big West Stanford Pac-12
Sharma's double-double helps Stanford beat Long Beach St.
By RICK EYMER - Jan. 03, 2019 03:50 PM EST
STANFORD, Calif. (AP) — Josh Sharma found himself out of the starting lineup Saturday following a discussion with Stanford coach Jerod Haase.
"He challenged me to play with more passion and energy," said Sharma, who took it to heart.
Stanford's only senior recorded his first double-double with career highs of 23 points and 18 rebounds and the Cardinal beat Long Beach State 93-86 on Saturday night.
Sharma, whose previous career bests were 15 points and nine rebounds, was 10-of-15 shooting.
"I was mad at him," Haase said. "I wanted him to play with more consistency and be a leader. He responded when I've been all over him."
Daejon Davis had 17 points, on 8-of-9 shooting, and five assists for Stanford (7-5), which has won five of seven. Davis left the game with an apparent left leg injury with 6:40 remaining. Haase said he doesn't know the extent of the injury.
"Daejon is a huge part of this team but there are guys willing to step into his role," Sharma said. "We got together and got past that."
Bryan Alberts scored 22 points to lead the 49ers (5-10). Deishuan Booker added 20 and Temidayo Yussef 13.
"That's our fifth Pac-12 game and in four of them we were in a one-possession game and lost all four," 49ers coach Dan Monson said. "You play these games to win, and I think we're good enough, but we're not consistent enough. That's what we take away from this one."
KZ Okpala had 20 points for the Cardinal and Jaiden Delaire scored 10.
Jordan Griffin hit a 3-pointer in the final minute to bring the 49ers within two points but the Okpala had six points in the final 34 seconds as Stanford closed on a 7-2 run.
Alberts hit a 3-pointer and Yussef made a jumper Long Beach State a 45-43 edge but Stanford responded with a 13-1 run to make it 56-46 with just less than 14 minutes remaining and the Cardinal led the rest of the way.
Long Beach State, which beat Stanford for the first time last season, is 0-8 on the road. ... The 49ers, who have defeated a Pac-12 team in each of the past two seasons, went 0-5 against the conference this season. ... Oakland-native Temidayo Yussef reached double figures for the 10th time in 11 games.
Stanford sophomore Oscar da Silva averaged 6.3 points over his first six games. Since then he's averaged over 13 points a game. ... Freshman Cormac Ryan missed his third game with an injury. ... Davis has reached double figures in scoring in his past five games since a six-game stretch of nine points or fewer.
Long Beach State hosts Bethesda in a nonconference game next Saturday.
Stanford travels to UCLA to open Pac-12 Conference play on Thursday.


Maize KM, Shah R, Strom A, Kumarapperuma SC, Zhou A, Wagner CR, Finzel BC. A Crystal Structure Based Guide to the Design of Human Histidine Triad Nucleotide Binding Protein 1 (hHint1) Activated ProTides Mol Pharm 2017 Nov;14(11):3987-3997.
Shah R, Petersburg J, Gangar AC, Fegan A, Wagner CR, Kumarapperuma SC. In Vivo Evaluation of Site-Specifically PEGylated Chemically Self-Assembled Protein Nanostructures Mol Pharm 2016 Jul;13(7):2193-2203.
Rashidian M, Kumarapperuma SC, Gabrielse K, Fegan A, Wagner CR, Distefano MD. Simultaneous dual protein labeling using a triorthogonal reagent J Am Chem Soc 2013 Nov;135(44):16388-16396.
Gangar A, Fegan A, Kumarapperuma SC, Huynh P, Benyumov A, Wagner CR. Targeted delivery of antisense oligonucleotides by chemically self-assembled nanostructures Mol Pharm 2013 Sep;10(9):3514-3518.
Fegan A, Kumarapperuma SC, Wagner CR. Chemically self-assembled antibody nanostructures as potential drug carriers Mol Pharm 2012 Nov;9(11):3218-3227.
Gangar A, Fegan A, Kumarapperuma SC, Wagner CR. Programmable self-assembly of antibody-oligonucleotide conjugates as small molecule and protein carriers J Am Chem Soc 2012 Feb;:2895-2897.
McDowell M, Gonzales SR, Kumarapperuma SC, Jeselnik M, Arterburn JB, Hanley KA. A novel nucleoside analog, 1-beta-d-ribofuranosyl-3-ethynyl-[1,2,4]triazole (ETAR), exhibits efficacy against a broad range of flaviviruses in vitro Antiviral Res 2010 Jul;87(1):78-80.
Chung DH, Kumarapperuma SC, Sun Y, Li Q, Chu YK, Arterburn JB, Parker WB, Smith J, Spik K, Ramanathan HN, Schmaljohn CS, Jonsson CB. Synthesis of 1-beta-D-ribofuranosyl-3-ethynyl-[1,2,4]triazole and its in vitro and in vivo efficacy against Hantavirus Antiviral Res 2008 Jul;79(1):19-27.
Kumarapperuma SC, Sun Y, Jeselnik M, Chung K, Parker WB, Jonsson CB, Arterburn JB. Structural effects on the phosphorylation of 3-substituted 1-beta-D-ribofuranosyl-1,2,4-triazoles by human adenosine kinase Bioorg Med Chem Lett 2007 Jun;17(11):3203-3207.


text:
MEET ME IN MONTENEGRO
Meet Me in Montenegro tells the story of two ex-lovers who are both down on their luck. By chance the two reunite in Berlin and lean on each other for support as their careers weather many ups and downs. A love story cleverly told, by filmmakers Linnea Saasen and Alex Holdridge, one of forgotten romance found again. (JEP: 3.5/5)
Written by Contributing Editor Jessica E. Perry
Loosely based on writer/director pair Linnea Saasen and Alex Holdridge's lives, Meet Me in Montenegro tells the story of two ex-lovers who find each other again after years apart. The two wrote, directed, and starred in the film, cleverly bringing their own experiences to the screen.
Meet Me in Montenegro opens in flashback. With "Anderson" (Alex Holdridge) telling us how Montenegro was magic, until the girl he loved—the girl who made him feel alive—left without a word, leaving him alone in a beautiful seaside town.
As an American screenwriter, Anderson has been down on his luck. A script he's been working on for years gets one last chance when an actor in Berlin agrees to a meeting. However, Anderson all but refuses to take the meeting because the girl who broke his heart lives in the very same city. But he's broke and out of options, so reluctantly, Anderson jets off to Berlin.
While in Germany, Anderson is staying with an old buddy "Stephen" (Rupert Friend) and his girlfriend "Friederike" (Jennifer Ulrich). The couple is interested in exploring new things sexually with other partners. This B storyline runs throughout Meet Me in Montenegro offering the viewer a glimpse into another broken love story.
Stephen tells Anderson that the girl who broke his heart still lives in town. And while Anderson may have told himself that he moved on, the opposite proves true when he finds himself seeing a film at the theater she always went to on Friday nights. Amazingly (and a bit predictably) she—"Lina" (Linnea Saasen)—happens to be there. The two lock eyes, and so it begins…again.
Lina is an optimist, Anderson a realist, but life has got them both at a crossroads. Lina is a dancer and has been offered an arts residency in another country. Anderson's script has been green lit by the studio, and his career is in LA.
So the two plan to spend their last days in Berlin together and then part once again. But as both of their careers are thrown into upheaval by forces out of their control, Lina and Anderson find themselves at a crossroads of choosing between love and their careers.
Alex Holdridge fumbled in a few areas of his performance as Anderson, but never enough to take me out of the film. Linnea Saasen's performance, on the other hand, was engaging and compelling, giving the film its light.
Meet Me in Montenegro was a story seen before, but told from a different perspective. Was it superb? Maybe not. But do you want to stay with Lina and Anderson in their love story until the very end? Definitely.
© Jessica E. Perry FF2 Media (7/17/15)
Top Photo: Lina and Anderson contemplating returning to Montenegro.
Bottom Photo: Love rekindling
Photo Credits: ???
Q: Does Meet Me in Montenegro pass the Bechdel Test?
Tags: Alex Holdridge, Berlin, FF2 Media, Jessica E. Perry, Linnea Saasen, love story, Montenegro, screenwriter
Jan Lisa Huttner 14 years ago
Film Review: LOVELY & AMAZING
Brigid K. Presecky 3 years ago
Like the film's heroine, 'Love, Gilda' leaves lasting impact


