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Voice Profiles
Vocal Ratings
Virtuosos
Singer-Vocalists
Vocal Ranges
Pedagogical Definitions
Vocal Classifications & Fachs
A non-exhaustive list of vocal fachs and classifications and associated terms.
Vocal fachs and voice classifications are a highly controversial topic, even in the operatic world. There exists no universal method in opera, and no widely accepted method for contemporary commercial vocalists. While we give vocal classifications/fachs to each vocal profile on the site, this is not an objective practice, and even in opera, singers perform multiple roles for multiple fachs. As such, no singer has a single fach, although one likely fits better than others, and may change over time as one's voice changes.
For operatic fachs, acting abilities are heavily weighed in ascribing a fach to a singer – it is not purely about the voice and its abilities. As this site focuses on music and its components, acting fachs and the influence of acting on the operatic fach system are generally not considered in assigning a contemporary commercial singer's fach, or weighed very lightly. The Handbuch der Oper, by Rudolf Kloiber, provides the basis for assigning vocal fachs to vocalists here as it is used in the operatic world, but with (subjective) modern modifications.
For more, read our pedagogical definitions page.
Baritenor – A male voice "whose tessitura lies between that of a baritone and that of a tenor and whose [passagio] lies between C4 and F4." Often considered a subtype of baritone but with a tenor's qualities in the upper register.
Bass-Baritone – Range of E2 to F4. "A huge, rich voice, able to sing long dramatic phrases easily." Roles for this fach are often reserved for singers with mature, dark lower registers. Examples include Figaro, in Mozart's Le nozze di Figaro.[1]The Opera Singer's Career Guide: Understanding the European Fach System, Pearl Yeadon McGinnis. P. 41-42
Buffo Bass – Range of E2 to F4. "A rich, full sound, capable of flexibility and effective coloratura passages." Roles for this fach are both dramatic and comedic. In operas, they command more through appearance and acting rather than the beauty of their voice. Examples include The devil Méphistophélès in Gounod's Faust.[2]McGinnis, p. 42
Buffo Tenor – Range from C3 to B4. "A slim, flexible voice with the capacity to take on various sounds and colors." This describes an acting heavy operatic role, and one that is more comedic, often leaping across the stage. Examples include Jaquino from Fidelio by Beethoven.[3]McGinnis, p. 33-34
Cavalier Baritone – Range of A2 to G4. "A brilliant voice with warm, beautiful color capable of singing coloratura passages, smooth lyric lines, and dramatic passages without effort." This fach has a tenor's top but a baritone's color. In operas, they are commanding on stage with handsome appearance. Examples include Don Fernando from Fidelio by Beethoven.[4]McGinnis, p. 38-39
Classification – "Classification of voices is made chiefly according to where the best quality of tone is located in the voice, and where the depth and ease of sound are located within the range of pitches." (Bunch, p. 74) A growing body of modern evidence considers voice classification "to be based on the size and density of vocal folds and the size and shape of the vocal tract, and thus largely quantifiable," but it is still highly controversial. "The premise of voice classification is that it is possible to divide vocal instruments into groups within which the voices will share vocal traits and characteristics and that the groups will differ from one another according also to vocal traits and characteristics" [5]COTTON, SANDRA, D.M.A. Voice Classification and Fach: Recent, Historical and Conflicting Systems of Voice Categorization. (2007) Directed by Dr. Nancy Walker. 88 pp. P. 12. Criteria used to classify voices are "range, tessitura, registration events [passagi], timbre and agility."[6]Cotton, p. 13
Coloratura – When describing a singer it denotes great agility.
Coloratura Mezzo-Soprano -Range of G3 to B5. "A mezzo voice with vocal weight, color, and agility, that is, the ability to sing florid coloratura passages over a wide range and with extreme rapidity." Similar to Lyric Mezzo's but with more speed, they could also handle Lyric and Dramatic roles depending on the voice. Examples include Angelina from La Cenerentola and Rosina from Il barbiere di Siviglia by Rossini.[7]McGinnis, p. 28
Coloratura Soprano – Range of C4 to F6. A soprano with a high, bright, and flexible voice skilled in coloratura, most famously typified by the Queen of the Night in Mozart's The Magic Flute.[8]Notably, Miller considers this role to be for the Dramatic Coloratura Soprano.
Contralto – Range from F3 to A5. An extremely rare female voice. A huge, warm, and even voice with an extreme low range. [9]McGinnis, p. 30
Countertenor – Range from C4 to C6. "A male voice with the ability to sing in the falsetto, or soprano, registers, with beautiful tone, power, and agility." Examples include Oberon, the King of the Fairies, in Benjamin Britten's A Midsummer Night's Dream.[10]McGinnis, p. 31-32
Dramatic – Denoting a darker timbre and ability to project above an orchestra without amplification.
Dramatic Baritone – Range of G2 to F#4. "An imposing, powerful voice with an extended range and a large, warm sound." Sometimes noted as a Helden baritone, they must be able to project over an orchestra with ease. Examples include Wotan in Wagner's Das Rheingold and Die Walküre.[11]McGinnis, p. 39-40
Dramatic Contralto – Range of G3 to B5. A large, flexible, agile, and metallic voice with well-developed high and low ranges, dramatic ability to penetrate over an orchestra. They have both well-developed top range and powerful low notes, and are similar to Dramatic Mezzo's but notably missing a Soprano C (C6). Examples include Azucena from Il trovatore and Ulrica in Un ballo in maschera by Verdi.[12]McGinnis, p. 29-30
Dramatic Mezzo Soprano – Range of G3 or B3 to C6. A rich, agile, metallic voice of a dark color, with good high notes. Similar sounding to a Dramatic Soprano, some consider this to be a subtype of the Dramatic Soprano, "but the soprano can sing in a slightly higher tessitura for a longer time, while the mezzo has more bite and power in the lower register." They often sing as high as their Soprano counterpart, but have a darker timbre. In operas, they must command a stage and are often given tragic roles. Examples include Kundry from Parsifal and Brangäne from Tristan und Isolde by Wagner.[13]McGinnis, p. 28-29[14]Training Soprano Voices, R. Miller. P. 12
Dramatic Soprano – Range of G3 or B3 to C6 or E6. The most ample of soprano voices,[15]Miller, p. 11 it is a powerful, brilliant, and metallic voice with great volume and the ability to penetrate without amplification. In operas, they are commanding on stage. Examples include Octavian from Der Rosenkavalier.[16]McGinnis, p. 24-25
Dramatic Tenor – Range of C3 to C5. A similar voice to the Spinto Tenor but with a baritone sound and an extended upper register. This fach describes "a voice of unusual power, with the capability to sing long phrases for endless amounts of time with no decrease in voice or energy." Examples include the titular character of Siegfried by Wagner.[17]McGinnis, p. 35
Dramatic Coloratura Soprano – Range of C4 to F6. A high, bright, agile voice with great heights; dramatic ability to penetrate and considerable power in the upper register. They must execute "high-velocity passages yet have great sustaining power."[Miller, p. 8] Examples include Queen from Die Zauberflöte and Konstanze from Die Entführung aus dem Serail by Mozart.[18]McGinnis, p. 21-22
Dugazon (Mezzo Soprano) – Describes an intermediary voice type between a mezzo-soprano and a soprano. They have a darker timbre than a soprano but a brighter timbre than a mezzo. Dugazons take their name from the types of operatic parts French mezzo-soprano Louise-Rosalie Lefebvre (also known as Madam Dugazon) would often take, now given to dark-timbre sopranos and lighter-timbre mezzo-sopranos. A modern example of a dugazon would be Cora Canne Meijer.
Fach – Translates from German as specialty or category. "Denotes category and implies restrictions or boundaries. In the world of opera, Fach describes a certain voice category and roles sung by that type." Often identical with voice classification, this method was created to prevent singers from signing contracts on roles that might be harmful to their longevity and to market the performer. There is no universal agreement on voice or fach classification, but the six category model – soprano, mezzo-soprano, contralto, tenor, baritone, and bass – with subdivisions lyric, dramatic, and coloratura, is most popular today.[19]Cotton, p. 55-58 Factors in determining fach in opera "include the singer's basic vocal equipment, combined with his or her physical appearance, age, and experience,"[20]McGinnis, p. 3 as well as registration events (passagi), physiology of the instrument, and tone.[21]Miller, p. 5 Singers have historically identified as only one Fach or category "out of fear that casting directors might assume that they are confused about their voices." [22]Cotton, p. 64 but singers may take on roles in multiple fachs over time and concurrently. This system is in a constant state of flux as a result of shifts in music and its science and marketing. [23]Cotton, p. 3, 81
Falcon Soprano – A dramatic voice with a vocal range and timbre similar to a mezzo-soprano, but with the tessitura and weight of a soprano, named after French opera singer Cornélie Falcon (1814-1897).
Leggiero Soprano – A coloratura soprano with a slightly smaller range than other coloraturas, but with a warmer timbre.
