text:
Campbell House Museum's Blog
City Living since 1851
Category Archives: St. Louis History
Campbell, Campbell House, Campbell Kids, Campbell Servants, News, Robert Campbell, St. Louis History
New Campbell Booklet Available!
A new booklet about the Campbell family is now available in the Campbell House gift shop on in our online shop! Written by Maureen O'Conner Kavanaugh, The Campbell Family of St. Louis: Their Public Triumphs and Personal Tragedies tells the story of the Campbell family in a visually exciting way.
The booklet is organized topically, detailing Robert's rise to prominence, Virginia and Robert's courtship (see below) and the growth of their family, and the family's trip to Europe. Also included is a list of the family's famous friends and guests, a discussion of the servants (both free and enslaved) who were integral to maintaining the Campbell's lavish lifestyle, and a timeline of the house and family. Every page is lavishly illustrated by photographs and contemporary imagery.
The new booklet is the perfect counterpart to our previously published The Campbell House Museum: A Pictorial Souvenir, which tells the story of the house itself. Be sure to get your copy of The Campbell Family of St. Louis, either in our online store or in person at our gift shop, which is now stocked with new items for the new year!
Tagged books, gift shop, Pictorial Souvenir, The Campbell Family of St. Louis
Campbell House, Lucas Place, Missouri History Museum, St. Louis History Image
Picture Yourself in St. Louis History—#PictureYourselfSTL
The Campbells didn't have smart phones, and of course never took selfies. But we bet Robert and Virginia would pull out a selfie stick now, especially since they could win some great prizes by doing so in their own house! This Labor Day Weekend kicks off a special collaboration between the Campbell House Museum and eighteen other cultural institutions, and all you have to do to take part is visit us and photograph yourself.
The new Missouri History Museum exhibit, "A Walk in 1875 St. Louis," links area historic sites that share a mission of preserving and telling the story of St. Louis.
Each participating location has two picture frames for hand-held use by visitors. Five locations will receive a larger "hub" picture frame and two hand-held versions – the Missouri History Museum, the Forest Park Visitor Center, The Old Courthouse, the Susan Blow Kindergarten and the Missouri Botanical Garden.
Hanley House
Visitors will be invited to take their pictures in and around the frames showing a distinctive background inside the attractions, and distribute their images via social media. An Instagram hashtag, and a web page on the Missouri History Museum site will be available where visitors can post their "historic" pictures with #PictureYourselfSTL or @missourihistorymuseum. Visitors can also email their shots to
PictureYourself@mohistory.org.
That's it! There are monthly prize drawings, with rewards including hotel stays, attraction tickets, and more. One grand prize winner at the close of the contest wins a tintype portrait session!
The contest is open until February 14, 2016. You can visit each of the nineteen sites and take selfies at each to increase your chances, or to just enjoy a journey through 1875 St. Louis with "Louis" as your guide.
Here are the participating locations:
Bellefontaine Cemetery
Susan Blow Kindergarten at the Carondolet Historical Society
Central Print
Chatillon-DeMenil Mansion
Faust Park Historic Village
Eugen Field House and St. Louis Toy Museum
Forest Park, Dennis & Judith Jones Visitor and Education Center
Gittemeier House, Historic Florissant
Historic Hanley House, Clayton
Jefferson Barracks Historic Site
Scott Joplin House State Historic Site
Missouri History Museum
New Mount Sinai Cemetery
Old Courthouse
Tower Grove Park
White Haven, Ulysses S. Grant National Historic Site
Ulysses Grant's White Haven
So open up your phone's selfie mode, and take part in all the fun and experience St. Louis in 1875!
Read more about the program in the Saint Louis Post-Dispatch.
The "Picture Yourself in St. Louis History" project has been developed and is financially supported by the Museum Innovators Group organized by the Missouri History Museum (MHM).
Tagged 1875, Campbell House, history, Missouri History Museum, St. Louis
Campbell, Campbell House, Robert Campbell, St. Louis History
Slavery: A Complicated Story
A story central to the history of the Campbell House and the City of St. Louis, especially as we recognize the historical contributions of African Americans during Black History Month, is that of slavery. Enslaved people served a variety of purposes in St. Louis homes, ranging from caring for babies to cooking and cleaning to working in fields on the city's outskirts. Research over the past several years has revealed that Robert Campbell owned at least five slaves over a period of 16 years in the 1840s and 50s. The story of slavery at the Campbell House is a tricky one—there are a lot of unanswered questions, unclear records, and gaps in documentation. Here's what we know:
Virginia's mother Lucy Kyle, an ardent abolitionist and, for a short time, slave owner.
1833: Virginia Campbell's father, Hazlett Kyle, who had been a merchant and slaveholder in Raleigh, North Carolina, died when Virginia was 11 years old. He left an estate (which included his enslaved property) to be held for her until her 21st birthday.
1841: There is no evidence that Robert Campbell owned slaves before his marriage to 19 year old Virginia in 1841, at which point the entirety of her inherited property became vested to her new husband. Three enslaved people were transferred to Robert, three to Virginia's mother Lucy and two to Walter Otey, the husband of Virginia's sister Eleanor. Lucy Kyle, who had been raised a Quaker, emancipated her slaves. Walter Otey, a slave trader and plantation owner himself, worked one of the slaves his wife had inherited and sold the other. Robert and Virginia brought their three slaves, each a child under the age of 12, to St. Louis with them the following year.
Enslaved African American woman with her charge, identities unknown. Enslaved women like Caroline and Eliza were often assigned the task of caring for a family's young children. Unfortunately, there are no known images of any of the five individuals owned by the Campbell family.
1842-45: The names of these enslaved children pop up periodically in family correspondence: Caroline, described once as being "just at an age now to be contaminated by hiring her out", Simeon, who appears to have been the oldest of the three and was hired out to work elsewhere by the Campbells, and a young boy named Hazlett, no doubt after the Kyle family patriarch. "Hazy" as he is referred to, was hired out by Robert to help another family with a newborn baby, "just that he may be learning something". By 1842 Caroline and Simeon (the two oldest) had been hired out to work on a farm in Sulphur Springs owned by Robert's longtime business partner William Sublette. Young Hazy was kept with the Campbell family to lend a hand with newborn James Campbell, his primary job being "to keep off the flies" from the infant.
1845-49: At this point, the trail becomes tough to follow. We lose track of Caroline around 1845, when there are no female slaves listed in city records for the Campbell family. Four years later in 1849, the same thing happens when Simeon and Hazlett disappear from the record.
1854-57: When the Campbells move into their Lucas Place home (today the Campbell House Museum) in 1854, there was just one enslaved person in the household—a young woman named Eliza. It is believed that Eliza helped to care for the Campbell children and may have come into Robert's possession as early as 1845 (though this is not entirely clear). In January 1857, Robert Campbell emancipated Eliza and her two young children. The document reads:
"Robert Campbell, who is personally known to the court, comes into open court and acknowledges the execution by him of Deed of Emancipation to his negro woman Eliza, aged about twenty five years, of copper or mulatto complexion, together with her two children, to wit: Aleck, a boy aged about two years and a half, and an infant son born in October last, name not known, both of which children of the same complexion with the said Eliza." See image below.
Document emancipating Eliza and her two children, 1857. (Click to view larger.)
Why, you might ask, did Robert emancipate Eliza a full seven years before Missouri would abolish slavery in 1864? That's an excellent question and, to be honest, we don't have an answer. We do have some ideas though.
Hazlett Campbell (died 1856 at age 3). Eliza was his primary caregiver and likely very close to the child.
Eliza had two children by this point, for which Robert Campbell was financially responsible by default. This also would have been a significant draw on Eliza's time, since she was now caring for the Campbell family's brood as well as her own.
The first Hazlett Campbell had died in November 1856 and Eliza was emancipated just two months later. Our impression from family letters is that Eliza was the primary caregiver to the child. His death may have eliminated a pressing need to have her around the house. It also is likely that Eliza would have taken the death of a baby to whom she was so close particularly hard.
At some point around the time of Eliza's emancipation, Virginia's mother Lucy arrived in St. Louis and took up residence with her daughter and son-in-law. Like we mentioned above, Lucy was anti-slavery and may have pressured Robert toward emancipation. It's also a possibility that Robert didn't want to offend his mother-in-law by having an enslaved person in the house.
Perhaps the most interesting tidbit we've found comes from a diary written by a family friend after a visit to the Campbell House in 1858. Sarah Lindsey, visiting Lucy Kyle, writes that:
"At one time they held a few slaves but Virginia Campbell not liking the system, nor the care of the young Negroes, they were set free. Their servants at the present time are Swiss, German and Irish."
Freedom Bond signed by Robert Campbell in the amount of $500 to vouch for Eliza's character after her emancipation. Should Eliza have been arrested or in a legal pinch as a freed African American in slave-holding Missouri, Robert would have been called upon to pay up. (Click to view larger.)
While we would like to say that the Campbells freed their slaves due to their strong abolitionist beliefs, this probably isn't the case. Though we do have on reference that Mrs. Campbell didn't like "the system" of slavery, we can't discount the difficulties that must have been faced in caring for a young unmarried mother with two very young children, especially in a house that had already lost seven children of their own. However, we also can't ignore the fact that the Campbells kept up a close personal relationship with Eliza after she was freed. After Virginia's death in 1882, Eliza was left a gift of $100 (no small change in those days) and son Hugh Campbell lent her an additional $100 a year later when she and her family moved to Kansas City. We also have a letter dated 1918 from an elderly Eliza (she would've easily been 80+ years old at that point) to Hugh in which she says hello and thanks him for a Christmas gift he'd sent.
Needless to say, the story of slavery at the Campbell House is complex, with new information emerging every day as our team of volunteers and researchers continues to dig through the tens of thousands of pages of historic documents left behind by the Campbell family. It's a complicated story, but it's one that has to be told. To ignore the unseemly portions of our city's history and and the lives of its most oppressed and unrecognized citizens would certainly make talking about history a whole lot easier, but it definitely wouldn't be right.
Tagged Abolitionist, Black History Month, Campbell, campbell family, Campbell House, Civil War, Eleanor Kyle Otey, history, Intrepid Researcher Tom™, Lucas Place, Lucy Ann Kyle, Missouri, North Carolina, Raleigh, Robert Campbell, Slavery, St. Louis, Virginia Kyle Campbell, Walter Otey, William Sublette
Just over a week away till Historic Saint Louis' trivia night! Join us on Friday, Jan 24th from 6-10PM for a fun… twitter.com/i/web/status/1… 4 days ago
@cassillycrew @stltourgirl @couchclif Thank you!! We couldn't find the stickers but we will have to get some for the future. 3 weeks ago