Considered by clients and peers as a commanding presence in architectural design and one whose artistry redefines the term 'visionary", Pamela Babey speaks softly, but carries a big and impressive body of work. With parental direction that led her to appreciate beauty in its every form, and a work history guided by architectural and design maestros who encouraged and allowed her talent to blossom, this lover of light, color, Fortuny fabric and all things Venetian, not to mention, tasteful and sentimental bric-a-brac, has established a reputation that attracts aficionados of great taste and awe-inspiring design, be they individual or corporate.
I decided I had to get into interiors, so I went to work for James Stewart Polshek & Partners, also in New York. That experience was interesting because the Polshek style was eclectic– very different than the disciplined SOM style. Then I returned to SOM, this time working for Charlie Pfister in the San Francisco office. That's when I was introduced to hotel design, working on the Kapalua project in Maui, and a Sun Valley hotel. I followed that up with a return stint in NYC, and a brief stint in Paris where I helped design Simon & Schuster's new headquarters. Upon return to San Francisco, I joined KMD Architects, designing hospitals, jails and a law firm office. I had one more return to SOM in New York as an Associate in their interior design group, working on major corporate headquarters for Irving Trust and Georgia Pacific. Charlie Pfister left SOM and asked me to join him at his new firm in San Francisco, which I happily did, and that's where I stayed for nine years until he passed away.
d for many years. There were only the four of us at the beginning and it was only when we were able to start hiring that I knew that we would make it. Today, we're a staff of45, including 13 architects and a team of designers and support staff. We don't do architecture from the ground up. We design inside of the box–walls, doors, finishes and lighting, then furniture.
We picked up the Four Seasons in Bora Bora, partly as a result of the Milan experience. We won the Villa Feltrinelli in Italy because the client had worked with us on the Four Seasons Milan. We were selected for a prestigious residential compound in Beijing, because of a referral from a client in Hong Kong. We've completed three homes on the Peak in Hong Kong all for the same client who also had us decorate his 55 meter luxury super yacht and private jet. And we had Abu Dhabi royalty call us to design a villa based on work they had seen on the internet.
SOM taught me about looking at the shapes of spaces and organizing them-adjacencies, how they work, how they function, how you move in and out of a building. I realized what can be special when designing a hotel is that you are designing everything-there's a consistent thread to the design of the entire project. At SOM we did the graphics; we designed and printed the fabrics; we made the furniture with John & Elinor McGuire. It's what European architects do, they design the buildings, the interiors, everything. That was the ideal.
The success of our hotel work, maybe because we're all residentially-sensitive–brings the feeling of a home into the hotel design. Our hotel work has made us think about important design issues such as, "How do you turn the lights off when you get in bed? Where do you put your bathrobe when you take a shower? How do you light your shower? How do you light your face for makeup? And how do you make someone look good in a living room?" You're accentuating things, creating contrast and a space that's lively. That's what people enjoy.
Charlie Pfister was a remarkable mentor because he taught me how to be simple about interiors, and he definitely taught me how to enjoy things. Have a nice glass of champagne, relax. Tony Duquette, the LA Designer, was another major influence in my life. If you see his work, it's "full speed ahead"! If you're going to put one pair of antlers on the wall and paint them green, you might as well put two dozen. He used colors that were almost hysterical, and most of his interiors were very open-space, with lots of windows.
Once a client showed me an auction catalogue and he said, "I'm thinking of buying these." They were pearls of a color I had never seen before. I said, "Oh, that's the color for the plaster I want for the yacht's staircase." The entire stairway became this plaster spiral; we shaded the color from bottom to top. It's darker down at the bottom with cool guest cabins. Then as you go up to the top deck — the outdoors — it becomes very pale. It's the opposite of what most people would do. They'd want to bring light down to the bottom. But I thought, "you're down by the water level", and because the rooms are upholstered, it's mysterious and quiet.
I fell in love with Fortuny because of its understated elegance. It's chicly casual. It's a special cotton, painted in many layers. And because of its fresh colors, it's a perfect for California–casually elegant and perfectly practical. It's expensive, but I wouldn't make a client buy anything I wouldn't buy. That's why my bedroom is upholstered in Fortuny. When I get up and the sun is coming up, my room has a glow that's reminiscent of Venetian sunlight.
International travel is an imperative. It opens your eyes to different ways of life, different experiences and different aesthetics. For example, there is a different way of designing a restaurant in Paris. The chairs are lower, the table is lower and smaller. As a result, it makes the room taller. It makes the diner feel important when they're eating. You bring that kind of sensitivity back with you.
I love Venice. You have to walk most of the time and there are always new places to explore and new corners to find. It makes my heart sing. One night I was there in the winter. It was cold and crisp, and as I was walking across the Accademia Bridge, along comes a barge with a piano player and an opera singer. That's what Venice is really all about—not the tourism and the gondola singing. You go down the canal in the evening and you can look in all the windows. Just like San Francisco, people don't close their drapery.


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Zimunya (alternatively also referred to as Zimunya Tribal Trust Land or Zimunya Reserve or Zimunya communal lands), also referred to by the Jindwi people of Zimunya as "Jindwi" (also referenced in other texts as "Jindui" or "Jindwe"), is a Paramount Chiefdom in Manicaland Province, Zimbabwe under Chief Zimunya.

Geographical location
Zimunya stretches southward from the present day City of Mutare, past the Bvumba mountain range, through Burma Valley, Chitakatira, Dowa, Chitaka, Chitakatira, Rowa, Chinyauhwera, Munyarari, Mambwere, Mpudzi, Chimhenga, Chipendeke, Bwizi, Chitora, Gutaurare, Muromo, Masasi, Mukwada, Kusena, Chakohwa, Chiswingi, Chiadzwa, Mufusire heading southward to Wengezi, reaching towards Birchenough Bridge, sharing the border with Mocambique in the East, waBocha People under Chief Marange, waUngwe People under Chief Makoni, as well as the waHera in the west, the Ndau People to the south, with the Manyika People under Chief Mutasa to the north of Mutare. (Zimunya's pre-colonial eastern boundaries stretched into modern day Mocambique).

Approximately 15 km south of Mutare lies Zimunya Town within the Zimunya communal lands. This community is surrounded by the Bvumba Mountain range (Bvumba Mountains) and Fern Valley communities.

Population
The indigenous population continues to live on farms and communal land along the length and breath of the Chiefdom, characterised by well watered mountain ranges, valleys, rivers, dams and forests, rich in flora growing in the richest soils in the region.

Languages
The language spoken by the aJindwi is called chiJindwi (also referred to as CiJindwi in certain texts). chiJindwi continues to be spoken today, despite ill-conceived attempts by the then colonial regime (through Missionaries) to replace it with the language of chiManyika as well as to re-identify the indigenous people with a new identity the oppressors originated, crafted and called "Shona", as quoted by B.H. Barnes in the book 'The progress of the new Shona orthography', Native Affairs Department Annual, No. 12 (1934), referenced in "The Creation of Tribalism in Southern Africa".

