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Početna Povijest Auschwitz Of ...
Auschwitz Of The Balkans
Was In Serbia, Not Croatia!
7. February 2021.
Serbian Nazi fascists worked closely with German Nazi officials in making Belgrade the first 'Judenfrei' city of Europe by mid-1942. Serbian leader Milan Nedic made an official visit to Adolf Hitler on 19 September 1943, advancing the idea that Serbia is no place for Jews and thanking 'Führer' for his decision to exterminate Jewish people in Europe. And they did – between 90 and 94% of Serbia's Jews were exterminated in various concentration camps across Serbia.
Author: Ina Vukić
Serbia continues playing a victim of WWII killings, it now shows a depraved desire to add Serbs killed in WWII to the Holocaust victim numbers even though it itself implemented the worst possible degree of the Holocaust – a state free of Jews! It mass murdered others during WWII, it perpetrated genocide and ethnic cleansing in 1990's in Croatia and Bosnia and Herzegovina! It still has "friends" around the world that will help it promote lies and half-truths in order to conceal its own crimes against humanity both historical and 20th century ones.
Adolf Hitler demanded of Ante Pavelic of Independent State of Croatia to make Croatia Jew-Free (Judenfrei) – Pavelic rejected and Croatia was never on the Jew-Free path even if it did have racial laws, as did almost every country in Europe then and beyond.
Gideon Greif, the author of the book "Jasenovac – the Auschwitz of the Balkans" commissioned by Serbia's government.
Gideon Greif, the author of the book "Jasenovac – the Auschwitz of the Balkans" evidently commissioned by Serbia's government is just another link to the anti-Croatian propaganda chain coming out of Serbia, spreading around the world like a foul stench of hatred padded with Serbian nationalistic platform of Greater Serbia (examples from recent past of such propaganda include the Serbian exhibition January 2018 in New York 'The Right Not to Forget', then January 2021 the movies 'Dara of Jasenovac'…)
It is yet another notch in the Serbian chain of attempts to include Serbs killed in WWII into the Holocaust numbers, into the very heart of the Holocaust, the extermination of Jews in which, by the way, Serbs participated to the point of achieving a Jew-Free Serbia by mid-1942! Like no other state of former Yugoslavia or indeed Eastern Europe!
Gideon Greif has no problems whatsoever publishing numbers of victims in WWII Jasenovac Camp in Croatia that not only have no foundation in truth, in factual research (he also may belong to those who will call any such research "revisionism" because such research would prove them as liars!), that are exaggerated to ludicrous and physically impossible numbers, that obviously serve only the Serb and communist Yugoslavia agenda, which was to place the blame of the Holocaust in former Yugoslavia upon Croatia so that the Yugoslav communists largely led by Serbs could say they "liberated" Croatia in 1945, even though he holds some positions of a University Professor around the world! Gideon Greif in his decision to call Jasenovac the "Auschwitz of the Balkans" does not concern himself with a thorough comparison of the numbers or percentages of Jews and others who actually perished in Jasenovac with the numbers or percentages of Jews and others who actually perished in the concentration camps of WWII Serbia or, if you like, concentration camps across Yugoslavia. Perhaps because he would have to conclude that Serbia, not Croatia, would take the lead in Jew-Free pursuits and the percentage of native Jews exterminated. Had Greif studied the entire Yugoslavia, without giving the fabricated numbers of victims any importance, he would realise that the "Auschwitz of the Balkans" was actually in Serbia and not Croatia. After all, Serbia with its numerous concentration camps was "proudly" Jew-Free and Croatia was not, nor did it want to be.
In this, Greif constantly refers to the WWII "so-called Independent State of Croatia" to presumably give himself some sort of justification (not that he appears as a person who seeks justification in these matters) for not addressing WWII Yugoslavia as a whole in his writings. However, the fact is that Croatia did declare itself independent in April 1941, but it was not fully internationally recognised as an independent or sovereign state. The reality was that a section of Croatian people fought for Croatian independence during WWII (and did not succeed) and a section of Croatian people, joined by the Serbs, fought to keep Croatia within the Yugoslav federation (and succeeded). Hence, when addressing the Holocaust in Croatia one must also address the Holocaust in Yugoslavia and all its States in order to give the history a deserved place in truth and facts.
Jews rounded up in Belgrade in 1941.
Gideon Greif in this book panders to the Serbian pursuit of depravity whereby the Serbs constantly lie to the world that 500,000, or more, Serbs were murdered in WWII Jasenovac and pursue forcefully pinning Serbs to the Holocaust victims! There is no need to ask for verification or validation of those figures because there are none. None that are based on facts, just political imagination and political pursuits. The numbers of victims published via the Jasenovac Memorial Centre records is that 47627 Serbs perished there and 11,116 Jews perished etc. Nowhere near the numbers Greif is trying to push. Current research at hand and recent research into historical documents is beginning to show much lower numbers of victims at Jasenovac than above and much of that current work should see the light of day in publications within the coming couple of years, I believe.
Gideon Greif tells the world that from the information he received regarding numbers of victims in Jasenovac/Croatia during WWII the numbers climb around 1 million; he says about 800,000 Serbs, about 40,000 Jews…He does not say that the information he received is information from persons who used guesswork, estimates and exaggeration for political reasons, no facts that are verifiable in any objective shape or form for such numbers. He continues to recycle the numbers of Serbs reportedly killed in WWII Croatia, which have absolutely no foundation in facts and truth but have been put out there for decades by Serbs and Yugoslav communists who would put WWII Nazi Joseph Goebbels' and his PR approach to shame: ""tell a lie big enough and keep repeating it, people will eventually come to believe it…".
So, the world and the truth about the Holocaust simply cannot afford to rely on Gideon Greif writings because his writings are selective when it comes to WWII Yugoslavia, use fabricated or estimated numbers of victims and are, therefore, politically charged.
Here is an excerpt of Holocaust survivor truth regarding Serbia and its attempts over past few years to rehabilitate the butcher of Serbian Jews during WWII – Prime Minister of WWII Serbia Milan Nedic.
Yahalom Kashny, 4 September 2010 "As a survivor of the Holocaust, I am increasingly agitated by Serbian revisionist propaganda on the internet.
The crimes of the Croatian Ustashas were terrible, but the Serbian Chetniks also collaborated with German Nazis in World War II. Serbia was a Nazi puppet state in World War II led by Milan Nedic, Serbian fascist collaborator.
The oppression of Jews in Serbia started before the arrival of Hitler's occupying forces. Six months before the Nazi invasion of Yugoslavia, Serbia voluntarily passed the legislation restricting Jewish participation in the economy, education and employment. One year later, on 22 October 1941, anti-Semitic 'Grand Anti-Masonic Exhibit' was funded by Serbia's capital city, Belgrade.
Serbian Nazi fascists worked closely with German Nazi officials in making Belgrade the first "Judenfrei" city of Europe. Serbian leader Milan Nedic made an official visit to Adolf Hitler on 19 September 1943, advancing the idea that Serbia is no place for Jews and thanking 'Führer' for his decision to exterminate our people in Europe.
With Adolf Hitler's blessing, Serbian Nazi collaborators established the Serbian State Guard which comprised of around 20,000 Serb fascists, compared to the the 3,400 German police in Serbia. Their mission was to hunt down and kill Jews, Gypsies and other non-Serbs.
Milan Nedic's second in command was Dimitrije Ljotic. Ljotic founded the Serbian Fascist Party and organized the Serbian SS Volunteers Corps which hunted down and killed Jews, Gypsies and Muslims. Serbian citizens received cash bounties for capturing or killing Jews.
Banjica concentration camp was primarily operated by Serb Nazis who took sadistic pleasure in killing Jews. The camp was created by converting barracks of the Serbian SS 18th infantry division. The funding for this conversion came not from Germans, but from the municipal budget of Belgrade.
Throughout the War, the Serbian Chetnik movement remained almost completely inactive against the occupation forces, and increasingly collaborated with the Axis, losing its international recognition as the Yugoslav resistance force.
On 20 December 1941, the Serbian Chetnik army supreme commander, Draza Mihailovic, issued the 'instructions' to his units, outlining his mission to create ethnically pure Serbia and commit genocide against the non-Serbs, particularly Bosnian Muslims who in large numbers joined anti-fascist Partisans. According to Mihailovic's instructions, Chetnik army's objective is:
'The creation of Greater Yugoslavia, and within it Greater Serbia, ethnically clean within the borders of Serbia, Montenegro, Bosnia and Herzegovina, Srem, Banat, and Bačka; The cleansing of all national minorities [including Jews] and anti-state elements from state territory; The creation of direct common borders between Serbia and Montenegro, as well as Serbia and Slovenia by cleansing the Bosniak population from Sandžak, and the Bosniak [Bosnian Muslim] and Croat populations from Bosnia and Herzegovina; 7.The settlement of the areas cleansed of national minorities and anti-state elements by Serbs and Montenegrins (to be considered are poor, nationally patriotic, and honest families).'