text:
1940 9th Street NW | Washington, DC 20001
Mon-Thu 5pm-2am | Fri 5pm-3am
Sat 4pm-3am | Sun 2pm-2am
Mon-Thu 5pm-8pm | Fri 5pm-8pm
Sat 4pm-6pm | Sun 2pm-7pm
DC9 Presents
[RE]BOOT
Fri January 17 - Sat January 18
$15.00 Tickets At The Door
Part of the proceeds go to the Susan G. Komen Foundation
An open-format bash featuring selections by DJ Omeed and DJ Samuel Andres with a heavy emphasis on funky and disco-inspired bangers we all love to bounce to.
DJ Samuel Andres
Samuel Andres was only ten years old when he heard his first WKTU live house music broadcast in New York City. Spending sleepless nights recording the late night club shows ignited a passion for the music and rhythms that were rapidly changing the nightlife scene. Disco was dead and New York City was at the epicenter of an EDM revolution and Samuel was listening to it all. He was impassioned from there to recreate these musical experiences for others, ushering them across varied soundscapes: from deep soulful house, to minimal tech-house, to polyrhythmic African drums and beyond.
In Washington DC, he quickly became recognized as a true deep house DJ specializing in the intoxication rhythms of producers like Osunlade, Masters at Work, and DJ Yellow. Playing such spots as 1223/Spank, Ozio, Bourbon, Bluegin, and Gua Rapo he crafted intelligent sets designed to evoke emotion. These sets earned him residencies at Keybar in New York City and Cabanas, L2, and Eleventh Street Lounge in DC. His versatility and sound eventually got him signed as the DJ for Capital File Magazine's monthly release parties and other private events across the city. Alongside this DJ activity, he also apprenticed at Sweet Spot Studios, exploring the technical side of music production and recording, working alongside the likes of DC legends Kolai and Taha.
Relocating to Pittsburgh, Samuel Andres is continuing his goal of educating audiences on the beautiful intricacies of deep house and the like. As the resident DJ for LUXE Creative he has partnered with its creative director to execute events of the highest caliber in Pittsburgh. Samuel's musical travels have indeed taken him far—and are destined to take him farther still as his unique deep house sound transforms the music landscape of his new hometown.
DJ Omeed
DJ Omeed made two pivotal discoveries in his teenage years: "French house" meant more than a chalet in France, and "turntable" was not a directive. The combined realization has produced an expansive sonic landscape that delivers a unique brand of house, progressive house, and techno. Drawing on influences such as Depeche Mode, Radiohead, The Verve, Sasha and Digweed, Danny Tenaglia and James Lavelle (aka UNKLE), DJ Omeed's beats reverberated throughout DC's premier nightclubs in the early 2000s to much acclaim. After a hiatus, he returns to DC to continue the tradition of melodic grooves that remain as timeless as...a chalet in France.
1940 9th St NW
Upcoming Artists
Mon 1/20 - Burgers & Boh :: Mondays :: $1 Natty Boh
Wed 1/22 - Saneit
Thu 1/23 - Joe Cat
Fri 1/24 - Drew Beckman + The Boundary Boys
Fri 1/24 - Sexy Back
Sat 1/25 - SOLD OUT : Illiterate Light
Sat 1/25 - Dark & Stormy
Sun 1/26 - Bubbles & Burgers :: Sundays :: $1 Cava
Sun 1/26 - Nightly
Tweets by dc9club
1940 9th Street NW, Washington, DC 20001 202-483-5000

redpajama_set_name: RedPajamaCommonCrawl


text:
HOW BITE THAT? McDonald's sorry after customer found 'fragments of human teeth' in his McMuffin
January 30, 2021 The Tatty Journal Leave a comment
The white fragments have been sent away for analysis and an investigation launched after the alleged find in Japan
MCDONALD'S have launched an investigation after a customer claimed to have found "tooth-like" fragments in his McMuffin.
By Gerard du Cann (via The Sun)
The alleged unwelcome discovery was made in Japan after a 58-year-old man bit into his sausage egg McMuffin.
The fast-food company told local media they would investigate to find out where in the supply chain the white pieces entered the patty and the customer was given a refund.
The enquiry could stretch all the way back to the US, where meat in the McMuffin was reportedly processed.
The fragments were sent away for analysis and a McDonald's spokesperson told The Sun Online food quality and safety was a top priority for the company.
They said: "This is an isolated matter and the local team will continue to liaise directly with the customer as the investigation is carried out."
After images of the teeth-like objects were posted online some social media users commented on how difficult the investigation would be.
One comment read: "They'll have to check the dental records of everyone on the processing line."
Another added: "Check the DNA! Then we'll know for sure where it came from."
Claims of disturbing discoveries are not unheard of in fast food.
In April a teen claimed to be have been left disgusted after biting into his McDonald's burger to find a huge dead bug.
Last month an Australian man claimed to have found hair and a safety pin sticking out of his KFC chicken.
And earlier in the year a couple accused Burger King of serving them food crawling with maggots – although managers insisted their burger had been thoroughly cooked on the grill.
Previous Post10 Proven Health Benefits of Turmeric and CurcuminNext PostTurkey Tail Mushroom | Medicine Making, ID, Harvest, and More


The AirSonea device and mobile app housing the wheeze analysis algorithms.
Managing asthma can be difficult for both the physician and the patient. When physicians assess asthma patients in a clinical environment, they listen for wheezing, a primary sign of asthma and an indication of obstructive airflow in the lungs. But when physicians cannot examine patients directly, they must rely on the patients or patients' parents to describe the wheezing and any other symptoms. This self-reporting of asthma symptoms and current condition is unreliable, particularly when the patient is a child.
Engineers at Respiri have developed technology that asthma patients can use to record and analyze their own breathing. Instead of listening for wheeze sounds, the AirSonea® technology detects wheeze patterns in an image created from recorded breath sounds. Respiri used MATLAB® to develop acoustic respiratory monitoring algorithms, and used MATLAB Coder™ to implement them as a mobile app and cloud-based server software.
Respiri needed to develop an algorithm capable of identifying wheeze sounds of varying frequency, amplitude, and duration from 30-second audio recordings produced by a specialized sensor held near the patient's trachea. To minimize the effects of ambient noise, the team needed to measure and analyze sounds from the user's environment.
Partnering with Two Bulls, an app development company in Melbourne, they decided to create an app that would process recordings on the mobile device, invoke the wheeze analysis algorithm, and return results to the patient. The app would also provide an independent evaluation of external noise by using the mobile device's built-in microphone to record ambient sounds.
In the past, it took months for Respiri engineers to manually code algorithms in C. They needed a way to rapidly translate their algorithms for wheeze detection and ambient noise analysis into C code that could be deployed on a mobile device.
Respiri engineers used MATLAB and Computer Vision Toolbox™ to develop the wheeze detection algorithm. The algorithm converts the 30-second audio recording into a spectrogram and then analyzes the spectrogram to identify potential wheeze candidates based on energy patterns and other common characteristics of wheeze. The algorithm performs further processing to reject false positives.
To develop the ambient noise detection algorithm, the engineers applied a Hamming window, performed a fast Fourier transform, and located spectral maxima in multiple frequency ranges using MATLAB and Signal Processing Toolbox™.
After debugging and testing both algorithms in MATLAB, the team used MATLAB Coder to generate executable functions from their MATLAB code. This step enabled the team to verify that the code was suitable for code generation and to check for run-time errors.
Next, the engineers used MATLAB Coder to generate C code from the algorithms. To verify the generated code, they invoked it from within MATLAB and compared the results with the results produced by the original MATLAB algorithms.
In a subsequent round of testing, the engineers compiled the generated C code using Microsoft® Visual Studio®, and again compared results for verification.
The team integrated the C code for the noise detection algorithm and wheeze detection into an app for Apple iPhone; a version for Google® Android™ devices is planned.
The final system was tested in an anechoic chamber using test software that the team had developed with MATLAB and MATLAB Coder.
AirSonea is awaiting FDA clearance in the United States and has received Conformité Européenne (CE Mark) certification in the European Union and TGA approval in Australia.


I was really impressed with the service & professional repair. I had been to many different mechanics previously but Autobahn is a definite cut above the rest. I am so pleased to finally find someone I can rely on.


text:
Major Saab est un film indien de Bollywood réalisé par Verinder Raj Anand sorti le .

Le film met en vedette Amitabh Bachchan, Ajay Devgan et Sonali Bendre.

Synopsis

Fiche technique

Distribution

Box-office
 Box-office en Inde :  roupies.

Notes et références

Liens externes

Film indien sorti en 1998
Film d'action indien
Film dramatique indien
Film romantique indien
Film de Bollywood