In 1934 the Anglican missionary B. H. Barnes illustrated the situation with reference to language and ethnicity by taking the examples of the peoples of Chief Makoni of the Ungwe and Chief Zimunya of Jindwe:

"In our Mashonaland there is no single race and language which is definitely representative of the whole area. There are, instead, a large number of small tribes or clans, and almost as many divergent dialects. Any individual will declare himself to be of this or that clan and a speaker of this or that dialect. None calls himself Mashona and there is at present none who will say that his speech is Shona. You will find that he speaks CiUngwe or CiJindwi and belongs to the Ungwe or the WaJindwi. Either of these may claim to be Manyika and to speak CiManyika, but they know nothing of a Shona race or a Shona language. . . . In the various districts you will find that the lesser divisions are already able to recognize themselves as included under one or other of four or five principal groups, such as Karanga, Zezuru, Manyika, Ndau, Korekore. The process of unification has, in fact begun . . . [uniting] neighbouring sub-dialects under the main dialects."

As a result, chiJindwi is often incorrectly referred to as chiManyika or classified as a dialect of chiManyika, and yet chiJindwi has a unique origin, tradition and culture linked to its people.

References

Further reading

 Shorn folklore: The Soko people of Zimbabwe, HODZA, Aaron C., HODZA, Folklore in Africa Today/Folklore en Afrique d' aujourd' hui, Proceed ings of the Workshop/Actes du Colloque, Budapest, 1–4. XI. 1982., Budapest, African Research Project (Department of Folklore - ELTE), 1984: 417-429
 The Soko People
 Chinamora clan history

Manicaland Province

redpajama_set_name: RedPajamaWikipedia


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Chicheley Hall
Photo Credit: Kaz Cooper
Buckinghamshire, United Kingdom | C.1725
With its regal façade and lush grounds, Chicheley Hall imparts an air of classic English high society. While the Baroque-style estate has been passed down through generations of nobility, its history reveals a much more telling tale of wayward heirs and war torn land.
Originally the site of a 16th-century estate, the Hall began as a manor house and was inherited by Sir William Chester, a leading merchant during his time. Sir William left the Hall to his son Anthony, the High Sheriff of Buckinghamshire and the family's first baroneta. It went on to be passed down through the Chesters for the next 400 years.
During the English Civil War, Parliamentary forces destroyed the estate. Following its demolishment, a new manor, the present-day Chicheley Hall, was built and completed in 1725. Featuring rare Baroque architecture and a lavish interior of marble pillars, oak staircases, and a hidden library, the Hall was highly regarded as an example of English luxury.
Then owned by Sir John Chester, the Hall was left to Charles Bagot Chester, a known drunkard and gambler. Charles Bagot wound up jumping out of the Hall's second floor window during a drunken spree. Before his death, Charles left his estate to distant relative, also named Charles Bagot, under the condition he adopt the name Chester.
During World war II, the Hall was used as a training facility, and was eventually sold to David Beatty, 2nd Earl. Chicheley served as an event space for years until 2020 when Hall representatives released a statement that the venue would be closed permanently due to COVID-19. The Hall officially shuttered its doors on March 23.
Brown Classic Facades
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Funen, Denmark
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Harvey C. Chidoba Banda
Harvey C. Chidoba Banda was born in August 1975 in Mzimba district in northern Malawi. He attended primary schools in Mzimba, Nkhata-Bay and Rumphi districts before being selected to Livingstonia Secondary School in 1991. Between 1996 and 2000 he obtained a Bachelor of Education (Humanities) from Chancellor College, a constituent college of the University of Malawi. In 2008 he obtained a Master of Arts (African Social History) from the same institution. After working briefly at Kasungu Secondary School and Domasi College of Education, he joined Mzuzu University in 2006 as a Lecturer in African History in the Department of History, where he served as Head of Department between 2009 and 2013. Harvey is married to Jennifer Luhanga and they have one child, Owen.
Migration from Malawi to South Africa
by Harvey C. Chidoba Banda
Perspectives of Labour Migration from Mzimba District, Malawi, to South Africa
Vidokoni: Folktales from Mzimba, Malawi


Terrell County is a county located in the southwestern portion of the U.S. state of Georgia. As of the 2010 census, the population was 9,315. The county seat is Dawson.
Terrell County is included in the Albany, GA Metropolitan Statistical Area.
Formed from portions of Randolph and Lee counties on February 16, 1856, by an act of the Georgia General Assembly, Terrell County is named for Dr. William Terrell (1778–1855) of Sparta, Georgia, who served in the Georgia General Assembly and the United States House of Representatives.
During the American Civil War, after Atlanta's capture by Union forces, a refugee settlement was established in Terrell County for civilians forced to flee the city. The Fosterville settlement, named after Georgia Quartermaster General Ira Roe Foster, was according to author Mary Elizabeth Massey in her 2001 history, the "most ambitious refugee project approved by the Georgia General Assembly" [during that period]. On March 11, 1865, the Georgia General Assembly authorized General Foster to "continue to provide for maintenance of said exiles, or such of them as are unable by their labor to support themselves, or their families for the balance of the present year."
According to the U.S. Census Bureau, the county has a total area of 338 square miles (880 km2), of which 335 square miles (870 km2) is land and 2.3 square miles (6.0 km2) (0.7%) is water.
The western and southern two-thirds of Terrell County is located in the Ichawaynochaway Creek sub-basin of the ACF River Basin (Apalachicola-Chattahoochee-Flint River Basin). The county's northeastern third is located in the Kinchafoonee-Muckalee sub-basin of the same larger ACF River Basin.
As of the 2010 United States Census, there were 9,315 people, 3,519 households, and 2,450 families residing in the county. The population density was 27.8 inhabitants per square mile (10.7/km2). There were 4,080 housing units at an average density of 12.2 per square mile (4.7/km2). The racial makeup of the county was 61.2% black or African American, 36.6% white, 0.3% Asian, 0.2% American Indian, 0.8% from other races, and 0.9% from two or more races. Those of Hispanic or Latino origin made up 1.7% of the population. In terms of ancestry, 8.7% were American, 5.7% were English, and 5.0% were Irish.
Of the 3,519 households, 33.7% had children under the age of 18 living with them, 40.2% were married couples living together, 24.4% had a female householder with no husband present, 30.4% were non-families, and 26.7% of all households were made up of individuals. The average household size was 2.57 and the average family size was 3.11. The median age was 39.6 years.
The median income for a household in the county was $27,909 and the median income for a family was $35,663. Males had a median income of $36,641 versus $25,461 for females. The per capita income for the county was $15,553. About 28.2% of families and 31.0% of the population were below the poverty line, including 44.4% of those under age 18 and 24.6% of those age 65 or over.
As of the census of 2000, there were 10,970 people, 4,002 households, and 2,913 families residing in the county. The population density was 33 people per square mile (13/km²). There were 4,460 housing units at an average density of 13 per square mile (5/km²). The racial makeup of the county was 60.69% Black or African American, 37.95% White, 0.20% Native American, 0.35% Asian, 0.03% Pacific Islander, 0.09% from other races, and 0.69% from two or more races. 1.24% of the population were Hispanic or Latino of any race.
There were 4,002 households out of which 33.30% had children under the age of 18 living with them, 44.10% were married couples living together, 24.00% had a female householder with no husband present, and 27.20% were non-families. 24.30% of all households were made up of individuals and 10.20% had someone living alone who was 65 years of age or older. The average household size was 2.69 and the average family size was 3.18.
In the county, the population was spread out with 28.40% under the age of 18, 9.50% from 18 to 24, 26.00% from 25 to 44, 23.20% from 45 to 64, and 13.00% who were 65 years of age or older. The median age was 35 years. For every 100 females, there were 88.30 males. For every 100 females age 18 and over, there were 82.60 males.
The median income for a household in the county was $26,969, and the median income for a family was $31,693. Males had a median income of $27,320 versus $19,895 for females. The per capita income for the county was $13,894. About 22.70% of families and 28.60% of the population were below the poverty line, including 40.50% of those under age 18 and 22.00% of those age 65 or over.
Benjamin J. Davis, Jr., Harvard Law School graduate and elected to New York City Council. Defended Angelo Herndon in Georgia against insurrection charges for organizing a union, resulting in a US Supreme Court case that ruled against Georgia's insurrection law as unconstitutional.
Walter Washington, activist and politician, elected as the first black mayor of Washington, D.C. after Congress granted home rule to the city.
Otis Redding, rhythm and blues singer; one of the first crossover artists appealing to both young blacks and whites in the post-World War II era.
^ Lisa Tendrich Frank (2008). Women in the American Civil War. ABC-CLIO. p. 113. ISBN 978-1-85109-600-8.
^ a b Mary Elizabeth Massey (2001). Refugee Life in the Confederacy. Louisiana State University Press. p. 246. ISBN 978-0-8071-2688-2.
^ "Welcome to the Civil Rights Digital Library". crdl.usg.edu. Retrieved 2018-03-22.