Lyric – Denoting a light timbre, this is a term with flexible application. As this vocal weight lies between light and heavy, some lyric voices may be expected to handle light or powerful passages (ex. a Light Lyric Soprano or Lirico Spinto Soprano).
Lyric Baritone – Range from B2 to Bb4. "A smooth, beautiful, flexible voice with a bel canto line and effective top notes." Examples include Figaro, in Rossini's Il barbiere di Siviglia.[24]McGinnis, p. 37-38
Lyric Coloratura Soprano – Range of C4 to F6. A high, bright, very agile, and soft voice with a great high range. Examples include Silberklang from Der Schauspieldirektor and Blonde from Die Entführung aus dem Serail by Mozart.[25]McGinnis, p. 20-21
Lyric Mezzo-Soprano – Range of G3 to B5. "The light lyric mezzo-soprano, like her soprano counterparts, usually has a slender, bright voice, one that is able to move quickly and flexibly through coloratura passages. It is a voice of youth and exuberance" (Boldrey, p. 25). Must have a pleasing timbre and be flexible enough to handle coloratura passages. Examples include Charlotte (Werther), and Dulicnée (Don Quichotte) (Id). May be split into Light Lyric and Full Lyric fachs depending on the source.[26]McGinnis, p. 27-28
Lyric Soprano – Range of C4 to C6. "An ideal feminine operatic voice;"[27]Miller, p.9 warm, soft voice with a beautiful melting quality and noble lines, capable of long seamless phrases and beautiful high notes. Split into two subtypes based on the size, weight, and output of the voice: full lyric and light lyric. Examples include Susanna from Le nozze di Figaro and Pamina from Die Zauberflöte by Mozart.[28]McGinnis, p. 22-23
Lyric Tenor – Range from C3 to D5. "A soft, warm, flexible voice with an extremely effective and easy top range." Split into two subtypes based on the size, weight, and output of the voice: full lyric and light lyric. Examples include Don Ottavio in Mozart's Don Giovanni.[29]McGinnis, p. 32-33
Soprano – The most common and highest vocal type amongst women,[Miller, p. 1] with a vocal range – depending on the fach – spanning from G3-C4 to C6-F6.
Soubrette – Typically a range of C4 to C6 as a lyric soprano, but often is more limited. A delicate, supple, bright, youthful, agile, and small voice, capable of handling light coloratura work without a significant upper extension. However, this fach describes someone with a dainty, youthful appearance, and a skillful actress. Deals more with casting rather than vocal attributes, but is perhaps the most frequently encountered voice amongst women.[Miller, p. 7-8] Examples of a Soubrette role include Mozart's Barbarina (Le nozze di Figaro) and Papagena (Die Zauberflöte).[30]McGinnis, p. 20
Spinto Soprano – Range of C4 to C6 or E6. Derived from the German term Jugendlich which has no equivalent English translation, used exclusively for sopranos and tenors, it adequately translates to "young," but does not exclude a mature performer.[31]McGinnis folds this term into the Spinto Soprano fach, while Miller considers it to be the separate fach of Young Dramatic. Capable of long lyric phrases but with more power than a lyric soprano. Examples include Countess from Le nozze di Figaro and Donna Anna from Don Giovanni by Mozart.[32]McGinnis, p. 23-24
Spinto Tenor – Range from C3 to C5. Derived from the German term Jugendlich which has no equivalent English translation, used exclusively for sopranos and tenors, it adequately translates to "young." "A large, powerful, brilliant voice with a beautiful timbre and staying power." They must be able to sing dramatic phrases, have some baritone qualities while predominantly being tenor, and in operas appear intimidating on stage. Examples include the titular character of Lohengrin by Wagner.[33]McGinnis, p. 34-35
Zwischenfachsdngerin – "Between categories," a large voice with good control of their lower register but is most comfortable in dramatic roles that require a higher tessitura yet avoids the very top of the range. They may potray both Dramatic Soprano and Dramatic Mezzo-Soprano roles, as their voice has the weight and color of the Dramatic Soprano but their performance range is closer to that of the Dramatic Mezzo. An example of a Zwischenfachsdngerin role includes Lady MacBeth from Verdi's MacBeth.[34]Miller, p. 11
The Opera Singer's Career Guide: Understanding the European Fach System, Pearl Yeadon McGinnis. P. 41-42
McGinnis, p. 42
McGinnis, p. 33-34
COTTON, SANDRA, D.M.A. Voice Classification and Fach: Recent, Historical and Conflicting Systems of Voice Categorization. (2007) Directed by Dr. Nancy Walker. 88 pp. P. 12.
Cotton, p. 13
Notably, Miller considers this role to be for the Dramatic Coloratura Soprano.
Training Soprano Voices, R. Miller. P. 12
↑15, ↑34
Miller, p. 11
Cotton, p. 55-58
McGinnis, p. 3
Miller, p. 5
Cotton, p. 3, 81
Miller, p.9
McGinnis folds this term into the Spinto Soprano fach, while Miller considers it to be the separate fach of Young Dramatic.
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Cannabis has been found growing on the side of a busy Devon road.
The discovery was made on the A30 near the Daisymount roundabout today.
Police were called at around 11.15am today to reports that cannabis plants had been located on the A30 at Daisy Mount Cross in Ottery St. Mary.
A police spokesman said at 4pm on Tuesday that officers are currently on the scene.
Police have said it is unclear if the plants in pots had been growing on the side of the road or had recently been dumped there.
Highways have assisted with a road closure on lane one of the road heading towards Honiton.
The A30 lane remains closed between the B3184/B3174 Exeter Road and the B3180 at Daisy Mount Cross.


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Students react to Gaslight Festival age restriction
Jayvon Rankin and Aliyah Lang|September 12, 2019
This year the 50th annual Gaslight Festival will be taking place from September 13 to September 15, but with newly added rules in effect for teens after the recent social media blowup at Kentucky State Fair.
The 50th Annual Gaslight Festival is only ONE MONTH AWAY!! 🙌 Want to be right in the middle of all the excitement? Sign up to volunteer! https://t.co/sYI2cp4gJ6 pic.twitter.com/zDR1NlBlAh
— Gaslight Festival (@JTOWNGaslight) August 13, 2019
Thanks to the Jeffersontown Police Department for these awesome drone images of the 2018 Gaslight Festival! 🎡🌭🍗🎸
A post shared by Gaslight Festival (@gaslightfestival) on Oct 29, 2018 at 8:29am PDT
Starting Friday night at 7 p.m. persons under the age of 18 will not be able to attend the festival without adult supervision.
This has been a controversial topic for teenagers in the past couple of years. Many popular hangout spaces for teens have now issued age restrictions, including both shopping malls (Jefferson Mall and Mall St. Matthews) and the Kentucky State Fair.
"I understand why they have it in place, but I don't particularly like it because it restricts my age group, but people will do what they want. It's just something for [Gaslight festival] to fall back on," Eva McGhee (9, YPAS) said.
Some students had a different perspective on this topic.
"I think it's a bad marketing move. It basically kicks out half of their audience. I think it's bad in general," Tanner Bennett (10, YPAS) said.
"I feel like the age restriction makes sense. I don't know if 7 p.m. is the ideal time though because it doesn't give teens enough time to do what they choose," Chandler Morris (11, YPAS) said.
Other students were disappointed and felt frustrated by the new age-based restriction at the festival.
"It's disappointing, it seems like everywhere teens want to go we get an age restriction. It's not even the majority of the teens acting up. It's just a few people acting up and now they're shutting everything down. Age restrictions are going to isolate kids from their communities," Laila Hill (10, J&C) said.
"The age restriction means our generation is too immature to handle these serious types of events," Kennedy Hampton (10, HSU) said.
Students also offered solutions to age restrictions problem at the Gaslight Festival. Many called for pushing the time back.
"I think the time should be pushed back to 9 p.m.," Hill said.
"I would implement an identifier of some sort, either a band or sticker letting you know that you should be out by 7 p.m.", McGhee said. She also believes that the curfew should be pushed by an hour or two.
Others believe the curfew shouldn't be there at all.
"I would completely eliminate the curfew. I think it's very unfair to penalize everyone because of one person," Bennett said.
Featured Image Citation: " 140918-9180078" by Papa Blue 123 on Flickr is licensed under Creative Commons Attribution 2.0 Generic. No changes were made to the image. Use of this photo does not indicate photographer endorsement of this article.
Chandler Morris
Eva McGhee
Gaslight Festival
jtownchamber
kennedy Hampton
Laila Hill
Tanner Bennett
Jayvon Rankin, Staffer
Jayvon Rankin is a staffer for RedEye this year. He enjoys talking politics, playing tennis, watching various Netflix shows, and watching sports. You can contact him at [email protected]
Aliyah Lang, Staffer
Aliyah Lang is a staffer on Manual RedEye this year. She loves to discuss political topics, play basketball, and writing, especially poetry. She is a sports fanatic to say the least. You can contact her at [email protected]
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redpajama_set_name: RedPajamaCommonCrawl


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Getting Unstuck: The 1 Word That Is Holding You Back
Advice, Career Getting Unstuck, Someday, Turning Dreaming Into Doing Comments Off on Getting Unstuck: The 1 Word That Is Holding You Back
Jonathan Bissell (Chiba-ken, 1995-2000) is the author of Dream in Color, Think in Black & White: How to Get Unstuck and Fulfill Your Dreams and CEO of High Performance Impact, LLC, an executive coaching firm helping proven and emerging leaders to identify and consistently leverage patterns of high performance. He blogs at www.jonathanbissell.com.