redpajama_set_name: RedPajamaWikipedia


text:
Catalogue 59 .pdf
Original filename: Catalogue 59.pdf
This PDF 1.3 document has been generated by / Mac OS X 10.12.6 Quartz PDFContext, and has been sent on pdf-archive.com on 16/08/2018 at 15:10, from IP address 37.182.x.x. The current document download page has been viewed 554 times.
File size: 13.4 MB (28 pages).
Catalogue 59.pdf (PDF, 13.4 MB)
l'autographe
L'autographe S.A.
24 rue du Cendrier, CH - 1201 Genève
+41 22 510 50 59 (mobile)
(bureau)
web: www.lautographe.com
mail: autographe@lautographe.com
All autographs are offered subject to prior sale. Prices are
quoted in EURO and do not include postage. All overseas
shipments will be sent by air.
Orders above € 1000 benefits of free shipping.
We accept payments via bank transfer,
Paypal and all major credit cards.
We do not accept bank checks.
Postfinance CCP 61-374302-1
3, rue du Vieux-Collège
CH-1204, Genève
paypal.me/lautographe
The costs of shipping and insurance are additional. Domestic orders
are customarily shipped via La Poste. Foreign orders are shipped via
Federal Express on request.
Autographs and manuscripts
1. Franco Alfano (Posillipo, 1875 - Sanremo, 1954)
Autograph musical quotation signed "Franco Alfano" dated "Torino 5 Marzo 927" by the Italian composer
and pianist, best known for his opera Resurrezione (1904) and for having completed Giacomo Puccini's
Turandot (1926). Alfano inscribes 5 bars of a Lento from the 2nd act his opera Resurrezione, dedicating it
to the "Valentissima signor.na Giannina Rota con ammirazione". One page (17 cm x 13,5 cm), in fine
2. Albert I, King of Belgium (Bruxelles, 1875 - Marche-les-Dames, 1934)
Photograph signed "Albert, 1918" by the King of Belgium from 1909 until his death. Albert I had
bravely led the Belgian army while the Belgian government took refuge in Saint-Adresse, France during
WWI. (20,5 cm x 30 cm), in fine condition.
3. Augustus II (Dresden 1670 - Warsaw 1733)
Document signed "Augusto Re" dated "Dresda 13. Genn.ro 1722" by the Elector of Saxony as Frederick
Augustus I and King of Poland from 1709. Augustus addresses the Prince of Santacroce, returning the
best wishes received for the Holy Christmas. One page (19,5 cm x 30 cm), in good condition, with two
tiny holes not compromising the text.
4. Ugo Baccarani (Modena 1880 ca.)
Captain for telecommunications during the Italian expedition to the Svalbard islands with the airship
Italia. Baccarani notes on the back of a photograph depicting some sailors pulling tanks of hydrogen
across the snow: "King's Bay Maggio 1928 – I marinai trascinano all'Hangar le bombole d'idrogeno". One page
(5,5 cm x 8,5 cm), in fine condition.
5. Alfred Bachelet (Paris, 1864 - Nancy, 1944)
Autograph letter signed "Alfred Bachelet" dated "Le 28 Décembre 1920" by the French composer,
conductor and director of the Conservatoire de Nancy. Bachelet writes to Marguerite Long (Madame de
Marliave) the celebrated French pianist, complimenting on her interpretation of Beethoven and
Debussy. He then says that he will send a letter to Mr. Barclay to put them in touch. Mme de Marliave
was married to the musicologist Joseph de Marliave, died in World War I to whom Maurice Ravel
dedicated the last part of his Le Tombeau de Couperin. Three pages (13,5 cm x 21 cm), on letterhead
"Conservatoire National de Musique, succursale de Nancy", in fine condition. Included: autograph letter
signed "Alfred Bachelet" dated "Le 8 Décembre 1920" by the French composer. Bachelet writes to
Marguerite Long complimenting her on her performance on the piano and suggesting collaborations
for the future. Four pages (13,5 cm x 21 cm), on letterhead "Conservatoire National de Musique, succursale de
Nancy", in fine condition.
6. Jean-Joseph Benjamin-Constant (Paris, 1845 - ivi, 1902)
Autograph letter signed "Benj. Constant" dated "Ce vendredi soir" by the French painter, best known for
his oriental subjects and his portraits of British high society. Benjamin-Constant is in London and
writes to a very close friend about portraits of notable people he is doing and seeing in London, in
part:"Je suis passé, cette après-midi, à la Royal Academy. Mon portrait à la Reine Victoria est un véritable trône.. avec
les draperies et des palines verts, et au dessus, l'etendard anglais voilé de crêpe!". Six pages (22,5 cm x 17,5 cm), in
7. Maurice Barrès (Charmes, 1862 - Neuilly-sur-Sein, 1923)
Autograph letter signed "Maurice Barrès", postmarked "10.8.84[?]", by the French novelist and politician,
author of The Cult of the Self (1888), which made him an important figure in the French Aestheticism
movement. Barrès writes to the doctor Marteuley, saying he will go back in Paris the next day, and
makes arrangement for a meeting. In 1889 Barrès was elected to the Chamber of Deputies as a
Boulangist. He stood as an inspiring figure for many monarchists, but he always remained a republican.
One page (13 cm x 17 cm), in fine condition. Envelope included.
8. Pierre-Jean de Béranger (Paris, 1780 - ivi, 1857)
Autograph letter signed "Béranger" postmarked "16 Janvier [1847?]" by the French poet and chansonnier.
Béranger writes to his friend Bernard, talking about publication issues. One page (12 cm x 18,5 cm), in
good condition, with some tears along the spine.
9, Carol Bérard (Marseille, 1881 - Paris, 1942)
Typed letter signed "Carol Bérard", dated "Paris, le 27 Juin 1933" by the French composer, pupil of the
pianist Isaac Albéniz, in part :"J'ai eu l'occasion de voir à Paris Madame Rossini qui m'a dit que vous aviez inscrit
parmi vos projets pour la saison prochaine, l'oeuvre de Gustave Charpentier 'Louise'. Je viens vous demander s'il ne vous
plairait pas de donner cette oeuvre si représentative d'une forme de l'esprit français, en sa langue originale avec des artistes
français. C'est au titre de la propagande que je me permets de vous faire cette proposition, persuadé qu'elle peut retenir
votre intérêt…". One page (20,5 cm x 26,5 cm), on letterhead "Union Syndicale des Compositeurs de Musique",
in fine condition.
10. Jean-Baptiste Bernadotte (Pau, 1763 - Stockholm, 1844)
Fragment of document with signature "J.B. Bernadotte" by the Marshal of France during Napoleon I,
elected as the heir-presumptive to King Charles XIII of Sweden, eventually Prince of Sweden in 1810
and King of Sweden and Norway as Charles XIV in 1818 until his death. One page (11,5 cm x 7,5 cm),
11. Henri-Montan Berton (Paris, 1767 - ivi, 1844)
Autograph letter signed "H:Berton" dated "7 avril 1820" by the French composer and violinist. Berton
writes to Monsieur Dosseville, a printer in Montmartre, asking him to give the bearer the "55 Planches de
mon opera [le Chevalier] de Sénange [1808]". One page (18,5 cm x 11,5 cm), in good condition, with some
humidity spots and a tear on the backside upper right corner.
12. Jan Blockx (Antwerp, 1851 - ivi, 1912)
Autograph musical quotation signed "Jan Blockx" dated "Anvers le 21 Août 1909" by the Flemish
composer. Blockx inscribes 11 bars for voice and piano from the end of the 2nd act of his opera De
Herbergprinses [here in French "Prinses d'Auberge"]. One page (29,5 cm x 21,5 cm), in fine condition.
13. Adrian Boult (Chester, 1889 - London, 1983)
Concert poster of "I Pomeriggi Musicali di Milano" of the Teatro Nuovo in Milan with dedication signed
"Adrian Boult" dated "Milan 15 Jan[ua]ry 1969" by the English conductor, who conducted at the Royal
Opera House and at the BBC Symphony Orchestra for 20 years. One page (19 cm x 26 cm), in fine
14. Maria Callas (New York, 1923 - Paris, 1977)
Two excellent photographs depicting the Greek soprano. In the second picture, Callas is captured with
the English ballerina Margot Fonteyne (1919-1991) on the occasion of the Music Festival of Athens,
dated 18.6.1966. (11,5 cm x 18 cm); (12,5 cm x 18 cm), in fine condition.
15. Alfredo Casella (Turin, 1883 - Rome, 1947)
Autograph musical quotation signed "Casella" dated "Palermo 25.9. MCMXXXI" by the Italian
composer and pianist. Casella dedicates the quotation to 'Donna Giannina Rota' and inscribes 4 bars and
a half of a composition. One page (13,5 cm x 17 cm), in fine condition.
16. Gustave Charpentier (Dieuze, 1860 - Paris, 1956)
Autograph letter signed "G. Charpentier" dated "14 Janvier 97" by the French composer, best known for
his opera Louise (1900). Charpentier writes to an impresario about the negotiations with singers for an
opera, in part:"J'ai attendu pour vous répondre de savoir le résultat des négociation engagées pour Mr. Gabriel Marie
(conductor, 1852-1928), votre éminent chef, avec Mr. Tarquini d'Or (actor, 1882-1949). Pour le ténor, il faudra
s'en… à Gilbert qui sein suffisant, surtout si on le fait travailler – sans doute ce n'est pas le genre de voix que j'ai révee,
mais puis qu'il n'y en a pas d'autres!…". Three pages (11,5 cm x 17 cm), in good condition, with some
diffused tears and signs of restoration on the backside.
17. Ernesto Consolo (London, 1864 - Florence, 1931)
Autograph musical quotation signed "Ernesto Consolo" dated "7.1.27" by the Italian pianist and
composer. Consolo wishes the best and inscribes 2 bars of a composition. One page (13,5 cm x 17 cm),
in fine condition. Inscriptions on the backside.
18. Salvador Dalì (Figueres, 1904 – ivi, 1989)
Autograph letter signed "Salvador Dalì" in French by the Spanish surrealist artist, dated "Paris 2 Juin
1938". Most likely addressed to Léonide Massine, to enquire about the beginning of the construction
of the stage set for his ballet Bacchanale at the Metropolitan Opera in New York in 1939. Dalì was
signed up to write the libretto and the sets for Bacchanale, a ballet by Léonide Massine, the Russian
choreographer who assisted Diaghilev's Ballets russes from 1915 to 1921. After Diaghilevs' death,
Massine helped to revitalize the Ballets russes creating a new company called Ballets russes de Monte-Carlo,
co-founded in 1937 with René Blum and financed by the American businessman Julius Fleischmann,
Jr.'s World Art Inc. In full (with corrections and additions in the margin by Dalì):"Je regrete de ne pas avoir
déjeuné avec vous chez notre Ami commun le comte Etienne de Beaumont. Je vous serais très reconnaissant de bien vouloir
me preciser la date à la quelle la "Corporation Worldart.inc" commencera l'exécution des décors et les Répétitions de mon
oeuvre qui lui a été remise pour être présentée cette saison d'été. Un mot de vous m'obligerait. Recevez Monsieur mes
salutations distinguées". Dalì was a close friend of Count Beaumont, who at that time was at the forefront
of fashion and gave the most lavish balls in Paris, attended by other luminaries like Proust and Picasso.
The return address penned in the upper right corner is in the hand of his wife, Gala Dalì. Fully
handwritten letters by Dalì are scarce, and this is a highly desirable early example. One page, (22,3 cm x
31 cm). In fine condition.
19. Marcel Delannoy (La Ferté-Alais, 1898 - Nantes, 1962)
Autograph document by the French composer and critic, author of operas, ballets, orchestral works
and film scores. Delannoy provides informations on his activity and music works for an article to be
written about him. The composer mentions his works 'Rigaudon', 'Clef des Songes', 'Bourrée','L'éventail de
Jeanne', 'Poirier de Misère', 'Quatre Regrets de Joachim du Bellay'. Among the notes, corrections and rewritings
Delannoy inscribes a few musical bars. Four pages (13,5 cm x 21 cm), in fine condition.
20. Théodore Dubois (Rosnay, 1837 - Paris, 1924)
Autograph letter signed "Th. Dubois" dated "Dimanche 8 Mars 1874" by the French composer and music
teacher, Director of the Paris Conservatory in 1896. Dubois writes to a gentleman, presumably a
conductor, in part:"Demain je déposerai chez vous la partition d'orchestre de mon choeur (…) J'ai vu Madame
[Julie] Lalo qui m'a dit vous avoir vu. Elle a une très belle voix et chante très bien et si par hasard vous étiez embarrassé
pour le couplet de Contralto, ou que vous ne fussiez pas content de la personne à qui vous avez pensé le confier, elle
pourrait le chanter et je m'arrangerai dans ce cas…". Two pages (10,5 cm x 17 cm), in fine condition.
21. Cesare Emiliani (1805-1878)
Two receipts dated "2nd of May 1836" and "London 4th of May" signed by "W. Davis" [William
Davis], dealer of musical instruments in London, regarding the acquisitions of two violins by the