Operation Halyard has often been cited as 'evidence' of the Chetniks' continuing strong pro-Allied sympathies for rescuing as many as 500 downed Allied airmen. However, they did so because they were paid in gold for each rescue. Partisans and Ustashas also rescued Allied airmen, and they were also paid in gold. Having lost all Allied support to the Partisans (along with the recognition of the King Peter II), and with the Axis defeat in Europe a certainty, Serbian Nazi collaborator Draza Mihailović went to great lengths to regain Allied support and to portray himself in a favourable light. However, the Allies were aware that Mihailović's troops were rescuing German and Ustaše aviators from the Partisans (as indicated in a Nedić government report of February 1944) and, on other occasions, even hunted down Allied aviators on behalf of the Axis occupation.
Serbian collaborationist forces during this period, sanctioned by the Serbian fascist government, also included the ZBOR party and Serbian Volunteer Corps led by Dimitrije Ljotić and the rogue Chetnik faction of Kosta Pećanac. Serbian Gestapo, officially known as the 1st Belgrade Special Combat detachment, was a special Serbian SS police unit which was established in World War II Serbia.
It was only after the withdrawal of the Germans and the overthrow of the Nedic regime in October 1944 that the Serbs in Serbia began to join the anti-fascist Partisans in large numbers. These new Partisans included tens of thousands of former Serbian Nazi collaborators responding to Tito's promises of amnesty…
Instead of poisoning the internet with half-truths and outright lies, it is time for Serbia and the Serbs to face reality and acknowledge they collaborated with Nazis and committed a genocide over Jewish and Bosnian Muslim population in World War II. May your God forgive you, but Jewish people won't."
Haris Deutsch, a member of the Jewish Community of Belgrade said in October 2016 that the organisation would call witnesses to testify about Nedic's active participation in the Holocaust at the ongoing rehabilitation hearings.
"About 90 percent of the Jewish population in Serbia was murdered while Nedic was in power and Belgrade was the first city in Europe to be declared free of Jews.
Rehabilitation would represent a devaluation of indisputable historical facts, and an insult to all the victims and survivors of the Holocaust," Deutsch said.
Serbia and Yugoslav communists have been lying to the world since 1945 regarding the true facts of victims in WWII in Croatia and Serbia, ensuring that Croatia gets the bulk of the blame as a matter of their official "state" position. And they fabricated numbers of victims in Croatia to the level that would surely shock the world! Today, Croatia is experiencing an appalling lack of political and government will that would correct these wrongs perpetrated against WWII Croatia, against Croatian people. That sad reality is because former Yugoslav communists, former 1990's Serb aggressor against Croatia sympathisers, are in positions of power and government. And then Croatia has some loud Jews such as Ognjen Kraus, president of Jewish community Zagreb, a former communist and today's mental communist, who appears to be a special breed of Jew (perhaps even a pretend Jew), something like Greif – don't touch Yugoslavia/Serbia just bash against Croatia! Perhaps Kraus is on this bandwagon because his father Bozidar Ivo was a communist Yugoslavia state prosecutor who took part in the persecution and false, trumped-up charges against Blessed Cardinal Alojzije Stepinac as Nazi-collaborator!? It suits their political agenda of defending the murderous communist Yugoslavia and Serbia not to address WWII Yugoslavia as a whole but just focus on Croatia and keep churning scandalous lies and wild estimates rather than factual numbers of victims. To see that Gideon Greif is evidently tugging this line of deceit with them, just as Efraim Zuroff of the Simon Wiesenthal Center does, is quite an eye-opener and, I trust, a motivational boost for those who seek and demand the truth via research of historical facts.
Photo: Members of the Waffen SS Division Prinz Eugen posing for a photo with the Serbian army soldiers known as Chetniks during WWII in Serbia.
Source: inavukic.com
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Wall FurnitureNicholas Penny
Nicholas Penny on Dickens and anti-art
The earliest published image of the Greek Revival building by William Wilkins which stretches across the north side of Trafalgar Square is an engraving that shows it under construction in 1836, with the dignity of its architecture masked (as it so often is today) by hoardings covered with noisy advertising. In front of them some violent encounters of the sort familiar to Mr Jingle and Oliver Twist are being enacted. The print implies that cultural institutions, especially the new National Gallery, are detached from the sordid realities of urban life.
The Royal Academy moved into the east wing of Wilkins's building in 1837 while the National Gallery occupied the west, opening to the public on 5 April 1838. In the same month the first instalment of Nicholas Nickleby, Dickens's third novel, was published. Together with most of London's fashionable society, Dickens visited the Royal Academy's summer exhibitions in order to see 'those beautiful shiny portraits of gentlemen in black velvet waistcoats, with their fists doubled up on round tables, or marble slabs … and all the ladies who are playing with little parasols, or little dogs, or little children', in the words of Miss La Creevy in his novel. In 1839 he was able to admire his own glamorous portrait by Daniel Maclise, which was engraved for use as the frontispiece of Nicholas Nickleby when it appeared as a book in October that year. But there is no evidence that Dickens ever turned left on entering the portico and strolled around the National Gallery.
He would have known that as wall furniture in fashionable houses Old Master paintings were almost as popular as silk hangings and looking-glasses. The parody of high society romance that Kate Nickleby is obliged to read to the languid Mrs Witterly mentions Lady Flabella's 'mouchoir of finest cambric, edged with richest lace, and emblazoned at the four corners with the Flabella crest', the 'golden salver' on which she receives a billet-doux and the 'silken damask, the hue of Italy's firmament' concealing the door of her ladyship's boudoir – but no pictures. Thackeray's hyperbolic list in 'Codlingsby', his deadly parody of Disraeli's Coningsby, would have been quite appropriate here: 'Giorgione the gorgeous, Titian the golden, Rubens the ruddy and pulpy (the Pan of painting), some of Murillo's beautiful shepherdesses, who smile on you out of darkness like a star, a few score first-class Leonardos.'
By 1847, when Thackeray's parody appeared in Punch, Dickens had been to Italy and knew something of these artists. Pictures from Italy, which appeared in 1846, is impatient with the pretensions of connoisseurship and the mindless reverence of guidebooks but Dickens was impressed by certain masterpieces – notably Titian's Assunta, then in the Accademia in Venice, and Tintoretto's Paradiso, in the Doge's Palace – and expressed conventional dismay before Correggio's 'heaps of foreshortened limbs, entangled and involved and jumbled together' in the ceiling paintings in Parma. But no mention is made of the paintings by these artists that could be seen in Trafalgar Square, not even Titian's Bacchus and Ariadne, Correggio's Madonna of the Basket or Tintoretto's St George and the Dragon, which were among the National Gallery's most remarkable recent acquisitions.
Dickens was certainly familiar with the paintings of Charles Eastlake, the keeper of the National Gallery between 1843 and 1847. Eastlake was the leading British painter of fierce brigands and distressed contadine – the latter more convincing than the former – and had sent many examples to London during his long residence in Rome. Dickens recognised the artist's models loitering on the Spanish Steps: 'The man in a brown cloak, who leans against a wall, with his arms folded in his mantle, and looks out of the corners of his eyes: which are just visible beneath his broad slouched hat. This is the assassin model.'
In August 1845, soon after his return to London, Dickens was persuaded to publish in the Shilling Magazine a puff for the Spirit of Chivalry, a cartoon for a fresco to be painted in the House of Lords that his friend Maclise was exhibiting. The subject was congenial to Maclise, who had been seduced by the medievalising of his friends and patrons in the Young England movement. As the creator of Sir Mulberry Hawk and Lord Frederick Verisopht, not to mention the Lady Flabella, Dickens must have had to swallow hard before praising this hymn to nobility. The next time Dickens tried his hand at art criticism was nearly five years later, on 15 June 1850, when he published a violent invective against the Pre-Raphaelites in his new twopenny weekly, Household Words. These two deplorable efforts, the former forgotten, the latter cited by everyone who writes about British art in this period, make it clear that Dickens had no knowledge of the growing appreciation of medieval or early Renaissance art across Europe, a precondition both for Maclise's fresco and for the innovations of Millais and his friends. Dickens had failed to notice the exponents of Purismo in Italy or the work of the Nazarenes in Rome. More significantly, he had no idea of the influence exercised by two notable National Gallery acquisitions: Van Eyck's Arnolfini Portrait, purchased in 1842 (displayed 1843), and the outer panels of Lorenzo Monaco's Coronation of the Virgin, donated (as by Taddeo Gaddi) in 1848. The Van Eyck inspired the exhausting detail of Pre-Raphaelite painting and the Monaco the archaic stiffness which so offended the bland ideal of beauty and the decorous sentiment to which Dickens was attached.