There's a word that you've been using, and it's time to let it go. Time to erase it from your vocabulary.
You're not the only one who uses it. I do, too. We all do. But it's holding you (and me) back.
It comes up in conversation whenever we talk about our deepest dreams and aspirations. And it's almost always said with a sigh – a wistful and defeating release of air from the lungs.
So what's the word?
The word is "Someday," as in, "Someday I'm going to…"
Just think about the last time you said it or heard it. For me, it happened just a few days ago. A friend of mine shared a magnificent dream that he wanted to pursue – a wonderful dream that's entirely doable. But then he used that word, "Someday." And he said it with that wistful sigh that always seems to tag along.
But someday is more than a wistful word loaded with longing. It's a glass ceiling that's meant to be shattered, and it's preventing you from taking hold of your future.
Here are three reasons why "someday" is holding you back:


This villa, in Begur, boasts a gorgeous sea view sleeping 8 people.
The villa offers superb accommodation, including modern luxuries such as an open terrace, swimming pool, air conditioning, television and internet access.
You can bask under the Spanish sun in the villa's beautiful open terrace and garden, making use of its barbecue.
Casa Médano 37 Beach apartment, overlooking the sea.
Traditional 3 bedroom detached villa, private heated pool, Jacuzzi. Free Wifi.


In my last announce, I dove into the 17 reasons why small and medium-sized companies require video and promised that I would share the how, or the most efficient way small and medium-sized companies could incorporate video into their commerce intention. Now "its by"!
There isn't much more preamble necessary, truly( if you've read the previous pole, that is ). So let's dive in.
The combination of both audio and visual stimulant in video spawns describing complex notions much easier and more importantly, easier to understand.
Try utilizing a video on your homepage that outlines what you do and what difficulty you solve for your patron in less than 90 seconds. You'll find this is a lot more effective than was seeking to cram these same justifications into the first headline and paragraph of your home page … all above the fold.
And no, it doesn't have to be an animated explainer video. But this is definitely a good and economical( most of the time) arrange to start.
While one outline video on your website home page or Facebook page( or both !) is an excellent way to initiate parties to your company and what the hell are you do, you'll often need a little more description to earn your audience over. A few, more detailed videos that explain the details of your product's facets or the different business you render is an excellent way to provide more information and help your gathering decide to buy.
One of the most effective ways to show your firm as a leader in your gap — and knowledgeable as heck — is for your manager to share their own acquaintance and improve your public. Mull Moz's whiteboard Fridays, which Rand Fishkin started a very long time ago when the company was just starting out.
Maybe you're not a engineering company, but don't think this can't still is related to you. You might share how to set grows, or how to save money on your taxes, etc. There are perpetual educational topics in your infinite that your audience will find useful. Plus, this will help them build respect for and knowledge of your label, which never suffers!
You've possibly heard about "culture content" before. But "what hes" culture content? It's content that registers who you are as a business. And yes, before "youre asking" … yes, customers care. Specially for small businesses, customers want to like who they're buying from, even if this is a subconscious desire.
So show off who you are. Maybe you'll have quick chit-chats with people on your unit, or prove a season lapse video of your office for the working day, for example.
This is a particularly relevant one for small businesses, even more so than larger corporations. Just like I mentioned in culture content, people are often very interested in how the small business they buy from was founded. Oh and likewise … beings desire floors. It's in our DNA.
The Founders Brewing Company has a great example of this, peculiarly because they truly found the excellent balance between telling their floor, sharing where they came from, and impelling it relevant to their customers and employees.
It's amazing how many beings love to watch video content. Like genuinely … it's the medium buyers crave. And they'll click on that little triangular represent button any opportunity they get.
So why not supplement more of the contents they like to your blog to get them coming back for more? Video blogs don't "mustve been" Hollywood-style production value. Record a video blog by using your webcam while sitting in your office or a meeting room. Or even use your iPhone to record some thoughts while you're treading down wall street!
Loyalty is critical to the sustainability of your business. Preserve your customers around by making them feel desired and send them a remembrance every so often that you're indebted for them and their subsidize!
This type of video clearly doesn't "mustve been" super high-pitched yield importance either( although , no one's going to penalise you if it is !).
Did I mention that your audience was concerned about who you are as a business? Proving "behind-the-scenes" is another way to give them a real picture of who you are and where their acquire is coming from.
While at first, this may seem to apply only to companies exchanging physical makes, you could certainly adapts this video type for a service-based or software fellowship by showing a timelapse of your makes running the working day( and having nerf-dart opposes, of course !), for example.
The last video sort, at least for today, is to interrogation collaborators or influencers in your industry for thought leadership content to again, develop your audience.
Our Wise Words serial, was a good example of this, where we chat with other marketers about how they're exercising video in their own business!
Which video types have you tried? Share with us or link to them in the comments!
The post 10 Ways Small Businesses Should Be Using Video( with Examples !) loomed first on Vidyard.


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January 1, 2023 January 13, 2022 by Rob
During our stay in Columbus, Texas we passed a sign advertising The Painted Churches of Schulenburg. When we looked into them they seemed really cool. They are actually amazing!
German and Czech immigrants built The Painted Churches of Texas dating back to the late 1800s and early 1900s, when they came to Texas to start a new life. They built dozens of churches across Texas, that appear unassuming as you approach them, but hold magnificent masterpieces as you enter the front doors.
They were painted to emulate the beloved churches the immigrants left behind in Europe. Many of the immigrants were fleeing religious oppression, wishing to practice their faith in peace. The churches are perhaps the most awe-inspiring example of the rich German and Czech culture in Hill Country. The Painted Churches feature hand-painted sculptures, angels, filigree, faux marble, and stencils.
Today, about 20 painted churches are still standing, and many are located in or around Schulenburg, which is why people sometimes call them the Painted Churches of Schulenburg.
We visited 5 Painted Churches in the area. Below is the order we visited the churches. While all are really nice churches with beautiful paintings and interesting histories, the St. Paul Lutheran Church in Surbin, Texas was a bit out of the way and we would skip it next time.
Saint Mary's Catholic Church, Praha, Texas
Address: 821 FM1295, Flatonia, TX 78941
The old wooden beams of this church built in 1895 are painted to resemble the golden crown moldings and dazzling architecture of a grand European cathedral, with white altars that almost look like crystal in the light.
St. Mary's Church of the Assumption in Praha, Texas, is the oldest of the region's painted churches.
The blue-green arched ceiling of St. Mary's Church of Assumption is a Garden of Eden replica filled with Texas flowers, and the building's polished floors serve as a mirror for its grand chandelier and stained-glass windows.
But the star of the church is the white altar gilded in 24-karat gold.
Behind the hand-carved altar is a serene mural of three angels dressed in pink, blue, and yellow, floating around a cross. Painted cornices and wooden beams enhance the majestic effect.
Though the paintings have faded over time, when the sunbeams dance across the stained-glass windows into the church, the entire hall glistens just like that of St. Peter's Basilica.
St. Mary's Catholic Church, High Hill, Texas
Address: 2833 FM 2672, Schulenburg, TX 78956
Officially named St. Mary's Catholic Church, Nativity of the Blessed Virgin Mary. With its ornate design, paintings, and stained-glass windows, St. Mary is known as the "Queen of the Painted Churches" and is visited by hundreds of visitors every year.
Every inch of St. Mary's Church, High Hill, is decorated, from the painstakingly intricate designs on the wooden altar to the towering columns topped with life-sized Biblical figures.
Listed on the National Register of Historic Places. The first St. Mary church was built in 1869. A larger church was built in 1876, and the original building was used as a school. This newer church featured stained-glass windows donated by the people of the parish. When the present-day church was built, these beautiful original stained-glass windows were moved to the new and larger building, which was constructed in 1906 and painted in 1912.
Ferdinand Stockert and Hermann Kern, two sought-after decorative artists of the time, painted this Gothic revival church. Instead of doing their work directly on the ceilings and walls, they used canvases later affixed to the building.
From the outside, it looks like an unassuming red-brick church. But inside, it's a vibrant kaleidoscope. This by far was our favorite church. With 18 stained-glass windows, dazzling light fills the church!
Considered one of the most beautiful churches in Texas, the sanctuary features a pastel blue cupola with gold accents, and the columns are painted to resemble marble.