At Cavedine, in the Valle dei Laghi in the Northern Italian region of Trentino, there is a place where extraordinary things are made. The fruit of an ingenious mind and many knowledgeable artisans' hands. A genuine distillation of Made in Italy from wood, technology, and vision.
Inspiration comes from nature and from the passion for mechanics. By combining these two elements, objects beyond the ordinary are born. Windows that are the expression of the perfect fusion between aesthetics and engineering, continuous façades in wood and glass, finishes designed to respond to the demands of ultramodern architecture.
The Essepi XXL is a wood-based structural panel obtained from thin layers that are crisscrossed and glued (X-Lam), starting from EN 14081 tables classified according to mechanical resistances. Essepi XXL uses exclusively wood that originates from forests provided with a certification of sustainable management (PEFC, FSC) with a preference for local sources of supply, that is, from the forests of Trentino-Alto Adige.
Every project, thought through and looked after down to the finest detail, has a story to tell. Its own. Because it is the fruit of an original idea. Visionary. Because it was born of the profound need to achieve perfection.
Futuristic tools stand side by side with artisanal craftsmanship. The machines at Essepi engrave, model, customize, and assemble. Their power lies in their uniqueness. Fruit of the inspiration of their inventor, they have no equal. They were created to respond to the challenges of innovation so that out of the worthwhile interweaving of mechanics and handicraft are born exclusive lines and works.
A window is more than a simple accessory. It is the harmonious completion of your own lifestyle, of your own way to exist.
Realizing something simple can turn out to be very complex. Simplicity is composed of ingenious intuition. When looking at a window, we have to perceive the essentiality in it. Frame, structure, engineering have to insert themselves into the vision of the whole.


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My Ancestors Who Immigrated To North America September 5, 2017
Filed under: Ancestors,Early Immigrants,Genealogy — Janet @ 2:54 am
What follows is a working draft of what I found so far in my genealogy research.
Immigrants to America
Ordered by Year
Standish, Myles arrived in Plymouth in 1620 on the Mayflower 8th Great Grandfather I am descended from Myles through Gilman Bryant on my father's side
Allerton, Remember arrived in Plymouth on the Mayflower in 1620 with her parents Isaac Allerton and Mary Norris Remember was 5 years old Remember was my 9th Great Grandmother
Mullins, William and Alice Came on the Mayflower both died in 1621
Palmer, William he arrived in Duxbury in 1621 he came on the Fortune
Standish, Barbara wife of Myles arrived in 1623 and married Myles shortly afterward in 1624 She was his 2nd wife and the mother of Josiah, my 7th Great Grandfather his first wife Rose died in 1621 in the first sickness at Plymouth
Annable, Anthony came in July 1623 with his wife Jane Mumford they sailed on the ship "Anne & Little James"
Palmer, Anne wife of William Palmer Came on the "Anne" in 1623
Sutcliffe arrived 1623
Lyford, Ruth – arrived in Plymouth in 1624
Cummings, Isaac 8th GGF came to Salem in 1627 born in Scotland
Archer, Samuel arrived in Salem in 1630 he was part of the Winthrop Fleet he was a carpenter he married in 1634
Vore, Mary came to America with her parents Richard Vore and Ann Harris in 1630 wen she was 13 They were from Somerset she eventually married Alexander Alford
Bissell/Buswell, Capt John and his wife Mary Drake arrived in Nantasket in 1630
Brackett, Capt Richard – came in 1630 with his older brother Peter Richard went back to England briefly in 1633 to marry Alice Blower
Bradstreet, Simon – arrived in Boston in 1630 He was part of the Winthrop Fleet His wife Ann Dudley accompanied him
Dutch, Osman – arrived Rhode Island in 1630 settled in Gloucester sent for his wife Grace Pratt in 1639
Fletcher, Deacon John – arrived in 1630 in Concord
with his wife Sarah Hartwell Sarah was from Chelmsford England was her husband John or Robert??
Ingersoll, Sarah arrived as an infant age 3
Keyes, Robert – with his wife Sarah arrived in 1630
Mousall, Alice Thompson arrived Charlestown 1630 born in Norwich
Philbrick, Thomas – arrived in 1630 with the Winthrop Fleet
Wigeon, Capt Thomas – arrived in 1630 with the Winthrop Fleet
Bryant, Stephen – arrived in 1632 from Kent in Essex
Merrill, Isaac and his wife Clemmet came to Massachusetts Bay in 1632 on the "Lyon" they settled in Roxbury
Palphry, Jane – arrived in Boston in 1632
Sargent, William – 8th GGF Bristol to Ipswich he arrived in 1632
Blower, Alice came in 1633 with her husband Capt Richard Brackett
Clapp, Thomas – arrived in 1633
Duncan, Nathaniel – my 9th GGF he came from Exeter Devonshire to Dorchester Massachusetts in 1633 his wife Elizabeth Jourdaine accompanied him
Hart, Deacon Stephen and his wife Mary Elizabeth Symonds came to Massachusetts Bay in 1633 they settled first in Cambridge, went to Hartford in 1636
Andrew, Capt Robert my 9th GGF came from Suffolk to Ipswich in 1634 he was an innkeeper
Newall, Abraham Jr – he arrived in 1634 from Ipswich England he colonized Roxbury
Pierce, Persis – England to Charlestown arrived in 1634
Smith, Samuel arrived in Boston/Watertown in 1634 he was from Suffolk his wife Elizabeth Barbara Mumforde accompanied him
Adams, Robert Sr was my 9th GGF he arrived in Ipswich in 1635 with his wife and son Robert and other family members
Adams, Robert Jr my 8th GGF arrived in Ipswich in 1635 with his wife Eleanor Wilmot and their 2 eldest children
Bates, James Jr – The Bates family came to America in April 1635 on the Winthrop Society ship "Elizabeth" the family included…………………
Bird, Dorothy – she arrived in 1635 she first went to Newton and later to Hartford
Black, Mary and her husband John G. King Jr came from Dorchester England to Weymouth Massachusetts in 1635
Blower, Thomas – came from Sudbury to Stanstead to Boston in 1635 with his wife Alice Frost they sailed on the ship "True Love"
Brigham, Ann – came in 1635 as the new wife of Simon Crosby Sr they sailed on the "Susan and Ellen"
Cooper, John and his wife Wilbroe came to America on the Hopewell in 1635
Denne, John and his daughter Elizabeth came from Boxted Essex to Ipswich Massachusetts in 1635 they sailed on the "Increase"
Eaton, Abigail Gilson Married John Eaton in 1630 arrived in Boston in 1635
Farnham, Mary – arrived in Boston in 1635 age
French, Capt. William – came at age 32 with his wife and 4 children on the Defence in 1635 They arrived in Boston and later moved to Billerica
Griggs, George and his wife Alice and their family of 5 children – came to Boston on the "Hopewell" in 1635 from Buckinghamshire
Gross, Isaac – with his wife Ann Lobley arrived in Boston in 1635
Hollister, Lieut John – arrived in 1635 settler of Wethersfield Connecticut
Jocelyne, Rebecca – arrived 1635 in Boston other members of the family with her??
Kingsley, John with his wife Mary Bucks arrived Cambridge in 1635 from Dorchester England they subsequently went on to Weymouth Massachusetts
Kingsley, Stephen – arrived in Dorchester in 1635
Mallory, Peter arrived in Massachusetts in 1635
Marlowe, Rebecca – wife of Thomas Jocelyn with family arrived in Boston in 1635 on the "Increase"
Pierson, Wilmoe Griggs with her husband John Cooper and 5 children arrived in 1635 check this – something is off
Preston, Roger Sr – arrived in Boston in 1635
Starr, Comfort (Dr) – arrived in 1635 to Cambridge on the "Hercules of Sandwich"
Toothaker,Margaret – arrived in Boston in 1635
Tuttle, William = 9th GGF came from Northampton England to Boston in 1635 on the "Planter" with his wife Elizabeth and 3 children
Warner, Daniel – sailed on the "Increase" in 1635 with his parents
Wheatley, Rachel –Rachel came in 1635 on the "Planter" with her 2nd husband Martin Sanders and 2 of her Brackett children by her 1st marriage
Wilson, Mary – 8th Great Grandmother England to Virginia in 1635
Boyse, Joanne came to America in 1636 with 2 married sisters she married Reverend Peter Prudden in 1637, Thomas Willett in1671, John Bishop in 1674 she died in 1681
Felton (widow) – arrived in Salem in 1636
Marshall, Elizabeth – arrived in Dorchester 1636 she married Thomas Trowbridge
Reese, Margaret – arrived in Salem in 1636 with her husband and brother John
Warner, William – with his wife Abigail Baker and 3 sons he sailed on "The Increase" in 1636 to Ipswich Massachusetts
Alford, Alexander came to America from Somerset in 1637. He was 10 years old He settled in Hartford
Botsford , Henry and his wife Elizabeth Woolhead arrived in 1637 in Boston on the "Hector" (and the "Martin"?) many in the group were the original Planters in Milford Connecticut in 1639
Brockett, John arrived in Boston in 1637
Buckingham, Thomas and his wife Hannah Hawkins – were they part of the group on the "Hector" ? Boston first in 1637 and then eventually Milford Connecticut in 1639
Gedney, John Jr – 9th GGF arrived in Salem from Norwich in 1637 with his wife Sarah and 3 children and 2 servants
Greene, Anne – arrived in Boston in 1637
Hill, Robert – arrived in 1637 on the "Hector" subsequently went on to Connecticut in 1637
Melviile, Lady Janet Melvin arrived in Bosto in 1637
Pruden, Peter arrived in Boston in 1637 he was from Hertfordshire he later went to Milford Connecticut
Ward, Henry – Suffolk England to Hingham in 1637 (some sources say he first landed in Virginia)
Atkins, Alice she arrived in 1638 with her husband John Stevens Sr and their sons William and Jonathan and 2 indentured servants they sailed on the ship "Confidence"
Coy, Richard 8th GGF Came in 1638 aged 13 became a leading man in Brookfield Massachusetts (killed in King Phillip's War)
Crosby, Thomas – parents of Simon Crosby came in 1638 to Cambridge
Hutchins, John – came in 1638 as a servant of the Dummers on the ship "Bevis"
Osgood, John – in April 1638 he and his family sailed on the "Confidence" they landed in Ipswich Massachusetts
Bushnell. Frances 9th GGF Berkshire to New Haven in 1639
Lovell, Percival – at age 68 he arrived 1639 on the ship "Jonathan" with a big family group
Pratt, Grace – wife of Osman Dutch who arrived earlier she came from Bridport in Dorset with their son Robert in 1639
Vanaser, Mary arrived in Massachusetts in 1640 she was the wife of John Plympton
Chapin, Samuel arrived in Braintree in 1641
Edwards, Rhys – arrived in Salem in 1642 from Suffolk England
Lewen, Margaret arrived in 1643 from London
Plimpton, John – arrived 1643 in Dedham Massachusetts
Stetson, Cornet Robert with his wife Honor – arrived in 1643
Hinds, Capt William arrived in Salem in 1644
Tay, William – Netherlands to New York he arrived in 1644
Dutch, Robert – arrived in Ipswich in 1646
Fithian, William 8th GGF arrived in New York in 1650 from Wales
Phillips, Nicholas – arrived in Boston in 1656 One of many trips
Bailey, Reverend Thomas he and his wife Rebecca Friend came to Watertown Mass in November 1687 he joined his brother John
Cox, Mary Arrived in 1701 in Virginia
3 Responses to "My Ancestors Who Immigrated To North America"
explorenewness Says:
Being a family historian myself, I can tell this represents A LOT of time and effort. Nice work, and congrats!
emperorp Says:
Wow! Janet. A fascinating collection of ancestors…and each with a story…exciting to stay with these details
I meant *start