Art reviews weren't a major feature of Household Words, but on 13 September 1856 the leading contribution was an anonymous article written by Dickens's friend Wilkie Collins and entitled 'To think, or be thought for'. The pretext for the piece was a controversy in the correspondence columns of the Times concerning a picture by 'the old Venetian painter Bellini' recently acquired for the National Gallery. The collector and connoisseur William Coningham (the donor of the panels by Lorenzo Monaco) claimed that the picture had been so 'daubed over' as to be worthless, whereas Gustav Waagen, director of the Berlin picture gallery and a friend of Eastlake (now the National Gallery's director), defended it as an excellent example of Bellini's work.
'Surely the bewildered visitor,' Collins wrote, 'standing opposite the Bellini with Doctor Waagen on his right hand begging him to admire it, and Mr Coningham on his left entreating him to despise it, must end, in mere self-defence, in shaking both the critical gentlemen off, and judging for himself, not of the Bellini only, but of every other picture in the collection as well.' There is a deliberate confusion between the assessment of the condition and authorship of a picture, which are obviously a matter for experts, and the assessment of its artistic success, which is reduced here to knowing what one likes. The common man, having thrown off the English connoisseur and the German doctor, is then invited to Rome in order to join the author in questioning the merits of the 'confusion of naked knotty-bodied figures, sprawling up or tumbling down' the walls of the Sistine Chapel.
Collins is especially offended by the idea of a sublime style as expounded by Joshua Reynolds, for whom Michelangelo's figures represented a 'superior order of being'. Instead he redefines the classic as the enduringly popular, that which can always be depended on to 'fill the pit and gallery' – not Milton or Poussin, but 'the tragedy of Hamlet' and 'the Don Giovanni of Mozart'. His polemic concludes with an indignant glance at 'authority standing drearily and persistently aloof from all popular sympathy' – presumably a reference to Eastlake's superior manner – when it purchases pictures 'for the National Gallery of England, for which, in nine cases out of ten, the nation has no concern or care'.
Such an extreme attack, not only on the National Gallery's acquisitions but on the idea of authority in matters of taste, requires an explanation. It owed nothing to Collins's father, the painter William Collins. Judging by the pious memoirs published in 1848 by his son, the father was an 'uncompromising' supporter of the 'high station' assigned to the Old Masters, and felt that the Royal Academy needed to learn from the National Gallery. Presumably, then, the explanation is that Collins knew Dickens would like an article that repeated more loudly his own disappointment before the Last Judgment, his disdain for connoisseurs trembling with excitement over 'minute details of expression', and his conviction that it was wrong to admire 'deviations from ordinary proportions in the body or natural expression … in spite of high critical advice'. Above all, Collins may well have been transferring to another art form his own indignation that many considered the novel merely a form of popular entertainment rather than great literature.
Collins's aversion to connoisseurs and collectors found expression again four years later in The Woman in White, which Dickens published in All the Year Round, the successor to Household Words. Frederick Fairlie Esquire, of Limmeridge House, expects his Swiss valet to prevent daylight or family members disturbing his selfish, valetudinarian seclusion: 'I was reclining, in my usual state, surrounded by the various objects of art which I have collected about me to improve the taste of the barbarous people in my neighbourhood. That is to say, I had the photographs of my pictures, and prints, and coins and so forth, all about me.' Fairlie means to donate these photographs to the 'Institution at Carlisle', although for Collins such philanthropy was merely an act of vanity and condescension which did nothing to redeem the repellent practice of hoarding – and fondling in private – old prints and coins and paintings.
The volumes of All the Year Round that contained The Woman in White also held a series of sprightly satirical pieces by 'Our Eye Witness', the pseudonym of Collins's younger brother, Charles Allston Collins, who had previously enjoyed some success as a Pre-Raphaelite painter. When these articles appeared he was engaged to Dickens's daughter Kate, whom he married in July 1860. Dickens wasn't happy about the marriage, although he did think highly of the pieces. The younger Collins, having ridiculed London's public statues, especially those in Trafalgar Square, including the 'inconceivably foolish' column for Nelson, turned his attention to the National Gallery. Perplexed by its huge popularity with the uneducated, he facetiously suggested that an irresistible force of suction drew whole families, 'children, babies and all, from distances even as remote as Hoxton or Camberwell'. He even noticed a 'weary old labourer in a white smock frock who must have come from Kingston or Watford'.
The great altarpiece of The Martyrdom of Saint Sebastian by Antonio and Piero del Pollaiuolo had recently arrived in the gallery and Collins claims to have heard 'a charwoman and her little girl, the child asking who was St Sebastian, and the charwoman replying that she didn't know'. He also met a man in a 'greasy coat and cap' directing his friend's attention to a Dutch painting of a girl scraping parsnips (the fine painting by Nicolaes Maes): 'This here, George, is a picture of a old woman mending a pen.' What did Dickens think of this? He was in favour of the poor being allowed into parks and museums on Sundays and, in his puff for Maclise's Spirit of Chivalry, had claimed that he had seen 'ignorant, unlettered, drudging men, mere hewers and drawers' marvelling at its beauty – although the adoption of biblical language, then as now, betrays a false claim. In Pictures from Italy he describes a party 'brought over from London, fifteen or twenty strong, by contract' (an early example of the package holiday), which includes a Mr Davies, who, tracing ancient Roman inscriptions with the ferrule of his umbrella, says 'with intense thoughtfulness: "Here's a B you see, and there's a R, and this is the way we goes on in."' This is the sort of humour in which Punch specialised, which enabled the half-educated or half-cultivated to feel superior to the uneducated or uncultivated, but also, often enough, to half-sympathise with them.
For the most part the Eye Witness's account of the National Gallery takes the form of an imaginary tribunal presided over by Professor Waghorn (obviously intended to be taken for Gustav Waagen, who was so closely associated with Eastlake) and the ghost of Sir George Beaumont. Beaumont (who had been a generous patron of Collins's father, as he must have known) stands for the taste of the connoisseurs who first supported the gallery and whose influence was responsible for the acquisition in the 1840s of a 'Susanna assaulted by two mahogany elders' and other specimens of the Bolognese School. Waghorn, meanwhile, is held responsible for filling the gallery with specimens, as if it were a natural history museum. According to Collins, such specimens include most paintings made before 1500, hardly any of which he thinks of any value. He had, however, 'that very morning, in walking down St James's Street, seen a pair of photographs from two pictures by a living French painter which gave him greater pleasure than nine-tenths of the works of the Old Masters'. The photographs, one depicting gladiators and the other the assassination of Caesar, must have been of popular paintings by Gérôme – they were published by the great art dealer Goupil. Dickens may have shared Collins's enthusiasm for them, but perhaps of more significance than the paintings Dickens liked or owned is the attitude towards the visual arts that can be detected in his novels.
Mr Carker in Dombey and Son is a keen observer of beauty, and his urge to possess it is an urge to humiliate and destroy.
He turned the white-legged horse round the street corner, and sought one shining window from among those at the back of the house. Associated with it was a certain stately presence, a gloved hand, the remembrance how the feathers of a beautiful bird's wing had been showered down upon the floor, and how the light white down upon a robe had stirred and rustled, as in the rising of a distant storm. These were the things he carried with him as he turned away again, and rode through the darkening and deserted parks at a quick rate.
He is no idle dilettante, like Eugene Wrayburn in Our Mutual Friend, who is possessed by a similarly destructive obsession, but as industrious as Dickens. Carker is riding through the 'darkening and deserted parks' to his villa in the 'green and wooded country near Norwood', a house with 'no pretensions as to size … beautifully arranged and tastefully kept … a house of refinement and luxury'. A long, slow, silent tracking shot begins with the smooth slopes of the lawn, 'the graceful forms of ash and willow', the conservatory and the rustic veranda, then takes us inside, noting the rich colours of walls and carpets, the 'choice prints and pictures too; in quaint nooks and recesses there is no want of books; and there are games of skill and chance set forth on tables – fantastic chessmen, dice, backgammon, cards and billiards.' We should here imagine those laboriously intricate white and pink-stained ivory chess pieces imported to Britain from India in the first decades of the 19th century:
And yet amidst this opulence of comfort, there is something in the general air that is not well. Is it that the carpets and the cushions are too soft and noiseless, so that those who move or repose among them seem to act by stealth? Is it that the prints and pictures do not commemorate great thoughts or deeds, or render nature in the poetry of landscape, hall, or hut, but are of one voluptuous cast – mere shows of form and colour – and no more? Is it that the books have all their gold outside, and that the titles of the greater part qualify them to be companions of the prints and pictures? Is it that the completeness and the beauty of the place are here and there belied by an affectation of humility, in some unimportant and inexpensive regard, which is as false as the face of the too truly painted portrait hanging yonder, or its original at breakfast in his easy chair below it? Or is it that, with the daily breath of that original and master of all here, there issues forth some subtle portion of himself, which gives a vague expression of himself to everything about him?
