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• 1211. [Image] Uniforms of artillery, infantry, rifle, dragoons, and West Point cadets, 1813-1821

  	Here are different types of uniforms which were worn from 1813 to 1821. The red collars and cuffs of coats formerly worn have disappeared. The coats of both Artillery and Infantry were made uniformly blue ...
  	Citation × Citation Citation Abstract Copy Title: Uniforms of artillery, infantry, rifle, dragoons, and West Point cadets, 1813-1821 Here are different types of uniforms which were worn from 1813 to 1821. The red collars and cuffs of coats formerly worn have disappeared. The coats of both Artillery and Infantry were made uniformly blue and shortened. The coats as shown here, were called "coatees". The high hat previously worn has changed to the bell crowned leather "shako" hat here shown, which was a new type of military hat. Worsted or cotton pompons were used on the hat instead of feathers. Another new feature in this period is the appearance of the long modern trousers with shoes and over-gaiters. Red which had so long been the color for artillery, disappeared as the color for that branch, but yellow remained, although little was used. The yellow epaulettes, the sword hilt, and the eagle on the cockade distinguished the soldier in the left background, with back towards us, as an officer of the Artillery. The feather in the hat, also the waist belt, however, were white as shown. At the extreme right is seen a member of Light Dragoons. His coat was a husaw jacket worked with braid on collar and sleeves. The trousers were white cashmere or buckskin for dress, as seen here, and dark blue for service. The feather of the helmet worn was blue with a white top. The epaulettes and sword hilt were white, and the buttons on the coat were silver plated and flat. The mounted officer at the right with whom the Dragoon is conversing, wears, as you will notice, yellow epaulettes, also a gold band on his leather hat, and tassel falling from the right side. He has also a red saddle cloth or "housing" and plume of white and red which shows he is an Adjutant of Light Artillery. Title: Uniforms of artillery, infantry, rifle, dragoons, and West Point cadets, 1813-1821 Here are different types of uniforms which were worn from 1813 to 1821. The red collars and cuffs of coats formerly worn have disappeared. The coats of both Artillery and Infantry were made uniformly blue and shortened. The coats as shown here, were called "coatees". The high hat previously worn has changed to the bell crowned leather "shako" hat here shown, which was a new type of military hat. Worsted or cotton pompons were used on the hat instead of feathers. Another new feature in this period is the appearance of the long modern trousers with shoes and over-gaiters. Red which had so long been the color for artillery, disappeared as the color for that branch, but yellow remained, although little was used. The yellow epaulettes, the sword hilt, and the eagle on the cockade distinguished the soldier in the left background, with back towards us, as an officer of the Artillery. The feather in the hat, also the waist belt, however, were white as shown. At the extreme right is seen a member of Light Dragoons. His coat was a husaw jacket worked with braid on collar and sleeves. The trousers were white cashmere or buckskin for dress, as seen here, and dark blue for service. The feather of the helmet worn was blue with a white top. The epaulettes and sword hilt were white, and the buttons on the coat were silver plated and flat. The mounted officer at the right with whom the Dragoon is conversing, wears, as you will notice, yellow epaulettes, also a gold band on his leather hat, and tassel falling from the right side. He has also a red saddle cloth or "housing" and plume of white and red which shows he is an Adjutant of Light Artillery. Close

• 1212. [Image] Types of campaign dress worn by soldiers in the Continental Army, 1776-1779

