title: Col di Lana

abstract: The Col di Lana is a mountain of the Fanes Group in the Italian Dolomites. The actual peak is called Cima Lana and situated in the municipality of Livinallongo del Col di Lana in the Province of Belluno, Veneto region.

text:
# Col di Lana

The **Col di Lana** is a mountain of the Fanes Group in the Italian Dolomites. The actual peak is called *Cima Lana* and situated in the municipality of Livinallongo del Col di Lana (German: *Buchenstein*) in the Province of Belluno, Veneto region.

## History

### World War I

During World War I the mountain, alongside the neighbouring Monte Sief, was the scene of heavy fighting between Austria-Hungary and Italy. It is now a memorial to the War in the Dolomites.

During the years of 1915/16, Italian troops from 12 infantry and 14 Alpini companies repeatedly attempted to storm the peak, defended first by the German Alpenkorps and later by Austro-Hungarian regiments. These attempts resulted in heavy losses; 278 Italians died due to avalanches alone. On 8 November 1915 the Italians, under the command of Lt. Col. Giuseppe Garibaldi II conquered the summit but then could only mount a weak defence with rag-tag units against a well orchestrated pincer manoeuvre: the top of the Col di Lana fell back to Austro-Hungarian troops early the next day. A terrible winter then set in, doing its fair share of killing. However this is not the only reason that the Italians dubbed it *"Col di Sangue"*, "Blood Hill". Like all sides in the First World War, the Italian Army sought to conquer the summit with relatively large forces, paying a high price in casualties.

In 1916, Col di Lana became the site of fierce mine warfare on the Italian Front. Lieutenant Caetani of the Italian engineers developed a plan for mining the peak, which was executed silently using hand-operating drilling machines and chisels. At the start of 1916, the Austro-Hungarian army learned through an artillery observer on Pordoi Pass that the Col di Lana summit had been mined. The Austro-Hungarians began a counter mine, and exploded this on 6 April 1916. The counter mine was, however, too far away from the Italian explosive tunnel. This was laid with five tonnes of blasting gelatin. On the night of 16/17 April 1916, the 5th Company of the 2nd Tyrolean Kaiserjäger regiment was relieved by the 6th Company, under Oberleutnant Anton von Tschurtschenthaler. The struggle reached its zenith on the night of 17/18 April 1916, when at around 23:30 the summit was blasted. The Austro-Hungarians under Tschurtschenthaler then had to surrender the mountain; however they were able to maintain a position on Monte Sief, which is linked to Col di Lana by a ridge, which was cut in two by a mine fired on 21 October 1917 by Austro-Hungarian soldiers, thereby obstructing the Italian breakthrough in the area.

### Memorial

Today a memorial chapel stands on the summit as a memorial to the soldiers that fell in battle. The remains of a barracks and decaying gun and communications trenches have been left behind from the war. There is also a small war museum on the mountain.

The route is from Pieve di Livinallongo (1,465 m) via the Rifugio Pian della Lasta (1,835 m); there is a road as far as the hut.

* Anton (Toni) von Tschurtschenthaler: *Col di Lana 1916*, Schlern-Schriften Vol. 179, 1957
* Generalmajor Viktor Schemfil: *Col di Lana - Geschichte der Kämpfe um den Dolomitengipfel 1915-1917*; Schriftreihe zur Zeitgeschichte Tirols Vol. 3, Buchdienst Südtirol E. Kienesberger Nürnberg 1983, ISBN 0-00-228421-9
* Alberto Giacobbi: *Il fronte delle Dolomiti (1915/17)*, Verlag Ghedina, 2005
* Walther Schaumann: Schauplätze Des Gebirgskrieges 1915-17. Vol. 1/2: Westliche Dolomiten. ISBN 978-88-7691-020-3
* Heinz von Liechem: *Gebirgskrieg 1915-1918* Band 2, Verlagsanstalt Athesia 1997, ISBN 88-7014-236-1
* Gunther Langes: *Die Front in Fels und Eis*, Athesia-Tappeiner Verlag 2016, ISBN 978-88-6839-089-1
* Erik Durschmied: *Totentanz am Col di Lana*, Athesia-Tappeiner Verlag 2017, ISBN 978-88-6839-268-0

## InfoBox

| Col di Lana | |
| --- | --- |
| Col di Lana (left) and the neighbouring Monte Sief (right) | |
| Highest point | |
| Elevation | 2,462 m (8,077 ft) |
| Coordinates | 46°29′48″N 11°57′33″E / 46.49667°N 11.95917°E / 46.49667; 11.95917 |
| Geography | |
| Col di LanaItaly | |
| Location | Province of Belluno, Italy |
| Parent range | Dolomites, Fanes group |
| Climbing | |
| Easiest route | Over the Valparola Pass, over saddle of Monte Sief, then over the *Dente del Sief*  (German: *Knotz*) to the summit |


title: Sphingobacterium canadense

abstract: Sphingobacterium canadense is a Gram-negative bacterium from the genus of Sphingobacterium which has been isolated from corn roots.

text:
# Sphingobacterium canadense

***Sphingobacterium canadense*** is a Gram-negative bacterium from the genus of Sphingobacterium which has been isolated from corn roots.

## InfoBox

| *Sphingobacterium canadense* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Bacteria |
| Phylum: | Bacteroidota |
| Class: | Sphingobacteriia |
| Order: | Sphingobacteriales |
| Family: | Sphingobacteriaceae |
| Genus: | *Sphingobacterium* |
| Species: | ***S. canadense*** |
| Binomial name | |
| *****Sphingobacterium canadense*****<br>Mehnaz et al. 2008 | |
|
| Type strain | |
| LMG 23727, NCCB 100125, CR11 | |


title: El Pilar

abstract: El Pilar is an ancient Maya city center located on the Belize-Guatemala border. The site is located 12 kilometres (7.5 mi) north of San Ignacio, Belize and can be accessed through the San Ignacio and Bullet Tree Falls on the Belize River. The name "El Pilar" is Spanish for "watering basin", reflecting the abundance of streams around the site and below its escarpment, which is rare in the Maya area. The monuments of El Pilar are at the center of a 5,000 acres (2,000 ha) protected area known as El Pilar Archeological Reserve for Maya Flora and Fauna, declared a cultural monument in both Belize and Guatemala in 1998. El Pilar is the largest Maya site in the Belize River area with over 25 plazas and hundreds of other major buildings, covering about 120 acres (49 ha).

text:
# El Pilar

**El Pilar** is an ancient Maya city center located on the Belize-Guatemala border. The site is located 12 kilometres (7.5 mi) north of San Ignacio, Belize and can be accessed through the San Ignacio and Bullet Tree Falls on the Belize River. The name "El Pilar" is Spanish for "watering basin", reflecting the abundance of streams around the site and below its escarpment, which is rare in the Maya area.

The monuments of El Pilar are at the center of a 5,000 acres (2,000 ha) protected area known as El Pilar Archeological Reserve for Maya Flora and Fauna, declared a cultural monument in both Belize and Guatemala in 1998. El Pilar is the largest Maya site in the Belize River area with over 25 plazas and hundreds of other major buildings, covering about 120 acres (49 ha).

## Archeological discovery

Archaeologist Anabel Ford first mapped El Pilar in 1983 in the course of her Belize River Archaeological Settlement Survey or BRASS project. Settlement patterns in the region suggest a hierarchy of community size and composition that was directly related to farmland. One of the most extensive areas was of farmlands discovered at El Pilar, 10 kilometres (6.2 mi) north of the Belize River on the edge of the major upland escarpment that leads 47 kilometres (29 mi) to the major center of Tikal.

## History

Since 1993, a major archaeological field survey excavation project marked the initial examination of El Pilar. Under the direction of Anabel Ford, the detailed map was executed with engineering survey instruments and excavations focused on access ways, stairs, and doorways. When the monuments were mapped, the team verified the causeway system that linked from the east to the west uniting one ancient Maya center in two modern nations: Belize and Guatemala. Later excavations tunneled into major temple revealing a 2000 years construction history. Ford and her team are currently working with Lidar in order to map the area more extensively.

The city grew from Middle Preclassic period (800 BC), with the first small temples and plazas identified in the main eastern temple of Plaza Copal. The civic area was expanded, reaching its greatest extent before 1000 AD. At its height in the Late Classic, the total population of El Pilar is estimated to have exceeded 180,000.

Ford and her team have excavated many of the plazas, temples and palaces of the monumental civic area. Surrounding the monuments is the residence that made up the ancient Maya community. Tzunu’un, a residential unit discovered, mapped and tested in 1984, became the focus of a major investigation that excavated, exposed, and consolidated an elite Maya house. This is the only archaeological house that the public has access to today. Working with Master Maya forest gardeners, the team has developed a forest garden around the house site. The forest gardens of El Pilar are now maintained by the Maya farmers as part of the El Pilar Forest Garden Network.