It is Mr Carker the Manager who sits in the easy chair. A gaudy parrot in a burnished cage upon the table tears at the wires with her beak, and goes walking, upside down, in its dome-top, shaking her house and screeching; but Mr Carker is indifferent to the bird, and looks with a musing smile at a picture on the opposite wall.
'A most extraordinary accidental likeness, certainly,' says he.
Perhaps it is a Juno; perhaps a Potiphar's Wife; perhaps some scornful Nymph – according as the picture dealers found the market, when they christened it. It is the figure of a woman, supremely handsome, who, turning away, but with her face addressed to the spectator, flashes her proud glance upon him.
It is like Edith.
With a passing gesture of his hand at the picture – what! a menace? No; yet something like it. A wave as of triumph? No; yet more like that. An insolent salute wafted from his lips? No; yet like that too – he resumes his breakfast, and calls to the chafing and imprisoned bird, who coming down into a pendant gilded hoop within the cage, like a great wedding-ring, swings in it, for his delight.
No dwelling place in any novel by Dickens is so emphatically a work of art. Yet it is also the den of an anatomist and voluptuary who, whether 'dissecting' office accounts late at night or relishing the recollection of female haberdashery, is an enemy of the human heart. We are to link good taste with 'canker', 'carcass' and 'incarceration'. It is not hard to imagine the paintings of a 'voluptuous cast' – William Etty's female nudes in rich Venetian settings come most easily to mind. Dickens's attachment to popular melodrama and his increasing interest in complex poetic meaning are both clear in this passage. The use of the portrait as a surrogate (and prospective) trophy is familiar to us from fairy stories and horror films. But Dickens also expects his readers to know the absurd variety of titles assigned to pictures by dealers and auctioneers, as well as something he must have noticed in Italian palaces: similar paintings of women could be portraits, historical figures or allegories, or even a combination – a portrait of a woman as Cleopatra, say, or as a saint, or as a virtue. The three identities here – Juno, Potiphar's wife and a nymph – correspond to the socially exalted generally, Carker's employer's wife, and a woman who disdains his advances. Parrots had been a common enough prop in female portraiture for several centuries and were still in favour (Maclise exhibited a portrait of a woman with a parrot at the Royal Academy in 1844). But here woman and parrot are separate and parallel: one in a cage; the other an effigy in captivity. Carker's brief soliloquy is about as subtle as the subtitles which spell out the villain's thoughts in a silent film, but the ominous and metaphorical status accorded the gilded hoop more than makes up for that crude redundancy.
Bleak House describes the London house of 'Sir Leicester Dedlock, Baronet'. It is as comfortable within as it is dreary – that is, plain and Georgian – without:
As warm and bright as so much state may be, as delicately redolent of pleasant scents that bear no trace of winter as hothouse flowers can make it; soft and hushed, so that the ticking of the clocks and the crisp burning of the fires alone disturb the stillness in the rooms; it seems to wrap those chilled bones of Sir Leicester's in rainbow-coloured wool. And Sir Leicester is glad to repose in dignified contentment before the great fire in the library, condescendingly perusing the backs of his books, or honouring the fine arts with a glance of approbation. For he has his pictures, ancient and modern. Some, of the Fancy Ball School in which Art occasionally condescends to become a master, which would be best catalogued like the miscellaneous articles in a sale. As, 'Three high-backed chairs, a table and cover, long-necked bottle (containing wine), one flask, one Spanish female's costume, three-quarter face portrait of Miss Jogg the model, and a suit of armour containing Don Quixote.' Or, 'One stone terrace (cracked), one gondola in distance, one Venetian senator's dress complete, richly embroidered white satin costume with profile portrait of Miss Jogg the model, one Scimitar superbly mounted in gold with jewelled handle, elaborate Moorish dress (very rare), and Othello.'
Mr Tulkinghorn comes and goes pretty often; there being estate business to do, leases to be renewed, and so on. He sees my Lady pretty often, too; and he and she are as composed, and as indifferent, and take as little heed of one another, as ever. Yet it may be that my Lady fears this Mr Tulkinghorn, and that he knows it. It may be that he pursues her doggedly and steadily, with no touch of compunction, remorse, or pity. It may be that her beauty, and all the state and brilliancy surrounding her, only gives him the greater zest for what he is set upon, and makes him the more inflexible in it. Whether he be cold and cruel, whether immovable in what he has made his duty, whether absorbed in love of power, whether determined to have nothing hidden from him in ground where he has burrowed among secrets all his life, whether he in his heart despises the splendour of which he is a distant beam, whether he is always treasuring up slights and offences in the affability of his gorgeous clients – whether he be any of this, or all of this, it may be that my Lady had better have five thousand pairs of fashionable eyes upon her, in distrustful vigilance, than the two eyes of this rusty lawyer with his wisp of neckcloth and his dull black breeches tied with ribbons at the knees.
The description of Sir Leicester's paintings may seem like a gratuitous diversion, and one wonders how well it was received by Dickens's friends – by Maclise, for example, who would soon paint Othello and Desdemona, and especially by Charles Robert Leslie (who had supplied the frontispiece for a cheap edition of The Pickwick Papers in 1847). Leslie had on several occasions taken subjects from Cervantes (one example had found its way into the National Gallery). But the subjects of the paintings (like those of the paintings within Hogarth's paintings) have been carefully selected: Sir Leicester is a man of antiquated ideals, a Don Quixote of sorts, and blind, as Othello was blind, to the fact that his subordinate is working to destroy his marriage.
Dickens slows down the narrative pace of the passage by enumerating the comforts accessible to Sir Leicester, before moving rapidly elsewhere in the house and tracing his lawyer, Mr Tulkinghorn, the villain of a real modern tragedy, whose attire – 'dull black breeches tied with ribbons at the knees' – is misleadingly old-fashioned. The author's urgent, repetitive probing of Tulkinghorn's motives contrasts sharply with the superficial priorities of the painters. He punctures their pretensions by describing their work mainly in terms of the props that littered their studios, and by suggesting that paintings themselves are furniture – wall ornaments for the affluent – which, like finely bound books, can be contemplated with complacency. And of course it is true that paintings, even great paintings, are made with a consumer like Sir Leicester in mind. The pleasures they provide are less consistently exalted than those available from poetry or music, which cannot be possessed.
Bleak House itself, home of the virtuous Mr Jarndyce, is described in the words of his ward, Esther Summerson, with laborious syntax mimicking her first exploration of it:
It was one of those delightfully irregular houses where you go up and down steps out of one room into another, and where you come upon more rooms when you think you have seen all there are, and where there is a bountiful provision of little halls and passages, and where you find still older cottage rooms in unexpected places, with lattice windows and green growth pressing through them. Mine, which we entered first, was of this kind, with an up-and-down roof, that had more corners in it than I ever counted afterwards, and a chimney (there was a wood fire on the hearth) paved all around with pure white tiles, in every one of which a bright miniature of the fire was blazing. Out of this room, you went down two steps, into a charming little sitting-room, looking down upon a flower-garden, which room was henceforth to belong to Ada and me. Out of this you went up three steps, into Ada's bedroom, which had a fine broad window, commanding a beautiful view (we saw a great expanse of darkness lying underneath the stars), to which there was a hollow window-seat, in which, with a spring-lock, three dear Adas might have been lost at once. Out of this room, you passed into a little gallery, with which the other best rooms (only two) communicated, and so, by a little staircase of shallow steps, with a number of corner stairs in it, considering its length, down into the hall. But if, instead of going out at Ada's door; you came back into my room, and went out at the door by which you had entered it, and turned up a few crooked steps that branched off in an unexpected manner from the stairs, you lost yourself in passages, with mangles in them, and three-cornered tables, and a Native-Hindoo chair, which was also a sofa, a box, and a bedstead, and looked, in every form, something between a bamboo skeleton and a great bird-cage, and had been brought from India nobody knew by whom or when.