  	In 1775, the Continental Congress had decided that the Troop should be uniformed in brown, the men paying for their own uniforms by stoppages in pay after the prevailing custom in the British service. ...
  	Citation × Citation Citation Abstract Copy Title: Types of campaign dress worn by soldiers in the Continental Army, 1776-1779 In 1775, the Continental Congress had decided that the Troop should be uniformed in brown, the men paying for their own uniforms by stoppages in pay after the prevailing custom in the British service. The uniform at the extreme left is that of one of the Pennsylvania regiments which appeared in brown with buff or white facings. All who could procure them wore buckskin breeches. Because it was in demand and obtainable on every farm, brown was the prevalent hue of cloth manufactured in this country and was extensively used for military coats in the Colonies and during the Revolution. While Congress decided upon the color, it was not able to supply the cloth in sufficient quantity to uniform the army. Some of the states undertook the supplying of uniforms as far as possible for their own soldiers. The government of Connecticut had on hand a quantity of scarlet coats and sent those to the men in the field until the supply was exhausted. Occassionally a lot of enemies' uniforms fell into the hands of the Continental patriots. If there was time to do it, these were dyed brown or blue, but they were sometimes worn without change which led to bad mistakes of friends and foes on the battlefield. The uniform of the third solider from the left was that of the Second South Carolina regiment in which Frances Marion was a Captain. It was at this uniform that General Gates was said to have laughed. It consisted of a close round bodied jacket of coarse texture, a leather cap with a silver cresecent in front, and inscribed with the words, "Liberty or Death." When in New York in 1776, Washington issued a general order for improving the uniforms and clothing of the Army, he directed the use of the hunter's dress which he had used for the Virginia Militia years before and which the New England Rangers had used in the French and Indian War, for those troops which had not already been provided for. The two soldiers at the right, one in white, and the other in green wear this hunting dress. The white hunter's outfit was also the dress of the first troops raised by the authority of the Continental Congress, the famous riflemen from Virginia, Maryland and Western Pennsylvania. It consisted of white shirts and trousers reaching to the ankles and fitted gaiter fashion about the leg below the knee and extending over the moccasins. Round the waist was a leather belt in which was stuck a hunting knife. Over the shoulder was another belt from which hung sometimes a cartridge box, but generally a powder horn. The trimmings of the shirts and trousers generally consisted of ravellings of the linen or woolen material of which the garments were made. This dress was encouraged, first because it was cheaper. It was also more convenient in warm weather. There was, however, another and strategic reason for Washington's recommending this hunter dress. This was to carry terror to the enemy who believed every person so dressed to be a complete marksman. The deadly precision of the rifle in the hands of an old hunter inspired constant fear in the hearts of the well drilled British Regulars. This reputation established by these Colonial hunters for deadly accuracy has remained the purpose of the United States Army to maintain. The second soldier from the left wears a uniform of Washington's bodyguard which was composed of picked infantry. They wore blue coats with buff facings, like their Chief, who appears in the following slide, also leather breeches and scarlet waistcoats as you see here. Title: Types of campaign dress worn by soldiers in the Continental Army, 1776-1779 In 1775, the Continental Congress had decided that the Troop should be uniformed in brown, the men paying for their own uniforms by stoppages in pay after the prevailing custom in the British service. The uniform at the extreme left is that of one of the Pennsylvania regiments which appeared in brown with buff or white facings. All who could procure them wore buckskin breeches. Because it was in demand and obtainable on every farm, brown was the prevalent hue of cloth manufactured in this country and was extensively used for military coats in the Colonies and during the Revolution. While Congress decided upon the color, it was not able to supply the cloth in sufficient quantity to uniform the army. Some of the states undertook the supplying of uniforms as far as possible for their own soldiers. The government of Connecticut had on hand a quantity of scarlet coats and sent those to the men in the field until the supply was exhausted. Occassionally a lot of enemies' uniforms fell into the hands of the Continental patriots. If there was time to do it, these were dyed brown or blue, but they were sometimes worn without change which led to bad mistakes of friends and foes on the battlefield. The uniform of the third solider from the left was that of the Second South Carolina regiment in which Frances Marion was a Captain. It was at this uniform that General Gates was said to have laughed. It consisted of a close round bodied jacket of coarse texture, a leather cap with a silver cresecent in front, and inscribed with the words, "Liberty or Death." When in New York in 1776, Washington issued a general order for improving the uniforms and clothing of the Army, he directed the use of the hunter's dress which he had used for the Virginia Militia years before and which the New England Rangers had used in the French and Indian War, for those troops which had not already been provided for. The two soldiers at the right, one in white, and the other in green wear this hunting dress. The white hunter's outfit was also the dress of the first troops raised by the authority of the Continental Congress, the famous riflemen from Virginia, Maryland and Western Pennsylvania. It consisted of white shirts and trousers reaching to the ankles and fitted gaiter fashion about the leg below the knee and extending over the moccasins. Round the waist was a leather belt in which was stuck a hunting knife. Over the shoulder was another belt from which hung sometimes a cartridge box, but generally a powder horn. The trimmings of the shirts and trousers generally consisted of ravellings of the linen or woolen material of which the garments were made. This dress was encouraged, first because it was cheaper. It was also more convenient in warm weather. There was, however, another and strategic reason for Washington's recommending this hunter dress. This was to carry terror to the enemy who believed every person so dressed to be a complete marksman. The deadly precision of the rifle in the hands of an old hunter inspired constant fear in the hearts of the well drilled British Regulars. This reputation established by these Colonial hunters for deadly accuracy has remained the purpose of the United States Army to maintain. The second soldier from the left wears a uniform of Washington's bodyguard which was composed of picked infantry. They wore blue coats with buff facings, like their Chief, who appears in the following slide, also leather breeches and scarlet waistcoats as you see here. Close

