title: Willy Wielek-Berg

abstract: Willy Wielek-Berg was a Dutch translator, film critic, writer, columnist and resistance fighter. She translated the work of dozens of writers, including Joseph Roth, Heinrich Böll, Theodor Fontane, Grete Weil, JRR Tolkien, Muriel Spark, Nina Simone and Russell Banks.

text:
# Willy Wielek-Berg

**Willy Wielek-Berg** (June 14, 1919 – January 7, 2004) was a Dutch translator, film critic, writer, columnist and resistance fighter. She translated the work of dozens of writers, including Joseph Roth, Heinrich Böll, Theodor Fontane, Grete Weil, JRR Tolkien, Muriel Spark, Nina Simone and Russell Banks.

## Life and work

Wielek-Berg was born as **Willy Berg** in Steenwijk, the Netherlands, on 14 June 1919 to a traveling salesman Wilhelmus Johannes Berg and shopkeeper Jantje Klijzing. She attended the Hogereburgerschool in Zwolle and after finishing her education she was apprenticed to the regional daily newspaper *Zwolsche Courant*.

### War years

Wielek-Berg settled in Amsterdam in 1943. During World War II, she was influenced by a cousin to join a local communist-oriented resistance group called CS-6 (for Corellistraat 6) that was making bombs to sabotage the trains of the Nazi occupying forces. Wielek-Berg worked as a courier but with the other members of the group, she was arrested and sentenced to six months in prison in the House of Detention II on Amstelveenseweg. The Nazis murdered the rest of her group in prison but by feigning hysteria, Wielek-Berg managed to escape their fate and survived.

After the war, Wielek-Berg joined the Communist Party of the Netherlands and briefly wrote about art for *De Waarheid* (*The Truth*). But she was dismissed on the basis that her communist convictions were considered "not strong enough," as demonstrated by her decision to review the film *The Third Man* (1949). According to Amelink, "She shouldn't have written about a film that was ugly about the Russians."

### Career and Marriage

In 1947, Wielek-Berg began to write extensively about The Holocaust. In 1952, she married a man by the name of Henk Wielek; which was actually the pseudonym of the Jewish Polish-German writer, film critic and Member of Parliament of the Dutch Labor Party (1973-1978) Wilhelm Kweksilber. She took on his alias as part of her married name becoming Willy Wielek-Berg.

From the 1960s, Wielek-Berg began to focus on translating books and radio plays, and from 1970 she started reviewing films and books for the newspaper *Trouw*. In doing so, she had to limit her reviews to films considered in good taste and avoid immoral or blasphemous books or movies. At the time, Wielek-Berg did not dare publish a review of *Monty Python's Life of Brian* because of its blasphemous nature, even though she said in an interview that she "thought that was wonderful."

### Writings and death

In 1992, Wielek-Berg made her creative writing debut with the novel *De Lichten*, which was followed in 1995 by her collection of short stories titled after her cat *Zwarte de Pik van Botha*. When her husband, Kweksilber, began a slow decline due to Alzheimer's disease, Wielek-Berg cared for him until his death in 1988, unwilling to have him admitted to a care home and running the risk that he would become frightened thinking that he was living in a concentration camp.

Wielek-Berg continued writing "until the end. She devoured detective novels by the hundreds." She died in Amsterdam at 84 on 7 January 2004 after a short illness.

## Selected works

* 1960: Commander of Auschwitz; self-portrait of an executioner (translation of an autobiography of Rudolf Höss )
* 1964: Death in Rome (translation of Der Tod in Rom by Wolfgang Koeppen )
* 1968: The Blacksmith of Great Wolding (translation from *Smith of Wootton Major*, by J. R. R. Tolkien)
* 1971: Tolkien's Fairy Tales 1 (translations)
* 1976: The Infant of Death Radio Play
* 1977: Tolkien's Fairy Tales 2 (translations)
* 1981: Radetzkymars (translation of the novel by Joseph Roth)
* 1992: The Lights (novel)
* 1995: *Zwarte de Pik van Botha (*Botha's Black Cock) (short story collection named after her cat)

## InfoBox

| Willy Wielek-Berg | |
| --- | --- |
| Born | Willy Berg
14 June 1919
Steenwijk, the Netherlands |
| Died | 7 January 2004
Amsterdam, the Netherlands |
| Nationality | Dutch |
| Occupation(s) | Translator, critic, writer |
| Spouse | Wilhelm Kweksilber |


title: The Ovation

abstract: The Ovation, more commonly known as Ovation, was a Thai music band from 1982 to 1992. From 1982 to 1988, the band was in Nititad Promotion record label, and from 1989 to 1992 was in Pro Media Mart record label. The band consists of seven members.

text:
# The Ovation

**The Ovation**, more commonly known as **Ovation**, was a Thai music band from 1982 to 1992. From 1982 to 1988, the band was in Nititad Promotion record label, and from 1989 to 1992 was in Pro Media Mart record label. The band consists of seven members.

## History

The band was debut in 1982, and in 1985 Waiyawut Sakunsapphaisan, brother of Wirun Sakkunsapphaisan became the lead male singer with Patchara Wangwan as the lead female singer. The band releases an album once a year. The lead female singer was changed three times, first time in 1987 to Pornpimon Tummasarn.

After Pornpimon left the band in 1989, the band has ended contract with Nititad Promotion, forcing it to be moved to Pro Media Mart, a smaller record label. The band was then go into the decline. The last album Ovation 212, released in 1992, has had less sales than ever.

## Band members

* "ช็อกอดีตนักร้อง เอ๋-พัชรา แขวนคอ-ฆ่าตัว!". *Thairath Online* (in Thai). 13 October 2012. Retrieved 8 March 2018.


title: Mihail Simonidi

abstract: Mihail Simonidi or, in French, Michel Simonidy was a Romanian painter, designer and decorator of Greek descent who worked in the Art Nouveau style.

text:
# Mihail Simonidi

**Mihail Simonidi** or, in French, **Michel Simonidy** (8 March 1870, Bucharest \- 7 February 1933, Paris) was a Romanian painter, designer and decorator of Greek descent who worked in the Art Nouveau style.

## Biography

He came from a Greek family that had settled in Muntenia and was originally named **Menelas Simonides**.

In Paris, he was a pupil of Léon Bonnat and Gabriel Ferrier and was best known for his genre scenes and nudes. He received an honorable mention at the Exposition Universelle (1889). His "Death of Mithridates" also won a medal at the Salon, where he exhibited from 1908 to 1912.

As did most of those who worked in the Art Nouveau style, he designed numerous posters, including advertising for Braun-Clément & Cie. (photographers) and *Le Figaro* as well as one for a performance of *Théodora* by Victorien Sardou, starring Sarah Bernhardt. He occasionally collaborated with Jean de Paleologu (known as "Pal").

He returned to Romania intermittently to do interiors. His best-known work involved decorations for the Hall of Honor and the ceiling of the boardroom at the CEC Palace, designed by the French architect, Paul Gottereau. The ceiling depicts Fortuna and the Romanians following the War of Independence. A study for the mural won a silver medal at the Exposition Universelle (1900).

His portraits of King Carol I and Queen Elisabeth were destroyed by the Communist régime. In 2004, the contents of his studio were auctioned off at the Hôtel Drouot.

## Selected works

## Sources

* Tudor Octavian, *Pictori români uitați* (Forgotten Romanian Painters), Noi media print, 2003, pg.73 ISBN 973-79590-2-7
* *Michel Simonidy: 1872-1933 : album*, I. C. Advertising, 2006 ISBN 973-00467-8-6
* Gabriel Badea-Păun, *Pictori romani in Franta 1834-1939*, Noi Media Print, 2012, pgs.240-245 ISBN 606-5720-14-3


abstract: The University Library at the University of Illinois Urbana-Champaign comprises a network of physical and digital libraries. It provides resources and services to the university's students, faculty, staff, and the broader academic community.

text:
# University of Illinois Urbana-Champaign University Library

The **University Library** at the University of Illinois Urbana-Champaign comprises a network of physical and digital libraries. It provides resources and services to the university's students, faculty, staff, and the broader academic community.

## History of the University Library

The University Library came into being before the university with which it is affiliated, as the university board considered it essential that students and faculty would have books waiting to greet them when the university opened its doors. However, this earliest collection was very small and did not yet have its own library building. As a result, the University Library has moved as it has grown throughout its history, a trend that continues to this day. While its collections had previously resided elsewhere, Altgeld Hall (known as Library Hall at the time) was the first building built specifically to house the university's library. Today, Altgeld Hall is home to the university's Math Department; the University Library moved in the 1920s to what is now called the Main Library.

### Growing collections

The earliest Library collection consisted of around one thousand items. The collection remained small for some time, and in the early 1900s the Library was smaller than those of other large public libraries, as well as private institutions such as the University of Chicago. This would, however, quickly change. Between the mid-1930s and 1940, the library expanded its collection significantly. By certain metrics, such as the number of volumes, it was ranked as the fifth-largest academic library in the United States at that time. A strong library collection became increasingly important to the university's standing and to its retention of students, as well as to the implementation of a successful graduate school program at the university.

The Undergraduate Library (UGL) emerged in part from the surge in collections, deriving both from the influx of the shuttered University of Illinois at Galesburg's collection in 1949 and from the need to grant undergraduates free access to research materials. The Undergraduate Library building was constructed in 1969, built underground in order to maintain open spaces and leave unobstructed sun for the university's experimental cornfield. The Oak Street High Density Storage facility also grew out of the surge in collections. The facility, which opened in 2004, provides a "climate-controlled" environment for the integrity of the materials housed therein, and is kept around "50°Fahrenheit and 30% humidity."

### University librarians

Early board members' concern for the University Library did not extend beyond purchasing books for student and faculty use: the Library lacked a librarian, and for more than twenty years, between 1873 and 1894, faculty members assumed the management of the small collection. Percy Bicknell, hired in 1894 as the first University Librarian, strove to bring the University Library into line with its counterparts throughout the country, beginning the University Library's tradition of Dewey cataloging as well as creating the Library's first card catalog.

Bicknell was let go in 1897, replaced by the progressive and reference-minded Katharine Sharp. Sharp, who took up the reins as the Library moved into Altgeld Hall, left a lasting mark both on the University Library and the university as a whole. Along with her work in the University Library, Sharp brought the Graduate School of Library and Information Science to the university. At the time, it was the only library science school in the Midwest, and one of only four in the nation.

University Librarians following Bicknell and Sharp have continued the Library's innovative traditions. They have also fought for patrons' right to privacy according to the American Library Association's code of ethics and its Library Bill of Rights. Paula Kaufman, University Librarian from 1999 to 2003, received several awards for her work protecting intellectual freedom and patron privacy, including the Robert B. Downs Intellectual Freedom Award and an award from the American Library Association's Office of Intellectual Freedom.