Scale, distance and time are almost as confused here as in Alice in Wonderland: the window seat which might swallow a girl, the puzzling exotic object stranded among the mangles, the multiplied miniature reflections of a fire, the great expanse of starlit sky. As for the art:
Our sitting-room was green; and had, framed and glazed, upon the walls, numbers of surprising and surprised birds, staring out of pictures at a real trout in a case, as brown and shining as if it had been served with gravy; at the death of Captain Cook; and at the whole process of preparing tea in China, as depicted by Chinese artists. In my room there were oval engravings of the months – ladies haymaking in short waists, and large hats tied under the chin, for June – smooth-legged noblemen, pointing, with cocked-hats, to village steeples, for October. Half-length portraits, in crayons, abounded all through the house; but were so dispersed that I found the brother of a youthful officer of mine in the china-closet, and the grey old age of my pretty young bride, with a flower in her bodice, in the breakfast room. As substitutes, I had four angels, of Queen Anne's reign, taking a complacent gentleman to heaven, in festoons, with some difficulty; and a composition in needle-work, representing fruit, a kettle, and an alphabet.
Dickens delighted in incongruous medleys of objects of the sort that might be found in salerooms or antique shops, as well as in the often banal if poignant décor of the fairly recent past (the home of Mrs Whimple in Great Expectations is an example, and Captain Cook can be found dying there too). This passage gives a plausible inventory of relics of 'olden times' mingled with the cast-offs of the previous generation or so, which would have been found in a country house.
Half a century later prints of pastoral subjects after Stubbs and pastel portraits by John Russell became collectors' items, as did, soon after, quaint 17th-century samplers and, in due course, Chinese paintings made for export. The 'surprising and surprised birds' may even have been plates by Audubon, whose work was then regarded primarily as providing a record of natural history, like the stuffed fish, although that was also a trophy. What is important to notice is that the charitable, lovable and emphatically chaste Mr Jarndyce, who sleeps in a very simple bedroom with the window open all the year round (and a cold bath at the ready), owns no art which has a strong aesthetic appeal, but possesses only charming, quaint, curious things, acquired by others and retained out of family sentiment or genial indifference.
Bella Rokesmith, towards the end of Our Mutual Friend, is taken by her husband to the magically transformed Boffin mansion where she finds the whole staircase 'tastefully ornamented' with flowers and then enters an indoor garden with an aviary full of exotic birds 'more gorgeous in colour than the flowers'. There are also 'gold and silver fish, and mosses, and water lilies and a fountain'. When Our Mutual Friend was published, between 1864 and 1865, textile patterns were highly horticultural; ferns, real and carved and cast, proliferated inside as well as outside; and glass domes protecting stuffed hummingbirds had become popular. It's striking that no work of art is mentioned in this passage, except an ivory jewel casket. Eventually, Bella reaches the nursery. The original illustration by Marcus Stone of this sacred place shows a Parian Ware statuette reclining on a slender rococo chimneypiece with an exotic landscape behind it. But the text merely describes the nursery as 'garnished as with rainbows' – the focus is softened so that this too seems like nature rather than art. In the novels of Dickens, the fine arts, including contemporary painting, are associated with heartless sensuality or complacent affluence, and nature alone is worthy of supplying a setting for virtue.
Nicholas Penny
Nicholas Penny is a former director of the National Gallery.
Leave me my illusions: Antiquarianism
Chattering Stony Names: Painting in Marble
At Saint-Germain-des-Prés: Flandrin's Murals
More by Nicholas Penny

redpajama_set_name: RedPajamaCommonCrawl


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Q: WPF: ArrangeOverride in Customized StackPanel I want to make a custom Panel to (amongst other things) insert spacing between all children. To inherit from Panel seemed very complicated and perhaps unnecessary. What I want is close to StackPanel so I figured I could inherit from StackPanel and modify the ArrangeOverride and MeasureOverride to get what I want.
I got the implementation of these from Reflector but immediately noticed that one property was not accessible at all from a inherited class, namely IsScrolling (and the field _scrollData). My question is if I can skip this or if there is any other way of implementing identical behaviour? Im not sure I will need scrolling for this custom panel but I may do some day and I dont want to paint myself into a corner...

A: if all you want is just that all elements inside a container would automatically contain margin definitions, you're much better off just creating a custom behavior that implements that functionality.
to create a custom behavior, just implement Behavior<Panel>. It's rather self-explanatory, but if you don't know how then ask.

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#376 readplays, Nov 5, 2018
Timmmmmmmmmmy said: ↑
#25 is suspect is 3589GT
For sure. Complete with Rosebud Racing Team logo on the side.
mcimino likes this.
Ed Niles Formula 3
West Hills, CA
Edwin K. Niles
#377 Ed Niles, Nov 6, 2018
Re: GTO v. LM. The LM is extremely hot, very noisy, and has a gearbox that's hard to master. My buyer of 5909, Sonny Bono, destroyed the gearbox inside of a month. The GTO,imho, is considerably more pleasant to drive. Just my 2c.
of2worlds, 375+, Caeruleus11 and 1 other person like this.
DWR46 Formula 3
#378 DWR46, Nov 6, 2018
Ed is exactly correct. The LM is very much pure race car, considerably quicker than the GTO (8 seconds at Laguna Seca), much less comfortable, and more difficult to live with. The GTO is one of those rare cars that is everything it is "cracked up" to be. GTO's make any driver look great, easy to drive in all conditions, no problems with controls, never surprise you. I have been lucky enough to spend lots of time in both on public roads over the years. VERY DIFFERENT cars.
of2worlds, Lusso123 and 375+ like this.
cheesey2 Rookie
Ivars Blumenau
#379 cheesey2, Nov 16, 2018
letting someone take photos of your car can be dangerous to its' health and security
digital photos may contain GPS coordinates ( if not disabled )…. if posted to the internet... allowing anyone in the world to look up the exact location of the car at the time the photo was taken... especially anyone looking for anything of value to steal
#380 Ed Niles, Nov 20, 2018
That's why God made insurance.
cheesey2 said: ↑
NürScud and Timmmmmmmmmmy like this.
NürScud F1 Veteran
#381 NürScud, Nov 21, 2018
Believe me, someone who can afford to own a 250 GTO for example, he has the correct security measures!
it 's amazing how compliant security measures become when a gun is held to their head... keys are found quickly and doors opened... notification of authorities slow... once gone recovery can become almost non existant… settlements absurdly out of line with values... location may also contain things of value other than what is in photo... photo has the potential identifying location a high value target
GHG Formula 3
#383 GHG, Nov 22, 2018
Curious as to which one this is...
NürScud likes this.
Timmmmmmmmmmy Formula 3
Timothy Russell
#384 Timmmmmmmmmmy, Nov 23, 2018
A car such as a GTO has maybe 50 potential buyers worldwide and anything less than 100% usable will only be of interest to someone without the billion dollar nett worth required to buy one. Much better business would be stealing a few dozen modern Lambo's and Ferrari's, they are much easier to pass off since the individual cars are nowhere near as well known. The last few stolen classic Fezza's have been limited to a 500TRC that is currently before the German courts and the 375 Plus that Jacques Swaters tried to pass off with a fake chassis number, otherwise I can't think of too many and that is likely because they are simply too well known and thus impossible to sell. Now another illegal business would be to fake some of the missing classic cars and pass them off but I digress, there is little money in stealing anything that well known, would be like stealing the Mona Lisa, sure as hell wouldn't ever be able to sell it. Just my 2 cents.
Daytonafan F1 Rookie
Surrey, England
#385 Daytonafan, Nov 23, 2018
While I think Cheesy2's concerns about internet photogrpahy are slighty overstated - I certainly don't put geo tags on any pictures I post of my car unless it's somewhere that I have been and and am not likely to go back to in the near future, I think there is a still a risk in the theft of classic Ferraris. Yes they are difficult to move on but there is still the possibility of them being stolen and then then a ransom demanded from the owner for their return? The recent case of the chopped roof, osterich interior Gullwing bewing stolen in Germany shows that rare/ unique cars are being stolen. No idea if it was recovered although the owner put up a significant reward for it's recovery.
Daytonafan said: ↑
That is all fair enough, I was making my comments in light of it being a GTO thread AND pondering the fact we know were most of the worlds great artifacts are, they are on long term display at x,y and z museum. As one moves up the value chain and something becomes rarer it must make it harder to sell or even have in your possession without raising Interpol flags whereas 1300 300SLs were made and a creative crook would just keep changing the vin they were claiming until some sucker buys it. Same could be said of a common Picasso drawing or even a dowdy Monet but the minute you get into the truly rare say a Monet Waterlillies or Pont a Neuf or a GTO, any expert worth the label would have you on a one way ride to jail the minute the crook tries to get his or her pay day. That said there is a lucrative trade in nearly new blingy stolen cars, Gallardos, 458s et al esp. in parts of Eastern Europe but the truly sharp end of collectibles are just impossible to move so most criminals avoid.