renowned Italian violinist and collector, pupil of Gaetano Zocca and first violin at the Chapel of
San Petronio (Bologna). Emiliani was the owner of two Stradivari violins: the first dated 1703, now
played by Anne Sophie Mütter, the second dated 1723: "Received 2nd of May 1836 of Segn. Emiliani the
sum of Twelve pounds and twelve shillings for two Violins with cases as agreed.; "London 4th May 1836 Received
of Signor Emiliani thirteen pounds for a violin (sold yesterday) with lease, selection of strings and chins". Two
pages, in good condition, with some humidity spots.
22. Frederick Augustus II of Saxony (Dresden, 1797 - Karrösten, 1854)
Letter signed "Frederic Auguste" dated "Dresde ce 26. Février 1843" by the King of Saxony from 1836 to
1854. The King writes to his correspondent the King of Bourbon to pay his respects for the loss of
Prince Antonio killed at the age of 26 by a jealous husband of a woman he had tried to seduce. One
page (19 cm x 27,5 cm).
23. Frederick Guillaume IV, King of Prussia (Berlin, 1795 - ivi 1861)
Letter signed "Frédéric Guillaume" dated "Berlin, le 12 février 1843". The King writes to his cousin to pay
his respects for the death of Antonio, count of Lecce, who has been killed at the age of 26 for having
seduced a married woman. One page.
24. Frederick Francis II, Grand Duke of Mecklenburg-Schwerin (Ludwigslust, 1823 - Schwerin,
Letter signed "Frédèric François" dated "Schwerin, le 31 Octobre 1848" by the Prussian officer and Grand
Duke of Mecklenburg-Schwerin. Frederick Francis write to his cousin Ferdinand II to pay his respects
for the death of his mother María Isabella of Spain occurred on the 13th of September 1848. One
page (22 cm x 34 cm).
25. Paul Fort (Reims, 1872 - Montlhery, 1960)
Autograph letter signed "Paul Fort" dated "Paris, Novembre 1915" by the French poet, associated with the
Symbolists. At the age of 18 he founded the Théâtre d'Art as a reaction against the Naturalistic theatre.
Fort writes to the collector and Italian Finance minister in France Federico Gentili Di Giuseppe
[1868-1940], in part:"Puis-j'espérer que vous voudrez-bien me rester fidèle pour une seconde et dernière aubée des
'Poèmet de France', où je chanterai, sinon avec beaucoup de talent, du moins avec tout mon coeur, la Victoire de nos
armes et de notre génie? Je vous saurai un gré veritable de cette fidélité". One page (13,5 cm x 21,5 cm), in fine
26. John Galsworthy (Kingston upon Thames, 1867 - London, 1933)
Autograph letter signed "John Galsworthy" dated "March 27.07" by the English novelist and playwright,
best known for his novel The Forsyte Saga (1906-1921). Galsworthy writes to Marco Praga (1862-1929),
director of the Società degli Autori in Milan, asking for news about the production of his play The Silver
Box in Italy, in part:"I should be glad to know whether you have any news for me of the production of my play "The
Silver Box" in Italy. It is now being played at one of the largest theatres in New York [first performance
18.3.1907, Empire Theatre] and I today received the following Extract from a cable from Miss Ethel Barrymore a
leading American actress who is playing the chief part to Mr. Charles Frohman "Can't tell you how magnificent I
think 'The Silver Box' has gone..". Three pages (11 cm x 18 cm), in fine condition.
27. Fromental Halévy (Paris, 1799 - Nice, 1862)
Autograph letter signed "F.Halévy" , undated [1850ca.] by the French composer, pupil of Henri
Montan-Berton, best known for his opera La Juive (1835). Halévy writes to the poet Théophile
Gautier (1811-1872), thanking him for having had him for dinner. One page (12 cm x 19 cm), in fine
Autograph letter signed "F.Halévy", undated [1850ca.], by the French composer. Halévy writes to
Monsieur Valentin de La P…, saying that he will offer a box for his concert, noting that the music in the
third act it is dedicated to him. One page (12 cm x 18 cm), in good condition, with tear in the lower
backside edge.
29. Reynaldo Hahn (Caracas, 1874 - Paris, 1947)
Autograph letter signed "R. Hahn", postmarked "29-10-1931" by the Venezuelan-born French
composer and critic. Hahn writes to Maurice Donnay [French poet, 1859-1945] on a rehearsal in a
church for an opera, presumably Une Revue 1830-1930 (1926) or Malvina (1935). One page (11,5 x 16
cm), in fine condition.
30. Thomas Huxley (London, 1825 - Eastbourne, 1895)
Autograph letter signed "T.Huxley" by the English biologist and specialist of comparative anatomy, who
was a great supporter of Darwin's theory of evolution. Huxley writes to the Italian naturalist Pietro
Marchi (1833-) about science matters. Included: carte-de-visite photograph signed "Huxley". Four
pages (13 cm x 21 cm), in fine condition.
31. John of Saxony (Dresden, 1801 - ivi, 1873)
Letter signed "Jean", dated "Dresde, ce 22 Juillet 1859" by the fourth King of Saxony from 1854 to 1873.
The King of Saxony writes to Francis II to pay his respects for the death of his father Ferdinand II.
One page (21 cm x 27,5 cm).
32. Joseph Kashmann (Mali Lošinj, 1850 - Rome, 1925)
Autograph quotation signed "G. Kaschmann" dated "Napoli 31.3.1916" by the Austrian lyric baritone
naturalized Italian, the first who played the role of Cristoforo Colombo in the opera by the same name
by composer Alberto Franchetti (1860-1942): "Il canto è il migliore interprete dei nostri sentimenti" [Singing is
the best interpreter of our feelings]. One page (30 cm x 22 cm), in fine condition.
33. Raoul Laparra (Bordeaux, 1876 - Boulogne-Billancourt, 1943)
Autograph letter signed "Raoul Laparra" dated "Libourne 4 avril 1903" by the French composer, mostly
known as representative of the French mouvement of hispanisme. Laparra writes to a Monsieur saying
that he may forward for him two letters. Laparra will win the Grand Prix de Rome in November for
music composition with his singed composition Ulysse. One page (11,5 cm x 17,5 cm), in fine condition.
Included: autograph letter signed "Raoul Laparra" dated "Paris le 15 Mai 1913", in part: "On joue en ce
moment mon 'Illustre Fregona' à l'Opéra. Je serais très heureux que vous puissiez vous en rendre compte, en vue d'une
éventuelle réalisation de cette oeuvre sur votre célèbre scène où fut, jadis, magnifiquement donné 'La
Habanera' [12.12.1912]". One page (20,5 cm x 27 cm), in fine condition.
34. Charles Lecocq (Paris, 1832 - ivi, 1918)
Frontispiece of an opera dedicated to "Mademoiselle Zulma Bouffar [French singer, 1843-1909],
presumably Kosiki [1878], with autograph dedication on the back signed "Ch. Lecocq" by the French
composer, specialized in operetta and opéra comique. Lecocq dedicates it to his "petit père Callais". One
page (17,5 cm x 27 cm), in good condition.
35. Leopold I, King of Belgium (Cobourg, 1790 - Laeken, 1865)
Letter signed "Leopold B", dated "Bruxelles, le 24 Mai 1851" by the King of Belgium from 1831 to 1865.
Léopold writes to his cousin the King of Bourbon to pay his respects for the loss of the King's uncle
the Prince of Salerno Léopold de Bourbon. One page (27,5 cm x 21 cm) on mourning-black edged
paper.
36. Xavier Leroux (Velletri, 1863 - Paris, 1919)
Autograph letter signed "X. Leroux", undated, by the French composer, pupil of Jules Massenet and
teacher at the Paris Conservatory. Leroux writes to a singer, in part:"Je rentrerai à Paris le 10 et à partir de
cette date je vous demande d'urgence de me reserver le temps nécéssaire pour répéter avec moi et vos camarades, les rôles que
vous devez interpreter à Lisbonne au San Carlo. Soyez prêt musicalement pour cette date je vous en prie". One page
(13,5 cm x 19 cm), on letterhead "Le Grand Hôtel de Lyon", in fine condition.
37. Francesco Marconi (Rome, 1855 - ivi, 1916)
Photograph with dedication signed "Marconi" dated "28-1883" by the Italian operatic tenor, one of the
earliest tenor to have left acoustic recordings. Marconi dedicates the photograph to the friend "Yurus"
in remembrance of "Pietroburgo". (11 cm x 16,5 cm), in fine condition, with glue traces on the backside.
38. Henri Marteau (Reims, 1874 - Lichtenberg, 1934)
Autograph letter signed "Henri Marteau violoniste" dated "Reims le 19 Septembre 92" by the French violinist
and composer. Marteau writes to the president of the "Société Nouvelle de Musique de Chambre", in part:"je
suis enchanté d'avoir le plaisir de jouer à Lausanne au concert que donne votre belle societé le 28 octobre. Veuillez être
assez aimables pour m'écrire les renseignements au sujet des morceau que vous désirez que j'éxecute". Two pages (12
cm x 19 cm), in fine condition.
Autograph letter signed "Henri Marteau", dated "Reims le 20 octobre 1892" French violinist and composer.
Marteau writes to a gentleman, in part:"Je viens de vous expédier les parties d'orchestre manuscrites du concerto de
J. Garcin [French violinist, 1830-1896] ainsi que celles de La vision de Jeanne d'Arc (…) Je partirai … mardi
prochain pour Paris où je resterai ce jour (…) le mercredi soir je pars pour Genève et je passerai toute la journée du jeudi
avec Monsieur Lecoultre. Enfin je serai à Lausanne pour diner à l'hôtel de Faucon.". One page on card (10 cm x
6,5 cm), in fine condition.
40. Émile Mathieu (Lille, 1844 - Ghent, 1932)
Autograph musical quotation signed "Emile Mathieu" dated "Gand. Janvier 1910" by the Belgian
composer and conductor, conductor from 1873 to 1875 of the Théâtre du Châtelet orchestra in Paris.
Mathieu inscribes 9 bars for voice and piano of an Andantino dolce from the 2nd Act of the opera
Richilde [1887], with text: "Les larmes à l'enfant! Au matin la rosée, qu'un rayon du soleil levant au calice des fleurs a
bientôt épuisée…!". One page (30 cm x 22 cm), in fine condition.
41. Henri Matisse (Le Cateau-Cambrésis, 1869 – Nice, 1954)
Typed letter signed with autograph corrections dated "Paris, le 30 Septembre 1951" by the greatest French
artist of the XXth century. Matisse writes to Monroe Wheeler (1899 – 1988), curator of the Museum
of Modern Art in New York. At that time Wheeler was organizing Matisse's retrospective exhibition at
the MoMA, which took place between November 13, 1951 and January 13, 1952. The artist asks for
some adjustments to the catalogue of his most important exhibition in the United States. One page
(20,8 cm x 27 cm). In fine condition, with intersecting folding lines.
42. Felix Mendelssohn-Bartholdy (Hamburg, 1809 – Leipzig, 1847)
Autograph document in French signed and dated "Francofort s/M 26 mai 1845" by the German pianist.
In this official document Mendelssohn sells "la propriété de mon oeuvre 67 (Cahier de Six Romances sans
Paroles pour Piano seul) pour l'Italie à Mr. G Ricordi de Milan". Composed between 1842 and 1844,
Mendelssohn dedicated his Op. 62 to the distinguished pianist Clara Schumann, wife of the composer
Robert Schumann. An important document detailing the sale of a famous composition to the most
prominent music publisher in Italy. One page (19,2 cm x 25 cm) In fine condition, with a faint stain
below the last name in his signature.
43. Catulle Mendès (Bordeaux, 1841 - Saint Germain, 1909)
Autograph letter signed "Catulle Mendés" by the French poet and humanist. Mendès writes to journalist
and playwright Auguste Vacquerie (1819-1895), saying that he will never miss the first performance of
his Hernani [on Victor Hugo's text, Comédie-Française, 20.6.1867], asking if he could add M. and Mme
Leconte de Lisle [French poet, 1818-1894] and Léon Dierx [French poet,1838-1912] to his ticket lists.
Two pages (12,5 cm 18,5 cm), in fine condition.
44. Fridtjof Nansen (Oslo, 1861 - Lysaker, 1930)
Photograph portrait signed "Frdtjiof Nansen" dated "28/4. 1900" by the Norwegian explorer and
naturalist, Nobel Peace Prize laureate in 1922. At that time, Nansen was director of the International
Laboratory for the North Sea based in Christiania. (10,5 cm x 16,5 cm). Signature of property on the
backside.
45. (Napoleonica) Napoléon I Bonaparte (Ajaccio, 1769 – Saint Helena, 1821)
Letter signed "Np", dated "Paris le 23 Xbre 1810", by the Emperor addressed to his stepson Eugène de
Beauharnais. Napoleon informs him about the unfavorable report that the Ministry of Foreign Affairs
drafted regarding the consul Jean Paul Meuron, whom is blamed for his conduct. Meuron (Calvi, 1761
– 1830) was a Corsican childhood friend of Napoleon's, a member of La Societé populaire de Calvi at the
Convention Nationale. As First Consul Napoléon entrusted him with the Villa Reale of Monza. After