## Conservation and ecotourism

The El Pilar Archeological Reserve for Maya Flora and Fauna is open to the public and has a series of trails providing access throughout the site. Tourists can take a taxi from Bullet Tree Falls directly into the Maya site. Intrepid visitors can experience both ancient and contemporary aspects of Maya life promoting Maya culture in the area. There is an active initiative to make El Pilar of Belize and Guatemala the first archaeological peace park in the world. While El Pilar is protected in Belize and Guatemala and rangers are on site, it remains under threat by looters and was placed on the World Monument Fund's 1996 list of 100 Most Endangered Sites in the World. Ford’s conservation strategy, called Archaeology Under the Canopy, promotes the conservation of ancient Maya monuments in the context of their natural environmental context. Sheltered under the forest canopy after 1000 years of neglect, El Pilar and all the Maya monuments are best maintained in the shade. This preserves Maya cultural heritage along with the forest gardens the Maya created.

* "Maya Forest Garden". *The El Pilar Forest Garden Network*. Retrieved September 25, 2015.
* "Mesoamerican Research Center". *MesoAmerican Research Center*. Retrieved September 25, 2015.
* "Exploring Solutions Past". *Exploring Solutions Past*.

## InfoBox

| El Pilar | |
| --- | --- |
| Tzunu'un, a Maya house site surrounded by forest vegetation at El Pilar | |
| Location | Belize |
| Coordinates | 17°15′24″N 89°09′19″W / 17.25667°N 89.15528°W / 17.25667; -89.15528 |
| Area | 20 km2 (7.7 sq mi) |
| Elevation | 200 m (660 ft) |
| Visitors | allowed |


title: Rhizotrogus villiersi

abstract: Rhizotrogus villiersi is a species of beetle in the Melolonthinae subfamily that is endemic to Portugal.

text:
# Rhizotrogus villiersi

***Rhizotrogus villiersi*** is a species of beetle in the Melolonthinae subfamily that is endemic to Portugal.

## InfoBox

| *Rhizotrogus villiersi* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Scarabaeidae |
| Genus: | *Rhizotrogus* |
| Species: | ***R. villiersi*** |
| Binomial name | |
| ***Rhizotrogus villiersi***<br>Baraud, 1970 | |
|


title: Sirsihawa

abstract: Sirsihawa is a town in Krishnanagar Municipality in Kapilvastu District in the Lumbini Province of southern Nepal. The former Village development committee was merged to form the municipality established on 18 May 2014 Krishnanagar, Sirsihawa, Shivanagar VDCs. At the time of the 1991 Nepal census it had a population of 2,745 in 458 individual households.

text:
# Sirsihawa

**Sirsihawa**  is a town in Krishnanagar Municipality in Kapilvastu District in the Lumbini Province of southern Nepal. The former Village development committee was merged to form the municipality established on 18 May 2014 Krishnanagar, Sirsihawa, Shivanagar VDCs. At the time of the 1991 Nepal census it had a population of 2,745 in 458 individual households.

1. "72 new municipalities announced". *My Republica*. Archived from the original on 16 May 2014. Retrieved 10 June 2014.
\- "Govt announces 72 new municipalities". *The Kathmandu Post*. 9 May 2014. Retrieved 10 June 2014.
2. "Nepal Census 2001". *Digital Himalaya*. University of Cambridge. Retrieved 14 December 2008.

## InfoBox

| Sirsihawa सिर्सिहवा | |
| --- | --- |
| SirsihawaLocation in Nepal | |
| Coordinates: 27°31′N 82°46′E / 27.52°N 82.77°E / 27.52; 82.77 | |
| Country | Nepal |
| Zone | Lumbini Zone |
| District | Kapilvastu District |
| Population (1991) | |
| Total | 2,745 |
| Time zone | UTC+5:45 (Nepal Time) |


title: Springfield Recreation Area

abstract: Springfield Recreation Area is a state recreation area in Bon Homme County, South Dakota in the United States. The recreation area is located on the upper part of Lewis and Clark Lake, and is popular for boating, fishing, and hunting. There is a 20-site campground and a boat launch to access the lake and the Missouri River. The area is about 30 miles west of Yankton.

text:
# Springfield Recreation Area

**Springfield Recreation Area** is a state recreation area in Bon Homme County, South Dakota in the United States. The recreation area is located on the upper part of Lewis and Clark Lake, and is popular for boating, fishing, and hunting. There is a 20-site campground and a boat launch to access the lake and the Missouri River. The area is about 30 miles west of Yankton.

## InfoBox

| Springfield Recreation Area | |
| --- | --- |
| Location of Springfield Recreation Area in South Dakota | |
| Location | Bon Homme, South Dakota, United States |
| Coordinates | 42°51′28″N 97°52′59″W / 42.857872°N 97.883189°W / 42.857872; -97.883189 |
| Area | 24 acres (9.7 ha) |
| Established | 1957 |
| Governing body | South Dakota Department of Game, Fish, and Parks |
| Website | Springfield Recreation Area - SD GF&P |


title: Solae (tower)

abstract: The Solae is an elevator test tower located in the city of Inazawa, Japan. It is owned by Mitsubishi Electric. The tower is 173 metres (568 ft). When completed in 2007, it was the world's tallest elevator test tower. Since that time, the record has been broken by the Hyundai Eizan Tower in 2009, the Hitachi G1 Tower in 2010 and the Kunshan Test Tower in China.

text:
# Solae (tower)

The **Solae** is an elevator test tower located in the city of Inazawa, Japan. It is owned by Mitsubishi Electric. The tower is 173 metres (568 ft). When completed in 2007, it was the world's tallest elevator test tower. Since that time, the record has been broken by the Hyundai Eizan Tower (205 meters) in 2009, the Hitachi G1 Tower (213 meters) in 2010 and the Kunshan Test Tower in China (235 meters).

* Media related to SOLAÉ at Wikimedia Commons

## InfoBox

| Solae | |
| --- | --- |
| The Mitsubishi Electric–owned Solae Test Tower | |
| SolaeSolae (tower) (Japan) | |
| General information | |
| Town or city | Inazawa, Aichi |
| Country | Japan |
| Coordinates | 35°14′42″N 136°49′9.5″E / 35.24500°N 136.819306°E / 35.24500; 136.819306 |
| Construction started | December 26, 2005 |
| Completed | September 26, 2007 |
| Owner | Mitsubishi Electric Building Solutions |
| Height | 173.0 meters |


title: The World Before the Flood

abstract: The World Before the Flood is an oil-on-canvas painting by the English artist William Etty, first exhibited in 1828 and currently in the Southampton City Art Gallery. It depicts a scene from John Milton's Paradise Lost in which, among a series of visions of the future shown to Adam, he sees the world immediately before the Great Flood. The painting illustrates the stages of courtship as described by Milton: a group of men select wives from a group of dancing women, drag their chosen woman from the group, and settle down to married life. Behind the courting group, an oncoming storm looms, foreshadowing the destruction which the dancers and lovers are about to bring upon themselves. When first exhibited at the 1828 Royal Academy Summer Exhibition the painting attracted large crowds, and strongly divided critical opinion. It was greatly praised by many critics, who counted it among the finest works of art in the country. Other reviewers condemned it as crude, tasteless, offensive and poorly executed. The painting was bought at the Summer Exhibition by the Marquess of Stafford. It was sold in 1908, long after Etty had fallen out of fashion, for a substantial loss, and sold again in 1937 for a further substantial loss to the Southampton City Art Gallery, where it remains. Another work by Etty, sold as A Bacchanalian Scene in 1830 and later renamed Landscape with Figures, was identified in 1953 as a preliminary oil sketch for The World Before the Flood and purchased by the York Art Gallery. The two paintings were exhibited together as part of a major retrospective of Etty's work in 2011–2012.

text:
# The World Before the Flood

***The World Before the Flood*** is an oil-on-canvas painting by the English artist William Etty, first exhibited in 1828 and currently in the Southampton City Art Gallery. It depicts a scene from John Milton's *Paradise Lost* in which, among a series of visions of the future shown to Adam, he sees the world immediately before the Great Flood. The painting illustrates the stages of courtship as described by Milton: a group of men select wives from a group of dancing women, drag their chosen woman from the group, and settle down to married life. Behind the courting group, an oncoming storm looms, foreshadowing the destruction which the dancers and lovers are about to bring upon themselves.

When first exhibited at the 1828 Royal Academy Summer Exhibition the painting attracted large crowds, and strongly divided critical opinion. It was greatly praised by many critics, who counted it among the finest works of art in the country. Other reviewers condemned it as crude, tasteless, offensive and poorly executed.

The painting was bought at the Summer Exhibition by the Marquess of Stafford. It was sold in 1908, long after Etty had fallen out of fashion, for a substantial loss, and sold again in 1937 for a further substantial loss to the Southampton City Art Gallery, where it remains. Another work by Etty, sold as *A Bacchanalian Scene* in 1830 and later renamed *Landscape with Figures*, was identified in 1953 as a preliminary oil sketch for *The World Before the Flood* and purchased by the York Art Gallery. The two paintings were exhibited together as part of a major retrospective of Etty's work in 2011–2012.