Saints Cyril and Methodius Church, Dubina, Texas
Address: 4148 FM1383, Schulenburg, TX 78956
Dubina's first church was built in 1876 but was destroyed by a 1909 hurricane. Rebuilt in 1912, it survived a fire that all but destroyed the town.
A testament to the Gothic cathedrals of their homeland, Saints Cyril and Methodius feature sky-blue ceilings and domes set off with gold stars, floral stencils, and angels on high.
In the 1950s, the local diocese ruled that the vibrant interior was too distracting and whitewashed the artwork.
But in the 1980s, when other area churches were recognized for their painted interiors, Saints Cyril and Methodius restored the original art.
Today Saints Cyril and Methodius Church with its bright painting inside and out stands strong and proud against the Texas sky. It is a reminder of the early settlers' faith in God and their will to survive.
This church can be viewed from inside the front doors where there is a locked gate. Full access is limited to touring groups and of course, services on Sunday.
St. John the Baptist Catholic Church, Ammannsville, Texas
Address: 7745 Mensik Rd, La Grange, TX 78945
In Ammannsville, you'll find the Painted Church that's known as "the pink one." It's pretty enough on the outside, with antique wooden details and stained-glass windows, but inside are pink detailed walls, uniquely domed ceilings, and towering altars.
Gold stenciled patterns sit atop a light pink base, with ivy and angel depictions scattered throughout the sanctuary.
The church's green flooring and loads of painted statutes add to the wow factor. Fred Donecker and Sons, who advertised as "fresco painters," are responsible for the original murals.
An enduring homage to the early settlers, the church's stained-glass windows tell the story of the area's Czech roots and history.
The present Saint John's is the third church to be built on the property. A fierce hurricane destroyed the first church in 1909, and the second burned in a fire eight years later.
With two churches destroyed in such a short time, one would think the community of Ammansville would have given up — maybe resigned themselves to worshiping with other nearby communities. Yet, they began the process of planning and rebuilding almost immediately after the fire. They built the present structure on the concrete footprint of the second church. Today's building was erected in 1918.
St. Paul's Lutheran Church, Serbin, Texas
Address: 1572 Co Rd 211, Giddings, TX 78942
This church, built in 1870 looks like a very simple church outside but opens up to be a truly breathtaking display of marble white walls, cerulean detailing, and intricately designed columns.
For the first 36 years of its existence, St. Paul's remained a demure, wood church.
But in 1906, the community decided to spruce things up and painted the church by themselves, without the help of a professional artist.
Yet, its beauty is not all it boasts… This "double-decker" church has upstairs pews. Many say that its pulpit, which is located 20 feet off the ground on the second level of the church, is the tallest in Texas!
Christians have used two levels for seating the congregation for centuries. In fact, one of the oldest churches in Rome has what was once called a "matrimonium" still intact. The custom was to seat mothers and children up in this balcony-like seating, while the men sat below. Saint Paul's worked just the opposite. Men sat up on the balcony and women and children sat below.
St. Paul's Lutheran in Serbin is the only non-Catholic painted church on our list.
Guided Tours of the Painted Churches of
Schulenburg
The Greater Schulenburg Chamber of Commerce has docents who give guided tours of the painted churches of Schulenburg that last 3-4 hours. You have to make a reservation well in advance (two weeks) and pay a $50 deposit. The tour itself is $10 per person and you provide the transportation. They offer some van tours on Monday and Thursday during October and part of November.
It is easy to do this tour on your own and save yourself $50+.
The painted Texas churches are cherished historic buildings that memorialize the ingenuity and faith of the early settlers — and visiting them is a treat.
Remember that these churches are all active places of worship. You may visit them Monday through Saturday from 9am to 4pm but be respectful of any events or services that may be going on during those times when you visit.
Categories Adventures Tags Ammannsville Texas Painted Church, Dubina Texas Painted Church, High Hill Texas Painted Church, Painted Churches, Painted Churches of Schulenburg Texas, Painted Churches of Texas, Praha Texas Painted Church, Saints Cyril and Methodius Church, Schulenburg Painted Churches, Serbin Texas Painted Church, St. John the Baptist Catholic Church, St. Mary's Catholic Church Nativity of the Blessed Virgin Mary, St. Mary's Church of the Assumption, St. Paul's Lutheran Church, Texas History
Lake Texoma Campground (Thousand Trails) – Gordonville, Texas


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The Relation of the Government to Patentees
In the recent decision of the Supreme Court in the case of James vs. Campbell, two or three points are incidentally touched upon which very materially affect the interests of patentees in their relation to the government, especially when their inventions are such as to make them useful or necessary to the government. One is a positive ruling that the government has no right to use a patented invention without compensation to the owner of the patent; another is a query as to the propriety and probable success of a suit against the officer using the invention; and the third is a plainly expressed doubt as to whether the Court of Claims has jurisdiction when a claim is based on an unauthorized use of an invention by a government officer.
On these points the opinion of the court runs as follows: "That the government of the United States, when it grants letters patent for a new invention or discovery in the arts, confers upon the patentee an exclusive property in the patented invention, which cannot be appropriated or used by the government itself without just compensation any more than it can appropriate to use without compensation land which has been patented to a private purchaser, we have no doubt. The Constitution gives Congress power 'to promote the progress of science and useful arts by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries,' which could not be effected if the government had a reserved right to publish such writings or to use such inventions without the consent of the owner.
After mentioning certain classes of inventions useful only to the government, and the usual course of the government in dealing with their inventors, the court continues: "The United States has no such prerogative as that which is claimed by the sovereigns of England, by which it can reserve to itself, either expressly or by implication, a superior dominion and use in that which it grants by letters patent to those who entitle themselves to such grants. The government of the United States, as well as the citizen, is subject to the Constitution, and when it grants a patent the grantee is entitled to it as a matter of right, and does not receive it, as was originally supposed to be the case in England, as a matter of grace and favor."
But while the government, through its officers, has no right to use a patented invention without payment, there would appear to be no statute forbidding an infringement of an inventor's patent by an officer acting for the government, nor any statute to determine the mode by which a patentee may seek compensation for the use of his invention without his consent. The court said:
"The most proper forum for such a claim is the Court of Claims, if that court has the requisite jurisdiction. As its jurisdiction does not extend to torts, there might be some difficulty as the law now stands in prosecuting in that court a claim for the unauthorized use of a patented invention, although, where the tort is waived and the claim is placed on the footing of an implied contract, we understand that the court has in several instances entertained the jurisdiction."
The question of the jurisdiction of the Court of Claims has never been brought before the Supreme Court, and the court naturally declined to pass upon it until properly called upon.
If, however, the Court of Claims has no jurisdiction in such cases; and if, as the Supreme Court now intimates, the inventor is not likely to obtain redress by suit against the officer by whom the infringement is made (no statutory provisions having been made for such a suit), there would seem to be here an occasion for early Congressional action.
The country has need just now of inventions of use chiefly to the government, notably in the matter of coast defense; and it is not very encouraging to inventors to know that in case of an unauthorized use of their inventions by a public officer, there are no assured means whereby they can stop the wrong or secure redress.
Proposed New Patent Department
The bill Mr. Phelps presented December 13, 1881, is calculated to supply a desideratum long felt and not disputed by those best qualified to form an opinion. It is substantially what has been recommended to the consideration of Congress by almost every succeeding Commissioner of Patents and repeatedly urged by you, and is, in brief, simply a permission to the one self-supporting bureau to extend its revenue on means, perfectly understood and defined, for the proper administration of its duties. One of the most important of these means is a completely indexed digest of industrial art. With such a repository at their disposal inventors (who constitute the principal contributors to the fund), would be able to concentrate their energies on untrodden fields of discovery, by informing themselves of what others had already accomplished. Manufacturers and users of machinery could at a glance, so to speak, inform themselves of the best appliances. The community at large, which is the chief beneficiary of invention, would in this simple act of justice be largely benefited by the increased discrimination exercised in patent grants.
G. H. Knight
Cincinnati, January 30, 1882
Forty Years in the Patent Office
The last annual report of the Commissioner of Patents contains a comparative statement of the business of the office from 1837 to 1881 inclusive. Since 1840 the table shows the number of applications, the number of issues, the receipts, expenditures, and the surplus, where there has been any. Eight of these years (1837, '40, '41, '53, '54, '56, '57, '61) show a deficiency, the fees received being slightly less than the expenditures. Curiously the year 1855 shows a surplus of nearly $37,000, though the two preceding and two succeeding years were years of deficiency. In 1859 the surplus had risen to over $35,000. It dropped to $3,500 the next year, and the next shows a deficiency of $16,000. In 1862 the surplus was $33,000. It fell to $6,000 the next year; and in 1865 it leaped from $11,000 to nearly $75,000. This was nearly doubled the next year, and the year after (1867) it dropped to less than $8,000. Between '67 and '71 the surplus aggregated nearly half a million dollars. The next four years were lean, the surplus falling as low as $12,000 in 1873. Since 1876 the surplus has ranged from $100,000 to about $250,000, aggregating in six years nearly a million dollars.
