History.

Beginnings.

The first art work owned and displayed by the College of New Jersey (renamed Princeton University in 1896) was a full-length portrait of Jonathan Belcher, the Governor of the province of New Jersey who had promoted the establishment of the College. The portrait was a donation from Belcher himself, given shortly before the College moved in 1756 to the newly built Nassau Hall. It was joined by a portrait of King George II, who had issued the letters patent establishing the College. The two portraits hung in the central prayer hall, and were displayed alongside various antiquities and objects of natural history. The two paintings were destroyed during the 1777 Battle of Princeton and further objects were lost in the 1802 Nassau Hall fire, but the College continued its commitment to collecting and teaching from works of art and historical note.

Establishment.

The creation of the Art Museum in a more formal sense took place under the leadership of James McCosh, who served as president of the College of New Jersey from 1868–88. The Scottish McCosh brought with him from Europe new progressive academic disciplines, including the history of art. By 1882, McCosh charged William Cowper Prime, a Princeton alumnus and founding trustee of the Metropolitan Museum of Art, and George B. McClellan, the Civil War general and then Governor of New Jersey, with creating a curriculum in the subject. They argued: "The foundation of any system of education in Historic Art must obviously be in object study. A museum of art objects is so necessary to the system that without it we are of [the] opinion it would be of small utility to introduce the proposed department.” The intention was to go beyond the fields of art and classics to include, “many other branches of the collegiate course.” They anticipated, “large future growth,” as the College could “look with confidence to her sons, in all parts of the world,” for future donations.

Allan Marquand (1882–1922).

The museum, and what is now the Department of Art and Archaeology, were formally created in 1882, with Allan Marquand, of the Princeton Class of 1874, serving as the inaugural lecturer in the new department and director of the museum, a position he would hold until his retirement in 1922. Marquand was previously instructor in Latin and logic at the College and was the son of Henry Gurdon Marquand, a major benefactor of the College and one of the founders of the Metropolitan Museum of Art. The collections of the museum were initially held in Nassau Hall, along with the growing natural history collection of professor Arnold Henry Guyot, part of which is still on display in Guyot Hall. A new purpose-built fireproof Romanesque Revival Museum was designed by A. Page Brown and completed in 1890 on the site of the current museum.  On completion of the building the museum received the Trumball-Prime collection of pottery and porcelain from William Prime and his wife. Early additions included the purchase of a large collection of Cypriot pottery from the Metropolitan Museum in 1890, and purchases of Etruscan, Roman, and South Italian pottery. Marquand established an endowment from his own resources to enable further purchases and it was significantly augmented by a donation from Edward Harkness.

Growth.

Frank Jewett Mather Jr. (1922–46).

Frank Jewett Mather joined the faculty in 1910 and succeeded Marquand as museum director in 1922. He was a collector of Medieval and Renaissance art but also led the university to large holdings of paintings and prints, including the 1933 bequest of several thousand objects by Junius Spencer Morgan II, of the Princeton Class of 1888. In 1923, the first of many expansions of the Art Museum was completed with the addition of the Venetian Gothic McCormick Hall, designed by Ralph Adams Cram and donated by the family of Cyrus McCormick, Jr., Class of 1879 and Harold Fowler McCormick, Class of 1895. The new building enabled the older structure to be devoted solely to the museum, and led to the creation of a hall of casts on the ground floor.  As Marquand had before him, Mather augmented the museum's collections through the use of his personal fortune, with contributions ranging from Classical and Pre-Columbian antiquities, to illuminated manuscripts, and what became one of the finest collections of American drawings in the country. Major gifts during the 1930s included a collection of more than 40 Italian paintings from Henry White Cannon, Jr., of the Class of 1910, and more than 500 snuff bottles, still one of the finest such collections in the country, from Colonel James A. Blair, Class of 1903. The decade also saw significant collections of Chinese and Japanese art added to support the courses of George Rowley, the first in those fields in an American university. The World War II years ushered in the first classes in American art.  Notable exhibitions during Mather's tenure included one of works by Paul Cézanne, borrowed from Duncan Philips, and one of highlights from the Museum of Modern Art. Before his retirement in 1946, he oversaw a massive influx of Antioch mosaics from the archaeological digs at Antioch-on-the-Orontes in which the University had played a leading part. Some of the mosaics can be found today not only in the museum but also in various places in Firestone Library. He also welcomed the collection of Dan Fellows Platt, a massive assortment of fine objects which arrived by van during the war.

Ernest DeWald (1946–60).

Mather was succeeded by Ernest DeWald, a graduate school alumnus of the Class of 1946, one of the Monuments Men who had been charged with protecting the cultural heritage of Europe during the war. A large number of Princetonians, both alumni and faculty, served with the Monuments program, leading the Kunsthistorisches Museum in Vienna to loan the museum "The Art of Painting" by Johannes Vermeer as a sign of gratitude. DeWald was noted for his conservation work, personally cleaning paintings in his office on the top floor the museum. For the University's bicentennial in 1946, he refurbished the galleries, including displaying a new collection of Chinese scrolls donated by Dr. Dubois Schanck Morris, Class of 1893. Under DeWald's tenure, the museum's collection of Asian art greatly increased, aided by the guidance of Professor Wen C. Fong, Class of 1951, who would go on to be the founding director of the Metropolitan Museum of Art's Asian department. In 1949, Alfred Stieglitz's 1907 "The Steerage" was the first of the museum's now considerable collection of photographs.

Patrick Joseph Kelleher (1960–73).

Patrick Joseph Kelleher, Class of 1947 and another Monuments Man, succeeded DeWald as director in 1960. He spearheaded the construction of a new home for the museum, made possible by the University's landmark $53 million capital campaign. In 1962 the collections were removed to enable the demolition of the A. Page Brown building and the northern wing of the Ralph Adams Cram structure to make way for the current, Steinmann and Cain designed, International Style building, completed in 1966.  Perhaps the most visible art on the campus is the Putnam Collection of Sculpture. The collection is the result of an anonymous million dollar 1968 donation in honor of Lieutenant John B. Putnam Jr., of the Princeton Class of 1945, who lost his life in a plane crash during World War II. The collection was assembled in 1969 and 1970 by a committee led by Kelleher and including Alfred H. Barr, Jr. and Thomas Hoving. It contains works by seventeen major twentieth century sculptors, including Alexander Calder, Pablo Picasso, Henry Moore, Louise Nevelson, Isamu Noguchi, David Smith, and Tony Smith.  Kelleher's directorship also saw an increasing focus on photography as an important element of the museum's collections. David Hunter McAlpin, Class of 1920, gave a major collection of photographs to the museum in 1971 as well as endowing a fund for further purchases and a professorship, the first endowed chair in the history of photography in the country. That professorship was occupied by Peter Bunnell, who would go on to succeed Kelleher as director in 1973.