## Background

William Etty was born in 1787, the son of a York baker and miller. On 8 October 1798, at the age of 11, he was apprenticed as a printer to Robert Peck of Hull, publisher of local newspaper the *Hull Packet*. On completing his seven-year apprenticeship he moved at the age of 18 to London, with the intention of becoming a history painter in the tradition of the Old Masters. Strongly influenced by the works of Titian and Rubens, he submitted paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received scant attention when exhibited.

In 1821 the Royal Academy accepted and exhibited one of Etty's works, *The Arrival of Cleopatra in Cilicia* (also known as *The Triumph of Cleopatra*). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, at that time the most prestigious honour available to an artist. He became well respected for his ability to capture flesh tones accurately, and for his fascination with contrasts in skin tones. In the decade following the exhibition of *Cleopatra* Etty tried to replicate its success by painting nude figures in biblical, literary and mythological settings.

Although some nudes by foreign artists were held in private English collections, the country had no tradition of depicting unclothed figures and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in paintings of nudes, and the reaction of uneducated audiences to these paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as indecent, although his portraits of males in a similar state of undress were generally well received.

## Subject

> They on the Plain
> Long had not walkt, when from the Tents behold
> A Beavie of fair Women, richly gay
> In Gems and wanton dress; to the Harp they sung
> Soft amorous Ditties, and in dance came on:
> The Men though grave, ey'd them, and let thir eyes
> Rove without rein, till in the amorous Net
> Fast caught, they lik'd, and each his liking chose;
> And now of love they treat till th'Eevning Star
> Loves Harbinger appeerd; then all in heat
> They light the Nuptial Torch, and bid invoke
> Hymen, then first to marriage Rites invok't;
> With Feast and Musick all the Tents resound.
> Such happy interview and fair event
> Of love and youth not lost, Songs, Garlands, Flours,
> And charming Symphonies attach'd the heart
> Of Adam, soon enclin'd to admit delight,
> The bent of Nature; which he thus express'd.

*Paradise Lost*, Book XI, lines 580–597

*The World Before the Flood* illustrates lines 580–597 from Book XI of John Milton's *Paradise Lost*. Among the visions of the future the Archangel Michael shows to Adam is the world after the expulsion from the Garden of Eden but before the Great Flood. This section of *Paradise Lost* reflects a passage from the sixth chapter of the Book of Genesis: "That the sons of God saw the daughters of men that they were fair; and they took them wives of all which they chose," an act which would shortly cause God to regret creating humanity and to cleanse the earth in the Great Flood.

The painting shows the stages of courtship as described by Milton, as men are seduced by women and pass from enjoying the company of other men into married life. Etty worked through various configurations for the characters in the painting before settling on his final design.

## Composition

*The World Before the Flood* is strongly influenced by *A Bacchanalian Revel Before a Term of Pan* (1632–1633) by Nicolas Poussin, whom Etty greatly admired and of whose works he had previously made several copies; this painting had been bought by the National Gallery in 1826. Adam and Michael are not visible in the painting. Instead, the viewer sees the scene from Adam's point of view.

Etty's painting is a Bacchanalian scene, centred on a group of six scantily-clad women dancing, while a group of men watch. The women's cheeks are flushed both with the exertion of their dancing and with their lustful attempts to seduce the watching men. The men "let their eyes rove without rein", each choosing the woman he wants to be with.

At the left, five men eye the six dancing women. Three of the men discuss their choice of women, while the other two watch the dancing group alone. The male figure closest to the viewer, a seated black man, had previously appeared as a soldier in *The Triumph of Cleopatra*. A sixth man has made his choice, and lunges forward to grab the arms of a bare-breasted dancing woman.

In the centre, the women dance. Their interlocked arms and hands create a pattern at the centre of the canvas, which acts as the focus of the painting. To the right of the central group of dancers a young man drags another woman away from the group of dancers, to join a pair of lovers who lie down together at the right of the painting.

Across the entire width of the background, a darkening sky and oncoming storm clouds presage the destruction that the dancers are unwittingly about to bring upon themselves.

In a preliminary study for *The World Before the Flood* now in the York Art Gallery, the broad structure is similar to that of the finished work, but the focus is more strongly on the central group of women. In Etty's oil sketch and preliminary drawings the right-most of the dancing figures, wearing a green skirt, faces outward with her arms behind her back, forming a closed circle together with the central group of dancers. In the finished work, she gestures outwards from the circle, creating a clear narrative flow in the positions of the figures: from the single men on the left, to the man choosing a wife, to the group of dancing women, to the couple leaving the circle of dancers to join the reclining lovers on the far right.

Preliminary oil sketch, c.1828*The World Before the Flood*, 1828The finished work shows subtle but important changes from preparatory sketches, changing from a focus on the central group of women in early versions to a narrative across the canvas in the finished work.

As was the case with most of his works, Etty did not give the painting a title. It was initially exhibited as *A Composition, taken from the Eleventh Book of Milton's Paradise Lost*, and was referred to by Etty himself as *The Bevy of Fair Women* and *The Origin of Marriage*. By 1862, when it was shown at the International Exhibition, it had acquired its present title.

## Reception

Critical opinion concerning *The World Before the Flood* was divided when the painting, along with two other of Etty's works, was exhibited at the 1828 Royal Academy Summer Exhibition. Some reviewers were intensely critical of the piece. A writer in the *Literary Gazette* called the painting a "deadly sin against good taste", describing the background as "unnecessarily harsh and crude" with "much to blame and lament" and the dancing figures "outrageous", complaining that the women reminded him not of *Paradise Lost*, but of the scantily clad witches in Robert Burns's *Tam o' Shanter*.

An anonymous critic in the *Monthly Magazine* disparaged the "writhings and twinings" of the painting's subjects, describing them as "as close to the unpardonable limits as anything that has lately appealed to the public eye". This same writer disapproved of the dark skin tones of some of the figures, arguing that "the brown visage of the gipsey gives but a dingy image of the roses and lilies that, from time immemorial, have made the charm of British beauty." The correspondent for *The London Magazine* felt that although the painting was "in many respects worthy of admiration ... \[there\] is a spirit, a boldness, and a startling effect," the work was poorly executed overall. Its depiction of women drew particular ire: "the expression of the faces is vapid; the features rather homely; the limbs, though not ill-drawn, have not that finish and play of the muscles, which alone give lightness and elasticity. They seem lifted up with difficulty, and ready to fall." The review upbraided Etty as an artist who had "advanced half way on his road to classic excellence; and there, when he should have proceeded with increased ardour and more careful exactness from being in view of his object, he has stopped short." Etty's fellow artist John Constable privately described the work as "a revel rout of Satyrs and lady bums as usual".

> Were Milton now alive, possessed of sight,
> And his embodied beauties here to view,
> This scene he would behold with proud delight,
> And own that Etty is a poet too.
> But if Poussin could from the grave arise,
> His heart at once would feel an envious thorn,
> He would behold the work with jealous eyes,
> And writhing, wish that Etty ne'er was born.
> Artist! 'tis thine to reach the heroic sphere,
> Or sport where Graces and the Loves preside;
> Lofty or beautiful thy forms appear,
> By Genius warm'd, with nature still thy guide.

*On a Picture in illustration of some passages in Paradise Lost, painted by William Etty, Esq., R.A. Elect*, John Taylor, September 1828

Other critics offered a more positive impression of the piece. *The Examiner* celebrated Etty's having "outdone his former self, and most of his contemporaries". A reviewer in *The Mirror of Literature, Amusement, and Instruction* said: "Few pictures have attracted or deserved more attention than this masterly production," describing the figures as "graceful and elegant". *The Athenaeum* thought it "decidedly the most attractive picture in the whole Exhibition", noting that their review was delayed because in the opening week of the exhibition, "the crowds which continually stood in front of it rendered it quite impossible to get such a view of it as would enable us to do it justice." *Colburn's New Monthly Magazine* considered it "another instance of the rapid advances which this rising artist is making towards perfection". The most effusive praise was offered in poetic form by John Taylor, who in September 1828 imagined that if Milton and Nicolas Poussin were both alive to see the painting, Milton would view it with "proud delight", while Poussin would suffer an "envious thorn" with the realization that Etty's abilities had surpassed his own.

## Later history

*The World Before the Flood* was bought at its 1828 exhibition by The Marquess of Stafford for 500 guineas (about £54,000 in 2024 terms), to add to his collection of nudes by Titian. Etty was delighted with his success at the exhibition, at which all three of the paintings he had exhibited were successfully sold to prestigious buyers.

> I know you will rejoice with us all, when I tell you that the principal part of the cargo of the ship "William Etty" (of whose arrival you had been advised), now landed at the Royal Academy Wharf, has been consigned to the Right Honourable the Marquis of Stafford, for five hundred guineas: the rest of the cargo being already owned by Lord Normanton and Digby Murray, Esq. ... After clearing out, we shall again put to sea and hope for equally favouring gales next voyage.
>
> Letter from William Etty to his cousin Thomas Bodley on the sale of *The World Before the Flood*.