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OpenText Joins Dell EMC Select Partner Program
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WATERLOO, Ontario, Nov. 16, 2017 /PRNewswire/ -- OpenText™ (NASDAQ: OTEX, TSX: OTEX), the global leader in Enterprise Information Management (EIM), today announced that it has signed a definitive reseller agreement with Dell EMC establishing OpenText as a reseller partner within Dell EMC's Select Partner Program. The agreement initially includes OpenText InfoArchive® to help enhance Dell EMC offerings focused on IT transformation. This combination paves the way to help enterprise customers modernize and transform IT infrastructures. InfoArchive will be immediately available through Dell EMC's sales channels.
OpenText InfoArchive and Dell EMC's services and storage solutions enable enterprises to securely manage legacy information from multiple applications and sources, without the requirement to maintain expensive legacy applications.
"A modern digital strategy enables enterprise customers to simplify IT, reduce operational costs, streamline compliance and deliver business insight," said Adam Howatson, CMO, OpenText. "A major roadblock to realizing complete digital transformation of an organization is the enormous volume of data and content contained in legacy systems."
"The agreement between OpenText and Dell EMC is the first stage of a dynamic and growing relationship between the two companies. The combination of OpenText's leading EIM platform, and Dell EMC's leading storage services and solutions, will enable our customers to meet and exceed their digital transformation goals," said Howatson.
"We are excited to partner with OpenText to deliver an archiving platform to support our customers' application transformation requirements," said Mike Arterbury, Vice President, Technology Alliances, Dell EMC. "We look forward to working closely with OpenText to engage in opportunities where we can maximize our collective resources to solve customer problems."
OpenText InfoArchive enables enterprises to target applications suitable for archiving and retirement, and manage all associated structured and unstructured information. InfoArchive can assist enterprises in the requirement to retain legacy and past-era applications, while providing continuous access to valuable data and information, and ensure compliance with governance and retention policies. InfoArchive works with Dell EMC's storage platforms such as Isilon and ECS, and Dell EMC's Application Archiving and Retirement Service, to enhance customer compliance, accessibility and information analytics capabilities.
OpenText, The Information Company™, enables organizations to gain insight through market leading information management solutions, on-premises or in the cloud. For more information about OpenText (NASDAQ: OTEX, TSX: OTEX) visit opentext.com.
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Reply To: Hello everyone!
Home › Forums › Introductions › Hello everyone! › Reply To: Hello everyone!
February 19, 2009 at 7:56 pm #9153
What you submit is not new, here and elsewhere a genuine attempt at a relationship between Catholics and Protestants. (So your thinking along these lines has good company. Hurrah!!!) What sometimes mucks it up is when issues like some of the now banned posters, (both here and on other boards) make attacks, and unsubstantiated claims. An honest and careful reading of history will show that the Catholic Church has always been open to such union as long as it is held in an honest manner.
We have already discussed the Church offering protection to and from the Council of Trent (and other Councils, and church meetings) to Luther and other Protestants to explain their new teachings. The Catholic Church cannot be condemned because Luther and the others did not take the Church up on the offer. Don't forget this offer was made publicly, and if the Church had not followed through on the promise, it would have won more sympathy for Luther than for the Church.
As an example, just last month was the Octave of Christian Unity. The Week of Prayer for Christian Unity began in 1908 as the Octave of Christian Unity, and focused on prayer for church unity. The dates of the week were proposed by Father Paul Wattson, co founder of the Graymoor Franciscan Friars. He conceived of the week beginning on the Feast of the Confession of Peter, the Protestant variant of the ancient Feast of the Chair of Saint Peter, on 18 January, and concluding with the Feast of the Conversion of Saint Paul on 25 January.
Pope Pius X officially blessed the concept, and Benedict XV "encouraged its observance throughout the entire Roman Catholic Church." For a while, the observance was re-named the "Chair of Unity Octave" by Wattson, in order to emphasize the relationship between Christian unity and St. Peter and his successors. Fr. Wattson, by the way was a former Episcopalian, who established a Franciscan Order for men and one for women in the Episcopal Church, and later around the turn of the last century, the entire group entered the Catholic Church, and was allowed to continue their order as Catholics, Fr. Wattson and a few of his other converts being ordained as Catholic priests. The Graymoor Fathers still exist and live in the same monastic community in New York.
Protestant leaders following the lead of the Catholic Church established in the mid-1920s an annual octave of prayer for unity amongst Christians, leading up to Pentecost Sunday. Since each Protestant group does not accept the teachings or authority of the next not all of them participate in this practice.