Further expansion.

Peter Bunnell served as director until 1978, training a generation of leading scholars and curators of photography, and giving Princeton a preeminent place in the field with a collection in excess of 27,000 photographs, and significant archives of photographers including Clarence Hudson White, Minor White, and Ruth Bernhard. In 1980, Allen Rosenbaum became director, focusing on expanding the museums collection of Old Masters, notably Renaissance and Baroque paintings in the Mannerist tradition. In 1989, Rosenbaum oversaw another expansion of the museum's physical plant, the Mitchell Wolfson, Jr., Class of 1963, Wing. The new wing, designed by Mitchell/Giurgola, provided additional exhibition space, a conservation studio, as well as seminar and study-storage rooms for all areas of the museum's collection.  Under Susan M. Taylor's directorship in the first decade of the 21st century, the museum established its first endowed curatorships. The current director, James Steward, has leadership over a collection of more than 92,000 objects, supplemented by notable collections on long-term loan, including the Impressionist and Post-Impressionist works of the Henry and Rose Pearlman Foundation, modern art from the Sonnabend Collection, and perhaps the finest collection of paintings by Jean-Michel Basquiat, on loan from Herbert Schorr, Graduate School Class of 1963, and his wife, Lenore.  In 2015 the museum was listed by Fodor's on its list of the top 15 best museums in the United States that is located in a small-town (Princeton, New Jersey).

Collections.

African art.

The collection of African art is designed to reveal the immense diversity of artistic work across the continent. Objects are on display from west, central, and South Africa, ranging from royal regalia and objects of prestige, to sculptures marking rites of passage, to those intended to facilitate interaction with spiritual entities.  The first bequest to the Museum of African art was made in 1953 by Mrs. Donald B. Doyle, in honor of her husband. That collection was accumulated before 1923 in what is now the Democratic Republic of the Congo, and includes a distinctively shaped Kuba box and a rare double caryatid headrest from the Chokwe people. More recent gifts have been made by Perry E.H. Smith, including a Chokwe chair, and by H. Kelly Rollings, among whose gifts is an emblem of the Leopard Society, a notable example of an accumulative object from the Cross River region. A 1998 bequest of John B. Elliot includes many objects of daily use and adornment, as well as Akan gold pieces, from a linguist's staff to a chief's bracelet. In 2003, a Yoruba stool was acquired, considered a sculptural masterpiece that served as the focus of devotion to the god Esu.  The African art collection is small in comparison to others in the museum, though it is an area of growing interest.

American art.

The University received its first pieces of American art in the 1750s, but only started collecting in earnest under the directorship of Frank Jewett Mather Jr. (1922–46). Few museums accorded significance to American art at the time, allowing Princeton to amass a collection that is among the finest of any academic museum. The collection is particularly strong in painting and sculpture, greatly aided by the large number of portraits of figures affiliated with the University. The museum is strong in the area of landscape painting, especially from the Hudson River School.  The Boudinot Collection of primarily 18th century fine and decorative art is on display at the nearby Morven Museum and Garden, whose original owners, the Stockton family, were relatives of the Boudinots. Alumnus Edward Duff Balken's donation of Folk art led to a substantial collection in that area. New acquisitions, enabled by a dedicated fund, are focused on areas where the collection is weak, notably still life and genre painting.

Ancient, Byzantine, and Islamic art.

Ancient art has played a central role in the museum's collection since its beginning. The first major addition to the collection included many Etruscan vases, as well as those from Egypt, Greece, and Rome. There are now more than 5,000 objects in the collection, documenting the early civilizations of Mesopotamia, Iran, Asia Minor, and the Levant. The great diversity of artifacts also covers the various eras of ancient Egypt, from pottery to stone reliefs, amulets, wall paintings, bronze statuettes, and mummies. The Greek collection includes significant works of both black-figure and red-figure pottery, including the vase used to identify the Princeton Painter. It spans the broad range of artistic work, from Archaic bronze statuettes to terracotta figurines, jewelry to funerary reliefs, pottery from Rhodes, Cyprus, and Corinth.  Ancient Italy is in particular well represented in the collection, from the Etruscan vases, metalwork, and sculptures to a great breadth of Roman antiquities. The Roman collection includes portraits, sculptures, sarcophagi, carved bone, coins, statuettes, and a spectacular silver-gilt wine cup. The University's heritage of archaeological work in Roman Syria has left a legacy of basalt sculptures from Hauran, funerary reliefs from Palmyra, and a renowned collection of Antioch mosaics.  Byzantine and Islamic art are an equally esteemed focus of the collection, with icons and jewelry from Constantinople sharing a gallery with pottery, metalwork, and glazed tiles from Egypt, Syria, and Iran.  In addition to works on display in the museum, a study gallery with hundreds of additional works is open to students and visitors.

Pre-Columbian art.

The collection of ancient American art includes objects covering five thousand years of history, from the Arctic to Chile. The collection's primary focus is on small, portable works of art, typically ceramic or stone. Of particular note are the more than twenty prized polychrome ceramic works, the Classic Mayan Princeton Vase, and over thirty ceramic figurines, from the lowland Maya region. The collection of Olmec objects comprises smaller jade, serpentine, and ceramic works. Of the collection's works from South America, the most notable are those from the Mochica culture, which flourished in Peru between 200 B.C. and A.D. 700. The museum's holdings in Native American art include important collections of Arctic Walrus carvings, art of the Tlingit people, and a growing representation from the Mississippi Valley and the American Southwest.  The collection of Pre-Columbian works began in the 19th century through the efforts of the Reverend Sheldon Jackson, an 1855 graduate of the Princeton Theological Seminary. He donated a collection of Native American ethnographic objects to the Seminary, which transferred them to the University's E. M. Museum of Geology and Archaeology, then in 1909 to the Guyot Hall Museum, which, after its closure in 2000, gave them to the Art Museum. As with the art of Africa and Oceania, Indigenous American art was not a focus of the museum's historic collecting. Nonetheless, objects were steadily donated during the early decades of the museum, including in the Trumbull-Prime Collection and the donations of Frank Jewett Mather Jr. The collection of ancient American art received its proper attention following the 1967 appointment of Gillett G. Griffin as faculty curator, a position held by him until 2004. The current collection is largely the result of his efforts, both through his own collections and his influence on donors.

Asian art.