• 1213. [Image] Oregon State Planning Board, 1935

  	1. Letter describing proposed creation of a State Planning Board and State Department of Conservation and Development as well as funding for wildlife research; 2. Letter to Chancellor W. J. Kerr recommending ...
  	Citation × Citation Citation Abstract Copy Title: Oregon State Planning Board, 1935 Author: Stanbery, V. B. (Van Buren), 1889-; Finley, William L. (William Lovell), 1876-1953; Parsons, Philip A. (Philip Archibald), 1879-1943; Mote, Don C. (Don Carlos), 1887-; Bean, Lucile G.; Willard, Rex E.; Lambert, Francis; Ziesenhenne, Fred C.; Ahlstrom, Elbert H. Year: 1935 1. Letter describing proposed creation of a State Planning Board and State Department of Conservation and Development as well as funding for wildlife research; 2. Letter to Chancellor W. J. Kerr recommending that Oregon State College be responsible for overseeing game management funding; 3. Letter from Philip Parons recommending the formation of a committee to make suggestions to the Oregon Fish and Game Commissions; 4. Letter discussing joint meeting of the Washington State Planning Council and Oregon State Planning Board; 5. Letter discussing issues with midges and a study of pelicans at the Upper Klamath Lake; 6. Program for joint meeting of the Washington State Planning Council and Oregon State Planning Board; 7. Letter requesting recommendations for legislation relating to natural resources in Oregon; 8. Correspondence discussing conference in Gold Beach to discuss Rogue River pollution; 9. Letter discussing meeting of State Planning Board and Advisory Research Committees; 10. Letter and memorandum discussing questions posed by V. B. Stanbery regarding Oregon wildlife conservation and responses of George Aiken, an Oregon State Game Commission member; 11. Correspondence discussing Curry County Planning Commission's proposed bill to create a board responsible for forest and range improvements; 12. Letter discussing the transfer of Land Planning Specialists to the Resettlement Administration; 13. Letter discussing current and proposed ground water surveys in eastern Oregon and Willamette Valley; 14. Correspondence discussing proposed establishment of refuges at Wapato Lake and upper Long Tom River; 15. Letter discussing a draft of William Finley's talk at joint meeting of the State Planning Board and Advisory Research Council; 16. Letter discussing proposed establishment of Hart Mountain Game Reserve; 17. Correspondence discussing proposed acquisition of Wapato Lake to establish a wildlife refuge; 18. Letter discussing appointment of members to Stream Pollution Committee; 19. Letter discussing Wildlife Committee members and contribution to report on natural resources in Oregon; 20. Reports focusing on stream improvements in the Siskiyou, Mount Hood, and Fremont National Forests; 21. "Oregon State Planning Board Research Program for 1936" Title: Oregon State Planning Board, 1935 Author: Stanbery, V. B. (Van Buren), 1889-; Finley, William L. (William Lovell), 1876-1953; Parsons, Philip A. (Philip Archibald), 1879-1943; Mote, Don C. (Don Carlos), 1887-; Bean, Lucile G.; Willard, Rex E.; Lambert, Francis; Ziesenhenne, Fred C.; Ahlstrom, Elbert H. Year: 1935 1. Letter describing proposed creation of a State Planning Board and State Department of Conservation and Development as well as funding for wildlife research; 2. Letter to Chancellor W. J. Kerr recommending that Oregon State College be responsible for overseeing game management funding; 3. Letter from Philip Parons recommending the formation of a committee to make suggestions to the Oregon Fish and Game Commissions; 4. Letter discussing joint meeting of the Washington State Planning Council and Oregon State Planning Board; 5. Letter discussing issues with midges and a study of pelicans at the Upper Klamath Lake; 6. Program for joint meeting of the Washington State Planning Council and Oregon State Planning Board; 7. Letter requesting recommendations for legislation relating to natural resources in Oregon; 8. Correspondence discussing conference in Gold Beach to discuss Rogue River pollution; 9. Letter discussing meeting of State Planning Board and Advisory Research Committees; 10. Letter and memorandum discussing questions posed by V. B. Stanbery regarding Oregon wildlife conservation and responses of George Aiken, an Oregon State Game Commission member; 11. Correspondence discussing Curry County Planning Commission's proposed bill to create a board responsible for forest and range improvements; 12. Letter discussing the transfer of Land Planning Specialists to the Resettlement Administration; 13. Letter discussing current and proposed ground water surveys in eastern Oregon and Willamette Valley; 14. Correspondence discussing proposed establishment of refuges at Wapato Lake and upper Long Tom River; 15. Letter discussing a draft of William Finley's talk at joint meeting of the State Planning Board and Advisory Research Council; 16. Letter discussing proposed establishment of Hart Mountain Game Reserve; 17. Correspondence discussing proposed acquisition of Wapato Lake to establish a wildlife refuge; 18. Letter discussing appointment of members to Stream Pollution Committee; 19. Letter discussing Wildlife Committee members and contribution to report on natural resources in Oregon; 20. Reports focusing on stream improvements in the Siskiyou, Mount Hood, and Fremont National Forests; 21. "Oregon State Planning Board Research Program for 1936" Close