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Mar 18, 2021 - Politics & Policy
Putin challenges Biden to debate after U.S. president calls Russian counterpart a "killer"
Ursula Perano
Photo: Alexei Druzhinin\TASS via Getty Images
Russian President Vladimir Putin on Thursday responded to President Biden's comment calling him a "killer," by challenging the U.S. leader to a debate.
What he's saying: Putin told Russian state TV, per ABC News, "I want to propose to President Biden to continue our discussion, but on the condition that we do it basically live, as it's called, without any delays and directly in an open, direct discussion."
"It seems to me that would be interesting for the people of Russia and for the people of the United States."
The big picture: Russian officials and the Kremlin seethed this week at Biden's comment. But the American president has stood behind the statement, with White House press secretary Jen Psaki saying Thursday that Biden gave a "direct answer to a direct question" on whether Putin was a killer.
The White House is also promising further retribution against Russia for a series of malign actions, including poisoning Russian activist Alexei Navalny and the SolarWinds cyber attack.
Russia has recalled its U.S. ambassador, Anatoly Antonov, citing the need to "analyze what needs to be done in the context of relations with the United States," per the New York Times.


Jimmy Quinn is a student at Columbia University and Sciences Po. He is a former editorial intern at National Review.
Jimmy Quinn is an editorial intern at National Review and a student at Columbia University and Sciences Po.
In a twist, the most nationalist of the recent American presidents might give the supranational body a new life.
This is the wrong way to address online publishers' grievances.
Lawmakers are asking Google to end what they see as a double standard in its cooperation with Huawei, a Chinese telecommunications company.
They're trapped between a GOP majority and a hysterical progressive cacophony.
Macron's proposal would give courts 48 to decide whether a story is accurate, and the government could then block access to it.
Those tasked with keeping America safe — with help from partners in Silicon Valley — will need to embrace their key role in this developing debate.
Should Tech Companies Be Broken Up?
No, but there are other ways to foster competition.