### Online catalog

University librarians contributed to the development of online card catalogs, participating in the broader movement towards library automation. The University Library's first foray into automation of library services came in 1974, with the use of OCLC workstations for the cataloging of monographs at the library. In short order the technology was put to use cataloging serials, which was seen as a step on the way to the creation of a fully computerized, web-based card catalog. Hugh Atkinson, University Librarian from 1976 to 1986, made the enhancement and creation of automated catalogs and cataloging one of his and the Library's priorities during his tenure. Atkinson, who brought experience with library technology to the University Library, oversaw the implementation of MARC standards, or Machine-Readable Cataloging. Atkinson's dream of a fully automated library began to bear fruit in the late 1970s and early 1980s, as University Library patrons were for the first time able to request books on library computers.

Atkinson's 1986 death brought with it a shift towards other facets of library automation. In 1994, the Grainger Engineering Library Information Center introduced both public and staff PC workstations with internet connectivity, aligning with technological advancements of the time. For a time, Grainger's web servers ran the University Library's website. In the early 1990s librarians at the university, including current Grainger head librarian William Mischo, worked to give patrons access to full-text article searching and implemented an early federated search.

## Collections

The University of Illinois Urbana-Champaign Library is one of the largest public academic libraries in the United States, "more than thirteen million volumes and 24 million items and materials in all formats, languages, and subjects, including 9 million microforms, 120,000 serials, 148,000 audio-recordings, over 930,000 audiovisual materials, over 280,000 electronic books, 12,000 films, and 650,000 maps." Beyond print books, the University Library's collections include DVDs, video games, and comic books. The University Library holds a significant collection of Indian comics, one of the largest of its kind in North America, featuring works in Hindi and other Indian languages. The Library also owns two copies of a brick from Abraham Lincoln's home, both by mason Harry C. Jorgensen (they are non-circulating but can be viewed at the library). Other items in the collection include e-books, microform, government documents, electronic and print academic and scientific journals, audio books, and loanable technology, including laptops, multimedia equipment, and graphing calculators.

The Library Office of Collections honors faculty who are newly tenured or promoted by allowing them to select a book for the Library collections. Bookplates in honor of the faculty or staff member are affixed to a chosen book, and the member's discussion of their choice is printed and made available to the general public on the Library's website.

All Library affiliates, including faculty, staff, and students, can recommend that an item be purchased for the Library collection at any time.

### I-Share and Interlibrary loan

The University Library is part of the Consortium of Academic and Research Libraries in Illinois, or CARLI. CARLI manages the shared catalog I-Share with 138 members, or more than 94% of the academic libraries in the state. I-Share libraries are able to share books, DVDs, print journals, and other collections with each other. The University Library is the largest single library in the CARLI/I-SHARE system, and as such, its collections are the backbone of the wider I-SHARE collections.

Additionally, the Library participates in WorldCat. WorldCat, OCLC's international database linking library collections throughout the world, allows patrons at the University Library and beyond to access the materials they need for their research, whether from their own library or another.

### IDEALS

The Illinois Digital Environment for Access to Learning and Scholarship, known as IDEALS, is the University of Illinois Urbana-Champaign's institutional repository. Since 2010, Master's theses and Ph.D. dissertations completed at the University of Illinois Urbana-Champaign have been deposited in IDEALS. Scholars may decide to whom, and how soon, their works should be available. They may choose to make their dissertations or theses available to the general public or restrict them to University of Illinois Urbana-Champaign affiliates. Additionally, they may choose to restrict their work entirely, ensuring that for a period of two years after graduation it will remain embargoed. In addition to dissertations and theses, IDEALS contains research by many of the scholars and departments at the University of Illinois Urbana-Champaign, much of which is freely available to the general public.

### Special collections

The Rare Book & Manuscript Library (RBML) at Illinois acquired the Gwendolyn Brooks archives in 2014, reflecting its role in promoting literary studies and outreach activities. RBML also holds the Carl Sandburg archives, and in 2013 librarians with RBML discovered previously unknown poems among the poet's papers. Additionally, the Rare Books & Manuscript Library holds personal archives of French novelist Marcel Proust; English writers John Milton, H.G. Wells, and Anthony Trollope; English politician Benjamin Disraeli; and Olympian and former president of the International Olympic Committee, Avery Brundage.

The University Library's Illinois History and Lincoln Collection preserves and makes available a large collection of documents and publications pertaining both to the sixteenth president of the United States and to the history of the state of Illinois. Among other famed collections, the University Library contains strong Slavic and Eastern European collections, as well as strong collections in subjects as diverse as music, literature, history, maps, sciences, and serials. In this context, the term "serial" includes periodicals such as journals, magazines, and newspapers, as well as yearbooks.

The University Archives preserves and collects records, publications, correspondence, and personal papers from or about the University of Illinois Urbana-Champaign community. Items collected range from yearbooks, called "Illios," to fraternity documents to newspapers covering University sports, new initiatives, and even world wars. The Archives curates and organizes both physical and digital collections. The University of Illinois Archives is also the repository for the American Library Association's archives. It includes the Student Life and Culture Archives, which, since its foundation in 1989, has focused on preserving documents related to its titular student life and culture on the campus. The Sousa Archives and Center for American Music, in the Harding Band Building, holds many of American composer and bandleader John Philip Sousa's personal and professional archives. The Sousa Archives is also the home of Herbert L. Clarke's archives, as well as those of the late classical composer Salvatore Martirano, including manuscripts, scholarly work, letters and personal communication, and more. In addition to its more well-known collections, the Sousa Archives actively works to patronize and preserve regional performing arts through its Urbana-Champaign Local Music Preservation Initiative, a local music collection at the archive, and exhibits highlighting local music and musicians.

### Digital collections

The University Library is involved with several digitization projects. The History, Philosophy, and Newspaper Library's Illinois Digital Newspaper Project, begun in 2005, has made digitized versions of nearly 50 different newspapers available online. The project is ongoing, and the University Library hopes to digitize considerably more of its large newspaper collection. Similarly, the university's famed emblem book collection has begun to be digitized, with many emblems now available for perusal on an open-access website hosted by the University Library.

The University Library is committed to increasing access to its public domain works, and as such is currently working with Google Books; the Committee on Institutional Cooperation and Google; and the Open Content Alliance and its partners HathiTrust, Internet Archive, and Illinois Harvest.

## Services

The University of Illinois Urbana-Champaign Library offers a variety of services for its affiliates and community members.

### Research assistance

The University Library serves researchers of all levels. They can assist with finding information and scholarship across disciplines through reference and instructional services.

#### Ask-A-Librarian

Ask-A-Librarian is the Library's instant messaging reference service. Illinois faculty, staff, and students can chat with a librarian for extended hours and get their questions answered from wherever they are. The service is often open the same hours as the information desk or for additional night and weekend hours after the information desk closes. Chat boxes are conveniently located on most Library webpages and vendor databases pages. Research assistance is also available via text messaging and phone.

#### Subject liaisons

Subject librarians are available to provide expert assistance to all departments and colleges on campus. The department's subject librarian, who often has an additional degree or significant training in that department's subject area, is available to help affiliated faculty, staff, and students with library research. They also create webpages and other guides to help students taking courses in their subject area. Instructors can request that their subject librarian come to their class for a library instruction session.

### Data assistance

Under White House and Office of Science and Technology Policy mandate, several grant funding agencies and organizations now require all applicants to submit a data management plan in order to receive funding. The University Library provides services to help researchers save, find, use, retrieve, analyze, and visualize their data.

#### Research data service

The Library's Research Data Service (RDS) is a partnership between the Office of the Vice Chancellor for Research, the Provost, the Library, GSLIS, CITES, and NCSA. RDS offers researchers information on data management plans (DMPs) for different agencies as well as tips and tricks for effectively organizing and sharing data with co-researchers. Illinois affiliates can set up consultations with a data specialist for more information.

#### Scholarly commons

Located on the third floor of the Main Library, the Scholarly Commons is a hub for digital and data-based research. The space includes software packages and hardware for data visualization, manipulation, and analysis, including ArcGIS, R, and Atlas.ti. In addition to tools, many experts staff the Scholarly Commons. These experts have experience and knowledge in digitization, metadata creation and schemas, copyright law, statistical analysis, database design, and digital humanities. All experts are available to provide consultation to Illinois affiliates needing assistance in their area. Additionally, Scholarly Commons staff manage IDEALS, the Library's university repository and host events on a variety of topics, including altmetrics and the non-academic job search.

#### Data management series

The University Library offers multiple workshop sessions on data management. These sessions cover file naming, metadata, sharing, storage and permanence. All workshops are supplemented with a guide on data management best practices.

### Instructional services

The University Library offers numerous forms of instruction to its affiliates.

#### Subject librarian instruction

Because every academic unit on the University of Illinois Urbana-Champaign campus has an affiliated subject librarian, instructors from that area can request their subject librarian teach sessions on library searching, resource evaluation, data management, and information literacy. The Undergraduate Library also offers instructional sessions for Rhetoric, ESL, and Communication classes.

#### Savvy Researcher workshops

Savvy Researcher workshops are open to all Illinois affiliates. These 50-minute sessions cover a range of topics, all of which help affiliates do advanced research, searching, evaluation, and data analysis. Workshops help students, faculty, and staff navigate the full research life cycle, from the literature review to citation management. A sample of workshop titles include "The Literature Review Demystified," "Google for Scholars," "Finding Grants to Support Your Research," and "Improve Your Research Strategies".

#### Learn pages

The Library has specific pages devoted to learning how to use library resources. These web pages, entitled "learn", teach affiliates and community members about library resources, software, and information and citation management practices.

### Tours and orientations

There are several options for those hoping to tour the Main Library space. Tours are offered at the beginning of every Fall and Spring semester. These are open to all affiliates, especially incoming students hoping to know more about library services.

Tours are also available for any Illinois group on request. Any Illinois affiliate can also contact the information desk to receive a personal tour of the Main Library space. The library offers virtual tours with extended explanations and pictures of each departmental library.

The Library also participates in many campus and departmental orientations. Any student can access Library orientation information from the Library's informational guide.

### Outreach and events

The University Library often holds events on topics relating to Library collections, services, and patron interests. For example, the Rare Book & Manuscript Library often curates displays and holds events when they procure new collections. They also hold yearly events celebrating important anniversaries, including Shakespeare's birthday, publicized through their newsletter.

Other departmental libraries, including the International and Area Studies Library (IAS) and the University Archives regularly offers events open to the community. All Library events and announcements are announced on the calendar.

### Courtesy borrowing card

Because Illinois is a public, land-grant institution, any resident of the state of Illinois with a photo ID can request a borrowing card. Proof of Illinois address is needed before a card can be issued. Courtesy borrowing cards are accepted at all departmental libraries within the Illinois system. They are valid for one year.