The collection of Asian art began with the foundation of the museum, with the primary focus for the early decades being Japanese art. Major collections of Chinese art were incorporated in the 1930s and 40s, including the snuff bottle collection of James A. Blair and paintings from Dubois Schanck Morris. The late 1950s brought significant additions of Chinese ritual bronzes and archaeological artifacts from J. Lionberger Davis, Class of 1900, as well as acquisitions from the Chester Dale and Dolly Carter Collection.  The primary strengths of the museum's collection are in Chinese and Japanese art, including Neolithic jade and pottery, ritual bronze vesslels, lacquerware, ceramics, sculpture and metalware, and woodblock prints. The museum's collection of calligraphy and painting is among the finest outside of Asia, including rare masterpieces from the Song and Yuan dynasties such as Huang Tingjian's "Scroll for Zhang Datong". The collection also has significant holdings in Korean art, including a growing collection of artifacts ranging from the Three Kingdoms period to the Joseon dynasty. The art of India, Gandhara, Southeast Asia, and Central Asia are also represented, with the influence of Islam and Hinduism on the artistic traditions of the subcontinent represented through sculpture, statuettes, and painted miniatures.

Campus Collections.

The Campus Collections comprise the multitude of paintings, sculptures, memorials, and monuments significant to the University's history and traditions. Central to the collection are the Princeton Portraits, numbering more than 600 paintings and sculptures which depict figures prominent in the history of the university. The portraits span the breadth of American history, including the landmark portrait, "George Washington at the Battle of Princeton", by Charles Willson Peale. Washington himself provided the funds for the work. Another highlight is the series of paintings by renowned sculpture and natural history artist Benjamin Waterhouse Hawkins which depict dinosaurs and other prehistoric fauna. The series was commissioned by Princeton President James McCosh in 1876 as a progressive response to Charles Darwin's theories.  The collection is also home to the celebrated Putnam Collection, which comprises 22 works by master artists of the 20th and 21st centuries. The collection was the result of an anonymous donation in honor of a Princeton alumnus who died in World War II. It is commonly regarded as one of the greatest collections of public art, providing a "plein-air" lesson in art history. Among the highlights of the collection are "Oval with Points" by Henry Moore and "Five Disks: One Empty" by Alexander Calder, whose father, A. Stirling Calder, had previously created a statue of Saint George and the Dragon on Princeton's Henry Hall. Calder's work was responsible for an accident during its installation where two men were killed after the sculpture was dropped on them due to a crane collapse. Another highlight of the Putnam collection is Pablo Picasso's "Head of a Woman", which was designed by Picasso in 1962, though assembled by Carl Nesjar in 1971.

European art.

The collection of European art covers nearly nine hundred years, from the twelfth century to the 20th. The strengths of the museum's holdings within this broad spectrum often reflect the Department of Art and Archaeology's curriculum, though with many unexpected treasures, due to the interests of donors.  The collection of medieval art is primarily the result of museum purchases, demonstrating the techniques and materials of artists, as well as the secular and spiritual uses of their work. Among the collection of stained glass is a window from Chartres Cathedral, and the collection of medieval sculpture includes a "gisant" of a Spanish knight. Other strengths are polychrome sculpture from Spain and Germany; French, German, and Italian metalwork; and enamels and ivories from France.  Notable in the early modern collection are the rare thirteenth- and fourteenth-century Italian gold-ground paintings from Siena including works by Fra Angelico, Francesco Traini, and Guido da Siena. The museum is home to an unusual group of Dutch Mannerist paintings from around 1600, including works by Hendrik Goltzius and Abraham Bloemaert, the richest of its kind in an American museum. Baroque art is represented by Pietro da Cortona and Giovanni Battista Gaulli. Notable rococo masters include Jean-Siméon Chardin and François Boucher. Age of Enlightenment paintings include works by Angelica Kauffman, Francisco de Goya, and the studio of Jacques-Louis David.  The nineteenth-century collection consists of works from the Age of Revolution and Industrial Age which trace academic traditions and preparatory processes. Themes represented include the rise of Landscape painting, the human figure, the collecting of small sculpture, and the successive cultural and stylistic waves—revival styles, Orientalism, Impressionism, and the Arts and Crafts movement. Among the major artists represented are Jean-Léon Gérôme, Gustave Courbet, Claude Monet, and Édouard Manet.  Early-twentieth-century modernist movements are represented by works by Odilon Redon, Gabriele Münter, and Russian master Ilya Repin, whose paintings are rare outside his homeland. The museum continues to expand its collection of twentieth-century art, allowing visitors and students to assess the European contribution to Modernism.  The Henry and Rose Pearlman Foundation has placed its magnificent collection of Post-Impressionist art on loan to the museum, including masterpieces by Vincent van Gogh, Paul Cézanne, Amedeo Modigliani, Henri de Toulouse-Lautrec, and Chaim Soutine.

Modern and contemporary art.

The Department of Modern and Contemporary Art encompasses works created throughout the world between 1870 and the present, including painting, sculpture, video, and performance. The systematic collection of modern works began in the late 1940s, with many key pieces received as alumni gifts or bequests. The collection includes an important group of late landscapes by Claude Monet as well as an enigmatic painting by Édouard Manet, found in his studio after his death. Twentieth-century modernism is represented by a small but stellar group of works by artists including Odilon Redon, Vasily Kandinsky, Gabriele Münter, Emil Nolde, Max Ernst, Pablo Picasso, Yves Tanguy, and Jean Arp. A rare late work by Ilya Repin is among his most important works outside his native Russia.  One of most important works in the museum's postwar collection is Willem de Kooning's "Black Friday", from his breakthrough exhibition in 1948. Other artists represented in the strong collection of postwar art include Romare Bearden, Lee Bontecou, Dan Flavin, Yayoi Kusama, Sol LeWitt, Morris Louis, Ad Reinhardt, Martha Rosler, David Smith, Robert Smithson, Frank Stella, and Hannah Wilke, among others. The museum's holding in Pop art are particularly strong, including works by George Segal, Tom Wesselmann, and Andy Warhol. The museum renewed its commitment to contemporary art in 2008, with priority given to works that make significant contributions to the field and exemplify the pressing cultural, social, and philosophical issues of their day. Recent acquisitions include artwork by Doug Aitken, Jennifer Allora & Guillermo Calzadilla, Polly Apfelbaum, Sanford Biggers, Ellen Gallagher, Wade Guyton, Matthew Day Jackson, Wangechi Mutu, and Javier Téllez.

Photography.