The fluctuations in the number of patents applied for and issued have been much less marked, though considerable variations are noticeable. The number issued in 1837 was 435. The number of applications reached a thousand in 1844, and five years later the issues for the first time reached and slightly exceeded 1,000. The year 1855 saw the number of issues raised to 2,000. During the next ten years the increase was tolerably steady, rising to 9,458 in 1866. The number stood at thirteen hundred and odd pretty uniformly from 1867 until 1875, the number of applications varying not far from 20,000 a year. After two years of gain the number dropped off once more, remaining not far from 1,300 until 1880. Last year it rose to 16,584, with 26,059 applications.
The ratio between the number of applications and the number of grants has shown considerable variations. During the earlier years the proportion of rejections was much greater than at present, amounting to 1847 to two-thirds of the total applications. This, in the opinion of the Commissioner, is largely attributable to the fact that the earlier inventors had fewer opportunities for discovering what had already been done in the same fields of invention, and, as a consequence, presented a larger proportion of crude devices and repetitions of each other. Possibly the spirit of the Commissioner had more to do with the numerous rejections, some of them acting as though the business of the office was to restrain rather than to encourage inventors. During the past fifteen years, the ratio between the number of applications and the number of patents issued has been comparatively stable, and not far from three to two.
The total number of patents issued up to 1843 was less than three thousand. Ten years were required to raise the number to ten thousand. In the next ten years they rose to over forty thousand, and to a hundred thousand early in 1871. Since then the increase has been very rapid, more being issued between 1871 and 1880 than in the preceding thirty years.
To date about ten thousand patents have been reissued. The highest annual rate of reissue was reached in 1875 and 1876, when it exceeded six hundred. Since then there has been a marked decline, the number of reissues for 1881 being 471. The whole number of new patents issued last year was 16,113, of which 993 were taken by foreigners, chiefly citizens of Canada, England, Germany, and France. 4,638 patents issued during 1881.
Needs of the Patent Office
A considerable portion of the recent annual report of the Commissioner of Patents is properly devoted to a presentation of the urgent needs of the Patent Office for an increase in its working force and in the room provided for the transaction of its rapidly increasing business.
The receipts of the office during the past year were nearly $100,000 larger than in any previous year, and the excess of receipts over expenditures (nearly a quarter of a million dollars) was correspondingly greater than ever before. The Commissioner says frankly, "At the present rate of increase the number of applications for patents either the work must accumulate on the examiner's desks, or the quality of work done must be such as to bring discredit upon the thoroughness of official examinations."
The annual increase alone represents a number two-thirds as great as the annual number of patents applied for in 1861, when Congress appropriated money enough for the support of sixteen principal examiners, each with two assistants.
Now the office has twenty-six principal examiners, twenty-four of whom have three assistants each. Thus in twenty years the examining force has been just about doubled, while the number of applications has increased from 4,643 in 18161, to 26,059 in 1881, or nearly sixfold. Twenty years ago the examiners had to be familiar with 31,000 American patents; now the number of existing patents exceeds 250,000, and the examiners are expected to search them all, besides the largely increased number of foreign patents and scientific periodicals. The printing of specifications and the reproduction of drawings in convenient form have done much to simplify and expedite the work of the examiners; but the gain has not been at all proportional to the increase in the work to be done.
As the office was never designed to be a source of revenue to the government, justice to inventors requires that the fees charged for service shall be materially reduced, or else the surplus should be expended in making the work of the office more thorough and speedy. Public interest dictates rather the latter course. In view of these facts, the Commissioner's recommendation, that four additional examining divisions be created, each to consist of a principal examiner with three assistants, seems well within bounds.
Seeing that any mistake in the Patent Office is liable to be followed by costly litigation or worse, neither individual inventors nor the public at large can afford to have such mistakes occur; certainly not the inventors, who, during the past six years, have paid into the treasury, through the Patent Office, a million dollars more than the service of the office has cost the government.
Proposed Patent Legislation
Several bills of general interests to patentees are now awaiting action by the Committee on Patents.
Senate bill No. 1,226, introduced by Mr. Call, February 16, proposes to introduce a novel and questionable practice designed to limit the rights of owners of extended patents. It provides that when letters patent for a valuable invention have been extended, owing to the failure of the patentee to receive reasonable compensation for his invention in consequence of poverty and inability to manufacture and introduce his invention, the extended patent shall not give any right to the exclusive manufacture and sale of the invention. The manufacture and sale must be open to the public, subject only to the payment, to the inventor, of a royalty not exceeding for the first year a net amount of 20 per centum on the cost of the materials used in the manufacture of the article, and diminishing in a regular ratio each successive year during the life of the patent.
The bill further provides that in all cases where letters patent shall be extended under the provisions of the act, the Commissioner of Patents shall advertise the application for the space of three months in some newspaper of general circulation, and a hearing be given to all persons objecting to the extension; the applicant is allowed the right of appeal to the District Court of the United States for the District of Columbia, on giving bond for cost. The cost of the advertisement is to be paid by the inventor if he is able; if not it is to be paid out of the fund subject to the control of the Commissioner of Patents, and remain a lien in favor of the government on the patent until the same is paid.
A bill introduced by Mr. Platt, February 17 (S. 1,238), to regulate practice in suits for infringement where the purchase is made in good faith for the defendant's personal use, provides that if the plaintiff does not recover twenty dollars or over he shall have to pay costs, unless the defendant had actual notice of the existence of the patent or disputes the plaintiff's right to recover anything.
It further provides that when suit is brought against the defendant other than a manufacturer or seller the plaintiff shall first deposit with the clerk of the court the sum of fifty dollars as security for the costs and expenses of the defendant. In case the defendant prevails the deposit (or a "reasonable" part of it) is to be allowed by the court for counsel to the defendant, and the plaintiff will have to pay the costs in addition.
The obvious purpose of this bill is to repress suits against actually or suspected infringing uses of patented inventions; and while it may be calculated to prevent certain alleged abuses its discrimination against patentees of small inventions is certainly not in harmony with the general spirit of the patent laws.
In the House Mr. Skinner introduced February 13, a bill to limit the reissue of patents (H.R. 4,353). It forbids the reissue of patents except within three months of the issue of the patent in all new cases, and within three months of the passage of the proposed act in case of all patents already in existence.
The principle of limiting the period during which a patent may be surrendered for reissue is good; but it may reasonably be questioned whether a three month's limit is not too brief.
A bill introduced by Mr. Vance, February 20 (H.R. 4,573), makes it the duty of the Attorney General to take legal proceedings in equity in the Supreme Court of the District of Columbia to secure the annulling of any patent which he has ground for believing to have been procured by fraud or misrepresentation. In case the party at whose complaint the proceeding is begun fails to establish the invalidity of the patent he will have to pay the costs incurred by the Attorney General in the litigation.
Scientific American, v 46 (ns) no 12, p 176-7, 25 March 1882
Proposed Amendments of the Patent Laws
Elsewhere will be found the text of a bill (H.R. 4,949), introduced in the House of Representatives, March 6, by Mr. Morgan R. Wise. Most of its features are highly commendable.
The first clause aims to prevent fraud upon "innocent purchasers of patent rights" by making it the duty of intending purchasers of such rights to take reasonable precautions as any intelligent business man would be sure to take, or would regard himself foolishly careless if he did not take.
This clause strikes at the root of much of the complaints against the patent system. Men who stupidly or with criminal intent purchase alleged patent rights without investigation should blame themselves and not the Patent Office when their ventures prove unprofitable. They have no right to pose as innocent victims of the law, or to besiege Congress for relief from their folly at the cost of honest inventors and patentees.
The latter part of the section provides a fine not exceeding $1,000, or imprisonment not exceeding three months, or both, for fraud in the selling of patent rights by the use of forged or altered patent specifications, claims, or drawings.
The second section of the bill provides corresponding penalties for fraudulent patent sales, wherein the seller pretends to convey rights or privileges which have previously been disposed of, wholly or in part, to others.
Section 3 is designed to facilitate the work of the Patent Office, and enable it to comply with the terms of the law without antedating or reallowing patents the final fees for which are paid at the end of the six months' limit.
Section 4 makes it possible for the owner of a properly assigned patent to obtain a reissue without the signature of the inventor, who has ceased to be a party in interest.
Section 5 makes the life of an American patent absolute, and not as now contingent upon the life of any foreign patent upon the same matter which the inventor or another may have taken out. This is a proper and very desirable provision.
Section 6 contains two provisions, both commendable. The first is that a reissued patent shall not cover any machine or article the production of which was begun during the existence of the original patent, but not subject to it. When an inventor omits to claim what he might properly have claimed in a patent, it is fair that he be allowed to correct the oversight within a reasonable period; but it is not fair to allow him to make the correction the means of dispossessing or restraining another in an industry lawfully begun. The latter part of the section provides that the surrender of a patent for reissue shall not cause any forfeiture of rights which had accrued under the patent previous to its surrender.