Courtesy cards do not make community members eligible for services like Interlibrary loan or I-Share borrowing services. Additionally, library staff can retrieve items from the Main Stacks for any community member; however, community members will not be granted access to the stacks.

Additionally, anyone with a library card from a library with CARLI membership can check out books from any Illinois departmental library. They will simply check the books out under their home institution's record. Likewise, anyone from a library within the Big Ten Academic Alliance (formerly Committee on Institutional Cooperation-CIC) can borrow materials from the university by using the library card issued to them from their home institution. Illinois' library has a borrowing agreement with both of these organizations.

## Libraries

The University Library consists of numerous departmental and special libraries, including both virtual and physical spaces.

### Departmental libraries

* ACES (Funk) Library
* Architecture and Art (Ricker) Library
* Center for Children's Books
* Chemistry Library
* Classics Library
* Communications Library
* Engineering (Grainger) Library
* Health Sciences Library
* History, Philosophy, and Newspaper Library
* Illinois Fire Service Institute Library
* Illinois History and Lincoln Collections
* International and Area Studies Library
* Law Library
* Literatures and Languages Library
* Map Library
* Mathematics Library
* Music and Performing Arts Library
* Prairie Research Institute Library
* Rare Book and Manuscript Library
* Scholarly Commons
* Social Sciences, Health, and Education Library
* Sousa Archives & Ctr. For American Music
* Student Life and Culture Archives / Archives Research Center
* Undergraduate Library
* University Archives
* Veterinary Medicine Library

### Virtual libraries

* Biology Virtual Library
* Business Information Services (BIS)
* Geology Virtual Library
* Government Information Services
* International Reference
* LIS Virtual Library
* Physics & Astronomy Virtual Library

40°06′17″N 88°13′44″W / 40.1047°N 88.2288°W / 40.1047; -88.2288


title: Three Women in Church

abstract: Three Women in Church is an 1881 oil painting by the German realist painter Wilhelm Leibl which is in the collection of the Kunsthalle Hamburg.

text:
# Three Women in Church

***Three Women in Church*** (German: ***Die drei Frauen in der Kirche***) is an 1881 oil painting by the German realist painter Wilhelm Leibl which is in the collection of the Kunsthalle Hamburg.

## History and description

The painting depicts three generations of German peasants sitting together in a pew at the village church in Berbling near Bad Aibling, Bavaria. Leibl had left his previous base in Munich to live amongst the people of the countryside and record their everyday life. This work followed a series of such paintings and was the high point of his artistic career, taking some three and a half years to complete. The three women featured in the work were modelled by locals and the painting carried out in situ in the church.

A problem arose when the church pastor died in 1878 shortly after work on the painting began and his replacement refused permission for Leibl to continue. Only the intervention of Luitpold, the Prince Regent of Bavaria, overcame the difficulty. Leibl also had to deal with the problem of capturing the detail of the women's features and clothing in his realistic style in the gloom of a country church and with problems of perspective which meant that the women's hands were made disproportionately large.

## InfoBox

| Three Women in Church | |
| --- | --- |
|  | |
| Artist | Wilhelm Leibl |
| Year | 1881 |
| Medium | oil on mahogany |
| Dimensions | 113 cm × 77 cm (44 in × 30 in) |
| Location | Kunsthalle Hamburg, Hamburg |


title: Isenburg-Braunsberg

abstract: Isenburg-Braunsberg was the name of a state of the Holy Roman Empire, based around the hill Braunsberg. It was created as a partition of Isenburg-Isenburg in 1199 (1210). In 1338 Isenburg-Braunsberg became an Imperial County. It slowly acquired territories of the County of Wied, being renamed to Isenburg-Wied in 1388.

text:
# Isenburg-Braunsberg

| **Isenburg-Braunsberg** | |
| --- | --- |
|  | |
| **1199 (1210) – 1379** | |
|
 |
| **Capital
Circle
Bench** | Braunsberg
none
none |
| Partitioned from Isenburg-Isenburg | 1199 (1210) |
| Renamed to Isenburg-Wied | 1388 |
|

**Isenburg-Braunsberg** was the name of a state of the Holy Roman Empire, based around the hill Braunsberg (near Anhausen in modern Rhineland-Palatinate, Germany). It was created as a partition of Isenburg-Isenburg in 1199 (1210). In 1338 Isenburg-Braunsberg became an Imperial County. It slowly acquired territories of the County of Wied, being renamed to Isenburg-Wied in 1388.

## Counts of Isenburg-Braunsberg


title: Mendes, Rio de Janeiro

abstract: Mendes is a municipality located in the Brazilian state of Rio de Janeiro. Its population was 18,648 (2020) and its area is 96 km⁲ (37 sq mi).

text:
# Mendes, Rio de Janeiro

**Mendes** (Portuguese pronunciation: \[ˈmẽdʒis\]) is a municipality located in the Brazilian state of Rio de Janeiro. Its population was 18,648 (2020) and its area is 96 km2 (37 sq mi).

## InfoBox

| Mendes | |
| --- | --- |
| Municipality | |
| Município de Mendes | |
| Railway Station | |
|  | |
| Location of Mendes in the state of Rio de Janeiro | |
| MendesLocation of Mendes in Brazil | |
| Coordinates: 22°31′37″S 43°43′58″W / 22.52694°S 43.73278°W / -22.52694; -43.73278 | |
| Country | Brazil |
| Region | Southeast |
| State | Rio de Janeiro |
| Government | |
| Prefeito | Rogério Riente (PP) |
| Area | |
| Total | 96.300 km2 (37.182 sq mi) |
| Elevation | 395 m (1,296 ft) |
| Population (2020 ) | |
| Total | 18,648 |
| Time zone | UTC-3 (UTC-3) |
| Website |  |


title: Menegazzia prototypica

abstract: Menegazzia prototypica is a species of lichen found in Australia. It was described as new to science in 1992.

text:
# Menegazzia prototypica

***Menegazzia prototypica*** is a species of lichen found in Australia. It was described as new to science in 1992.

## InfoBox

| *Menegazzia prototypica* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Fungi |
| Division: | Ascomycota |
| Class: | Lecanoromycetes |
| Order: | Lecanorales |
| Family: | Parmeliaceae |
| Genus: | *Menegazzia* |
| Species: | ***M. prototypica*** |
| Binomial name | |
| ***Menegazzia prototypica***<br>P.James (1992) | |
|


title: Merchants Avenue Historic District

abstract: The Merchants Avenue Historic District in a residential neighborhood southeast of the downtown in Fort Atkinson, Wisconsin, composed of 33 mostly large homes on large lots within six city blocks around Merchants Avenue. It was placed on the United States National Register of Historic Places in 1986.

text:
# Merchants Avenue Historic District

The **Merchants Avenue Historic District** in a residential neighborhood southeast of the downtown in Fort Atkinson, Wisconsin, composed of 33 mostly large homes on large lots within six city blocks around Merchants Avenue. It was placed on the United States National Register of Historic Places in 1986.

## History

Because of its proximity to the Main Street mercantile area, Merchants Avenue became a natural residential location for many businessmen and professionals. Home designs were influenced by the gilded age attitude toward architecture. This resulted in many different architectural styles used in the district, including Greek Revival, Italianate, Second Empire, Queen Anne and Spanish Colonial. The predominant building materials used were either the locally manufactured yellow brick or wood, framed into houses with clapboard walls and shingled roofs.

## Notable buildings

These are some of the notable buildings in the district, listed in the general order built. The procession of architectural styles is similar to the rest of southern Wisconsin.

* The Dwight Foster house at 414 Foster Street is Fort Atkinson's oldest frame house. It was built in 1841 by Charles Rockwell and sold to Foster a few years later. The house has a simple gabled-ell form with Greek Revival style frieze and cornice returns. In the early years Foster used the house as an inn and post office. It was first built on Main Street, but later moved to its current site at the Hoard Museum. The lumber used was floated down the Rock River from Watertown. Wooden pegs are used throughout and it has cherry cellar stairs.
* The Peter Craig house at 513 Foster St. is a cottage built of cream brick in 1855. Its style is Gothic Revival, characterized by the steep roof, the delicate brackets, and symmetry.
* The Arthur R. Hoard House at 323 Merchants Ave is the most elaborate building in the district. It was built between 1853 and 1865 for George P. Marston as a 2-story Italianate house, then expanded and restyled as Queen Anne in 1898 by Hoard.
* The Joseph Winslow house at 109 S. Third St is a small, Second Empire-style house built in 1861 with a central front tower.
* The Hoard Historical Museum at 407 Merchants Avenue was built in 1864 for merchant Reuben White, a two-story brick house with Gothic Revival brackets under the eaves. A wing was added in 1875 and in 1906 Frank Hoard doubled the size of the building and renovated it with an Arts and Crafts motif. The Hoard family donated the building to the city in 1956 for use as a museum. Since then three major additions have been added, including the National Dairy Shrine in 1981.
* The M.H. Ganong house at 332 Merchants Ave is a fine 2-story cream brick Italianate home built 1871–73, with broad eaves, oculus windows, and other windows with carved hood molds. Ganong was a prominent merchant, ran a stagecoach line, and served as mayor and postmaster. In the 1930s Harriet Hoard Becker remodeled the house.
* The Frank Allen house at 507 Foster is another 2-story cream brick Italianate house with wide eaves and hood molds above the windows, built in 1876 with a 2-story bay window on its south side.
* The Horace Willard/Della & Chester Caswell house at 303 Merchants Ave is a two-story house with a Second Empire-styled mansard roof built in 1881. Otherwise it is rather like the Italianate houses above, with cream brick walls, hood molds above the windows, and a two-story bay window. The home is accompanied by a mansard-roofed garage. Horace Willard, a physician, had it built for his daughter Della and her husband Chester Caswell, who was a banker.
* The George Klein house at 500 Whitewater Ave is a 2.5-story house with a somewhat Craftsman style and a carriage house out back.
* The Herbert Vickery house at 430 Whitewater Ave is a 2.5-story late Queen Anne-styled house built in 1908 for Vickery, a merchant. Hallmarks of the style are its asymmetry, the corner tower, and the complex hip roof. A 2-story horse barn sites toward the back of the lot.
* The O.W. Donkle house at 506 Whitewater Ave is a 2.5-story house built in 1910 for Donkle, a cashier at Fort Atkinson Savings Bank. The general massing and varied textures are Queen-Anne-ish. The Palladian windows, returned eaves, and pediment in the front porch are Classical Revival details, which is a typical mix for late Queen Anne.
* St. Peter's Episcopal Church at 302 Merchants Ave is a Spanish Colonial Revival church built in 1928. It has a stucco exterior, buttresses, and a stylized bell tower. The church was designed by Eschweiler and Eschweiler of Milwaukee.