Princeton's photography collection is one of the leading museum collections in the United States. The start of the collection was the 1949 gift by retired director Frank Jewett Mather Jr. of Alfred Stieglitz's landmark image "The Steerage". The decisive moment for the medium at Princeton came in 1971 when David Hunter McAlpin, Class of 1920, made a donation of his collection of 457 prints. McAlpin was a friend and patron to two generations of American photographers, donating significant representations of the work of Stieglitz, Paul Strand, Charles Sheeler, Ansel Adams, Wynn Bullock, Imogen Cunningham, Edward Weston, and Eliot Porter, among others. McAlpin also established a fund which has enabled, over time, the purchase of some 400 photographs, including work by Hill & Adamson, László Moholy-Nagy and William Henry Fox Talbot.  In 1972, Peter C. Bunnell, later museum director, was hired as the David H. McAlpin Professor of the History of Photography and Modern Art, making Princeton the first American university, and one of only a few worldwide, where photography was taught within the art history curriculum. In his nearly thirty years at Princeton, he went on to build one of the foremost graduate programs in the field and to build one of the most notable teaching collections of historical photographs. The construction of the McAlpin Study Center during the expansion of the museum in 1989 created a space for seminars to be taught using original works from the collection.  The collection includes work covering all major movements and historical trends. Particular strengths include nineteenth-century British photography, French photographs of the 1850s-1870s, and Japanese and American postwar photography. The museum has major holdings in Pictorialism, anchored by the Clarence H. White collection and the archives of his eponymous school of photography. In 1976, Minor White bequeathed to the museum his negatives, library, correspondence, and close to 20,000 prints of his own and other artists. Other archives held by the museum include those of Ruth Bernhard and William B. Dyer.

Prints and drawings.

The collection of Prints and Drawings includes 15,000 works on paper as well as a small number of Illuminated manuscripts, by artists from the fourteenth century to the present. Notable areas of strength include old master and nineteenth-century European prints, Italian and Spanish Renaissance and Baroque drawings, eighteenth- and nineteenth-century American and British drawings, watercolors, and sketchbooks, a selection of Indian and Persian miniature painting, and a large collection of modern and contemporary Latin American works on paper.  The print collection began with the large bequest of Junius Spencer Morgan, Class of 1888, in 1932, which included old master engravings and etchings, primarily by the notable seventeenth-century printmakers Hendrik Goltzius, Jacques Callot, and Stefano della Bella. In 1938, another bequest, by Dan Fellows Platt, Class of 1895, laid the foundation of the collection of drawings, with works from the sixteenth to early twentieth centuries, including notable groups by Guercino, Salvator Rosa, Giovanni Battista and Domenico Tiepolo, and George Romney. Frank Jewett Mather Jr., the museum's second director, made numerous purchases in the 1940s, including Italian Renaissance drawings, works on paper by Samuel Palmer, and watercolors by John Marin, and Paul Cézanne. In 1945, Professor Clifton R. Hall bequeathed his collection of old master prints and American watercolors, including three masterpieces by Edward Hopper. Hall also established an endowment for the Department of Art and Archaeology specifically for the purchase of works on paper, which has enabled the purchase of an exceptional collection of sixteenth- through eighteenth-century Spanish drawings.  Professor Felton Gibbons, following Hall's example, endowed a fund for acquiring works on paper that has allowed gaps in the collection to be filled, including Northern and Central European drawings, and to add to other areas of significance, such as German Expressionism. The modern and contemporary holdings continue to grow, with an emphasis on artists such as Glenn Ligon, Martin Puryear, Robert Rauschenberg, and Kiki Smith, who are a vital part of the teaching curriculum of the University.  <br>

Private Collections on long-term loan.

Henry and Rose Pearlman Collection.

Henry Pearlman started his collection with the 1945 purchase, for $825, of Chaim Soutine's "View of Céret", seen in the window of the Parke-Bernet auction house while walking down Park Avenue. Pearlman had made his fortune through founding the Eastern Cold Storage Insulation Corporation in 1919 and knew little of Soutine or contemporary art at the time he started collecting. He would go on to amass more than fifty masterworks of late 19th- to mid-20th-century avant-garde European art, one of the most distinguished private collections of modern art in the United States. Among the most notable works are Paul Cézanne's "Mont Sainte-Victoire", Vincent van Gogh's "Tarascon Stagecoach", and Amedeo Modigliani's portrait of "Jean Cocteau".  The heart of the collection is the finest and best preserved collection of watercolors by Cézanne in the world, sixteen works including "Three Pears", which was fought over by Edgar Degas and Pierre-Auguste Renoir, with Degas as the victor, at Cézanne's first sale. In addition to the thirty-three works by Cézanne, including the watercolors, six oil paintings, six prints, and five drawings, the collection boasts seven paintings by Soutine, two each by Degas and Toulouse-Lautrec, and one each by van Gogh, Renoir, Camille Pissarro, Alfred Sisley, Gustave Courbet, Honoré Daumier, Édouard Manet, Maurice Utrillo, and Maurice Prendergast. Sculpture is represented through works by Paul Gauguin, Wilhelm Lehmbruck, Jacques Lipchitz, and Amedeo Modigliani, who is also represented by two oil paintings and one drawing. The one exception to the modern focus of the collection is an engraving by Albrecht Dürer, "Adam and Eve". Henry Pearlman himself is represented by a bust by Giacomo Manzu and a portrait by Oskar Kokoschka.  The collection has been much exhibited, including an international tour in 2014-16 which included the Ashmolean Museum at Oxford University, where it was the museum's most popular exhibition on record, the Musée Granet in Aix-en-Provence, the High Museum of Art in Atlanta, and the Vancouver Art Gallery in Canada, ending at the Princeton University Art Museum, where the collection has been on long-term loan since 1976.

The Princeton University Art Museum (PUAM) is the Princeton University gallery of art, located in Princeton, New Jersey. Founded in 1882, it now houses over 92,000 works of art that range from antiquity to the contemporary period. The Princeton University Art Museum dedicates itself to supporting and enhancing the University's goals of teaching, research, and service in fields of art and culture, as well as to serving regional communities and visitors from around the world. Its collections concentrate on the Mediterranean region, Western Europe, China, the United States, and Latin America.

