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• 491. [Image] Amy Cyrus, 1914

  	Amy Cyrus, born January 6th, 1883 in Crabtree, Oregon, attended OAC as a household science student during the 1904-1905, 1906-1907, and 1907-1908 academic years. She graduated as a Registered Nurse from ...
  	Citation × Citation Citation Abstract Copy Title: Amy Cyrus, 1914 Year: 1914 Amy Cyrus, born January 6th, 1883 in Crabtree, Oregon, attended OAC as a household science student during the 1904-1905, 1906-1907, and 1907-1908 academic years. She graduated as a Registered Nurse from the Good Samaritan Training School for Nurses in 1914. From 1914 to 1917, she worked as a private nurse in Corvallis. In February 1917, she was hired as the first nurse in the OAC's health service. During her employment at OAC, she completed two courses in radiology; both courses were held at the School of Radiology in Portland. This allowed her to work as both a general nurse and x-ray technician; these were positions she held until she left in 1930. Cyrus died in Benton County (Oregon) in 1968. Title: Amy Cyrus, 1914 Year: 1914 Amy Cyrus, born January 6th, 1883 in Crabtree, Oregon, attended OAC as a household science student during the 1904-1905, 1906-1907, and 1907-1908 academic years. She graduated as a Registered Nurse from the Good Samaritan Training School for Nurses in 1914. From 1914 to 1917, she worked as a private nurse in Corvallis. In February 1917, she was hired as the first nurse in the OAC's health service. During her employment at OAC, she completed two courses in radiology; both courses were held at the School of Radiology in Portland. This allowed her to work as both a general nurse and x-ray technician; these were positions she held until she left in 1930. Cyrus died in Benton County (Oregon) in 1968. Close

• 492. [Image] Lincoln's log cabin at Hodgenville, Kentucky

  	He first saw the light in a miserable hovel in Kentucky, on a farm consisting of a few barren acres in a dreary neighborhood; his father a typical “poor Southern white,” shiftless and improvident, without ...
  	Citation × Citation Citation Abstract Copy Title: Lincoln's log cabin at Hodgenville, Kentucky Year: 1920 He first saw the light in a miserable hovel in Kentucky, on a farm consisting of a few barren acres in a dreary neighborhood; his father a typical “poor Southern white,” shiftless and improvident, without ambition for himself or his children, constantly looking for a new piece of land on which he might make a living without much work; his mother, in her youth handsome and bright, grown prematurely coarse in feature an soured in mind by daily toil and care; the whole household squalid, cheerless, and utterly void of elevating inspirations. Only when the family had “moved” into the malarious backwoods of Indiana, the mother had died, and a stepmother, a woman of thrift and energy, had taken charge of the children, the shaggy-headed, ragged, barefooted, forlorn boy, then seven years old, “began to feel like a human being”. Hard work was his early lot. When a mere boy he had to help in supporting the family, either on his father’s clearing, or hired out to other farmers to plough, or dig ditches, or chop wood, or drive ox teams; occasionally also to “tend the baby” when the farmer’s wife was otherwise engaged. Title: Lincoln's log cabin at Hodgenville, Kentucky Year: 1920 He first saw the light in a miserable hovel in Kentucky, on a farm consisting of a few barren acres in a dreary neighborhood; his father a typical “poor Southern white,” shiftless and improvident, without ambition for himself or his children, constantly looking for a new piece of land on which he might make a living without much work; his mother, in her youth handsome and bright, grown prematurely coarse in feature an soured in mind by daily toil and care; the whole household squalid, cheerless, and utterly void of elevating inspirations. Only when the family had “moved” into the malarious backwoods of Indiana, the mother had died, and a stepmother, a woman of thrift and energy, had taken charge of the children, the shaggy-headed, ragged, barefooted, forlorn boy, then seven years old, “began to feel like a human being”. Hard work was his early lot. When a mere boy he had to help in supporting the family, either on his father’s clearing, or hired out to other farmers to plough, or dig ditches, or chop wood, or drive ox teams; occasionally also to “tend the baby” when the farmer’s wife was otherwise engaged. Close

• 493. [Image] Farmer and wife weighing and reeling silk

  	Japan furnishes about 40% of the world's silk. It is almost as important for the farmer as rice culture. Until recent years China stood first in the world in silk production, but Japan now holds that honor. ...
  	Citation × Citation Citation Abstract Copy Title: Farmer and wife weighing and reeling silk Japan furnishes about 40% of the world's silk. It is almost as important for the farmer as rice culture. Until recent years China stood first in the world in silk production, but Japan now holds that honor. Japanese farmers of middle and lower grade would hardly be able to maintain themselves without it. By rearing the worms, the farmers can at least double the amount attained from ordinary farming alone. Silk raising is such a dainty business! Long experience proclaims that it is most successful when conducted on a small scale. However well modern machinery and organization may deal with the cocoons, reeling the silk, twisting the yars, weaving the fabric, the production of the cocoons must remain the task of widely scattered households. In effect, silk culture is generally the important by-work of the farmers engaged in it. In former times they spun the silk themselves; now they generally sell the cocoons and leave the after-process to larger, concentrated concerns. So the farmer, his little wistful wife, his dainty daughters and his sons become the admiring slaves of his royal highness the silk-worm. Title: Farmer and wife weighing and reeling silk Japan furnishes about 40% of the world's silk. It is almost as important for the farmer as rice culture. Until recent years China stood first in the world in silk production, but Japan now holds that honor. Japanese farmers of middle and lower grade would hardly be able to maintain themselves without it. By rearing the worms, the farmers can at least double the amount attained from ordinary farming alone. Silk raising is such a dainty business! Long experience proclaims that it is most successful when conducted on a small scale. However well modern machinery and organization may deal with the cocoons, reeling the silk, twisting the yars, weaving the fabric, the production of the cocoons must remain the task of widely scattered households. In effect, silk culture is generally the important by-work of the farmers engaged in it. In former times they spun the silk themselves; now they generally sell the cocoons and leave the after-process to larger, concentrated concerns. So the farmer, his little wistful wife, his dainty daughters and his sons become the admiring slaves of his royal highness the silk-worm. Close

• 494. [Image] The estimation of regional secondary benefits resulting from an improvement in water quality of Upper Klamath Lake, Oregon: an interindustry approach

  	AN ABSTRACT OF THE THESIS OF STEPHEN DOUGLAS REILING for the MASTER OF SCIENCE (Name) (Degree) in AGRICULTURAL ECONOMICS presented on (Major) (Date) Title: THE ESTIMATION OF REGIONAL ...
  	Citation × Citation Citation Abstract Copy Title: The estimation of regional secondary benefits resulting from an improvement in water quality of Upper Klamath Lake, Oregon: an interindustry approach Author: Reiling, Stephen Douglas Year: 1971, 2006, 2005 AN ABSTRACT OF THE THESIS OF STEPHEN DOUGLAS REILING for the MASTER OF SCIENCE (Name) (Degree) in AGRICULTURAL ECONOMICS presented on (Major) (Date) Title: THE ESTIMATION OF REGIONAL SECONDARY BENEFITS RESULTING FROM AN IMPROVEMENT IN WATER QUALITY OF UPPER KLAMATH LAKE, OREGON; AN INTERINDUSTRY APPROACH Abstract approved^ Herbert H. Stoevener The primary objective of this study was to estimate the impact that an increase in recreational expenditures, resulting from water quality improvements of Klamath Lake, would have upon the Klamath County economy. As the sales of the economy expand to serve the needs of the recreationists, real benefits will be forthcoming to the businesses and households of the county in the forms of more business and higher incomes., To estimate the total impact of the increased volume of recreational expenditures that may be made in the economy, the economic relationships of the local economy h Title: The estimation of regional secondary benefits resulting from an improvement in water quality of Upper Klamath Lake, Oregon: an interindustry approach Author: Reiling, Stephen Douglas Year: 1971, 2006, 2005 AN ABSTRACT OF THE THESIS OF STEPHEN DOUGLAS REILING for the MASTER OF SCIENCE (Name) (Degree) in AGRICULTURAL ECONOMICS presented on (Major) (Date) Title: THE ESTIMATION OF REGIONAL SECONDARY BENEFITS RESULTING FROM AN IMPROVEMENT IN WATER QUALITY OF UPPER KLAMATH LAKE, OREGON; AN INTERINDUSTRY APPROACH Abstract approved^ Herbert H. Stoevener The primary objective of this study was to estimate the impact that an increase in recreational expenditures, resulting from water quality improvements of Klamath Lake, would have upon the Klamath County economy. As the sales of the economy expand to serve the needs of the recreationists, real benefits will be forthcoming to the businesses and households of the county in the forms of more business and higher incomes., To estimate the total impact of the increased volume of recreational expenditures that may be made in the economy, the economic relationships of the local economy h Close

• 495. [Image] Settlement Program - Philip Kriso and his family are leaving for their new home

  	KP-1482-R2 - Klamath Project. Settlement Program. Philip Kriso hands some furniture to his wife, Barbara, from his truck as they go about the business of moving into their new home. He is helped by ...
  	Citation × Citation Citation Abstract Copy Title: Settlement Program - Philip Kriso and his family are leaving for their new home Author: United States. Bureau of Reclamation, Fluharty, J.E. Year: 1947, 2006, 2005 KP-1482-R2 - Klamath Project. Settlement Program. Philip Kriso hands some furniture to his wife, Barbara, from his truck as they go about the business of moving into their new home. He is helped by little Dorothy Marie, who wants to be certain that her toys are not forgotten in the excitement of moving; May 21, 1947; Photo by J. E. Fluharty Title: Settlement Program - Philip Kriso and his family are leaving for their new home Author: United States. Bureau of Reclamation, Fluharty, J.E. Year: 1947, 2006, 2005 KP-1482-R2 - Klamath Project. Settlement Program. Philip Kriso hands some furniture to his wife, Barbara, from his truck as they go about the business of moving into their new home. He is helped by little Dorothy Marie, who wants to be certain that her toys are not forgotten in the excitement of moving; May 21, 1947; Photo by J. E. Fluharty Close

• 496. [Image] The prayer of Artaban

  	The clamor and the clang of arms passed down the street as the headlong fury of the chase sweeps by the secret covert where the trembling deer is hidden. Artaban re-entered the cottage. He turned his face ...
  	Citation × Citation Citation Abstract Copy Title: The prayer of Artaban The clamor and the clang of arms passed down the street as the headlong fury of the chase sweeps by the secret covert where the trembling deer is hidden. Artaban re-entered the cottage. He turned his face to the east and prayed: "God of truth, forgive my sin! I have said the thing that is not, to save the life of a child. And two of my gifts are gone. I have spent for man that which was meant for God. Shall I ever be worthy to see the face of the King?" But the voice of the woman, weeping for joy in the shadow behind him, said very gently: "Because thou hast saved the life of my little one, may the Lord bless and keep thee; the Lord make his face to shine upon thee and be gracious unto thee; the Lord lift up His countenance upon thee and give thee peace." I saw Artaban moving among the throngs of men in populous Egypt, seeking everywhere for traces of the household that had come down from Bethlehem, and finding them under the spreading sycamore-trees of Heliopolis, and beneath the walls of the Roman fortress of New Babylon beside the Nile -- traces so faint and dim that they vanished before him continually, as footprints on the hard river sand glisten for a moment with moisture and then disappear. I saw him again at the foot of the pyramids, which lifted their sharp points into the intense saffron glow of the sunset sky, changeless monuments of the perishable glory and the imperishable hope of man. Title: The prayer of Artaban The clamor and the clang of arms passed down the street as the headlong fury of the chase sweeps by the secret covert where the trembling deer is hidden. Artaban re-entered the cottage. He turned his face to the east and prayed: "God of truth, forgive my sin! I have said the thing that is not, to save the life of a child. And two of my gifts are gone. I have spent for man that which was meant for God. Shall I ever be worthy to see the face of the King?" But the voice of the woman, weeping for joy in the shadow behind him, said very gently: "Because thou hast saved the life of my little one, may the Lord bless and keep thee; the Lord make his face to shine upon thee and be gracious unto thee; the Lord lift up His countenance upon thee and give thee peace." I saw Artaban moving among the throngs of men in populous Egypt, seeking everywhere for traces of the household that had come down from Bethlehem, and finding them under the spreading sycamore-trees of Heliopolis, and beneath the walls of the Roman fortress of New Babylon beside the Nile -- traces so faint and dim that they vanished before him continually, as footprints on the hard river sand glisten for a moment with moisture and then disappear. I saw him again at the foot of the pyramids, which lifted their sharp points into the intense saffron glow of the sunset sky, changeless monuments of the perishable glory and the imperishable hope of man. Close

• 497. [Image] 1998 Nez artist statement

  	My recent works on paper are inspired by alchemical manuscripts. The alchemists documented their labors in enigmatic texts in which chemical procedures, cosmology and myths are woven together into fantastic ...
  	Citation × Citation Citation Abstract Copy Title: 1998 Nez artist statement Author: Nez, David Year: 1975 My recent works on paper are inspired by alchemical manuscripts. The alchemists documented their labors in enigmatic texts in which chemical procedures, cosmology and myths are woven together into fantastic allegories. Similarly in my paintings I use imagery of birds, beasts, plants and minerals as symbols of the process of transformation, As an artist I view alchemy as a metaphor for the creative process in which there is progressive transformation and refinement of materials, imagery and ultimately consciousness. In alchemy and art alike the creative imagination is the vital agent of change. The alchemists described their labors as an "art". Like the alchemist I attempt to use physical processes as a mirror of inner experience. The materials become "transmuted" from their initially inert state through creative and chaotic struggle into a new synthesis. In my painting I use physical processes of dissolution, evaporation, heat and gravity which remind me of the alchemist's use of the elements of water, air, fire and earth. Humor is an important element of my work. Likewise humor and paradox were not unknown to the alchemist. The texts abound with cryptic riddles meant to befuddle the literal-minded and catalyze intuitive insight. Hermes, the Greek god of wisdom, was the patron of alchemists and also the trickster who could lead his followers on a search to find "fools gold". Anyone who embarks on a potentially quixotic search to find the elixir of immortality should have plenty of humor and humility to sustain themselves! The homunculus, a human-like creature nurtured in a glass vessel was reputed to have been created in the alchemical laboratory. In the novel "Frankenstein" the renegade doctor studies the writings of Paracelsus, the swiss alchemist, before creating his monster. I see the homunculus as a metaphor for modem technology with all its wonders and potential horrors. The series of "Homunculus" sculptures which utilize remnants of household appliances and found objects explores this theme in a whimsical fashion. The alchemist searched for the "gold of the philosophers"-philosophical wisdom. In their pursuit of nature's secrets they combined scientific experimentation with a mystical quest for illumination. Their holistic view of the universe viewed matter and consciousness as a continuum, anticipating recent developments in physics. Alchemy is the ancestor of modem science; perhaps there is something that can be learned from its legacy? I am inspired artistically by the beauty of the texts and their insights into the mysteries of creation. Hopefully my own fanciful creations convey something of the spirit of that tradition. (Nez, 1998) Title: 1998 Nez artist statement Author: Nez, David Year: 1975 My recent works on paper are inspired by alchemical manuscripts. The alchemists documented their labors in enigmatic texts in which chemical procedures, cosmology and myths are woven together into fantastic allegories. Similarly in my paintings I use imagery of birds, beasts, plants and minerals as symbols of the process of transformation, As an artist I view alchemy as a metaphor for the creative process in which there is progressive transformation and refinement of materials, imagery and ultimately consciousness. In alchemy and art alike the creative imagination is the vital agent of change. The alchemists described their labors as an "art". Like the alchemist I attempt to use physical processes as a mirror of inner experience. The materials become "transmuted" from their initially inert state through creative and chaotic struggle into a new synthesis. In my painting I use physical processes of dissolution, evaporation, heat and gravity which remind me of the alchemist's use of the elements of water, air, fire and earth. Humor is an important element of my work. Likewise humor and paradox were not unknown to the alchemist. The texts abound with cryptic riddles meant to befuddle the literal-minded and catalyze intuitive insight. Hermes, the Greek god of wisdom, was the patron of alchemists and also the trickster who could lead his followers on a search to find "fools gold". Anyone who embarks on a potentially quixotic search to find the elixir of immortality should have plenty of humor and humility to sustain themselves! The homunculus, a human-like creature nurtured in a glass vessel was reputed to have been created in the alchemical laboratory. In the novel "Frankenstein" the renegade doctor studies the writings of Paracelsus, the swiss alchemist, before creating his monster. I see the homunculus as a metaphor for modem technology with all its wonders and potential horrors. The series of "Homunculus" sculptures which utilize remnants of household appliances and found objects explores this theme in a whimsical fashion. The alchemist searched for the "gold of the philosophers"-philosophical wisdom. In their pursuit of nature's secrets they combined scientific experimentation with a mystical quest for illumination. Their holistic view of the universe viewed matter and consciousness as a continuum, anticipating recent developments in physics. Alchemy is the ancestor of modem science; perhaps there is something that can be learned from its legacy? I am inspired artistically by the beauty of the texts and their insights into the mysteries of creation. Hopefully my own fanciful creations convey something of the spirit of that tradition. (Nez, 1998) Close

• 498. [Image] White Pigeon church where Lincoln went to school

  	In the log schoolhouse, which he could visit but little, he was taught only reading, writing, and elementary arithmetic. Among the people of the settlement, bush farmers and small tradesmen, he found none ...
  	Citation × Citation Citation Abstract Copy Title: White Pigeon church where Lincoln went to school Year: 1920 In the log schoolhouse, which he could visit but little, he was taught only reading, writing, and elementary arithmetic. Among the people of the settlement, bush farmers and small tradesmen, he found none of uncommon intelligence or education; but some of them had a few books, which he borrowed eagerly. Thus he read and re-read Aesop’s Fables, learning to tell stories with a point and to argue by parables; he read Robinson Crusoe, The Pilgrim’s Progress, a short history of the United States, and Weem’s Life of Washington. To the town constable’s he went to read the Revised Statutes of Indiana. Every printed page that fell into his hands he would greedily devour, and his family and friends watched him with wonder, as the uncouth boy, after his daily work, crouched in a corner of the log cabin or outside under a tree, absorbed in a book while munching his supper of corn bread. In this manner he began to gather some knowledge, and sometimes he would astonish the girls with such startling remarks as that the earth was moving around the sun, and not the sun around the earth, and they marveled where “Abe” could have gotten such queer notions. Soon he also felt the impulse to write, not only making extracts from books he wished to remember, but also composing little essays of his own. First he sketched these with charcoal on a wooden shovel scraped white with a drawing-knife, or on basswood shingles. Then he transferred them to paper, which was a scarce commodity in the Lincoln household, taking care to cut his expressions close, so that they might not cover too much space, - a style forming method greatly to be commended. Seeing boys put a burning coal on the back of a wood turtle, he was moved to write on cruelty to animals. Seeing men intoxicated with whiskey, he wrote on temperance. In verse-making, too, he tried himself, in satire on persons offensive to him or others, - satire the rustic wit of which was not always fit for ears polite. Also political thoughts he put upon paper, and some of his pieces were even deemed good enough for publication in the county weekly. Title: White Pigeon church where Lincoln went to school Year: 1920 In the log schoolhouse, which he could visit but little, he was taught only reading, writing, and elementary arithmetic. Among the people of the settlement, bush farmers and small tradesmen, he found none of uncommon intelligence or education; but some of them had a few books, which he borrowed eagerly. Thus he read and re-read Aesop’s Fables, learning to tell stories with a point and to argue by parables; he read Robinson Crusoe, The Pilgrim’s Progress, a short history of the United States, and Weem’s Life of Washington. To the town constable’s he went to read the Revised Statutes of Indiana. Every printed page that fell into his hands he would greedily devour, and his family and friends watched him with wonder, as the uncouth boy, after his daily work, crouched in a corner of the log cabin or outside under a tree, absorbed in a book while munching his supper of corn bread. In this manner he began to gather some knowledge, and sometimes he would astonish the girls with such startling remarks as that the earth was moving around the sun, and not the sun around the earth, and they marveled where “Abe” could have gotten such queer notions. Soon he also felt the impulse to write, not only making extracts from books he wished to remember, but also composing little essays of his own. First he sketched these with charcoal on a wooden shovel scraped white with a drawing-knife, or on basswood shingles. Then he transferred them to paper, which was a scarce commodity in the Lincoln household, taking care to cut his expressions close, so that they might not cover too much space, - a style forming method greatly to be commended. Seeing boys put a burning coal on the back of a wood turtle, he was moved to write on cruelty to animals. Seeing men intoxicated with whiskey, he wrote on temperance. In verse-making, too, he tried himself, in satire on persons offensive to him or others, - satire the rustic wit of which was not always fit for ears polite. Also political thoughts he put upon paper, and some of his pieces were even deemed good enough for publication in the county weekly. Close

• 499. [Image] Martha

  	Maria Schwalb, too, had many an opportunity during the long summer, to show her housewife accomplishments. Nor was she unassisted by her humbler sister in these duties. The arrangements for entertaining ...
  	Citation × Citation Citation Abstract Copy Title: Martha Maria Schwalb, too, had many an opportunity during the long summer, to show her housewife accomplishments. Nor was she unassisted by her humbler sister in these duties. The arrangements for entertaining the crowds that came were in the hands of the central committee. This committee assigned travellers to the different hotels and homes. Lodgings cost from $1.00 to $2.50 per day according to location. The meals cost as much more. Here let one (Mrs. Elizabeth Hayhurst of Portland) who witnessed the portrayal of this great play in 1922 tell us some of her observations and experiences. "We left Munich Saturday afternoon on one of the many special trains for Oberammergau which is about a two hour journey by fast train. We went through a picturesque country, whose fir-clad hills reminded us very strongly of Oregon, while the numerous blue lakes and chalet-like houses partook of the characteristics of Switzerland. Soon we were in sight of the lovely Bavarian Alps, and entering the valley of the Ammer, beheld Oberammergau - a small village nestled at the foot of Kofel, a high mountain peak with precipitous sides whose crest is surmounted with a cross. Upon our arrival, we were put in the care of a porter, who was dressed in the quaint garb of the Bavarian peasant - short leather breeches, embroidered velvet jacket, and a peaked leather hat adorned with a feather of a wild fowl. We followed him to the home of our host - Hans Mayr, who had the role of "Pilate" in the play. Frau Mayr greeted us cordially, as she domiciled forty of us Americans seemingly without any effort whatsoever, and made us feel quite like we were her personal guests instead of playing ones. A walk about the village later brought forth many "Ohs and Ahs". Most of the houses are painted a soft green, gray or white, and on the outside walls of many are painted religious scenes, and on one house there was a canopy of ivy growing about a painted shrine to the Virgin. Everywhere there were shrines and on the banks of the clean, clear Ammer river was a splendid monument of the Crucifixion. After our simple but wholesome evening meal, many of us purchased copies of the play, and knowing no German, which is the original text, I obtained an English version, to familiarize myself with the lines I had journeyed so far to see and hear interpreted. The characters are selected by a committee that is elected by the whole community, and the villagers wait with breathless anticipation the announcement of the bestowal of the assignment, as often a near-tragedy is witnessed when one is deemed too old to continue in a famous role. Anton Lang has been the Christus for three consecutive decades but he will not be able to continue in the role, as the crucifixion scene where he is suspended on the cross for twenty minutes is a great physical strain. Frau Lang has never witnessed the crucifixion scene as given by her husband. On the day of the performance, Anton Lang remains at the auditorium all day - simple food being brought to him during the noon intermission when he rests. By profession, he is a potter. He is profound student of the life of Christ, and has made a pilgrimage to the Holy Land in order to portray the role. The bestowal of the role of the Christus is considered the highest honor within the power of the community as there is the character requisite as well as the acting one. That interest in the Play is lifelong can best be revealed by the interest of Johann Zwinck who was first a boy in the play, twice enacted the part of the disciple, Joh, and for three decades interpreted the role of Judas - said to be among the greatest of the Judases and in 1922 was the venerable Simon of Bethany, as well as understudy to the Judas. It is told of him that while he wished nothing to happen to Guida Mayr - the Judans of 1922, but Oh! how much he should like to just once again play the part of Judas, and when he was told that it would be difficult for him to make himself heard with so many of his teeth gone, he replied, "well, if I were sure of the chance, I would try in some way to gather together enough money to buy teeth". George Lang, the director of the play, is a young man of about thirty years. He was wounded in the late war and one hand is atrophied. He is their teacher in the wood carving school. Wood carving is the principal industry of the village and to that fact may be ascribed the artistic success of the play. The Villagers day by day experience the joy of creating beautiful objects. The robes have all been designed and made in the village from wonderful materials gotten mostly from the Orient. No make-up whatsoever is used, not even a wig is worn, another secret of the lovely hair one sees there everywhere. No married woman is given a speaking role, but an exception was made to the understudy of the Virgin Mary of 1922, who was the Virgin Mary of 1910, but who in the meantime has been wooed, wed, and widowed. Nine hundred five people have a part in the production of the play; there are 124 speaking roles; 50 musicians in the orchestra and 45 singers in the well-trained chorus. Seven hundred persons from mere tots of four to men and women of venerable years appear in the mob scene; 75 men are needed to collect the tickets and serve as doorkeepers and ushers, and remember at the same time thousands are being entertained in the homes of the villagers, as the few small hotels cannot begin to provide for the large number who come from all parts of the world to see the Marvelous Play of all time. The prices were established early in the year of 1922, and although the value of the mark declined many times in value before the season had hardly begun, there was no deviation from the established price of either the seats or the accomodations. Thus it was that eleven of the villagers journeyed to American to try to retrieve some of the deficit. Each summer a religious play is given which enables the selecting committee to know who is best adapted to the various roles, and each family hopes it may be represented in the famous characters and shapes its daily life to that end. We were awakened early Sunday morning by such peaceful sounds as the crowing of the cocks, lowing of the calves, tinkling of the bells of the cows as they were being driven through the village streets to the pasture, and the pealing of the chimes from the village's one church. Upon arising, we were greeted with frosted roofs and fences, which was a most welcome sight, as it foretold a clear day. We breakfasted at six-thirty, after which we were given our tickets to the open-air auditorium, as experience has shown that it simplifies matters to retain the tickets as long as possible to avoid all the useless mislayings and losings. The seats are distributed according to the household, the better homes secure the better seats for their guests. Our hostess very thoughtfully suggested our securing robes and cushions, which were provided for a small fee and made our stay in the open-air auditorium much more comfortable. As we went to the Play through the village streets, it seemed as though the whole world had come to Oberammergau. There were monks and nuns of the various orders, Hindoos from India, Syrians from the Near East, a Japanese and Chinese from the Far East, and very, very black people from Africa. We were requested to be in our seats at 7:45, and there we were, 4200 sitting, hundreds standing and scores kneeling, when at precisely eight o'clock the Chorus dressed in rich colorful robes advanced from the colonnades on either side of the stage and sang the opening number which is a prayer of thanks for their deliverance from the awful scourge in ages past and an appeal from the blessing of the presence of the Saviour always. Then the prologist in full, rich voice gave the following beautiful greeting which sounds the keynote of the whole play. "Welcome, welcome, to all, whom here the tender love Of the Saviour unites, mourning, to follow Him On His journey of suffering To the last resting place. Who from far and from near, all here have come today They all feel themselves now joined in brotherly love As disciples of one Lord Who has suffered death for all. Who gave Himself for us, with compassion and love Even to bitter death. To Him let us lift up Our gaze and our hearts too, With love unfeigned and gratitude. Up to Him let us lift all our thoughts and our souls, Pray with us - yea - with us pray, as the hour comes, When the dept of our sacred vow We pray to the supreme GOD". There are twenty-four tableaux and the function of the tableaux is to connect the incidents of the old testament that relate to the incidents of the last seven days of Christ. The dialogue begins with Christ's entry into Jerusalem, and our very souls were quickened as we beheld the face of Him who has beem so familiar to us through the very best of painting and sculpture. As the sad story unfolded, there were lovely pictures of indelible impress left upon our minds. The bleating of the sheep as they were freed from the pens and the flying of the doves over the audience, all added to the realism of the Temple scene. Then the beauty and the humility of Mary Magdalene as she wiped the feet of the Christus with her lovely long hair; the pathos and the tenderness of the leave-taking of the Christus of His mother in Bethany, and the Last Supper which is an animated counterpart of the Da Vinci painting. The play has progressed until the betrayal of the Christus by Judas in the Garden of Gethsamane when the Noon intermission is announced which is the first intermission of the morning. We were all enthralled as we wended our way quietly to our various place of abode for luncheon, which in many instances, is served by those appearing in the performance. At 1:15 we were again in our seats in eager anticipation of the continuance of the wonderful story of the Ages, as the shortening of days of September made it necessary to resume the Play at 1:30 in order to finish before nightfall. The lines of the Play have Judas reveal where the Christus is spending the night rather than an actual betrayal, and when Judas realized all to late what his telling has brought to the Christus, he is so filled with compassion that he receives our pity instead of our scorn. Scene after scene is portrayed until we are confronted with the realistic "Way of the Cross", and the Chorus, now dressed in black, sing a dirge-like refrain all through the Crucifixion Scene, which was too real and too sad for most of us. As the body was removed from the cross we thought at once of another famous painting "Rubens' Descent From the Cross" and during the rites of the last unction, another work of art came to our mind, Michael Angelo's marble masterpiece "Pieta" as Mary, the Mother, folded in her arms the beautiful body of the Christus. The Christ appeared for a moment to Mary Magdalene after the resurrection, and in a final tableau, we had a glimpse of the Ascension. The last chorus was sung--a glad, halleluiah one-- and the somber robes of mourning have been replaced by the first, bright, colorful ones, and the final curtain is drawn about five-thirty upon the marvelous Passion Play. It has filled our very souls with reverence and a prayer that the Great Sacrifice of Reconcilliation upon Golgotha may contribute to a world peace and a better understanding among the nations and within the nations until the whole world is imbued with the same unity and co-operation that makes possible the perfect rendering of this marvellous Play by the villagers of Oberammergau. Title: Martha Maria Schwalb, too, had many an opportunity during the long summer, to show her housewife accomplishments. Nor was she unassisted by her humbler sister in these duties. The arrangements for entertaining the crowds that came were in the hands of the central committee. This committee assigned travellers to the different hotels and homes. Lodgings cost from $1.00 to $2.50 per day according to location. The meals cost as much more. Here let one (Mrs. Elizabeth Hayhurst of Portland) who witnessed the portrayal of this great play in 1922 tell us some of her observations and experiences. "We left Munich Saturday afternoon on one of the many special trains for Oberammergau which is about a two hour journey by fast train. We went through a picturesque country, whose fir-clad hills reminded us very strongly of Oregon, while the numerous blue lakes and chalet-like houses partook of the characteristics of Switzerland. Soon we were in sight of the lovely Bavarian Alps, and entering the valley of the Ammer, beheld Oberammergau - a small village nestled at the foot of Kofel, a high mountain peak with precipitous sides whose crest is surmounted with a cross. Upon our arrival, we were put in the care of a porter, who was dressed in the quaint garb of the Bavarian peasant - short leather breeches, embroidered velvet jacket, and a peaked leather hat adorned with a feather of a wild fowl. We followed him to the home of our host - Hans Mayr, who had the role of "Pilate" in the play. Frau Mayr greeted us cordially, as she domiciled forty of us Americans seemingly without any effort whatsoever, and made us feel quite like we were her personal guests instead of playing ones. A walk about the village later brought forth many "Ohs and Ahs". Most of the houses are painted a soft green, gray or white, and on the outside walls of many are painted religious scenes, and on one house there was a canopy of ivy growing about a painted shrine to the Virgin. Everywhere there were shrines and on the banks of the clean, clear Ammer river was a splendid monument of the Crucifixion. After our simple but wholesome evening meal, many of us purchased copies of the play, and knowing no German, which is the original text, I obtained an English version, to familiarize myself with the lines I had journeyed so far to see and hear interpreted. The characters are selected by a committee that is elected by the whole community, and the villagers wait with breathless anticipation the announcement of the bestowal of the assignment, as often a near-tragedy is witnessed when one is deemed too old to continue in a famous role. Anton Lang has been the Christus for three consecutive decades but he will not be able to continue in the role, as the crucifixion scene where he is suspended on the cross for twenty minutes is a great physical strain. Frau Lang has never witnessed the crucifixion scene as given by her husband. On the day of the performance, Anton Lang remains at the auditorium all day - simple food being brought to him during the noon intermission when he rests. By profession, he is a potter. He is profound student of the life of Christ, and has made a pilgrimage to the Holy Land in order to portray the role. The bestowal of the role of the Christus is considered the highest honor within the power of the community as there is the character requisite as well as the acting one. That interest in the Play is lifelong can best be revealed by the interest of Johann Zwinck who was first a boy in the play, twice enacted the part of the disciple, Joh, and for three decades interpreted the role of Judas - said to be among the greatest of the Judases and in 1922 was the venerable Simon of Bethany, as well as understudy to the Judas. It is told of him that while he wished nothing to happen to Guida Mayr - the Judans of 1922, but Oh! how much he should like to just once again play the part of Judas, and when he was told that it would be difficult for him to make himself heard with so many of his teeth gone, he replied, "well, if I were sure of the chance, I would try in some way to gather together enough money to buy teeth". George Lang, the director of the play, is a young man of about thirty years. He was wounded in the late war and one hand is atrophied. He is their teacher in the wood carving school. Wood carving is the principal industry of the village and to that fact may be ascribed the artistic success of the play. The Villagers day by day experience the joy of creating beautiful objects. The robes have all been designed and made in the village from wonderful materials gotten mostly from the Orient. No make-up whatsoever is used, not even a wig is worn, another secret of the lovely hair one sees there everywhere. No married woman is given a speaking role, but an exception was made to the understudy of the Virgin Mary of 1922, who was the Virgin Mary of 1910, but who in the meantime has been wooed, wed, and widowed. Nine hundred five people have a part in the production of the play; there are 124 speaking roles; 50 musicians in the orchestra and 45 singers in the well-trained chorus. Seven hundred persons from mere tots of four to men and women of venerable years appear in the mob scene; 75 men are needed to collect the tickets and serve as doorkeepers and ushers, and remember at the same time thousands are being entertained in the homes of the villagers, as the few small hotels cannot begin to provide for the large number who come from all parts of the world to see the Marvelous Play of all time. The prices were established early in the year of 1922, and although the value of the mark declined many times in value before the season had hardly begun, there was no deviation from the established price of either the seats or the accomodations. Thus it was that eleven of the villagers journeyed to American to try to retrieve some of the deficit. Each summer a religious play is given which enables the selecting committee to know who is best adapted to the various roles, and each family hopes it may be represented in the famous characters and shapes its daily life to that end. We were awakened early Sunday morning by such peaceful sounds as the crowing of the cocks, lowing of the calves, tinkling of the bells of the cows as they were being driven through the village streets to the pasture, and the pealing of the chimes from the village's one church. Upon arising, we were greeted with frosted roofs and fences, which was a most welcome sight, as it foretold a clear day. We breakfasted at six-thirty, after which we were given our tickets to the open-air auditorium, as experience has shown that it simplifies matters to retain the tickets as long as possible to avoid all the useless mislayings and losings. The seats are distributed according to the household, the better homes secure the better seats for their guests. Our hostess very thoughtfully suggested our securing robes and cushions, which were provided for a small fee and made our stay in the open-air auditorium much more comfortable. As we went to the Play through the village streets, it seemed as though the whole world had come to Oberammergau. There were monks and nuns of the various orders, Hindoos from India, Syrians from the Near East, a Japanese and Chinese from the Far East, and very, very black people from Africa. We were requested to be in our seats at 7:45, and there we were, 4200 sitting, hundreds standing and scores kneeling, when at precisely eight o'clock the Chorus dressed in rich colorful robes advanced from the colonnades on either side of the stage and sang the opening number which is a prayer of thanks for their deliverance from the awful scourge in ages past and an appeal from the blessing of the presence of the Saviour always. Then the prologist in full, rich voice gave the following beautiful greeting which sounds the keynote of the whole play. "Welcome, welcome, to all, whom here the tender love Of the Saviour unites, mourning, to follow Him On His journey of suffering To the last resting place. Who from far and from near, all here have come today They all feel themselves now joined in brotherly love As disciples of one Lord Who has suffered death for all. Who gave Himself for us, with compassion and love Even to bitter death. To Him let us lift up Our gaze and our hearts too, With love unfeigned and gratitude. Up to Him let us lift all our thoughts and our souls, Pray with us - yea - with us pray, as the hour comes, When the dept of our sacred vow We pray to the supreme GOD". There are twenty-four tableaux and the function of the tableaux is to connect the incidents of the old testament that relate to the incidents of the last seven days of Christ. The dialogue begins with Christ's entry into Jerusalem, and our very souls were quickened as we beheld the face of Him who has beem so familiar to us through the very best of painting and sculpture. As the sad story unfolded, there were lovely pictures of indelible impress left upon our minds. The bleating of the sheep as they were freed from the pens and the flying of the doves over the audience, all added to the realism of the Temple scene. Then the beauty and the humility of Mary Magdalene as she wiped the feet of the Christus with her lovely long hair; the pathos and the tenderness of the leave-taking of the Christus of His mother in Bethany, and the Last Supper which is an animated counterpart of the Da Vinci painting. The play has progressed until the betrayal of the Christus by Judas in the Garden of Gethsamane when the Noon intermission is announced which is the first intermission of the morning. We were all enthralled as we wended our way quietly to our various place of abode for luncheon, which in many instances, is served by those appearing in the performance. At 1:15 we were again in our seats in eager anticipation of the continuance of the wonderful story of the Ages, as the shortening of days of September made it necessary to resume the Play at 1:30 in order to finish before nightfall. The lines of the Play have Judas reveal where the Christus is spending the night rather than an actual betrayal, and when Judas realized all to late what his telling has brought to the Christus, he is so filled with compassion that he receives our pity instead of our scorn. Scene after scene is portrayed until we are confronted with the realistic "Way of the Cross", and the Chorus, now dressed in black, sing a dirge-like refrain all through the Crucifixion Scene, which was too real and too sad for most of us. As the body was removed from the cross we thought at once of another famous painting "Rubens' Descent From the Cross" and during the rites of the last unction, another work of art came to our mind, Michael Angelo's marble masterpiece "Pieta" as Mary, the Mother, folded in her arms the beautiful body of the Christus. The Christ appeared for a moment to Mary Magdalene after the resurrection, and in a final tableau, we had a glimpse of the Ascension. The last chorus was sung--a glad, halleluiah one-- and the somber robes of mourning have been replaced by the first, bright, colorful ones, and the final curtain is drawn about five-thirty upon the marvelous Passion Play. It has filled our very souls with reverence and a prayer that the Great Sacrifice of Reconcilliation upon Golgotha may contribute to a world peace and a better understanding among the nations and within the nations until the whole world is imbued with the same unity and co-operation that makes possible the perfect rendering of this marvellous Play by the villagers of Oberammergau. Close

• 500. [Image] A framework for ecosystem management in the interior Columbia Basin and portions of the Klamath and Great Basins

  	Haynes, Richard W.; Graham, Russell T.; Quigley, Thomas M., tech. eds. 1996. A framework for ecosystem management in the Interior Columbia Basin including portions of the Klamath and Great Basins. Gen. ...
  	Citation × Citation Citation Abstract Copy Title: A framework for ecosystem management in the interior Columbia Basin and portions of the Klamath and Great Basins Year: 1996, 2005 Haynes, Richard W.; Graham, Russell T.; Quigley, Thomas M., tech. eds. 1996. A framework for ecosystem management in the Interior Columbia Basin including portions of the Klamath and Great Basins. Gen. Tech. Rep. PNW-GTR-374. Portland, OR; U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station. 66 p. A framework for ecosystem management is proposed. This framework assumes the purpose of ecosystem management is to maintain the integrity of ecosystems over time and space. It is based on four ecosystem principles: ecosystems are dynamic, can be viewed as hierarchies with temporal and spatial dimensions, have limits, and are relatively unpredictable. This approach recognizes that people are part of ecosystems and that stewardship must be able to resolve tough challenges including how to meet multiple demands with finite resources. The framework describes a general planning model for ecosystem management that has four iterative steps: monitoring, assessment, decision-making, and implementation. Since ecosystems cross jurisdictional lines, the implementation of the framework depends on partnerships among land managers, the scientific community, and stakeholders. It proposes that decision-making be based on information provided by the best available science and the most appropriate technologies for land management. Keywords: Ecosystem assessment, ecosystem principles, ecosystem management, planning models, management goals, risk analysis. Title: A framework for ecosystem management in the interior Columbia Basin and portions of the Klamath and Great Basins Year: 1996, 2005 Haynes, Richard W.; Graham, Russell T.; Quigley, Thomas M., tech. eds. 1996. A framework for ecosystem management in the Interior Columbia Basin including portions of the Klamath and Great Basins. Gen. Tech. Rep. PNW-GTR-374. Portland, OR; U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station. 66 p. A framework for ecosystem management is proposed. This framework assumes the purpose of ecosystem management is to maintain the integrity of ecosystems over time and space. It is based on four ecosystem principles: ecosystems are dynamic, can be viewed as hierarchies with temporal and spatial dimensions, have limits, and are relatively unpredictable. This approach recognizes that people are part of ecosystems and that stewardship must be able to resolve tough challenges including how to meet multiple demands with finite resources. The framework describes a general planning model for ecosystem management that has four iterative steps: monitoring, assessment, decision-making, and implementation. Since ecosystems cross jurisdictional lines, the implementation of the framework depends on partnerships among land managers, the scientific community, and stakeholders. It proposes that decision-making be based on information provided by the best available science and the most appropriate technologies for land management. Keywords: Ecosystem assessment, ecosystem principles, ecosystem management, planning models, management goals, risk analysis. Close