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• 1201. [Image] Page of Coverdale's bible, 1535

  	We exhibit here a photograph of the original Title page of this Bible. The size of this page is 8 by 13 inches. Although Coverdale's is but a secondary translation, its importance to the History of the ...
  	Citation × Citation Citation Abstract Copy Title: Page of Coverdale's bible, 1535 Year: 1900 We exhibit here a photograph of the original Title page of this Bible. The size of this page is 8 by 13 inches. Although Coverdale's is but a secondary translation, its importance to the History of the English Bible is great. We cannot too carefully bear in mind that in three-fourths of the Old Testament this was the first printed version presented to the English reader. Not only so, for the most interesting portion of Coverdale's Old Testament is the Psalter. This is still familiar to all who use the Book of Common Prayer, for it is practically Coverdale's version. The dedication of this Bible is to King Henry VIII. It is the work of Nicholson, the English printer, and the King is there compared to Moses, David and other leaders of the Jews. It also speaks of "your dearest, just, and most virtuous princess, Queen Anne." But alas! before the book was ready, the Kind had grown tired of Anne and had married Jane, so "Anne" had to be altered by the addition of a J. But, as soon was the alteration had been completed, this "much married" prince was wedded again. Several copies of this first edition of Coverdale's Bible are known to exist. Two are among the treasures of the British museum. Title: Page of Coverdale's bible, 1535 Year: 1900 We exhibit here a photograph of the original Title page of this Bible. The size of this page is 8 by 13 inches. Although Coverdale's is but a secondary translation, its importance to the History of the English Bible is great. We cannot too carefully bear in mind that in three-fourths of the Old Testament this was the first printed version presented to the English reader. Not only so, for the most interesting portion of Coverdale's Old Testament is the Psalter. This is still familiar to all who use the Book of Common Prayer, for it is practically Coverdale's version. The dedication of this Bible is to King Henry VIII. It is the work of Nicholson, the English printer, and the King is there compared to Moses, David and other leaders of the Jews. It also speaks of "your dearest, just, and most virtuous princess, Queen Anne." But alas! before the book was ready, the Kind had grown tired of Anne and had married Jane, so "Anne" had to be altered by the addition of a J. But, as soon was the alteration had been completed, this "much married" prince was wedded again. Several copies of this first edition of Coverdale's Bible are known to exist. Two are among the treasures of the British museum. Close

• 1202. [Image] Gutenberg printing the bible

  	The interval between the death of Wycliffe and the birth of Tyndale--of whom we shall presently speak--is nearly one hundred years. During that period, there was a great revival of classical study, owing ...
  	Citation × Citation Citation Abstract Copy Title: Gutenberg printing the bible Year: 1900 The interval between the death of Wycliffe and the birth of Tyndale--of whom we shall presently speak--is nearly one hundred years. During that period, there was a great revival of classical study, owing to the overthrow of the Eastern Empire, which scattered the learned men of Greece throughout the European capitals. These men brought with them invaluable Greek manuscripts, and at the very time that the walls of Constantinople were falling before the Moslem troops, a German mechanic was maturing the wonderful art of printing, which was destined to aid still more in the spread of knowledge of the ancients. The history of the invention of printing is involved in some obscurity, but it seems certain that before the year 1440 the use of movable type had been discovered by Gutenberg, of Mayence. About 1455 the first great work was printed. This was none other than the Bible itself--the Latin Bible--and within twenty years the invention had found a home in more than a hundred European cities. Our illustration represents Gutenberg and his partner Faust engaged in printing the Scriptures. Title: Gutenberg printing the bible Year: 1900 The interval between the death of Wycliffe and the birth of Tyndale--of whom we shall presently speak--is nearly one hundred years. During that period, there was a great revival of classical study, owing to the overthrow of the Eastern Empire, which scattered the learned men of Greece throughout the European capitals. These men brought with them invaluable Greek manuscripts, and at the very time that the walls of Constantinople were falling before the Moslem troops, a German mechanic was maturing the wonderful art of printing, which was destined to aid still more in the spread of knowledge of the ancients. The history of the invention of printing is involved in some obscurity, but it seems certain that before the year 1440 the use of movable type had been discovered by Gutenberg, of Mayence. About 1455 the first great work was printed. This was none other than the Bible itself--the Latin Bible--and within twenty years the invention had found a home in more than a hundred European cities. Our illustration represents Gutenberg and his partner Faust engaged in printing the Scriptures. Close