many years of friendship, Napoleon has to blame one of the companions of his youth. In full: "Mon
fils, vous aurez connaissance du rapport de mon Ministre des Relations Extérieures [Jean-Baptiste Nompère de
Champagny (1756 – 1834)] qui blame beaucoup la conduite du Sr [Jean Paul] Meuron mon Consul à Ancone. Je
suppose qu'il sera en conséquence reformé et se sera desisté de prétentions qui ne sont pas fondées. Votre affectionné père".
One page (18,4 x 22,7 cm). In fine condition.
46. (Napoleonica) Joséphine de Beauharnais (Les Trois Îlets, 1763 – Paris, 1814)
Letter signed "Josephine", dated "A Malmaison le 6 Novembre 1812" by the first wife of Napoleon I to
the Minister Jean-Girard Lacuée (1752 – 1841) appointed by Napoleon I in 1810. Joséphine asks Mr.
Lacuée for an advancement for "Sieur Fizelier", at the same time she takes the opportunity to renew the
assurance of her affection for the Minister. In full: "Monsieur le Ministre..., je vous demande vos bontés pour le
Sieur Fizelier dont je joins ici l'état de services. Il sollicite de l'avancement dans le corps où il sert, et je vous le
recommande avec d'autant plus de plaisir que je profite de cette occasion pour vous renouveler l'assurance de l'attachement
que vous me connaissés pour vous". One page (18,8 cm x 23 cm). In fine condition.
47. Niccolò Paganini (Genua, 1782 – Nice, 1840)
Letter in French signed by the great composer and violinist on the last page "Nicolò Paganini", dated
"Francfort s/M le 29 Janvier 1831" written by his secretary Lazzaro Rebizzo who joined him in his
German tour of 1829. The most celebrated virtuoso of his time says he was expected in Frankfurt for
his 5th of February's concert, and thanks his friend and publisher, the Karlsruhe's litographer Johann
Velten (1807 – 1883) for his kindness in offering his apartment. Paganini hopes that the German tenor
Anton Haitzinger (1796 – 1869) will participate actively in his concert. He then writes out the
programme for his concert the following Saturday, in part: "Je m'empresse de répondre à votre honorée du 26
pour vous remercier en premier lieu de toutes les peines que vous voulez bien vous donner pour moi à l'égard de mon concert
et aussi pour l'offre bien courtoise que vous me faites de votre appartement; comme j'ai un domestique et une voiture assez
volumineuse et que d'ailleurs il se pourrait que j'arrivasse tard dans la nuit, je crains de vous gêner et je ne veux pas
abuser de votre bonté: pour vous prouver, cependant que j'agrée les marques de votre amitié,je prendrai la liberté de vous
emmener mon Achille. Je dormirai donc à l'auberge – dont je ne sais plus l'enseigne – de M.r Liebhold qui était autrefois
ici à l'hotel del Russie, et je crois que j'arriverai le 3 du prochain. Je vous inclus la lettre pour M. Haitzinger, qui,
j'espère, honorera mon concert de son beau talent: en attendant voici les morceaux que je me propose d'exécuter:
Programme du Concert de N.P. pour le samedi 5 Fevrier - 1831. Premiere partie 1. Ouverture 2. Chant… à choisir.
Gran concerto en trois parties composé et exécuté par Paganini ainsi qu'il suit 3. Allegro maestoso 4. Adagio
appassionato et Rondò brillante. Seconde partie 5. Ouverture 6. Sonate militaire composée et exécutée sur la corde G. par
P. 7. Chant 8. Variations composées sans accompagnement d'orchestre et exécutées avec le violon seul par Pag=i". Three
pages (17,8 cm x 22,4 cm). In good condition.
48. Louis Pasteur (Dole, 1822 – Marnes-la-Coquette, 1895)
Autograph letter signed "L. Pasteur", dated "ce 30 octobre 1885", by the French biologist and chemist,
particularly renowned for his discoveries of the principles of vaccination. In July 1885 Pasteur made his
first experimental test of a rabies vaccine on a young boy who was bitten by a dog. Three months later
the boy was in good health, and the treatment could then be considered reliable. After this
achievement, Pasteur's reputation grew rapidly. Here Pasteur replies to a young lady who offers herself
as a test subject for his experiments: "Mademoiselle, Je suis fort touché de votre proposition mais je ne puis
l'accepter puisque vous n'avez pas été mordue". Four days before, Pasteur gave a lecture at the Académie des
Sciences titled "Méthode pour prévenir la rage après morsure". One page (11 cm x 17,5). In fine
49. Ildebrando Pizzetti (Parma, 1880 - Rome, 1968)
Autograph musical quotation signed "Ildebrando Pizzetti" dated "Milano 6 febbraio 926" by the Italian
composer and musicologist. Pizzetti inscribes 5 bars of a composition. One page (13,5 cm x 17 cm), in
50. Raymond Poincaré (Bar-le-Duc, 1860 - Paris, 1934)
Photograph signed "Poincaré" by the French statesman and 58th Prime Minister of France and
President from 1913 to 1920. (9 cm x 14 cm), in fine condition.
51. Henry of Prussia (Berlin, 1862 - Barkelsby, 1929)
Photograph signed "Henri Prince de Prusses" dated "Savoya Août 1893" by the younger brother of
German Emperor William II. (13,5 cm 20,5 cm), in fine condition.
52. Maurice Ravel (Ciboure, 1875 - Paris, 1937)
Autograph letter signed "Maurice Ravel" dated "7/10 13" by the French composer, pianist and
conductor, internationally regarded as France's greatest composer in the 1920s. Ravel writes to a
gentleman, presumably a writer/editor, about some publications issues, in part: "Il faut absolument que
vous … de faire la plaquette ITA pour [Auguste] Durand [editor, 1830-1909]. Telle quelle la biographie de Manuel
est insuffisante. Il y manque ce qui est de votre ressort, une élude générale sur l'entendances de mon oeuvre. Avec ces deux
éléments, l'ouvrage sera complet. Si vous refusez, vous désolez du même coup Durand, Manuel et moi. Avant d'avoir lu le
Debussy par chez Durand, j'insistai. Maintenant, je supplie…". Two pages (11,5 cm x 9 cm) on letterheaded
card of the historic restaurant "Ongi Ehtori, 23, rue Sopite. St-Jean-de-Luz", in fine condition.
53. Ernest Renan (Tréguier, 1823 - Paris, 1892)
Autograph letter signed "E. Renan" dated "Paris, 26 Janv. 1880" by the French writer and historian,
philologist of Semitic languages. Renan writes to another academic, in part: "J'ai reçu et votre aimable lettre
et votre très intéressant ouvrage. Ces récits ont une véritable importance pour montrer les lois de la formation de l'agada, ce
genre de littérature si particulier à l'Orient et qui cause tant d'erreurs aux non-israelites qui ne l'ont pas compris. Vos
notes sont des trésors de savoir, et je suis fier d'y être nommé". Included: very tiny round drawn portrait with
fainted inscription "Veritatem dilexi" ['Really loved']. Two pages (13 cm x 20,5 cm). In fine condition.
54. George Sand (Paris, 1804 – Nohant, 1876)
Autograph letter signed "ton vieux troubadour", dated "20 février 1870". Sand is recovering from an illness,
and writes to Gustave Flaubert asking about the feedback on his play Le Château de coeurs: "je suis sortie
aujourd'hui pour la 1ère fois. Je vais mieux, (…). Je suis tourmentée de n'avoir pas de nouvelles de cette lecture de la
Féerie. Es-tu content? Ont-ils compris?". A very rare exchange between two of the most famous French
XIXth century writers, whose celebrated correspondence has been dispersed. Sand uses at the end her
well known signature employed only in her letters to Flaubert: "ton vieux troubadour". One page (13,1 cm
x 20,5 cm). In fine condition.
55. Giacomo Setaccioli (Tarquinia, 1868 - Siena, 1925)
Autograph musical quotation signed "Giacomo Setaccioli" dated "Roma 24. 6 925" by the Italian composer
and teacher. Setaccioli inscribes 4 bars from the first act of his opera 'Il Mantellaccio'. Il Mantellaccio, on a
libretto of Sem Benelli, was achieved in 1923 but as many other Setaccioli works is now lost. One page
(17 cm x 13,5 cm), in fine condition.
56. Charles-Augustin Sainte-Beuve (Boulogne-sur-Mer, 1804 - Paris, 1869)
Letter signed "Sainte Beuve" dated "Ce 5 Mars 1867" by the French literary critic, custodian of the
Mazarin Library, member of the Académie Française. Sainte-Beuve writes to a friend: "Je ne sais rien de rien
sur le point quevous me touchez. Que me parlez-vous des Dieux! Je n'aurais point d'insolence de dire que je n'en connais
pas, mais je dirai que je ne les vois pas. Une démarche vous pour cette succession mettrait l'Académie dans son tort…".
One page and a half (10 cm x 13 cm) by the hand of his last secretary Jules Simon Troubat
(1836-1914), in fine condition.
57. Alfred Sisley (Paris, 1839 – Moret-sur-Loing, 1899)
Autograph letter signed "A. Sisley" in French, dated "Moret s/ Loing 2 Janv./97" by the French
Impressionist landscape painter. Sisley writes to the art collector Georges Viau for a meeting in Paris
for the following Monday. Starting in 1894, Viau assembled one of the most important collections of
pre-impressionist and impressionist paintings. One page (11 cm x 16,5 cm). In fine condition.
58. (Tenors) Luciano Pavarotti (Modena, 1935 - ivi, 2007), José Carreras (Barcelona, 1946 - ),
Plácido Domingo (Madrid, 1941 - )
Beautiful original vintage picture depicting The Three Tenors in New York in 1977. On the backside the
picture is signed "Alfred Slesinger 77 NY", renowned American photographer. (20 cm x 25 cm), in fine
59. William III, King of the Netherlands (Brussels, 1817 - Apeldoorn, 1890)
Letter signed "Guillaume" dated "Château du Loo le 4 Juin 1851" by the King of Netherlands and Grand
Duke of Luxembourg. William writes to Ferdinand II to pay his respects for the death of Leopold of
Bourbon, Prince of Salerno occurred on March 10th. One page (21 cm x 26,5 cm).
60. Emile Zola (Paris, 1840 – ivi, 1902)
Autograph letter signed "Emile Zola" in French, dated "Médan 19 juillet 1901", by the French novelist,
playwright, journalist, best known for his participation in the Naturalist literary movement. Zola writes
to Saint-Georges de Bouhélier (1876 – 1947) from Médan, on the matter of the new directors of the
"Figaro", one of the newspapers he collaborated with at the time, regarding which nothing will be
decided before "la rentrée" [September]. Bouhélier met Zola in 1896, interviewing him for the
publication of Bouhélier's book L'Hiver en méditation partly dedicated to Zola. The two men will meet
again in the years to come, with Bouhélier supporting the Dreyfus affair. In January 1901 Bouhélier
founded the College Esthetique moderne, with Zola as Honorary President. In this letter Bouhélier was
presumably waiting for some response from Le Figaro. Zola then says that he will see the composer
Alfred Bruneau (1857-1934) on Wednesday. Like his friend Zola, Bruneau collaborated for Le Figaro as
music critic at the time. In full: "Mon cher Bouhélier, je crois que vous pouvez très bien fuir Paris et vous réfugier
dans un coin de calme et fraîcheur. Rien ne se décidera au "Figaro" avant quelque temps. Je verrai Bruneau mercredi et
j'aurai des nouvelles. Nous agirons dès que cela sera possible mais il est bien peu croyable qu'on reconstitue le journal
avant la rentrée. Bonnes vacances et bon espoir. Emile Zola". One page (12,9 cm x 20,5 cm). In fine condition.
L' Autographe SA has created this privacy statement to assert his firm
commitment to privacy:
Based on Article 13 of the Swiss Federal Constitution, the General Data Protection Regulation (GDPR)
(EU) 2016/679, and the data protection laws of the Federation (Data Protection Act, DSG), everyone has
the right to privacy and to protection from misuse of their personal data.
In cooperation with our hosting provider, we strive to protect the
database as well as possible against unauthorized access, loss, misuse or falsification.
When you access our websites following data in log files are stored: IP-address, date, time, browser
request and general information transmitted to the operating system, respectively. This usage data form the
basis for statistical, anonymous evaluations, so that trends can be
identified, by which we can improve our offerings accordingly.
The personal informations you exchanged with us will not be shared, sold or disclosed to third parties in
any form, for any purpose, at any time. All contacts and sales informations, including the informations
about services you purchased from us, will remain confidential.
L'autographe SA, Librairie Ancienne
rue du Cendrier 24, c/o BAUMER & CIE SA, 1201 Genève
PDF Document Catalogue 59.pdf
cette writes paris composer about votre pages opera dated letter signed autograph condition italian french