Terra Formula 3
#387 Terra, Nov 24, 2018
The last few stolen classic Fezza's have been limited to a 500TRC that is currently before the German courts
500 TR, not TRC.
Timmmmmmmmmmy likes this.
tell that to the owner of 330 LMB 4619sa...stolen nearly 50 years ago. it is still missing .... my point was more global than just the car… the photo location may contain other things of value that a thief could find lucrative and easier to dispose of...
Back in the 1960s and 1970s it was relatively common for Ferrari's to be stolen, they often had low value so weren't exactly stored well, look at the 250GTO that famously sat outside for a few years and nobody cared. Also the experts and ability to access knowledge were nothing compared to today so rather an apples and pears situation. IF a $40 million car was stolen, the owner would get a press release out, every news channel would publish it and everyone would know its hot, too hot to make anything off of.
wishful thinking.. the real world doesn't work that way nor does. the collector community work that way.... this site has several posts about cars being stolen and never to be seen again... there is a level of corruption apparent in the collector community... there are those that have knowledge and will not reveal it to aid with recovery... if it were true cars like 4619 would have been recovered years ago... there are a lot of people with knowledge with tarnished and banged up halos
Not exactly arguing with you but #4619SA is a known entity and indeed the issue is that it may not have been stolen, we don't know why it sat at Don Fongs shop for so long when supposedly owned by Blumenau, why he took more than 30 years to complain about the theft or why when it was stolen, the reports noted Fong as the owner. As for his claim that #4619sa went around the world, the theft supposedly happened in '77, the car didn't leave the USA until '89 and has been on display in California for much of the period from the early '90s until mid 00s so why not act during the periods it was in the USA? very strange. Compare that to Swaters who was up to his neck in the theft of #0384AM in the late '80s, documents proving he knew it was #0384AM but his evidence to the FBI showing he lied showing that sure it can happen but the '70s and '80s had the benefit of some Ferrari's being worth little, Swaters claimed #0384AM was worth $100k USD in '89 for example. Further you had to know a Ferrari expert, or be one, and rely on telexes, telegrams, faxes or good old snail mail so in the months between sending your letter to ask about the theft, the car could easily be moved, converted or whatever. Now its all pretty instant. That said I don't necessarily disagree with much of what you are saying.............
#392 375+, Dec 1, 2018
look at the 250GTO that famously sat outside for a few years and nobody cared.
Everybody cared except the owner who was daft. Many Ferraristi tried to acquire the car or at least implore the owner to store it properly to no avail.
#393 Marcel Massini, Dec 3, 2018
This is the car you are talking about, 3589 GT, taken yesterday.
rocket50, franmort, of2worlds and 6 others like this.
Magnificent, thanks for posting Marcel.
lgs Formula Junior
#395 lgs, Dec 3, 2018
http://www.leirer.ch/cm/dienstleistungen/restauration/2-uncategorised/57-restauration-ferrari-250-gto.html
miurasv likes this.
#396 cheesey2, Dec 3, 2018
You are not properly comprehending what has been written and taking simplistic view
4619 is reasonably well known, yet it was overlooked as being a stolen car by many in the industry... there have not been any reports of seeing the car since it was secreted from Blackhawk... little interest in reporting stolen cars... at one point there was a $1,000,000 reward for locating the car
it didn't spend much time at Fong's... refer to postings of documents and posts by Ed Niles here for a time line
read the posted documents here, and interview on Jalopnik, the theft was immediately report to authorities when it was stolen... it has been actively sought since theft
there are posts here that refer to its time and claimed owner in Europe and potential owner in Korea which should kind of qualify the car as a world traveler
the car had forged documentation... it is hard for the FBI or anyone to claim ownership / pick up a car with documents that don't match the car... its not easy get a court to reconcile the forgery
the theft took place before the internet, there was not a speedy way to widely communicate the theft....
the courts have reconciled the forgery, unfortunately a search warrant cant be used as a hunting license
#397 DWR46, Dec 3, 2018
Cheesey: Not all of what you say is correct. I was involved with this car (4619) in the late 1970's, and missed buying it by only two hours (Joe Marchetti got there first). All during these years, the car and its whereabouts were well known to everybody in the American Ferrari community. The car appeared at numerous Ferrari Club meets in both the Southeastern and the Midwestern parts of the United States. Yet NOBODY ever raised any concerns about it being stolen. It was in plain sight to both any previous owners and law enforcement. It and it's owners were mentioned in numerous Club magazines, and again, nobody said anything. I have no comment on who is/was the legal owner in the past or today, but it was NOT hiding in that period.
of2worlds and Timmmmmmmmmmy like this.
Mr. Blumenau:
There's already a completely separate thread for 330 LMB 4619.
Suggest to post there.
No connection to 250 GTO's (for which this thread here is).
DWR46 said: ↑
See post #45 here:
https://www.ferrarichat.com/forum/threads/330-lmb-4619sa.380914/page-2
kare F1 Rookie
#400 kare, Dec 4, 2018
My stomach really hurts.
buurman likes this.


You can receive more feedback from your guests and learn whether they will visit you again or recommend your hotel to a friend of theirs.
TO enable this feature go to Hotel Settings, scroll down to After-departure emails section and choose to which guests you wish to receive this feedback.
An email will be sent to your guests, and a graph summarizing the responses will appear in your hotel's Dashboard page.


Emerging Asia provides fixed income investors with a rapidly expanding and increasingly diversified opportunity set.
Debt markets in emerging Asia have grown more than fivefold by market capitalization since the turn of the decade, and local investors are buying a growing share of new issuance, as the chart shows. Many of the issuers are first-time "debut issuers," which means the bonds may offer a decent new-issue premium to investors.
Emerging Asia debt is higher-rated on average (in the high BBBs) than issuance in the rest of emerging markets (averaging low BBBs), and strong in-region demand means that over the past couple of years around 75% of new emerging Asia bonds have been placed with Asian investors. These buyers tend to be more familiar with the market and issuers and are more likely to add to their holdings during periods of weakness.
These factors create strong technical support for emerging Asia debt and also make the region more resilient to U.S. dollar liquidity withdrawal than other emerging markets.
With China's ambitious development plan as the backdrop, our central outlook for China over the next few years is optimistic.
Chinese stimulus could be instrumental in deciding which investors are proved right.
Past performance is not a guarantee or a reliable indicator of future results. Investing in foreign-denominated and/or -domiciled securities may involve heightened risk due to currency fluctuations, and economic and political risks, which may be enhanced in emerging markets. Investing in the bond market is subject to risks, including market, interest rate, issuer, credit, inflation risk, and liquidity risk. The value of most bonds and bond strategies are impacted by changes in interest rates. Bonds and bond strategies with longer durations tend to be more sensitive and volatile than those with shorter durations; bond prices generally fall as interest rates rise, and the current low interest rate environment increases this risk. Current reductions in bond counterparty capacity may contribute to decreased market liquidity and increased price volatility. Bond investments may be worth more or less than the original cost when redeemed. There is no guarantee that these investment strategies will work under all market conditions or are suitable for all investors and each investor should evaluate their ability to invest long-term, especially during periods of downturn in the market. Investors should consult their investment professional prior to making an investment decision.


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Brexit 'godfather' Farage says Trump will win U.S. election
LONDON, Nov 2 (Reuters) - Brexit Party leader Nigel Farage said on Monday that he felt Donald Trump would win the U.S. presidential election as his support base was so enthusiastic and he had gathered momentum in the final days of the campaign.
"He's not just the president of the USA, he is a human dynamo," Farage, whom Trump calls a friend, told Talk Radio from Pennsylvania. "I have never seen a support base as enthusiastic as they are for this man. These crowds chant 'we love you'."
"You can, if you want to, look at the opinion polls, look at the betting markets, look at the lead editorials of the global press and they will all tell you that its a slam dunk for Joe Biden. I do not believe it," Farage said.
"I genuinely think he's going to win tomorrow," Farage said of Trump. (Reporting by Guy Faulconbridge)
At 10,926 feet, Etna is the continent's most active volcano and can burst into action several times in a year. Mount Etna often erupts but rarely causes damage and it is believed to have the longest written record of eruptions than any other volcano, with its first recorded observation going back to 425 B.C. Volcanic ash covered cars of the nearby small village of Milo, near Catania after the eruption from the volcano's southeast crater.
President-elect celebrates his hometown: 'You were with me my whole career, through the good times and the bad'
Joe Biden's cabinet: Who is nominated? OLD
Defense officials fear 'insider attack' on Biden inauguration
Health officials: New COVID variant seen more frequently across California
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Home/News/USA News/Boy found dead in suitcase in Indiana identified; mom and another woman charged
Boy found dead in suitcase in Indiana identified; mom and another woman charged
Loma2022-10-27
CHICAGO (SCS) — A boy found dead in a suitcase in southern Indiana six months ago has been identified as a 5-year-old from Atlanta, and his mother and another woman are charged with his death.
