title: Piano Variations (Copland)

abstract: The Piano Variations of American composer Aaron Copland were written for piano solo from January to October 1930. They were dedicated to American writer and literary critic Gerald Sykes, and were originally published in 1932 by Cos Cob Press, which merged with Arrow Music Press in 1938 and was taken over by Boosey & Hawkes in 1956. The approximate performance time is 11 minutes.

text:
# Piano Variations (Copland)

The **Piano Variations** of American composer Aaron Copland were written for piano solo from January to October 1930. They were dedicated to American writer and literary critic Gerald Sykes (c. 1904–1984), and were originally published in 1932 by Cos Cob Press, which merged with Arrow Music Press in 1938 and was taken over by Boosey & Hawkes in 1956. The approximate performance time is 11 minutes.

## Background

The Piano Variations were a product of Copland's second-style period, also called the abstract period, which consisted only of instrumental (non-vocal) compositions. During this time, the composer moved away from the jazzy idioms he experimented with in the 1920s and started working more in the direction of absolute music. The influence of composition pedagogue Nadia Boulanger, with whom Copland studied in Paris at the Fontainebleau School of Music for Americans, is prevalent in the formal style, logic, patterns, and attention to detail in the Piano Variations and other works in this period.

Copland stated that he worked on the variations individually without an agenda for fitting them together or sequencing them, which seems to contradict the piece's highly ordered construction and seemingly inevitable development. Copland acknowledged this contradiction but maintained that, in fact, "One fine day when the time was right, the order of the variations fell into place." Copland had ambitious plans for this "serious piano piece"—the first of three including the Piano Variations (1930), the Piano Sonata (1939–41), and the Piano Fantasy (1957); he worked painstakingly and thought at epic proportions, saying he "should like to call them like Bach did the *Goldberg Variations*—but thus far haven't been able to think up a good one."

## Transcription as Orchestral Variations (1957)

Copland transcribed the Piano Variations for orchestra in 1957 after a commission from the Louisville Orchestra. These Orchestral Variations were premiered the following year, conducted by Robert Whitney. Copland regarded the "lean, percussive and rather harmonically severe" quality of the piano as essential to the Piano Variations in 1930, but after 27 years, reinvented the work to take advantage of a full orchestral palette. The Orchestral Variations offer a new perspective on the work, focusing instead on the contrasts of its multifarious moods and colors.

The Orchestral Variations are scored for the following instrumentation.

## Reception

Copland regarded pianist Walter Gieseking very highly for his refined tone and subtle coloration, especially in the performance of Debussy, and insisted that no one else could give a satisfactory premiere of his masterpiece. Unfortunately, Gieseking (who had performed in the premiere of the piano trio *Vitebsk* in New York in 1929) turned down Copland's request for a premiere due to the piece's "crude dissonances" and "severity of style". Copland thus premiered the piece himself at a League of Composers Concert in New York on January 4, 1931.

The Piano Variations were praised in some esoteric circles, but the public was generally courteous but lukewarm in its reception. The work was variously described as new, strange, dissonant, stark, bare, and disconcerting. Critic Paul Rosenfeld contemplated its "flinty, metallic sonorities." American composer Marc Blitzstein called it "Lithic." The cold, hard tone of Copland's playing at the premiere, far from that of a concert pianist, lent a sharper edge to an already austere work. Leonard Bernstein later reported that he adored the piece, which was "hard as nails", and also used it at parties to "empty the room, guaranteed, in two minutes". It was to him a "synonym for modern music—so prophetic, harsh and wonderful, and so full of modern feeling and thinking".

Despite the wide spectrum of opinion, the Piano Variations were immediately recognized for their originality and made a lasting impression. The New York *Herald Tribune* reported that, in the piece, Copland "sardonically thumbed his nose at all those esthetic attributes which have hitherto been considered essential to the creation of music".

Dancer-choreographer Martha Graham requested permission to choreograph a solo piece on the Piano Variations. With Copland's consent, she produced *Dithyrambic*, an evocation of Dionysus that was received with the highest enthusiasm. Copland admitted to being "utterly astonished that anyone could consider this kind of music suitable for dance ... although her choreography was considered as complex and abstruse as my music".

## The Variations

### Overview

Unlike a traditional theme and variations, Copland's Piano Variations are not episodic. They are continuously played through, in an undisrupted development of the seven-note "row" in the theme from which Copland builds the rest of the piece, "in what I hope is a consistently logical way". All of the content can be traced back to this or transpositions of this seven-note motif, suggesting the serialist techniques of Schoenberg. The concision, rigor, and lack of ornamentation have been compared to that of the style of Anton Webern. The dissonances (ubiquitous minor seconds, major sevenths and ninths) are precisely chosen for their degree of "shock value". While working on the Piano Variations, Copland cultivated a tautness and clarity of form and texture that became a precursor to the style of his other works.

Copland also experimented with the potential of the physical instrument, as he did with microtones on the stringed instruments in *Vitebsk* (1929). In the Piano Variations, some notes are held down silently while pitches selected from their overtone series are struck, which produces an effect of ringing resonances without hammering the tones directly.

Another prominent characteristic is the piece's rhythmic irregularity. The meters change constantly within an essentially 4/4 framework.

**Sources**

* Anon. 1984. "Gerald Sykes, 80, Dies; Was Author and Critic". *The New York Times* (July 16) (accessed April 3, 2017).
* Butterworth, Neil. *The Music of Aaron Copland*. London: Toccata Press; New York: Universe Books, 1985. ISBN 0-87663-495-1.
* Copland, Aaron. *A Reader: Selected Writings 1923–1972*, new edition. Edited, with an introduction, by Richard Kostelanetz. Asst. editor Steve Silverstein. New York: Routledge, 2004. ISBN 0-415-93940-2.
* Greenfield, Edward, Ivan March, Robert Layton. 1996. *The Penguin Guide to Compact Discs Yearbook, 1995/6*. Penguin Handbooks. London and New York: Penguin Books.
* Johnson, Lawrence. 2005. "Copland Piano Fantasy; Piano Sonata; Piano Variations: Fiery Performances in a Bargain Set of Three Notable Copland Works". *Gramophone* (August).
* Oja, Carol J. 2000. *Making Music Modern: New York in the 1920s*. Oxford and New York: Oxford University Press. ISBN 978-0-19-516257-8.
* Perlis, Vivian. 2002. "Aaron Copland and John Kirkpatrick: 'Dear John, Can You Help Me Out?'". In *Copland Connotations: Studies and Interviews*, edited by Peter Dickinson, foreword by H. Wiley Hitchcock, 57–65. Woodbridge, Suffolk, and Rochester, New York: The Boydell Press. ISBN 0-85115-902-8.
* Pollack, Howard. *Aaron Copland: The Life and Work of an Uncommon Man*. New York: Henry Holt and Company, 1999. ISBN 0805049096 (cloth); Urbana: University of Illinois Press. ISBN 0-252-06900-5 (pbk).
* Rapp, Patricia Ann. 1949. "Contemporary American Piano Music". MA thesis. Madison: University of Wisconsin–Madison.
* Sales, Grover, and Michael Steinberg. 2001. "Finding an American Sound: Two Contemporaries: Duke Ellington, Aaron Copland". In *American Mavericks: Musical Visionaries, Pioneers, Iconoclasts*, edited by Susan Key and Larry Rothe 36–49. San Francisco: San Francisco Symphony; Berkeley and Los Angeles: University of California Press. ISBN 9780520233058; ISBN 9780520233041.
* Soares, Janet Mansfield. 1992. *Louis Horst: Musician in a Dancer's World*. Durham: Duke University Press. ISBN 9780822312260.

## Further reading

* Berger, Arthur. *Aaron Copland*. Oxford University Press, 1953. ISBN 0-306-76266-8.
* Copland, Aaron, and Vivian Perlis. *Copland 1900 Through 1942*. St. Martin's/Marek, 1984. ISBN 0-312-16962-0.
* Saun, Rinna M. 2003. "The Piano Variations of Aaron Copland: An Analysis and Study for the Performer". DMA diss. Denton: University of North Texas.
* Simms, Bryan R. 2007. "Serialism in the Early Music of Aaron Copland". *The Musical Quarterly* 90, no. 2 (Summer): 176–196.
* Smith, Julia. *Aaron Copland: His Work and Contribution to American Music*. New York: E. P. Dutton & Company, 1955.


title: Phrynobatrachus perpalmatus

abstract: Phrynobatrachus perpalmatus is a species of frog in the family Phrynobatrachidae. It is found in the area stretching from the central and southern Sudan southward through South Sudan and central/eastern Democratic Republic of the Congo, extreme western Tanzania, Burundi, Malawi, and Zambia to northern Mozambique; its range might extend into northern Zimbabwe. Common names Lake Mwero river frog and webbed puddle frog have been proposed for it.

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# Phrynobatrachus perpalmatus

***Phrynobatrachus perpalmatus*** is a species of frog in the family Phrynobatrachidae. It is found in the area stretching from the central and southern Sudan southward through South Sudan and central/eastern Democratic Republic of the Congo, extreme western Tanzania, Burundi, Malawi, and Zambia to northern Mozambique; its range might extend into northern Zimbabwe. Common names **Lake Mwero river frog** and **webbed puddle frog** have been proposed for it.

## Description

Males grow to 25 mm (1.0 in) and females to 30 mm (1.2 in) in snout–vent length. The body is elongated but short. The snout is rounded. The finger tips are not dilated whereas the toe tips bear small discs; the toes are fully or almost fully webbed. The dorsum is brown and may have a light vertebral stripe. Black, pale-edged bands run from behind the eyes to the groin. Males have a subgular vocal sac that is unpigmented or has black speckling.

The male advertisement call is metallic clicking or a very coarse croak.

## Habitat and conservation

*Phrynobatrachus perpalmatus* occurs in permanently wet habitats in humid savanna, grassland, and rainforest as well as degraded former forest at elevations less than 800 m (2,600 ft) above sea level. It has particular affinity to flooded grassland interspersed with reeds, its presumed breeding habitat.

*Phrynobatrachus perpalmatus* can be locally very abundant, but its distribution tends to be patchy. Believed to be able to survive in wet areas in agricultural land (including rice paddies), it is probably adaptable and not facing other than localized threats. It is present in a number of protected areas.

1. IUCN SSC Amphibian Specialist Group (2013). "*Phrynobatrachus perpalmatus*". *IUCN Red List of Threatened Species*. **2013**: e.T58133A18395206. Retrieved 12 June 2021.
2. Frost, Darrel R. (2021). "*Phrynobatrachus perpalmatus* Boulenger, 1898". *Amphibian Species of the World: An Online Reference. Version 6.1*. American Museum of Natural History. doi:10.5531/db.vz.0001. Retrieved 12 June 2021.
3. Channing, Allan & Rödel, Mark-Oliver (2019). *Field Guide to the Frogs & other Amphibians of Africa*. Cape Town: Struik Nature. p. 272. ISBN 978-1-77584-512-6.