• 1214. [Image] Terracotta Siren; Statue of a Standing Siren; Sculpture

  	Part of Group of 3 terracotta works titled "Poet as Orpheus and two sirens." Group described by Getty Museum as a seated man flanked by sirens, creatures part bird and part woman, in a nearly life-size ...
  	Citation × Citation Citation Abstract Copy Title: Terracotta Siren; Statue of a Standing Siren; Sculpture Author: unknown Year: 350 Part of Group of 3 terracotta works titled "Poet as Orpheus and two sirens." Group described by Getty Museum as a seated man flanked by sirens, creatures part bird and part woman, in a nearly life-size terracotta group. In Greek mythology, the singing of the sirens lured sailors to their deaths; thus the creatures have general funerary connotations. The seated man is also a singer, as shown by his open mouth and his now-missing lyre, which he once cradled in his left arm. His precise identity, however, is uncertain. He might be Orpheus, who was famous for his singing and who traveled to the land of the dead and was able to return. But in art of this period, Orpheus is usually shown wearing a specific Eastern costume not seen here. Therefore, this man may just be an ordinary mortal, perhaps the deceased, in the guise of a poet or singer. Originally brightly painted, this large-scale terracotta sculpture is characteristic of the Greek colonies in South Italy. With its funerary imagery, the group may have decorated a tomb. Although terracotta sculpture is also found in mainland Greece, artists in the Greek colonies in South Italy used this medium with greater frequency and on a larger scale because there were few sources of good stone suitable for sculpting. --The J. Paul Getty Museum; default; Late Classical Title: Terracotta Siren; Statue of a Standing Siren; Sculpture Author: unknown Year: 350 Part of Group of 3 terracotta works titled "Poet as Orpheus and two sirens." Group described by Getty Museum as a seated man flanked by sirens, creatures part bird and part woman, in a nearly life-size terracotta group. In Greek mythology, the singing of the sirens lured sailors to their deaths; thus the creatures have general funerary connotations. The seated man is also a singer, as shown by his open mouth and his now-missing lyre, which he once cradled in his left arm. His precise identity, however, is uncertain. He might be Orpheus, who was famous for his singing and who traveled to the land of the dead and was able to return. But in art of this period, Orpheus is usually shown wearing a specific Eastern costume not seen here. Therefore, this man may just be an ordinary mortal, perhaps the deceased, in the guise of a poet or singer. Originally brightly painted, this large-scale terracotta sculpture is characteristic of the Greek colonies in South Italy. With its funerary imagery, the group may have decorated a tomb. Although terracotta sculpture is also found in mainland Greece, artists in the Greek colonies in South Italy used this medium with greater frequency and on a larger scale because there were few sources of good stone suitable for sculpting. --The J. Paul Getty Museum; default; Late Classical Close