## InfoBox

|  | |
| --- | --- |
| Merchants Avenue Historic District | |
| U.S. National Register of Historic Places | |
| U.S. Historic district | |
|  | |
| Hoard Museum | |
|  | |
| Location | Roughly bounded by S. Third St. E and S. Milwaukee Ave. E, Foster St., Whitewater, and Merchant Aves |
| Nearest city | Fort Atkinson, Wisconsin |
| Coordinates | 42°55′27″N 88°50′6″W / 42.92417°N 88.83500°W / 42.92417; -88.83500 |
| NRHP reference No. | 86001303 |
| Added to NRHP | June 13, 1986 |


title: Mercer Oak

abstract: The Mercer Oak was a large white oak tree that stood in Princeton Battlefield State Park in Princeton, New Jersey. The tree was about 300 years old when it was torn by strong winds in March 2000. It was the emblem of Princeton Township and appeared on the seal of the township. The tree is also the key element of the seal of Mercer County, New Jersey. The Mercer Oak was named after Hugh Mercer, a brigadier general in the Continental Army during the American Revolution. During the Battle of Princeton, Mercer was stabbed by an English soldier's bayonet. According to legend, he was unwilling to abandon his troops, and rested on the tree's trunk while they stood their ground. After the battle, Mercer was taken to the Clarke House where he died from his injuries nine days later. After a lightning storm in 1973 dropped a large branch of the original "Mercer Oak," Ned Brown, a local artisan cabinet fabricator from Skillman, NJ, had the insight to preserve some of the lumber. Pieces of the preserved lumber were later integrated into the woodwork of a local restaurant. The inlay includes the craftsman's representation of a silhouette of the oak tree, as well as sections of oak throughout the bar. The balance of the fallen branches were left in the hands of Princeton's Historical Society. On March 3, 2000, a wind storm felled the oak's last four branches. For public safety reasons, arborists cut off the remnants of the trunk the day after the tree fell. Following the tree's death, several scions from the tree were planted around the battlefield. In May 2000, an 8-foot sapling grown from a Mercer Oak acorn was planted inside the stump of the former tree.

text:
# Mercer Oak

The **Mercer Oak** was a large white oak tree that stood in Princeton Battlefield State Park in Princeton, New Jersey. The tree was about 300 years old when it was torn by strong winds in March 2000. It was the emblem of Princeton Township and appeared on the seal of the township. The tree is also the key element of the seal of Mercer County, New Jersey.

The Mercer Oak was named after Hugh Mercer, a brigadier general in the Continental Army during the American Revolution. During the Battle of Princeton, Mercer was stabbed by an English soldier's bayonet. According to legend, he was unwilling to abandon his troops, and rested on the tree's trunk while they stood their ground. After the battle, Mercer was taken to the Clarke House where he died from his injuries nine days later.

After a lightning storm in 1973 dropped a large branch of the original "Mercer Oak," Ned Brown, a local artisan cabinet fabricator from Skillman, NJ, had the insight to preserve some of the lumber. Pieces of the preserved lumber were later integrated into the woodwork of a local restaurant. The inlay includes the craftsman's representation of a silhouette of the oak tree, as well as sections of oak throughout the bar. The balance of the fallen branches were left in the hands of Princeton's Historical Society.

On March 3, 2000, a wind storm felled the oak's last four branches. For public safety reasons, arborists cut off the remnants of the trunk the day after the tree fell. Following the tree's death, several scions from the tree were planted around the battlefield. In May 2000, an 8-foot sapling grown from a Mercer Oak acorn was planted inside the stump of the former tree.

40°19′47″N 74°40′29″W / 40.3297°N 74.6746°W / 40.3297; -74.6746


title: Tomás Bairéad

abstract: Tomás Bairéad (1893–1973) was an Irish author and nationalist. Born in Galway, his father was called Michael Barrett and his mother Mary McDonough. He had two sisters and one brother. He was a member of the Moycullen group of the Irish Volunteers in 1916 and soon after became an IRA volunteer. He was also a member of the Irish Republican Brotherhood (IRB) and Sinn Féin. He was part of a group of Volunteers who were involved in the burning of the RIC Barracks in Rosmuc in 1920. He began his journalistic career with the Galway Express, a weekly republican paper. In 1922 he joined the Irish Independent, writing on politics, and would later become the newspaper's editor in 1945. While working for the Independent he was presented the Irish Academy of Letters Award (1938). Bairéad also invented his own Irish shorthand. His close friend, Máirtín Ó Cadhain, urged him to leave the IRA to focus on his writings.

text:
# Tomás Bairéad

**Tomás Bairéad** (1893–1973) was an Irish author and nationalist. Born in Galway, his father was called Michael Barrett and his mother Mary McDonough. He had two sisters and one brother. He was a member of the Moycullen group of the Irish Volunteers in 1916 and soon after became an IRA volunteer. He was also a member of the Irish Republican Brotherhood (IRB) and Sinn Féin. He was part of a group of Volunteers who were involved in the burning of the RIC Barracks in Rosmuc in 1920. He began his journalistic career with the Galway Express, a weekly republican paper. In 1922 he joined the *Irish Independent*, writing on politics, and would later become the newspaper's editor in 1945. While working for the *Independent* he was presented the Irish Academy of Letters Award (1938). Bairéad also invented his own Irish shorthand. His close friend, Máirtín Ó Cadhain, urged him to leave the IRA to focus on his writings.

## Early life

Thomas Barrett (1893–1973), An Bairéadach, or Tomás Bairéad, as he was also known, was a journalist and Irish language author. He was born on 7 July 1893 in Ballydotia, Moycullen, County Galway. He married Ellen Maher (1903–1947) from Clonard, county Westmeath in Corpus Christi Church, St Martin's (Maiden Lane), London on 25 June 1930. Ellen's father, James was also a farmer. They had two daughters, Treasa, a nurse, and Maura, a librarian.

He was a fine athlete and sportsman, and as a young man played Gaelic football and hurling with his native parish team. When he was barely 17 years of age, Bairéad was involved in cattle rustling. The cattle, in the ownership of the landlord George Burke, were driven from Burke's land at Cnoc a' tSean Bhaile. Bairéad's involvement in this activity was in reaction to the eviction of a number of his neighbours by the landlord, and resulted in him spending some time in gaol. Bairéad was primarily self-educated.

## Personal life and career

Bairéad was a member of the Moycullen group of the Irish Volunteers (Óglaigh na h-Éireann) in 1916. He was a member of the IRB and Sinn Féin, and administered the IRB oath to new members. He was friendly with Liam Mellows and Proinsias Ó hEidhin, and others who were leaders of the 1916 Rebellion in county Galway. He was one of a group of Volunteers involved in the burning of the RIC Barracks in Rosmuc in 1920. For these and other republican activities, he spent some time in Galway Gaol.

Bairéad commenced his journalistic career with the Galway Express, a weekly republican paper, in 1917. When paper's printing press was destroyed by the RIC, and Black and Tans in 1920, he transferred to the Connacht Tribune. During this period he had an address at 5 Nuns' Island, Galway.

He was appointed to the staff of the Irish Independent on 18 September 1922. In 1945 he became responsible for the Irish language page. In 1930 he purchased the family home, 3 Beechmount Villas, Glasnevin, Dublin, where he lived until he retired to Moycullen in 1948. While with the Independent he travelled to and reported on various Celtic Congresses held in Wales, Scotland and the Isle of Man, and in 1943 he reported on Éamon de Valera's general election campaign.

He wrote extensively during the 1930s and 1940s. His first collection of short stories, Cumhacht na Cinneamhna, was published by An Gúm in 1936. The collection received very positive reviews, with the Connacht Tribune writing, 'In originality, technique and language, those stories probably surpass anything of their kind published in Irish', and 'It will not be surprising if a few of those stories find their way among the classics', while the Irish Times wrote, "While the language is rich, idiomatic and adequate, the stories themselves could well be the authentic work of a novelist in any language'. Bairéad was awarded the O'Growney Award by the Irish Academy of Letters for this collection in 1937.

His next collection An Geall a Briseadh followed shortly afterwards, again published by An Gúm. This was a collection of short stories and sketches dealing mainly with scenes and events familiar to Bairéad in his native countryside. This book also received positive reviews, such as one writing that Bairéad "is undoubtedly a discovery and a decided addition to the ranks of Gaelic writers". For this collection he was awarded the Douglas Hyde Literary Fund('Ciste an Chraoibhin Aoibhin'), in 1938 for the best original work in the Irish language. The book was placed on the syllabus for the Matriculation (University entrance examination) in 1940, and later the Department of Education included it on the school syllabus for 1953–1954.

His next accomplishment Cruithneacht agus Ceannabháin, a collection of 13 short stories, was published by Talbot Press in 1940. In 1949, Ór na hAithinne was published.

His last great work, Gan Baisteadh, which is semi-autobiographical, contained 33 chapters each telling a different story. This was published by Sáirseal agus Dill in 1969.

In 1973 As an nGéibheann was published. This was a collection of the correspondence between Tomás and Máirtín Ó Cadhain, during Máirtín's time in prison.

Bairéad also received awards for other short stories, such as Second Prize in Class 4, Irish, Short Story for his entry 'Ruaidhri Ruadh, an Stiléara', in the Tailteann Literary Competitions in 1931, and an Oireachtas Certificate for first prize for the short story, 'Duais an Mhaolánaigh' in 1951. Bairéad's daughter, Treasa (the donor of the collection) also has in her possession a medal inscribed as follows, 'Aonach Tailteann 1932 (an Bhainnriogain Tailte).

## Involvement in 1916 Easter Rising

Tomás Bairéad's main involvement in the 1916 Easter Rising was through the form of newspapers. His newspaper clippings include details of events in the Moycullen area during the Easter week of 1916, and also includes references to the 1919 local election. As well as those it also includes a transcript of the Irish Republican Brotherhood's oath. The collection is full with names associated with Irish republicanism and Irish politics, such as Liam Mellows, Seán McDermot, Éamon de Valera, and Jack Lynch. The letters from Bairéad's friend Morchadh Ó Dabhorionn, are fascinating as they reveal something resembling that of the loneliness of an Irish emigrant. The quote states "…nearer to me than Éireann go Brách with all its faults and shortcoming, it is to me the greatest and is closest to my heart. It was too bad that fate made me leave there for as you have said more than once before it was there that I did belong"

## Bibliography

* *Cumhacht na Cinneamhna*, 1936, An Gúm
* *An Geall a Briseadh*, 1937, An Gúm / Oifig Diolta Foillseachtain Rialtais/ Publications Branch of the Department of Education
* *Cruithneacht agus Ceannabháin*, 1940, Talbot Press, Dublin
* *Ór na hAithinne*, 1949, Dublin
* *Gan Baisteadh*, 1972, Sáirseal agus Dill
* *Dán*, 1972/73, Sáirséal agus Dill
* *As an nGéibheann*, 1973

## Death

Tomás Bairéad died in Bon Secours Hospital, Galway, on 26 October 1973. His death was the result of a short illness. Newspaper obituaries for Bairéad referred to him as a "Noted Irish Scholar," and reported that his funeral was said in Irish. He is referred to as "an duine de na scríbhneorí ba clúití a tháinig chugainn as Gaeltacht na Gaillimhe san aoís seo" (Connacht Tribune), which can be translated to "He was one of the most famous writers to have come to us from the Gaeltacht in Galway."