## InfoBox

| *Phrynobatrachus perpalmatus* | |
| --- | --- |
|  | |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Amphibia |
| Order: | Anura |
| Family: | Phrynobatrachidae |
| Genus: | *Phrynobatrachus* |
| Species: | ***P. perpalmatus*** |
| Binomial name | |
| ***Phrynobatrachus perpalmatus***
Boulenger, 1898 | |
|
| Synonyms | |
| * *Phrynobatrachus perpalmatus werneri*  Ahl, 1924 | |


title: Pie Town, New Mexico

abstract: Pie Town is an unincorporated community and census-designated place located along U.S. Highway 60 in Catron County, New Mexico. As of the 2010 census, it had a population of 186. Pie Town's name comes from an early bakery that specialized in dried-apple pies, established by Clyde Norman in the early 1920s. Pie Town has been noted for its colorful place name. Pie Town is the location of a "Pie Festival" on the second Saturday of each September. Pie Town is located immediately north of the Gila National Forest and not very far west of the Plains of San Agustin, the location of the Very Large Array radio telescope, which is also located along U.S. 60. In addition, one of the ten large radio antennas that form the Very Long Baseline Array of the National Radio Astronomy Observatory can be seen from U.S. 60, just east of Pie Town.

text:
# Pie Town, New Mexico

**Pie Town** is an unincorporated community and census-designated place located along U.S. Highway 60 in Catron County, New Mexico. As of the 2010 census, it had a population of 186. Pie Town's name comes from an early bakery that specialized in dried-apple pies, established by Clyde Norman in the early 1920s. Pie Town has been noted for its colorful place name. Pie Town is the location of a "Pie Festival" on the second Saturday of each September. Pie Town is located immediately north of the Gila National Forest and not very far west of the Plains of San Agustin, the location of the Very Large Array radio telescope, which is also located along U.S. 60. In addition, one of the ten large radio antennas that form the Very Long Baseline Array of the National Radio Astronomy Observatory can be seen from U.S. 60, just east of Pie Town.

## Depictions in media

Pie Town and its people were photographed in 1940 by Russell Lee, a photographer for the Farm Security Administration of the U.S. government. Pie Town, Lee's photos, and the local restaurant, the Daily Pie Cafe, were the subject of an article in *Smithsonian* magazine in February 2005. In 2014, a feature-length documentary, *Pie Lady of Pie Town*, was produced. CBS News Sunday Morning aired a story about the town in 2015.

## Education

The school district is Quemado Schools.

## Tourism

Pie Town is located along U.S. 60, 83 miles (134 km) west of Socorro and approximately 290 miles (470 km) east of Phoenix, Arizona. Albuquerque is 136 miles (219 km) to the northeast by other highways.

The center of Pie Town is 2 miles (3 km) west of where US 60 crosses the Continental Divide, and some visitors arrive by way of the Continental Divide Trail (CDT) that provides a respite between Silver City and Grants, New Mexico. For cyclists, equestrians, motorcyclists, and hikers, Pie Town provides a number of services, including lodging, supplies, and unique flavors of pie on request. In June 2007, three residents of Pie Town, Nita Larronde, Don Kearney, and Kathy Knapp, were awarded the Curry Trail Angel Award by the Adventure Cycling Association in recognition for their kindness and generosity.

The area of Pie Town is rich in relics of the Native Americans. Many Anasazi and Acoma pottery shards have been found in the area, along with grinding slicks, an ancient axe head, and petrified wood. Some fossilized bones have been found on the ground. The ruins of Native American communities, which consist of one to a few dozen structures, are found here.

The Pie Town Annual Pie Festival includes a pie-baking contest, games and races, music, food, and arts and crafts.

## InfoBox

| Pie Town, New Mexico | |
| --- | --- |
| unincorporated community | |
| Homesteader with dugout house in Pie Town, 1940 photograph by Russell Lee. | |
| Motto: America's Friendliest Little Town | |
| Pie TownLocation within New MexicoPie TownPie Town (the United States) | |
| Coordinates: 34°20′24″N 108°10′15″W / 34.34000°N 108.17083°W / 34.34000; -108.17083 | |
| Country | United States |
| State | New Mexico |
| County | Catron County |
| Area | |
| Total | 57.3 sq mi (148.4 km2) |
| Land | 57.3 sq mi (148.3 km2) |
| Water | 0.04 sq mi (0.1 km2) |
| Elevation | 7,536 ft (2,297 m) |
| Population (2020) | |
| Total | 111 |
| Density | 3/sq mi (1.3/km2) |
| Time zone | UTC−7 (MST) |
| Summer (DST) | UTC−6 (MDT) |
| ZIP Code | 87827 |
| Area code | 575 |
| GNIS feature ID | 2584176 |


title: Phyllonorycter cavella

abstract: Phyllonorycter cavella is a moth of the family Gracillariidae. It is known from all of Europe, east to Japan and Russia. The wingspan is 6–9 mm. The larvae feed on Betula pendula and Betula pubescens. They mine the leaves of their host plant.

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# Phyllonorycter cavella

***Phyllonorycter cavella*** is a moth of the family Gracillariidae. It is known from all of Europe (except Ireland, the Iberian Peninsula, the Balkan Peninsula and the Mediterranean islands), east to Japan and Russia.

The wingspan is 6–9 mm.

The larvae feed on *Betula pendula* and *Betula pubescens*. They mine the leaves of their host plant.

## InfoBox

| *Phyllonorycter cavella* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Gracillariidae |
| Genus: | *Phyllonorycter* |
| Species: | ***P. cavella*** |
| Binomial name | |
| ***Phyllonorycter cavella***<br>(Zeller, 1846) | |
|
| Synonyms | |
| * *Lithocolletis cavella* Zeller, 1846 | |


title: Pickwell, Devon

abstract: Pickwell is a small settlement with a converted manor house in the civil parish of Georgeham, in the North Devon district, in the county of Devon, England. Pickwell lies between the village of Georgeham and the coast above Woolacombe and Putsborough beach, close to the South West Coast Path. It gives its name to the Pickwell Down Sandstones Formation which are red and brown sandstones with shales which extend from the hills of Pickwell Down and Woolacombe Down overlooking Morte Bay east-southeastwards to Muddiford and Bratton Fleming.

text:
# Pickwell, Devon

**Pickwell** is a small settlement with a converted manor house in the civil parish of Georgeham, in the North Devon district, in the county of Devon, England.

Pickwell lies between the village of Georgeham and the coast above Woolacombe and Putsborough beach, close to the South West Coast Path. It gives its name to the Pickwell Down Sandstones Formation which are red and brown sandstones with shales which extend from the hills of Pickwell Down and Woolacombe Down overlooking Morte Bay east-southeastwards to Muddiford and Bratton Fleming.

## History

Pickwell was known as *pediccheswella* in the Domesday Book.

The manor was owned by John Harris who was the member of parliament for Barnstaple in the mid 19th century.

During the Victorian era Pickwell was owned by the Hole family who paid for much of the restoration of St George's church in Georgeham. The church contains a "Pickwell chapel" which dates from 1762 and is separated from the body of the church by an ornate screen.

### Manor house

The manor house still contains some of the structure which built in the late medieval period, however it was largely rebuilt between 1902 and 1905 for Sir Montague Style of the Style baronets. It is a Grade II listed building.

The main range of the house, which is in a Jacobean style, is L-shaped and consists of two storeys. The central gable has an oculus. To the rear of the range is a 15th-century doorway with a moulded surround. In the grounds is a folly built to resemble a chapel.

The manor house has now been converted into self-catering holiday apartments and a wedding venue. Several of the surrounding farm buildings are also available for rent.

## InfoBox

| Pickwell | |
| --- | --- |
| A view of Pickwell | |
| PickwellLocation within Devon | |
| OS grid reference | SS457409 |
| Civil parish |  |
| District |  |
| Shire county |  |
| Region |  |
| Country | England |
| Sovereign state | United Kingdom |
| Post town | BRAUNTON |
| Postcode district | EX33 |
| Dialling code | 01271 |
|  | |
| Police | Devon and Cornwall |
| Fire | Devon and Somerset |
| Ambulance | South Western |
|  | |
| UK Parliament |  |
|


title: Pickup on South Street

abstract: Pickup on South Street is a 1953 American spy film noir written and directed by Samuel Fuller, and starring Richard Widmark, Jean Peters, and Thelma Ritter. Widmark plays a pickpocket who unwittingly steals a covert microfilm sought by foreign agents. The film combines elements of the traditional crime film noir with Cold War-era espionage drama. It was released by 20th Century-Fox. The film was screened at the 14th Venice International Film Festival, where it won the Bronze Lion. Thelma Ritter’s performance earned her an Academy Award nomination for Best Supporting Actress. In 2018, Pickup on South Street was selected for preservation in the United States National Film Registry as being "culturally, historically, or aesthetically significant."

text:
# Pickup on South Street

***Pickup on South Street*** is a 1953 American spy film noir written and directed by Samuel Fuller, and starring Richard Widmark, Jean Peters, and Thelma Ritter. Widmark plays a pickpocket who unwittingly steals a covert microfilm sought by foreign agents. The film combines elements of the traditional crime film noir with Cold War-era espionage drama. It was released by 20th Century-Fox.

The film was screened at the 14th Venice International Film Festival, where it won the Bronze Lion. Thelma Ritter’s performance earned her an Academy Award nomination for Best Supporting Actress. In 2018, *Pickup on South Street* was selected for preservation in the United States National Film Registry as being "culturally, historically, or aesthetically significant."

## Plot

On a crowded New York City subway train pickpocket Skip McCoy steals Candy's wallet. Unbeknownst to either it contains microfilm of top-secret government information. Candy was delivering an envelope as a final favor to her ex-boyfriend Joey, who told her that it contained stolen business secrets.

Government agent Zara had Candy under surveillance, hoping she would lead him to the top man in a Communist spy ring. He seeks police help identifying the pickpocket. Captain Dan Tiger has professional informant Moe Williams brought in. She asks Zara several questions about the pickpocket's technique, negotiates a price, and gives Tiger a list of names; Zara quickly identifies Skip from his mug shot. He tries to get Skip to give up the film, revealing its importance and appealing to his patriotism, but Skip denies he has it and laughs in his face.

Meanwhile, Joey persuades a reluctant Candy to track down the thief on her own. The trail leads to Moe, who is delighted to be able to sell the same information again.

Candy searches Skip's waterfront shack that night while he is out. Spotting only a flashlight when he returns, he knocks the prowler cold. When Candy comes to, she tries to get the film but fails.

The second time she visits she is puzzled when he calls her a "Commie" and "a Red" and demands $25,000 for the film. He reveals that he knows what is on it. Skip thinks she is only acting. Despite his rough treatment she finds herself falling for him.

When she returns to Joey his superior gives him a day to get the film back, and leaves him a gun. Candy finally realizes the truth. She turns to Moe for help, since Skip will not believe her if she warns him he is in danger. Moe tries to convince Skip to give the film to the government but fails. She goes home and finds Joey waiting for her. She refuses to give him Skip's address, and reveals she knows about the Communist plot. Joey shoots her dead.

The next morning Skip returns home to find Candy there. She blames herself for Moe's death, and is dismayed that he is still willing to trade with the Commies. When he starts to leave with the film, she knocks him out with a bottle and takes it to Zara and Tiger. Zara asks her to give it to Joey so he can lead them to his boss. Candy does, but Joey notices there's a frame missing. He beats her in an attempt to get Skip's address, then shoots her as she tries to flee. Rifling her purse, he finds the address.

Skip learns of Candy's beating and visits her in the hospital, comforting her with a romantic kiss.

Joey and his boss go to the shack, but Skip hears them coming and hides underneath. When Joey is ordered to deliver the film as is, Skip follows him to a subway station. He watches as an envelope is exchanged in a restroom, then knocks out the courier and chases after and beats up Joey.

Later, at the police station, Tiger predicts Skip will louse up his pardon and return to his criminal ways. A defiant Candy, arm in arm with her new love, says that's not the way it will be.