From 1832 onwards, needled by repeated attacks from the press on his supposed indecency and tastelessness, Etty often made a conscious effort to project a moral dimension into his work, although he continued to be a prominent painter of nudes. He died in 1849, working and exhibiting up until his death despite consistently being regarded by many as a pornographer. Charles Robert Leslie observed shortly after Etty's death: "... \[Etty\] himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds." Interest in his work declined as new movements came to characterise painting in Britain, and by the end of the 19th century the cost of all his paintings had fallen below their original prices.

*The World Before the Flood* was sold to F. E. Sidney in 1908 for 230 guineas (about £30,000 in 2024 terms), and sold on to the Southampton City Art Gallery in 1937 for 195 guineas (about £16,000 in 2024 terms), where as of 2016 it remains. After its initial exhibition in 1828, the painting was shown at a number of significant exhibitions throughout the 19th century. Etty's preliminary oil sketch entered the collection of Etty's former mentor Sir Thomas Lawrence. Following Lawrence's death in 1830, it was sold as *A Bacchanalian Scene* for 27 guineas (about £3,100 in 2024 terms), and sold on as *Landscape with Figures* in 1908. In 1953 it was identified as a study for *The World Before the Flood*, and purchased by the York Art Gallery, where as of 2016 it remains. Both versions of the painting were shown together as part of a major retrospective of Etty's work at the York Art Gallery in 2011–2012.

## Footnotes

### Notes

1. "William Etty". *Oxford Dictionary of National Biography* (online ed.). Oxford University Press. doi:10.1093/ref:odnb/8925. (Subscription or UK public library membership required.)
2. Farr 1958, p. 5.
3. Burnage 2011a, p. 157.
4. Smith 1996, p. 86.
5. Burnage 2011d, p. 31.
6. Burnage 2011b, p. 118.
7. Robinson 2007, p. 135.
8. Burnage 2011c, p. 198.
9. "About the artist". Manchester Art Gallery. Archived from the original on 11 February 2015. Retrieved 10 February 2015.
10. Smith 2001b, p. 53.
11. Smith 2001b, p. 55.
12. Smith 2001a, p. 54.
13. Burnage 2011d, pp. 32–33.
14. Burnage 2011b, p. 113.
15. Burnage 2011b, pp. 113–114.
16. Burnage 2011b, p. 115.
17. Robinson 2007, p. 207.
18. Burnage 2011b, p. 114.
19. Burnage 2011a, p. 193.
20. "A Bacchanalian Revel before a Term". London: National Gallery. Retrieved 30 October 2016.
21. Green 2011, p. 70.
22. Farr 1958, p. 53.
23. "Fine Arts: Exhibition of the Royal Academy". *The Mirror of Literature, Amusement, and Instruction* (315). London: John Limbird: 383. 31 May 1828.
24. Farr 1958, p. 158.
25. *Illuminated Guide to the International Exhibition*. London: Grant & Co. 1862. p. 8.
26. Burnage & Bertram 2011, p. 23.
27. Burnage 2011d, p. 32.
28. Farr 1958, p. 157.
29. "Fine Arts: Royal Academy". *The London Literary Gazette, and Journal of the Belles Lettres* (590). London: W. A. Scripps: 300. 10 May 1828.
30. "Fine Arts Exhibitions". *The Monthly Magazine*. London: Richard Phillips.
31. "Notes on Art: The Exhibition of the Royal Academy". *The London Magazine III*. **1** (3). London: Henry Hooper: 384. June 1828.
32. Robinson 2007, p. 340.
33. Taylor, John (September 1828). "On a Picture in illustration of some passages in Paradise Lost, painted by William Etty, Esq., R.A. Elect". *The Gentleman's Magazine*. **98**. London: J. B. Nichols and Son: 260.
34. "Royal Academy Exhibition". *The Athenaeum*. **2** (28). London: William Lewer: 439. 7 May 1828.
35. "Fine Arts". *Colburn's New Monthly Magazine*. **24**. London: Henry Colburn: 254. 1 June 1828.
36. UK Retail Price Index inflation figures are based on data from Clark, Gregory (2017). "The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)". *MeasuringWorth*. Retrieved 7 May 2024.
37. Robinson 2007, p. 386.
38. Burnage 2011d, p. 34.
39. Jameson 1844, p. 214.
40. Burnage 2011d, p. 42.
41. Robinson 2007, p. 440.
42. Burnage 2011e, p. 243.
43. Leslie, Charles Robert (30 March 1850). "Lecture on the Works of the late W. Etty, Esq, R.A., by Professor Leslie". *The Athenæum* (1170). London: 352.
44. "The World before the Flood". *Art UK*. Public Catalogue Foundation. 2016. Retrieved 22 September 2016.
45. Farr 1958, pp. 157–158.
46. "Sketch for 'The World Before the Flood'". York: York Museums Trust. 2016. Archived from the original on 23 September 2016. Retrieved 22 September 2016.
47. Burnage 2011b, pp. 113–115.

### Bibliography

* Burnage, Sarah (2011a). "Etty and the Masters". In Burnage, Sarah; Hallett, Mark; Turner, Laura (eds.). *William Etty: Art & Controversy*. London: Philip Wilson Publishers. pp. 154–97. ISBN 978-0-85667-701-4. OCLC 800599710.
* Burnage, Sarah (2011b). "History Painting and the Critics". In Burnage, Sarah; Hallett, Mark; Turner, Laura (eds.). *William Etty: Art & Controversy*. London: Philip Wilson Publishers. pp. 106–154. ISBN 978-0-85667-701-4. OCLC 800599710.
* Burnage, Sarah (2011c). "The Life Class". In Burnage, Sarah; Hallett, Mark; Turner, Laura (eds.). *William Etty: Art & Controversy*. London: Philip Wilson Publishers. pp. 198–227. ISBN 978-0-85667-701-4. OCLC 800599710.
* Burnage, Sarah (2011d). "Painting the Nude and 'Inflicting Divine Vengeance on the Wicked'". In Burnage, Sarah; Hallett, Mark; Turner, Laura (eds.). *William Etty: Art & Controversy*. London: Philip Wilson Publishers. pp. 31–46. ISBN 978-0-85667-701-4. OCLC 800599710.
* Burnage, Sarah (2011e). "Portraiture". In Burnage, Sarah; Hallett, Mark; Turner, Laura (eds.). *William Etty: Art & Controversy*. London: Philip Wilson Publishers. pp. 228–250. ISBN 978-0-85667-701-4. OCLC 800599710.
* Burnage, Sarah; Bertram, Beatrice (2011). "Chronology". In Burnage, Sarah; Hallett, Mark; Turner, Laura (eds.). *William Etty: Art & Controversy*. London: Philip Wilson Publishers. pp. 20–30. ISBN 978-0-85667-701-4. OCLC 800599710.
* Farr, Dennis (1958). *William Etty*. London: Routledge and Kegan Paul. OCLC 2470159.
* Green, Richard (2011). "Etty and the Masters". In Burnage, Sarah; Hallett, Mark; Turner, Laura (eds.). *William Etty: Art & Controversy*. London: Philip Wilson Publishers. pp. 61–74. ISBN 978-0-85667-701-4. OCLC 800599710.
* Jameson, Anna (1844). *Companion to the Most Celebrated Private Galleries of Art in London*. London: Saunders and Otley.
* Robinson, Leonard (2007). *William Etty: The Life and Art*. Jefferson, NC: McFarland & Company. ISBN 978-0-7864-2531-0. OCLC 751047871.
* Smith, Alison (2001a). *Exposed: The Victorian Nude*. London: Tate Publishing. ISBN 1-85437-372-2.
* Smith, Alison (2001b). "Private Pleasures?". In Bills, Mark (ed.). *Art in the Age of Queen Victoria: A Wealth of Depictions*. Bournemouth: Russell–Cotes Art Gallery and Museum. ISBN 0-905173-65-1.
* Smith, Alison (1996). *The Victorian Nude*. Manchester: Manchester University Press. ISBN 0-7190-4403-0.

## InfoBox

| The World Before the Flood | |
| --- | --- |
| *The World Before the Flood*, 1828, 140 by 202.3 cm (55.1 by 79.6 in) | |
| Artist | William Etty |
| Year | 1828 (1828) |
| Medium | Oil on canvas |
| Dimensions | 140 cm × 202.3 cm (55 in × 79.6 in) |
| Location | Russell-Cotes Art Gallery & Museum |


title: Col des Égaux

abstract: The Col des Égaux is a Chartreuse Mountains pass rising to 958 m above sea level and located in the southern French department of Savoie, in Rhône-Alpes.

text:
# Col des Égaux

The **Col des Égaux** is a Chartreuse Mountains pass rising to 958 m above sea level and located in the southern French department of Savoie, in Rhône-Alpes.