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Principles and Criteria of Art
The fundamental importance of art both in the life of a collectivity and in the contemplative life, arises from the fact that man is himself "made in the image of God": only man is such a direct image, in the sense that his form is an "axial" and "ascendant" perfection and his content a totality. Man by his theomorphism is at the same time a work of art and also an artist; a work of art because he is an "image," and an artist because this image is that of the divine Artist. Man alone among earthly beings can think, speak, and produce works; only he can contemplate and realize the Infinite. Human art, like divine Art, includes both determinate and indeterminate aspects, aspects of necessity and of freedom, of rigor and of joy.
This cosmic polarity enables us to establish a primary distinction, namely the distinction between sacred and profane art: in sacred art what takes precedence over everything else is the content and use of the work; whereas in profane art these are but a pretext for the joys of creation. If within the framework of a traditional civilization art doubtless is never wholly profane, it may however become relatively so precisely because its motive force is to be found less in symbolism than in the creative instinct; such art is thus profane through the absence of a sacred subject or a spiritual symbolism but traditional through the formal discipline that governs its style.1
The position of non-traditional art is quite different: here there can be no question of sacred art and at most it may be called profane religious art; moreover the motive of such art is "passional" in the sense that an individualistic and undisciplined sentimentality is placed at the service of religious belief. Whether profane art is naturalistic and "religious," like Christian art of modern times, or both traditional and worldly, like medieval European or Indo-Persian miniatures or Japanese wood-cuts [see ills. 8, 9, and 10], it often presupposes an extra-sacerdotal point of view and so a worldliness such as makes its appearance at a relatively late stage in the theocratic civilizations. In primordial periods art always was limited to either objects of ritual use or working tools and household objects [see ills. 18 and 19], but even such tools and objects were, like the activities they implied, eminently symbolical and so connected with ritual and with the realm of the sacred.
If sacred art expresses what is spiritual either directly or indirectly, profane art must also express some value, unless it is to lose all legitimacy; the value it expresses, apart from the value of which every traditional style is the vehicle, is, first, the cosmic quality of its content and, secondly, the virtue and intelligence of the artist. Here it is therefore the subjective value of the man which predominates, but—and this is essential—that value is determined by the sacred, by the fact that the artist is integrated into a traditional civilization the genius of which he inevitably expresses; in other words, he makes himself the exponent, not only of personal, but also of collective values, since both alike are determined by the tradition in question. The genius is at the same time traditional and collective, spiritual and racial, and then personal; personal genius is nothing without the concurrence of a deeper and wider genius. Sacred art represents above all the spirit, and profane art the collective soul or genius, but this of course presupposes that it is integrated into the tradition. Taken together spiritual and collective genius make up traditional genius which gives its imprint to the whole civilization.2
Before going further we should perhaps define the term "sacred"; what then is the sacred in relation to the world? It is the interference of the uncreate in the created, of the eternal in time, of the infinite in space, of the supraformal in forms; it is the mysterious introduction into one realm of existence of a presence which in reality contains and transcends that realm and could cause it to burst asunder in a sort of divine explosion. The sacred is the incommensurable, the transcendent, hidden within a fragile form belonging to this world; it has its own precise rules, its terrible aspects, and its merciful qualities; moreover any violation of the sacred, even in art, has incalculable repercussions. Intrinsically the sacred is inviolable, and so much so that any attempted violation recoils on the head of the violator.
The supernatural value of sacred art arises from the fact that it conveys and communicates an intelligence which is lacking in the collectivity. Like virgin nature it has a quality and function of intelligence which it manifests through beauty because in essence it belongs to the formal order; sacred art is the form of the Supraformal, it is the image of the Uncreate, the language of Silence. But as soon as artistic initiative becomes detached from tradition, which links it to the sacred, this guarantee of intelligence fails and stupidity shows through everywhere: aestheticism is moreover the very last thing that can preserve us from this danger.
An art is sacred, not through the personal intention of the artist, but through its content, its symbolism, and its style, that is, through objective elements. By its content: the subject represented must be as prescribed either when following a canonical model or in a wider sense; always, however, it must be canonically determined. By its symbolism: the sacred personage, or the anthropomorphic symbol, must be clothed or adorned in a given manner and not differently and may be making certain gestures but not others. By its style: the image must be expressed in a particular hieratic formal language and not in some foreign or imagined style. In brief, the image must be sacred in its content, symbolical in its detail, and hieratic in its treatment; otherwise it will be lacking in spiritual truth, in liturgical quality, and—for all the more reason—in sacramental character. On pain of losing all right to existence, art has no right to infringe these rules and has the less interest in doing so since these seeming restrictions confer on it, by their intellectual and aesthetic truth, qualities of depth and power such as the individual artist has very small chance of drawing out of himself.
Traditional art derives from a creativity which combines heavenly inspiration with ethnic genius, and which does so in the manner of a science endowed with rules and not by way of individual improvisation; ars sine scientia nihil.
Within the framework of a traditional civilization, there is as already mentioned a distinction to be made between sacred art and profane art. The purpose of the first is to communicate, on the one hand, spiritual truths and, on the other hand, a celestial presence; sacerdotal art has in principle a truly sacramental function. The function of profane art is obviously more modest: it consists in providing what theologians call "sensible consolations," with a view to an equilibrium conducive to the spiritual life, rather in the manner of the flowers and birds in a garden. The purpose of art of every kind—and this includes craftsmanship—is to create a climate and forge a mentality; it thus rejoins, directly or indirectly, the function of interiorizing contemplation, the Hindu darshan: contemplation of a holy man, of a sacred place, of a venerable object, of a Divine image.
Sacred art is vertical and ascending, whereas profane art is horizontal and equilibrating. In the beginning, nothing was profane; each tool was a symbol, and even decoration was symbolistic and sacral. With the passage of time, however, the imagination increasingly spread itself on the earthly plane, and man felt the need for an art that was for him and not for Heaven alone; the earth too, which in the beginning was experienced as a prolongation or an image of Heaven, progressively became earth pure and simple, that is to say that the human being increasingly felt himself to possess the right to be merely human. If religion tolerates this art, it is because it nevertheless has its legitimate function in the economy of spiritual means, within the horizontal or earthly dimension, and with the vertical or heavenly dimension in view.
However, it must be reiterated here that the distinction between a sacred and a profane art is inadequate and too precipitate when one wishes to take account of all artistic possibilities;3 and it is therefore necessary to have recourse to a supplementary distinction, namely that between a liturgical and an extra-liturgical art: in the first, although in principle it coincides with sacred art, there may be modalities that are more or less profane, just as inversely, extra-liturgical art may comprise some sacred manifestations.
Sacred art is far from always being perfect, although it is necessarily so in its principles and in the best of its productions; nevertheless in the great majority of imperfect works, the principles compensate for the accidental weaknesses, rather as gold, from a certain point of view, can compensate for the but slight artistic value of a given object. Two pitfalls lie in wait for sacred art and for traditional art in general: a virtuosity tending towards the outward and the superficial, and a conventionalism without intelligence and without soul; but this, it must be stressed, rarely deprives sacred art of its overall efficacy, and in particular of its capacity to create a stabilizing and interiorizing atmosphere. As for imperfection, one of its causes can be the inexperience, if not the incompetence of the artist; the most primitive works are rarely the most perfect, for in the history of art there are periods of apprenticeship just as later there are periods of decadence, the latter often being due to virtuosity. Another cause of imperfection is unintelligence, either individual or collective: the image may be lacking in quality because the artist—the word here having an approximate meaning—is lacking in intelligence or spirituality, but it may likewise bear the imprint of a certain collective unintelligence that comes from the sentimental conventionalization of the common religion; in this case, the collective psychism clothes the spiritual element with a kind of "pious stupidity," for if there is a naïveté that is charming, there is also a naïveté that is moralistic and irritating. This must be said lest anyone should think that artistic expressions of the sacred dispense us from discernment and oblige us to be prejudiced, and so that no one should forget that in the traditional domain in general, there is on all planes a constant struggle between a solidifying tendency and a tendency towards transparency which draws the psychic back to the spiritual. All of this may be summed up by saying that sacred art is sacred in itself, but that it is not necessarily so in all its expressions.
The rights of art, or more exactly of the artist, lie in the technical, spiritual, and intellectual qualities of the work; these three qualities are so many modes of originality. In other words the artist can be original through the aesthetic quality of his work, by the nobility or piety reflected in it, and by the intelligence or knowledge which enables him to find inexhaustible variations within the framework laid down by tradition. sacred art proves that this framework is relatively wide: it does indeed restrict incapacity but not either talent or intelligence. True genius can develop without making innovations: it attains perfection, depth, and power of expression almost imperceptibly by means of the imponderables of truth and beauty ripened in that humility without which there can be no true greatness. From the point of view of sacred art or even from that of merely traditional art, to know whether a work is an original or a copy is a matter of no concern: in a series of copies of a single canonical model one of them, which may be less "original" than some other, is a work of genius through a concatenation of precious conditions which have nothing to do with any affectation of originality or other mind-set of the ego.
Apart from its function as a direct aid to spirituality, sacred art is indispensable as a support for the intelligence of the collectivity: to abolish sacred art as was done in the Renaissance, or in Greece in the fifth century B.C., is to abolish that intelligence—one might say that intellectuality—and so to give free rein to a sensibility that is passional and henceforth ungovernable.4 Moreover the theological function of religious art must not be overlooked: art should by its determinate aspects teach revealed truths, that is, by its types or models, and it should suggest spiritual perfumes by subtle aspects which will depend on the intuition of the artist. Now, naturalistic religious art makes truth hard to believe and virtue odious for the simple reason that in it truth is overwhelmed by the stridency of a necessarily false description and virtue is drowned in an almost unavoidable hypocrisy; naturalism compels the artist to represent what he could not have seen as if he had seen it, and to manifest sublime virtue as if he himself possessed it [see ills. 31, 32, and 33].