Take your party look to new heights with this stunning velvet number from Hobbs.
Crafted from a soft stretchy velvet, the dress has a beautiful lustre that glistens in the light. It's cut to a slim silhouette with an artfully designed twist front detail to flatter the waist, and a low V-neckline.
Finishing at the knee, this piece works well with a delicate necklace, strappy stilettos and a metallic clutch.


text:
Could Billy Beane bust up the A's?
By Craig CalcaterraOct 1, 2014, 11:00 AM EDT
My favorite thing from after last night's game was watching old dinosaur newspaper columnists dropping "Moneyball" zingers. They were great because they showed that (a) those guys never, ever read the book or at the very least didn't understand it; and (b) they were so confident in the power of their zingers they didn't think it necessary to explain how a book that provided a snapshot of the Oakland A's from 12 years ago was even remotely relevant to 2014.
Never mind, boys, just go with it. You sure stuck it to that Billy Beane good! Or Brad Pitt. Or whoever. Doesn't matter probably.
A more relevant observation about Beane comes from Ken Rosenthal: Beane rarely stands pat. And after last night's loss — made all the more crushing by the fact that the A's simply went for it this year, trading prospects and bats for arms specifically sought for the postseason — Rosenthal is hearing that Beane could do some radical things. Like trade Jeff Samardzija. Or even Josh Donaldson.
Late in the column he suggests that he could stand pat for a couple of months and see where the team is before unloading either or both of those guys. That may be more reasonable. Still, there's no escaping the fact that Beane went all-in and eschewed the idea of stockpiling prospects and holding on to offense at all costs because he smelled a pennant, that didn't work and now he has some long-term challenges facing him as a result.
Which ain't exactly "Moneyball" as the dinosaurs think of it, but we'll give them a decade or so to catch up to that.


text:
Lawyer: Chicago archdiocese paid $80M to clients of law firm
by: MICHAEL TARM, Associated Press
CHICAGO (AP) — The Roman Catholic Archdiocese of Chicago has paid $80 million to 160 victims of sexual abuse by clergy represented by a single law firm since 2001, the lawyer who heads the Minnesota-based firm told reporters Tuesday.
According to a statement issued later by the archdiocese, it has paid around $200 million in all to settle litigation accusing clergy of sexual misconduct over recent decades.
Jeff Anderson, one of the most prominent attorneys representing accusers nationwide, told a Chicago news conference it was the first time he's publicly revealed the sum of payments to clients abused by nearly 50 clergy.
The $80 million includes recent settlements for seven accusers represented by Anderson's firm. It doesn't include payments to survivors represented by other law firms, and doesn't include more than 35 still-ongoing cases handled by Anderson and his fellow lawyers.
If the $80 million figure is correct, that means clients of Anderson and his colleagues may have received around 40 percent of the total $200 million in payouts by the archdiocese.
The brief Tuesday statement from the archdiocese said it doesn't disclose settlement payouts to specific law firms or individuals. It did acknowledge the payments have strained the budget of the archdiocese, which serves more than 2 million Catholics in and around Chicago.
"The Archdiocese of Chicago has made significant progress in recent years in stabilizing our finances," the statement said. It added that the archdiocese still faces challenges "due to misconduct settlements, the declining size of our congregation and other factors."
A July Chicago Tribune report cited archdiocese officials as estimating they may have to pay $156 million more to settle legal action by survivors in years to come.
Anderson said the payments to his clients over nearly 20 years averaged $500,000 per victim, with some payouts to individuals running into the millions of dollars and others only into the tens of thousands of dollars.
The archdiocese fought litigation throughout the '80s and '90s but slowly developed a settlement process, Anderson said. He called the relationship with the archdiocese "arduous and inconsistent" but said that there's been a positive "sea change" in approach in recent decades.
"We have so much more to do," he said. "But make no mistake about it: this is progress."
Anderson was asked by a reporter if some might raise eyebrows about how his law firm has profited from the litigation. He answered: "You're damn right we made a lot of money."
But Anderson, who began representing clergy-abuse victims in the 1980s, said his firm has donated large sums of money to the decadeslong movement to force the Catholic Church to "come clean" about the abuse. And he said money secured by the firm helped survivors take control of their lives.
Follow Michael Tarm on Twitter at https://twitter.com/mtarm
UPDATE: Plan to introduce new Illinois bill to remove school resource officers tabled


Gary is out of prison.
I've been apprised of all the facts, Kate.
Joyce made some scrambled eggs.
Doyle's death has been officially ruled as an accident.
I'll go sailing with Sanjay tomorrow.
I bet Ravi will be late.
How much did you bet Amedeo?
Graham explained everything to Paola.
Kriton had no place else to go.
Jerald couldn't conceal his disappointment.
I actually like Mat a lot.
Joon held the gun to his head.
I told Jem I wouldn't tell anybody.
Benjamin doesn't want to admit how much he misses Matthias.
Elizabeth wished to sink into the ground for shame.
Maybe Walter will do that for us.
Henry wants me to stop talking to Ami.
Sonny doesn't think it's impossible.
Stefan put the toys in the basket.
Meeks was a friend of John's.
Geoffrey thought what Laurie said was stupid.
You should tell Jeffie that he has nothing to worry about.
Heinrich has been waiting three hours now.
Terri and Brett are like family.
Edmund won't believe Matthieu even if she swears it's true.
Pete went to bed very late.
Why did Andries kiss me?
Rob is only pretending to be sick.
Theo switched off the dryer.
Gerald is still at the door.
Takao was easy to find.
Nguyen gave me some old coins.
Nichael worked for a construction company in Boston.