## Cast

## Production

Darryl F. Zanuck showed Fuller, who was then under contract with 20th Century-Fox, a script by Dwight Taylor called *Blaze of Glory* about a woman lawyer falling in love with a criminal she was defending in a murder trial. Fuller liked the idea but knew from his previous crime reporter experience that courtroom cases take a long time to play out. Fuller asked Zanuck if he could write a story of a lower criminal and his girlfriend that he originally titled *Pickpocket* but Zanuck thought the title too "European".

Fuller had memories of South Street from his days as a crime reporter and came up with his new title. Fuller met Detective Dan Campion of the New York Police Department to research the background material of his story to add realism, with Fuller basing the role of "Tiger", the police detective, on Campion who had been suspended without salary for six months for manhandling a suspect.

Fuller turned down many actresses for the lead role including studio favorites Marilyn Monroe; Shelley Winters; Ava Gardner, who looked too glamorous; Betty Grable, who wanted a dance number written in; and initially Jean Peters, whom he did not like when he saw film of her in *Captain from Castile*. With only a week to go before the film started production, Fuller saw Peters walk into the studio's commissary while having lunch. Fuller noticed Peters walked with a slightly bow-legged style that many prostitutes also had. Fuller was impressed with Peters' intelligence, spunkiness, and different roles at the studio when he tested her the Friday before shooting started on the Monday. When Betty Grable insisted on being in the film and threatened to cause problems, Fuller threatened to walk off the film. Peters got the role.

In August 1952, the script was deemed unacceptable by the Production Code, by reasons of "excessive brutality and sadistic beatings, of both men and women", including a vicious beating the character "Candy" (Peters) receives from ex-boyfriend and Communist operative "Joey" (Kiley). Although a revised script was accepted soon after, the studio was forced to shoot multiple takes of a particular scene where Peters and Kiley frisked each other for loot as being too risqué.

The French release of the movie removed any reference to spies and microfilm in the dubbed version. They called the movie *Le Port de la Drogue* (*Drug's harbour*). The managers of 20th Century-Fox thought that the theme of communist spies was too controversial in a country (France) where the Communist Party was an influential and legitimate part of public life.

FBI director J. Edgar Hoover had lunch with Fuller and Zanuck, and said how much he detested Fuller's work and especially *Pickup on South Street*. Hoover objected to Widmark's unpatriotic character especially his line "Are you waving the flag at me?". Zanuck backed Fuller up, telling Hoover he knew nothing about making movies, but removed references to the FBI in the film's advertising, which is also never mentioned by name in the film.

## Adaptations

In June 1954, Ritter co-starred alongside Terry Moore and Stephen McNally in a Lux Radio Theatre presentation of the story. 20th Century-Fox remade the film in 1967 as *The Cape Town Affair*, directed by Robert D. Webb and starring Claire Trevor (in the Thelma Ritter role), James Brolin (in his first leading role), and Jacqueline Bisset.

## Reception

### Critical response

When the film was released, reviews were somewhat mixed. Bosley Crowther wrote:

> It looks very much as though someone is trying to out-bulldoze Mickey Spillane in Twentieth Century-Fox's *Pickup on South Street,* ... this highly embroidered presentation of a slice of life in the New York underworld not only returns Richard Widmark to a savage, arrogant role, but also uses Jean Peters blandly as an all-comers' human punching-bag. Violence bursts in every sequence, and the conversation is slangy and corrupt. Even the genial Thelma Ritter plays a stool pigeon who gets her head blown off ... Sensations he has in abundance and, in the delivery of them, Mr. Widmark, Miss Peters, Miss Ritter and all the others in the cast do very well. Murvyn Vye, as a cynical detective, is particularly caustic and good, and several other performers in lesser roles give the thing a certain tone.

The staff at *Variety* magazine also had a mixed response:

> If *Pickup on South Street* makes any point at all, it's that there is nothing really wrong with pickpockets, even when they are given to violence, as long as they don't play footsie with Communist spies ... Film's assets are partly its photography, which creates an occasional tense atmosphere, and partly the performance of Thelma Ritter, the only halfway convincing figure in an otherwise unconvincing cast ... Widmark is given a chance to repeat on his snarling menace characterization followed by a look-what-love-can-do-to-a-bad-boy act as Widmark's hard-boiled soul melts before Peters' romancing.

In recent years, critical appraisals of *Pickup* have warmed considerably. The movie has a 93% rating on Rotten Tomatoes from 40 reviews with an average score of 7.8/10. The consensus summarizes: "Powerfully acted and satisfyingly dark, *Pickup on South Street* is a Cold War noir that moves confidently to the rhythm of city street life." Roger Ebert regards *Pickup* as one of Fuller's "noir classics."

In 2000 Rick Thompson suggested that *Pickup* may have been the basis of Robert Bresson's *Pickpocket* (1959), with which it shares many themes:

> ... including the death of the mother-figure; the hero's problem making commitment to the potential lover; a series of philosophical dialogues between the hero and his police antagonist; the interlinking of pickpocketing and sexuality; and the construction of the pickpocket hero as an extreme and deliberate outsider."

### Nominations

## Preservation

The Academy Film Archive preserved *Pickup on South Street* in 2002.

## InfoBox

| Pickup on South Street | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Samuel Fuller |
| Screenplay by | Samuel Fuller |
| Story by | Dwight Taylor |
| Produced by | Jules Schermer |
| Starring | Richard Widmark
Jean Peters
Thelma Ritter |
| Cinematography | Joseph MacDonald |
| Edited by | Nick DeMaggio |
| Music by | Leigh Harline |
| Distributed by | 20th Century-Fox |
| Release date | * May 27, 1953 (1953-05-27) |
| Running time | 80 minutes |
| Country | United States |
| Language | English |
| Budget | $780,000 |
| Box office | $1,900,000 |


title: Pogonocherus sturanii

abstract: Pogonocherus sturanii is a species of beetle in the family Cerambycidae. It was described by Sama and Schurmann in 1982. It is known from Spain.

text:
# Pogonocherus sturanii

***Pogonocherus sturanii*** is a species of beetle in the family Cerambycidae. It was described by Sama and Schurmann in 1982. It is known from Spain.

## InfoBox

| *Pogonocherus sturanii* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Cerambycidae |
| Tribe: | Pogonocherini |
| Genus: | *Pogonocherus* |
| Species: | ***P. sturanii*** |
| Binomial name | |
| ***Pogonocherus sturanii***<br>Sama & Schurmann, 1982 | |
|


title: Pierre Caunay

abstract: Pierre Caunay was a 16th-century French adventurer from Honfleur. In 1526, Pierre Caunay sailed to Sumatra, with the objective of reaching the Moluccas to participate in the spice trade. He was part of a fleet of three ships, sponsored by Francis I, financed by a bank of Florence, and set up by entrepreneur Jean Ango and the Verrazano brothers. The ships were separated in the Atlantic, and two of them, led by the brother Verrazano, continued to Brazil. Pierre Cauny however passed the Cape of Good Hope and continued to reach Sumatra. Part of his crew was killed in Aceh in Sumatra, as well as his Portuguese pilot, so that Pierre Caunay decided to return to France. He lost his ship on the return leg between Africa and Madagascar. Twelve of the crew survived and sailed to Mozambique, where they were imprisoned by the Portuguese. Their story was reported by the Governor of Mozambique himself. Some other sailed stayed in Madagascar, where they were picked up by later ships. The expedition of Jean de Breuilly in 1528 was sent to seek the whereabouts of the expedition of Pierre Caunay, but was unable to find it.

text:
# Pierre Caunay

**Pierre Caunay** was a 16th-century French adventurer from Honfleur. In 1526, Pierre Caunay sailed to Sumatra, with the objective of reaching the Moluccas to participate in the spice trade. He was part of a fleet of three ships, sponsored by Francis I, financed by a bank of Florence, and set up by entrepreneur Jean Ango and the Verrazano brothers. The ships were separated in the Atlantic, and two of them, led by the brother Verrazano, continued to Brazil. Pierre Cauny however passed the Cape of Good Hope and continued to reach Sumatra. Part of his crew was killed in Aceh in Sumatra, as well as his Portuguese pilot, so that Pierre Caunay decided to return to France.

He lost his ship on the return leg between Africa and Madagascar. Twelve of the crew survived and sailed to Mozambique, where they were imprisoned by the Portuguese. Their story was reported by the Governor of Mozambique himself. Some other sailed stayed in Madagascar, where they were picked up by later ships.

The expedition of Jean de Breuilly in 1528 was sent to seek the whereabouts of the expedition of Pierre Caunay, but was unable to find it.


title: Pleione chunii

abstract: Pleione chunii is a species of plant in the family Orchidaceae. It is endemic to southern China.

text:
# Pleione chunii

***Pleione chunii*** is a species of plant in the family Orchidaceae. It is endemic to southern China.

## InfoBox

| *Pleione chunii* | |
| --- | --- |
| Conservation status | |
|
Vulnerable  (IUCN 3.1) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Monocots |
| Order: | Asparagales |
| Family: | Orchidaceae |
| Subfamily: | Epidendroideae |
| Tribe: | Arethuseae |
| Genus: | *Pleione* |
| Species: | ***P. chunii*** |
| Binomial name | |
| ***Pleione chunii***
C.L.Tso | |
|


title: Physalospora disrupta

abstract: Physalospora disrupta is a plant pathogen infecting mangoes.

text:
# Physalospora disrupta

***Physalospora disrupta*** is a plant pathogen infecting mangoes.

## InfoBox

| *Physalospora disrupta* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Fungi |
| Division: | Ascomycota |
| Class: | Sordariomycetes |
| Order: | Amphisphaeriales |
| Family: | Hyponectriaceae |
| Genus: | *Physalospora* |
| Species: | ***P. disrupta*** |
| Binomial name | |
| ***Physalospora disrupta***<br>(Berk. & M.A. Curtis) Sacc., (1882) | |
|


title: Point-to-point transit

abstract: Point-to-point transit is a transportation system in which a plane, bus, or train travels directly to a destination, rather than going through a central hub. This differs from the spoke-hub distribution paradigm in which the transportation goes to a central location where passengers change to another train, bus, or plane to reach their destination.

text:
# Point-to-point transit

**Point-to-point transit** is a transportation system in which a plane, bus, or train travels directly to a destination, rather than going through a central hub. This differs from the spoke-hub distribution paradigm in which the transportation goes to a central location where passengers change to another train, bus, or plane to reach their destination.

## Use in airlines

The point-to-point model is used widely by low-cost carriers, including Allegiant Air and Southwest Airlines in the U.S., and European carriers such as Ryanair, easyJet and Wizzair, along with some low-cost carriers in Asia like AirAsia, Lion Air and VietJet Air, for example. Many such airlines sell each flight leg independently and have no concept of round-trip ticketing or connecting flights so baggage must be collected and rechecked even to transfer between flights booked at the same time on the same airline. Although there are many point-to-point airlines, most have at least a "homebase" airport where most flights originate or depart. The United States airport system was point-to-point, controlled by CAB, until deregulation in the late 1960s and early 1970s. After the 1978 Airline Deregulation Act, the hub concept became prevalent. With the advent of low-cost carriers, point-to-point air transport increased. Some full-service network carriers operate the point-to-point model alongside the hub-and-spoke system for certain high-density routes between focus cities. In Europe, for example, most traditional full-service airlines operate seasonal point-to-point service outside their hubs to serve Mediterranean and Alpine holiday resorts.