This teaching function is also incumbent, though far less directly, on profane art when it is linked to the tradition by its style and by the mentality of the artist; in European medieval miniatures can be discerned an expression of the Christian spirit doubtless indirect, but nonetheless intelligible. The opportuneness of profane art is, however, psychological rather than spiritual, so that it always remains something of a two-edged sword or a "lesser ill" and one must not be surprised at the severe condemnations launched against profane art in periods still stamped with a sacerdotal outlook. Here as in other fields the functions of things may vary according to circumstances.
Scriptures, anagogy, and art are derived from Revelation, though at very different degrees. Scriptures are the direct expression of the Speech of Heaven, whereas anagogy is its inspired and indispensable commentary;5 art constitutes as it were the extreme limit or material shell of the tradition and thus, by virtue of the law that "extremes meet," rejoins what is most inward in it, so that art is itself inseparable from inspiration. Anagogy is the vehicle for metaphysical and mystical intelligence—aside from its purely legal interpretation—whereas art is the support of the collective intelligence and is contingent to the same degree as is the collectivity as such. In other words, scriptural Revelation is accompanied by two secondary currents, the one inward and indispensable for contemplative men, the other outward and indispensable for the generality of people. For the sage there is no common measure between the commentary on Scripture and art; he may even do without the latter provided it be replaced by a void or by virgin nature and not by a falsified art. For the tradition as a whole, however, art assumes an importance almost as great as exegesis, since tradition cannot manifest itself apart from forms. Again, if the elite have far more need of exegesis than of art, the generality of people have on the contrary far more need of art than of metaphysical and mystical doctrines; but, since the elite depend "physically" on the whole collectivity, they too indirectly have need of art.
Commentary in the widest sense, however, comprises an aspect that is outward because it treats, among other things, of exoteric questions. Conversely, art has an aspect that is inward and profound by virtue of its symbolism; it then fulfills a different function and speaks directly to the contemplative mind: in this way it becomes a support for intellection, thanks to its non-mental, concrete, and direct language. Besides the metaphysical and mystical commentary on Scripture there is a legal and moral commentary addressed to the community as a whole, just as there is, besides the formal and collective function of art, a function that is strictly spiritual and esoteric. Seen from the latter point of view, art will be more inward and more profound than verbal expositions, and this explains the central function which a sacred image, such as that of the Buddha, can assume. There is a highly significant connection between the loss of a sacred art and the loss of anagogy, as is shown by the Renaissance: naturalism could not kill symbolism—sacred art—without humanism killing anagogy and, with it, gnosis. This is so because these two elements, anagogical science and symbolical art, are essentially related to pure intellectuality.
We have already seen that the definition, laws, and criteria of art cannot be derived from art itself, that is, from the competence of the artist as such; the foundations of art lie in the spirit, in metaphysical, theological, and mystical knowledge, not in knowledge of the craft alone nor yet in genius, for this may be just anything; in other words the intrinsic principles of art are essentially subordinate to extrinsic principles of a higher order. Art is an activity, an exteriorization, and thus depends by definition on a knowledge that transcends it and gives it order; apart from such knowledge, art has no justification: it is knowledge which determines action, manifestation, form, and not the reverse.
What defenders of surrealist tendencies either forget or do not know is above all that forms, whether in pictures, in sculpture, in architecture, or in some other medium, arise from a hierarchy of cosmic values and translate either truths or errors so that there is no place here for adventuring; the psychological efficacy of forms, so beneficial when they are true, makes them on the contrary deadly if they are false.
When art ceases to be traditional and becomes human, individual, and therefore arbitrary, that is infallibly the sign—and secondarily the cause—of an intellectual decline, a weakening, which, in the sight of those who are skilled in the "discernment of spirits" and who look upon things with an unprejudiced eye, is expressed by the more or less incoherent and spiritually insignificant, we would go even as far as to say unintelligible character of the forms.
We are referring here to the decadence of certain branches of religious art during the Gothic period, especially in its latter part, and to Western art as a whole from the Renaissance onward: Christian art ( architecture, sculpture, painting, liturgical goldsmithery, and so on) which formerly was sacred, symbolical, and spiritual, had to give way before the invasion of neo-antique and naturalistic, individualistic, and sentimental art [see ills. 31, 32, and 33]; this art, which contained absolutely nothing "miraculous"—no matter what those who believe in the "Greek miracle" may care to think—is quite unfitted for the transmission of intellectual intuitions and no longer answers to anything higher than collective psychic aspirations; it is thus as far removed as can be from intellectual contemplation and takes into consideration sentimentality only; moreover, sentimentality debases itself in the measure that it caters to the needs of the masses, until it ends in a saccharine and pathetic vulgarity. It is strange that no one has understood to what a degree this barbarism of forms, which reached a zenith of hollow and miserable boasting in the period of Louis XV, contributed—and still contributes—to driving many souls (and by no means the worst) away from the Church; they feel literally choked in surroundings that do not allow their intelligence room to breathe. Nothing is able to offer to irreligion a more immediately tangible nourishment than the insipid hypocrisy of religious images; that which was meant to stimulate piety in the believer but serves to confirm unbelievers in their impiety, whereas it must be recognized that genuinely sacred art does not possess this character of a "two-edged sword," for being itself more abstract, it offers less hold to hostile psychological reactions.
It is solely and exclusively traditional art [see ill. 34]—in the widest sense of the word, implying all that is of an externally formal order, and therefore a fortiori everything that belongs in some way or other to the ritual domain—it is only this art, transmitted with tradition and by tradition, that can guarantee the adequate analogical correspondence between the Divine and the cosmic orders, on the one hand, and the human or artistic order on the other. As a result, the traditional artist does not limit himself simply to imitating nature, but to "imitating nature in her manner of operation" (Thomas Aquinas, Summa Theologica I. qu. 177, a. I) and it goes without saying that the artist cannot, with his own individual means, improvise such a cosmological operation. It is by the entirely adequate conformity of the artist to this "manner of operation," a conformity that is subordinated to the rules of tradition, that the masterpiece is created.
Thus forms, even the most unimportant, are the work of human hands in a secondary manner only; they originate first and foremost from the same suprahuman source from which all tradition originates, which is another way of saying that the artist who lives in a traditional world without fissures works under the discipline or the inspiration of a genius that surpasses him; fundamentally he is but the instrument of this genius, if only from the fact of his craftsman's qualification.
In a world where traditional art is dead, where consequently form itself is invaded by everything that is contrary to spirituality and where nearly every formal expression is corrupted at its very roots, the traditional regularity of forms takes on a very special spiritual importance that it could not have possessed at the beginning, since the absence of the spirit in forms was then inconceivable.
Let us, however, return to the plastic arts and add the following, which will at the same time serve as a conclusion: for contemporary artists and insofar as profane art is concerned, there can be no question of just "going back," for one never gets back to one's starting point; rather should the valid experiments of naturalism and impressionism be combined with the principles of normal and normalizing art as is in fact done by some artists who are in general little known; modern art—starting from the Renaissance—does include some more or less isolated works which, though they fit into the style of their period, are in a deeper sense opposed to it and neutralize its errors by their own qualities.6 However, in the case of sacred art resort to canonical models and treatment is called for without reservation, for if there is in modern man an originality to which a human being may have a right, this will not fail to show itself within the framework of tradition, as already happened in the Middle Ages according to the diverse mentalities in space and time. But above all, it is necessary to relearn how to see and to look, and to understand that the sacred belongs to the field of the immutable and not to that of change.
Insofar as profane art can be legitimate—and it can be, more than ever before, in this period of disfigurement and vulgarity—its mission is one of transmitting qualities of intelligence, beauty, and nobility; and this is something which cannot be realized apart from the rules which are imposed on us, not only by the very nature of the art in question, but also by the spiritual truth flowing from the divine prototype of every human creation.
1 In Masonic terminology God is "The Great Architect of the Universe," but He is also a painter, sculptor, musician, and poet; there is a Hindu symbolism which represents Him as creating and destroying the worlds as He dances [see ill. 11].
2 In traditional art are to be found creations—or rather what might well be called revelations—which may appear unimportant to those who are prejudiced in favor of individual "masterpieces" as well as from the standpoint of the "classical" categories of art; but these creations are nonetheless among the irreplaceable works of human genius. Such are the Nordic decorations, so rich in primordial symbols, the motifs of which are also to be found in the folk art of most European countries, in Asia, and indeed even in the depths of the Sahara; such also are the Abyssinian processional crosses, the Shinto toriis, the majestic eagle-feather headdresses of the American Indians, and the Hindu saris in which splendid dignity is combined with grace.
3 Traditional profane art never loses all contact with the sacred; in the prints of a Hokusai, an Utamaro, or Hiroshige, there exists something contemplative and rigorous which makes one think of Zen Taoism; the same holds true—a fortiori perhaps—for tools, clothing, houses, where the sacred and profane are often intimately linked. The primitive tool is often a revelation and a symbol and thus also a "spiritual instrument."
4 It is, of course, the "collective intelligence" which is here in question, not intelligence in itself: Greek decadence did not affect the spirit of a man like Plato. If, however, the collective intelligence is compromised, that clearly will render the unfolding of particular intelligences more uncertain. What Greek decadence had destroyed, Christianity recreated to last for a thousand years.
5 We are referring to essential commentaries whose inspiration, though secondary, is nonetheless a necessary concomitant of Revelation; other commentaries, whether metaphysical, mystical, or legal, may not be indispensable.
6 Of famous or well-known painters the elder Brueghel's snow scenes may be quoted and, nearer to our day, Gauguin, some of whose canvases are almost perfect, Van Gogh's flower paintings, Douanier Rousseau with his exotic forests akin to folk painting, and, among our contemporaries, Covarrubias with his Mexican and Balinese subjects. We might perhaps also allude to certain American Indian painters whose work shows, through a naturalistic influence, a vision close to that of the ancient pictography. Conversely, equivalents of the positive experiments of modern art can be found in the most varied of traditional art, which proves not only that these experiments are compatible with the universal principles of art, but also that—once again— "there is nothing new under the sun."