In 1973, the year of Bairéad's death, his work 'As an nGéibheann' was also published. This was a collection of the correspondence between Tomás and Máirtín Ó Cadhain, during Máirtín's time in prison.


title: Gao Shi

abstract: Gao Shi was a Chinese military general, poet, and politician of the Tang dynasty, two of whose poems were collected in the popular anthology Three Hundred Tang Poems. His courtesy name was Dáfū (達夫). Born into an impoverished family, Gao eventually became a secretary in the military, enjoying a successful career. His hometown was either in modern Hunan Province or Shandong Province. Gao Shi was one of the competitors in the famous wine shop competition, along with Wang Zhihuan and Wang Changling.

text:
# Gao Shi

**Gao Shi** (c.704  765) was a Chinese military general, poet, and politician of the Tang dynasty, two of whose poems were collected in the popular anthology *Three Hundred Tang Poems*. His courtesy name was Dáfū (達夫).

Born into an impoverished family, Gao eventually became a secretary in the military, enjoying a successful career. His hometown was either in modern Hunan Province or Shandong Province.

Gao Shi was one of the competitors in the famous wine shop competition, along with Wang Zhihuan and Wang Changling.

## Life

### Early years

Gao Shi is generally considered to have been born in 704, in Cangzhou(沧州). He spent his childhood in Guangzhou, where his father worked as an officer in Shaozhou(广东韶关). Afterward, Gao Shi traveled around middle and southern China for more than 10 years and moved to Songzhou(宋州). During this time, he failed to find a way to become an official. In 731, Gao Shi moved to Shuofang(朔方) and joined the army. He witnessed the fight with the Khitan people and created many of his masterpieces like "A Song of the Yan Country".

### Becoming an official

After the war, Gao Shi moved back to Songzhou and started another round of traveling. In the next 10 years, Gao Shi met Li Bai, Du Fu, and many other famous poets. In 749, Gao Shi was recommended by Zhang Jiugao(张九皋). He became a county lieutenant in that autumn and visited the frontier as an official for the next 2 years. In the next several years, Gao Shi traveled around the frontier with the army. As the war was going well, Gao Shi kept getting promoted.

### Success in old age

In 755, the An Lushan Rebellion took place. As a secretary in the military, Gao Shi had more chances to meet the emperor and show his talent. After a chain of promotions, Gao Shi finally became the jiedushi of Chengdu.

## Poems

One of Gao Shi's poems (as translated by Witter Bynner), appearing in the *Tang 300,* was "A Song of the Yan Country", referring to the Yan territory of the An and Shi "Yan dynasty", the other being "To Vice-prefects Li and Wang degraded and transferred to Xiazhong and Changsha". He moved back to the capital in 764 and in his last days, he became the deputy minister of the ministry of punishment. On February 17, 765, Gao Shi died in his home in Chang'an.

Gao's farewell poetry  particularly *Farewell to Dongda* (Chinese: 別董大)  is notable for its optimism and encouragement, contrasting with the "debilitating grief" found in farewell poetry of the era. This optimism was massively influential on the works of Song dynasty poet Li Gonglin, to whom the themes of human agency and potential appealed.

### Notes

### Citations

1. Luo Yuming *A Concise History of Chinese Literature*, p. 290
2. Wu 1972, p. 224.
3. *Kanjigen* entry "Gao Shi" (Kōteki/Kōseki). Gakken 2006.
4. *Daijisen* entry "Gao Shi" (Kōseki). Shogakukan.
5. Red Pine. Poems of the Masters, p. 38. Copper Canyon Press, 2003.
6. 刘开扬. 高适诗集编年笺注. 北京: 中华书局. 2018. ISBN 978-7-101-13344-8.
7. "Chinese Notes".
8. "廿二史劄記 : 卷十六 新舊唐書 - 中國哲學書電子化計劃".
9. Brotherton, Elizabeth (2000–2001). "Two Farewell Handscrolls of the Late Northern Song". *Archives of Asian Art*. **52**. Duke University Press: 44–62. Retrieved 4 April 2024.

### Sources

* Wu, John C. H. (1972). *The Four Seasons of Tang Poetry*. Rutland, Vermont: Charles E. Tuttle. ISBN 978-0-8048-0197-3.

## InfoBox

| Gao Shi | |
| --- | --- |
| 高適 | |
| Gao Shi, painted by Kanō Tsunenobu in the 18th century | |
| Born | 704
Cangzhou, Hebei, China |
| Died | 765 (aged 6061)
Cangzhou, Hebei, China |
| Occupation(s) | Military general, poet, politician |
|  | |
|  | |
| Chinese name | |
| Traditional Chinese |  |
| Simplified Chinese |  |
| Transcriptions  Standard Mandarin  Hanyu Pinyin Gāo Shì  Wade–Giles Kao Shih  Yue: Cantonese  Jyutping Gou1 Sik1 | |
| Dafu | |
| Traditional Chinese |  |
| Simplified Chinese |  |
| Transcriptions  Standard Mandarin  Hanyu Pinyin Dáfū | |
| Zhongwu | |
| Chinese | 仲武 |
| Transcriptions  Standard Mandarin  Hanyu Pinyin Zhòngwǔ | |
| Gao Changshi | |
| Chinese |  |
| Transcriptions  Standard Mandarin  Hanyu Pinyin Gāo Chángshì | |
|  | |
|  | |


title: Garrett, Texas

abstract: Garrett is a town in Ellis County, Texas, United States. The population was 829 at the 2020 census, up from 806 at the 2010 census.

text:
# Garrett, Texas

**Garrett** is a town in Ellis County, Texas, United States. The population was 829 at the 2020 census, up from 806 at the 2010 census.

## Geography

Garrett is located in eastern Ellis County and is bordered to the south by the city of Ennis. Interstate 45 passes along the eastern edge of the town, with access from Exit 255. I-45 leads north 32 miles (51 km) to downtown Dallas and south 209 miles (336 km) to Houston.

According to the United States Census Bureau, Garrett has a total area of 1.8 square miles (4.7 km2), of which 0.019 square miles (0.05 km2), or 1.00%, is water.

## Demographics

Historical population
| Census | Pop. | Note |  |
| --- | --- | --- | --- |
| 1960 | 167 |  |  |
| 1970 | 225 |  | 34.7% |
| 1980 | 220 |  | −2.2% |
| 1990 | 340 |  | 54.5% |
| 2000 | 448 |  | 31.8% |
| 2010 | 806 |  | 79.9% |
| 2020 | 829 |  | 2.9% |
| U.S. Decennial Census
2020 Census | | | |

As of the census of 2000, there were 448 people, 147 households, and 118 families residing in the town. The population density was 1,338.9 inhabitants per square mile (517.0/km2). There were 158 housing units at an average density of 472.2 per square mile (182.3/km2). The racial makeup of the town was 71.43% White, 0.67% African American, 1.56% Pacific Islander, 22.54% from other races, and 3.79% from two or more races. Hispanic or Latino of any race were 35.27% of the population.

There were 147 households, out of which 45.6% had children under the age of 18 living with them, 59.9% were married couples living together, 16.3% had a female householder with no husband present, and 19.7% were non-families. 14.3% of all households were made up of individuals, and 3.4% had someone living alone who was 65 years of age or older. The average household size was 3.05 and the average family size was 3.32.

In the town, the population was spread out, with 33.5% under the age of 18, 11.6% from 18 to 24, 31.0% from 25 to 44, 19.2% from 45 to 64, and 4.7% who were 65 years of age or older. The median age was 30 years. For every 100 females, there were 98.2 males. For every 100 females age 18 and over, there were 91.0 males.

The median income for a household in the town was $40,104, and the median income for a family was $40,469. Males had a median income of $27,132 versus $20,938 for females. The per capita income for the town was $16,810. About 8.9% of families and 14.5% of the population were below the poverty line, including 25.2% of those under age 18 and none of those age 65 or over.

## Education

Garrett is served by the Ennis Independent School District.

## Police protection

The town's police department consists of one police chief and two full-time police officers. The city also has four reserve police officers who assist the city in the daily police operations. The police department recently updated their police vehicles. The vehicles are two Dodge Durangos which are fully equipped with lights and sirens and visible police markings to serve the town of Garrett. Garrett Police patrols the town of Garrett as well as monitoring traffic on Interstate I-45.

## Fire protection

The town is served by two fire departments, Garrett Rural Fire Department (formerly Garrett Fire Department) and Garrett City Fire Department. Garrett Rural has two stations with multiple engines and multiple brush trucks, with a large membership that covers the area outside the town limits. Garrett City covers the town limits and consists of one station with an older engine and older utility bed pickup, and with a membership of about 10 firefighters.

## Notable person

* Norma Gabler, conservative Christian activist and textbook campaigner

1. "2019 U.S. Gazetteer Files". United States Census Bureau. Retrieved August 7, 2020.
2. U.S. Geological Survey Geographic Names Information System: Garrett, Texas
3. "U.S. Census website". United States Census Bureau. Retrieved January 31, 2008.
4. "Geographic Identifiers: 2010 Census Summary File 1 (G001): Garrett town, Texas". *American Factfinder*. U.S. Census Bureau. Archived from the original on February 13, 2020. Retrieved March 25, 2016.
5. "Census of Population and Housing". Census.gov. Retrieved June 4, 2015.
6. "Census Bureau profile: Garrett, Texas". United States Census Bureau. May 2023. Retrieved May 21, 2024.
7. "2020 CENSUS - SCHOOL DISTRICT REFERENCE MAP: Ellis County, TX" (PDF). U.S. Census Bureau. Retrieved September 26, 2024.