## Advantages

* It eliminates the need for connections the majority of the time.
* It considerably reduces travel time.
* It considerably reduces risk of baggage loss or baggage arriving much later than the passenger, as baggage is not transferred as fast as passengers.
* Total fuel and pollution per passenger is lower: a passenger flying directly from Brussels to San Francisco will burn less fuel than flying via London or New York.
* Without the need to satisfy connections for passengers, trips in a point-to-point system are less interdependent, but the operational constraints of needing to have sufficient equipment and personnel in each location at the right time to satisfy the timetable remain. That minimizes the risk of the domino effect in which the delayed arrival of one trip into a place leads to delayed departures of the (often) multiple trips with which its passengers had to make connections, cascading delays through the network. Therefore, a point-to-point system is less prone to delays.
* It has proven advantageous in the air cargo industry in which freight is carried in the unused baggage hold space on passenger flights ("belly cargo"). Traditionally, large cargo aircraft are scheduled to fly between large hubs so freight often has to be forwarded on by additional flights or by rail or road. Belly cargo carried point to point can be delivered closer to its final destination.

## Disadvantages

* If a desired origin–destination pair is not served, passengers will have to make a connection as in the hub model or travel by another mode of transportation. Low-cost carriers typically do not facilitate or honor connections, even if the consecutive flights are operated by that carrier and arrive and depart from the same airport.
* The frequency of trips may be reduced because the number of origin–destination pairs is orders of magnitude larger.
* In the event of major weather events or system malfunctions, it is more difficult to isolate problems to a single part of the country. Such example was the 2022 Southwest Airlines scheduling crisis.


title: Piesmus

abstract: Piesmus submarginatus is a species of beetle in the family Carabidae, the only species in the genus Piesmus. Their habitat is under dead pine bark in mesophilous forests.

text:
# Piesmus

***Piesmus submarginatus*** is a species of beetle in the family Carabidae, the only species in the genus ***Piesmus***.

Their habitat is under dead pine bark in mesophilous forests.

## InfoBox

| *Piesmus* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Carabidae |
| Tribe: | Pterostichini |
| Subtribe: | Pterostichina |
| Genus: | *Piesmus*
LeConte, 1852 |
| Species: | ***P. submarginatus*** |
| Binomial name | |
| ***Piesmus submarginatus***
(Say, 1823) | |
|


title: Polymeridium tribulationis

abstract: Polymeridium tribulationis is a species of corticolous (bark-dwelling) lichen in the family Trypetheliaceae. Found in Australia, it was formally described as a new species in 2013 by Dutch lichenologist André Aptroot. This ecorticate lichen is characterized by its yellowish-white thallus, which does not fluoresce under ultraviolet light. P. tribulationis closely resembles Polymeridium sulphurescens, but can be distinguished by its hamathecium, which is inspersed with oil droplets. The ascomata, measuring 0.4–0.6 mm in diameter, have a spherical centrum that is mostly covered by the thallus. The ostiole is apical and usually surrounded by a ring. The ascospores number eight per ascus, are iodine-negative, have three septa, and measure 20–24 by 7–10 μm without ornamentation. No chemical substances have been detected in the lichen. The type specimen was collected by Mason Hale from Cape Tribulation, Queensland, on tree bark.

text:
# Polymeridium tribulationis

***Polymeridium tribulationis*** is a species of corticolous (bark-dwelling) lichen in the family Trypetheliaceae. Found in Australia, it was formally described as a new species in 2013 by Dutch lichenologist André Aptroot. This ecorticate lichen is characterized by its yellowish-white thallus, which does not fluoresce under ultraviolet light. *P. tribulationis* closely resembles *Polymeridium sulphurescens*, but can be distinguished by its hamathecium, which is inspersed with oil droplets. The ascomata, measuring 0.4–0.6 mm in diameter, have a spherical centrum that is mostly covered by the thallus. The ostiole is apical and usually surrounded by a ring. The ascospores number eight per ascus, are iodine-negative, have three septa, and measure 20–24 by 7–10 μm without ornamentation. No chemical substances have been detected in the lichen. The type specimen was collected by Mason Hale from Cape Tribulation, Queensland, on tree bark.

## InfoBox

| *Polymeridium tribulationis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Fungi |
| Division: | Ascomycota |
| Class: | Dothideomycetes |
| Order: | Trypetheliales |
| Family: | Trypetheliaceae |
| Genus: | *Polymeridium* |
| Species: | ***P. tribulationis*** |
| Binomial name | |
| ***Polymeridium tribulationis***<br>Aptroot (2013) | |
|


title: Pieter Cornelisz Verbeeck

abstract: Pieter Cornelisz Verbeeck (1610–1654) was a Dutch Golden Age painter.

text:
# Pieter Cornelisz Verbeeck

**Pieter Cornelisz Verbeeck** (16101654) was a Dutch Golden Age painter.

## Biography

Verbeeck was born and died in Haarlem. According to Houbraken, he taught (horse) painting to Gillis Schagen, the son of an important councilman of Alkmaar.

According to the RKD in 1635 he moved to Alkmaar where he married and became a member of the Guild of St. Luke there. In 1638 he moved to Utrecht, but after his wife died in 1642 he returned to Haarlem, where he married Elisabeth van Beresteyn, the sister of his friend Claes van Beresteyn, in 1643 and where he became a member of the Haarlem Guild of St. Luke in 1645. He painted still life, landscapes and portraits.


title: Polymeridium multiforme

abstract: Polymeridium multiforme is a species of corticolous (bark-dwelling) lichen in the family Trypetheliaceae. It is found in the Neotropics, with specimens recorded from Brazil, Guyana, and Venezuela. The lichen was described by Dutch lichenologist André Aptroot in 2013. This lichen closely resembles Polymeridium quinqueseptatum, but its thallus is whitish-grey and fluoresces yellow under ultraviolet light. Additionally, the hamathecium of P. multiforme is not interspersed with oil droplets. The type specimen was collected in Guyana, at the base of Makarapan Mountain, on the bark of a Myrsinaceae tree. The ascomata of P. multiforme are 0.2–0.3 mm in diameter, with a spherical centrum that is erumpent and solitary. The ostiole is apical, and the hamathecium features filaments that profusely anastomose. There are eight ascospores per ascus, which are iodine-negative, 4–7-septate, and measure 19–26 by 5–7 μm. The ascospores are not ornamented, and their walls are not thickened. Lichexanthone is present in the lichen's chemistry.

text:
# Polymeridium multiforme

***Polymeridium multiforme*** is a species of corticolous (bark-dwelling) lichen in the family Trypetheliaceae. It is found in the Neotropics, with specimens recorded from Brazil, Guyana, and Venezuela. The lichen was described by Dutch lichenologist André Aptroot in 2013. This lichen closely resembles *Polymeridium quinqueseptatum*, but its thallus is whitish-grey and fluoresces yellow under ultraviolet light (UV+ yellow). Additionally, the hamathecium of *P. multiforme* is not interspersed with oil droplets. The type specimen was collected in Guyana, at the base of Makarapan Mountain, on the bark of a Myrsinaceae tree.

The ascomata of *P. multiforme* are 0.2–0.3 mm in diameter, with a spherical centrum that is erumpent and solitary. The ostiole is apical, and the hamathecium features filaments that profusely anastomose. There are eight ascospores per ascus, which are iodine-negative, 4–7-septate, and measure 19–26 by 5–7 μm. The ascospores are not ornamented, and their walls are not thickened. Lichexanthone is present in the lichen's chemistry.

## InfoBox

| *Polymeridium multiforme* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Fungi |
| Division: | Ascomycota |
| Class: | Dothideomycetes |
| Order: | Trypetheliales |
| Family: | Trypetheliaceae |
| Genus: | *Polymeridium* |
| Species: | ***P. multiforme*** |
| Binomial name | |
| ***Polymeridium multiforme***<br>Aptroot (2013) | |
|


title: Piggy (Merrie Melodies)

abstract: Piggy is the name of two animated cartoon characters in the Merrie Melodies series of films distributed by Warner Bros. The first character was a fat, black pig wearing a pair of shorts with two large buttons in the front, and his first film was You Don't Know What You're Doin'! Piggy's name came from one of two brothers who were childhood classmates of Freleng's, nicknamed "Porky" and "Piggy".

text:
# Piggy (Merrie Melodies)

**Piggy** is the name of two animated cartoon characters in the *Merrie Melodies* series of films distributed by Warner Bros. The first character was a fat, black pig wearing a pair of shorts with two large buttons in the front, and his first film was *You Don't Know What You're Doin'!*

Piggy's name came from one of two brothers who were childhood classmates of Freleng's, nicknamed "Porky" and "Piggy".

## Merrie Melodies

Animator Rudolf Ising introduced Piggy to replace his previous character, Foxy, as the star of the *Merrie Melodies* series Ising was directing for producer Leon Schlesinger. Nonetheless, Ising had only made two Piggy shorts in 1931 before he left Warner Bros. with partner Hugh Harman. The animators who took over the *Merrie Melodies* cartoons dropped the Piggy character (as well as his girlfriend Fluffy) and turned the series into a string of one-shots.

Piggy's coloration and dress were identical to those of the Walt Disney character Mickey Mouse before the advent of color film. John Kenworthy argues that, considering the fact that some sketches of mice that Hugh Harman had drawn in 1925 were the inspiration for the creation of Mickey Mouse, Harman and Ising never intended to copy Disney.

Despite their clichéd lead character, Ising's two Piggy shorts are well received by some critics. In the first, *You Don't Know What You're Doin'!*, Piggy visits a surreal nightclub where he heckles and plays with the club's jazz band. Cartoon historians Jerry Beck and Will Friedwald call this "the definitive Harman-Ising Warner film: the characters are cute, the humor is gross, the visuals are uninhibited, and the music is red hot."

This was followed by *Hittin' the Trail for Hallelujah Land*, also in 1931. Here, Piggy plays a steamboat captain who must rescue a drowning Uncle Tom. Due to its stereotypical portrayal of the Uncle Tom character, the cartoon is included among the so-called "Censored 11", *Looney Tunes* and *Merrie Melodies* shorts that are withheld from circulation due to their heavy use of ethnic stereotypes. Piggy never starred in another cartoon, although he continued to appear at the end of every short up to 1932's *You're Too Careless with Your Kisses!*

In 1936, Animator Friz Freleng created another character named Piggy. This character was given lighter, more white color with distinguishing birthmarks. The redesigned character appeared as a gluttonous child in a large family of pigs in *At Your Service Madame* (which gives his full name as *Piggy Hamhock*), where he leads his fellow siblings in foiling a bum's attempt to rob their mother.

A year later, the new Piggy starred in *Pigs Is Pigs* in which his gluttony takes center stage. This is his final appearance. After this, he is discarded, with his character traits transferred for a time to Porky Pig.

## InfoBox

| Piggy | |
| --- | --- |
| *Looney Tunes* character | |
| Piggy in You Don't Know What You're Doin'!. | |
| First appearance | *You Don't Know What You're Doin'!* (1931) (Piggy)
*At Your Service Madame* (1936) (Piggy Hamhock) |
| Last appearance | *Pigs Is Pigs* (1937) |
| Created by | Rudolf Ising (Piggy)
Friz Freleng (Piggy Hamhock) |
| Voiced by | Johnny Murray (1931)
Shirley Reed (1937) |
| In-universe information | |
| Species | Domestic pig |
| Gender | Male |


title: Point of View (Cassandra Wilson album)

abstract: Point of View is the debut studio album by American jazz singer Cassandra Wilson, recorded in Brooklyn, New York, in December 1985, as the fourth release of the German JMT label in 1986. It was also one of the first albums of a group of musicians around Steve Coleman, that became known as M-Base.

text:
# Point of View (Cassandra Wilson album)

***Point of View*** is the debut studio album by American jazz singer Cassandra Wilson, recorded in Brooklyn, New York, in December 1985, as the fourth release of the German JMT label in 1986. It was also one of the first albums of a group of musicians around Steve Coleman, that became known as M-Base.

## Reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Allmusic |  |
| *The Encyclopedia of Popular Music* |  |
| *Penguin Guide to Jazz on CD* |  |
| *The Rolling Stone Jazz & Blues Album Guide* |  |
| *The Virgin Encyclopedia of Eighties Music* |  |

Writing for Allmusic on the occasion of the albums reissue on Winter & Winter in 2001, Scott Yanow gave the album a star rating of four out of five and praised Wilson's effort to "find a role for her voice" among "overcrowded ensembles". He described Wilson as a "chance-taking singer in a funky M-Base setting."

## Track listing

1. "Square Roots" (Cassandra Wilson) – 4:39
2. "Blue in Green" (Miles Davis, Bill Evans, Wilson) – 4:10
3. "Never" (Steve Coleman, Wilson) – 4:41
4. "Desperate Move" (Coleman) – 7:58
5. "Love & Hate" (Grachan Moncur III) – 8:19
6. "I Am Waiting" (Wilson) – 3:39
7. "I Wished on the Moon" (Dorothy Parker, Ralph Rainger) – 3:35
8. "I Thought You Knew" (Jean-Paul Bourelly) – 5:36

## Personnel

**Band**

**Production**

* Stefan F. Winter – producer
* Steve Coleman – producer
* Joe Marciano – engineer
* Adrian Von Ripka – mastering
* Christine Paxmann;– cover design
* Scott Sternbach – photography
* Günter Mattei – cover design for the reissue
* Joseph Gasu Rittenberg – photography for the reissue

## InfoBox

| Point of View | |
| --- | --- |
|  | |
| Studio album by Cassandra Wilson | |
| Released | 1986 |
| Recorded | December 1985 |
| Studio | Systems Two, Brooklyn. |
| Genre | Jazz |
| Length | 42:16 |
| Label | JMT |
| Producer | Stefan F. Winter, Steve Coleman |
| Cassandra Wilson chronology | |
| ***Point of View***
(1986) *Days Aweigh*
(1987) | |


title: Pigłowice

abstract: Pigłowice is a village in the administrative district of Gmina Zaniemyśl, within Środa Wielkopolska County, Greater Poland Voivodeship, in west-central Poland. It lies approximately 6 kilometres (4 mi) north-east of Zaniemyśl, 6 km (4 mi) south of Środa Wielkopolska, and 34 km (21 mi) south-east of the regional capital Poznań.

text:
# Pigłowice

**Pigłowice** \[piɡwɔˈvit͡sɛ\] is a village in the administrative district of Gmina Zaniemyśl, within Środa Wielkopolska County, Greater Poland Voivodeship, in west-central Poland. It lies approximately 6 kilometres (4 mi) north-east of Zaniemyśl, 6 km (4 mi) south of Środa Wielkopolska, and 34 km (21 mi) south-east of the regional capital Poznań.

## InfoBox

| Pigłowice | |
| --- | --- |
| Village | |
| Pigłowice | |
| Coordinates: 52°11′N 17°15′E / 52.183°N 17.250°E / 52.183; 17.250 | |
| Country | Poland |
| Voivodeship | Greater Poland |
| County | Środa Wielkopolska |
| Gmina | Zaniemyśl |
| Elevation | 80 m (260 ft) |
| Population | 190 |


title: Podolobium aestivum

abstract: Podolobium aestivum, is a flowering plant in the family Fabaceae and is endemic to New South Wales, Australia. It is an upright shrub with green spiky leaves and orange pea-like flowers.

text:
# Podolobium aestivum

***Podolobium aestivum***, is a flowering plant in the family Fabaceae and is endemic to New South Wales, Australia. It is an upright shrub with green spiky leaves and orange pea-like flowers.

## Description

*Podolobium aestivum* is an upright shrub 1–2.5 m (3 ft 3 in – 8 ft 2 in) high, lower leaf surface and young stems covered with flattened or spreading hairs. The leaves are arranged opposite, usually 2.5–8 cm (0.98–3.15 in) long, 10–20 mm (0.39–0.79 in) wide, upper surface shiny and veined, margins more or less evenly lobed and sharply pointed. The stipules are stiff, sharp, curved, and up to 3 mm (0.12 in) long. The flowers are borne in racemes in leaf axils, occasionally longer than the leaves, bracts are oval-shaped and small. The orange corolla is about 10 mm (0.39 in) long and the calyx about 6 mm (0.24 in) long. Flowering occurs in spring and summer, and the fruit is an oblong shaped pod, more or less straight, 10–14 mm (0.39–0.55 in) long, about 3 mm (0.12 in) in diameter with short, soft hairs.

## Taxonomy and naming

*Podolobium aestivum* was first formally described in 1995 by Michael Crisp and Peter Henry Weston and the description was published *Advances in Legume Systematics*. The specific epithet (*aestivum*) means "pertaining to summer, and refers to the main flowering period".

## Distribution and habitat

This podolobium grows on rocky locations in sclerophyll forest in the Gibraltar Range and on Mount Warning in New South Wales.

## InfoBox

| *Podolobium aestivum* | |
| --- | --- |
|  | |
| In the Gibraltar Range National Park | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Fabales |
| Family: | Fabaceae |
| Subfamily: | Faboideae |
| Genus: | *Podolobium* |
| Species: | ***P. aestivum*** |
| Binomial name | |
| ***Podolobium aestivum***<br>Crisp & P.H.Weston | |
|
| Synonyms | |
|  | |


title: Pollex diabolo

abstract: Pollex diabolo is a moth of the family Erebidae first described by Michael Fibiger in 2007. It is known from Balawan in the Philippines. The wingspan is about 10 mm.

text:
# Pollex diabolo

***Pollex diabolo*** is a moth of the family Erebidae first described by Michael Fibiger in 2007. It is known from Balawan in the Philippines.

The wingspan is about 10 mm.

* Fibiger, Michael (2007). "Revision of the Micronoctuidae (Lepidoptera: Noctuoidea). Part 1, Taxonomy of the Pollexinae" (PDF). *Zootaxa*. **1567**: 1–116.

## InfoBox

| *Pollex diabolo* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Erebidae |
| Genus: | *Pollex* |
| Species: | ***P. diabolo*** |
| Binomial name | |
| ***Pollex diabolo***<br>Fibiger, 2007 | |
|


title: Pickala Manor

abstract: Pickala Manor is a historical manor house in Siuntio in Finland. The current main building was built in 1850 according to architect A. F. Granstedt's blueprints. Pickala Manor is owned privately and acts as a private home. The historical manor house together with the surrounding land area builds a Significant Built Cultural Environment of State Interest and therefore the area is protected by law. Protection of the area is monitored by the Finnish Heritage Agency. Pickala Manor has also acted as a set for two Finnish movies, The Snow Queen and Onnelliset leikit.

text:
# Pickala Manor

**Pickala Manor** (Finnish: *Pikkalan kartano*, Swedish: *Pickala gård*) is a historical manor house in Siuntio in Finland. The current main building was built in 1850 according to architect A. F. Granstedt's blueprints. Pickala Manor is owned privately and acts as a private home. The historical manor house together with the surrounding land area builds a Significant Built Cultural Environment of State Interest and therefore the area is protected by law. Protection of the area is monitored by the Finnish Heritage Agency.

Pickala Manor has also acted as a set for two Finnish movies, *The Snow Queen* (Finnish: *Lumikuningatar*) and *Onnelliset leikit*.

## History

Pickala Manor was established originally in 1590 by the noble family Fleming, the owners of nearby Suitia Manor. Before the 1660s the manor house was situated a bit father away from where it is now located. Pickala Manor was separated from the lands of Suitia Manor in 1815 and annexed to the lands of Sjundby Manor. In the end of the 19th century Pickala became an independent estate of its own.

The historical King's Road between Turku and Vyborg passes Pickala on the northern side of the manor. The Flemings of Suitia Manor founded a port by the Baltic Sea near Pickala Manor. This port was situated by the mouth of river Pikkalanjoki.

### Main building

Pickala Manor's main building is located in the end of a small sand avenue with a line of trees running along each side. The current main building in empire style was built by general A. F. Silfverhjelm, who then owned the manor house, in 1850. Blueprints were made by architect A. F. Granstedt. General Silfverhjelm built also a large stone cow house. The courtyard consist also of a bakery cottage from the 1700s, inspector's house from the 1800s and a stall in art nouveau style from 1913.

The garden and park area of Pickala Manor has remained almost unchanged since 1872.

### Soviet rental era

After the Second World War the area of Porkkala Naval Base was rented for the Soviet Union. Parts of municipalities of Siuntio, Kirkkonummi, Ingå and Degerby were left on the Soviet side of the border and people had to evacuate their homes. Also Pickala Manor was part of the rental area and the main building was used as a home for 20 families, judged by the amount of stoves that had been built inside. After Porkkala Naval Base was returned to Finland also Pickala was returned to its rightful owners. Soviet era had left its marks and the manor house was in need of extensive reparation.

A cobblestone road, a so-called Kabanov's artillery road, leads to Pickala Manor. This road was built by Soviet troops to make it better support the weight of heavy armoured military vehicles. A Soviet triumphal arch has been preserved by this road. There used to be more of these triumphal arches across the rental area but only the one in Pickala has survived. Many monuments built by Soviet soldiers were torn down after the area was returned to Finland and people were able to return to their homes.

## Images

1. "Pickala". *www.sjundea.fi* (in Swedish). Municipality of Siuntio. Retrieved 2023-03-19.
2. "Pickala gård". *www.kulturmiljo.fi* (in Swedish). Finnish Heritage Agency. Retrieved 2023-03-19.
3. "Filming Location Matching "Pikkala Manor, Siuntio, Finland" (Sorted by Popularity Ascending)". *IMDb*. Retrieved 2023-03-19.

60°05′50″N 24°18′07″E / 60.09714°N 24.30197°E / 60.09714; 24.30197

## InfoBox

| Pickala Manor | |
| --- | --- |
| Pickala gård | |
| Pickala Manor in 2019 | |
|  | |
| General information | |
| Type | Manor House |
| Architectural style | Empire style |
| Town or city | Siuntio |
| Country | Finland |
| Completed | 1850 |
| Owner | Privately owned |
| Technical details | |
| Material | Stone |
| Design and construction | |
| Architect(s) | A. F. Granstedt |


title: Pollex (moth)

abstract: Pollex is a genus of moths of the family Erebidae erected by Michael Fibiger in 2007.

text:
# Pollex (moth)

***Pollex*** is a genus of moths of the family Erebidae erected by Michael Fibiger in 2007.

## Species

* Fibiger, Michael (2007). "Revision of the Micronoctuidae (Lepidoptera: Noctuoidea). Part 1, Taxonomy of the Pollexinae" (PDF). *Zootaxa*. **1567**: 1–116. doi:10.11646/zootaxa.1567.1.1.

## InfoBox

| *Pollex* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Erebidae |
| Subtribe: | Pollexina |
| Genus: | *Pollex*<br>Fibiger, 2007 |
|


title: Pilot Knob (Austin, Texas)

abstract: Pilot Knob is the eroded core of an extinct volcano located in Austin, Texas, United States. It is near Austin–Bergstrom International Airport and McKinney Falls State Park.

text:
# Pilot Knob (Austin, Texas)

**Pilot Knob** is the eroded core of an extinct volcano located in Austin, Texas, United States. It is near Austin–Bergstrom International Airport and McKinney Falls State Park.