## Geography

The Col des Égaux is located near the *Égaux* hamlet, in the territory of the Corbel district. The Hyères river has its source near the pass.

La Cochette, located at the northeast, is visible from the pass.

## InfoBox

| Col des Égaux | |
| --- | --- |
| Col des Egaux landscape | |
| Elevation | 958 m (3,143 ft) |
| Traversed by | D45 |
| Location | Savoie, France |
| Range | Alps |
| Coordinates | 45°26′39″N 5°48′42″E / 45.44417°N 5.81167°E / 45.44417; 5.81167 |
| Col des ÉgauxLocation of Col des Égaux | |


title: Football Romeo

abstract: Football Romeo is a 1938 Our Gang short comedy film directed by George Sidney. It was the 173rd Our Gang short to be released.

text:
# Football Romeo

***Football Romeo*** is a 1938 *Our Gang* short comedy film directed by George Sidney. It was the 173rd *Our Gang* short to be released.

## Plot

The gang squares off against Butch's Assassins in a crucial football game. Star player Alfalfa balks at participating, leaving it up to Darla to coerce and cajole him into donning his uniform. The climax of the game finds Alfalfa attempting a sixty-yard touchdown, despite the formidable opposition of his lifelong rival Butch.

## Cast

### The Gang

### Additional cast

### Bit players and extras

Becky Bohanon, Buddy Bowles, Floyd Fisher, Charline Flanders, Morris Grace Jr., Bruce Grant, Joe Levine, Roger McGee, Norman Salling, Corrine Varian, Robert Winkler

*Football Romeo* benefited from the comedy expertise of uncredited script contributor Jack White, who directed many Three Stooges films at Columbia Pictures under the pseudonym "Preston Black".

## InfoBox

| Football Romeo | |
| --- | --- |
|  | |
| Directed by | George Sidney |
| Written by | Hal Law
Robert A. McGowan |
| Produced by | Jack Chertok for MGM |
| Starring | Carl Switzer
George McFarland
Tommy Bond
Darla Hood
Eugene Lee
Billie Thomas |
| Cinematography | Clyde De Vinna |
| Edited by | Jack White |
| Music by | David Snell |
| Distributed by | Metro-Goldwyn-Mayer |
| Release date | * 12 November 1938 (1938-11-12) |
| Running time | 10:25 |
| Country | United States |
| Language | English |


title: Spin echo

abstract: In magnetic resonance, a spin echo or Hahn echo is the refocusing of spin magnetisation by a pulse of resonant electromagnetic radiation. Modern nuclear magnetic resonance (NMR) and magnetic resonance imaging (MRI) make use of this effect. The NMR signal observed following an initial excitation pulse decays with time due to both spin relaxation and any inhomogeneous effects which cause spins in the sample to precess at different rates. The first of these, relaxation, leads to an irreversible loss of magnetisation. But the inhomogeneous dephasing can be removed by applying a 180° inversion pulse that inverts the magnetisation vectors. Examples of inhomogeneous effects include a magnetic field gradient and a distribution of chemical shifts. If the inversion pulse is applied after a period t of dephasing, the inhomogeneous evolution will rephase to form an echo at time 2t. In simple cases, the intensity of the echo relative to the initial signal is given by e–2t/T2 where T2 is the time constant for spin–spin relaxation. The echo time (TE) is the time between the excitation pulse and the peak of the signal. Echo phenomena are important features of coherent spectroscopy which have been used in fields other than magnetic resonance including laser spectroscopy and neutron scattering.

text:
# Spin echo

In magnetic resonance, a **spin echo** or **Hahn echo** is the refocusing of spin magnetisation by a pulse of resonant electromagnetic radiation. Modern nuclear magnetic resonance (NMR) and magnetic resonance imaging (MRI) make use of this effect.

The NMR signal observed following an initial excitation pulse decays with time due to both spin relaxation and any *inhomogeneous* effects which cause spins in the sample to precess at different rates. The first of these, relaxation, leads to an irreversible loss of magnetisation. But the inhomogeneous dephasing can be removed by applying a 180° *inversion* pulse that inverts the magnetisation vectors. Examples of inhomogeneous effects include a magnetic field gradient and a distribution of chemical shifts. If the inversion pulse is applied after a period *t* of dephasing, the inhomogeneous evolution will rephase to form an echo at time 2*t*. In simple cases, the intensity of the echo relative to the initial signal is given by *e–2t/T2* where *T*2 is the time constant for spin–spin relaxation. The **echo time** (**TE**) is the time between the excitation pulse and the peak of the signal.

Echo phenomena are important features of coherent spectroscopy which have been used in fields other than magnetic resonance including laser spectroscopy and neutron scattering.

## History

Echoes were first detected in nuclear magnetic resonance by Erwin Hahn in 1950, and spin echoes are sometimes referred to as **Hahn echoes**. In nuclear magnetic resonance and magnetic resonance imaging, radiofrequency radiation is most commonly used.

In 1972 F. Mezei introduced spin-echo neutron scattering, a technique that can be used to study magnons and phonons in single crystals. The technique is now applied in research facilities using triple axis spectrometers.

In 2020 two teams demonstrated that when strongly coupling an ensemble of spins to a resonator, the Hahn pulse sequence does not just lead to a single echo, but rather to a whole train of periodic echoes. In this process the first Hahn echo acts back on the spins as a refocusing pulse, leading to self-stimulated secondary echoes.

## Principle

The spin-echo effect was discovered by Erwin Hahn when he applied two successive 90° pulses separated by short time period, but detected a signal, the echo, when no pulse was applied. This phenomenon of spin echo was explained by Erwin Hahn in his 1950 paper, and further developed by Carr and Purcell who pointed out the advantages of using a 180° refocusing pulse for the second pulse. The pulse sequence may be better understood by breaking it down into the following steps:

Several simplifications are used in this sequence: no decoherence is included and each spin experiences perfect pulses during which the environment provides no spreading. Six spins are shown above and these are not given the chance to dephase significantly. The spin-echo technique is more useful when the spins have dephased more significantly such as in the animation below:

## Spin-echo decay

A Hahn-echo decay experiment can be used to measure the spin–spin relaxation time, as shown in the animation below. The size of the echo is recorded for different spacings of the two pulses. This reveals the decoherence which is not refocused by the π pulse. In simple cases, an exponential decay is measured which is described by the T2 time.

## Stimulated echo

Hahn's 1950 paper showed that another method for generating spin echoes is to apply three successive 90° pulses. After the first 90° pulse, the magnetization vector spreads out as described above, forming what can be thought of as a "pancake" in the x-y plane. The spreading continues for a time $\tau $, and then a second 90° pulse is applied such that the "pancake" is now in the x-z plane. After a further time $T$ a third pulse is applied and a stimulated echo is observed after waiting for a time $\tau $ after the last pulse.

## Photon echo

Hahn echos have also been observed at optical frequencies. For this, resonant light is applied to a material with an inhomogeneously broadened absorption resonance. Instead of using two spin states in a magnetic field, photon echoes use two energy levels that are present in the material even in zero magnetic field.

## Fast spin echo

Fast spin echo (RARE, FAISE or FSE), also called turbo spin echo (TSE) is an MRI sequence that results in fast scan times. In this sequence, several 180 refocusing radio-frequency pulses are delivered during each echo time (TR) interval, and the phase-encoding gradient is briefly switched on between echoes. The FSE/TSE pulse sequence superficially resembles a conventional spin-echo (CSE) sequence in that it uses a series of 180º-refocusing pulses after a single 90º-pulse to generate a train of echoes. The FSE/TSE technique, however, changes the phase-encoding gradient for each of these echoes (a conventional multi-echo sequence collects all echoes in a train with the same phase encoding). As a result of changing the phase-encoding gradient between echoes, multiple lines of k-space (i.e., phase-encoding steps) can be acquired within a given repetition time (TR). As multiple phase-encoding lines are acquired during each TR interval, FSE/TSE techniques may significantly reduce imaging time.

## Further reading

* Ray Freeman (1999). *Spin Choreography: Basic Steps in High Resolution NMR*. Oxford University Press. ISBN 978-0-19-850481-8.

* Arthur Schweiger; Gunnar Jeschke (2001). *Principles of Pulse Electron Paramagnetic Resonance*. Oxford University Press. ISBN 978-0-19-850634-8.

Animations and simulations


title: Vernet-la-Varenne

abstract: Vernet-la-Varenne is a former commune in the Puy-de-Dôme department in Auvergne in central France. On 1 January 2019, it was merged into the new commune Le Vernet-Chaméane.

text:
# Vernet-la-Varenne

**Vernet-la-Varenne** (French pronunciation: \[vɛʁnɛ la vaʁɛn\]; Auvergnat: *Le Vernet* or *Le Vernet de la Varena*) is a former commune in the Puy-de-Dôme department in Auvergne in central France. On 1 January 2019, it was merged into the new commune Le Vernet-Chaméane.