## InfoBox

| Garrett, Texas | |
| --- | --- |
| Town | |
| City Hall | |
| Location of Garrett, Texas | |
|  | |
| Coordinates: 32°22′22″N 96°39′12″W / 32.37278°N 96.65333°W / 32.37278; -96.65333 | |
| Country | United States |
| State | Texas |
| County | Ellis |
| Area | |
| Total | 1.82 sq mi (4.70 km2) |
| Land | 1.80 sq mi (4.66 km2) |
| Water | 0.02 sq mi (0.05 km2) |
| Elevation | 554 ft (169 m) |
| Population (2020) | |
| Total | 829 |
| Density | 460/sq mi (180/km2) |
| Time zone | UTC-6 (Central (CST)) |
| Summer (DST) | UTC-5 (CDT) |
| Area code(s) | 214, 469, 945, 972 |
| FIPS code | 48-29036 |
| GNIS feature ID | 2412670 |
| Website | cityofgarrett.com |


title: Mercantile National Bank Building

abstract: The Mercantile National Bank Building is a 31-story, 159.4 m (523 ft) skyscraper at 1800 Main Street in the Main Street district of downtown Dallas, Texas. It is the former home of the Mercantile National Bank, which later became MCorp Bank. The design of the skyscraper features Moderne styling from the Art Deco era and was designed by Walter W. Ahlschlager. The building has a series of setbacks that is crowned by an ornamental four-sided clock along with a decorative weather spire. The Merc was the main element of a four-building complex that eventually spanned a full city block.

text:
# Mercantile National Bank Building

The **Mercantile National Bank Building** (known colloquially as **The Merc**) is a 31-story, 159.4 m (523 ft) skyscraper at 1800 Main Street in the Main Street district of downtown Dallas, Texas. It is the former home of the Mercantile National Bank, which later became MCorp Bank. The design of the skyscraper features Moderne styling from the Art Deco era and was designed by Walter W. Ahlschlager. The building has a series of setbacks that is crowned by an ornamental four-sided clock along with a decorative weather spire. The Merc was the main element of a four-building complex that eventually spanned a full city block.

## History

The site along Ervay Street between Main and Commerce previously housed the landmark Post Office building constructed in 1889 which featured a prominent clock tower and gingerbread architecture. After abandonment, it was the subject of rumors, plans and schemes, but by 1936, it had been declared a liability by local business leaders and was razed.

The Mercantile National Bank Building was completed in 1943 and was the only major skyscraper constructed during World War II. The U.S. government had called for a halt of private construction to fuel supply materials for the war effort. However, most of the tower's steel had been prefabricated and was given a special waiver from the government. The bank lobby Art Deco wood murals were the largest in the world at the time. In addition to the bank and other offices, the federal government took 10 floors to hold offices for various war agencies. Mercantile Bank owner and founder Robert L. Thornton constructed his own penthouse level in the upper floors.

In 1947, an illuminated tower was constructed, which KERA used for radio broadcasts. In 1958, this tower was replaced by the current illumination tower and clock. In the 1960s, the original stone façade at the base of the building was covered by a modernist curtain wall facade.

At its completion, the Merc was the tallest building west of the Mississippi River and it was the tallest building in Dallas until 1954, when Republic Bank Tower I surpassed it. The building has 31 stories, and when the 115-foot (35 m) ornamental clock tower is included, is 545 feet (166 m) feet tall; making it the 19th-tallest building in Dallas. It also contains 359,348 square feet (33,385 m2) of floor space.

### Expansion

The Merc was the main element of a four building complex that eventually spanned a full city block. The Mercantile Securities Building was constructed immediately east of the main tower in 1949 and was 14 stories tall, including 213,270 square feet (19,813 m2) of space. The Mercantile Dallas Building was completed in 1954. It was 360 feet (110 m) and 22 stories tall with 347,037 square feet (32,241 m2) inside. It was built behind the southern half of the Securities building and ran along Commerce Street to St Paul Street. The final addition to the block was the Securities Annex in 1972. It initially was five stories and designed for vertical expansion at a later date. Its 116,322 square feet (10,807 m2) of space was in the northeast corner of the block.

The bank also built and purchased other structures near the main tower. The Mercantile Continental Building was built in 1948 across Commerce Street to serve the growing bank's parking and office space needs. The bank later built the Jackson Street Garage, which contained the bank's large motor bank, behind the Continental Building. A tunnel was built to connect the garage and Continental Building to the main complex via the Dallas Building.

In 1976, the bank bought the neighboring Vaughn Tower across Commerce Street. Prather Street divides the Continental and Vaughn Tower. The bank renamed the building the Mercantile Commerce Building.

The final building to be built by MCorp Bank was Momentum Place, completed in 1987 across Main Street. MCorp occupied 600,000 square feet (60,000 m2) of the 1,500,000 square feet (100,000 m2) building. The building connected the original complex to the Dallas Pedestrian Network to the north with a new underground walkway to the Securities Annex.

The economic downturn of the late 1980s along with the savings and loan crisis would signal the end of MCorp Bank. It was dissolved by Bank One in the summer of 1989 after numerous quarters of earnings losses. The complex was still used occasionally until the building became vacant on February 5, 1993.

### Adaptive reuse

In 1985, Cadillac Fairview, developer of Toronto's Eaton Centre, proposed renovating the complex into a 140,000-square-foot (13,000 m2) retail center, connecting adjacent anchors Neiman Marcus and Joske's. The plan included demolition of the various additions and preservation of the main tower, but the project was later abandoned.

With the increased demand in urban living downtown, there was interest in converting the structure to residential uses. However, the complex was awash with asbestos, which would need to be removed before any remodeling could begin. The complex was also poorly configured for residential, as it had a lot of floor space without windows, requiring demolition of some buildings. The two combinations made for an expensive reconversion.

Three different proposals fell through before Cleveland-based Forest City Enterprises was able to make the financial numbers work. FCE announced a deal with the City of Dallas in June 2005 to receive US$60.5 million from the city to redo the building. The main tower was converted to 225 apartments with ground floor retail. The three additions, not considered historically significant, were demolished. The modernist curtain wall on the base was removed, revealing its original exterior and balconies were added to the east façade, although most of the interior design elements were lost during years of renovation.

On the site of the Securities Annex is a new 15-story apartment building, the Element, with parking constructed beneath. A pool and plaza were added for the residents of Mercantile Place, which also includes the historic Wilson Building in an adjacent block. The grand opening was held in April 2009.

Retail tenants have been slow to materialize due to economic conditions at the time of opening. Jean Michel's, an upscale French restaurant, was scheduled to open in the base of the Element building, overlooking Main Street Garden Park, which lies across St. Paul Street. These plans, however, fell through.

The owner will receive US$5 million from the city to convert the neighboring Continental Building into 150 additional residential units. Also, the owner will convert another complex of historic buildings that Atmos Energy donated to the City for residential use. This project has since been transferred to Hamilton Properties.

## Tower clock

The clock tower and 115-foot (35 m)-tall ornamental spire is a local landmark and reference point in downtown Dallas. There are four 20 ft (9.4meter) diameter tower clocks, which are among the largest clock faces in the United States. New tower clock movements and hands were manufactured in 2007 by Electric Time Company. The clock hands are lighted with LEDs, which replaced the original neon. Above the clock, a series of LED (originally neon) lights display weather information. White light rings flash upward when temperatures will rise and downward when they fall. A star-shaped light at the spire's top glows green when weather forecast is fair and red when it's inclement.

## Artwork

During the 1950s building expansions, substantial mosaics by artist Millard Sheets were fabricated in Venice and installed throughout the lobbies, stairways and executive offices. During the demolition and renovation process, historical preservationists called for the removal of dozens of mosaics, stained glass pieces, and enamel artwork. Dallas investor and developer Timothy Headington stepped up with the estimated $270,000 needed to preserve and store the artwork. A local company, Studio van Enter, cut the mosaics free of the travertine and removed the artwork in 2006. Smaller decorative elements have been redisplayed in public areas of the renovated building while the larger pieces remain in storage. A similar mosaic exists on the exterior of the neighboring Mercantile Continental Building.

## Pop culture

## Zoned schools

The Mercantile National Bank Building is within the Dallas Independent School District.

Residents are zoned to City Park Elementary School, Dade Middle School, and Madison High School.

## Tenants

* The Dallas Texans (now the Kansas City Chiefs) franchise was headquartered in the building from its founding in 1960 until it moved to Kansas City at the end of the 1962 season.

## InfoBox

| Mercantile National Bank Building | |
| --- | --- |
| Mercantile National Bank Building shortly before opening. The distinctive clock tower and spire were added at a later date. | |
|  | |
| Alternative names | The Merc
Mercantile Building |
| General information | |
| Status | Completed |
| Type | Residential |
| Architectural style | Moderne Art Deco |
| Location | 1800 Main Street
Dallas, Texas |
| Coordinates | 32°46′51″N 96°47′49″W / 32.780843°N 96.796808°W / 32.780843; -96.796808 |
| Completed | 1943 |
| Owner | Brookfield Asset Management |
| Management | Brookfield Asset Management |
| Height | |
| Antenna spire | 159.4 m (523 ft) |
| Roof | 131.1 m (430 ft) |
| Technical details | |
| Floor count | 31 |
| Design and construction | |
| Architect(s) | Walter W. Ahlschlager
Donald Nelson |
|  | |
|  | |
| Mercantile National Bank Building | |
| U.S. Historic district
Contributing property | |
| Dallas Landmark | |
|  | |
| Part of | Dallas Downtown Historic District (ID04000894) |
| DLMK No. | H/129 |
| Significant dates | |
| Designated CP | August 11, 2006 |
| Designated DLMK | December 13, 2006 |
|  | |
| References | |
|  | |


title: Garadi (film)

abstract: Garadi is a 2023 Indian Kannada-language sports drama film directed and co-written by Yogaraj Bhat and produced by Vanaja Patil. The film stars Yashas Surya and B. C. Patil in the lead roles, while Sonal Monteiro, Sujay Belur, P. Ravishankar and Tejaswini Prakash appear in pivotal roles. Darshan makes a special appearance in the film. The music is composed by V. Harikrishna, while the cinematography and editing were handled by Niranjan Babu and Suresh Urs. Garadi revolves around the traditional sport of wrestling set in old Mysore and was shot in a span of 70 days. Garadi was released on 10 November 2023, coinciding with Diwali, and received mixed reviews from critics.

text:
# Garadi (film)

***Garadi*** (transl.Wrestling Competition) is a 2023 Indian Kannada-language sports drama film directed and co-written by Yogaraj Bhat and produced by Vanaja Patil. The film stars Yashas Surya and B. C. Patil in the lead roles, while Sonal Monteiro, Sujay Belur, P. Ravishankar and Tejaswini Prakash appear in pivotal roles. Darshan makes a special appearance in the film. The music is composed by V. Harikrishna, while the cinematography and editing were handled by Niranjan Babu and Suresh Urs.

*Garadi* revolves around the traditional sport of wrestling set in old Mysore and was shot in a span of 70 days.

*Garadi* was released on 10 November 2023, coinciding with Diwali, and received mixed reviews from critics.