## Introduction

Pilot Knob is one of around 75 late-Cretaceous Period volcanoes scattered around Central Texas from Waco to Austin, San Antonio, and Del Rio. All of these volcanoes have been extinct for millions of years.

The Pilot Knob volcanic complex consists of four small, rounded hills (including Pilot Knob proper) forming the volcano's core area in an area two miles in diameter. The hills are composed of trap rock which is an erosion-resistant, fine-grained mafic volcanic rock. The complex rises above a circular lowland drained by Cottonmouth Creek and is underlain chiefly by volcanic ash and other pyroclastic debris. Several smaller bodies of trap rock occur in the volcanic ash. A topographic rim surrounding the Cottonmouth Creek lowland to the north is formed by sedimentary rock, mainly lithified beach sediments composed of shell fragments and reworked volcanic ash that accumulated in the shallow waters around the volcano.

## History of the volcano

In late Cretaceous time, Central Texas was part of a vast marine shelf on which carbonate rocks were deposited with the entire area gradually subsiding as sediments were laid down. The volcano formed when magma worked its way to the surface and encountered water-laden, unconsolidated sediments with the existing water rapidly vaporizing into steam resulting in an enormous explosion that formed an explosion crater. Explosive eruptions continued at Pilot Knob as new magma encountered more water in the volcanic ash. Gradually, an ash cone was built up over the explosion crater. Eruptions of ash continued until the mound grew above the level of the shallow sea. Ash beds, now altered to clay, occur interbedded with limestone and marl of the Austin Group around Pilot Knob; these ash beds provide evidence for subaerial eruptions at Pilot Knob. The Pilot Knob ash cone eventually built an unstable slope on the sea bottom, resulting in mud flows of ash and carbonate mud which tore up the underlying carbonate mud in places and injected itself into the carbonate mud at other places. The subaerial Pilot Knob ash cone allowed the intrusion of magma into the mound without contact with sea water, resulting in quieter lava eruptions. Such magma cooled and solidified to form the core and satellite areas of the trap rock. Some of the trap rock bodies are the erosional remnants of lava flows, due to their apparent dip away from the central core area. Cooling joints exposed on a hill about 1,500 feet (460 m) west of Pilot Knob suggest a dip of that trap rock body towards the center of the core area, possibly indicating that it is the erosional remnant of a cone sheet injected outwards from a central, discordant intrusive body of magma. Exposures at other bodies of trap rock are not generally good enough to determine their exact emplacement, but some, at least, are probably plugs of solidified intrusive magma. Magnetic anomalies on the northeast flank of the core area suggest a buried trap rock body within the ash mound, possibly a cone sheet or lava flow.

As volcanic activity diminished, beaches developed around the volcano. One such beach deposit, now lithified and resistant to erosion, extends several miles to the north of the volcano. It appears along Onion Creek, where it is responsible for both Upper and Lower McKinney Falls. The entire shelf continued to subside after volcanic activity ceased, and muds of the Taylor Group gradually covered the entire volcano. During the Tertiary era, the central Texas area was uplifted, exposing the volcano as younger sedimentary rocks were eroded from the Cretaceous volcanic rocks. Today the terrain at Pilot Knob reflects the relative resistance to erosion of the different rock types that appear around the volcanic complex.

## Dating the volcanic activity

Two different approaches have been used by geologists to date the volcanism at Pilot Knob. The first approach was through the stratigraphy of the rocks at and around Pilot Knob and the fossils they contain. The second approach was by isotopic age dating of the igneous rocks. The two means are very different, but supplement each other nicely.

### Stratigraphy

The volcano at Pilot Knob exerted a profound influence on the stratigraphy of the Upper Cretaceous sedimentary rocks of the Austin area. The volcanism occurred during the deposition of the upper part of the Dessau and the Burditt formations of the Austin Chalk. These strata are only about one-third as thick near Pilot Knob as they are in other localities around Austin. The faunal zones of the two formations, that is zones within the formations where certain fossils are particularly abundant, are also telescoped in the vicinity of Pilot Knob. Two beds of altered ash occur within the Dessau Formation on Rinard Creek near Pilot Knob. The exact relationship of the beach rock of the northern flank of Pilot Knob with the normal Austin Chalk has been demonstrated to be part of the Exponderosa erraticosta zone, although it may extend down to an age equivalent to the upper part of the Dessau in some areas along Onion Creek. The beach rock is now known as the McKown Formation of the Austin Chalk. Because the volcanism at Pilot Knob occurred during the deposition of the Dessau and Burditt Formations, an age of Lower Campanian (83 to 79 million years BP) can be interpreted for the volcanism according to the ages of the formations in the Austin Chalk, correlated to radiometric dated sections in the Rocky Mountain Region.

### Isotopic age

The potassium-argon method was utilized to determine the age of volcanism at Pilot Knob. This method is based upon the decay of the radioactive isotope of potassium (potassium 40) to argon 40, an isotope of argon, an inert gas. By knowing the concentration of potassium in a rock mineral and the amount of argon gas produced by radioactive decay trapped within the minerals, an age can be assigned to the rock because the decay rate of potassium 40 to argon 40 is known from experimental work. The age of Pilot Knob volcanism dated through the potassium-argon method is 79.5 +/- 3 million years, and agrees with the age derived by correlation with fossils to other radiometrically dated deposits.

## Source of the magma

The igneous rocks of the Pilot Knob volcano have not, as yet, undergone rigorous petrological study, although such studies are in progress. Similar rocks near Uvalde, Texas, of about the same age, have been studied. The Uvalde rocks are of the same igneous province as the Pilot Knob rocks; both are centers in a chain of volcanic and intrusive complexes that parallel the buried Ouachita structural belt in central and south Texas. The Ouachita belt may have provided a zone of crustal weakness where magma could rise from great depths through the crust to the surface.

Two types of magma have been determined to have generated in the Earth's upper mantle by partial melting of mantle rocks. One of these magma types is basaltic in composition, composed of plagioclase, titanium-rich pyroxene, and olivine. The other magma type crystallized to nepheline, melilite, pyroxene, and, in some of the rocks, plagioclase. Some nepheline-bearing igneous rocks contain rounded inclusions of spinel peridotite, an ultramafic rock that may represent fragments of the upper mantle incorporated into the magma during its ascent to the surface. Most of the igneous rocks on the surface probably are not representative of the original magmas formed in the mantle; certain processes, such as separation of phenocrysts from the liquid from which they crystallized have altered their original chemical compositions at depths shallower than the mantle.

By inference, the rocks at Pilot Knob crystallized from partial melts of the upper mantle. Only rocks of the second series have been discovered at Pilot Knob; no basaltic rocks have been located. No mantle fragments have been located in Pilot Knob igneous rocks, but their presence is suspected, and some of the olivine phenocrysts in the rocks may be fragments derived from the upper mantle.

## Location

Pilot Knob can be reached by driving south of Austin on Highway 183 past Austin-Bergstrom International Airport. The hill is visible on the right after crossing Onion Creek. A circuit of the volcanic complex can be made by turning right off Highway 183 onto Dee Gabriel Collins Road and heading west to the intersection with McKinney Falls Parkway. Turn left and follow the Parkway to the intersection with Colton Bluff Springs Road, where a left turn leads back to Highway 183. Dee Gabriel Collins closely follows the northern topographic rim of the volcano formed by the escarpment of the Cretaceous beach rock. The lowland is drained by Cottonmouth Creek and underlain by soft, easily eroded volcanic ash and other pyroclastic deposits, and the central core area formed by the resistant trap rock are easily visible to the south of Dee Gabriel Collins. About 2/3 of a mile east of the intersection of Bluff Springs Road with McKinney Falls Parkway, the trap rock of south Pilot Knob crops out along the road. This rock is very similar to that which forms the center of the volcano, and may represent the eroded remnant of a lava flow erupted along the flanks of the volcano or having flowed down the south side from the apex.

Except for the road margins, Pilot Knob volcano lies entirely on private land.

The second season of the American procedural drama television series *9-1-1: Lone Star* featured a scenario where Pilot Knob reactivated, and the characters' attempts at saving lives as a result of the eruption.

2) http://legacy.lib.utexas.edu/geo/ggtc/ch4.html

## InfoBox

| Pilot Knob | |
| --- | --- |
| Pilot Knob rises out of the lowlands west of Cottonmouth Creek | |
| Highest point | |
| Coordinates | 30°9′44″N 97°42′22″W / 30.16222°N 97.70611°W / 30.16222; -97.70611 |
| Geography | |
| Pilot KnobAustin, Texas,<br>United States | |
| Topo map | USGS |
| Geology | |
| Age of rock | late–Cretaceous Period |
| Volcanic arc/belt | Ouachita |
| Last eruption | 79–83 million years ago |


title: Police FC (Uganda)

abstract: Police FC is a football club from Kampala in Uganda. It was formed in 1965 with a mission, "To be a football club that upholds community values and promote carrier development as community policing tool to avert criminality in the society".

text:
# Police FC (Uganda)

**Police FC** is a football club from Kampala in Uganda.

It was formed in 1965 with a mission, *"To be a football club that upholds community values and promote carrier development as community policing tool to avert criminality in the society"*.

## History

They won their first Ugandan league title in 2005 and the CECAFA Clubs Cup in 2006. Police was spurred on in the early years by Dennis Obua as a player and later as coach. During Obua's years, he managed to stage youthful players who have blossomed into really great talent. When Obua became the Federation of Uganda Football Association president, he hired Steven Mulinde to step in his shoes. Police saw tremendous growth and lately has been involved in several international ties. As of November 2019, the main stadium for Police FC is the Star Times Stadium. Located in the area of Lugogo. On 25 September, Tonny Mawejje was introduced as the captain for Police FC.

## Stadium

Police FC is currently constructing their new home stadium in Kiira Road Kampala and they hope to finish its construction by the second round of the 2023/2024 season. The facility shall also have a track lane for athletics and a football pitch.

## Achievements

## Performance in CAF competitions

2006 – Preliminary Round 2003 – First Round

## Playing squad

| No. Pos. Nation Player  GK UGA Oloka Sammon  GK UGA Tom Ikara  GK UGA Derrick Ochan  GK UGA Alfred Ochan  MF UGA Duncan Seninde Ezekiel  MF UGA Tonny Mawejje  FW UGA Juma Balinya  FW UGA Herman Wasswa Nteza |
| --- |

## Non playing Staff

### Technical team hierarchy

* Head coach: Simon Peter Mugerwa
* 1st Assistant coach: Robert Sekweyama
* 2nd Assistant coach: Nestroy Kizito
* Goalkeepers’ coach: Ben Kalama
* Fitness coach: Fazil Ibrahim
* Doctor: Kennedy Kukundakwe
* Physiotherapist: Senyondo Muhamood

#### Administration and management

* Chairman: Senior Commissioner of Police (SCP) Timothy Halango
* Vice chairman: Livingstone Lajan
* Chief Executive Officer (CEO): PK Arinaitwe
* Board members: Assistant Commissioner of Police (ACP) Abu Kalule, ACP Hilary Kulayigye, ACP Claire Nabakka, Sandra Nsaire
* Media officer: Abdusalam Kigozi
* Public Relations Officer (PRO): Assistant Commissioner of Police (ACP) Claire Nabakka

## InfoBox

Police FC
| Police FC logo | |
| --- | --- |
| Full name | Police Football Club |
| Nickname(s) | The Cops |
| Founded | 1965 |
| Ground | Star Times Stadium <br>Kampala, Uganda |
| Capacity | 3,000 |
| Chairman | SCP Timothy Halango |
| Manager | Abdallah Mubiru |
| League | Ugandan Premier League |
| 2017–18 | 7th |
|  | |
|  | |
|  | |


title: Pietà (Annibale Carracci)

abstract: Pietà is a c. 1600 oil on canvas painting by Annibale Carracci, the earliest surviving work by him on the subject, which was commissioned by Odoardo Farnese. It moved from Rome to Parma to Naples as part of the Farnese collection and is now in the National Museum of Capodimonte in Naples. It is one of many 16th century Bolognese paintings dedicated to the theme of the Pietà, and it is counted among Carracci's masterpieces.

text:
# Pietà (Annibale Carracci)

***Pietà*** is a c. 1600 oil on canvas painting by Annibale Carracci, the earliest surviving work by him on the subject, which was commissioned by Odoardo Farnese. It moved from Rome to Parma to Naples as part of the Farnese collection and is now in the National Museum of Capodimonte in Naples. It is one of many 16th century Bolognese paintings dedicated to the theme of the Pietà, and it is counted among Carracci's masterpieces.