Ammar Jordan's body in Cairo was found April 16 in Washington County, Indiana, near Louisville.
Indiana State Police said the boy was never reported missing, slowing the investigation into the case.
His mother, Dejaune Ludie Anderson, 37, of Atlanta, is wanted on a murder warrant. She is also charged with negligence of a dependent and obstruction of justice.
Dejaune Ludie Anderson is wanted on an arrest warrant, charged with murder in the death of her 5-year-old son, Cairo Ammar Jordan, who was found dead in a suitcase in southern Indiana in April 2022.
An autopsy revealed the boy died of an electrolyte imbalance most likely due to gastroenteritis, or vomiting and diarrhea that led to dehydration, state police said in May. Investigators said the boy had died less than a week before his body was discovered.
"No matter what progress is made, what happens in the case, we are still faced with the tragic death of a precious young child," said Indiana State Police Sgt. said Carey Huls.
Huls said Anderson remains at large and police are asking for the public's help in locating her. He said Anderson has been to many places, including Houston, Las Vegas, Los Angeles, San Diego and San Francisco since police began their investigation last spring after his son's body was found.
Huls said "physical evidence has led to suspects" in Jordan's death.
Another woman, Dawn Elaine Coleman, 40, of Shreveport, Louisiana, also faces charges of negligence and obstruction. She was arrested on October 19 in San Francisco.
Cairo was buried in June at a cemetery in Salem, Indiana, about 35 miles north of Louisville, Kentucky, after a memorial service at which a police chaplain called the child then no identified with "unknown angel".
Huls said the Georgia Bureau of Investigation helped Indiana authorities contact Jordan's father after investigators confirmed the boy's identity.
According to a probable cause affidavit filed Oct. 14 seeking the arrest warrant for Coleman, investigators found Coleman's and Anderson's fingerprints on black plastic bags on the boy's body had been placed inside the suitcase.
The affidavit contains messages Anderson allegedly posted to his Facebook account, including messages on April 11 after he was released from prison in Louisville, Kentucky, for shoplifting. In those messages, written using a vanity name, Anderson wrote, "I just got out of a prison mission" and "Yes had to do healing and murder," the affidavit reads.
A series of earlier Facebook posts Anderson allegedly made discussing exorcism, spells and other supernatural topics, including one posted Feb. 19 mentioning "a very powerful demonic force from within my son," according to the affidavit.
Online court documents do not list an attorney who could speak on behalf of Coleman, who is expected to be flown to Indiana in about a month, Huls said.
Indiana's online court records do not reflect a murder charge against Anderson, and it is unclear whether she has an attorney who could speak on her behalf.
The Washington County District Attorney's Office declined Wednesday to discuss the status of the murder charge against Anderson.
Huls said the DA's office on Tuesday obtained a murder warrant for Anderson from a judge based on an affidavit that would be released once Anderson is in custody.
Alec Baldwin is due in court in February – NBC Chicago
Bay Area mom calls on President Joe Biden to say 'no' to safe consumption sites as son battles fentanyl addiction
Fed approves 0.25% hike, easing rate increases again


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Vikings had smallpox and may have helped spread the world's deadliest virus — ScienceDaily
by sortiwa 2k Views
Scientists have discovered extinct strains of smallpox in the teeth of Viking skeletons — proving for the first time that the killer disease plagued humanity for at least 1400 years.
Smallpox spread from person to person via infectious droplets, killed around a third of sufferers and left another third permanently scarred or blind. Around 300 million people died from it in the 20th century alone before it was officially eradicated in 1980 through a global vaccination effort — the first human disease to be wiped out.
Now an international team of scientists have sequenced the genomes of newly discovered strains of the virus after it was extracted from the teeth of Viking skeletons from sites across northern Europe. The findings have been published in Science today (JULY 23 2020).
Professor Eske Willerslev, of St John's College, University of Cambridge, and director of The Lundbeck Foundation GeoGenetics Centre, University of Copenhagen, led the study.
He said: "We discovered new strains of smallpox in the teeth of Viking skeletons and found their genetic structure is different to the modern smallpox virus eradicated in the 20th century. We already knew Vikings were moving around Europe and beyond, and we now know they had smallpox. People travelling around the world quickly spread Covid-19 and it is likely Vikings spread smallpox. Just back then, they travelled by ship rather than by plane.
"The 1400-year-old genetic information extracted from these skeletons is hugely significant because it teaches us about the evolutionary history of the variola virus that caused smallpox."
Smallpox was eradicated throughout most of Europe and the United States by the beginning of the 20th century but remained endemic throughout Africa, Asia, and South America. The World Health Organisation launched an eradication programme in 1967 that included contact tracing and mass communication campaigns — all public health techniques that countries have been using to control today's coronavirus pandemic. But it was the global roll out of a vaccine that ultimately enabled scientists to stop smallpox in its tracks.
Historians believe smallpox may have existed since 10,000 BC but until now there was no scientific proof that the virus was present before the 17th century. It is not known how it first infected humans but, like Covid-19, it is believed to have come from animals.
Professor Martin Sikora, one of the senior authors leading the study, from the Centre for GeoGenetics, University of Copenhagen, said: "The timeline of the emergence of smallpox has always been unclear but by sequencing the earliest-known strain of the killer virus, we have proved for the first time that smallpox existed during the Viking Age.
"While we don't know for sure if these strains of smallpox were fatal and caused the death of the Vikings we sampled, they certainly died with smallpox in their bloodstream for us to be able to detect it up to 1400 years later. It is also highly probable there were epidemics earlier than our findings that scientists have yet to discover DNA evidence of."
The team of researchers found smallpox — caused by the variola virus — in 11 Viking-era burial sites in Denmark, Norway, Russia, and the UK. They also found it in multiple human remains from Öland, an island off the east coast of Sweden with a long history of trade. The team were able to reconstruct near-complete variola virus genomes for four of the samples.
Dr Lasse Vinner, one of the first authors and a virologist from The Lundbeck Foundation GeoGenetics Centre, said: "Understanding the genetic structure of this virus will potentially help virologists understand the evolution of this and other viruses and add to the bank of knowledge that helps scientists fight emerging viral diseases.
"The early version of smallpox was genetically closer in the pox family tree to animal poxviruses such as camelpox and taterapox, from gerbils. It does not exactly resemble modern smallpox which show that virus evolved. We don't know how the disease manifested itself in the Viking Age — it may have been different from those of the virulent modern strain which killed and disfigured hundreds of millions."
Dr Terry Jones, one of the senior authors leading the study, a computational biologist based at the Institute of Virology at Charité — Universitätsmedizin Berlin and the Centre for Pathogen Evolution at the University of Cambridge, said: "There are many mysteries around poxviruses. To find smallpox so genetically different in Vikings is truly remarkable. No one expected that these smallpox strains existed. It has long been believed that smallpox was in Western and Southern Europe regularly by 600 AD, around the beginning of our samples.
"We have proved that smallpox was also widespread in Northern Europe. Returning crusaders or other later events have been thought to have first brought smallpox to Europe, but such theories cannot be correct. While written accounts of disease are often ambiguous, our findings push the date of the confirmed existence of smallpox back by a thousand years."
Dr Barbara Mühlemann, one of the first authors and a computational biologist, took part in the research during her PhD at the Centre for Pathogen Evolution at the University of Cambridge, and is now also based at the Institute of Virology at Charité, said: "The ancient strains of smallpox have a very different pattern of active and inactive genes compared to the modern virus. There are multiple ways viruses may diverge and mutate into milder or more dangerous strains. This is a significant insight into the steps the variola virus took in the course of its evolution."
Dr Jones added: "Knowledge from the past can protect us in the present. When an animal or plant goes extinct, it isn't coming back. But mutations can re-occur or revert and viruses can mutate or spill over from the animal reservoir so there will always be another zoonosis."
Zoonosis refers to an infectious disease outbreak caused by a pathogen jumping from a non-human animal to a human.
The research is part of a long-term project sequencing 5000 ancient human genomes and their associated pathogens made possible thanks to a scientific collaboration between The Lundbeck Foundation, The Wellcome Trust, The Nordic Foundation, and Illumina Inc.
Professor Willerslev concluded: "Smallpox was eradicated but another strain could spill over from the animal reservoir tomorrow. What we know in 2020 about viruses and pathogens that affect humans today, is just a small snapshot of what has plagued humans historically."