text:
Buster West
Buster West is a Senior Financial Services Representative in the St. Peter office of the Minnesota Business Center of the Principal Financial Group®. He is a Senior Financial Services Representative of Principal Life Insurance and Principal National Life Insurance Companies and Princor Registered Representative with Princor Financial Services Corporation (Princor®). Buster is a graduate of Gustavus Adolphus College. His professional activities include teaching industry courses and holding leadership positions in the National Association of Insurance and Financial Advisors-Southern Minnesota Chapter and the Society of Financial Service Professionals, serving as President of both organizations. Active in his community, Buster has been a member of the Cleveland School Board, president of the St. Peter Lions Club, St. Peter United Way and the German-Jefferson Sportsman Club, Cub master with the Cub Scouts, is a member of the St. Peter Area Chamber of Commerce and a member of the Mankato Chamber. Buster is a life and qualifying member of the Million Dollar Round Table (MDRT). He has been recognized as the Outstanding Young Businessman in St. Peter. In 1993, he was inducted into the Gustavus Adolphus College Athletic Hall of Fame. In 2006 Buster received the coveted Orris M. Johnson Memorial Award from NAIFA Southern Minnesota. "This award is given to a member who has established a pattern of representing the finest type of individual in all dimensions of his living and a person who consistently has brought honor and respect to our industry and community." Buster's hobbies include photography, travel, restoring prairies, hunting, fishing, canoeing and cross country skiing.
Buster was appointed to the Mankato Area Foundation Board of Directors in 2014. He currently serves on the Investment and Granting committees.
Your ticket for the: Buster West


The Latest News from DAI's Global Ministry | Development Associates Intl.
The results of the MAOL 10 Year Impact Study are in. The study allowed DAI the wonderful opportunity to talk at length with alumni, current students, partner university staff and DAI staff across Africa and Asia. They discussed all aspects of the program including faculty, residencies, curricular content and program structure. The responses were overwhelmingly positive in every respect.


SUNDAY SCHOOL CLASSES will meet at 10 a.m. and will be offered for various age groups: 2-3 year-olds will meet in the Nursery (upper level), Pre-K will meet in Scripture Tent (upper level across from the Nursery), 1st-2nd grades will meet in the room across from the Youth Room, 3rd-6th grades will meet in the Youth Room and 7th and up will meet in the downstairs office room.
CHILDREN'S WEDNESDAY NIGHTS AT CEDAR HEIGHTS meets from 6:00-7:30 p.m. beginning September 16th! All families are invited to mark their calendars and join us for another fantastic fall. The meal will begin at 6 p.m. and activity/lesson will be 6:30-7:30 p.m.
Junior High Youth Group on Wednesday nights.
7:00 Sr High programs begins.


• Robert Irwin, "The Mad Sculptor": He longed to use his carving skills on the woman he loved—but had to settle for making short work of her mother and sister instead.
• Peter Robinson, "The Tell-Tale Heart Killer": It took two days and four tries for him to finish off his victim, but no time at all for keen-eyed cops to spot the fatal flaw in his floor plan.
• Anton Probst, "The Monster in the Shape of a Man": The ax-murdering immigrant's systematic slaughter of all eight members of a Pennsylvania farm family matched the savagery of the Manson murders a century later.
Spurred by profit, passion, paranoia, or perverse pleasure, these killers—the Witch of Staten Island, the Smutty Nose Butcher, the Bluebeard of Quiet Dell, and many others—span three centuries and a host of harrowing murder methods. Dramatized in the pages of penny dreadfuls, sensationalized in tabloid headlines, and immortalized in "murder ballads" and classic fiction by Edgar Allan Poe and Theodore Dreiser, the demonic denizens of Psycho USA may be long gone to the gallows—but this insidiously irresistible slice of gothic Americana will ensure that they'll no longer be forgotten.
School Counselors As Resource Brokers: The Case for Including Teacher Efficacy in Data-Driven Programs.


text: Q: how to enable fedex Free Shipping for all products in magento 2 Magento 2.3.2 We use only FedEx for shipping. FedEx shipping is set up and working fine, rates are being calculated correctly. but we want to give free shipping to all customers. I all ready enable Free Method(ground)However, it is not being applied to FedEx.

redpajama_set_name: RedPajamaStackExchange


text:
VOA Immigration Weekly Recap, Dec. 4–10
The U.S. government said Wednesday it is appealing a court ruling that would otherwise lift asylum restrictions that have become the cornerstone of border enforcement in recent years, The Associated Press reports.
US Expands Deportation Relief to About 264,000 Haitians
The Biden administration will expand deportation relief and access to work permits for Haitians who are already in the United States, the U.S. Department of Homeland Security said Monday, as Haiti's government struggles to stabilize the country. Reuters reports on the situation.
US Homeland Security Chief Warns Borders Being Rendered Meaningless
America's borders – and borders in general – are no longer sufficient to help protect the United States from a variety of evolving threats, including foreign wars, according to a grim assessment by the country's top Homeland Security official. Speaking less than a week after the Department of Homeland Security reissued a National Terrorism Advisory System bulletin because of a "persistent threat environment," Secretary Alejandro Mayorkas warned that U.S. adversaries and criminal actors have leveraged technological advances to reach inside the country in ways that until now have never been possible. Jeff Seldin, VOA's national security correspondent, reports.
Philadelphia Businesses Help Ukrainian Refugees with Employment
One of the biggest challenges for Ukrainian refugees who end up in the U.S. is finding a job. But one Ukrainian business in Philadelphia is doing what it can to help newcomers. Iryna Solomko has the story.
Immigration around the world
Spain Under Pressure Over Migrant Deaths on Moroccan Border
Rights groups are pressuring Spain's government over the deaths of at least 23 people after thousands of migrants forced their way through the European Union's only land border with Africa between Morocco and the Spanish enclave of Melilla. Graham Keeley reports for VOA.
Rohingya Rescued After Boat Strands Off Thai Coast
Myanmar's military said Thursday more than 150 Rohingyas were rescued from a stalled boat near Thailand's coast. Agence-France Presse quoted a junta statement saying the boat was carrying 106 men and 48 women and was spotted near an oil rig co-run by the state Myanmar Oil and Natural Gas Corporation. VOA News reports on the story.
Association Head Says Rohingya Still Face Genocide
The head of a Rohingya organization urgently called for the U.N. Security Council to prevent what it described as genocide against the Rohingya in Myanmar. Tun Khin, president of the Burmese Rohingya Organization UK (BROUK), told VOA that the Rohingya in Rakhine state, Myanmar's far west region, continue to face a genocidal program that puts their very survival at risk. From VOA's Burmese Service, Ingyin Naing reports.
The U.N. refugee agency warns humanitarian conditions are deteriorating for tens of thousands of Somalis in Kenya's Dadaab refugee camps as an unrelenting drought grips the Horn of Africa and funding dries up. More than 80,000 Somalis fleeing conflict and drought have arrived in Kenya's Dadaab refugee camps over the past two years, more than 24,000 since September. Lisa Schlein reports for VOA from Geneva.
Kenya Concerned by Cholera, Measles Outbreaks at Congested Refugee Camp
Aid groups say measles and cholera outbreaks at Kenya's congested Dadaab refugee camp have killed at least five people and sickened more than 400. The outbreaks come as thousands of Somalis have been arriving at the camp this year to escape record drought back home, stretching camp resources. Juma Majanga reports from Dadaab refugee camp in northeast Kenya. Editor's note: The video has been updated to correct the timeline of the arrival of more than 80,000 Somalis.
— U.S. Citizenship and Immigration Services (USCIS) released data showing 1,023,200 naturalizations in fiscal 2022, the highest number of citizens the agency has naturalized since 2008.
Road closures ahead of SONA
Due to the State of the Nation Address (SONA) taking place on Thursday, access to certain roads around Parliament and the City Hall will be restricted in a phased approach.President Cyril Ramaphosa will deliver the SONA at the Cape Town City Hall on Th…
Gordonia Butcher" sentenced to additional 18 years for attempted murder and theft of motor vehicle
KIMBERLEY – Devon Ovies (33), dubbed the "Gordonia Butcher," was sentenced to an additional 18 years' imprisonment for the attempted murder of his sister and theft of motor vehicle on Friday, 03 February 2023 in the Springbok Regional Court. Devon was…
Three suspects arrested for business robbery and possession of prohibited firearm and ammunition in Manenberg
WESTERN CAPE – Three suspects aged between 38 and 47 were arrested by members attached to Maitland Flying Squad and Cape Town K9 units, on charges of business robbery and possession of prohibited firearm and ammunition on Tuesday afternoon, 07 February…
Two gang-related murder suspects fatally wounded in shootout with police
DURBAN – Two suspects, who were sought in connection with murder cases and a string of other gang and drugs related crimes, were fatally wounded in a shootout with police on Tuesday afternoon.Police were following up a positive lead when they spotted f…