• 1215. [Image] Terracotta siren; Statue of a Standing Siren; Sculpture

  	Part of Group of 3 terracotta works titled "Poet as Orpheus and two sirens." Group described by Getty Museum as a seated man flanked by sirens, creatures part bird and part woman, in a nearly life-size ...
  	Citation × Citation Citation Abstract Copy Title: Terracotta siren; Statue of a Standing Siren; Sculpture Author: unknown Year: 350 Part of Group of 3 terracotta works titled "Poet as Orpheus and two sirens." Group described by Getty Museum as a seated man flanked by sirens, creatures part bird and part woman, in a nearly life-size terracotta group. In Greek mythology, the singing of the sirens lured sailors to their deaths; thus the creatures have general funerary connotations. The seated man is also a singer, as shown by his open mouth and his now-missing lyre, which he once cradled in his left arm. His precise identity, however, is uncertain. He might be Orpheus, who was famous for his singing and who traveled to the land of the dead and was able to return. But in art of this period, Orpheus is usually shown wearing a specific Eastern costume not seen here. Therefore, this man may just be an ordinary mortal, perhaps the deceased, in the guise of a poet or singer. Originally brightly painted, this large-scale terracotta sculpture is characteristic of the Greek colonies in South Italy. With its funerary imagery, the group may have decorated a tomb. Although terracotta sculpture is also found in mainland Greece, artists in the Greek colonies in South Italy used this medium with greater frequency and on a larger scale because there were few sources of good stone suitable for sculpting. --The J. Paul Getty Museum; default; Late Classical Title: Terracotta siren; Statue of a Standing Siren; Sculpture Author: unknown Year: 350 Part of Group of 3 terracotta works titled "Poet as Orpheus and two sirens." Group described by Getty Museum as a seated man flanked by sirens, creatures part bird and part woman, in a nearly life-size terracotta group. In Greek mythology, the singing of the sirens lured sailors to their deaths; thus the creatures have general funerary connotations. The seated man is also a singer, as shown by his open mouth and his now-missing lyre, which he once cradled in his left arm. His precise identity, however, is uncertain. He might be Orpheus, who was famous for his singing and who traveled to the land of the dead and was able to return. But in art of this period, Orpheus is usually shown wearing a specific Eastern costume not seen here. Therefore, this man may just be an ordinary mortal, perhaps the deceased, in the guise of a poet or singer. Originally brightly painted, this large-scale terracotta sculpture is characteristic of the Greek colonies in South Italy. With its funerary imagery, the group may have decorated a tomb. Although terracotta sculpture is also found in mainland Greece, artists in the Greek colonies in South Italy used this medium with greater frequency and on a larger scale because there were few sources of good stone suitable for sculpting. --The J. Paul Getty Museum; default; Late Classical Close