Of the forepart of section 7 we cannot speak so favorably. It fixes a price for the Patent Office Gazette to American subscribers very much lower than its actual cost, and provides a higher rate for foreign subscribers. The office would receive no benefit from this discrimination, for the simple reason that the foreigner would buy through an American agent. The purpose of the diminished price is to diffuse mechanical knowledge and encourage invention. The diffusion of knowledge is no part of the function of the Patent Office; the encouragement of invention is; but the method prescribed by the Constitution for the carrying on of this desirable work does not include the publication at a loss of Official Gazette or any other literature, however valuable or useful.
The proposed reduction in the price of copies of patent specifications, claims, drawings, and related matters seems to be entirely reasonable. If incorporated into the patent laws the first section of the bill would create a largely increased demand for such papers, and the prices named would appear to be ample to cover cost.
The sections of the revised statutes which section 8 would repeal relate chiefly to the extension of patents granted prior to March 2, 1861 -- sections which expire by natural limitation this year.
The provisions of this bill, with the single exception noted, are so well calculated to "amend" the patent laws in the best sense of the word, that its early passage is much to be desired.
In place of the objectionable portion of section 7, we should be glad to see a clause making it the duty of the Commissioner of Patents to provide in the Patent Office better facilities for an examination of its records. The records are intended to be, and to a great extent are, open to public inspection; but in the absence of special provision for such work it is practically impossible for an inventor, an intending purchaser of patent rights, a manufacturer, a student of any department of invention, or other citizen, to make an examination of the records of the office that he can be sure is complete and thorough.
What is needed is a room or rooms set apart for the purpose indicated -- a place where the searcher could have brought to him for examination copies of every record relating to the subject which he is investigating: a room provided with complete indexes of all of the records of the office, in charge of attendants able to aid and advise the searcher, as a competent librarian aids the searcher for special information in a great library.
Something of this nature would be of great public utility, and the need of it must increase with time and the rapidly accumulating records of the office. The patents in many departments are now so numerous that even at the low price fixed for them in the bill at hand, few inventors could afford to buy them at all, and if they could it would in many cases be much more advantageous to search the records on the spot.
Nullification of the Patent Laws
Property, in law, has been defined to be the highest right a person has, or can have, to anything; and the labor of inventing, making, or producing anything is regarded as constituting one of the most indefeasible titles to property. Admitting this to be true, and that when letters patent are granted to an inventor he has a legal title given him for a specified term to the article or thing patented, which thus becomes his property, and that, in the words of the statute, an exclusive right is conferred upon him, his heirs, executors, and assigns, to "make, vend, and use" that which has been invented by him, it seems almost incredible that Congress should now attempt to put at defiance these plain principles of justice, and unblushingly assert itself the law-breaker as well as the law-maker, so far as the rights of inventors and patentees are concerned; nevertheless, such is literally the case.
A bill has recently passed the House of Representatives at Washington, nominally for the relief of innocent purchasers of patented articles, but virtually for robbing the patentee of the rights and privileges expressly awarded him by law. The bill reads thus: "That no action for damages or proceeding in equity shall be sustained, nor shall the party be held liable under Sections 4,919 or 4,921 of the Revised Statutes of the United States, for the use of any patented article or device, when it shall appear on the trial that the defendant in such action or proceeding purchased said article for a valuable consideration in the 'open market.'" This bill, fortunately, is not yet law, and there is little probability that the Senate will ever assent to so iniquitous a measure; but even if it should, there is not a question of doubt, but that the law would be declared unconstitutional by the Supreme Court.
In order that our readers may fully comprehend the character of the bill, we would state in plain English that it proposes to give any individual or corporation the right to use and hold, as against the real owner, property bought from a third party who had no title or claim to it, and who was unauthorized, either directly or indirectly, to dispose of it. This is simply to give "protection" to a purchaser who has unfortunately, or imprudently, by not exercising due diligence or making proper inquiries, bought from an irresponsible party that which did not belong to the vender. If patented articles can be thus bought and held, so should real estate, for both have equal rights as property. The law distinctly gives a patentee or his legal representatives the exclusive right to use as well as to make and vend the patented article; and no other person has the right to use it without the patentee's consent, no matter whether he be an innocent or a guilty purchaser. Were it otherwise, how easily might innocensy be assumed, and what latitude would be presented for the perpetration of fraud.
In the discussion of the bill, much stress was attempted to be laid by its advocates upon the purchasing in "open market" of the thing patented, as a ground of exemption from loss to the purchaser, and right to use and hold that which had been unlawfully sold; but when asked to define the term "open market." it was not found convenient or possible to do so. According to the theory of Mr. Burrows, of Michigan, it was "open market" for a set of men to go through the country with wagon-loads of gates and dispose of them to the farmers, who, after carelessly buying from these irresponsible dealers, find that they are amenable to the real owner by virtue of the patent which he holds. Denouncing these illegal venders and rightful patentees alike, this same gentleman concludes his tirade by stigmatizing them as insatiate vampires. Such language is much more emphatic than elegant or truthful.
We cannot do better than close these remarks by the following extracts from the speech of Mr. Reed, of Maine, who cogently though unsuccessfully opposed the bill: "The Constitution," said he, "has a right motive in protecting those men (the patentees), because the public get value received, and unless you pay the inventors, men will not invent. If you rob them of the proceeds of their invention after they have invented, you stop the business. And every man knows that notwithstanding the thousands of dollars that are taken away from innocent men by fraudulent practices, such as are complained of, there are millions of dollars conferred upon the public by this very inventive faculty. It is because inventors furnish a quid pro quo, it is because it is for the interest of the entire country to encourage invention, that the patent laws exist, and if you strip a man of his reward for his invention, you strip him of all incentive to exertion. What would this country be without the inventive faculty? Without the patent laws today it would be poor instead of being rich. We owe the cheapness of everything that enters into the production of our daily bread, of everything that we wear, of everything that we use, to the inventive power. Do not strike it down. It is not wise to do so."
The Patent Bill now before the Senate
It is said that a portion, at least, of the Senate Committee on Patents will report adversely on the H.R. bill No. 6.018 -- which aims to deprive patentees of remedy against "the user of any patented article or device that has been purchased for a valuable consideration on the open market" -- but that the measure will, nevertheless, probably pass the Senate under the same pressure which got it through the House. Different opinions seem to be entertained of the working of this measure, should it become a law. To the "Granger" and kindred organizations that have been instrumental in its and kindred origination and passage, and whose political influence it is intended to propitiate, it is supposed to seem the embodiment of legislative wisdom. These worthy citizens who are accustomed to exact the last penny for the usufructs of their special skill or industry may, possibly, not find the provision as plain sailing as they anticipate. For example, even admitting that the clause codicils all previous legislation which it contravenes, can be law be made to operate retrospectively? Can Congress abridge franchises already granted? See 4,884 Revised Statutes. Will then the contemplated statute -- in effect -- create two classes of patents, viz., those granted before and those granted after its passage? Will it or not be held conformable to the constitutional clause which says, "Congress shall have power ... to promote the progress of science and useful arts, by securing for limited times to authors and inventors the EXCLUSIVE RIGHT to their respective writings and discoveries."
For advocates of "the progress of science and useful arts,: whether inventors or not, the occasion seems opportune to memorialize Congress, and if need arise, the Executive, against precipitate action. Fairness and public expediency alike demand that the creators of conveniencies and their representatives be given a hearing in committee.
George H. Knight
Cincinnati, O., June 6, 1882


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What if i'm struggling with pornography use?
Featuring Eric L. Johnson, Lawrence and Charlotte Hoover Professor of Pastoral Care at Southern Seminary
AJWS: In your experience, what factors are involved in a young man's ongoing pornography addiction? What drives him back to it time and time again — despite negative consequences (getting caught, spiritual lifelessness, relational separation, chronic guilt, etc.)?
EJ: We are born in sin and all of us are inclined to live for ourselves. That is the nature of original sin. How that ends up getting manifested distinguishes people. Original sin is expressed through our bodies and through our personalities. It gets organized in our brains and in our personalities based on biology and our social experiences.
The fact of the matter is that men are more likely to engage in pornography use than women, and that's partly because of the way men are wired biologically. That is not an excuse. We are embodied creatures; our sin is embodied — Paul's use of the word flesh is profound on this matter. So, because of the release of testosterone in teenage years and early adulthood, that's actually the time when the drive is the strongest for sexual activity — and of course that's great when you're married and you're going to have kids, but it creates problems when marriage is delayed into the late 20s, as it often is in our day. It becomes an incredible burden.
Now, every exposure to pornography binds the brain and the mind and the imagination to a particular cycle that is powerful — one of the most powerful kinds of cycles that humans have. When you do that repeatedly, it locks it into a kind of sequence that makes it extremely difficult to break out. It becomes an addiction. Again, there is no excuse here — we are responsible before God for the state of our brains as young adults. That's a part of our responsibility before God. But it also creates a level of urgency that we not continue the cycle. Every time a person goes back to the internet and re-engages that cycle, it debilitates them that much more.