Das Princeton University Art Museum (PUAM) ist die Kunstgalerie der Princeton University in Princeton, New Jersey. Sie wurde 1882 gegründet und beherbergt momentan über 92.000 Kunstwerke von der Antike bis zur Moderne. Schwerpunkte der Sammlung liegen im Mittelmeerraum, in Westeuropa, China, Lateinamerika und den USA. Neben griechischen und römischen Antiquitäten, darunter römischen Mosaiken aus den Ausgrabungen der Universität Princeton in Antiochia, sowie europäischen Gemälden von der Frührenaissance bis ins 19. Jahrhundert sind vor allem die rund 27.000 Fotografien zu erwähnen, im Zeitraum von der Erfindung der Daguerreotypie 1839 bis zur Gegenwart. Die Asienabteilung enthält eine reichhaltige Sammlung chinesischer Kalligraphie und Malerei, Schmuckstücke aus Jade sowie Porzellan.


Development.

In March 2016, the European Broadcasting Union (EBU) penned an agreement with Australian broadcaster Special Broadcasting Service (SBS) to create a version of the EBU's Eurovision Song Contest, which had been held since 1956, open for countries in the Asia-Pacific region. SBS picked up development of the contest with its production partner Blink TV. The inaugural contest, which had yet to be given a name, was to be held in Australia in 2017. The show was formally announced under the name "Eurovision Asia Song Contest" (or "Eurovision Asia" for short) in August 2017. The inaugural Eurovision Asia Song Contest was postponed several times, partially due to political challenges, and remains in development as of August 2019.

Inaugural contest.

By May 2017, Australia, Hong Kong, and Singapore had signaled their bid to host the inaugural Eurovision Asia Song Contest. Singapore has said it would spend $4 million to host the contest. In Australia, the city of Sydney and the state of New South Wales have both indicated that they would commit big funds. According to a report from the city council of the Gold Coast, Queensland, reviewed in November 2018, the inaugural show was to be held at the Gold Coast Convention and Exhibition Centre from November 30, 2019, to December 7, 2019. However, this report has been refuted.

Participation.

As of May 2016, SBS plans to allow any Asian nation to compete, which would make as many as sixty-eight countries eligible to participate. Membership in the Asia-Pacific Broadcasting Union is not a prerequisite for participation. As of March 2019, 10 countries have confirmed their intent to participate: Australia, China, Japan, Kazakhstan, Maldives, New Zealand, Papua New Guinea, Solomon Islands, South Korea, and Vanuatu. Australia has confirmed its participation, while China, Japan, and South Korea were named as potential members of the contest's steering group.

The Eurovision Asia Song Contest is a proposed Asia-Pacific counterpart of the Eurovision Song Contest, an annual music competition between countries in Europe. The inaugural contest is, as of August 2019, in development by Australian broadcaster Special Broadcasting Service and production partner Blink TV, in co-operation with the European Broadcasting Union.

Der Eurovision Asia Song Contest ist ein vorgeschlagenes asiatisch-pazifisches Gegenstück zum Eurovision Song Contest. Der Eröffnungswettbewerb wird seit August 2019 vom australischen Sender Special Broadcasting Service und Produktionspartner Blink TV in Zusammenarbeit mit der Europäischen Rundfunkunion entwickelt.


Orbit.

"Zech" is a stony S-type asteroid that orbits the Sun in the inner main-belt at a distance of 1.7–2.8 AU once every 3 years and 5 months (1,236 days). Its orbit has an eccentricity of 0.24 and an inclination of 4° with respect to the ecliptic. The body's observation arc begins with its official discovery observation, as no precoveries were taken, and no prior identifications were made. On 8 June 2002, "Zech" passed from the major asteroid 3 Juno.

Diameter.

While "Johnston's Archive" estimates a diameter of 7.61 kilometers for "Zech", the "Collaborative Asteroid Lightcurve Link" assumes a standard albedo for stony asteroids of 0.20 and calculates a diameter of 6.5 kilometers based on an absolute magnitude of 13.3. No observational results have been published by the space-based IRAS, Akari, and WISE/NEOWISE surveys.

Binary system.

Primary.

In October 2004, a rotational lightcurve of "Zech" was obtained from photometric observations by American astronomer Donald P. Pray at Sugarloaf Mountain Observatory, Massachusetts, in a collaboration with other American and European astronomers from France, the Czech Republic, Serbia, Georgia and Ukraine. Lightcurve analysis gave a rotation period of 2.7401 hours with a brightness variation of 0.22 magnitude (). While not being a fast rotator, it has a relatively fast spin rate for its size, as most minor planets rotate between 2.2 and 20 hours.

Moon.

During Pray's photometric observations, it was revealed that "Zech" (primary) is in fact an asynchronous binary asteroid with a minor planet moon orbiting it. The moon has an orbital period of 117.2 hours and a spin rate of 18.718 hours with an amplitude 0.08 magnitude. Based on Pray's secondary-to-primary mean diameter ratio (D/) of more than 0.29, the "Johnston's Archive" estimates a diameter of at least 2.21 kilometers for "Zech"s companion.

Naming.

This minor planet was named after German astronomer Gert Zech (born 1941) at ARI in Heidelberg. He was editor of "Astronomy and Astrophysics Abstracts" and is known for his publications on the observational determination of the length of the astronomical unit and the mass of the Earth–Moon system using the dynamical method by observing the near-Earth object 433 Eros. Naming citation was prepared by Lutz D. Schmadel who also proposed the name. The citation was published on 18 February 1992 ().

2623 Zech, provisional designation, is a stony binary asteroid from the inner regions of the asteroid belt, approximately 6.5 kilometers in diameter. It was discovered on 22 September 1919, by German astronomer Karl Reinmuth at Heidelberg Observatory in southwest Germany. It was named after German ARI astronomer Gert Zech.

(2623) Zech ("A919 SA"; "1963 RE") ist ein Asteroid des inneren Hauptgürtels, der am 22. September 1919 vom deutschen (damals: Weimarer Republik) Astronomen Karl Wilhelm Reinmuth an der Landessternwarte Heidelberg-Königstuhl auf dem Westgipfel des Königstuhls bei Heidelberg (IAU-Code 024) entdeckt wurde.


Education.

Harcourt was raised in New York City and attended the Lycée Français de New York. He earned a B.A. degree in political theory from Princeton University in 1984, a J.D. degree from Harvard Law School in 1989, and a Ph.D. in political science from Harvard in 2000.

Career.

As a lawyer, Harcourt has represented inmates on death and those serving life imprisonment without parole. His most notable clients include Walter McMillian, and Doyle Lee Hamm, whose 2018 execution was called off because an IV line could not be set.  Harcourt is also an academic. He was appointed the Julius Kreeger Professor of Law and Criminology at University of Chicago in 2003 and elected chairman of the Department of Political Science in 2010. In 2013, he became a chaired professor at the École des hautes études en sciences sociales in Paris. Since 2014, he has been the Isidor and Seville Sulzbacher Professor of Law and Director of the Columbia Center for Contemporary Critical Thought at Columbia University.