## Premise

Garadi Soori lives in a village called Rattehalli and aspires to become a wrestler, but is forbidden by his teacher Rangappa due to his father Bande Seena and brother Shankara's criminal record. Despite this, Soori trains himself in wrestling by observing Rangappa and tries to achieve his goal despite facing obstacles from Shivappa Rane, who was responsible for Seena's death.

## Cast

* S. T. Somashekhar

## Soundtrack

V. Harikrishna composed the soundtrack and background score, while the lyrics were written by Yogaraj Bhat.

### Track listing

Track listing
| No. | Title | Singer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Badavana Hrudaya" | Vijay Prakash |  |
| 2. | "Hodirale Halagi" | Meghana Haliyal |  |
| 3. | "Garadi Title track" | V. Harikrishna
Shashank Sheshagiri
Aniruddha Sastry
Santhosh Venky
Chetan Sosca
Madhwesh Bharadwaj
Vishak Nagalapura
Hrushikesh B. R.
Abhishek M. R.
Narahari Achar |  |

## Reception

### Critical response

Vinay Lokesh of *The Times of India* gave 3/5 stars and wrote "Wrestling remains the core of *Garadi*, but a predictable, lackluster storyline and linear pattern of storytelling nullifies its impact. If you are a die hard fan of wrestling, this movie will certainly impress you." Sujay B. M. of *Deccan Herald* gave 3/5 stars and wrote "Garadi is an important film on a traditional sport in the days of gym and drugs. Watch it to relive the past but don't expect the book to be as grand as the cover."

A. Sharadhaa of *The New Indian Express* gave 3/5 stars and wrote "Garadi makes for a wholesome film blending action, romance, and comedy, along with the sport of wrestling. Whether this film gives a boost to Soorya’s career as an actor is a question that remains to be answered. And the audience is left to wonder if Yogaraj Bhat will stick to his signature romantic drama.? Time shall answer." Swaroop Kodur of *OTTplay* gave 2/5 stars and wrote "Garadi, as already pointed out, may not deliver on the expectations that you carry for a Yogaraj Bhat film but even otherwise, the film feels riddled with problems. You may want to give it a try to get a taste of how traditional wrestling functions in the heartland of Karnataka but the expectations are to be set quite low."

Shuklaji of *The News Minute* wrote "Garadi, unfortunately, can be best described as an outdated film that has very little to offer, despite boasting a unique premise. One emerges from the theatre wishing to see Yogaraj Bhat return to his old ways but not without the creative risks he is required to take, especially when Kannada cinema is showing signs of a great bloom." Vivek M. V. of *The Hindu* wrote "Director Yogaraj Bhat’s ‘Garadi,’ starring Yashas Soorya in the lead, is a generic film that does very little to make us care for a dying sport."

*Garadi* at IMDb

## InfoBox

| Garadi | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Yogaraj Bhat |
| Screenplay by | Yogaraj Bhat |
| Story by | Vikas YB |
| Produced by | Vanaja Patil |
| Starring | Yashas Surya
Sonal Monteiro
B. C. Patil
P. Ravishankar |
| Cinematography | Niranjan Babu |
| Edited by | Suresh Urs |
| Music by | V. Harikrishna |
| Production
company | Soumya Films |
| Distributed by | Kourava Production House |
| Release date | * 10 November 2023 (2023-11-10) |
| Country | India |
| Language | Kannada |


title: Gamecock Cottage

abstract: Gamecock Cottage is an historic building located at Stony Brook in Brookhaven Town, in Suffolk County, New York on Long Island. It was built in 1876 for storage of oars and sliding-seat rowboats and is the only remaining wooden beach cottage that was part of West Meadow Beach. It is located at the southernmost point of a peninsula within what is now part of the West Meadow Wetlands Reserve, as the official public beach is now restricted to the north. The Gamecock Cottage sits at the southern endpoint of West Meadow Lane, which was once called Trustees Road. It is a 1+1⁄2-story building with a front-gabled roof with a four-sided wooden cupola located in the center of the ridge line in the Gothic Revival style. It is 20 feet, 5 inches wide and 25 feet, 5 inches long and covered with board and batten siding. It was added to the National Register of Historic Places in 2007.

text:
# Gamecock Cottage

**Gamecock Cottage** is an historic building located at Stony Brook in Brookhaven Town, in Suffolk County, New York on Long Island. It was built in 1876 for storage of oars and sliding-seat rowboats and is the only remaining wooden beach cottage that was part of West Meadow Beach. It is located at the southernmost point of a peninsula within what is now part of the West Meadow Wetlands Reserve, as the official public beach is now restricted to the north. The Gamecock Cottage sits at the southern endpoint of West Meadow Lane, which was once called Trustees Road.

It is a 1+12-story building with a front-gabled roof with a four-sided wooden cupola located in the center of the ridge line in the Gothic Revival style. It is 20 feet, 5 inches wide and 25 feet, 5 inches long and covered with board and batten siding.

It was added to the National Register of Historic Places in 2007.

## InfoBox

|  | |
| --- | --- |
| Gamecock Cottage | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
|  | |
| Location | Shipman's Point/S end of W. Meadow Beach, Stony Brook, New York |
| Coordinates | 40°55′40″N 73°8′50″W / 40.92778°N 73.14722°W / 40.92778; -73.14722 |
| Area | less than one acre |
| Architectural style | Gothic Revival |
| NRHP reference No. | 07000886 |
| Added to NRHP | August 30, 2007 |


title: Merwin & Hulbert

abstract: Merwin, Hulbert, and Co. or Merwin Hulbert was an American firearms designer and marketer based in New York City which produced revolvers and rifles from 1874 to 1896. The firearms were manufactured by a subsidiary company, Hopkins & Allen of Norwich, Connecticut. Merwin Hulbert's designs had influenced other gunmakers of the time, such as Meriden Firearms Co., Harrington & Richardson, Forehand & Wadsworth, and Iver Johnson. During the late 19th century, Merwin Hulbert revolvers were used by police departments of many cities in the eastern United States.

text:
# Merwin & Hulbert

**Merwin, Hulbert, and Co.** or **Merwin Hulbert** was an American firearms designer and marketer based in New York City which produced revolvers and rifles from 1874 to 1896. The firearms were manufactured by a subsidiary company, Hopkins & Allen of Norwich, Connecticut. Merwin Hulbert's designs had influenced other gunmakers of the time, such as Meriden Firearms Co., Harrington & Richardson, Forehand & Wadsworth, and Iver Johnson.

During the late 19th century, Merwin Hulbert revolvers were used by police departments of many cities in the eastern United States.

## History

Joseph Merwin was involved with marketing and manufacturing revolvers as early as 1856 when he formed an arms company known as Merwin & Bray. This company folded after the end of the Civil War. In 1868 Merwin formed a partnership with William and Milan Hulbert, who owned 50% interest in Hopkins & Allen. Merwin and Hulbert not only designed firearms, but imported firearms and retailed firearms and other goods in a large sporting goods endeavor. Merwin and Hulbert additionally purchased several firearms manufacturers. Author Art Phelps opined that if Merwin and Hulbert had not marked the revolvers with the manufacturers name 'Hopkins and Allen' (known for inexpensive and poor quality weapons), the Merwin Hulbert would be as well known as Colt, Smith & Wesson, and Remington.

The company made numerous innovative designs such as folding hammers on their revolvers for pocket carry and a unique takedown system but was plagued by financial missteps. Payment for three sizable shipments to Russia were never realized. The bankruptcy of subsidiary Evans Rifle Company cost Merwin and Hulbert $100,000. A company associate stole the firm's operating capital and disappeared. During 1880–1881, Merwin and Hulbert was in receivership, but it was able to recover.

After Merwin's death in 1888, the company became known as "Hulbert Brothers & Company". Hulbert Brothers declared bankruptcy in 1894 and in 1896 it was liquidated. Hopkins & Allen continued to manufacture Merwin Hulbert style rifles, primarily .22 and .32 caliber single shots, until 1916 when it went bankrupt and was bought the following year by Marlin Firearms.

### Common and innovative features

The company developed a nickel plating process superior to their competitors, which was even less expensive than providing bluing. The nickel acted to protect the metal surfaces from corrosion. Because nickel-plated Merwin and Hulbert pistols had the same cost as those without, it is rare to find Merwin and Hulbert revolvers with a blued finish.

A key innovation was a rotating barrel design which allowed the user to rotate the barrel 90 degrees in order to pull the barrel and cylinder forward to remove the fired cartridge cases. During the twisting motion, the empty case could be extracted. Any intact cartridge would remain in the chamber due to the additional length of the bullet. The tight machining tolerances would create a vacuum when the barrel and cylinder were pulled forward, literally causing the assembly to 'snap back' closed when released. In addition to this unique case extraction system, pressing an additional lever control when the frame was 'open' for extraction allowed the owner to completely remove the barrel. Note: early models also required pushing out a barrel wedge similar in function to Colt percussion revolvers. This not only facilitated cleaning, but allowed the owner to swap barrels, allowing for a shorter 'concealed carry' and longer 'field' weapon in one. The combination of extraction and barrel removal required very precise manufacturing tolerances—incredible considering the tools of the day.

According to Arthur Corbin Gould, Merwin Hulbert revolvers were considered to be the strongest revolvers made during the late 19th century.

### 21st century revival

In 2010, it was announced that the name of the company had been purchased, as well as all of the designs and patents, by gun maker Michael Blank. Blank plans to reintroduce the revolvers made on modern machinery with modern materials. In 2012, the revived Merwin Hulbert company was bought by Sharps Rifle Company, Inc. Potential buyers were encouraged to send in deposits; however, none of those potential buyers ever received a firearm. Broadsword Group, the purchaser of Sharps Rifle Company, announced on their website their commitment to return deposits of those who pre-ordered and the discontinuation of any further involvement in the production of Merwin Hulbert revolvers; although, they did indicate they are seeking to sell the design to a company that already specializes in reproduction firearms.

## Models

The more prolific models all shared the same extraction system and breakdown system. Note the 'family resemblance' in the posted image. Merwin & Hulbert manufactured both single-action and double-action revolvers in three frame sizes - the Frontier/Pocket Army, the Pocket, and the Small Pocket. The Frontier frame was built around two design features - six shots and .44 caliber. Merwin Hulbert created this family to directly compete with the Colt Model 1873 Single-Action Army (aka Peacemaker), Remington Model 1875, and Smith & Wesson Model 3 as a large frame, big bore six-shooter. Though contracts with the US Army Ordnance Department were not forthcoming, significant sales were made to Russia. The pocket model was designed for a five-shot cylinder in .38 caliber. Finally, there is the 'small frame' pocket, a late addition to the lineup based around a five-shot, .32 caliber capability.

The outlier is the 'Baby Merwin', which shared none of the design features described. It was a seven-shot .22 rimfire revolver which is nearly identical to the Smith & Wesson Model 1.

### Frontier Model

Beginning in 1876, the Frontier was produced in four variations. All featured what is now considered a "conventional" trigger and guard. Most were produced in a nickel finish. The Frontier was distinguished from the Pocket Army by sporting the familiar "saw handle" grip.

**1st Model** – The first model is single-action, identified by its "open top" design (no top strap over the cylinder), "scoop" flutes on the cylinder, and a barrel wedge to engage the enclosed cylinder pin. Standard barrel was 7 inches, including an integral front sight. Most were manufactured with hard rubber grips—though wood, pearl or ivory could be had for additional cost. The first caliber offered was the proprietary .44 Merwin & Hulbert (.44-30), which resembles the S&W .44 American, but is longer overall. Eyeing the lucrative contracts the Smith & Wesson enjoyed with Imperial Russia, this model was later produced in .44 Russian. Production began in 1876, and likely ended in or around 1878 with the introduction of the 2nd model.

**2nd Model** – Very similar to the 1st Model, the second model sported a shortened cylinder locking bolt. This eliminated the need for internal access via a side plate, which was eliminated. The trigger guard was made longer and deeper. Hunting for U.S. government contracts, there was the addition of a detent pin in the barrel release lever, which was recommended by the U.S. Ordnance Department. The introduction of the .44-40 Winchester caliber (aka Winchester 1873) was an attempt to capture the market of those who preferred the same cartridge for rifle and revolver, acknowledging the popularity of the Winchester rifles of the day. The revolvers in this caliber were engraved with "Calibre Winchester 1873". The .44-40 became by far the most popular caliber for the Frontier throughout the remainder of the series. Production of the 2nd model lasted from 1878 to 1882.

**3rd Model** – Retaining the general look of its predecessors, the 3rd model had significant changes. The first was the addition of a top strap over the cylinder, which added to the strength of the design. The same mechanism for extracting cartridges was retained. The barrel wedge was eliminated as an unnecessary feature. The scoop flutes were replaced with the more common 34 length flutes for a slight weight savings. The 3rd model could be had in either single-action or double-action. A folding hammer spur was available for those who wished to avoid snagging clothing while drawing the weapon. One could purchase a 3rd model Frontier with a shorter 5 inch barrel if desired. The 3rd model was produced between 1883 and 1887.

**4th Model** – The fourth and final model of Frontier began production in 1887. The primary changes from the 3rd model was the addition of a rib atop the barrel. For the first time, the front sight was a separate component from the barrel, held by a retaining pin. Also for the first time, the Frontier was offered with barrel lengths of 3+12 or 5+12 inches in addition to the "traditional" 7 inch length. Multiple barrels could be purchased and easily swapped out by the owner without tools.

### Pocket Army

The Pocket Army had three variants starting with the '2nd Model'. Author Art Phelps established the nomenclature for the Merwin and Hulbert revolver variants, and since the features of the 1st Pocket Army closely aligned to the '2nd Model' Frontier, '2nd Model Pocket Army' was used. This has since become the accepted convention. The Pocket Army featured six-shot cylinders like the Frontier model, and was produced in .44 M&H, .44 Russian, and by far the most popular: .44-40 Winchester caliber. The primary distinction between the Pocket Army and the Frontier is that the Pocket Army sports a 'bird's head' grip, similar in contour to the famous Bisley target grips found on some Colt models. The innovation here is an exposed metal from that includes an integral lanyard loop. If in a hand-to-hand melee situation, the grip was quite an effective club. In fact, the grip was commonly referred to as the 'skull crusher'. Having handled a large frame Merwin Hulbert, the author finds no difficulty believing that this is a literal claim. Many will find it odd that a 'Pocket Army' could be had with a seven-inch barrel - hardly pocket size, even in an overcoat! The fact is that many of the Pocket Army would have been holster-carried in the field. Additionally, multiple barrels could be purchased in different lengths to allow one weapon to serve both in the field and in town.

**2nd Model** – With similar features to the 2nd Model Frontier, the 2nd Model Pocket Army featured an 'open top' frame. Both 3+12 inch and 7 inch barrels could be purchased, with the customer able to purchase both. Barrels were easily changed by the owner without tools, offering a 'two-guns in one' advantage over the competition, with the shorter barrel giving the owner a concealable firearm for in town, and a longer barrel for the field. Distinctive to the Pocket Army was the birds-head grip, also known as the 'skull-crusher' due to the protruding steel bottom of the grip. The 2nd Model was produced approximately 1880–1883.

**3rd Model** – Features progressed for the 3rd Model similar to the progression of the Frontier Model, with the added top strap, 3/4 length cylinder flutes, elimination of the barrel wedge, and optional folding hammer spur. The 3rd model could be had in both single-action and double-action, and was produced between 1883 and 1887.

**4th Model** – Also following the design cues of the Frontier, the 4th Model Pocket added a rib atop the barrel with separate sight. The 5+12 inch barrel was introduced, and the 3+12 and 7 inch barrels are rare on the 4th model. Production began in 1887.

### Pocket Model

The Pocket Model was created for the urban market. Even on the frontier, it was more usual for someone to carry a pistol in a coat pocket than a holster while in town. Of course by today's standards, these 'pocket' sized pistols would be considered full size. The author owns an example with a 5-inch barrel. Apparently, pockets were quite large in the fashions of the day. The Pocket Model went through an interesting evolution of features. Barrel length was typically between 3+12 and 5+12 inches long, though a few early specimens sported a 2 3/4 inch barrel. All have the frame top strap over the cylinder for added strength.

**1st Model** – The first model is single-action, five-shot revolver in .38 Merwin and Hulbert (very similar to the .38 S&W cartridge). All were nickel plated, and it features a spur trigger and exposed cylinder pin. There is no loading gate, just material cut out of the frame and shield. The cylinder has scoop flutes. The grip is the familiar 'saw handle' style, typically made of hard rubber, though pearl and ivory were available for an addition cost.

**2nd Model** – The only change for the second model is the addition of a rearward sliding loading gate.

**3rd Model** – The third model has an easy to identify look different from the first two models. The cylinder pin has now been enclosed. The spur trigger is retained, making all 3rd Models single action like their predecessors. Although aesthetically pleasing, the practical reason for the design change to avoid snagging on the pocket on drawing the weapon. The 3rd Model also introduced a smaller version of the 'skull-crusher' grip as an option.

**4th Model** – The fourth model replaces the spur trigger with a familiar style trigger with trigger guard. The fourth model could be had in single or double action, and there was the option of a folder hammer spur. Two barrel sets are rare, but would typically consist of one each 2+34 inch and 5+12 inch barrels. A 'target' variant was sold in .32 long caliber with a seven-shot cylinder in addition to the more usual five-shot .38 M&H configuration.

### Small Frame Pocket Model

For those wishing a smaller and lighter package, a smaller double-action pocket model was produced. On a smaller frame than the 'Pocket' model, this sported a five-shot cylinder in .32 M&H caliber. With features similar to the 4th Model Pocket, both single and double action were available with or without the folder hammer spur. Only the saw handle grip was available, and 3 inch was the most common barrel length. This nifty little revolver must certainly have been more comfortable for 'every day carry' than its larger brother. While some may dismiss smaller calibers, one must remember that in the day smaller calibers were feared. Typically, clothing would be somewhat dirty. As slow bullets passed through into the body, some of this clothing would be carried into the wound with any number of nasty bacteria - opening the way to infection. Combining this with the primitive, and often distant or even absent medical attention, dying from an infection was a real possibility. Consequently, the lowly .32 caliber was not dismissed as ineffective, as it is considered today.

### Baby Merwin

For a period of time, Merwin and Hulbert produced a design copy of the Smith & Wesson Model 1, third issue revolver. This featured a seven-shot cylinder in .22 Short caliber with a spur trigger and the 'tip up' barrel. Following a successful design infringement lawsuit, Merwin and Hulbert were forced to pay a royalty to Smith and Wesson for each revolver previously sold. Existing stock had the Merwin and Hulbert markings obliterated and were surrendered to Smith and Wesson for disposal.


title: Merwilla

abstract: Merwilla is a genus of bulbous flowering plants in the family Asparagaceae, subfamily Scilloideae. It is distributed in southern Africa, from Zimbabwe to South Africa. This genus is named after the botanist Frederick Ziervogel Van der Merwe (1894–1968), who worked on this group.

text:
# Merwilla

***Merwilla*** is a genus of bulbous flowering plants in the family Asparagaceae, subfamily Scilloideae (also treated as the family Hyacinthaceae). It is distributed in southern Africa, from Zimbabwe to South Africa. This genus is named after the botanist Frederick Ziervogel Van der Merwe (1894–1968), who worked on this group.

## Description

Species of *Merwilla* grow from relatively large bulbs, the upper part of which is usually above ground. The bulbs have light yellow to gray tunics. Plants have broad leaves. The flowers are borne in a raceme. Each flower has six blue tepals, forming a star shape. The stamens have white filaments which are joined at the base and small anthers. The oblong seeds are brownish when dry, paler when fresh. The seed colour distinguishes *Merwilla* from related genera, which have glossy black or dark brown seeds.

## Systematics

The genus *Merwilla* was created by Franz Speta in 1998 for some species formerly included in *Scilla*. The genus is placed in the tribe Hyacintheae (or the subfamily Hyacinthoideae by those who use the family Hyacinthaceae).

### Species

As of April 2013, the World Checklist of Selected Plant Families recognized the following species. All three were formerly placed in the genus *Scilla*.

## InfoBox

| *Merwilla* | |
| --- | --- |
|  | |
| *Merwilla plumbea* | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Monocots |
| Order: | Asparagales |
| Family: | Asparagaceae |
| Subfamily: | Scilloideae |
| Genus: | *Merwilla*<br>Speta |
|
| Species | |
| 3, see text | |


title: Gareth Shute

abstract: Gareth Hal Shute is a non-fiction author, musician and journalist from New Zealand.

text:
# Gareth Shute

**Gareth Hal Shute** (born 1 September 1973) is a non-fiction author, musician and journalist from New Zealand.

## Career

Shute's first book, *Hip Hop Music In Aotearoa* was published in 2004, and won an award at the NZ book awards in 2005. He went on to write four more books: *Making Music In New Zealand*, *Insights: New Zealand Artists Talk About Creativity*, *NZ Rock: 1987-2007* and *Concept Albums*.

Shute has also been a music columnist for New Zealand Music Magazine and continues to write for the music history website, *Audioculture*.

Over this time, he was also a member of a number of local bands including: The Tokey Tones, The Ruby Suns, The Brunettes, The Cosbys, The Conjurors, Dictaphone Blues, and The Broken Heartbreakers. He currently plays in garage rock two-piece Fever Party and all-star quartet Thee Golden Geese