## InfoBox

| Vernet-la-Varenne | |
| --- | --- |
| Part of Le Vernet-Chaméane | |
| Location of Vernet-la-Varenne | |
| Vernet-la-VarenneVernet-la-Varenne | |
| Coordinates: 45°28′30″N 3°27′07″E / 45.475°N 3.452°E / 45.475; 3.452 | |
| Country | France |
| Region | Auvergne-Rhône-Alpes |
| Department | Puy-de-Dôme |
| Arrondissement | Issoire |
| Canton | Brassac-les-Mines |
| Commune | Le Vernet-Chaméane |
| Area**1** | 35.10 km2 (13.55 sq mi) |
| Population (2019) | 650 |
| Density | 19/km2 (48/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| Postal code | 63580 |
| Elevation | 542–1,051 m (1,778–3,448 ft)
(avg. 815 m or 2,674 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Skibstrup

abstract: Skibstrup is a settlement located on the coast between Helsingør and Hornbæk in North Zealand, Denmark. The original village has now merged with Hellebæk-Ålsgårde to the east. It is to the west bounded by Hornbæk Plantage.

text:
# Skibstrup

**Skibstrup** is a settlement located on the coast between Helsingør and Hornbæk in North Zealand, Denmark. The original village has now merged with Hellebæk-Ålsgårde to the east. It is to the west bounded by Hornbæk Plantage.

## History

The first known reference to Skibstrup is from 1519. The origins of the name is uncertain but it may means "The settlement by the ship".

In 1681, Skibstrup consisted of seven tenant farms and two houses without land. All seven farms remained in the village in connection with the agricultural reforms of the 1780s. Their names were Skellebæk, Gørlunde, Tranager, Rosendal, Skadenborg (now called Viehøjgaard), Hagenberg and Aldersborg. They were all sold in 1797 but only Rosendal was moved out of the village.

When the Hornbæk Railway opened in 1906, Skobstrup began to grow, first along the Kattegat coast and later inland.

## Transport

Skibstrup railway halt, located in the eastern outskirts of Skibstrup, serves the Hornbæk Line.

56°04′21″N 12°30′42″E / 56.0725°N 12.5116°E / 56.0725; 12.5116


title: Brachylomia rectifascia

abstract: Brachylomia rectifascia is a moth of the family Noctuidae first described by Smith in 1891. It is found in western North America from British Columbia to central California, east to Colorado. The wingspan is about 32 mm. The moth flies from August to September depending on the location. The larvae feed on the leaves of various flowering trees and shrubs.

text:
# Brachylomia rectifascia

***Brachylomia rectifascia*** is a moth of the family Noctuidae first described by Smith in 1891. It is found in western North America from British Columbia to central California, east to Colorado.

The wingspan is about 32 mm. The moth flies from August to September depending on the location.

The larvae feed on the leaves of various flowering trees and shrubs.

## InfoBox

| *Brachylomia rectifascia* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Noctuidae |
| Genus: | *Brachylomia* |
| Species: | ***B. rectifascia*** |
| Binomial name | |
| ***Brachylomia rectifascia***<br>Smith, 1891 | |
|
| Synonyms | |
| * *Dryobota rectifascia* | |


title: Spodsbjerg

abstract: Spodsbjerg is a village in south Denmark, located in Langeland Municipality on the island of Langeland in Region of Southern Denmark.

text:
# Spodsbjerg

**Spodsbjerg** is a village in south Denmark, located in Langeland Municipality on the island of Langeland in Region of Southern Denmark.

## InfoBox

| Spodsbjerg | |
| --- | --- |
| Village | |
| SpodsbjergLocation in the Region of Southern Denmark | |
| Coordinates: 54°55′35″N 10°49′32″E / 54.92639°N 10.82556°E / 54.92639; 10.82556 | |
| Country | Denmark |
| Region | Southern Denmark |
| Municipality | Langeland |
| Population (2020) | 214 |


title: Solenicola

abstract: Solenicola setigera is a species of marine stramenopile, and the only species classified within the genus Solenicola. The species ranges between 4–7 μm in diameter and has a complex feeding strategy. Its ecological role within the marine planktonic food chain is generally as a grazer, feeding on photoautotrophic diatoms. It is a parasite of the species Leptocylindrus mediterraneus. S. setigera will grow on the frustule, the protective shell made of silica, of L. mediterraneus alongside the cyanobacteria Synechococcus, which it may also eat. S. setigera combines herbivorous grazing, parasitism, and predation into its survival strategy. In 2013, the genus was placed in the family Solenicolidae.

text:
# Solenicola

***Solenicola setigera*** is a species of marine stramenopile, and the only species classified within the genus ***Solenicola***.

The species ranges between 4–7 μm in diameter and has a complex feeding strategy. Its ecological role within the marine planktonic food chain is generally as a grazer, feeding on photoautotrophic diatoms. It is a parasite of the species *Leptocylindrus mediterraneus*. *S. setigera* will grow on the frustule, the protective shell made of silica, of *L. mediterraneus* alongside the cyanobacteria *Synechococcus*, which it may also eat. *S. setigera* combines herbivorous grazing, parasitism, and predation into its survival strategy.

In 2013, the genus was placed in the family Solenicolidae.

## InfoBox

| *Solenicola* | |
| --- | --- |
|
| Scientific classification | |
| (unranked): | SAR |
| (unranked): | Halvaria |
| Superphylum: | Heterokonta |
| Phylum: | Bigyra |
| Class: | Nanomonadea |
| Order: | Uniciliatida |
| Family: | Solenicolidae
Cavalier-Smith 2013 |
| Genus: | ***Solenicola***
J. Pavillard 1916 |
| Species: | ***S. setigera*** |
| Binomial name | |
| *****Solenicola setigera*****
J. Pavillard 1916 | |
|


title: Drumsna

abstract: Drumsna is a village in County Leitrim, Ireland. It is situated 6 km east of Carrick-on-Shannon on the River Shannon and is located off the N4 National primary route which links Dublin and Sligo. The harbour dates to 1817 and was a hive of commercial waterway activity until the more northern navigation canal to Carrick-on-Shannon was opened in 1850. Today, the waterway is busy with anglers and tourist pursuits in the summer months.

text:
# Drumsna

**Drumsna** (Irish: *Droim ar Snámh* which translates as *the ridge of the swimming place*) is a village in County Leitrim, Ireland. It is situated 6 km east of Carrick-on-Shannon on the River Shannon and is located off the N4 National primary route which links Dublin and Sligo. The harbour dates to 1817 and was a hive of commercial waterway activity until the more northern navigation canal to Carrick-on-Shannon was opened in 1850. Today, the waterway is busy with anglers and tourist pursuits in the summer months.

## History

One ancient way of crossing a river was swimming - "ag Snámh" in Irish.

The oldest known name for Drumsna is "Snamh-Rathainn", which appears in the Irish Annals at 1148AD. It is mentioned again at 1261AD when the "fortress" of Hugh O’Conor, king of Connacht, at *Snamh-in-redaigh* was burned. John O'Donovan states it is "probably Drumsna, on the Shannon, on the borders of Leitrim and Roscommon".

In 1552AD Ferdorcha MagRaghnaill of Muintir Eolais was the Irish chieftain over Drumsna.

In the late 19th century, Drumsna was the main trading town in Leitrim with its own jail and courthouse. It was the resting place for horse-drawn carriages and the harbour was a thriving delivery port. In 1850, the construction of the Jamestown Canal led to a change of the Shannon navigation which altered the status of Drumsna.

Throughout at least the 19th and 20th centuries, a number of annual fairs were held at Drumsna on- 20 May, 22 June, 25 August, 7 October, and 13 December. There was a Chalybeate Spa near the village in the 19th century. In 1925, Drumsna village comprised 35 houses, 5 being licensed to sell alcohol.

Ashfort House, near Drumsna, was originally the home of the Caulfield family. It was purchased by the Waldrons of Cartron in 1744. It was here in January 1848 that Hubert Kelly Waldron JP was murdered in a non-political incident when the local coroner attempted to serve him with a writ.

Until 1996 the main N4 Dublin to Sligo road passed through the village which was then bypassed.

## Natural history

In the 19th century the skull of a small ancient Irish elk was found in the Shannon, at Drumsna Bridge.

## Amenities and facilities

### Angling

The unpolluted lakes and rivers in the Drumsna area support a huge population of wild fish, and it is a base for angling. Coarse fish species include bream, roach, rudd, hybrids, tench, pike, perch and eels. The Shannon flows through the village and there are several good fishing lakes close by. The Shannon has bream, rudd, roach, tench, perch and pike. Lough Aduff just outside the village is home to bream, roach and tench. Headford is a small lake located about 1½ mile northeast of the village of Drumsna, this lake has a stock of bream to 3 lb (1.4 kg) and some good tench fishing can be had here, especially during the summer months.