Works.

Harcourt's writings focus on punishment, social control, legal and political theory, and political economy from a critical, empirical, and social theoretic perspective.  In 2012, he published, "The Illusion of Free Markets: Punishment and the Myth of Natural Order" which explored the relationship between laissez faire and mass incarceration.  In "Illusion of Order: The False Promise of Broken Windows Policing" he challenged evidence for the broken windows theory and critiqued the assumptions of the policing strategy. In "Language of the Gun", he develops a post-structuralist theory of social science, arguing that social scientists should embrace the ethical choices they make when they interpret data.  He has also edited works by Michel Foucault in French and English. He is the editor of the French edition of Foucault's 1972 Collège de France lectures on "Théories et institutions pénales" (published by Gallimard in 2015) and Foucault's 1973 Collège de France lectures on "La société punitive" (published by Gallimard in 2013). He is the co-editor, with Fabienne Brion, of Foucault's 1981 Louvain lectures "Mal faire, dire vrai. Fonction de l'aveu en justice".  In 2016, he published "Exposed: Desire and Disobedience in the Digital Age", which explores how digital practices have transformed the circulation of power in contemporary society and produced what he refers to as a new "expository society". "Exposed" was translated into French as "La Société d'exposition" and reviewed in "Le Monde" and "Le Figaro".  In 2018, he published "The Counterrevolution: How Our Government Went to War Against Its Own Citizens".

Awards and honors.

In 2015, Harcourt was awarded an honorary doctorate from the Aix-Marseille University in France for his contributions to contemporary critical thought.  He is also the recipient of the 2009 Gordon J. Laing Prize for his 2007 book, "Against Prediction: Profiling, Policing and Punishing in the Actuarial Age."  In 2019, Harcourt received from the New York City Bar Association the Norman J. Redlich Capital Defense Distinguished Service Award for his longtime advocacy on behalf of individuals on death row.

Notes.

References Select publications

Bernard E. Harcourt (born 1963) is an American critical theorist with a specialization in the area of punishment, surveillance, legal and political theory, and political economy. He also does pro-bono legal work on human rights issues.

Bernard E. Harcourt (* 28. Januar 1963) ist ein US-amerikanischer Rechts- und Politikwissenschaftler. Er forscht und publiziert zu Themen der sozialen Kontrolle in der „Straf- und Überwachungsgesellschaft“ und vertrat als Rechtsanwalt Häftlinge, die zum Tode oder zu lebenslanger Haft ohne Bewährung verurteilt wurden.


History.

The origins of the basilica can be traced to the early decades of the 17th century, when Jesuit missionaries began spreading Christianity through the Madurai Mission. The first conversions occurred in the area known as Tiruchirappalli, also called "Trichy", in 1616. The missionaries eventually got support from the Hindu Naicker rulers of Madurai. The many Jesuit missionaries who worked in the Madurai Mission included Robert de Nobili and Constanzo Beschi.  While Trichy was still a mission station of the Madurai Mission, several Christian communities were established in Palakkarai, Dharmanathapuram, and Varaganeri. Even before the construction of the Holy Redeemer Church, there were some 7500 Christians in the area. They worshiped at the St. Mary's Cathedral, Trichy, rather than at Our Lady of Sorrows because the latter was under the administration of the Portuguese Padroado.  Realizing the need for the Christians of Palakkarai to have a church of their own, Bishop Alexis Canoz, S.J. laid the foundation for a new church on 9 February 1880. The church of the Most Holy Redeemer was consecrated on 29 June 1881 by the Vicar Apostolic of Pondicherry, Msgr. François-Jean-Marie Laouënan, M.E.P.  The land for the construction of the church was a gift from the local ruler, Diwan Kanjamalai Medullar.

Devotion to Our Lady of Perpetual Help.

In 1957 the novena devotion to Our Lady of Perpetual Help was introduced by the parish priest, Rev. A. Thomas, after a parish mission conducted by the Redemptorist priest Rev. Francis. The devotion has continued till the present as hundreds of devotees, Christian and non-Christian, gather to pray on Wednesdays.

Minor basilica.

Pope Benedict XVI raised the church of the Most Holy Redeemer to the dignity of a minor basilica on 12 October 2006. The request for the elevation of the church to a basilica was presented to the Vatican by the Bishop of Trichy, Most Rev. Antony Devotee while Rev. A. Gabriel was the parish priest.

Art and architecture.

The inner walls of this church are adorned with oil paintings of the saints and scenes from the Old and New Testaments.

The Basilica of the Holy Redeemer, Tiruchirappalli is one of five Roman Catholic minor basilicas in the southern state of Tamil Nadu, India.

Die Basilika des Heiligen Erlösers (, ) ist eine römisch-katholische Kirche in Tiruchirappalli im südindischen Bundesstaat Tamil Nadu. Die Kirche des Bistums Tiruchirappalli ist Jesus Christus als Erlöser geweiht und trägt den Titel einer Basilica minor.


Studies and career in Poland.

He learned architecture in Florence, first through apprenticeship with his father, who was also an architect. He was then probably taught by Andrea Ferrucci, his father's fellow Florentine architect. He moved to Poland in 1516 at the invitation of the bishop Jan Łaski to take over the work of rebuilding the Wawel Royal Castle in Kraków after the death of Francesco Fiorentino, working with Benedykt from Sandomierz. The castle had burnt down in 1499, and the rebuilding was commissioned by Sigismund I of Poland. He also took over Florentino's workshop, with the artists Bernardino di Gianotis, Giovanni Cini from Siena, Mikołaj Castiglione, and five members of the Soli family.  He worked in Kraków, Niepołomice, Poznań, Tarnów and most likely in Vilnius where the Royal Palace of Lithuania was reconstructed. He became very rich in Poland, owning a number of houses in Kraków and a brickyard. He was murdered in 1537 by another jealous Italian artist in Kraków and was buried in the Corpus Christi Basilica in Kazimierz by Kraków.

Legacy.

The most important work of Berrecci is the chapel of the last Jagiellonians, the Sigismund Chapel for King Sigismund I the Old at the Wawel (1517–1533) in Kraków; It is considered to be the most beautiful piece of Italian Renaissance architecture outside of Italy. Some years later Santi Gucci built the tombs of King Sigismund II Augustus and Queen Anna Jagiellon (the son and daughter of Sigismund I) inside the chapel. His death in 1537 was the result of an infection caused by a worksite accident during work on the tomb of Piotr Tomicki.  Berrecci's other works include:  He is one of the characters on the famous painting by Jan Matejko, "Prussian Homage".