## History

The dating of this painting is owed to records of its commission by Odoardo Farnese. It is unknown, however, what its original destination was or the date of its execution.

For its location, the format of the painting indicates that it might have been intended for the private devotion of its commissioner. Therefore, it would have been kept at the chapel of the Palazzo Farnese in Rome or another Farnese mansion. There is a 16th century traveler's account that refers to an admirable Pietà by Carracci, seen in the Palazzo Farnese of Caprarola. It's unknown, however, whether that refers to the Pietà now in Naples or another work. For stylistic reasons, the Naples *Pietà* is dated to between 1598 and 1600.

Like almost all the works in the Farnese Collection, Carracci's *Pietà* left from Rome to Parma and was then brought to its new location in Naples, where it is today.

The numberless copies and derivations of this painting established it as a canonical representation of the Pietà in the Baroque era.

## Description and style

The *Pietà* of Carracci undoubtedly references Michelangelo's celebrated *Pietà* statue. Three preliminary studies of Carracci's *Pietà* reflect the observations of Carracci on Michelangelo's statue and the way in which he recreated it. In the first drawings, the body of Christ is positioned more similarly to the Michelangelo statue, with the difference that the body is not placed in the lap of Marie but on the tomb. The Virgin Marie is instead kneeling beside Jesus.

In the last version, the composition changed; it looks more like the final painting: the body of Christ is placed so his shoulders and legs are in Marie's lap, which creates an intimate link between them in a way reminiscent of Michelangelo's *Pietà*. Marie is, however, seated on the earth (and not on a throne, as in the Vatican statue), and Jesus' legs are on the ground and stretched over a shroud. Those elements are shared with the *Lamentation* of Correggio. Carracci had studied that work as a young man. He had even revisited that the work only a little before the Farnese commission, which resulted in an engraving *Pietà di Caprarola*.

The final result is an original combination of its two models. As Michelangelo, Carracci depicted the composed, poignant suffering of Marie, who delicately cradles her son's head in her right hand. Their faces are brought forward by the way Marie leans over the body of Christ.

Also like Michelangelo, Carracci adopted a pyramidal compositional scheme in which he inserted a little angel that holds the left hand of Jesus. A second angel, on the right side of the canvas, pricks its finger on Jesus' crown of thorns. This second angel looks out directly at the viewer and invites, with its expression of adoration, reflection on the suffering of Jesus during the Passion. The left hand of Marie, in a clever foreshortening, presents a gesture of resigned sadness. Even this detail is a homage to the statue of Michelangelo.

The whole group is placed just before the still-open tomb (perhaps an allusion to Jesus' resurrection) and on rough earth. The darkness of night enshrouds Marie, her son, and the angels, which emerge from the shadows thanks to the effects of light and color that pervade the painting. The lights and colors confer on the painting an atmosphere of intimate emotion that also recalls Correggio.

The body of Jesus has an Apollonian beauty, on which the wounds of the Passion have just been inflicted. The sculptural vigor of Jesus is associated with the great attention that Carracci gave to classical statuary and the great works of the Roman Renaissance, which are bound to the frescoes of the Galleria Farnese. For this reason, this *Pietà* is thought to be contemporary to those frescoes.

Sebastiano del Piombo (another specialist on the theme of the Pietà) also influenced the painting. This Venetian painter was well known to Carracci, and several of his works were even possessed by Odoardo Farnese.

## Preparatory drawings

The relation of three drawings to Carracci's *Pietà* was suggested by Rudolf Wittkower, but not placed under further study.

## Influence

### Engravings

The great success of Carracci's *The Loves of the Gods* frescoes in the Farnese Gallery ignited general interest in graphical reproductions of his other works. The *Pietà* was among the works that attracted attention and were reproduced in engravings in various parts of Europe throughout the 16th century and into the 17th.

### Copies and derivations

The reproductions of the Pieta multiplied, with varying quality. Among the verified copies, the best is that at the Galleria Doria Pamphilj, which was once thought to be an autographed copy by Carracci himself. Worse copies were sometimes made from the engravings of the work, which can be seen in the "controparte," or inverted, composition they sometimes show.

## Caravaggio's *The Entombment of Christ*

A little after the creation of Carracci's *Pietà*, Rome received another masterpiece dedicated to the moment of the Passion of Christ: *The Entombment of Christ* painted by Caravaggio in 1602–1604 for a chapel of Santa Maria in Vallicella (it is now in the Pinacoteca Vaticana).

Studies linked *The Entombment* and Carracci's *Pietà*. Carracci's work stimulated Caravaggio to personally reinterpret the sculpture of Michelangelo, which *The Entombment* also refers to. This exchange was part of a long-distance dialog between the two painters, who both came from the north of Italy to Rome at the end of the 16th century and beginning of the 17th and caused lasting changes in the tradition of painting.

## Van Dyck and lamentations

The Flemish painter Anthony van Dyck apparently studied Carraci's *Pietà* during his journeys to Rome early in the 17th century.

In multiple versions of the theme of the "lamentation" by Van Dyck, there is evidence of the influence of Carracci's *Pietà* painting and the*Pietà di Caprarola* engraving. For example, Van Dyck's paintings share compositional similarities, Christ's sculptural beauty, and the hand of Christ held delicately by a supporter.

## InfoBox

| Pietà | |
| --- | --- |
|  | |
| Artist | Annibale Carracci |
| Year | c. 1600 |
| Dimensions | 156 cm × 149 cm (61 in × 59 in) |
| Location | Museo di Capodimonte, Naples |


title: Pierre Flor

abstract: Pierre Flor was a Norwegian politician, editor and military officer. Pierre Poumeau Flor was born at the Lilleaker farm in Vestre Aker, Norway. He was the son of General War Commissioner Jens Lorentz Flor (1730-1806) and Maria Bolette Heegård (1752-1787). His father later bought Haugbu farm in Asker in Akershus and settled his family there. Flor completed his legal examination in 1792. He subsequently acted as an assistant to his father as a military auditor. In 1797, he served with the Asker Regiment and in 1799 was a second lieutenant with the Vestre Laurvig Company. From 1806 to 1811, he managed the family farm at Asker. In 1816, he formed the newspaper Drammens Tidende together with Søren Tybring who was vicar of Bragernes Church in Drammen. He served as co-editor until 1817. Flor was elected a member of Norwegian Parliament from Drammen during the sessions 1818-20, 1821–23 and 1824-26. He served as an alternate representative 1842-44.

text:
# Pierre Flor

**Pierre Flor** (25 September 1775 – 8 April 1848) was a Norwegian politician, editor and military officer.

Pierre Poumeau Flor was born at the Lilleaker farm in Vestre Aker, Norway. He was the son of General War Commissioner Jens Lorentz Flor (1730-1806) and Maria Bolette Heegård (1752-1787). His father later bought Haugbu farm in Asker in Akershus and settled his family there. Flor completed his legal examination in 1792. He subsequently acted as an assistant to his father as a military auditor. In 1797, he served with the Asker Regiment (*Akershusiske infanteriregiments*) and in 1799 was a second lieutenant with the Vestre Laurvig Company (*Vestre Laurvigske kompani*).

From 1806 to 1811, he managed the family farm at Asker. In 1816, he formed the newspaper *Drammens Tidende* together with Søren Tybring who was vicar of Bragernes Church in Drammen. He served as co-editor until 1817.

Flor was elected a member of Norwegian Parliament from Drammen during the sessions 1818-20, 1821–23 and 1824-26. He served as an alternate representative 1842-44.


title: Pinconning, Michigan

abstract: Pinconning is a city in Bay County in the U.S. state of Michigan. The population was 1,204 at the 2020 census. It is included in the Saginaw, Midland, and Bay City metropolitan area. The city is locally noted for its former production of cheese and cheese products, especially Pinconning cheese.

text:
# Pinconning, Michigan

**Pinconning** is a city in Bay County in the U.S. state of Michigan. The population was 1,204 at the 2020 census. It is included in the Saginaw, Midland, and Bay City metropolitan area. The city is locally noted for its former production of cheese and cheese products, especially Pinconning cheese.

## History

The name, "Pinconning," comes from the Ojibwe ***Opinikaaning*** (syncope as ***Pinkaaning***; recorded as "o-pin-nic-con-ing"), which translates into English as, "potato place.". The community is named after the Pinconning River, which flows through the community.

The town was first settled in 1872 by George VanEtten and Henry Kaiser as a lumber settlement along the Pinconning River. The post office in Pinconning opened on January 29, 1873. In 1907 a man named William Reid moved to Pinconning, and started Pinconning Creamery. A gravel road between Pinconning and neighboring Standish was built in 1918, the same year the prohibition had taken effect.

## Geography

According to the United States Census Bureau, the city has a total area of 0.85 square miles (2.20 km2), all land. The Pinconning River flows through the city. The city is located roughly 1.5 miles west of Saginaw Bay.

## Demographics

Historical population
| Census | Pop. | Note |  |
| --- | --- | --- | --- |
| 1880 | 300 |  |  |
| 1890 | 885 |  | 195.0% |
| 1900 | 729 |  | −17.6% |
| 1910 | 677 |  | −7.1% |
| 1920 | 769 |  | 13.6% |
| 1930 | 826 |  | 7.4% |
| 1940 | 1,027 |  | 24.3% |
| 1950 | 1,223 |  | 19.1% |
| 1960 | 1,329 |  | 8.7% |
| 1970 | 1,320 |  | −0.7% |
| 1980 | 1,430 |  | 8.3% |
| 1990 | 1,291 |  | −9.7% |
| 2000 | 1,386 |  | 7.4% |
| 2010 | 1,307 |  | −5.7% |
| 2020 | 1,204 |  | −7.9% |
| U.S. Decennial Census | | | |

### 2010 census

As of the census of 2010, there were 1,307 people, 580 households, and 324 families living in the city. The population density was 1,537.6 inhabitants per square mile (593.7/km2). There were 637 housing units at an average density of 749.4 per square mile (289.3/km2). The racial makeup of the city was 96.5% White, 0.7% African American, 0.2% Native American, 0.3% Asian, 0.3% from other races, and 2.1% from two or more races. Hispanic or Latino of any race were 3.6% of the population.

There were 580 households, of which 31.0% had children under the age of 18 living with them, 33.6% were married couples living together, 16.6% had a female householder with no husband present, 5.7% had a male householder with no wife present, and 44.1% were non-families. 38.1% of all households were made up of individuals, and 18.2% had someone living alone who was 65 years of age or older. The average household size was 2.24 and the average family size was 2.99.