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Apple Inc is planning the first redesign of its iMac all-in-one desktop computer since 2012, part of a shift away from Intel Corp processors to its own silicon, according to people familiar with the plans. The new models will slim down the thick black borders around the screen and do away with the sizable metal […] More
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An intensive 1-year course in Norwegian Language and Culture aims to give students the Norwegian language proficiency required to enter Bachelor's and Master's degree programmes taught in Norwegian at the University of Stavanger.
The course is meant for students who have a basic knowledge of Norwegian and will therefore require minimum A2 or equivalent level of Norwegian.
Upon successful completion of the course and passed final exam, students meet the Norwegian language requirement demanded by the Norwegian Universities and Colleges Admission Service (NUCAS) to be admitted to Norwegian universities and colleges.
Please note that the attendance at all the classes is obligatory. You cannot combine this study programme with full-time work/study.
Students of the Norwegian Language and Culture programme are not eligible for financial support from the Norwegian State Educational Loan Fund (Lånekassen).
Applicants residing in Norway without any higher education beyond basic academic requirements mentioned in the GSU-list.
Applicants from outside Norway without higher education beyond basic academic requirements mentioned in the GSU-list.
Applicants residing in Norway with higher education equivalent to a Master's degree in Norway.
Applicants from outside Norway with higher academic education.


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6 Memorable Video Game Side Quests
by Sarah Paul · March 12, 2021
What's the best part of an open-world game or an expansive RPG? You may love the ability to explore or craft your own story – but what about the little nuggets that developers work into their lively worlds? Side quests may not be crucial to the primary narrative, but they can work wonders to draw our attention away from what really matters.
Whether it's a unique take on a fetch quest, an intricate story woven from outlying civilizations, or a secret level of pure zaniness, gamers love a good side quest. To honor the best and most memorable video game side quests, we've laid a selection out below. Some may be familiar, others may have escaped you completely. All of them are absolutely worth playing.
To explore these uniquely memorable side quests on your own, make sure to get some PlayStation Gift Cards.
Red Dead Redemption – "I Know You"
When you talk about expansive story-driven experiences, it's hard not to bring up Red Dead Redemption. The western third-person adventure from Rockstar sent players all over the south as John Marston, an ex-outlaw trying to outrun his past. Unfortunately, as they say, the past always catches up, and in this side quest, an unexpected encounter with a strange traveler has Marston reliving his time with the Van der Linde gang.
After completing the "A Tempest Looms" mission, Marston can locate the man between MacFarlane's Ranch and Armadillo. He's then given two quests, all revolving around moral quandaries. "I Know You" offers an opportunity for players to get to know themselves better as they're tasked with confronting a man cheating on his wife and deciding whether to rob a nun or donate to her cause.
The overall side quest has no impact on the main game and sets up an intriguing supernatural twist that, surprisingly, the game never touches on again.
Mass Effect 2 – "A House Divided"
In Mass Effect 2, players have the opportunity to get to know Legion, a collection of more than 1,100 Geth programs compiled into one physical body. The Geth consciousness can become a crucial member of Commander Shepherd's team and even lends one of the game's more memorable side missions. "A House Divided" puts Legion in the spotlight after learning that Geth heretics have obtained a means of converting passive Geth into warriors against human life.
Not only is "A House Divided" ripe with firefights, but the mission is a rare look into Geth lore, which is incredibly fascinating. Players guide Shepherd and Legion through a Heretic Station on a quest to stop the modified Reaper virus from spreading, but it's no easy feat. After navigating Geth-filled hallways, Shepherd and company face several waves of Geth warriors, with each wave getting increasingly more difficult.
"A House Divided" is a must-play side quest for players that want to know more about the Geth, one of Mass Effect's more interesting races. By completing the mission, you'll have the option to earn Legion's loyalty – though it may be at the expense of another's trust.
The Witcher 3: Wild Hunt – "The Last Wish"
To say that The Witcher 3 is full of extra content players absolutely will want to play through would be an understatement. There are many side quests outlining Geralt's quest to locate his adopted daughter, Ciri. While most of them flesh out the stories of denizens scattered throughout the Continent, a few touch on the titular character's own past. One of those is "The Last Wish," a relatively quick quest that delves a bit into the relationship between Geralt and Yennefer.
The crux of the side quest is to help Yennefer locate and dispatch a djinn. Along the way, Geralt and his potential love interest discuss their history together, dishing out some details on their relationship, past, and a wish that bound them together. The quest itself is fairly straightforward as you follow Yennefer's lead, kill whatever monstrosities impede your path to the djinn, and ultimately square off against the supernatural fiend.
However, not only are the set pieces of Ard Skellig and the desolate longship perfect for this quest, the emotional connection between Geralt and Yennefer takes center stage at one point. Players are forced to make a potentially damning decision that actually feels important enough to have warranted being part of the main game.
Final Fantasy VII – "Ultimate Weapon"
A mysterious location of great importance, the Northern Cave is where all of Final Fantasy VII's deadliest monsters lie. Among them are Weapons, the most powerful of them all created initially to defeat the alien lifeform, Jenova. Though not meant to be a threat to humanity, Cloud and company come face-to-face with these behemoths on several occasions – especially if players decide to score Cloud's Ultimate Weapon.
The aptly named "Ultimate Weapon" is a notable side quest that players painstakingly try to complete on their Final Fantasy VII playthrough. Unfortunately, they're often met with a crushing defeat as the flying monster is backed by 100,000 HP and a host of devastating attacks. Cloud can square off against the Ultimate Weapon at several locations around the overworld. Defeat Ultimate Weapon, and Cloud will receive Ultima Weapon, his Ultimate Weapon in the game.
If the confusing names aren't enough to embed this side quest in your brain, the high difficulty level and frequent deaths most certainly will.
Borderlands 2 – "Shoot This Guy in the Face"
Image via Fandom
Though likely the shortest side quest you'll ever embark on, "Shoot This Guy in the Face" is equally unforgettable. The Borderlands series is primed for ridiculousness, and it doesn't get any more ridiculous than a quest revolving around shooting a character in the face.
Face McShooty is a one-and-done character in Borderlands 2 that initiates the "Shoot This Guy in the Face" side quest. When you interact with him, you have one mission – shoot him in the face. There is no way to lose, and the only way to end the quest is to fire a round into his masked face.
Upon completion of this unusual quest, you'll receive the "Well That Was Easy" trophy/achievement and a hilarious story to tell your friends.
Diablo II – "The Secret Cow Level"
If you've played Diablo, chances are you know about the infamous post-game "Secret Cow Level." By combining the young Wirt's Leg and a Tome of Town Portal within the Horadric Cube during a second playthrough, players summon a rift that transports them to a region full of murderous cows. The bipedal Hell Bovine swarms the players, just like any monstrosity encountered on the quest to stop the Wanderer.
Diablo II's "Secret Cow Level" was a developer joke in response to fan rumors of a hidden cow level in the original Diablo. Though just a quirky Easter egg, the cow-infested level became a popular goal for Diablo II players and, for a short spell, the ideal location for players to level up due to the high number of cows and high experience gain. As if the polearm-equipped bovine weren't bad enough, blended into the horde was the powerful Cow King.
While players loved the cow level, Blizzard opted not to revisit the land of the bovine for Diablo III.
Developers may sink ample time and effort into their game's main story, but it's in some side quests where the true treasures lie. When you're playing expansive adventures, be sure to make time to see what world-building awaits in the optional missions. You never know what memorable thrills have been finely crafted for your entertainment.
So, what are the side quests that you have stuck in your head? Whether it's because of how ridiculous they were or how insanely hard they were to get through, do let us know down in the comments below!
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Tags: Games
Sarah Paul
Sarah is a Junior Content Outreach Writer at OffGamers and a contributor here at Geek Cosmos.
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Salford Red Devils are set to launch an initiative with supporters to create a charter governing acceptable behaviour at the AJ Bell Stadium.
Preliminary analysis of the recent digital survey highlighted growing concerns among supporters towards a tiny minority displaying anti-social behaviour, and the Club have taken this information very seriously.
Over the coming weeks the Club will be reaching out to fans and asking them to get together to shape the family-friendly environment that they are asking for.
With this in mind, following incidents at the Challenge Cup game v Hull KR the Club has now banned two supporters from the stadium. These supporters have been notified that they are no longer welcome at the AJ Bell Stadium with immediate effect.
A spokesman said: "The findings are extremely interesting, our fans have told us that they are fed up with having to tolerate the anti-social actions of a tiny minority and that they feel their unacceptable behaviour is a factor in keeping supporters away.
"At a time when we are actively working to increase our audience it's clear that our supporters want us to give them the tools to turn the AJ Bell Stadium into a family environment.
"We want you, the fans, to dictate what behaviour you deem to be acceptable around your families and children. These kids are our legacy, the supporters of the future and what you decide now will directly affect the safe and enjoyable way they get to view the game in the coming years.


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