Bartolommeo Berrecci (1480 Pontassieve, Italy - 1537 Kraków, Poland) was an Italian Renaissance architect who spent most of his career in Poland.

Bartolomeo Berrecci (auch "Bartolomeo Berecci" oder "Berreczy", * um 1480 in Pontassieve bei Florenz; † August 1537 in Krakau) war ein Architekt, Bildhauer und Steinmetz der Renaissance. Berrecci gehörte zur zweiten Generation italienischer Künstler, die am Krakauer Königshof tätig waren.


Competition format.

The competition consists of ten rounds. Except for the semi-finals, all rounds are single-match elimination rounds. When tied after 90 minutes in the first three rounds, penalties are taken immediately. In rounds four to seven and the quarterfinals, when tied after 90 minutes first an extra time period of 30 minutes are played, then penalties are taken if still necessary. The semi-finals will be played over two legs, where the team winning on aggregate advances. The final will be played as a single match.  Teams enter the competition in different rounds, based upon their 2019–20 league affiliation. Teams from the fifth-level Belgian Third Amateur Division or lower began in round 1. Belgian Second Amateur Division teams entered in round 2, Belgian First Amateur Division teams entered in round 3, Belgian First Division B teams in round 5 and finally the Belgian First Division A teams enter in round 6. With KV Mechelen being banned from the competition, one of the Belgian First Division B teams (Union SG) was drawn randomly to receive a bye in round 5 and progress automatically to round 6.

First round.

This round of matches were played on 27, 28 & 29 July 2019 and included teams playing in the Belgian Third Amateur Division and Belgian Provincial Leagues. Teams from the Belgian Third Amateur Division were seeded and could not play each other.

Fifth round.

Non-professional teams (tiers 3 and below) always receive the home advantage when playing professional teams, if their stadium meets the seating and safety requirements. As a result Lokeren and Roeselare had to give up their home advantage in this round.

Sixth round.

The draw for the sixth round was made on 26 August 2019 and included the teams from the Belgian First Division A and Union SG, the latter replacing KV Mechelen which were banned from the competition after being found guilty of match-fixing. The 16 teams entering at this stage were seeded and could not meet each other.

Seventh Round.

The draw for the seventh round was made immediately after the last game of the sixth round, between Antwerp and Lokeren, was finished. Only three teams outside the top division qualified for this round, with Rebecq from the Belgian Second Amateur Division the lowest still in the competition.  The matches will be played on 3, 4 and 5 of December 2019.

Quarter-finals.

The draw for the quarter-finals was made immediately after the last game of the seventh round, between Excel Mouscron and Anderlecht was finished. Only one team from outside the top division remained at this stage of the competition, Union SG playing in the Belgian First Division B, who also reached the semifinals the previous season.  The matches were played on 17, 18 and 19 December 2019.

Semi-finals.

The draw for the semi-finals was made immediately after the last game of the seventh round, between Anderlecht and Club Brugge was finished. The first leg matches will be played on 22 and 23 January 2020, the second legs on 5 and 6 February 2020.

Second Legs.

"Club Brugge win 3–2 on aggregate"  "Antwerp win 2–1 on aggregate"

The 2019–20 Belgian Cup is the 65th season of Belgium's annual football cup competition. The competition began on 26 July 2019 and will end with the final on 1 August 2020. The winners of the competition will qualify for the 2020–21 UEFA Europa League Group Stage. KV Mechelen were the defending champions, but were unable to defend their title as the club got banned from the competition for one season after being found guilty of match-fixing as part of the 2017–19 Belgian football fraud scandal.

Der Belgische Fußballpokal 2019/20 begann am 28. Juli 2019 mit den ersten Vorrundenspielen. Ursprünglich sollte der Wettbewerb mit einem Finalspiel am 22. März 2020 in Brüssel enden. Dieser Termin wurde jedoch aufgrund der COVID-19-Pandemie auf den 1. August 2020 verschoben. Insgesamt nehmen 311 Mannschaften teil.


Background.

In 2015, a group of bloggers wrote an open letter to several celebrity mothers, including Sarah Michelle Gellar and Gwyneth Paltrow, criticizing their anti-GMO stance, and explaining the safety and benefits of GMOs. The letter, in part, read: This letter caught the attention of Natalie Newell, who said "I was so impressed to see this group of intelligent, relatable and reasonable moms standing up for science and against the fear-based culture that seems to have infected the world of parenting." Newell contacted one of the letter's writers, Jenny Splitter, about possibly making a short documentary about science-based parenting. Following discussion with Splitter and others, Newell went on to produce the film, along with executive producer Stephen Hupp, a professor of psychology at Southern Illinois University Edwardsville. Newell also served as the director on the documentary.

Description.

Featured in the film are writer Jenny Splitter, neuroscientist Alison Bernstein, plant geneticist Anastasia Bodnar, molecular geneticist Layla Katiraee, and science communicator Kavin Senapathy. As reported by the Center for Inquiry: "Through interviews with five... moms with careers in science, we get both an idea of what the modern parent has to contend with, as well as some clarity on some of the more hot-button issues around food and health."  According to one of the science moms featured in the film, Kavin Senapathy, the film's goal is to provide a counterpoint to wide-spread anti-science misinformation affecting parenting, including anti-GMO and anti-vaccine propaganda. In an interview with Susan Gerbic for the Center for Inquiry, Senapathy said that for many moms parenthood becomes a large part of their identity. When that happens, "it is easy for purveyors of misinformation to exploit [them]."  According to Katiraee, another science mom in the film, “Celebrities are beautiful, with aspirational lifestyles... but we shouldn’t take their parenting advice without scrutiny. Giving birth doesn’t mean our ‘mommy instinct’ is correct. That requires evidence.”  Producer/director Newell has said, "The goal of the movie is to provide a counter-narrative to the anti-GMO, anti-vax, pro-alternative medicine culture that has popped up in the world of parenting." She also said that critical thinking is very important, and she hopes "Science Moms" could act as a springboard to that end.  In her book, "Whitewash: The Story of a Weed Killer, Cancer, and the Corruption of Science", Carey Gillam accused the "Science Moms" team of having ties to Monsanto, alleging that they "post favorable industry information on an array of websites while appearing to be independent of industry influence." In a December 10, 2017 interview on the "Serious Inquires Only" podcast, Natalie Newell speculated as to where Gillam got the idea that the creation of "Science Moms" was influenced by Monsanto. Newell thinks that it may be due to an email written by biologist Kevin Folta which was obtained through a Freedom of Information Act (FOIA) request, in which Folta wrote "Moms are people to talk to about this stuff."  In January 2018, Parent.com reported on the documentary in an article titled "5 Food Myths It's Time to Stop Believing" and detailed the five food myths that the film takes on as follows:

Release.