text:
Copyright, 1995. All Rights Reserved.
Anyone with intelligence would remember that the eyes may be confused in two ways and from two causes, coming from the light into darkness as well as from darkness into light. Realizing that the same applies to the soul, whenever he sees a soul disturbed and unable to see something, he will not laugh mindlessly but will consider whether it has come from a brighter life and is dimmed because unadjusted, or has come from greater ignorance into greater light and is filled with a brighter dazzlement. The former he would declare happy in its life and experience, the latter he would pity , and if he should wish to laugh at it, his laughter would be less ridiculous than if he laughed at a soul that has come from the light above.
Plato, The Republic
For the purposes of this essay I will use the following terms interchangeably: God, the infinite, truth, Goodness, the divine. I will refer to the witness of this metaphysical truth as a visionary.
If the existence of the infinite is accepted, and that man has the capability to perceive this divinity, a fundamental question remains: how is this vision to be attained? But then one must qualify this assumption by claiming that either all people share this ability equally, or that it belongs to only a rare group of visionaries. If the latter argument is chosen, then is the man who has found God destined to wander our world in frustration over not being able to express his vision? Or is it possible for him to translate his experience to the less enlightened masses and even serve as a messenger of the divine? These questions are central in both the Bible, most notably in the beginning of Exodus, as well as in Plato's Republic, specifically in the allegory of the cave. Each work was written with very different purposes, but the fundamental question they address is the same- how is man to find God?
In the first part of the Bible, man's relationship with God is on an individual level. Adam and Eve eat the apple from the tree of knowledge and are kicked out of the Garden of Eve. They themselves know it was a sin- not because they were told what God wants of them through an intermediary. Noah as well, has an idea of what God expects from him, and is therefore spared from the flood and referred to as a righteous man. The climax of man's personal relationship with God in Genesis climaxes with Abraham, the first man in the Bible to have an actual dialogue with God. Abraham had found god on his own, and he is confident enough in his communication with Him to almost sacrifice his son. Abraham is a visionary in every sense of the word but is not concerned with necessarily communicating his vision with those around him. In Abraham's mind, if God wants him to sacrifice his son, this means he must obey. But never does he assume a universal truth, or that he should convey God's message to his neighbors who need guidance towards the Lord.
The Bible's depiction of man's relationship with the divine drastically changes in Exodus. The visionary in the Bible is no longer a lone man on a private search for truth, but now is out to save his people from physical and spiritual slavery in Egypt. Moses, who is chosen for the job, is more than a little surprised when he bumps into God in the form of a burning bush. When he notices that the bush is burning but is not being consumed, he decides to "turn aside and see this great sight," but then he "hid his face, for he was afraid to look at God." Moses is told that he is to bring forth the sons of Israel out of Egypt, and act as God's messenger. He is, however, unsure how to react. This is, after all, the first time in the Bible that God chooses to communicate to a group through the voice of an intermediary. God tells Moses to merely tell the people that "I AM" has sent him:
Then Moses said to God, "If I come to the people of Israel and say to them, 'The God of your fathers has sent me to you,' and they ask me, 'What is his name?' what shall I say to them?" God said to Moses, "I AM WHO I AM." And he said, "Say to this to the people of Israel, 'I AM has sent me to you.'"
Ultimately, Moses is successful in leading the people out of Egypt, speaking to Pharaoh and making every decision as God's messenger. When Moses leads the Israelites to Mount Sinai, his guidance of the people towards the revelation of God reaches its culmination. The time has come for God to transmit his message to the people. Not directly, but through Moses.
It is in this episode that much of the Bible's ideas regarding the role of the visionary are revealed. To analyze this scene effectively it will be constructive to look at both the behavior of Moses and the Israelites. The function of the prophetic visionary is determined by not only his actions but by the reactions of his audience, so it is important to view this relationship from both sides. Furthermore, it is necessary to observe the dialogue between Moses and God, the source of his vision. The scene at Mount Sinai is actually a three dimensional drama that must be examined from each perspective in order to be completely understood.
The dialogue between Moses and God has developed since the first encounter at the burning bush. Moses was then characterized by fear, awe, and confusion, but now, at Mount Sinai, he is clearly bolder and more expressive in speaking with God. It seems that the more time Moses spends communicating with God, the warmer their relationship becomes. The crucial point that is constant is Moses remains the only person who is having a dialogue with God. After he came down from the mountain for the first time he spends time in a tent isolated from the rest of the people. When Moses was in the tent, a pillar of cloud would hover by the tent's door, indicating the presence of God. By now, Moses is much closer to God than when first discovering the burning bush: "Thus the Lord used to speak to Moses face to face, as a man speaks to his friend."
Almost immediately after this description, the Bible relates the episode of Moses asking God to, on a literal level, to expose his face. It is clear however, that Moses is really asking God to reveal himself on a deeper level:
I pray thee, if I have found favor in thy sight, show me now thy ways, that I may know thee and find favor in thy sight. . . . For how shall it be known that I have found favor in thy sight, I and thy people? Is it not in thy going with us, so that we are distinct, I and thy people, from all other people that are upon the face of the earth? . . . I pray thee show me thy glory
Moses is in fact praying to God for a revelation of truth, an explanation of the ways of God, so that Moses may "know" Him. Interestingly, it is implied that Moses's motivation for divine knowledge is only a desire to act in a way that will continue to please God and insure the continued divine support for his people. Moses has transcended far above a curious taste from the tree of knowledge in the Garden of Eden.
Moses's desire to witness the revelation of God is hardly surprising- the search for the divine is arguably (And I believe) what characterizes all of humanity. What is significant here is God's response.
And the Lord said to Moses, "This very thing that you have spoken I will do; for you have found favor in my sight, and I know you by name" . . . . And he said "I will make all my goodness pass before you, and will proclaim before you my name 'The Lord'; and I will be gracious to whom I will be gracious, and will show mercy on whom I will show mercy. "
God has granted Moses's request and acknowledges their special relationship. he does not, however, allow Moses to see his face;
"But," he said, "you cannot see my face; man shall not see my face and live." And the Lord said, "Behold, there is a place by me where you shall stand upon the rock, and I will cover you with my hand until I have passed by; then I will take away my hand, and you shall see my back; but my face shall not be seen.
The anthropomorphism, without doubt, is referring to a deeper issue. God is allowing Moses to witness a partial revelation, but the message here is that man is not capable of perceiving God fully. Not even Moses, the one man who God has chosen to speak to out of the entire Israelite population. The man who God speaks to as a friend. Even he is not able to perceive God in His entirety.
In contrast to Moses's friend-like relationship with God, the rest of the Israelites are kept at a great distance. The description of Moses's first ascent to the top of Mount Sinai to receive the ten commandments for the first time is very telling of the people's distant relationship to God. The narrative describes how the mountain become wrapped in smoke, and that the "Lord descended upon it in fire," and God calls Moses specifically to meet him at the to of the mountain. The Bible is quick to add that the people were not invited:
And the Lord said to Moses, 'Go down and warn the people, lest they break through to the Lord to gaze and many of them perish.
After God announced the ten commandments, loud enough for all the Israelites to hear, they are all shaken with terror:
Now when all the people perceived the thundering and the lightning and the sound of the trumpet and the mountain smoking, the people were afraid and trembled; and they stood afar off, and they said to Moses, "You speak to us, and we will hear; but let not God speak to us, lest we die." And Moses said to the people, "Do not fear; for God has come to prove you, and that the fear of him may be before your eyes, that you may not sin."
In fact the people are even forbidden from touching the mountain, or even approaching its border. Whoever touches the mountain, "shall be put to death. No hand shall touch him, but he shall be stoned or shot."
So how is Moses to relay his message to the people who were not allowed to even touch the mountain where he is to meet God?
Not surprisingly his attempts end in repeated frustration. After he descends from the mountain carrying the tablets bearing the ten commandments, he discovers that the people had built a golden calf, and were singing as they danced around it. Upon seeing this, he somehow concludes that this is a grave sin, and he slams the tablets bearing the ten commandments to the ground in anger. In retribution for the nation's singing, he burnt the calf, ground it into powder and made them drink it. As if this wasn't enough, he then orders the Levites to slaughter as many of the rest of the people as they could. . . 3,000 people were killed.
Even when the people are not described as evil "stubborn necked" sinners who cannot possibly endure the company of God without being "consumed" , they are depicted as being unable to withstand the mere presence of Moses. When Moses comes down from Mount Sinai again, his skin shone "because he had been talking with God." The people, including Aaron his brother, were scared to come near him. Only when Moses calls to them do they gather enough courage to come closer. Moses then recounts all that God has unveiled to him at the mountain top. To cover his face's radiance, Moses put on a veil which he would only take off in the presence of God.
The rest of Moses' life is spent in a constant battle to keep the Israelites behaving according to the code of life that was revealed to him, even as they continually rebelled. He finally dies in frustration, not even having the opportunity to lead his people into the promised land.
Plato's allegory of the cave is amazingly similar in its portrayal of the man who has found divine truth, both in its use of light imagery as a device to describe the condition of the visionary, and in its conclusion that what has been perceived by the visionary is inconceivable to the masses. The cave is full of ignorant chained prisoners who believe that the shadows on the cave's wall are in fact reality. If a someone manages to free himself from the cave and, after discovering the sunlight above and the true "forms" that are the cause of the illusory shadows, ever returned to the cave, his eyes would be slow to adjust back to the dim light of the cave. The prisoners still chained in the cave would laugh at him, and would foolishly resist being freed themselves. Granted, Moses does not have a problem in convincing the people of the authenticity of his message, but this is only because God had spoken loud enough for all the people to hear. What is significant, however, is that the people are not able to receive or comprehend the revelation given to Moses. "We will do and we will listen," they say with faith as blind as the prisoners in the cave.
Perhaps most importantly, Plato agrees that the man who has found truth has a responsibility to lead the blind masses still trapped staring at the shadows. He writes that although the visionary will not wish to become a leader because he is no longer concerned with what in his view are trivial daily affairs, he has a responsibility to lead the less enlightened masses.
The major difference between the two models of thought is in their interpretation of how man should search for the divine. For Plato those in the cave transcend the shadows and discover the forms through reason. God is found through the sharpening of the mind and education. It is an active process where the individual- his or her abilities and desires, determines whether or not he or she is successful. The sun is analogous to "Goodness," which, when all the inadequacies of semantics are put aside, is equivalent to the divine. When man transcends out of the "cave" of human ignorance he achieves true knowledge. He now understands the Forms and not merely their shadows in the physical world. He understands Justice as an idea and not merely its tangible manifestations. This is a goal, according to Plato, that all people should strive for, but few will accomplish. But unlike the structure at Mount Sinai, all people share the potential of transcending to this state of awareness:
The capacity to learn and the organ with which to do so are present ion every person's soul. It is as if it were not possible to turn the eye from darkness to light without turning the whole body.; so one must turn one's whole soul from the world of becoming until it can endure to contemplate reality, and the brightest of realities, which we say is the Good.
In the Bible, on the other hand, God chooses when and to whom to reveal himself. Moses was hardly in control when he stumbled into the burning bush while watching his flock of sheep. Perhaps what Moses was doing at the time was significant; he would soon afterwards take leadership of a different sort of sheep- a flock of men that, according to the Bible, do not have the ability to even look at Moses's face without fear, let alone find the God on their own. What the people are supposed to do is not try to find personal enlightenment, but to follow Moses without question.
Both the Bible and the Republic are concerned with man's search for the infinite; a higher metaphysical truth that will provide a moral structure for society and its institutions. The question of how this truth can be discovered has always been at the heart of human thought. It is a question which, I believe, is shared in one form or another by all humans- it is the thought which makes us human. What is more important in analyzing Plato and the Bible, however, is interpreting the motivation behind their answers to this question. Surely Plato argues visionaries are by nature misunderstood due, in part, to the bias of his experience- the allegory of the cave serves as a rationalization for why Socrates was misperceived and condemned to death; it implies he was a visionary who was not appreciated after returning to the dark cave of the rest of Athenians. As for the Bible, it is not surprising that the first text of an organized religion would claim that there are those who have a monopoly on truth- a dialogue with God- which the "stubborn necked" masses cannot hope to achieve. The masses must obey the Moses figures or risk perishing from God's anger (or the swords of the sons of Levi). The Israelites have become a nation of sheep and not a nation of Abrahams.
If the reader can recognize these biases, than hopefully his or her personal search for truth won't be too heavily influenced by these texts. Surely truth cannot exist within bias. So my own search for the "Goodness" continues far from the pages of these written shadows. . . .


Tint, plump and set brows with this easy-to-apply brow gel mascara. The gel adheres to even the finest hairs, leaving them fuller and more defined. The precise mini brush ensures expert application in seconds.