• 1203. [Image] Execution of Nathan Hale

  	After the Continental army had reached Harlem Heights above New York, Washington, desiring to be made acquainted with the force and probable purpose of the enemy, chose Nathan Hale, a brilliant young captain ...
  	Citation × Citation Citation Abstract Copy Title: Execution of Nathan Hale Year: 1900 After the Continental army had reached Harlem Heights above New York, Washington, desiring to be made acquainted with the force and probable purpose of the enemy, chose Nathan Hale, a brilliant young captain aged twenty-one, a graduate of Yale, and before the war, a Connecticut school teacher, for the dangerous task. Hale crossed the sound at Fairfield in September, 1776, disguised as a school teacher. He reached New York, made a careful study of the enemy's fortifications, drew plans, and was waiting for the ferry to return by way of Brooklyn when he was betrayed by a Tory kinsman who recognized him. His arrest followed, and Howe turned him over to the inhuman provost marshal, Cunninghan, who hanged him the next day without a trial, and even refused him the services of a clergyman or the use of Bible. Hale's dying utterance is well known: "I regret that I have but one life to give for my country." (Read the well known poem on Nathan Hale.) Title: Execution of Nathan Hale Year: 1900 After the Continental army had reached Harlem Heights above New York, Washington, desiring to be made acquainted with the force and probable purpose of the enemy, chose Nathan Hale, a brilliant young captain aged twenty-one, a graduate of Yale, and before the war, a Connecticut school teacher, for the dangerous task. Hale crossed the sound at Fairfield in September, 1776, disguised as a school teacher. He reached New York, made a careful study of the enemy's fortifications, drew plans, and was waiting for the ferry to return by way of Brooklyn when he was betrayed by a Tory kinsman who recognized him. His arrest followed, and Howe turned him over to the inhuman provost marshal, Cunninghan, who hanged him the next day without a trial, and even refused him the services of a clergyman or the use of Bible. Hale's dying utterance is well known: "I regret that I have but one life to give for my country." (Read the well known poem on Nathan Hale.) Close

• 1204. [Image] Full dress uniforms of officers and enlisted men - calvary, artillery, infantry, 1872-1881

  	In the view here, representing Army uniforms of the period of 1872-81, the "shako" hat lowered in modernized form is revived. The pompon is pointed and the visor straight. Also, the influence of the Franco-Prussion ...
  	Citation × Citation Citation Abstract Copy Title: Full dress uniforms of officers and enlisted men - calvary, artillery, infantry, 1872-1881 In the view here, representing Army uniforms of the period of 1872-81, the "shako" hat lowered in modernized form is revived. The pompon is pointed and the visor straight. Also, the influence of the Franco-Prussion War of 1870, in the uniforms is indicated by the appearance of the helmet. Of the group in front, the Infantryman's coat is trimmed with sky-blue, and that of the Artilleryman with scarlet. The soldier with yellow trimmings on uniform is recognized as a Cavaltryman. The coats of the mounted men, as shown by that of the Cavalryman, were shorter than those of the foot troops, the trimmings, however, differed only in color according to the corps. The Cavalrymen were armed as seen here with the short barreled carbine just as the Dragoon here used to be. The helmet was first adopted, only for the mounted Arms of the Service, the Cavalry and Light Artillery, but were later extended to all branches of the Service. In the background, mounted, as seen by the color of their uniform trimmings, are a Cavalry and Infantry officer. Title: Full dress uniforms of officers and enlisted men - calvary, artillery, infantry, 1872-1881 In the view here, representing Army uniforms of the period of 1872-81, the "shako" hat lowered in modernized form is revived. The pompon is pointed and the visor straight. Also, the influence of the Franco-Prussion War of 1870, in the uniforms is indicated by the appearance of the helmet. Of the group in front, the Infantryman's coat is trimmed with sky-blue, and that of the Artilleryman with scarlet. The soldier with yellow trimmings on uniform is recognized as a Cavaltryman. The coats of the mounted men, as shown by that of the Cavalryman, were shorter than those of the foot troops, the trimmings, however, differed only in color according to the corps. The Cavalrymen were armed as seen here with the short barreled carbine just as the Dragoon here used to be. The helmet was first adopted, only for the mounted Arms of the Service, the Cavalry and Light Artillery, but were later extended to all branches of the Service. In the background, mounted, as seen by the color of their uniform trimmings, are a Cavalry and Infantry officer. Close