### Drumsna Roman Catholic Church

Built in 1845 and part-financed from the proceeds of a trip to Rome by the then Parish Priest, Father George Geraghty, the building has one of the largest church bells in the country. The church also contains a statue to the Virgin Mary which was the only surviving item from Belmount House when it was destroyed by fire.

### Transport

Drumsna railway station opened on 1 September 1863, and finally closed on 17 June 1963.

Drumnsa lies beside the River Shannon with its own jetty. It is a common stopping point for boats though navigation for cruisers is not possible upstream of here. Boats are required to use the Albert Lock and Jamestown Canal which links to the Shannon upstream of Jamestown, County Leitrim.

## List of Townlands around Drumsna

* Effrinagh
* Mountcampbell
* Foxborough
* Lavagh
* Lisduff
* Dristernan
* Gortconellan
* Lislea
* Drumnadober
* Charlestown
* Gowel
* Liscallyroan

## People

## References and notes

### Notes

### References

1. "Census 2016 Sapmap Area: Settlements Drumsna". Central Statistics Office (Ireland). Archived from the original on 5 May 2018. Retrieved 4 May 2018.
2. AFM, Vol. 3 pp. 383.
3. logainm.ie.
4. Longman 2011, p. 405.
5. Watsons 1830.
6. Wright 1834, p. 24.
7. Irish Free State 1925, p. 31.
8. *The Freeman's Journal*, 28 January 1848.
9. "Drumsna station" (PDF). *Railscot – Irish Railways*. Archived (PDF) from the original on 26 September 2007. Retrieved 12 October 2007.
10. "Drumsna". Archived from the original on 19 September 2008.

### Sources

## InfoBox

| Drumsna Droim ar Snámh | |
| --- | --- |
| Village | |
| Motto: The ridge of the swimming | |
| DrumsnaLocation in Ireland | |
| Coordinates: 53°55′33″N 8°00′34″W / 53.92583°N 8.00953°W / 53.92583; -8.00953 | |
| Country | Ireland |
| Province | Connacht |
| County | County Leitrim |
| Elevation | 40 m (130 ft) |
| Population (2022) | |
| Total | 268 |
| Time zone | UTC+0 (WET) |
| Summer (DST) | UTC-1 (IST (WEST)) |
| Irish Grid Reference | N000982 |
| Website | www.drumsna.com |


title: Collados (Cuenca)

abstract: Collados is a hamlet located in the municipality of Sotorribas, in Cuenca province, Castilla–La Mancha, Spain. As of 2021, it has a population of 29.

text:
# Collados (Cuenca)

**Collados** is a hamlet located in the municipality of Sotorribas, in Cuenca province, Castilla–La Mancha, Spain. As of 2021, it has a population of 29.

## Geography

Collados is located 22km north of Cuenca, Spain.

## InfoBox

| Collados | |
| --- | --- |
| Village | |
| Collados | |
| Coordinates: 40°15′32″N 2°11′57″W / 40.25889°N 2.19917°W / 40.25889; -2.19917 | |
| Country | Spain |
| Autonomous community | Castilla–La Mancha |
| Province | Province of Cuenca |
| Municipality | Sotorribas |
| Elevation | 999 m (3,278 ft) |
| Population | |
| Total | 29 |


title: 1977–78 La Liga

abstract: The 1977–78 La Liga was the 47th season since its establishment. It began on 3 September 1977, and concluded on 7 May 1978.

text:
# 1977–78 La Liga

The **1977–78 La Liga** was the 47th season since its establishment. It began on 3 September 1977, and concluded on 7 May 1978.

## Team locations

AthleticAtléticoBarcelonaBetisBurgosCádizElcheEspañolHérculesRacingRayo VallecanoReal MadridReal SociedadSalamancaSevillaSportingValenciaclass=notpageimage|Location of teams in La Liga 1977–78 Las Palmasclass=notpageimage|Canary Islands

| Team | Home city | Stadium |
| --- | --- | --- |
| Athletic Bilbao | Bilbao | San Mamés |
| Atlético Madrid | Madrid | Vicente Calderón |
| Barcelona | Barcelona | Nou Camp |
| Burgos | Burgos | El Plantío |
| Cádiz | Cádiz | Ramón de Carranza |
| Elche | Elche | Altabix |
| Español | Barcelona | Sarriá |
| Hércules | Alicante | José Rico Pérez |
| Las Palmas | Las Palmas | Insular |
| Racing Santander | Santander | El Sardinero |
| Rayo Vallecano | Madrid | Vallecas |
| Real Betis | Seville | Benito Villamarín |
| Real Madrid | Madrid | Santiago Bernabéu |
| Real Sociedad | San Sebastián | Atocha |
| Salamanca | Salamanca | Helmántico |
| Sevilla | Seville | Ramón Sánchez Pizjuán |
| Sporting Gijón | Gijón | El Molinón |
| Valencia | Valencia | Luis Casanova |

## League table

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Real Madrid (C) | 34 | 22 | 3 | 9 | 77 | 40 | +37 | 47 | Qualification for the European Cup first round |
| 2 | Barcelona | 34 | 16 | 9 | 9 | 49 | 29 | +20 | 41 | Qualification for the Cup Winners' Cup first round |
| 3 | Athletic Bilbao | 34 | 16 | 8 | 10 | 62 | 36 | +26 | 40 | Qualification for the UEFA Cup first round |
| 4 | Valencia | 34 | 16 | 7 | 11 | 54 | 33 | +21 | | 39 |
| 5 | Sporting Gijón | 34 | 15 | 9 | 10 | 53 | 43 | +10 | | 39 |
| 6 | Atlético Madrid | 34 | 16 | 4 | 14 | 61 | 52 | +9 | 36 |  |
| 7 | Las Palmas | 34 | 12 | 11 | 11 | 43 | 41 | +2 | | 35 |
| 8 | Sevilla | 34 | 13 | 8 | 13 | 38 | 45 | 7 | | 34 |
| 9 | Salamanca | 34 | 14 | 6 | 14 | 37 | 40 | 3 | | 34 |
| 10 | Rayo Vallecano | 34 | 12 | 9 | 13 | 50 | 59 | 9 | | 33 |
| 11 | Real Sociedad | 34 | 12 | 9 | 13 | 52 | 46 | +6 | | 33 |
| 12 | Burgos | 34 | 10 | 11 | 13 | 33 | 47 | 14 | | 31 |
| 13 | Racing Santander | 34 | 11 | 9 | 14 | 29 | 45 | 16 | | 31 |
| 14 | Español | 34 | 12 | 6 | 16 | 48 | 60 | 12 | | 30 |
| 15 | Hércules | 34 | 10 | 10 | 14 | 32 | 40 | 8 | | 30 |
| 16 | Real Betis (R) | 34 | 11 | 8 | 15 | 51 | 52 | 1 | 30 | Relegation to the Segunda División |
| 17 | Elche (R) | 34 | 11 | 5 | 18 | 44 | 66 | 22 | | 27 |
| 18 | Cádiz (R) | 34 | 7 | 8 | 19 | 30 | 69 | 39 | | 22 |

Source: BDFútbol
Rules for classification: 1) Points; 2) Head-to-head results; 3) Goal difference; 4) Number of goals scored
(C) Champions; (R) Relegated
Notes:

## Results table

| Home \ Away | ATH | ATM | BAR | BET | BUR | CÁD | ELC | ESP | HÉR | LPA | RAC | RAY | RMA | RSO | SAL | SEV | SPG | VAL |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Athletic Bilbao |  | 1–0 | 0–0 | 0–0 | 1–1 | 6–1 | 4–1 | 4–0 | 2–1 | 2–1 | 3–0 | 6–0 | 2–0 | 1–0 | 3–1 | 2–1 | 1–0 | 4–1 |
| Atlético Madrid | 0–1 |  | 1–0 | 1–1 | 2–1 | 4–0 | 3–1 | 2–1 | 3–1 | 2–1 | 3–0 | 4–0 | 1–3 | 2–1 | 4–2 | 1–0 | 5–1 | 3–0 |
| FC Barcelona | 3–1 | 1–0 |  | 1–0 | 3–0 | 1–1 | 5–1 | 1–1 | 2–1 | 5–0 | 3–0 | 1–1 | 2–3 | 1–0 | 3–1 | 3–1 | 1–0 | 1–0 |
| Betis | 2–2 | 4–3 | 0–0 |  | 2–1 | 3–0 | 4–0 | 3–1 | 1–1 | 1–2 | 3–1 | 1–0 | 4–2 | 1–0 | 0–1 | 3–2 | 1–1 | 1–1 |
| Burgos | 2–2 | 2–2 | 1–1 | 1–0 |  | 2–1 | 1–0 | 3–2 | 0–0 | 2–1 | 0–0 | 2–1 | 3–2 | 3–2 | 0–2 | 1–0 | 0–0 | 2–0 |
| Cádiz CF | 2–1 | 2–1 | 0–2 | 0–5 | 4–0 |  | 0–0 | 2–4 | 0–0 | 3–2 | 0–0 | 2–1 | 1–0 | 2–0 | 0–1 | 0–0 | 1–1 | 1–2 |
| Elche CF | 2–1 | 4–4 | 1–3 | 2–1 | 1–0 | 1–1 |  | 2–0 | 2–0 | 2–0 | 3–1 | 3–0 | 3–1 | 1–2 | 2–1 | 1–2 | 1–2 | 0–2 |
| RCD Español | 2–1 | 1–3 | 1–1 | 2–0 | 4–1 | 4–2 | 3–1 |  | 2–1 | 0–1 | 0–1 | 2–1 | 1–4 | 2–0 | 2–1 | 2–1 | 2–1 | 2–2 |
| Hércules CF | 1–0 | 1–0 | 2–1 | 2–0 | 0–0 | 0–0 | 0–0 | 1–1 |  | 1–2 | 4–0 | 1–1 | 2–3 | 1–0 | 2–0 | 2–2 | 1–0 | 1–0 |
| UD Las Palmas | 2–2 | 3–0 | 0–0 | 3–2 | 0–0 | 2–1 | 4–1 | 4–2 | 0–1 |  | 3–0 | 1–1 | 1–2 | 1–1 | 0–0 | 2–0 | 2–2 | 1–0 |
| Racing de Santander | 1–0 | 2–0 | 0–0 | 1–1 | 1–1 | 3–0 | 2–0 | 4–0 | 1–0 | 1–0 |  | 2–1 | 1–0 | 2–2 | 0–3 | 1–1 | 1–0 | 2–2 |
| Rayo Vallecano | 3–2 | 2–0 | 2–1 | 4–2 | 0–0 | 6–1 | 0–1 | 1–1 | 2–1 | 1–1 | 1–0 |  | 3–2 | 1–0 | 3–3 | 4–1 | 3–1 | 3–0 |
| Real Madrid | 1–0 | 4–2 | 4–0 | 4–0 | 3–0 | 2–0 | 5–1 | 2–1 | 3–0 | 1–1 | 2–0 | 5–2 |  | 5–0 | 0–0 | 3–0 | 3–2 | 1–0 |
| Real Sociedad | 2–1 | 4–1 | 1–2 | 3–0 | 3–1 | 6–1 | 3–2 | 1–1 | 0–0 | 4–1 | 2–0 | 1–1 | 2–3 |  | 2–0 | 4–0 | 1–1 | 1–1 |
| UD Salamanca | 0–3 | 0–1 | 1–0 | 1–0 | 2–0 | 2–1 | 1–0 | 1–0 | 2–0 | 0–0 | 3–0 | 1–0 | 2–1 | 0–0 |  | 1–1 | 2–3 | 0–1 |
| Sevilla FC | 0–0 | 3–0 | 2–1 | 1–0 | 1–0 | 1–0 | 3–3 | 3–1 | 2–1 | 1–0 | 1–0 | 2–0 | 1–1 | 1–1 | 2–1 |  | 1–2 | 1–0 |
| Sporting de Gijón | 2–2 | 3–2 | 1–0 | 4–3 | 3–2 | 3–0 | 3–0 | 1–0 | 2–1 | 0–0 | 3–1 | 1–1 | 0–2 | 6–2 | 3–0 | 1–0 |  | 0–0 |
| Valencia CF | 3–1 | 1–1 | 1–0 | 4–2 | 1–0 | 3–0 | 4–1 | 3–0 | 6–1 | 0–1 | 0–0 | 7–0 | 2–0 | 0–1 | 3–1 | 3–0 | 1–0 |  |

Source:
Legend: Blue = home team win; Yellow = draw; Red = away team win.

## Pichichi Trophy

| Rank | Player | Club | Goals |
| --- | --- | --- | --- |
| 1 | Mario Kempes | Valencia | 28 |
| 2 | Santillana | Real Madrid | 24 |
| 3 | Rubén Cano | Atlético Madrid | 21 |
| 4 | Dani | Athletic Bilbao | 20 |
| 5 | Marañón | Español | 18 |
| | Carlos Morete | Las Palmas | 18 |
| | Jesús María Satrústegui | Real Sociedad | 18 |
| 8 | Carlos | Athletic Bilbao | 16 |
| | Héctor Scotta | Sevilla | 16 |

## InfoBox

Primera División
| Season | 1977–78 |
| --- | --- |
| Dates | 3 September 1977 – 7 May 1978 |
| Champions | Real Madrid
(18th title) |
| Relegated | Real Betis
Elche
Cádiz |
| European Cup | Real Madrid |
| UEFA Cup Winners' Cup | Barcelona |
| UEFA Cup | Athletic Bilbao
Valencia
Sporting Gijón |
| Matches played | 306 |
| Goals scored | 843 (2.75 per match) |
| Top goalscorer | Mario Kempes (28 goals) |
| 1976–77 1978–79 | |


title: Spin engineering

abstract:
Spin engineering describes the control and manipulation of quantum spin systems to develop devices and materials. This includes the use of the spin degrees of freedom as a probe for spin based phenomena. Because of the basic importance of quantum spin for physical and chemical processes, spin engineering is relevant for a wide range of scientific and technological applications. Current examples range from Bose–Einstein condensation to spin-based data storage and reading in state-of-the-art hard disk drives, as well as from powerful analytical tools like nuclear magnetic resonance spectroscopy and electron paramagnetic resonance spectroscopy to the development of magnetic molecules as qubits and magnetic nanoparticles. In addition, spin engineering exploits the functionality of spin to design materials with novel properties as well as to provide a better understanding and advanced applications of conventional material systems. Many chemical reactions are devised to create bulk materials or single molecules with well defined spin properties, such as a single-molecule magnet.
The aim of this article is to provide an outline of fields of research and development where the focus is on the properties and applications of quantum spin.

text:
# Spin engineering

**Spin engineering** describes the control and manipulation of quantum spin systems to develop devices and materials. This includes the use of the spin degrees of freedom as a probe for spin based phenomena. Because of the basic importance of quantum spin for physical and chemical processes, spin engineering is relevant for a wide range of scientific and technological applications. Current examples range from Bose–Einstein condensation to spin-based data storage and reading in state-of-the-art hard disk drives, as well as from powerful analytical tools like nuclear magnetic resonance spectroscopy and electron paramagnetic resonance spectroscopy to the development of magnetic molecules as qubits and magnetic nanoparticles. In addition, spin engineering exploits the functionality of spin to design materials with novel properties as well as to provide a better understanding and advanced applications of conventional material systems. Many chemical reactions are devised to create bulk materials or single molecules with well defined spin properties, such as a single-molecule magnet. The aim of this article is to provide an outline of fields of research and development where the focus is on the properties and applications of quantum spin.

## Introduction

As spin is one of the fundamental quantum properties of elementary particles it is relevant for a large range of physical and chemical phenomena. For instance, the spin of the electron plays a key role in the electron configuration of atoms which is the basis of the periodic table of elements. The origin of ferromagnetism is also closely related to the magnetic moment associated with the spin and the spin-dependent Pauli exclusion principle. Thus, the engineering of ferromagnetic materials like mu-metals or Alnico at the beginning of the last century can be considered as early examples of spin engineering, although the concept of spin was not yet known at that time. Spin engineering in its generic sense became possible only after the first experimental characterization of spin in the Stern–Gerlach experiment in 1922 followed by the development of relativistic quantum mechanics by Paul Dirac. This theory was the first to accommodate the spin of the electron and its magnetic moment.

Whereas the physics of spin engineering dates back to the groundbreaking findings of quantum chemistry and physics within the first decades of the 20th century, the chemical aspects of spin engineering have received attention especially within the last twenty years. Today, researchers focus on specialized topics, such as the design and synthesis of molecular magnets or other model systems in order to understand and harness the fundamental principles behind phenomena such as the relation between magnetism and chemical reactivity as well as microstructure related mechanical properties of metals and the biochemical impact of spin (e. g. photoreceptor proteins) and spin transport.

## Research fields of spin engineering

### Spintronics

Spintronics is the exploitation of both the intrinsic spin of the electron and its fundamental electronic charge in solid-state devices and is thus a part of spin engineering. Spintronics is probably one of the most advanced fields of spin engineering with many important inventions which can be found in end-user devices like the reading heads for magnetic hard disk drives. This section is divided in basic spintronic phenomena and their applications.

#### Basic spintronic phenomena

#### Applications of spintronics

this section is devoted to current and possible future applications of spintronics which make use of one or the combination of several basic spintronic phenomena:

### Spin materials

Materials which properties are determined or strongly influenced by quantum spin:

* Magnetic alloys, i.e. Heusler compounds
* Graphene systems
* Organic spin materials
* Molecular nanomagnets
* Magnetic molecules
* Organic radicals
* Metamaterials with artificial magnetism

### Spin based detection

methods to characterize materials and physical or chemical processes via spin based phenomena: