title: Politische Abteilung

abstract: The Politische Abteilung, also called the "concentration camp Gestapo," was one of the five departments of a Nazi concentration camp set up by the Concentration Camps Inspectorate (CCI) to operate the camps. An outpost of both the Gestapo and the criminal police (Kripo), the political department evolved into the most important of the five.

text:
# Politische Abteilung

The ***Politische Abteilung*** ("Political Department"), also called the "concentration camp Gestapo," was one of the five departments of a Nazi concentration camp set up by the Concentration Camps Inspectorate (CCI) to operate the camps. An outpost of both the Gestapo and the criminal police (Kripo), the political department evolved into the most important of the five.

## Background

Theodor Eicke was appointed by *Reichsführer-SS* Heinrich Himmler to establish a system to run the concentration camps. Eicke drew up regulations for guards and for prisoners and set up five departments to oversee the camp.

The five departments were:

*Abteilung I*: Command headquarters *Abteilung II*: Political department *Abteilung III*: Preventive detention camp *Abteilung IV*: General administration *Abteilung V*: Medical unit

As of summer 1936, the *Politische Abteilung* (Political department) was a compulsory part of the concentration camp command structure. Unlike the other departments, it was not under the Concentration Camps Inspectorate, but rather the local Gestapo office or after September 1939, Amt IV (Gestapo) of the Reich Security Main Office (RSHA). The department head and deputy were usually officers of the Gestapo or Kripo, or were members of the *Sicherheitsdienst* (SD). The other employees of the department were members of the Waffen-SS, technically also Gestapo officers, but as SS members, belonged to the *Stabskompanie*, the company attached to the command headquarters and thus to the disciplinary authority of the commandant and adjutant.

## Responsibilities

The *Politische Abteilung* was sub-divided into other five or six departments, which handled specific tasks. At Auschwitz, for example, the *Politische Abteilung* consisted of:

* Identification documentation
* Investigations
* Interrogations
* Intelligence service
* Surveillance
* Camp registrar (sometimes in conjunction with supervision of the crematorium)

The camp registrar handled the registration of prisoners when they were admitted and when they left, whether by release, transfer, escape or death. Inmate files were created, portrait photos made, physical description noted, brief details about the prisoner's life and fingerprints were filed.

The *Politische Abteilung* also handled the police work of the camps, again dividing up this work into specific subdivisions. The monitoring service prepared prisoner identification papers, another handled investigations and interrogations and a third handled prisoner surveillance. This included the fight against clandestine camp resistance groups, the prevention of escape. The department was known for its harsh interrogations, torture and executions and SS members of this department were feared by prisoners.

The department also handled correspondence with the Gestapo, Kripo and RSHA. For a prisoner, the political department could mean, within the grim world of a concentration camp, a relatively pleasant place to work, or it could mean torture and execution.

## Sources

* Buchheim, Hans (1968). "The SS – Instrument of Domination". In Krausnick, Helmut; Buchheim, Hans; Broszat, Martin; Jacobsen, Hans-Adolf (eds.). *Anatomy of the SS State*. New York: Walker and Company. ISBN 978-0-00211-026-6.
* Kirsten, Wolfgang. *Das Konzentrationslager als Institution totalen Terrors*. Centaurus, Pfaffenweiler 1992, ISBN 3-89085-649-7 (in German)
* Kogon, Eugen. *Der SS-Staat. Das System der deutschen Konzentrationslager*, first published by Alber, Munich (1946); republished by Heyne, Munich (1995) ISBN 3-453-02978-X (in German)
* Longerich, Peter (2012). *Heinrich Himmler*. Oxford and New York: Oxford University Press. ISBN 978-0199592326.
* Orth, Karin. *Die Konzentrationslager-SS*. dtv, München 2004, ISBN 3-423-34085-1 (in German)


title: Tola Bhangi Khel

abstract: Tola Bangi Khel is a town and union council, an administrative subdivision, of Mianwali District in the Punjab province of Pakistan. It is part of Isakhel Tehsil.

text:
# Tola Bhangi Khel

**Tola Bangi Khel** is a town and union council, an administrative subdivision, of Mianwali District in the Punjab province of Pakistan. It is part of Isakhel Tehsil.

## InfoBox

| Tola Bangi Khel Baangi Khel | |
| --- | --- |
| Town and union council | |
| Country | Pakistan |
| Region | Punjab |
| District | Mianwali District |
| Time zone | UTC+5 (PST) |


title: Hanns Eisler Prize

abstract: The Hanns Eisler Prize was an East-German music award, named after the composer Hanns Eisler. It was awarded by Radio DDR – with advisory participation of the music section of the Akademie der Künste der DDR in Berlin (East) and the Verband der Komponisten und Musikwissenschaftler der DDR (VDK) – and on the occasion of his 70th birthday on 6 July 1968, the first time in the ballroom of the Alten Rathaus. The Hanns Eisler Prize was endowed with 10,000 marks and was one of the most renowned music prizes in the German Democratic Republic.

text:
# Hanns Eisler Prize

The **Hanns Eisler Prize** was an East-German music award, named after the composer Hanns Eisler. It was awarded by Radio DDR – with advisory participation of the music section of the Akademie der Künste der DDR in Berlin (East) and the Verband der Komponisten und Musikwissenschaftler der DDR (VDK) – and on the occasion of his 70th birthday on 6 July 1968, the first time in the ballroom of the Alten Rathaus. The Hanns Eisler Prize was endowed with 10,000 marks and was one of the most renowned music prizes in the German Democratic Republic.

## Statute

The statutes stated: "The Hanns Eisler Prize shall be awarded for new compositions and musicological works which make outstanding contributions to the socialist musical culture of the GDR". Thus, one or more composers (in the category "composition") and musicology were honoured (from 1971 in the category "scientific papers"). The prize-winning pieces were then premiered in a special concert.

Among the first prize winners in 1968 were Peter Dorn, Gerhard Rosenfeld and Ruth Zechlin. The composers Reinhard Pfundt, Gerhard Rosenfeld and Udo Zimmermann each received two awards. In 1990 and 1991, the prize was awarded by the Deutschlandsender Kultur, most recently to Klaus Martin Kopitz and Hans Tutschku. Since 1993, the Hanns Eisler Komponisten Forum und Hanns Eisler Aufführungspreis has been awarded by the Hochschule für Musik "Hanns Eisler" to young performers and composers.

## Laureates (1968–1991)

Distinguished by Radio DDR 2:

Awarded by Deutschlandsender Kultur:

## Further reading

* Erika Tschernig (ed.): *Unsere Kultur. DDR-Zeittafel 1945–1987*. Dietz Verlag, Berlin 1989, ISBN 3-320-01132-4.


title: Izaak Enschedé

abstract: Izaak Enschedé was the founder of the printing company Royal Joh. Enschedé in 1703. He was the son of Johannes Enschda and Elisabeth Jansdochter van den Berg. On 29 October 1702 in Haarlem he married Beeltje van der Lucht, daughter of Barend Stevenzoon van der Lucht en Jozijntje Marchant. Until then Enschedé worked for the Opregte Haarlemsche Courant that was owned by the heirs of Vincent Casteleyn. Together with his son Johannes, they bought the newspaper in 1737, the same year they were named city publisher by the council of Haarlem. The family business went well and they took over the typesetting business of the Amsterdam publisher Hendrik Floris Wetstein in 1743, which had fonts designed by the punchcutter Joan Michaël Fleischman.

text:
# Izaak Enschedé

**Izaak Enschedé** (16 April 1681, Haarlem  1 May 1761, Haarlem) was the founder of the printing company Royal Joh. Enschedé in 1703.

He was the son of Johannes Enschda (baptised 18 July 1642, Groningen  4 October 1706, Haarlem) and Elisabeth Jansdochter van den Berg (27 April 1632, Haarlem  18 July 1723, Haarlem).

On 29 October 1702 in Haarlem he married Beeltje van der Lucht (22 January 1677, Haarlem  8 March 1756, Haarlem), daughter of Barend Stevenzoon van der Lucht en Jozijntje Marchant.

Until then Enschedé worked for the Opregte Haarlemsche Courant that was owned by the heirs of Vincent Casteleyn. Together with his son Johannes, they bought the newspaper in 1737, the same year they were named city publisher by the council of Haarlem. The family business went well and they took over the typesetting business of the Amsterdam publisher Hendrik Floris Wetstein in 1743, which had fonts designed by the punchcutter Joan Michaël Fleischman.

## References and footnotes

1. Zuidema, Nieuw Nederlandsch Biografisch Woordenboek p.572 (Dutch)
2. Het huis Enschedé, 1703-1953, Joh.Enschedé en zonen, Haarlem, 1953


title: Mugen Seiki

abstract: Mugen Seiki Co., Ltd. is a Japanese manufacturer of high-end, premium radio-controlled cars based in Funabashi, Chiba, Japan. Mugen means unlimited, Seiki means machinery works. Mugen Seiki currently manufactures a 1/8 scale buggy and truggy as well as a 1/8 scale pan car and 1/10 scale touring car. Mugen Seiki's biggest competitors include: Kyosho and Serpent. In 1990, Mugen Seiki launched its first offroad car, the Supersport. Production ran till 1992. The stadium truck later replaced the Supersport and then the Supersport was succeeded by a stadium truck. The stadium truck was based on the platform used in the Supersport. Mugen later made a return to 1/8 scale buggy segment with a model called the “Super Athlete.”

text:
# Mugen Seiki

**Mugen Seiki Co., Ltd.** (株式会社無限精機, *Kabushiki Kaisha Mugen Seiki*) is a Japanese manufacturer of high-end, premium radio-controlled cars based in Funabashi, Chiba, Japan. Mugen means *unlimited*, Seiki means *machinery works*. **Mugen Seiki** currently manufactures a 1/8 scale buggy and truggy as well as a 1/8 scale pan car and 1/10 scale touring car. Mugen Seiki's biggest competitors include: Kyosho and Serpent.

In 1990, Mugen Seiki launched its first offroad car, the Supersport. Production ran till 1992. The stadium truck later replaced the Supersport and then the Supersport was succeeded by a stadium truck. The stadium truck was based on the platform used in the Supersport. Mugen later made a return to 1/8 scale buggy segment with a model called the “Super Athlete.”

## MBX Series

**MBX-4** In 1999 Mugen Seiki's 4th generation off-road vehicle made its first major race at the 1999 EFRA 1/8 Off-Road European Championship in Spain. The car was called the MBX-4 and was an all new 1/8 buggy.

MBX-4XR WORKS The MBX-4XR WORKS was a special version of the MBX-4 and was announced on December 1, 2000. Mugen called it their "Expert Model."

MBX-4R The MBX-4R was a revised version of the MBX-4 and had updated suspension, an arms and steering.

**MBX-5 & MBX-5T** After a near 4 year production run of the MBX-4 (with updates in between), in mid-2003 the MBX-5 was launched. The car had won a world championship and was in production through 2006.

MBX-5 Pro Spec The MBX-5 Pro Spec was an updated version of the MBX-5. It featured thicker shock towers, aluminum rear uprights, aluminum steering arm, front and rear chassis braces and titanium turn buckles. This was the first Mugen buggy to feature chassis braces.

MBX-5R The MBX-5R was a newer and revised version of the MBX-5 Pro Spec. Compared to its predecessor (the MBX-5 Pro Spec) it featured longer travel suspension, a new one-piece engine mount and more steering travel.

**MBX-6 & MBX-6T**  The MBX-6 and MBX-6T succeeded the MBX-5 and its truggy counterpart in 2008 and featured all new 15mm diameter big bore shocks and thicker shock towers. It was an all new car and was redone so heavily it was nearly unrecognizable compared to its MBX-5 predecessor.

MBX-6 ECO The MBX-6 ECO was an electric version of the Mugen MBX-6.

MBX-6R/ R ECO

MBX-6 USA Race Edition/USA Race Edition ECO The MBX-6 Race Editions distinguished themselves with silver colored graphite parts. The graphite parts used included the top steering plate, shock towers, and front steering fins.

MBX7T & MBX7TE (ECO) The truggy version of the MBX7 was launched in May 2014, to succeed the MBX6TR. It was the first time the truggy was available in electric form right out of the box. It featured a host of shock updates including longer travel suspension.

**MBX-7R & MBX-7TR ECO**

**Current Models**

MBX7R The 7R features a revised chassis and control arm setup along with new 16 mm big bore shocks. The rear shocks had a shorter stroke by 4 mm compared to its predecessor. MBX-7R The vehicle was released in December 2014.

MBX7TR & MBX7TR ECO. The MBX7TR along with the MBX7TR ECO were officially launched November 3, 2015 despite already have competing in a number of prior R/C car races. The new car features 16mm shocks which are up from the previous 15mm shocks used in the MBX7T, as well as a stiffer chassis and more precise steering with an improved servo saver.

**MBX8**

The "MBX8" was introduced on 11/12/2017 on their Facebook page.

## InfoBox

Mugen Seiki Co., Ltd.
| Formerly | Mugen Engineering Co., Ltd. |
| --- | --- |
| Company type | Private Company |
| Founded | August 1, 1982 (1982-08-01) in Funabashi, Chiba, Japan |
| Headquarters | Funabashi, Chiba, Japan |
| Key people | Koji Sanada (president) |
| Brands | Mugen Seiki, Ninja |
| Total assets | 30 million yen |
| Website | mugenseiki.com |


title: Henricus exploratus

abstract: Henricus exploratus is a species of moth of the family Tortricidae. It is found in Costa Rica. The habitat consists of cloud forests.

text:
# Henricus exploratus

***Henricus exploratus*** is a species of moth of the family Tortricidae. It is found in Costa Rica. The habitat consists of cloud forests.

## InfoBox

| *Henricus exploratus* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Family: | Tortricidae |
| Genus: | *Henricus* |
| Species: | ***H. exploratus*** |
| Binomial name | |
| ***Henricus exploratus***<br>Razowski & Becker, 1986 | |
|


title: Saint-Julien-de-Bourdeilles

abstract: Saint-Julien-de-Bourdeilles is a former commune in the Dordogne department in southwestern France. On 1 January 2016, it was merged into the new commune Brantôme en Périgord.

text:
# Saint-Julien-de-Bourdeilles

**Saint-Julien-de-Bourdeilles** (French pronunciation: \[sɛ̃ ʒyljɛ̃  buʁdɛj\], literally *Saint-Julien of Bourdeilles*; Limousin: *Sent Júlia de Bordelha* or *Sent Júlian de Bordelha*) is a former commune in the Dordogne department in southwestern France. On 1 January 2016, it was merged into the new commune Brantôme en Périgord.

## Population

Historical population
| Year | Pop. | ±% |
| --- | --- | --- |
| 1962 | 119 |  |
| 1968 | 121 | +1.7% |
| 1975 | 110 | −9.1% |
| 1982 | 113 | +2.7% |
| 1990 | 109 | −3.5% |
| 1999 | 105 | −3.7% |
| 2008 | 92 | −12.4% |

## InfoBox

| Saint-Julien-de-Bourdeilles | |
| --- | --- |
| Part of Brantôme en Périgord | |
|  | |
| Location of Saint-Julien-de-Bourdeilles | |
| Saint-Julien-de-BourdeillesSaint-Julien-de-Bourdeilles | |
| Coordinates: 45°21′39″N 0°35′21″E / 45.3608°N 0.5892°E / 45.3608; 0.5892 | |
| Country | France |
| Region | Nouvelle-Aquitaine |
| Department | Dordogne |
| Arrondissement | Périgueux |
| Canton | Brantôme |
| Commune | Brantôme en Périgord |
| Area**1** | 5.95 km2 (2.30 sq mi) |
| Population (2016) | 84 |
| Density | 14/km2 (37/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| Postal code | 24310 |
| Elevation | 100–200 m (330–660 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Kharkopar railway station

abstract: Kharkopar railway station is a railway station in Raigad district, Maharashtra, India. It serves Kharkopar area of Navi Mumbai. The station consists of two platforms.

text:
# Kharkopar railway station

**Kharkopar** railway station (station code: **KR**) is a railway station in Raigad district, Maharashtra, India. It serves Kharkopar area of Navi Mumbai. The station consists of two platforms.

## InfoBox

|
Kharkopar | |
| --- | --- |
| Mumbai Suburban Railway station | |
| General information | |
| Location | Bandar Road, Gavan, Navi Mumbai, Maharashtra410206
India |
| Coordinates | 18°57′36″N 73°00′51″E / 18.9599°N 73.0141°E / 18.9599; 73.0141 |
| Elevation | 6 metres (20 ft) |
| Owned by | Indian Railways |
| Operated by | Central Railway |
| Line(s) | Nerul–Uran line |
| Platforms | 2 |
| Tracks | 2 |
| Construction | |
| Structure type | Standard (on-ground station) |
| Parking | No |
| Bicycle facilities | No |
| Other information | |
| Status | Operational |
| Station code | KR |
| Zone(s) | Central Railway |
| Division(s) | Mumbai CR |
| History | |
| Opened | 11 November 2018 (2018-11-11) |
| Electrified | Yes |
|  | |
| Services | |
| Preceding station Mumbai Suburban Railway Following station  Bamandongritowards Nerul or CBD Belapur  Nerul–Uran line  Gavantowards Uran | |
|  | |
|  | |
|  | |
|  | |
| Location  KharkoparLocation within Mumbai | |


title: Nestori Aronen

abstract: Johan Nestor (Nestori) Aronen was a Finnish sawmill worker, trade union functionary and politician, born in Pori. He was a member of the Parliament of Finland from 1909 to 1918, representing the Social Democratic Party of Finland (SDP). He was imprisoned in 1918 for having sided with the Reds during the Finnish Civil War.

text:
# Nestori Aronen

**Johan Nestor (Nestori) Aronen** (27 December 1876 – 7 October 1954) was a Finnish sawmill worker, trade union functionary and politician, born in Pori. He was a member of the Parliament of Finland from 1909 to 1918, representing the Social Democratic Party of Finland (SDP). He was imprisoned in 1918 for having sided with the Reds during the Finnish Civil War.

## InfoBox

| Nestori Aronen | |
| --- | --- |
| Nestori Aronen during his years as a Member of Parliament | |
| Born | (1876-12-27)27 December 1876<br>Pori, Finland |
| Died | 7 October 1954(1954-10-07) (aged 77) |
| Nationality | Finnish |
| Other names | Johan Nestor (Nestori) Aronen |
| Occupation(s) | sawmill worker, trade union functionary, politician |
| Known for | member, Parliament of Finland (1909–1918) |
| Political party | Social Democratic Party of Finland (SDP) |


title: Universal, Indiana

abstract: Universal is a town in Clinton Township, Vermillion County, in the U.S. state of Indiana. The population was 362 at the 2010 census.

text:
# Universal, Indiana

**Universal** is a town in Clinton Township, Vermillion County, in the U.S. state of Indiana. The population was 362 at the 2010 census.

## History

Universal was founded in 1911 as a mining community. The town took its name from the nearby Universal Mines. A post office has been in operation at Universal since 1912.

## Geography

Universal is located in the far southern part of the county, just to the west of Indiana State Road 63.

According to the 2010 census, Universal has a total area of 0.36 square miles (0.93 km2), all land.

## Demographics

Historical population
| Census | Pop. | Note |  |
| --- | --- | --- | --- |
| 1920 | 1,570 |  |  |
| 1930 | 642 |  | −59.1% |
| 1940 | 603 |  | −6.1% |
| 1950 | 479 |  | −20.6% |
| 1960 | 424 |  | −11.5% |
| 1970 | 462 |  | 9.0% |
| 1980 | 428 |  | −7.4% |
| 1990 | 392 |  | −8.4% |
| 2000 | 419 |  | 6.9% |
| 2010 | 362 |  | −13.6% |
| 2020 | 283 |  | −21.8% |
| U.S. Decennial Census | | | |

### 2010 census

As of the census of 2010, there were 362 people, 151 households, and 103 families living in the town. The population density was 1,005.6 inhabitants per square mile (388.3/km2). There were 176 housing units at an average density of 488.9 per square mile (188.8/km2). The racial makeup of the town was 99.4% White, 0.3% African American, and 0.3% from two or more races. Hispanic or Latino of any race were 1.7% of the population.

There were 151 households, of which 33.8% had children under the age of 18 living with them, 40.4% were married couples living together, 19.9% had a female householder with no husband present, 7.9% had a male householder with no wife present, and 31.8% were non-families. 29.1% of all households were made up of individuals, and 15.2% had someone living alone who was 65 years of age or older. The average household size was 2.40 and the average family size was 2.82.

The median age in the town was 38.8 years. 27.1% of residents were under the age of 18; 6% were between the ages of 18 and 24; 25.6% were from 25 to 44; 26% were from 45 to 64; and 15.2% were 65 years of age or older. The gender makeup of the town was 47.5% male and 52.5% female.

### 2000 census

As of the census of 2000, there were 420 people, 184 households, and 117 families living in the town. The population density was 1,477.5 inhabitants per square mile (570.5/km2). There were 207 housing units at an average density of 729.9 per square mile (281.8/km2). The racial makeup of the town was 99.52% White, 0.24% African American and 0.24% Native American. Hispanic or Latino of any race were 0.95% of the population.

There were 184 households, out of which 28.8% had children under the age of 18 living with them, 54.9% were married couples living together, 7.6% had a female householder with no husband present, and 36.4% were non-families. 31.5% of all households were made up of individuals, and 13.6% had someone living alone who was 65 years of age or older. The average household size was 2.28 and the average family size was 2.86.

In the town, the population was spread out, with 22.0% under the age of 18, 9.1% from 18 to 24, 32.7% from 25 to 44, 21.7% from 45 to 64, and 14.6% who were 65 years of age or older. The median age was 37 years. For every 100 females, there were 94.0 males. For every 100 females age 18 and over, there were 99.4 males.

The median income for a household in the town was $36,042, and the median income for a family was $39,327. Males had a median income of $28,068 versus $25,500 for females. The per capita income for the town was $17,930. About 6.0% of families and 9.3% of the population were below the poverty line, including 18.3% of those under age 18 and 6.3% of those age 65 or over.

## InfoBox

| Universal, Indiana | |
| --- | --- |
| Town | |
| Water tower in Universal | |
| Location of Universal in Vermillion County, Indiana. | |
| Coordinates: 39°37′18″N 87°27′11″W / 39.62167°N 87.45306°W / 39.62167; -87.45306 | |
| Country | United States |
| State | Indiana |
| County | Vermillion |
| Township | Clinton |
| Area | |
| Total | 0.36 sq mi (0.93 km2) |
| Land | 0.36 sq mi (0.93 km2) |
| Water | 0.00 sq mi (0.00 km2) |
| Elevation | 581 ft (177 m) |
| Population (2020) | |
| Total | 283 |
| Density | 786.11/sq mi (303.44/km2) |
| Time zone | UTC-5 (Eastern (EST)) |
| Summer (DST) | UTC-4 (EDT) |
| ZIP code | 47884 |
| Area code | 765 |
| FIPS code | 18-77912 |
| GNIS feature ID | 445146 |


title: Polydamas (mythology)

abstract: In Greek mythology, Polydamas was a lieutenant and friend of Hector during the Trojan War.

text:
# Polydamas (mythology)

In Greek mythology, **Polydamas** (/pəˈlɪdəməs/; Ancient Greek: Πολυδάμας, gen. Πολυδάμαντος, *Polydámas*, *Polydámantos*) was a lieutenant and friend of Hector during the Trojan War.

## Family

Polydamas was the son of Panthous, one of the Trojan elders and Phrontis. He was the father of Leocritus who was killed by Odysseus.

## Mythology

During the battles described in the *Iliad*, he often proposes a cautious battle strategy which is sometimes accepted but more often refused by Hector, who prefers direct attack. In Book XII, he prefers retreat in the face of the omen of an eagle. Hector defies this and presses forth anyway. However, Hector does take his advice to regroup in Book XIII, after the Argives have done tremendous damage to the Trojans. In Book XVIII of the *Iliad*, Polydamas advises the Trojans to retire from the battlefield after the death of Patroclus. Hector, however, overrules Polydamas, leaving the army in the field when Achilles ends his feud with Agamemnon and rejoins the Achaean forces. As a result, Achilles kills a great number of Trojan warriors, culminating in a duel with Hector in which the latter is killed.

Polydamas appears periodically throughout the battles, and brags about killing Prothoënor. He often complements Hector in battle. In Book XV, after killing Mecistus and Otus, he is attacked by Meges, but Apollo saves him, causing him to dodge at the last moment. Polydamas killed three Greeks in the war.

Homer gives no foreshadowing of Polydamas's final fate, nor is he mentioned in most of the later poems dealing with the aftermath of the war, leaving the reader to infer that he perished in the general slaughter after the fall of Troy to the Greek forces.

He is mentioned in Quintus Smyrnaeus' *Posthomerica*, but again, no death is mentioned. In Quintus Smyrneaus' story, Polydamas actually suggests that instead of attacking or fleeing, the Trojans should just give Helen back to the Greeks. This suggestion is well received by many soldiers, but nobody admits it. Paris calls him a deserter and a coward, but Polydamas retorts that Paris' ambitions instigated the problem. Later on, he tries again to persuade the Trojans to stay inside the city in order to raise troop morale, but it is Aeneas that opposes his opinion this time, on the grounds that the Greeks will not be disheartened by a long stay inside the walls.

**Notes**

**Bibliography**

* Gaius Julius Hyginus, *Fabulae from The Myths of Hyginus* translated and edited by Mary Grant. University of Kansas Publications in Humanistic Studies. Online version at the Topos Text Project.
* Pausanias, *Description of Greece* with an English Translation by W.H.S. Jones, Litt.D., and H.A. Ormerod, M.A., in 4 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1918. ISBN 0-674-99328-4. Online version at the Perseus Digital Library
* Pausanias, *Graeciae Descriptio.* *3 vols*. Leipzig, Teubner. 1903. Greek text available at the Perseus Digital Library.

## Eponym


title: Félicien Rops

abstract: Félicien Victor Joseph Rops was a Belgian artist associated with Symbolism, Decadence, and the Parisian fin de siècle. He was a painter, illustrator, caricaturist and a prolific and innovative print maker, particularly in intaglio. Although not well known to the general public, Rops was greatly respected by his peers and actively pursued and celebrated as an illustrator by the publishers, authors, and poets of his time. He provided frontispieces and illustrations for works by Jules Barbey d'Aurevilly, Charles Baudelaire, Charles De Coster, Théophile Gautier, Joris-Karl Huysmans, Stéphane Mallarmé, Joséphin Péladan, Paul Verlaine, Voltaire, and many others. Best known today for his prints and drawings illustrating erotic and occult literature of the period, he also produced oil paintings including landscapes, seascapes, and occasional genre paintings. Rops is recognized as a pioneer of Belgian comics.

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# Félicien Rops

**Félicien Victor Joseph Rops** (French pronunciation: \[felisjɛ̃ viktɔʁ ʒozɛf ʁɔps\]; 7 July 1833 – 23 August 1898) was a Belgian artist associated with Symbolism, Decadence, and the Parisian *fin de siècle*. He was a painter, illustrator, caricaturist and a prolific and innovative print maker, particularly in intaglio (etching and aquatint). Although not well known to the general public, Rops was greatly respected by his peers and actively pursued and celebrated as an illustrator by the publishers, authors, and poets of his time. He provided frontispieces and illustrations for works by Jules Barbey d'Aurevilly, Charles Baudelaire, Charles De Coster, Théophile Gautier, Joris-Karl Huysmans, Stéphane Mallarmé, Joséphin Péladan, Paul Verlaine, Voltaire, and many others. Best known today for his prints and drawings illustrating erotic and occult literature of the period, he also produced oil paintings including landscapes, seascapes, and occasional genre paintings. Rops is recognized as a pioneer of Belgian comics.

## Biography

### Childhood and education (1833–1857)

Rops was born 7 July 1833 in Namur, Belgium, the only child of Sophie Maubile and Nicholas Rops. The Rops were a well-off bourgeois family, their wealth coming from textile manufacturing. Félicien was educated at his home by private tutors until the age of ten; then in 1843, he enrolled in a local Jesuit school for the next five years. His ability to recite lengthy passages from the Bible in Latin attest to both a good education and his intelligence, although even as a schoolboy it is reported that he had "begun to let fantasy dominate his thinking" and received complaints about "his passion for producing uninhibited caricatures of his teachers". Nicholas Rops died in 1849. After some disagreements between Rops and his mother over the direction of his future education, a compromise was reached, and in June 1849 he enrolled at the Athénée secondary school in Namur while simultaneously attending the Academy of Fine Arts there.

In 1851, Rops moved to Brussels and began studying law at the University of Brussels. However, by 1853, he was attending the Académie de Saint-Luc where he studied drawing and developed his skill as a draughtsman working from live models, meeting others like Louis Artan, Constantin Meunier, and Charles de Groux, and taking part in the local Bohemian milieu. It was at this time that he began contributing caricatures, cartoons, and satirical lithographs to student magazines, in particular *Le Crocodile* which brought him some notoriety. In 1856, Rops, along with Victor Hallaux (pseudonym Victor de la Hesbaye) and Charles De Coster progressed from student magazines to founding their own journal, *The Uylenspiegel*, a weekly artistic and literary satirical review to which he contributed one or two lithographs an issue, more than 180 total, furthering his reputation.

### Early career in Belgium, and marriage (1857–1870)

In June 1857, Rops married Charlotte Polet de Faveaux, the daughter of a wealthy magistrate and owner of Thozée Castle (see external links below) in the countryside near the town of Mettet, Belgium. For the first few years at Thozée, Rops enjoyed a comfortable life of a country gentlemen, pursuing passions for painting, botany, and even founding a rowing club in 1862, the Royal Nautical Club of Sambre and Meuse. He spoke highly of his father-in-law in his letters. Rops and his wife had a son, Paul, in 1858, and a daughter, Juliet, in 1859, who died at the age of five. Rops relinquished his managerial roll at *Uylenspiegel* but continued contributing cartoons and illustrations until 1862. He began to explore etching and produced political lithographs, occasional caricatures and cartoons for magazines, and frontispieces and illustrations for books. He illustrated a number of De Coster's books including *Légendes Flamandes* (1858), *Contes Brabançons* (1861) and *La Légende d'Uylenspiegel* ('Tijl Uilenspiegel', 1867). His home became a gathering place for artists, writers, publishers and friends. The *Société Libre des Beaux-Arts* (*Free Society of Fine Arts*) in Brussels was founded in 1868 and Rops served as vice-president for several years. By the 1860s, Rops was traveling extensively and dividing his time between Thozée Castle, Namur, Brussels, and Paris each year; with ever extending time in Paris at the center of the art and literary world, and ever decreasing time at Thozée Castle and Namur with his wife and family as the decade passed.

In 1862, he studied etching with Félix Bracquemond and Jules Ferdinand Jacquemart in Paris and he became a restless experimenter with etching techniques. In later years, with his friend Armand Rassenfosse they developed a new soft ground varnish method which was dubbed "Ropsenfosse". His activity as a lithographer had ceased by 1865, and although he continued oil painting, etching became his principal medium. He produced 34 frontispieces for books published between 1864 and 1870 and founded the short-lived *International Society of Etchers* (1869–1871).

### Relationship with Charles Baudelaire (1862–1867)

Baudelaire wrote the following tribute to Rops:

> Use all your eloquence..../ To say how much I like / That bizarre Mr. Rops / Who may not be a Rome First Prize / But whose talent is as great / As the pyramids of Cheops.

Rops created the frontispiece for Baudelaire's *Les Épaves* (*The Wreckage*) and a selection of poems from *Les Fleurs du mal* (*The Flowers of Evil*) that had been censored in France, and were therefore published in Belgium. Rops first met Baudelaire's publisher Auguste Poulet-Malassis in 1862 and was later introduced to Charles Baudelaire towards the end of the poet's life. A friendship developed and Baudelaire visited the Rops family at Thozée Castle on many occasions and they traveled together on at least one occasion. In a letter (25 August 1886) discussing Baudelaire's writing, Rops wrote: "I lived with Baudelaire for two years. and often served him as a secretary, I never once saw him consult a dictionary. He didn't have any, and didn't want to have any...saying 'A man who looks up a word in a dictionary is like a conscript who, upon receiving the order to fire, looks for a cartridge in his pouch.'" In a letter to Édouard Manet (11 May 1865) Baudelaire wrote, "Rops is the only true artist (in the sense in which I, and perhaps I alone, understand the word artist), that I have found in Belgium." By 1866 Baudelaire and Poulet-Malassis were both in Belgium, in self-imposed exile evading creditors. Baudelaire stated that Rops and Poulet-Malassis were the only persons who "lightened \[his\] sadness in Belgium".

It was while visiting Namur, in March 1866, that Baudelaire's first symptoms of aphasia and hemiplegia became apparent. Rops invited Baudelaire and Poulet-Malassis to visit his hometown, where Baudelaire had seen and admired the baroque Church of Saint-Loup at Namur (see external links below) before, calling it "the masterpiece of Jesuit masterpieces" and stating the stained-glass windows illuminated the interior like a "terrible and delightful catafalque". Baudelaire collapsed on the floor while they were admiring the carving on the confessionals there. Baudelaire never fully recovered and died in August 1867 at the age of 46.

Baudelaire left an impression upon Rops that lasted until the end of his life. His association with Baudelaire and his illustrations of his poetry helped increase the visibility of his work and win the admiration of many other artists and writers, including Théophile Gautier, Stéphane Mallarmé, Jules Barbey d'Aurevilly, Joséphin Péladan, Puvis de Chavannes, Gustave Moreau, and Edmond and Jules de Goncourt. By 1870 Rops had made many friends and was living in Paris most of the year and immersed at the heart of literary Paris and the Symbolist and Decadent movements. Taking his cue from Baudelaire's "The Painter of Modern Life", he "cultivated the airs of a dandy". Félix Fénéon was to write of him "Rops: Anoints himself with rouge, dyes his hair and wears a blood-red shirt: looks, or so he hopes, like a sarcastic Satan."

### Later career in Paris (1871–1898)

The extended months in Paris away from his wife, and his poorly concealed extramarital affairs (described by his biographer Patrick Bade as his "careless contempt for bourgeois family values") took a toll on Rops's marriage by the early 1870s. His wife Charlotte wrote to him in a letter: "Your latest despicable affair, the eighth since I met you and we were married, was your way of punishing others, you killed me! Since you don't want to see me any more and asked me not to write to you any more, I want my last word to you to be a word of pardon". One of his mistresses—Alice Renaud, the woman referred to in his wife's letter—was murdered by her jealous husband a few years later, and Rops was involved in the scandal when his intimate love letters to her were read out loud at her husband's trial. Although they never divorced, by 1875 Félicien and Charlotte were permanently estranged and Paris was to be his home for the remainder of his life.

However, far from being disheartened, he thrived among the Parisian artists and poets and his critical reputation grew. There was a greater demand than ever for his illustrations in the last quarter of the 19th century by the publishers and authors of the literary vanguard. Rops was prolific and achieved financial success, boasting in 1877 that "he was the best-paid illustrator in France." He traveled extensively throughout Europe, ranging from the capital cities and art centers, to salmon fishing in Norway and Sweden, back country ventures in Hungary, as well as Spain and Northern Africa. Rops frequently exhibited at the various salons in Paris where the public was both fascinated and shocked by his art and his personal life.

In the 1860s Rops had developed an acquaintance with a Madame Duluc and her two young daughters, Aurélie and Léontine Duluc (age 14 and 17 respectively at that time). A few years later, not long before the estrangement from his wife, he began a ménage à trois with the sisters, apparently with their mother's endorsement. He had children with both, although one child died at an early age; the other, Claire, daughter of Léontine Duluc born in 1871, went on to marry the Belgian author Eugène Demolder. The Duluc sisters ran *Maison Duluc*, a successful fashion house in Paris, for which Rops designed logos and provided advertisements. The three traveled together to the United States and Canada on two occasions to present their fashions. At least one of the sisters served as a model on occasion, and one example was the figure illustrated in Georges Camuset's *Sonnet du Docteur* (*The Sonnets of the Doctor*; 1884). The three lived together for over 25 years until Rops's death. They ultimately settled in La Demi-Lune, a house he purchased, on the River Seine in Corbeil-Essonnes south of Paris, where Rops continued his passion for botany and developed new varieties of roses in later years. Aurélie and Léontine often combined their names, signing *Auréléon* in their letters and correspondence with Rops.

Rops was invited to join *Les XX* or *Les Vingt*, a group of Belgian artists formed in 1883 which held annual exhibitions and concerts at the Palais des Beaux-Arts and the Museum of Modern Art of Brussels. Founders of the Les Vingt included James Ensor, Théo van Rysselberghe, and Fernand Khnopff among others and were later joined by Anna Boch, Jan Toorop, Odilon Redon, and Paul Signac. Their intention was to protect "true originality" and provide a place "where people are free, not only in fact but above all in thought." For 10 years *Les Vingt* championed the work of progressive artists and composers of the time including many of the Impressionists, Post-Impressionists, Pointillists, and Symbolists. The French poet Stéphane Mallarmé held Tuesday evening discussions on the arts and literature at his home on 87 Rue de Rome in Paris. These talks became a place of pilgrimage attended by dozens of writers and artists of the time including Rops, Paul Gauguin, J.-K. Huysmans, Édouard Manet, Edvard Munch, Odilon Redon, Paul-Marie Verlaine, and Emile Zola. He maintained his literary associations to the end of his life and in 1896 the literary revue "La Plume" published a special edition tribute volume devoted exclusively to Rops where many of the prominent authors and artists such as Puvis de Chavannes, Joris-Karl Huysmans, Octave Mirbeau, Josephin Peladan, and Jose-Maria De Heredia praised and celebrated his work. Félicien Rops was a freemason and a member of the Grand Orient of Belgium.

Due to an accident with "bichlorate of potassium" in 1892, Rops almost lost his eyesight but he eventually recovered. With his health slowly deteriorating and anticipating legal challenges from his estranged wife Charlotte, his son Paul, and father-in-law, a judge in Belgium, he made a will in July 1896 leaving everything to the Duluc sisters. He spent some time in the south of France with its milder climate on a doctor's orders but it provided only a little relief. In time, legal issues did arise and the Duluc sisters successfully disputed Paul's attempts to have his father removed from their care, but compromise settlements were made on other issues. Rops died on 23 August 1898 at his home, with Aurélie and Léontine Duluc, his daughter Claire, and some close friends at his side. When notified of his imminent death, Paul traveled from Belgium, but arrived too late to see his father alive. Rops was buried in Essonnes but his body was moved to the family burial grounds in Namur, Belgium eight years later. The following year, he was posthumously awarded the Legion of Honour.

There is now a Museum, *Musée Félicien Rops*, in his home town of Namur, Belgium, housing approximately 3,000 engravings and 500 drawings and paintings. Rops also was a gifted and prolific writer of letters. Referring to Rops, Edgar Degas told Manet "That one writes even better than he engraves \[...\]. If they ever publish his correspondence, I'll sign up for a thousand copies of propaganda" The Félicien Rops Museum has documented and indexed over 4,000 letters so far, over half are currently available online (see External Links below). His correspondences serve as valuable documents and references, not only for Rops and his work, but for the numerous artists, writers, publishers, and other notable culture figures of late 19th century Europe. The biographers of Baudelaire have drawn from Rops's letters extensively (e.g.).

## Art

Art historians do not consider Rops a seminal figure of late 19th century art, even among the symbolists, and yet no creditable review of symbolism could ignore him either. Some of his critics dismiss him as a novel, 19th-century illustrator/pornographer, but others look beyond the erotica and write of him respectfully and favorably. He was regarded as the greatest Belgian artist of his time by Baudelaire (an influential art critic as well as a poet). Jean-Luc Daval spoke of "the amazing upsurge of Symbolism that in the wake of Félicien Rops and under the influence of Gustave Moreau, characterized Belgian painting at the turn of the century." According to Edith Hoffmann, the "erotic or frankly pornographic" nature of much of Rops's work "is at least partly due to the attraction these subjects had for a provincial artist who never forgot his first impressions of Paris". In contrast to Hoffmann's "provincial artist", Octave Mirbeau wrote "Painter, man of letters, philosopher, scholar, Rops was all of that."

Félicien Rops was a prolific and versatile artist. In addition to works of fine art depicting genre subjects, still-life, landscapes, decadent nightlife, eroticism, and iconic symbolist works like *Pornocrates*, he produced hundreds of comics, caricatures, book illustrations, and even an occasional advertisement. His style could sway from realism, to symbolism, and at times even touch on romanticism and impressionism. His images can be pastoral (e.g. *The Rocks of the Grands Malades*) or urban (e.g. *Sailors Den*); social and political critiques both sympathetic (e.g. *Strike, The Charcoal*) and caustic (e.g. *Order Reigns in Warsaw*); documentary (e.g. *Head of Zealander*) or fantasy (e.g. *The Librarian*); and range from poetic and metaphoric (e.g. *The Lyre*) to stark realism (e.g. *Absinthe Drinker*). Three etchings depicting animals illustrate a wide display of approaches in styles, techniques, and underlying connotations (see gallery II). *Japanese Salamander and Beetle* is loose in technique and a simple, decorative nature study, one of a few pastiches Rops made of Japanese woodblock printing that were popular and influential among European artists in the late 19th century. *The Cat*, executed in an illustrative, near academic style, presents a pleasant likeness of a cat, yet embroidered on the chair is the phrase "Amica Non Serva" \[Friend Not Servant\], endowing this unassuming image with a declaration of sovereignty not immediately apparent to the casual viewer. *Separated or Simian Spring* uses an abrupt and serrated hatching technique to convey primitive, psycho-sexual undertones that anticipates expressionism in the early 20th century.

French art critic and historian Jean Cassou posited three distinct periods in Rops's artistic life: romantic 1855–1860; symbolist 1860–1870; realist 1871–1898. While these dates are not supported by others, and are contrary to even the most cursory examination of the work \[e.g., symbolist works such as *Pornocrates* (1878); *Les Sataniques* (1882); *The Lyre* frontispiece for *Poésies* by Mallarmé (1895); and *Parallelism*, the frontispiece for *Chair* \[*Flesh*\] by Verlaine (1896) were produced in Cassou's posited "realist 1871–1898" period\], Cassou's association of Rops with realism is valid and important in understanding his work. Whether drawing genre subjects or decadent Parisian nightlife, Rops produced realist images throughout his artistic life and they constitute a significant part of his oeuvre. This aspect of his work is often marginalized or ignored by authors who are preoccupied with his erotic and satanic images (enthusiastically or negatively).

Working in a long and rich tradition of Franco-Flemish realist-genre painting (e.g., the Le Nain Brothers, Adriaen Brouwer) but also showing an awareness and influence of contemporaries like Honoré Daumier, Jean-François Millet, and Gustave Courbet, Rops was attracted to genre subjects throughout his life. Although represented in any number of media, they most often appear in his drawings and etchings. The rural and working people of the Walloon region of Belgium were frequent subjects, typically treated in a simple and sympathetic manner, as in *The Kitchen of the Artists' Inn, in Anseremme*. The elderly appear again and again in works such as *Old Kate*. Rops also often drew and etched people he encountered in his travels who were dressed in ethnic and regional clothing and costumes, often in a rather documentary style. Two examples include *A Shaker Pianist* and *Head of Zealander*: others are *La Dalécarlienne* (1874), *Le Moujick* (1874), and *In the Pusta* (1879). Rops once wrote he had "the desire to depict the scenes and characters of the 19th century that I find so fascinating and curious" and pieces like *Sailors Den*, *Cherub's Song*, and *The Absinthe Drinker* can be viewed as works of realism just as they can be seen as works of the decadent movement.

Rops once wrote: "The love of brutal pleasures, the pre-occupation with money, and mean interests have glued onto the faces of most of our contemporaries, a sinister mask in which the perverse instinct mentioned by Edgar Allan Poe can be read in capital letters: all of this seems to me sufficiently amusing and characteristic that well-meaning artists should attempt to render the look of their time".

According to H. R. Blakeley, "scholarship about Rops disproportionately fixates on the erotic aspects of his art, reductively classifying him as perversely misogynistic instead of investigating the complexities of his relationships with and attitudes about women."

### Painting and drawing

Rops's oil paintings are varied in subject and style. They include still life paintings, street scenes such as *Entrance to the Ball*, the Symbolist *Death at the Ball*, and many landscapes. He painted landscapes throughout his career, often small canvases done in En plein air. Examples like *The Rocks of the Grands Malades* and *Snow in Thozée* were painted in the vicinity of his hometown Namur, in the Walloon region of southern Belgium. The influences of Jean-Baptiste-Camille Corot, Gustave Courbet, and the Barbizon School can be detected in many of his landscapes. Living in Paris and exhibiting with Les XX, Rops had ample opportunity to meet artists and absorb the work of the schools and movements of the day, and elements of impressionism are evident in *The Beach in Heist*, painted on the Belgian coast.

A small series of variations on a theme, *The Lady with the Puppet* includes four drawings with mixed media (watercolor, color pencil, pastel etc.) that were executed between 1873 and 1890. These symbolist works each show a woman, a "simple tart", playing with a puppet (an allegory of man). In one, the woman unassumingly holds a blood-smeared trailing point at her side, with which she has slit the belly of the puppet open, and amusingly holds the puppet high as gold coins drain from his limp body.

About 1878–1881 Rops produced a large series of over 100 pieces he called *Cent légers croquis pour réjouir les honnêtes gens* (*A hundred lighthearted sketches without pretension to delight honest people*) for a Parisian bibliophile, Jules Noilly. These were made in a variety of mixed media, mostly works on paper, including drawing, color pencil, watercolor, gouache, and pastel. Examples from the series include *The Human Parody*, *The Librarian*, *L'Amour Mouché, Venus and Cupid-Love blowing his nose*, and *Cherub's Song*.

### Prints and book illustrations

"Rops was a printmaker of brilliant technique and original content whose handling of dry point (etching directly on the plate) marks him as one of the masters of the medium." Although Rops worked in a wide range of media, his primary means of expression was printmaking. He worked with lithography, wood engraving, etching, aquatint, mezzotint, soft-ground etching, burin engravings, heliogravure and other techniques producing hundreds of prints in his life. His prints are remarkably diverse and span the full spectrum of the styles and subject matter that he explored throughout his life. He begin shifting from lithography to intaglio in the 1860s when he studied etching with Félix Bracquemond and Jules Ferdinand Jacquemart in Paris. Félix Bracquemond was one of the central figures in reviving an interest in etching among artists of the time, encouraging and coaching artists such as Édouard Manet, Edgar Degas, Camille Pissarro, and others to explore the neglected art form. By the end of the decade Rops had all but abandoned lithography. Rops founded the International Society of Etchers about 1869 or 1870. Although the society received praises from artists and royalty alike, financially he struggled to keep it going for more than two to three years.

Fascinated by the processes, he was constantly experimenting with printmaking techniques throughout his career. Starting around the early 1870s, Rops begin using soft-ground etching, a technique practiced by few artists of his day, often combining it with mezzotint, aquatint, dry point, and other techniques, sometimes adding hand-coloring to the plates. He photo-mechanically (heliogravure) transferred many of his original drawings to intaglio plates, and often developed the images further in that medium with any number of techniques such as dry point, aquatint, soft-ground etching, etc. However, traditional soft-ground methods did not work well for his purposes, so in collaboration with his friend and colleague Armand Rassenfosse, they invented a process they called "Ropsenfosse". Ropsenfosse used several different soft-ground formulas and was likely the first soft-ground method used to produce color prints with two or more plates.

His etchings were popular and many of the progressive writers, poets, and publishers of late 19th-century literature sought out his talents for their publications. His prints were widely distributed in the books he illustrated and influenced many younger artists, including several Symbolists and Expressionist such as Max Beckmann, Lovis Corinth, James Ensor, Alfred Kubin, Fernand Khnopff, Max Klinger, Edvard Munch and others. *The Blue Angel* largely was inspired by a figure by Rops that impressed director Josef von Sternberg.

### *Les Sataniques* and *Les Diaboliques*

As early as 1896, when a special tribute edition of the literary journal La Plume (No. 172, 15 June) was published honoring Rops, the illustrations he produced for d'Aurevilly's *Les Diaboliques* as well as an earlier series, *Les Sataniques* were often singled out and "placed at the top of the ropsian pantheon" and considered the "paradigm of the Ropsian work". Subsequent critics, historians, as well as his admirers among the general public have consistently regarded these prints as among the best examples of his illustrative oeuvre. Art historian Robert L. Delevoy wrote "His etchings for *Les Diaboliques* by Barbey d'Aurevilly are regarded as some of the best illustrative work ever done."

***Les Sataniques*** (*The Satanic*) was a series of his own initiative, independent of his book illustrations and literary works. Dating from about 1882, there are a number of closely related drawings, watercolors, sketches, and other mixed media pieces, as well as prints in various states of development. He had hoped to do a large series and eventually publish them in the form of a book, but this never came to fruition. Ultimately a set of five heliogravures (based on five original drawings) were published, including: *Satan semant l'ivraie* (*Satan Sowing Tare*), *L'enlèvement* (*The Abduction*), *Le Calvaire* (*The Calvary*), *L'idole* (*The Idol*), and *Le Sacrifice* (*The Sacrifice*). The frontispiece of the cycle, *Satan Sowing Tare*, which appeared in several versions, was based on the Biblical *Parable of the Tares* which appears in Matthew 13:24-13:30. This series ranks among the more familiar and discussed images of his work. There is nothing in the dozens of references below to suggest that Rops was actively involved or a believer in Satanism, and his use of this subject was only symbolic or metaphoric.

***Les Diaboliques*** (*The She-Devils*) is a collection of six short stories by Jules Barbey d'Aurevilly that was first published in 1874. Each story is centered around a bored, bourgeois woman, usually involved in a crime of violent depravity or act of revenge. The book was an instant success and quickly sold out. The uproar caught the attention of the Public Prosecutor, the book was banned, the author and publisher were charged with insulting public morality, and set to be put on trial. However, with the aid of Léon Gambetta, a sympathetic statesman, a trial was avoided. Rops did not illustrate the first edition. Laws granting the freedom of the press in France were passed on 29 July 1881 and a second edition of the book was planned by the publisher, Alphonse Lemerre, who thought Rops was ideally suited to illustrate the new edition. Rops provided Lemerre with designs for the illustrations in the form of drawings, but the actual production of the etchings is believed to have been delegated to others. The first set of etchings is referred to as the "Lemerre format", or small boards \[plates\], and likely date from 1882 when the second edition of the book was published. However Delaporte, in his thesis, discuses a myriad of inconsistency involving the production and dates of the small etchings and suggest they could have appeared ca. 1882–1886.

Rops wrote in a letter to Jean-François Taelemans (8 April 1886) that he was unsatisfied and the "small boards do not say anything". He began a second set based on the original drawings using a heliogravure technique, which he then reworked by hand with aquatint, soft-ground varnish, drypoint, etc. The heliogravure prints gave Rops a greater ability to exhibit subtleties and nuances of light and shadow in the dark, nocturnal images. Apparently *La Vengeance d'une Femme* (*The Vengeance of a Woman*) was not reproduced in the heliogravure set. The second, heliogravure set, is referred to as the large boards. Like the small boards, the history of the production and dates of the large boards involve many inconsistencies, contradictions, and other issues, but date from ca.1887-1893. The *Les Diaboliques* illustrations includes nine prints: the frontispiece *Le Sphinx* (T*he Sphinx*); a prescript *La Prostitution et la folie dominant le monde* (*Prostitution and Madness Rule the World*); an illustration for each chapter, *Le Rideau Cramoisi* (*The Crimson Curtain*); *Le plus bel amour de Don Juan* (*The Greatest Love of Don Juan*); *Le bonheur le dans le crime* (*Happiness in Crime*); *À un dîner d'athées* (*At a Dinner of Atheists*); *Le Dessous de Cartes d'une Partie de Whist* (*Beneath the Cards in a Game of Whist*); *La Vengeance d'une Femme* (*The Vengeance of a Woman*); and a postscript *La Femme et la folie dominant le monde* (*Woman & Madness Rule the World*).

The print of *The Greatest Love of Don Juan* bears a striking similarity to Edvard Munch's famous painting *Puberty* painted in 1894. As early as 1894, with the first publication ever devoted to Munch, comparisons have been made. Munch denied having been influenced by Rops's etching, and said his painting was a copy of another painting he had made in the mid-1880s and "that this earlier version had been lost in a studio fire." Nonetheless, art critics and historians have consistently noted the similarities.

### Cartoons and caricatures

Félicien Rops was a pioneer and considered by many as the starting point for Belgian Comics. He was the first Belgian cartoonist to produce text comics, a comic strip based on a recurring character, satirical, and erotic comics. Rops began publishing comics in student magazines including *Le Crocodile* and *Le Diable au Salon* while still in school in the 1850s. He sometimes published using pseudonyms, including *Spor*, *Risette*, *Graffin*, *Cham-Loth*, and *Croque-tout*. With friends he co-founded a weekly artistic and literary satirical review *The Uylenspiegel* in 1856, which he contributed to regularly until its demise 1862. Examples of the early use of text comics and reoccurring characters include *Les époux Van-Blague*, the comedic experiences of a couple published in *Le Crocodile* (e.g. issue #40, 20 November 1853) and a series of thematically unified, but otherwise unrelated humorous episodes at the Antwerp Zoo *Promenade au Jardin Zoologique*. One cartoon in particular, 'La Médaille de Waterloo' (1858), depicting a decrepit, peg legged likeness of Napoléon Bonaparte on a medal, guarded by his devotee's from a hoard of skeletons rising from the dead, (in criticism of those who held Napoléon in honor with seemingly no regard for the havoc and loss of life that he had brought to Europe) caused an outrage in France and Belgium. However, ultimately this only served to further Rops notoriety. Rops published significantly fewer comics as his career as an illustrator of books progressed but, he produced occasional comics, caricatures, even advertisements, throughout his life.

## Further reading

* P. & V. Berko, "Dictionary of Belgian painters born between 1750 & 1875", Knokke 1981, p. 565–566.
* P. & V. Berko, "19th Century European Virtuoso Painters", Knokke 2011, p. 513, illustrations p. 145.

## InfoBox

| Félicien Rops | |
| --- | --- |
| Detail from *The Members of the<br>Société Libre des Beaux-Arts*<br>by Edmond Lambrichs | |
| Born | (1833-07-07)7 July 1833<br>Namur, Belgium |
| Died | 23 August 1898(1898-08-23) (aged 65)<br>Essonnes, France |
| Nationality | Belgian |
| Known for | Print making, intaglio, illustrations, drawing, painting |
| Notable work | *Pornocrates* *Les Sataniques* *Les Diaboliques* |
| Movement | Symbolism, Decadent movement, Fin de siècle |


title: Werner Ebeling

abstract: Werner Hermann Karl Ebeling was an officer in the Wehrmacht of Nazi Germany during World War II and a general in the Bundeswehr of West Germany. He was a recipient of the Knight's Cross of the Iron Cross with Oak Leaves. He commanded the 11 Panzergrenadier Division of the Bundeswehr from 15 January 1968 to 30 September 1970.

text:
# Werner Ebeling

**Werner Hermann Karl Ebeling** (21 November 1913 – 25 August 2008) was an officer in the Wehrmacht of Nazi Germany during World War II and a general in the Bundeswehr of West Germany. He was a recipient of the Knight's Cross of the Iron Cross with Oak Leaves. He commanded the 11 Panzergrenadier Division of the Bundeswehr from 15 January 1968 to 30 September 1970.

## Awards and decorations

### Citations

### Bibliography

* Patzwall, Klaus D.; Scherzer, Veit (2001). *Das Deutsche Kreuz 1941 – 1945 Geschichte und Inhaber Band II* \[*The German Cross 1941 – 1945 History and Recipients Volume 2*\] (in German). Norderstedt, Germany: Verlag Klaus D. Patzwall. ISBN 978-3-931533-45-8.
* Scherzer, Veit (2007). *Die Ritterkreuzträger 1939–1945 Die Inhaber des Ritterkreuzes des Eisernen Kreuzes 1939 von Heer, Luftwaffe, Kriegsmarine, Waffen-SS, Volkssturm sowie mit Deutschland verbündeter Streitkräfte nach den Unterlagen des Bundesarchives* \[*The Knight's Cross Bearers 1939–1945 The Holders of the Knight's Cross of the Iron Cross 1939 by Army, Air Force, Navy, Waffen-SS, Volkssturm and Allied Forces with Germany According to the Documents of the Federal Archives*\] (in German). Jena, Germany: Scherzers Militaer-Verlag. ISBN 978-3-938845-17-2.
* Thomas, Franz; Wegmann, Günter (2000). *Die Ritterkreuzträger der Deutschen Wehrmacht 1939–1945 Teil III: Infanterie Band 5: Dr–Em* \[*The Knight's Cross Bearers of the German Wehrmacht 1939–1945 Part III: Infantry Volume 5: Dr–Em*\] (in German). Osnabrück, Germany: Biblio-Verlag. ISBN 978-3-7648-2575-1.

## InfoBox

| Werner Ebeling | |
| --- | --- |
| Born | (1913-11-21)21 November 1913 |
| Died | 25 August 2008(2008-08-25) (aged 94) |
| Allegiance | Nazi Germany
West Germany |
| Service/branch | Army |
| Years of service | 1935–45
1956–70 |
| Rank | Oberst (Wehrmacht)
Generalmajor (Bundeswehr) |
| Commands | 11th Panzergrenadier Division |
| Battles/wars | World War II |
| Awards | Knight's Cross of the Iron Cross with Oak Leaves |


title: Victor Hugo Díaz

abstract: Víctor Hugo Díaz was a tango, folklore and jazz harmonicist.

text:
# Victor Hugo Díaz

**Víctor Hugo Díaz** (August 10, 1927 in Santiago del Estero, Argentina \- October 23, 1977 in Buenos Aires, Argentina) was a tango, folklore and jazz harmonicist.

## Biography

### Early life

Díaz was born to a poor family in the small city of Santiago del Estero. At the age of five he lost his sight when hit by a soccer ball, which led him to play the harmonica. Two years later, after surgery restored his eyesight, he was already performing regularly for a local radio.

### Musical career

In spite of a highly successful career, he remained loyal to his youth's companions, such as the Abalos brothers and percussionist Domingo Cura with whom Díaz recorded on many occasions. His debut in Buenos Aires c.1944 resulted in a series of record contracts with Odeon Records, TK Records, Jockey and later RCA Records. Although mostly known for his tango performances, his music has deep rural roots, above all in the provincial folkloric music he grew up with: chacareras, zambas and milongas camperas.

In 1953 during a European tour, Hugo Díaz met with two admired musicians in Belgium: Larry Adler and Toots Thielemans. The admiration was mutual.

He also played in the United States with Louis Armstrong and Oscar Peterson, and in La Scala, Milan with Renata Tebaldi and Mario del Monaco.

Díaz recorded the most important part of his Tango musical legacy during the 1970s. His first three albums (Hugo Diaz en Buenos Aires) were not recorded until 1972, 1973 and 1974 and in 1975 he made his last tango album (Hugo Díaz para Gardel 40 Años Despues)

He died on October 23, 1977.

### Family

Díaz was married to Victoria Cura, Domingo Cura's sister, with whom he had a daughter, María Victoria, born in 1961. María (*Mavi*) Díaz became an important part of Argentine rock and roll in the 1980s as a member of the Viuda e hijas de Roque Enroll (English: *Widow and Daughters of Roque Enroll*).

## Movie soundtracks

The sound of his harmonica was captured in the song *Milonga Triste* included in the film *The Tango Lesson*, directed by Sally Potter.

More recently it was heard as background music in the 2006 Austrian film *The Counterfeiters* (2008 Academy Award winner for Best Foreign Language Film ).

The Argentine documentary film *A los cuatro vientos* (Spanish: *To the four winds*) premiered in 2007. The film, deeply musical, is a homage to Hugo Díaz and includes many of his interpretations.

## Partial Discography

TANGO:

* *Hugo Díaz en Buenos Aires*, Tonodisc (1972) - CD release: *Hugo Díaz en Buenos Aires*,Victor (Japan) (1999).
* *Hugo Díaz en Buenos Aires vol.2*, Tonodisc (1973) - CD release: *Hugo Díaz en Buenos Aires*,Victor (Japan) (1999).
* *Hugo Díaz en Buenos Aires vol.3*, Tonodisc (1974)- CD release: *Hugo Díaz en Buenos Aires*,Victor (Japan) (1999).
* *Hugo Díaz Para Gardel 40 Años Después*, Tonodisc (1975) - released on CD as *Tangos*, Harmonia Mundi (2006).

FOLKLÓRICO:

* *La Compañera*, TK - 7inch (circa 1954).
* *Hugo Díaz Y Sus Changos* (with Luis Alberto Del Parana, Vera Molina, Digno Garcia), TK - 7inch (circa 1954).
* *Hugo Díaz Y Sus Changos*, TK - 10inch (1956).
* *Noches Del Paraguay*, TK - EP (1960).
* *Baile en el campo*,Music Hall (circa 1965).
* *Magia en el Folklore vol.1*, RCA-Camden (circa 1968).
* *Magia en el Folklore vol.2*, RCA-Camden (circa 1968).
* *Mi armónica y yo*, RCA-Victor (circa 1970).
* *Puro Ritmo*, RCA-Victor (circa 1970).
* *Aquí Esta Hugo Díaz*,Music Hall(1972).
* *Nostalgias Santiagueñas*, Tonodisc (1974).
* *En El Litoral*, Tonodisc (1975).

* *Así es Hugo Díaz*,Music Hall (year unknown).
* *Malambos/La Vieja*, Music Hall (year unknown).
* *Allá En El Atardecer/Tiempo De Alegría*, Music Hall (year unknown).
* *Zamba Del Quebrachal/El Puro Ritmo*, Music Hall (year unknown).
* *Por Eso Vengo/Se Ha Ido*, Music Hall (year unknown).
* *Danza Guaraní/Zamba Para Mi Luna*, Music Hall (year unknown).
* *Cascadas/Selección De Chamames*, Music Hall (year unknown).
* *San Baltasar/Selección DeRancheras*, Music Hall (year unknown).
* *La Salamanca/Cuando El Diablo Toca El Bombo*, Music Hall (year unknown).
* *Vieja/Isla Saca*, Music Hall (year unknown).

COMPILATIONS:

* *Lo mejor de Hugo Díaz*, Difusión Musical (circa 1967).
* *Cantares de mi tierra*, Odeón (circa 1968).
* *Un Soir Dans La Pampa*, With Eduardo Falú, Festival (1968).
* *Danses Folkloriques D'Argentine*, With Eduardo Falú, Festival (1968).
* *Hugo Díaz*, NG Records (1977).
* *Hugo Díaz: Chacareras*, Tonodisc (1979).
* *Homenaje a Carlos Gardel*, Tonodisc (1979). This is a re-release of *Hugo Díaz Para Gardel 40 Años Después*.
* *Gigante Del Folklore*, RCA-Victor (1982) CD release 1998.
* *El Arte Del Hugo Díaz*, RCA-Victor (1982).
* *Tacita de plata*, Music Hall (1987).
* *Hugo Díaz*, RCA Club (1998).
* *Antología vol.1 1952-1953*, Acqua (2009)
* *Antología vol.2 1954-1957*, Acqua (2009)
* *Antología vol.4 1967-1968*, Acqua (2012)
* *Antología vol.5 1970-1971*, Acqua (2012)
* *A Los Cuartro Vientos*, Acqua (2008).
* *Los Eligidos*, RCA-Sony (2009).

1. Lavocah, Michael. "Hugo Díaz". *Biographies*. milonga.co.uk. Retrieved 11 April 2013.
2. Andrés. "Hugo Díaz". HarmonicaSpain.es. Retrieved 11 April 2013.
3. Martínez, Adolfo C. (1 November 2007). "Hugo Díaz, rescatado de un injusto olvido". *La Nación*. Retrieved 11 April 2013.
4. Telam news article on *A los cuatro vientos* Archived February 8, 2009, at the Wayback Machine


title: Helping Homeless Veterans Act of 2013

abstract: The Helping Homeless Veterans Act of 2013 (S. 287), long title "To amend title 38, United States Code, to expand the definition of homeless veteran for purposes of benefits under the laws administered by the Secretary of Veterans Affairs, and for other purposes," is a bill that would change the definition of "homeless veteran" to expand persons that are covered. The new definition would "allow a veteran or veterans’ family member fleeing domestic violence or sexual assault to be categorized as homeless in order to receive certain benefits offered by the Department of Veterans’ Affairs." The law would increase the per diem payments that homeless veterans receive for assistance in finding a new home and authorize the payment of per diems to the dependents of homeless veterans. It passed in the United States Senate during the 113th United States Congress.

text:
# Helping Homeless Veterans Act of 2013

The **Helping Homeless Veterans Act of 2013** (S. 287), long title "To amend title 38, United States Code, to expand the definition of homeless veteran for purposes of benefits under the laws administered by the Secretary of Veterans Affairs, and for other purposes," is a bill that would change the definition of "homeless veteran" to expand persons that are covered. The new definition would "allow a veteran or veterans’ family member fleeing domestic violence or sexual assault to be categorized as homeless in order to receive certain benefits offered by the Department of Veterans’ Affairs." The law would increase the per diem payments that homeless veterans receive for assistance in finding a new home and authorize the payment of per diems to the dependents of homeless veterans. It passed in the United States Senate during the 113th United States Congress.

## Background

There is a related bill, H.R. 897, that was introduced into the United States House of Representatives during the 113th Congress.

## Provisions of the bill

*This summary is based largely on the summary provided by the Congressional Research Service, a public domain source.*

The bill S. 287 would include in the formal definition of a homeless veteran, for purposes of eligibility for benefits through the Department of Veterans Affairs (VA), a veteran or veteran's family fleeing domestic or dating violence, sexual assault, stalking, or other dangerous or life-threatening conditions in the current housing situation, including where the health and safety of children are jeopardized, there is no other residence, and there is a lack of resources or support networks to obtain other permanent housing.

## Congressional Budget Office report

*This summary is based largely on the summary provided by the Congressional Budget Office, as ordered reported by the Senate Committee on Veterans’ Affairs on July 24, 2013. This is a public domain source.*

S. 287 would reauthorize and expand several programs for homeless veterans that are administered by the Department of Veterans Affairs (VA). The Congressional Budget Office (CBO) estimated that implementing the bill would cost $842 million over the 2014–2018 period, assuming appropriation of the specified and estimated amounts.

In addition, the CBO estimated that enacting the bill would decrease net direct spending by $294 million over the 2014–2023 period; therefore, pay-as-you-go procedures apply to the bill. Enacting S. 287 would not affect revenues.

S. 287 contains no intergovernmental or private-sector mandates as defined in the Unfunded Mandates Reform Act (UMRA).

## Procedural history

### Senate

S. 287 was introduced into the Senate on February 12, 2013, by Sen. Mark Begich (D, AK). It was referred to the United States Senate Committee on Veterans' Affairs, which held a hearing about the bill on May 9, 2013. The bill was accompanied by Senate Report 113-110. The Senate voted by Unanimous consent on November 6, 2013, to pass the bill.

## Debate and discussion

The National Coalition for Homeless Veterans testified in favor of the bill on the May 9, 2013 hearings.

## Notes/References

This article incorporates public domain material from websites or documents of the United States Government.

## InfoBox

Helping Homeless Veterans Act of 2013
|  | |
| --- | --- |
| Long title | To amend title 38, United States Code, to expand the definition of homeless veteran for purposes of benefits under the laws administered by the Secretary of Veterans Affairs, and for other purposes. |
| Announced in | the 113th United States Congress |
| Sponsored by | Sen. Mark Begich (D, AK) |
| Number of co-sponsors | 4 |
| Codification | |
| Acts affected | McKinney-Vento Homeless Assistance Act |
| U.S.C. sections affected | 42 U.S.C. § 11302, 38 U.S.C. § 2002 |
| Legislative history | |
|  | |


title: Saint-Julien-de-Briola

abstract: Saint-Julien-de-Briola is a commune in the Aude department in southern France.

text:
# Saint-Julien-de-Briola

**Saint-Julien-de-Briola** (French pronunciation: \[sɛ̃ ʒyljɛ̃  bʁijɔla\] ; Languedocien: *Sant Julian*) is a commune in the Aude department in southern France.

## Population

Historical population
| Year | Pop. | ±% |
| --- | --- | --- |
| 1962 | 95 |  |
| 1968 | 108 | +13.7% |
| 1975 | 72 | −33.3% |
| 1982 | 69 | −4.2% |
| 1990 | 79 | +14.5% |
| 1999 | 75 | −5.1% |
| 2008 | 84 | +12.0% |

## InfoBox

| Saint-Julien-de-Briola | |
| --- | --- |
| Commune | |
|  | |
| Location of Saint-Julien-de-Briola | |
| Saint-Julien-de-BriolaSaint-Julien-de-Briola | |
| Coordinates: 43°09′37″N 1°56′37″E / 43.1603°N 1.9436°E / 43.1603; 1.9436 | |
| Country | France |
| Region | Occitania |
| Department | Aude |
| Arrondissement | Carcassonne |
| Canton | La Piège au Razès |
| Government | |
| Mayor (20202026) | Bernard Delpoux |
| Area**1** | 11.31 km2 (4.37 sq mi) |
| Population (2021) | 83 |
| Density | 7.3/km2 (19/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 11348 /11270 |
| Elevation | 294–402 m (965–1,319 ft)
(avg. 430 m or 1,410 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Kharkov Superior Cup

abstract: The Kharkov Superior Cup was a golf tournament on the Challenge Tour. It was played for the first time in September 2013 at the Superior Golf & Spa Resort in Kharkiv, Ukraine. Daan Huizing won the inaugural event by two strokes over Sihwan Kim. The 2014 event was not held for security reasons.

text:
# Kharkov Superior Cup

The **Kharkov Superior Cup** was a golf tournament on the Challenge Tour. It was played for the first time in September 2013 at the Superior Golf & Spa Resort in Kharkiv, Ukraine.

Daan Huizing won the inaugural event by two strokes over Sihwan Kim.

The 2014 event was not held for security reasons.

## Winners

| Year | Winner | Score | To par | Margin of<br>victory | Runner-up |
| --- | --- | --- | --- | --- | --- |
| 2014 | *Cancelled due to security risks* | | | | | |
| 2013 | Daan Huizing | 273 | −15 | 2 strokes | Sihwan Kim |

## InfoBox

Kharkov Superior Cup
| Tournament information | |
| --- | --- |
| Location | Kharkiv, Ukraine |
| Established | 2013 |
| Course(s) | Superior Golf & Spa Resort |
| Par | 72 |
| Length | 6,892 yards (6,302 m) |
| Tour(s) | Challenge Tour |
| Format | Stroke play |
| Prize fund | 200,000 |
| Month played | September |
| Final year | 2013 |
| Tournament record score | |
| Aggregate | 273 Daan Huizing (2013) |
| To par | −15 *as above* |
| Final champion | |
| Daan Huizing | |
| Location map | |
| Superior Golf & Spa ResortLocation in Ukraine | |


abstract: The United States Custom House, sometimes referred to as the New York Custom House, was the place where the United States Customs Service collected federal customs duties on imported goods within New York City.

text:
# United States Custom House (New York City)

40°42′26″N 74°0′37″W / 40.70722°N 74.01028°W / 40.70722; -74.01028

The **United States Custom House**, sometimes referred to as the **New York Custom House**, was the place where the United States Customs Service collected federal customs duties on imported goods within New York City.

## Locations

The Custom House existed at several locations over the years. From 1790 to 1799, it was at South William Street, opposite Mill Lane, known as 5 Mill Street. From 1799 to 1815, it was in the Government House, roughly on the former site of Fort Amsterdam. From 1817 to 1834, it was in a converted bookstore and reading room on Wall Street at the east side of Nassau Street. That building was demolished for construction of a new Custom House at the same location, completed in 1842, which was designed by John Frazee, and is today designated Federal Hall National Memorial. From 1862 it was in the Merchant's Exchange Building at 55 Wall Street. In 1907 it moved into a new building, now called the Alexander Hamilton U.S. Custom House, built on the site where Government House sat earlier, on the south side of Bowling Green. The Customs Service signed a long-term lease with the Port Authority of New York and New Jersey at Six World Trade Center in 1970, and moved the custom house there in 1973. After the World Trade Center was destroyed during the September 11 attacks in 2001, employees were moved to various places in Manhattan, Queens, and Elizabeth in New Jersey.

The Customs Service was split into several agencies in 2003. One of its successors, U.S. Customs and Border Protection, planned to return to the new World Trade Center, moving into One World Trade Center.

## Importance

In the 19th century, the Port of New York was the primary port of entry for goods reaching the United States, and as such the Custom House in New York was the most important in the country. In 1853, for instance, it collected almost 75% of the custom revenue in the country. Until the passage of the 16th Amendment in 1913, which instituted a national income tax, the New York Custom House supplied two-thirds of the federal government's revenue. The amount of money passing through the Custom House made working there a prime position, and corruption was widespread. At one point, 27,000 people applied for 700 open positions in the Custom House.

## Patronage

Until the civil service reforms of the late nineteenth century, all Custom House employees were political appointees. The President appointed the four principal officers: Collector of Customs, Naval Officer, Surveyor of Customs, and Appraiser of Customs. The Customs House patronage was the subject of great debate during the Rutherford B. Hayes administration, as Hayes attempted to establish a merit-based system of appointments, while Senator Roscoe Conkling wished to retain the spoils system, under which he controlled the patronage there. One Collector of Customs, Chester A. Arthur (1871–1878), later became President of the United States. Arthur was said to have made several times more income as a collector than he did as a lawyer, about $50,000 a year in his first three years in office.

## Bibliography


title: Henry Thompson (veterinary surgeon)

abstract: Henry Thompson (MRCVS) was a founder member of the Aspatria Agricultural Society, the Aspatria Agricultural Cooperative Society and the Aspatria Agricultural College.

text:
# Henry Thompson (veterinary surgeon)

**Henry Thompson (MRCVS)** (Member of the Royal College of Veterinary Surgeons; 1836–1920) was a founder member of the Aspatria Agricultural Society, the Aspatria Agricultural Cooperative Society and the Aspatria Agricultural College.

## Early life and education

Henry Thompson was born at Allonby, Cumberland, on 9 September 1836, the youngest of seven children, his father a poor country tailor, earned 9s (45p) per week. At the age of thirteen Thompson became apprentice to Joseph Slee, a Maryport druggist, working from four in the morning to nine in the evening. He later moved to Whitehaven to learn veterinary practice under John Fisher, the most qualified veterinary surgeon in Cumberland. After a further two years learning the basic practical skills associated with the equerry business at Carlisle, he enrolled at the Edinburgh Veterinary College, where he studied under Professor William Dick (1793–1866), the founder of the Royal (Dick) School of Veterinary Studies. After five years of intensive study he graduated with several coveted qualifications; the Diploma of the Highland and Agricultural Society, the examination of the Royal College of Veterinary Surgeons, and the Royal Diploma. He became one of only two veterinary surgeons in Cumberland, to hold both Diploma's by examination. He obtained many academic distinctions including two silver medals for Anatomy and Physiology, and both first and second class certificates for Chemistry, Histology and Pathology.

## Agricultural progress

On 4 June 1860, he arrived at Aspatria with ‘half-a-crown’ (12.5p) in his pocket to take up the position of junior partner in the towns veterinary practice. He befriended Sir Wilfrid Lawson, 2nd Baronet of Brayton and together they became two of the prominent members of the Wigton, and later Aspatria Farmers Club. In 1869, along with William Norman and John Twentyman, the ‘dauntless three’ as they became known, he organised the annual Aspatria Agricultural Show. In the following year the trio founded the Aspatria Agricultural Cooperative Society and in 1874 they established the Aspatria Agricultural and Commercial School, later renamed the Aspatria Agricultural College. In 1893, after the sale of the Agricultural School the outgoing directors and shareholders acknowledged his many hours of unpaid tuition with the presentation of a piano, and a gold watch.

## Professional triumphs

He had many professional triumphs. He was one of the first to experiment with salt as a dressing on the land as a means of destroying insect pests. During his experiments he also discovered that salt acted as a deterrent to other parasitic and microbial diseases, such as ‘red water’ in cattle. He also anticipated the cure of milk fever in cattle, a discovery later attributed to the Danish biologist Karl Schmidt. In 1895 he enjoyed a degree of success in the treatment of foot and mouth, having seen many cases of the disease, and noted the heavy loss of cattle particularly when calving. As a writer he was an authority on veterinary and agricultural matters. For over forty years he edited the periodical, ‘North British Agriculturist’. His book entitled, Elementary Veterinary Science for Agricultural Students, Farmers, and Stock-Keepers, remains an authoritative text book 120 years after its first publication (1895) and is available in paperback form today. It went into seven editions, and was translated and referred to by all sides in the Great War. ‘Greens’ encyclopaedia (the leading authority of the day), contained thirty-six articles appearing under his name.

## Civic responsibilities

There were many examples of his civic work. He was a member of the Aspatria Urban District Council, the Wigton Board of Guardians; a Director of the West Cumberland Dairy Company, and the Aspatria Gas Works. He was president of the Aspatria RUFC, a trustee of the Aspatria National Schools; a founder member of the Aspatria Volunteer Fire Brigade. He was also a collector of public subscriptions initiated to erect the districts first footpaths. He was secretary of the Aspatria Agricultural College, the Cumberland Steam Ploughing Society and the Aspatria Model Building Society. He was also a member of the Council of Veterinary Associations, and the secretary to the Aspatria Agricultural Cooperative Society, for over fifty years. He was also an authority on the Cumbrian dialect.

## Public recognition

Harry Thompson preached the gospel of cooperation at every available opportunity and never tired of demonstrating its value to farmers. He succeeded in combating their apathy and their individuality, and worked for the society with a singleness and purpose that no monetary value ever did or could compensate. After the death of the ‘Grand Old Man of Cumberland Farming’ the following tribute appeared in the pages of the ‘Wheatsheaf’ magazine.

"There is no name more honourable in the records of agricultural co-operation than that of Henry Thompson of Aspatria Cumberland. Although a visionary surgeon and a leading authority on the pathology of animals for sixty years he found time not only to act as secretary of the Aspatria Agricultural Society, but also to champion the cause with his pen."

## Bibliography

* Henry Thompson MRCVS (1840). *Elementary Veterinary Science For Agricultural Students, Farmers And Stock-Keepers*. London.


title: Gaius Claudius Pulcher (consul 92 BC)

abstract: Gaius Claudius Pulcher was a Roman Republic consul in 92 BC, together with Marcus Perperna. His great-grandfather was Gaius Claudius Pulcher in 177 BC. In 100 BC, he was one of those took up arms against Saturninus. In 99 BC, he was curule aedile, and in the games celebrated by him elephants were for the first time exhibited in the circus, and painting employed in the scenic decorations. In 95 BC, he was praetor in Sicily, and, by direction of the senate, gave laws to the Halesini respecting the appointment of their senate. The Mamertines made him their patronus. He was consul in 92 BC. Cicero speaks of him as a man possessed of great power and some ability as an orator.

text:
# Gaius Claudius Pulcher (consul 92 BC)

**Gaius Claudius Pulcher** was a Roman Republic consul in 92 BC, together with Marcus Perperna. His great-grandfather was Gaius Claudius Pulcher in 177 BC.

In 100 BC, he was one of those took up arms against Saturninus. In 99 BC, he was curule aedile, and in the games celebrated by him elephants were for the first time exhibited in the circus, and painting employed in the scenic decorations. In 95 BC, he was praetor in Sicily, and, by direction of the senate, gave laws to the Halesini respecting the appointment of their senate. The Mamertines made him their patronus. He was consul in 92 BC. Cicero speaks of him as a man possessed of great power and some ability as an orator.