The median age in the city was 37.1 years. 25.4% of residents were under the age of 18; 9.9% were between the ages of 18 and 24; 23.9% were from 25 to 44; 24.7% were from 45 to 64; and 16.1% were 65 years of age or older. The gender makeup of the city was 47.3% male and 52.7% female.

### 2000 census

As of the census of 2000, there were 1,386 people, 609 households, and 356 families living in the city. The population density was 1,594.9 inhabitants per square mile (615.8/km2). There were 645 housing units at an average density of 742.2 per square mile (286.6/km2). The racial makeup of the city was 97.40% White, 0.07% African American, 0.94% Native American, 0.07% Asian, 0.43% from other races, and 1.08% from two or more races. Hispanic or Latino of any race were 3.25% of the population.

There were 609 households, out of which 29.4% had children under the age of 18 living with them, 39.2% were married couples living together, 14.9% had a female householder with no husband present, and 41.5% were non-families. 36.0% of all households were made up of individuals, and 19.7% had someone living alone who was 65 years of age or older. The average household size was 2.26 and the average family size was 2.93.

In the city, the population was spread out, with 24.8% under the age of 18, 10.6% from 18 to 24, 26.8% from 25 to 44, 19.7% from 45 to 64, and 18.1% who were 65 years of age or older. The median age was 36 years. For every 100 females, there were 87.0 males. For every 100 females age 18 and over, there were 81.5 males.

The median income for a household in the city was $27,188, and the median income for a family was $33,646. Males had a median income of $32,344 versus $21,250 for females. The per capita income for the city was $16,210. About 15.0% of families and 15.9% of the population were below the poverty line, including 20.9% of those under age 18 and 8.8% of those age 65 or over.

## Transportation

### Bus

### Highways

* M-13 passes directly through Pinconning, and I-75 is only three miles from the heart of the city.

## Education

Pinconning Area School District operates public schools serving Pinconning.

Bay County Library System includes the public library in Pinconning.

## InfoBox

| Pinconning, Michigan | |
| --- | --- |
| City | |
| City of Pinconning | |
| Downtown Pinconning, along Kaiser Street | |
| Nickname(s): Pinny, Cheesetown | |
| Motto: Cheese Capital of Michigan | |
| Location within Bay County | |
| PinconningLocation within the state of Michigan | |
| Coordinates: 43°51′18″N 83°57′47″W / 43.85500°N 83.96306°W / 43.85500; -83.96306 | |
| Country | United States |
| State | Michigan |
| County | Bay |
| Incorporated | 1872 (village)
1935 (city) |
| Government | |
| Type | Council–manager |
| Mayor | Sheri Boettcher |
| City manager | Rebecca Lakin |
| Area | |
| Total | 0.86 sq mi (2.23 km2) |
| Land | 0.86 sq mi (2.23 km2) |
| Water | 0.00 sq mi (0.00 km2) |
| Elevation | 600 ft (183 m) |
| Population (2020) | |
| Total | 1,204 |
| Density | 1,398.37/sq mi (540.17/km2) |
| Time zone | UTC-5 (Eastern (EST)) |
| Summer (DST) | UTC-4 (EDT) |
| ZIP code(s) | 48650 |
| Area code | 989 |
| FIPS code | 26-64160 |
| GNIS feature ID | 0634899 |
| Website | Official website |


title: Poems and Songs

abstract: Poems and Songs (1862) is the first collection of poems by Australian poet Henry Kendall. It was released in hardback by J.R. Clarke in 1862, and features the poet's widely anthologised poems "Song of the Cattle Hunters", and "The Muse of Australia". The collection includes 45 poems by the author that are reprinted from various sources.

text:
# Poems and Songs

***Poems and Songs*** (1862) is the first collection of poems by Australian poet Henry Kendall. It was released in hardback by J.R. Clarke in 1862, and features the poet's widely anthologised poems "Song of the Cattle Hunters", and "The Muse of Australia".

The collection includes 45 poems by the author that are reprinted from various sources.

## Contents

* "The Muse of Australia"
* "Mountains"
* "Kiama"
* "Etheline"
* "Aileen"
* "Kooroora"
* "Fainting by the Way"
* "Song of the Cattle-Hunters"
* "Footfalls"
* "God Help Our Men at Sea"
* "Sitting by the Fire"
* "Bellambi's Maid"
* "The Curlew Song"
* "The Ballad of Tanna"
* "The Rain Comes Sobbing to the Door"
* "Urara"
* "Evening Hymn"
* "Stanzas"
* "The Wail in the Native Oak"
* "Harps We Love"
* "Waiting and Wishing"
* "The Wild Kangaroo"
* "Clari"
* "Wollongong"
* "Ella with the Shining Hair"
* "The Barcoo"
* "Bells Beyond the Forest"
* "Ulmarra"
* "The Maid of Gerringong"
* "Watching"
* "The Opossum-Hunters"
* "In the Depths of a Forest"
* "To Charles Harpur"
* "The River and the Hill"
* "The Fate of the Explorers"
* "Lurline"
* "Under the Figtree"
* "Drowned at Sea"
* "Morning in the Bush"
* "The Girl I Left Behind Me"
* "Amongst the Roses"
* "Sunset"
* "Doubting"
* "Geraldine"
* "Achan"

## Critical reception

Shortly after its original publication *The Freeman's Journal* opined "Here is music and delicate imagery, transporting our fancy, and enabling us in a moment — at a glance — to enter into the innermost heart of the poet's meaning."

G. B. Barton, writing in *Literature in New South Wales* (1866) was effusive in his praise when he wrote "This volume represents the highest point to which the poetic genius of our country has yet attained...The author paints the scenery of his native land with the hand of a master."

In the late 1960s, Adrian Mitchell wrote "..Kendall's first volume (*Poems and Songs*, 1862) is characterized by poems of regret and remembered parting of lovers, of nostalgia and of separation across the sea—or as a more melodramatic variation, a separation across the grave. These are conventional poems on conventional themes relying heavily on poetic cliché."

In 1994 *The Oxford Companion to Australian Literature* stated: "Many of these early Kendall poems attempt, however imperfectly, to reflect the spirit and character of Australian life to picture the beauty of the Australian coastal landscape."

## InfoBox

Poems and Songs
| Author | Henry Kendall |
| --- | --- |
| Language | English |
| Publisher | J.R. Clarke |
| Publication date | 1862 |
| Publication place | Australia |
| Media type | Print (Hardback & Paperback) |
| Pages | 144 |
| Followed by | *Leaves from Australian Forests* |


title: Pinconning River

abstract: The Pinconning River is a small river on the central Lower Peninsula of Michigan in the United States. It is 15.6 miles (25.1 km) long and flows to Saginaw Bay of Lake Huron, draining an area of 26.6 square miles (69 km⁲). Via Lake Huron and the Great Lakes system, it is part of the larger watershed of the St. Lawrence River. The Pinconning River's course and watershed are entirely in northern Bay County. It begins in Mount Forest Township, approximately 9.4 miles (15.1 km) west of the city of Pinconning, and flows generally eastward, through Pinconning Township and Pinconning. It flows into Saginaw Bay in Pinconning Township, approximately 2.2 miles (3.5 km) east of Pinconning. Its largest tributary is the South Branch Pinconning River, which is 6.2 miles (10.0 km) long and flows into the Pinconning River upstream of Pinconning. The Saginaw Bay Land Conservancy owns a nature preserve, the Pinconning Nature Preserve, along the river in Pinconning Township. Bay County operates a county park, Pinconning Park, on the north bank of the river at its mouth.

text:
# Pinconning River

The **Pinconning River** (Ojibwe ***Opinikaaning-ziibi*** (syncope as ***Pinkaaning-ziibi***), "River at potatoing-grounds") is a small river on the central Lower Peninsula of Michigan in the United States. It is 15.6 miles (25.1 km) long and flows to Saginaw Bay of Lake Huron, draining an area of 26.6 square miles (69 km2). Via Lake Huron and the Great Lakes system, it is part of the larger watershed of the St. Lawrence River.

The Pinconning River's course and watershed are entirely in northern Bay County. It begins in Mount Forest Township, approximately 9.4 miles (15.1 km) west of the city of Pinconning, and flows generally eastward, through Pinconning Township and Pinconning. It flows into Saginaw Bay in Pinconning Township, approximately 2.2 miles (3.5 km) east of Pinconning. Its largest tributary is the South Branch Pinconning River, which is 6.2 miles (10.0 km) long and flows into the Pinconning River upstream of Pinconning.

The Saginaw Bay Land Conservancy owns a nature preserve, the Pinconning Nature Preserve, along the river in Pinconning Township. Bay County operates a county park, Pinconning Park, on the north bank of the river at its mouth.

## Tributaries

This is a list of named streams in the Pinconning River's watershed, as identified by the National Hydrography Dataset. All are direct tributaries of the Pinconning River. By default, the list is ordered from the mouth of the river to its source.

|  | Name | Length |
| --- | --- | --- |
| 1 | Fanger Drain | 2.4 miles (3.9 km) |
| 2 | Walk Drain | 1.8 miles (2.9 km) |
| 3 | Bryce Drain | 4.1 miles (6.6 km) |
| 4 | South Branch Pinconning River | 6.2 miles (10.0 km) |
| 5 | Hudson Branch | 3.3 miles (5.3 km) |
|

## InfoBox

| Pinconning River | |
| --- | --- |
| The Pinconning River in Pinconning Township | |
| A map of the Pinconning River and its watershed. | |
| Etymology | River at potatoing-grounds |
| Native name | *Opinikaakiing-ziibi* (Ojibwe) |
| Location | |
| Country | United States |
| State | Michigan |
| County | Bay |
| Townships | Mount Forest, Pinconning |
| Municipality | Pinconning |
| Physical characteristics | |
|  | |
| Source |  |
| location | Mount Forest Township |
| coordinates | 43°50′54″N 84°08′59″W / 43.8483564°N 84.1497153°W / 43.8483564; -84.1497153 |
| elevation | 679 ft (207 m) |
|  | |
| Mouth | Saginaw Bay |
| location | Pinconning Township |
| coordinates | 43°50′49″N 83°55′15″W / 43.8469655°N 83.9208187°W / 43.8469655; -83.9208187 |
| elevation | 577 ft (176 m) |
| Length | 10.9 mi (17.5 km) |
| Basin size | 26.6 sq mi (69 km2) |
| Basin features | |
| Hydrologic Unit Code | 040801020107 (USGS) |


title: Piotrowo, Nowy Dwór Gdański County

abstract: Piotrowo is a village in the administrative district of Gmina Nowy Dwór Gdański, within Nowy Dwór Gdański County, Pomeranian Voivodeship, in northern Poland. It lies approximately 4 kilometres (2 mi) east of Nowy Dwór Gdański and 39 km (24 mi) south-east of the regional capital Gdańsk.

text:
# Piotrowo, Nowy Dwór Gdański County

**Piotrowo** \[pjɔˈtrɔvɔ\] is a village in the administrative district of Gmina Nowy Dwór Gdański, within Nowy Dwór Gdański County, Pomeranian Voivodeship, in northern Poland. It lies approximately 4 kilometres (2 mi) east of Nowy Dwór Gdański and 39 km (24 mi) south-east of the regional capital Gdańsk.

## InfoBox

| Piotrowo | |
| --- | --- |
| Village | |
| Piotrowo | |
| Coordinates: 54°13′23″N 19°10′5″E / 54.22306°N 19.16806°E / 54.22306; 19.16806 | |
| Country | Poland |
| Voivodeship | Pomeranian |
| County | Nowy Dwór Gdański |
| Gmina | Nowy Dwór Gdański |