Part of the recovery process is to do everything we can to help people prevent another cycle. Pluck out the eye, cut off the hand, throw out the computer. Make it impossible for you to have access. Do whatever you need to do.
AJWS: When you counsel a man struggling with pornography, what does a map toward recovery look like? What process do you lead him through?
EJ: We want to help people develop the optimal amount of contrition, and contrition is a painful emotion. Most conscientious Christians, after they have engaged in pornography use, are going to feel bad. We want to encourage them to learn how to do that in a Christ-centered way, and that means taking it seriously, but it also means not jumping into Doubting Castle and getting beat up by Giant Despair every day. That actually crushes the Christian spirit and it aids Satan in tormenting the believer, saying, "You see, you're outside the pale. You're irredeemable. You can't be a Christian."
I define pornography addiction as regular, ongoing use. It's not good to engage in any pornography use at all, but when addressing the problem, we need to distinguish a one-time fall from somebody who is engaging in that behavior every week.
When dealing with someone who is addicted, we have to help them break the cycle. That is pivotal. Because if a person is in despair, they don't feel like they can even go to Jesus for healing. We have to break the cycle, because when you're in that despair mindset, you can't do the redemptive steps that are necessary to get clean. You feel dirty, you feel unworthy, you feel distant from Jesus, and so there has to be some break there. So as soon as possible, we want to get people to go before the Lord through a sequence of cleansing. That is a process of going before the Lord and engaging in confession — a conscious and verbal acknowledgment that I have sinned.
There should also ideally be a certain amount of contrition, and that means staying in that state for several minutes before the Lord and doing what the Puritans called "loading the conscience," or allowing their sin to weigh on them.
The next step is repentance, and repentance is making a conscious break from the behavior. It is saying: "I have done it, and I disavow that — I do not wish to do it ever again and Lord Jesus, help that to be true of me." Finally, with a Christ-centered model of repentance, we want to help them — before they leave the presence of Lord — to "hear" him say, "Your sins are forgiven, go and sin no more." Then, they experience the washing and cleansing of forgiveness so that they can stand before the Lord, not in the basement of Doubting Castle, but knowing that they are forgiven. It's a miracle every time it happens, but it is a recognition that the Lord has forgiven them and they are making a break with that behavior pattern. The idea long-term is to help them internalize that redemptive process of death and resurrection into the new creation again and again and again to build hope, no matter how many times they fall.
He doesn't give up on his children and he never will. We need to keep going back to him over and over, and that process ends up changing our sense of our identity. The reason why all this is important is because, in Doubting Castle, the addict is actually more likely to go back to pornography. They don't feel consolation with the Lord, so they are going to try and find a sick kind of consolation in their sin. This is so important: We have to help them find true consolation in Christ's forgiveness and love and abiding with the Lord in that state.
AJWS: What is the most important thing a person needs to know, do, or experience in order to overcome a longstanding porn habit?
EJ: I think there are two things. The first is contrition before the Lord. There has to be an acknowledgment of my sin before God, handled in a way that doesn't crush the believer in a sense of failure and hopelessness. Second, I have to know that Jesus will take back the prodigal every time.
I think both those things have to be held in tension. We might say that it's the balance of law and grace together. The challenge is that the person who ends up beating himself up is overwhelmed by law and has lost sight of grace; the person who is too casual about it doesn't allow himself to take the time to hear the Lord say, "It's not okay." You can become too law-centered and you can become too grace-centered, in a strange way. It's always both, and I like to think about it temporally: The Christian life is an ongoing movement from death to resurrection. My job as a counselor is to help people learn how to practice that death-resurrection cycle every time they sin.
The post What if i'm struggling with pornography use? appeared first on Southern Equip.
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Q: A small issue in renormalisation group formalism In the general RG formalism, suppose $\vec{\mu}$ represents a vector in parameter space and $\vec{\mu}^*$ is the fixed point under the transformation $R$. Then for $\vec{\mu}=\vec{\mu}^*+\delta \vec{\mu}$, we have
$$R(\vec{\mu})=R(\vec{\mu}^*+\delta \vec{\mu})=\vec{\mu}^*+R'(\vec{\mu}^*)\delta \vec{\mu}$$
after which the small deviation $\delta \vec{\mu}$ is expanded as a linear combination of the eigenvectors of the matrix $R'(\vec{\mu}^*)$, denoted as $\{\vec{v}_i\}$ with $\{\lambda_i\}$ as the corresponding eigenvalues.
It seems that people normally just assume that the eigenvectors of $R'(\vec{\mu}^*)$ form a complete basis, which is obviously not true in general. Now let's assume that $\{\vec{v}_i\}$ does not form a complete basis, then we would have
$$\delta \vec{\mu}=\sum_i c_i\vec{v}_i+\Delta \vec{\mu}$$
where $\Delta \vec{\mu}=\delta \vec{\mu}-\sum_i c_i\vec{v}_i$ and $\Delta \vec{\mu} \perp \vec{v}_i$ for all $i$. This simply means that $\Delta \vec{\mu}$ is the projection of $\delta \vec{\mu}$ onto the normal of the hyperplane spanned by $\{\vec{v}_i\}$. In this case, the linear transformation from the linearisation obviously keeps $\Delta \vec{\mu}$ invariant. Thus, if $\lambda_i <0$ for all $i$, we will get $\vec{\mu}^* +\Delta \vec{\mu}$ in the end, which effectively seems to be a new shifted fixed point. Indeed, we have
$$R(\vec{\mu}^*+\Delta \vec{\mu})=\vec{\mu}^*+R'(\vec{\mu}^*)\Delta \vec{\mu}=\vec{\mu}^*+\Delta \vec{\mu}$$
Since $|\Delta \vec{\mu}|<<1$, it seems that the two fixed points are very close to each other and in fact they can be made arbitrarily close if the the $\delta \vec{\mu}$ is carefully chosen. This seems to be a quite strange result. Furthermore, along the way we only kept the linear terms of the expansions, whereas I suspect that higher order terms may play a role.
The overall picture seems rather blurred to me. Really appreciate if someone can help clarify.
EDIT: Thanks to @Brightsun, $\Delta \vec{\mu}$ is not necessarily invariant under the action of $R'(\vec{\mu}^*)$ (example given in the comment)

A: The assumption of a full eigensystem is usually made for convenience. But it is not always satisfied. If it is not satisfies one gets additional logarithmic contributions to the scaling laws. This is discussed, e.g., in the paper by Wegner and Riedel.

A: A typical renormalization group flow can be thought of as a smooth vector field $\vec V(\mu)$ defined on parameter space. Starting with parameters $\vec\mu(\ell)$ at scale $\ell$, you obtain parameters at scale $\ell'$ by solving the differential equation $\frac{d\vec\mu}{d\ell}=\vec V(\vec\mu(\ell))$. The function $R$ referred to above can be thought of as the process of solving this equation over some change in length scale.
Fixed points of RG flow (scale-invariant field theories) then correspond to points $\vec \mu^*$ where $\vec V(\vec \mu^*)=\vec 0$.  Assuming $\vec V(\vec \mu)$ is smooth, we can expand near $\vec\mu^*$ (this information we can usually get from field theoretic methods like the $\epsilon$-expansion in the neighborhood of simple `Gaussian' fixed points).
The situation you describe above (where $R(\mu^*+\Delta\mu)=\mu^*+\Delta\mu$ for a continuum of values of $\Delta\mu$) corresponds to the case when the zeros of $V(\mu)$ are not always isolated points, but curves or even hypersurfaces in parameter space.
A trivial example where this happens is if some operator $K$ that is conventionally assigned scaling dimension 0 is rewritten as $K=K_1+K_2$ in an enlarged parameter space. Sometimes there is a physical motivation to enlarge parameter space this way, like when there is an anisotropic crystal with a direction-dependent speed of sound. For example, if anisotropy breaks an $SO(2)$ symmetry to a $\mathbb{Z}_2$ symmetry, the system will behave like an Ising model for a large part of parameter space, behaving like an $SO(2)$ model only for highly ungeneric parameter values.
For intuition about the eigenspaces of $R'(\mu^*)$, it may help to look up graphs of various real RG flows (like in superconductors, or liquid crystals) and see how the flows behave near fixed points.

redpajama_set_name: RedPajamaStackExchange


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The Signature watch collection is where Philip Stein made its mark in "feel good technology." The Signature was the first timepiece to market for the brand to help improve quality of life. It helped Philip Stein make a name for itself. And improve the well-being of countless people! The Signature watch is shaped like the number eight. It features a distinctive dual time zone, and a comfortable strap that can be changed to suit your mood and wardrobe. There are a number of models of Philip Stein Signature watch for men and women. He can choose from a large, chronograph, Swiss large or Swiss chronograph version. She can select from mini, small, Swiss small and large styles. Imagine a watch that looks as good as it makes you feel. Imagine it on your wrist. It is easy to make that dream a reality. Your Philip Stein Signature watch is waiting. You will earn high fashion marks when you wear a Philip Stein Signature watch!


Sultanahmet neighborhood stands out in Istanbul with its numerous beautiful boutique hotels. Sultanahmet has become a favorite spot for tourists thanks to the boom in the tourism sector in the 1980s and a lot of historical mansions have been restored and converted into hotels since then.
Most of the historic structures from the Ottoman Empire date back to the 19th century. The examples of such structures at Sultanahmet are traditional Ottoman houses while European style neo-classical and baroque architecture are the characteristics of Beyoglu district.
In the previous post titled "The Best Hotels in Istanbul Beyoglu", the hotels reflect the cosmopolite way of the 19th century in details. In that post, you can find the best hotels at Karakoy, Galata, Pera, and Taksim neighborhoods.
In this post, we've made a list of the best hotels in Sultanahmet area by taking the reviews on travel websites like TripAdvisor and Booking.com into consideration. We hope this post will help you make a decision if you choose to stay in Sultanahmet area.
Four Seasons Hotel was converted from a building left from the Ottoman era. A movement named the 1st National Architecture Movement began during Ottoman Empire's last years and the characteristics of the above-mentioned movement can be seen clearly at Four Seasons Hotel.
This building is a mixture of the Ottoman and Seljuk architecture. We should also note that the examples of such a style can be frequently come across in the Istanbul Old City.
Four Seasons won a prestigious The Best Hotel of Europe Award in terms of customer satisfaction. The hotel has an amazing garden right in the middle of the square-shaped building, which has the best tones of the green.
You can enjoy your breakfast or brunch in this garden that boasts open and closed areas. In summer, the restaurant on the hotel's terrace also serves its guests.
Considering the beauty of the colors and the architecture of the building, it definitely comes as a surprise to find out this hotel was once a prison. After all Four Seasons is considered as one of the Best Hotels to Stay in Sultanahmet.
Hotel Amira is located nearby Catladikapi Gate that the drivers use to arrive at Sultanahmet via the coast road. Therefore, this is the hotel for the guests who love running in the morning. Moreover, it is a walking distance to Kumkapi which is famous for its fish restaurants.
Hotel Amira attracts attention due to receiving great reviews from its visitors. The hotel has a successful management along with the helpful and kind staff. No wonder why its visitors feel warm and comfortable during their stay at Hotel Amira.
Five minutes walk from Hotel Amira will be enough to reach Arasta Bazaar, the Museum of Great Palace Mosaics and Blue Mosque. It can easily be said that in terms of price/performance, Hotel Amira is one of the best hotels to stay in Sultanahmet area.
Sirkeci Mansion Hotel is just a few steps away from Gulhane Tram Station. You can easily reach Topkapi Palace's gate that opens to Gulhane Park. When you enter this gate, you can walk inside Gulhane Park or visit Istanbul Archeology Museum.
Sirkeci Mansion has been dubbed as one of the best hotels at Sultanahmet for the past 10 years. This is reflected by the fact that the hotel is in the top ranks on any hotel booking websites in terms of customer satisfaction.
Sirkeci Mansion Hotel offers a nostalgic atmosphere with its old Ottoman Mansion look, but it boasts 52 modern rooms.
Neorion Hotel is really close to Sirkeci Tram Station. The hotel is at a very central location in the neighborhood and it's equally close to Eminonu, the way to reach the Old City and Sultanahmet which is surrounded by historical structures.
Although it gives one the feeling that it is trapped in a narrow area, Neorion Hotel stands out among many other hotels in the neighborhood with the features it offers, such as offers such as a swimming pool, sauna, Turkish bath, and library. Neorion is also a beautiful hotel that combines the past and today with a cool design.
Neorion Hotel is also one of the Best Hotels to Stay in Sultanahmet location wise.
When you enter the lobby of Hotel Empress Zoe, you don't realize that it's indeed a secret gem. This hotel is bordered by the ancient ruins of a Turkish Bath House (Ishak Pasha Hamam) from the 15th century and it literally creates a historical atmosphere. Moreover, spending time in its garden feels like having a time travel among architectural ruins.
Hotel Empress Zoe boasts 25 rooms and its rooms are decorated with the fancy images on its walls from Turkish history, furniture, and fabrics. The design of the hotel that reminds its visitors of the Seljuk, Byzantine and Ottoman eras is really enticing for history lovers.
The tourists visiting Istanbul for culture tourism are strongly advised to stay at this hotel and take a travel in history. Additionally, Hotel Empress Zoe is equally praised by the foreign press, which is also a good indicator that proves Hotel Empress Zoe is a smart choice.
White House Hotel is one of the best hotels at Sultanahmet that attracts the biggest attention. The hotel performs incredibly well on platforms like Booking.com and TripAdvisor and it stands out thanks to its friendly staff and service quality. In return for its positive approach, the hotel's visitors show their appreciation via their high points and great reviews.
White House Hotel is only a few minutes' walk away from historical sites like Basilica Cistern and Hagia Sophia. Therefore, you will have a chance to return to your hotel quickly after visiting the historical structures in the neighborhood.
As the hotel is only 5 minutes' walk from Sultanahmet Tram Station, it's really easy to visit Galata Tower, Istiklal Avenue, and Taksim Square too.
Adamar Hotel is a neighbor of White House Hotel that we mentioned above. Thus, Adamar Hotel holds the advantage when it comes to location.
However, Adamar Hotel has a feature that makes it unique among its competitors. The hotel offers a breathtaking 360 degrees panoramic Istanbul view that none of its competitors can match.
Due to being one of the tallest buildings at Sultanahmet, the hotel offers an amazing view on its terrace. On a beautiful spring day, you can have an unforgettable breakfast on Adamar Hotel's terrace or take a coffee break from taking photos of Istanbul.
Adamar Hotel is on Yerebatan Road where Basilica Cistern is located. Although its rooms are a little smaller compared to the other hotels on our list, its' price policy solves this small issue.
Levni Hotel is a neighbor to Istanbul Provincial Hall. The hotel is right in the middle of Cagaloglu Street that connects Sirkeci to Sultanahmet and it is located on a great spot for the tourists who opt for public transport.
As soon as you exit Levni Hotel, you can walk down to Marmaray Station that enables passengers to cross Asian side of Istanbul. Moreover, Sirkeci Tram Station is just 5 minutes walk away from the hotel.
The hotel draws attention with its elegant exterior architecture and as the name suggests, it's also a spa center. Levni Hotel&Spa is no doubt one of the best hotels in Sultanahmet considering the reviews and high scores it receives from its customers.
Sura Hotel is one of the few five-star hotels at Sultanahmet. The hotel boasts 231 rooms and it's literally in the heart of Sultanahmet. Despite being a relatively new hotel, the hotel holds a good position on travel platforms like TripAdvisor.
Sura Hagia Sophia Hotel is only five minutes walk away from the historical structures like Hagia Sophia and Blue Mosque and it's located on Ticarethane Street that is famous for its restaurants.
Hotel Sultania is one of Sultanahmet's relatively new hotels. However, it's already on the list of the best boutique hotels in Sultanahmet thanks to its location and amazing architecture that must have required great dedication and work.
The hotel's design is worthy of the atmosphere in the Istanbul Historic Peninsula and handmade furniture of high craftsmanship quality and functional rooms. The hotel is located at one of Sirkeci's central points. Therefore, it's walking distance to both Eminonu and Sultanahmet.
Yasmak Sultan Hotel is one of the oldest hotels in the Sultanahmet area. Despite its 50 years' of history, the hotel is successful at reflecting a modern hotel concept with its cool design.
The hotel is just two minutes' walk away from Gulhane Tram Station and it's located right in the middle of Sirkeci and Sultanahmet. Yasmak Sultan is in the top ranks of the best 4 star hotels in Sultanahmet.
Hotel Arcadia Blue attracts the attention thanks to being just five minutes walk away from Sultanahmet Tram Station. The hotel is a neighbor to the historical structures like Hippodrome of Constantinople and Blue Mosque. It also offers a majestic view of Istanbul on its terrace.
Despite being one of the oldest hotels in the neighborhood, Hotel Arcadia Blue is a modern hotel that has been restored numerous times. The hotel creates contrast with its modern style in the Istanbul Old City that is under the impact of classical architecture.
Arcadia Hotel is a quite elegant and comfortable hotel and undoubtedly it's one of the most centrally located hotels in Sultanahmet district. Therefore Arcadia is one of the Best Hotels to Stay in Istanbul Old City.


Source: Gen. Tech. Rep. SO-69. New Orleans, LA: U.S. Dept of Agriculture, Forest Service, Southern Forest Experiment Station. 67 p.
van Deusen, Paul C.; [Editor] 1988. Analyses of Great Smoky Mountain Red Spruce Tree Ring Data. Gen. Tech. Rep. SO-69. New Orleans, LA: U.S. Dept of Agriculture, Forest Service, Southern Forest Experiment Station. 67 p.