* This article incorporates text from a publication now in the public domain: Smith, William, ed. (1870). "Claudius (32)". *Dictionary of Greek and Roman Biography and Mythology*. Vol. 1. pp. 769–70.


title: Hanlin, Burma

abstract: Hanlin is a village near Shwebo in the Sagaing Division of Myanmar. In the era of the Pyu city-states it was a city of considerable significance, possibly a local capital replacing Sri Ksetra. Today the modest village is noted for its hot springs and archaeological sites. Hanlin, Beikthano, and Sri Ksetra, the ancient cities of the Pyu Kingdom were built on the irrigated fields of the Dry Zone. They were inscribed by UNESCO on its List of World Heritage Sites in Southeast Asia in May 2014 for their archaeological heritage traced back more than 1,000 years to between 200 BC and 900 AD.

text:
# Hanlin, Burma

**Hanlin** (also known as **Halingyi**, **Halin** and **Halim**) is a village near Shwebo in the Sagaing Division of Myanmar. In the era of the Pyu city-states it was a city of considerable significance, possibly a local capital replacing Sri Ksetra. Today the modest village is noted for its hot springs and archaeological sites. Hanlin, Beikthano, and Sri Ksetra, the ancient cities of the Pyu Kingdom were built on the irrigated fields of the Dry Zone. They were inscribed by UNESCO on its List of World Heritage Sites in Southeast Asia in May 2014 for their archaeological heritage traced back more than 1,000 years to between 200 BC and 900 AD.

## Geography

The archaeological sites of Hanlin, (also known as Halingyi, Halin, and Halim), are located above the village in the Watlet Township, Shwebo District, Sagaing Division. It has a population of about 6,400 (2014). It is 12 miles (19 km) to the southeast of Shwebo where 33 archaeological mound excavations have been carried out. One road goes for 6 miles (9.7 km) from the bus terminal to Bo Te village and then along a rough road which is under improvement. The other route is to the south of the bus station for 6 miles (9.7 km) along a bad, rocky road that leads to archaeological site 29 and the village. The village is slightly above the surrounding flat land. The land is generally barren except for some irrigated areas. Following the inscription of the site on the List of World Heritage Sites, approach road conditions for a distance of 16 kilometres (9.9 mi) from Shwebo to Halin are now under improvement with funding provided by Italy.

## History

Hanlin's history is linked to the history of the Pyu people who lived between the 2nd century BC to the 9th century AD in the kingdoms that existed at Binnaka, Mongamo, Sri Kshetra, and Halingyi. They spoke the Tibeto-Burman languages. Trade was conducted with China and India. The Pyu's authority extended to eighteen kingdoms, most of them in the southern region of Myanmar. They were refined in their behavior, dress habits, culture, art, and were Buddhists of the Sarvastivada school. The architectural styles which evolved from the 11th to 14th centuries are evident in the Pagan area. Initially their capital city was Sri Kshetra, at the northern edge of the Irrawaddy River delta. In the 7th century they moved their capital to Halingyi which is in the Dry Zone. For trade purposes with foreign countries they still operated from Sri Kshetra. Their southern neighbours were the Mon people who were followers of Theravada Buddhism.

Archaeological findings indicate that habitation existed in this area since the Bronze Age, and that Hanlin was established by the Pyu people only during the 1st or 2nd century BC.

Archaeologists have opined that Hanlin was the largest Pyu city until the 9th century AD. Subsequently, Sri Ksetra near Pyay became a more prominent city. However, over the years Pae culture was overshadowed by the Bagan culture.

### Legends

There are many legends to explain the sudden disappearance of the Pyu kingdoms. In one legend it is said that a hot sand storm destroyed most of Hanlin. This occurred because the king had murdered his brother with a dagger when he could not create a shower of diamonds to fall on a Chinese diplomat. His son had escaped the disaster that befell Hanlin only to return later as a Buddhist to establish the city and build the Shwegugyi Pagoda.This pagoda is now encircled by agricultural fields with many ancient stupas built of bricks, while Hanlin lies to the north and Halingyi to the south.

In another legend it is said that the misdeeds of a prince of Hanlin caused "a rain of ash and molten matter \[to\] pour down heavily and bury\[ing\] the city completely".

## Archaeological finds

Archaeological excavations have been carried out by the Department of Archaeological National Museum and Library during 1904–05, 1929–30, 1962 to 1967, and from 1963 to 2012. Thirty three mounds have been excavated so far in Hanlin City, in the southern and northern areas of Shwegugyi Pagoda, and in the old Halin town. These have unearthed structures of palace fortresses, cremation grounds, manufacturing sites, brick monuments of Buddhist stupas, walls in different sizes, and water management structures. Also unearthed were eleven human skeletons in fossilized condition.

Archaeological excavations at Hanlin village have also unearthed a city enclosed within walls which have twelve gates and show the tell tale marks of a moat. This city is in a rectangular shape and has an area of 541.4 hectares (1,338 acres). It is situated on an undulating terrain of volcanic material at a distance of about 16 kilometres (9.9 mi) from the Ayeyarwady River and 27 kilometres (17 mi) from the Mu River to its western side. In the explored area, hot water springs have been found which are stated to have curative properties. A particular find of interest is at excavation site designated HL-22 where three sets of standing stone slabs dating to the 2nd AD are indicative of the megalithic culture. The Southern Gateway has been dated to about 200 AD.

At a museum near the archaeological site of Shwegugyi there are exhibits which show archaeological finds from excavations including: human skeletal remains, along with pottery, jewelry, and bronze rattles laid in graves in a series of rows, found below ground. Carbon dating of some of the earliest grave finds indicate that they are almost 5,000 years old. The museum also has exhibits of finds of: silver coins, gold ornaments, bricks with inscriptions of texts, and many antiquities recovered from the Hanlin sites. The Pyu alphabet with links to Sanskrit and the present day Bamar language, inscribed on a tomb stone, is also on display.

In 2024, new radiocarbon dating gave a sequence of dates from the early third millennium BCE to the early second millennium CE. The earliest dates would make Halin the oldest known Neolithic site in mainland Southeast Asia.

## UNESCO inscription

In October 1996, Hanlin, Beikthano, and Sri Kestra were proposed to be inscribed on the UNESCO World Heritage List. This proposal was approved by UNESCO in the 38th session of the World Heritage Committee held in May 2014 in Doha, Qatar. According to the UNESCO report, the Pyu Kingdom prospered for over 1,000 years between 200 BC and 900 AD. All three sites are inscribed under Criterion (ii), (iii), and (iv) covering an area of 5,809 hectares (14,350 acres) with a buffer zone of 6,790 hectares (16,800 acres). The integrity assessment by UNESCO of the three sites is: "The completeness and reliability of dated archaeological sequences from the site, with the radiocarbon dates derived from intact architectural features dating back to 190 BCE, provide scientific proof of the entire one-thousand year period of occupation of the cities, and reinforces palaeographic dates provided by inscriptions in Pyu script on artifacts excavated at the site"

Halin Taungbo

## Bibliography

## InfoBox

| Halin | |
| --- | --- |
| City | |
| Hanlin – Pyu Ancient City | |
| HalinLocation in Burma | |
| Coordinates: 22°28′54″N 95°48′00″E / 22.48167°N 95.80000°E / 22.48167; 95.80000 | |
| Country | Burma |
| Region | Sagaing Region |
| District | Shwebo District |
| Township | Hanlin |
| Time zone | UTC+6.30 (MST) |


title: Ivan Novović

abstract: Ivan Novović is a Montenegrin professional footballer who plays as a defender for Budućnost.

text:
# Ivan Novović

**Ivan Novović** (born 26 April 1989) is a Montenegrin professional footballer who plays as a defender for Budućnost.

## InfoBox

Ivan Novović
| Personal information | | | |
| --- | --- | --- | --- |
| Date of birth | (1989-04-26) 26 April 1989 | | |
| Height | 1.80 m (5 ft 11 in) | | |
| Position(s) | Defender | | |
| Team information | | | |
| Current team | Budućnost | | |
| Number | 30 | | |
| Youth career | | | |
| 2000–2007 | FK Zeta | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2007–2010 | Zeta | 60 | (3) |
| 2010–2011 | FC Krasnodar | 1 | (0) |
| 2011–2013 | Zeta | 74 | (3) |
| 2013–2021 | OFK Titograd | 219 | (12) |
| 2021–2022 | FK Dečić | 10 | (1) |
| 2022– | Budućnost | 25 | (2) |
| \*Club domestic league appearances and goals, correct as of 29 May 2024 | | | |


title: Mountaineer Glacier

abstract: Mountaineer Glacier is in the U.S. state of Montana. The glacier is situated in the Mission Mountains at an elevation of 8,200 feet (2,500 m) above sea level and is north of Mountaineer Peak. The glacier covers approximately 15 acres (0.061 km⁲).

text:
# Mountaineer Glacier

**Mountaineer Glacier** is in the U.S. state of Montana. The glacier is situated in the Mission Mountains at an elevation of 8,200 feet (2,500 m) above sea level and is north of Mountaineer Peak. The glacier covers approximately 15 acres (0.061 km2).

## InfoBox

| Mountaineer Glacier | |
| --- | --- |
| Mountaineer GlacierLocation in Montana | |
| Type | Mountain glacier |
| Location | Mission Mountains, Missoula County, Montana, U.S. |
| Coordinates | 47°20′33″N 113°52′47″W / 47.34250°N 113.87972°W / 47.34250; -113.87972 |
| Area | Approximately 15 acres (0.061 km2) |
| Terminus | Talus |
| Status | Unknown |


title: Neck riddle

abstract: The neck riddle is a riddle where the riddler gains something with the help of an unsolvable riddle. Verlyn Flieger defines neck riddles as "questions that are unanswerable except by the asker, who thus saves his neck by the riddle, for the judge or executioner has promised release in exchange for a riddle that cannot be guessed". The name comes from the folk tales of type "Out-riddling the judge", when the hero "saves his neck" after outwitting a judge with riddles.

text:
# Neck riddle

The **neck riddle** is a riddle where the riddler (typically a hero in a folk tale) gains something with the help of an unsolvable riddle. Verlyn Flieger (citing Williamson, Archer Taylor and Hilda Ellis Davidson) defines neck riddles as "questions that are unanswerable except by the asker, who thus saves his neck by the riddle, for the judge or executioner has promised release in exchange for a riddle that cannot be guessed".

The name comes from the folk tales of type "Out-riddling the judge" (Aarne–Thompson classification system for folk tales #927), when the hero "saves his neck" (that is, avoids being sentenced to a death by hanging) after outwitting a judge with riddles.

## Examples

Neck riddles include Bilbo Baggins's final riddle to Gollum in *The Hobbit* ("What have I got in my pocket?") and Óðinn's final riddles to Vafþrúðnir in the Old Norse poem *Vafþrúðnismál* and to King Heiðrekr in the *Gátur Gestumblinda* in *Heiðreks saga* ("What did Óðinn whisper in Baldr's ear before Baldr was cremated?").

## Literary function

In the assessment of Roger D. Abrahams, neck riddles

> are not riddles but reportings of riddling situations in a dramatic context. They function in contexts of this sort not as riddles, but as devices which heighten dramatic tension and lead to a satisfying dramatic resolution. The answers cannot be decipherable to the audience because if they could be figured out, the narrative movement would be destroyed. But this is not true of most riddles which are descriptive and create a poetic image. \[...\] The neck-saving story commonly involves a confrontation with death by the protagonist. The story turns on how to convert Death into Life; and the theme of the riddles in nearly all cases turns on descriptions of oblique situations in which Life emerges phoenix-like from Death.

## Further reading

* F. J. Norton, "The Prisoner Who Saved His Neck with a Riddle", *Folklore*, 52 (1942), 27-57 (a survey of this type of story)