• 1216. [Image] Calcutta, delta of the Ganges

  	The Ganges is fed by the perpetual snows of the Himalaya Mountains and after a southern and eastern course of 1557 miles, flows into the northern section of the Bay of Bengal, through a multi-channeled ...
  	Citation × Citation Citation Abstract Copy Title: Calcutta, delta of the Ganges Year: 1900 The Ganges is fed by the perpetual snows of the Himalaya Mountains and after a southern and eastern course of 1557 miles, flows into the northern section of the Bay of Bengal, through a multi-channeled delta 283 miles long. Its basin, lying between the Himalaya and Vindhya ranges, is one of the finest and most fertile portions of the world, as well as one of the densest populated areas of the globe. The Ganges has its main source in a snow-field embedded between three Himalayan mountains over 22,000 feet high. Like all rivers subject to floods, the Ganges holds in suspension a large ad-mixture of mud and sand, depositing in the sea annually millions of tons of solid matter. The delta, which in the northen part is fertile and well cultivated, in the south bordering the seas is a dismal network of swamp land, known as the Sundarbans, infested by crocodiles, tigers, and other wild animals. The Ganges occupies an important position in Hindu mythology of the classical and the Puranic periods and it is the subject of numerous traditions and legends. In the religion of all classes of Hindus it is held in particular veneration as the holiest of rivers, the cleanser of sins, and the entrance to Paradise, when death and sepulture occur upon its banks. Temples and shrines with ghats or flights of steps, giving easy access to its waters, stud its banks almost from its source; the most conspicuous example are the temples and ghats of holy Benares. The most famous cities of India have developed at critical points on the banks of the Ganges, as, e.g. the confluence of a tributary, and three have become sanctified spots; that of the Jumna at Allahabad is considered the most sacred and is the most frequented place of ablution, annually visited by thousands of pious pilgrims, who also convey the water to all parts of India for use in their religious rights. Title: Calcutta, delta of the Ganges Year: 1900 The Ganges is fed by the perpetual snows of the Himalaya Mountains and after a southern and eastern course of 1557 miles, flows into the northern section of the Bay of Bengal, through a multi-channeled delta 283 miles long. Its basin, lying between the Himalaya and Vindhya ranges, is one of the finest and most fertile portions of the world, as well as one of the densest populated areas of the globe. The Ganges has its main source in a snow-field embedded between three Himalayan mountains over 22,000 feet high. Like all rivers subject to floods, the Ganges holds in suspension a large ad-mixture of mud and sand, depositing in the sea annually millions of tons of solid matter. The delta, which in the northen part is fertile and well cultivated, in the south bordering the seas is a dismal network of swamp land, known as the Sundarbans, infested by crocodiles, tigers, and other wild animals. The Ganges occupies an important position in Hindu mythology of the classical and the Puranic periods and it is the subject of numerous traditions and legends. In the religion of all classes of Hindus it is held in particular veneration as the holiest of rivers, the cleanser of sins, and the entrance to Paradise, when death and sepulture occur upon its banks. Temples and shrines with ghats or flights of steps, giving easy access to its waters, stud its banks almost from its source; the most conspicuous example are the temples and ghats of holy Benares. The most famous cities of India have developed at critical points on the banks of the Ganges, as, e.g. the confluence of a tributary, and three have become sanctified spots; that of the Jumna at Allahabad is considered the most sacred and is the most frequented place of ablution, annually visited by thousands of pious pilgrims, who also convey the water to all parts of India for use in their religious rights. Close

• 1217. [Image] Llao Rock

  	According to the legend of the Klamath and Modoc Indians the mystic land of Gaywas was the home of the great god Llao. His throne in the infinite depths of the blue waters was surrounded by his warriors, ...
  	Citation × Citation Citation Abstract Copy Title: Llao Rock Year: 1900 According to the legend of the Klamath and Modoc Indians the mystic land of Gaywas was the home of the great god Llao. His throne in the infinite depths of the blue waters was surrounded by his warriors, giant crawfish able to lift great claws out of the water and seize too venturesome enemies on the cliff tops. War broke out with Skell, the god of the neighboring Klamath Marshes. Skell was captured and his heart used for a ball by Llao's monsters. But an eagle, one of the Skell's servants, captured it in its flight, and a deer, another of Skell's servants, escaped with it; and Skell's body grew again around his living heart. Once more he was powerful, and once more he waged war against the God of the Lake. The Llao was captured; but he was not so fortunate. Upon the highest cliff his body was torn into fragments and cast into the lake, and eaten by his own monsters under the belief that it was Skell's body. But when Llao's head was thrown in, the monsters recognised it and would not eat it. Llao's head still lies in the lake, and white men call it Wizard Island. And the cliff where Llao was torn to pieces and is named Llao Rock. Title: Llao Rock Year: 1900 According to the legend of the Klamath and Modoc Indians the mystic land of Gaywas was the home of the great god Llao. His throne in the infinite depths of the blue waters was surrounded by his warriors, giant crawfish able to lift great claws out of the water and seize too venturesome enemies on the cliff tops. War broke out with Skell, the god of the neighboring Klamath Marshes. Skell was captured and his heart used for a ball by Llao's monsters. But an eagle, one of the Skell's servants, captured it in its flight, and a deer, another of Skell's servants, escaped with it; and Skell's body grew again around his living heart. Once more he was powerful, and once more he waged war against the God of the Lake. The Llao was captured; but he was not so fortunate. Upon the highest cliff his body was torn into fragments and cast into the lake, and eaten by his own monsters under the belief that it was Skell's body. But when Llao's head was thrown in, the monsters recognised it and would not eat it. Llao's head still lies in the lake, and white men call it Wizard Island. And the cliff where Llao was torn to pieces and is named Llao Rock. Close

• 1218. [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