• 1205. [Image] Uniforms of the mounted army service, calvary and dragoons, 1855-1858

  	During this period previous to the Civil War, the Cavalryman shown in this scene appeared for the first time. The technical military distinction between the Cavalryman and the Dragoon is of no interest ...
  	Citation × Citation Citation Abstract Copy Title: Uniforms of the mounted army service, calvary and dragoons, 1855-1858 During this period previous to the Civil War, the Cavalryman shown in this scene appeared for the first time. The technical military distinction between the Cavalryman and the Dragoon is of no interest to the layman. The mounted soldiers are recognized as Dragoons with their orange coat trimmings and pompons on hats. Brass plates were used on the shoulders of officers at this time, instead of epaulettes. The first mention of the Cavalrymen in general Army orders was in 1854, when yellow was designated as its color. The Cavalrymen wore black felt hats turned up on the right hand side and fastened with an eagle. Field officers' hats were decorated with a gold cord and three black ostrich feathers on the left side. All other Cavalary officers had a worsted cord and two feathers. Enlisted men wore one feather. The corps ornament of Cavalry was two crossed sabres, points downward to distinguish it from the crossed sabres design of Dragoons with points upwards. Title: Uniforms of the mounted army service, calvary and dragoons, 1855-1858 During this period previous to the Civil War, the Cavalryman shown in this scene appeared for the first time. The technical military distinction between the Cavalryman and the Dragoon is of no interest to the layman. The mounted soldiers are recognized as Dragoons with their orange coat trimmings and pompons on hats. Brass plates were used on the shoulders of officers at this time, instead of epaulettes. The first mention of the Cavalrymen in general Army orders was in 1854, when yellow was designated as its color. The Cavalrymen wore black felt hats turned up on the right hand side and fastened with an eagle. Field officers' hats were decorated with a gold cord and three black ostrich feathers on the left side. All other Cavalary officers had a worsted cord and two feathers. Enlisted men wore one feather. The corps ornament of Cavalry was two crossed sabres, points downward to distinguish it from the crossed sabres design of Dragoons with points upwards. Close

• 1206. [Image] Uniforms designated by Washington for troops of the different states, 1779-1783

  	While blue had been decided by Washington as the color of military coats, his general orders were never fully carried out, owing to the inability to import the cloth from Europe. The soldiers of New Hampshire, ...
  	Citation × Citation Citation Abstract Copy Title: Uniforms designated by Washington for troops of the different states, 1779-1783 While blue had been decided by Washington as the color of military coats, his general orders were never fully carried out, owing to the inability to import the cloth from Europe. The soldiers of New Hampshire, Massachusetts, Connecticut and Rhode Island were to wear blue coats faced with white, the buttons and linings also white. The soldiers at the extreme left of this group wears this uniform. He is an officer as shown by the baton he holds in his hand, which was used by an officer to direct the movements of his troops. He also has an epaulette on his left shoulder. The uniform of the New York and New Jersey troops was to be blue faced with buff, the buttons and linings to be white. The soldier on the extreme right of the group before us wears this uniform. The men of Pennsylvania, Delaware, Maryland and Virginia were to wear blue faced with red, this uniform being the second from the left in the group. Those of North Carolina, South Carolina and Georgia were to wear blue faced with white. The second soldier from the right wears this uniform. The prominence of white is noticed in this group. The hats also were decorated with black cockades with white centers. Washington having ordered the white to be added as his force was about to join the French forces, white cockade and coat, the combination being intended to show the alliance. Title: Uniforms designated by Washington for troops of the different states, 1779-1783 While blue had been decided by Washington as the color of military coats, his general orders were never fully carried out, owing to the inability to import the cloth from Europe. The soldiers of New Hampshire, Massachusetts, Connecticut and Rhode Island were to wear blue coats faced with white, the buttons and linings also white. The soldiers at the extreme left of this group wears this uniform. He is an officer as shown by the baton he holds in his hand, which was used by an officer to direct the movements of his troops. He also has an epaulette on his left shoulder. The uniform of the New York and New Jersey troops was to be blue faced with buff, the buttons and linings to be white. The soldier on the extreme right of the group before us wears this uniform. The men of Pennsylvania, Delaware, Maryland and Virginia were to wear blue faced with red, this uniform being the second from the left in the group. Those of North Carolina, South Carolina and Georgia were to wear blue faced with white. The second soldier from the right wears this uniform. The prominence of white is noticed in this group. The hats also were decorated with black cockades with white centers. Washington having ordered the white to be added as his force was about to join the French forces, white cockade and coat, the combination being intended to show the alliance. Close

• 1207. [Image] Khaki field uniforms for enlisted men, 1898-1900

  	Here are the khaki types of service uniforms adopted for field use during the Spanish War and the Philippine Insurrection. Shoulder straps and double leather body belts support knapsacks, canteen and cartridge ...
  	Citation × Citation Citation Abstract Copy Title: Khaki field uniforms for enlisted men, 1898-1900 Here are the khaki types of service uniforms adopted for field use during the Spanish War and the Philippine Insurrection. Shoulder straps and double leather body belts support knapsacks, canteen and cartridge box. A cartridge belt is about the waist from which, also hangs the bayonet when not fixed. The leggings extend below the ankle fitting closely over the shoe. On the right, a Corporal of Infantry as shown by white chevrons on sleeves, converses with a First-Class Sergeant of Artillery as seen from three red chevrons and device on his sleeve, and the shoulder strap. The soudan hat adapted to troptical climates was, also, extensively worn by the Army men, especially during the Campaign in the Philippines. In the left background, mounted, is a Saddler of Cavalry, as indicated by the yellow Saddler's knife device on sleeve, also yellow shoulder strap and stripe on saddle cloth. Title: Khaki field uniforms for enlisted men, 1898-1900 Here are the khaki types of service uniforms adopted for field use during the Spanish War and the Philippine Insurrection. Shoulder straps and double leather body belts support knapsacks, canteen and cartridge box. A cartridge belt is about the waist from which, also hangs the bayonet when not fixed. The leggings extend below the ankle fitting closely over the shoe. On the right, a Corporal of Infantry as shown by white chevrons on sleeves, converses with a First-Class Sergeant of Artillery as seen from three red chevrons and device on his sleeve, and the shoulder strap. The soudan hat adapted to troptical climates was, also, extensively worn by the Army men, especially during the Campaign in the Philippines. In the left background, mounted, is a Saddler of Cavalry, as indicated by the yellow Saddler's knife device on sleeve, also yellow shoulder strap and stripe on saddle cloth. Close

• 1208. [Image] Statue of Liberty

  	At Battery Park is also the landing pier for the ferry to Bedloe's Island on which stands the Statue of Liberty. This statue holds an electric torch 300 feet above the water which can be seen by ships ...
  	Citation × Citation Citation Abstract Copy Title: Statue of Liberty Year: 1900 At Battery Park is also the landing pier for the ferry to Bedloe's Island on which stands the Statue of Liberty. This statue holds an electric torch 300 feet above the water which can be seen by ships at sea for a long distance. There is a stairway in the statue which one may ascend and look out upon the harbor and the city from a point just below the head. This statue is one of the famous landmarks in New York City harbor. It was a gift from France in 1883. It was one time used as a fort (Fort Wood). There is still the suggestion of a fort in the star shape of the walls surrounding the base of the statue. The island also carries one of the most powerful radio broadcasting stations in the country. Interesting streets in this section are West Street, noted for its vast shipping; Washington for its polyglot population; and Greenwich for its one-time splendor. It was once known as Millionaire Row; now anything but that. Many of the old houses still stand but are used as tenements, and many of the worst tenements in the city are in this section. One can ride down through this section on the elevated trains and see a child in one window and a horse in the next. There are a number of old stables in this section. Whether the horses have learned to climb the stairs, I don't know, but you can see them on the second and third stories of these houses. From the battery to Vesey Street and from Greenwich to West Street there is a population of about 10,000 crowded into old warehouses, stables, and old residences. It is estimated that 27 nationalities are represented: Irish, Poles, Syrians, Greeks, Armenians and people from Palestine and Mesopotamia. There are many needlework shops, beautiful embroideries and handmade laces. Some of the shops sell both wholesale and retail. Neighborhood Associations attempt to give the children a play place, provide baby clinics and recreation centers. There is a Bowling Green Neighborhood Association. Title: Statue of Liberty Year: 1900 At Battery Park is also the landing pier for the ferry to Bedloe's Island on which stands the Statue of Liberty. This statue holds an electric torch 300 feet above the water which can be seen by ships at sea for a long distance. There is a stairway in the statue which one may ascend and look out upon the harbor and the city from a point just below the head. This statue is one of the famous landmarks in New York City harbor. It was a gift from France in 1883. It was one time used as a fort (Fort Wood). There is still the suggestion of a fort in the star shape of the walls surrounding the base of the statue. The island also carries one of the most powerful radio broadcasting stations in the country. Interesting streets in this section are West Street, noted for its vast shipping; Washington for its polyglot population; and Greenwich for its one-time splendor. It was once known as Millionaire Row; now anything but that. Many of the old houses still stand but are used as tenements, and many of the worst tenements in the city are in this section. One can ride down through this section on the elevated trains and see a child in one window and a horse in the next. There are a number of old stables in this section. Whether the horses have learned to climb the stairs, I don't know, but you can see them on the second and third stories of these houses. From the battery to Vesey Street and from Greenwich to West Street there is a population of about 10,000 crowded into old warehouses, stables, and old residences. It is estimated that 27 nationalities are represented: Irish, Poles, Syrians, Greeks, Armenians and people from Palestine and Mesopotamia. There are many needlework shops, beautiful embroideries and handmade laces. Some of the shops sell both wholesale and retail. Neighborhood Associations attempt to give the children a play place, provide baby clinics and recreation centers. There is a Bowling Green Neighborhood Association. Close

• 1209. [Image] Adult Ring-necked Pheasants

  	This picture shows two full grown Chinese Pheasants. They become tame very easily—if for a short time they are protected, they very soon come to be familiar about the farm house and the barnyard. They ...
  	Citation × Citation Citation Abstract Copy Title: Adult Ring-necked Pheasants Year: 1900 This picture shows two full grown Chinese Pheasants. They become tame very easily—if for a short time they are protected, they very soon come to be familiar about the farm house and the barnyard. They will even come into the barnyard and feed along with the chicks. It is quite true in some cases that they do considerable harm, by pulling up the seedlings in the garden, and by following the corn row. It must be said for them that they also do considerable good. It has been founding examining the stomachs of these birds, shot because they had been doing harm, that instead of having their stomachs full of corn as might have been supposed, they have their stomachs full of cut worms, beetles, ants, and clover seeds. In only one case was it found that they had been pulling up garden plants. In some parts of the United States where the farmers have been bothered by the game birds destroying their crops, they have been able to divert the attention of the birds by planting around their fields things which they much prefer to the crop seeds. This is more particularly so in the southeastern parts of the country. Here, the farmers have been able to raise large flocks of quail and other birds by just such means as this. They have been able to derive some revenue from the wildlife that is near their place. The sportsman comes down and wants a day’s sport. He naturally goes to the farm where the largest number of birds are. The farmer, by planting around the fence corners and along the fence rails food for the birds has encouraged them to live about the farm. No one has yet been able to calculate the exact amount of revenue which the stated has derived from the China Pheasant, but one year when calculating the amount of money spent by this state on the sports of shooting all kinds of birds, it was found that an expenditure of over one million dollars had been made. How much of this goes to the China Pheasants cannot be said. What can be done in raising China Pheasants can be done in raising a number of other kinds of birds. So while these are beautiful creatures and we enjoy seeing them about the fields, they are also affording us a great source of revenue; more than we sometimes think. A long time ago we used to hear a good deal about private hunting grounds and about private hunting lands. Private owner used to be much disgusted if a man trespassed upon his property. While this was more or less a selfish way to look at things, at the same time what really took place was this: This private owner protected these birds so that they bred very freely, became numerous, and spread out all over the country. Thus, England and other parts of the world have had very few animals had it not been for these private owners. Now, as to the bearing this has on our fish and game work: The state has recognized this very idea, and Oregon was one of the first states to establish these game refuges. In various parts of our state we have land set aside which it is unlawful to hunt at any time. Here, birds and animals grow without fear of molestation. In consequence they not only increase in numbers, but these refuges make centers of distribution, and out from these centers the animals move into other parts of the state. In some localities we have natural refuges, places that are more or less secluded, and here the animals grow unmolested. But, in other parts of the state, those that are becoming rapidly settled, there is no place for the wildlife. It is possible now for any farmer to make of his place a game refuge, provided it has facilities for the protection of the birds. In this way we may gain an intimate knowledge of the bird and animal life abuts by seeing them in their natural haunts. Birds come to know that this is a refuge and so are not afraid while they are here. Title: Adult Ring-necked Pheasants Year: 1900 This picture shows two full grown Chinese Pheasants. They become tame very easily—if for a short time they are protected, they very soon come to be familiar about the farm house and the barnyard. They will even come into the barnyard and feed along with the chicks. It is quite true in some cases that they do considerable harm, by pulling up the seedlings in the garden, and by following the corn row. It must be said for them that they also do considerable good. It has been founding examining the stomachs of these birds, shot because they had been doing harm, that instead of having their stomachs full of corn as might have been supposed, they have their stomachs full of cut worms, beetles, ants, and clover seeds. In only one case was it found that they had been pulling up garden plants. In some parts of the United States where the farmers have been bothered by the game birds destroying their crops, they have been able to divert the attention of the birds by planting around their fields things which they much prefer to the crop seeds. This is more particularly so in the southeastern parts of the country. Here, the farmers have been able to raise large flocks of quail and other birds by just such means as this. They have been able to derive some revenue from the wildlife that is near their place. The sportsman comes down and wants a day’s sport. He naturally goes to the farm where the largest number of birds are. The farmer, by planting around the fence corners and along the fence rails food for the birds has encouraged them to live about the farm. No one has yet been able to calculate the exact amount of revenue which the stated has derived from the China Pheasant, but one year when calculating the amount of money spent by this state on the sports of shooting all kinds of birds, it was found that an expenditure of over one million dollars had been made. How much of this goes to the China Pheasants cannot be said. What can be done in raising China Pheasants can be done in raising a number of other kinds of birds. So while these are beautiful creatures and we enjoy seeing them about the fields, they are also affording us a great source of revenue; more than we sometimes think. A long time ago we used to hear a good deal about private hunting grounds and about private hunting lands. Private owner used to be much disgusted if a man trespassed upon his property. While this was more or less a selfish way to look at things, at the same time what really took place was this: This private owner protected these birds so that they bred very freely, became numerous, and spread out all over the country. Thus, England and other parts of the world have had very few animals had it not been for these private owners. Now, as to the bearing this has on our fish and game work: The state has recognized this very idea, and Oregon was one of the first states to establish these game refuges. In various parts of our state we have land set aside which it is unlawful to hunt at any time. Here, birds and animals grow without fear of molestation. In consequence they not only increase in numbers, but these refuges make centers of distribution, and out from these centers the animals move into other parts of the state. In some localities we have natural refuges, places that are more or less secluded, and here the animals grow unmolested. But, in other parts of the state, those that are becoming rapidly settled, there is no place for the wildlife. It is possible now for any farmer to make of his place a game refuge, provided it has facilities for the protection of the birds. In this way we may gain an intimate knowledge of the bird and animal life abuts by seeing them in their natural haunts. Birds come to know that this is a refuge and so are not afraid while they are here. Close

• 1210. [Image] The Rosetta Stone

  	In speaking of ancient writing materials a few minutes ago, it was said that stone slabs, metal plates, etc., were used. But there were many other records besides, preserved from the earliest ages and ...
  	Citation × Citation Citation Abstract Copy Title: The Rosetta Stone Year: 1900 In speaking of ancient writing materials a few minutes ago, it was said that stone slabs, metal plates, etc., were used. But there were many other records besides, preserved from the earliest ages and evidencing the truth of such documents. The most important of these have been called the Stone Books. Hours might be spent in describing these records on rocks and slabs and public buildings. They were the earliest forms of records, and the chief events of national history are found recorded in this way-- hieroglyphics or picture writing were first used. Later on, outlines of objects alone were indicated. From these, characters indicative of an alphabet followed, especially in Egypt. But for generations all these remained a sealed book to man, till the year 1799, when a French officer dug up a slab of black marble at a place called Rosetta, on the banks of the Nile. It contained an inscription in characters of three different kinds, one being from ancient Greek. As this was a language which could be translated, it was not difficult to decipher from this clue the two other inscriptions on the stone, and, the alphabet being thus mastered, all other similar inscriptions could be read. The stone, which proved so valuable is known as the Rosetta Stone, and is preserved in the British Museum. The walls of the Temple of Karnak on the Nile are covered with similar inscriptions giving accounts of Egyptian oppressions, and the doings of Joseph and the Pharaoh of his time. Till the discovery of the Rosetta Stone these inscriptions could not be translated and so were absolutely unintelligible. It is the same with the Pyramids and the Egyptian Sphinx. These not only speak forcibly today of ancient skill and scientific knowledge from an architectural point of view, but the inscriptions which the contain confirm the truth of Scripture and make surer still our confidence in its worth. And all this has come to us through the finding of the Rosetta Stone, whose picture is now before us. Title: The Rosetta Stone Year: 1900 In speaking of ancient writing materials a few minutes ago, it was said that stone slabs, metal plates, etc., were used. But there were many other records besides, preserved from the earliest ages and evidencing the truth of such documents. The most important of these have been called the Stone Books. Hours might be spent in describing these records on rocks and slabs and public buildings. They were the earliest forms of records, and the chief events of national history are found recorded in this way-- hieroglyphics or picture writing were first used. Later on, outlines of objects alone were indicated. From these, characters indicative of an alphabet followed, especially in Egypt. But for generations all these remained a sealed book to man, till the year 1799, when a French officer dug up a slab of black marble at a place called Rosetta, on the banks of the Nile. It contained an inscription in characters of three different kinds, one being from ancient Greek. As this was a language which could be translated, it was not difficult to decipher from this clue the two other inscriptions on the stone, and, the alphabet being thus mastered, all other similar inscriptions could be read. The stone, which proved so valuable is known as the Rosetta Stone, and is preserved in the British Museum. The walls of the Temple of Karnak on the Nile are covered with similar inscriptions giving accounts of Egyptian oppressions, and the doings of Joseph and the Pharaoh of his time. Till the discovery of the Rosetta Stone these inscriptions could not be translated and so were absolutely unintelligible. It is the same with the Pyramids and the Egyptian Sphinx. These not only speak forcibly today of ancient skill and scientific knowledge from an architectural point of view, but the inscriptions which the contain confirm the truth of Scripture and make surer still our confidence in its worth. And all this has come to us through the finding of the Rosetta Stone, whose picture is now before us. Close

• 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