"Science Moms" debuted at QED in Manchester on October 14, 2017. The American premiere of the film was held at the scientific skepticism conference, CSICon 2017, run by the Center For Inquiry, on October 28, 2017 in Las Vegas.  Upon its initial release, the film was made available for a fee by direct download from the Science Moms website, but on May 11, 2018, the full film was posted to the Science Moms YouTube channel for free viewing.

Reception.

Harriet Hall reviewed the documentary and described it as taking a novel approach, saying that it "features scientist moms who are just like other moms except that they understand the science... They provide the facts to counteract unreasonable fears." She concluded that "The 30-minute film is scientifically accurate, persuasive, and well-designed, with good production values." and "A lot of people really need to watch this documentary."  The film was reviewed by Jennifer Muirhead of "Weekend Notes", who said that it "invites discussion about how to find quality information amid the sea of opinions and conjecture at our fingertips and encourages fellow parents to seek out the facts and not to let fear control their lives. It's a great resource for all parents and anyone wanting to learn more about GMOs and organic food."  As reported in the NB Herard, "A group of scientifically literate'moms' is fighting the flood of misinformation on the Internet with a documentary film. "'Science Moms",' a 29-minute crowdfunded documentary, enjoyed a well-received world premiere at the QED conference in Manchester, UK in mid October, followed by the U.S. premiere at CSIcon in Las Vegas, NV on October 28, 2017."  In its "Spotlight on Science" section, Psyongames.com recommended "Science Moms" as a film that would "give a voice to the science-minded moms – the women who are too often drowned out by the fear mongers, the shamers, and the CelebMoms."  In May 2018, Hemant Mehta reported on the release of the film to YouTube, and said "It's such a relief to know these mothers are out there, raising their kids with reason instead of giving in to the irrational nonsense people constantly throw in their direction."

SciMoms.

Following the production and release of the film, the women involved with it created a non-profit, educational organization named SciMoms, in order to continue promoting evidence-based parenting and policy as presented in "Science Moms". Free material available from their website includes:

Science Moms is a 2017 American documentary film about mothers who advocate for science-based decision-making concerning the health and nutrition of children. The film covers vaccines, autism, celebrity-endorsed health fads, cancer, allergies, organic food, GMOs, homeopathy, and the appeal to nature fallacy.

Science Moms ist ein US-amerikanischer Dokumentarfilm aus dem Jahr 2017 über Mütter, die sich für eine wissenschaftsbasierte Entscheidungsfindung in Fragen der Gesundheit und Ernährung von Kindern einsetzen. Der Film behandelt die Themen Impfen, Autismus, von Prominenten propagierte Gesundheits-Hypes, Krebs, Allergien, Bio-Lebensmittel, GVO, Homöopathie und den Fehlschluss, "natürlich" wäre immer "gut".


History.

The diocese of Nidaros was established in 1068. It originally covered the (modern) counties of Trøndelag, Nordland, Troms, and Finnmark, along with the regions of Nordmøre and Romsdal (in Møre og Romsdal county) and Härjedalen (in Sweden), and also the northern part of Østerdalen (Tynset, Tolga, and Os). The region of Sunnmøre (in Møre og Romsdal) was transferred from Diocese of Bjørgvin to the new Archdiocese of Nidaros some time after 1152 – to secure it more income.  The northern part of Østerdalen was transferred to the Diocese of Oslo some time after 1537. The province of Jämtland was transferred from Diocese of Uppsala to Nidaros in 1570. The region of Sunnmøre was transferred (back) from Nidaros to the Diocese of Bjørgvin in 1622. The provinces of Jämtland and Härjedalen were lost to Sweden in 1645. Northern Norway was established as a diocese of its own in 1804 (formally first in 1844). The parish of Innset was transferred from Diocese of Hamar to Nidaros in 1966. The regions of Nordmøre and Romsdal (together with Sunnmøre from Bjørgvin) were established as a diocese of its own (Diocese of Møre) in 1983.

Structure.

The Diocese of Nidaros is divided into ten deaneries (). Each one corresponds to several municipalities in the diocese. Each municipality is further divided into one or more parishes which each contain one or more congregations.

Bishops.

The bishops of Nidaros since the Protestant Reformation when Norway switched from Catholicism to Lutheranism:

Nidaros is a diocese in the Lutheran Church of Norway. It covers Trøndelag county in Central Norway and its cathedral city is Trondheim, which houses the well-known Nidaros Cathedral. The diocese is divided into 10 deaneries "(prosti)". Since 10 September 2017, the Bishop of Nidaros is Herborg Finnset who took over from the Bishop Tor Singsaas who retired. The Bishop Preses is also based at the Nidaros Cathedral and serves as the dean of the Nidaros domprosti (deanery) in Trondheim.

Das Bistum Nidaros (früher auch "Bistum Trondhjem", norwegisch ) ist eins der elf Bistümer der evangelisch-lutherischen Norwegischen Kirche. Bis zur Reformation war es ein Erzbistum und Sitz der ganz Norwegen umfassenden Kirchenprovinz. Es umfasst die Provinz ("fylke") Trøndelag und hat seinen Sitz in Trondheim; Kathedrale ist der Nidarosdom. Bischöfin von Nidaros ist seit 2017 Herborg Finnset. Seit 2011 residiert am Nidarosdom daneben auch der/die Vorsitzende der Bischofskonferenz der Norwegischen Kirche (bis 2020 Helga Haugland Byfuglien).


Location.

The monastery is about from Voreppe along a winding forest road. It is located on a plateau overlooking Voreppe at an altitude of, which is often snow-covered in winter. The monastery is set in a beautiful location in the Chartreuse Mountains. It has a cemetery and a Romanesque church.  Chalais can be reached by foot from Voreppe, to the west, with a climb of about two hours. It is connected by a difficult road to the Grande Chartreuse convent. The monastery is on a conical hill with a cross on the summit, about a half hour walk away. From the summit there is a view of mountains and the whole valley of the Isère river as far as the Rhône. The atmosphere of the remote location is peaceful and conducive to meditation.

History.

The monastery originated when saint Hugues de Châteauneuf, bishop of Grenoble, established some monks at Chalais in 1101. At first there were just two or three monks. They were called the "hermits of Chalais". They lived apart from the world, followed the rule of Saint Benedict, practiced forestry and raised sheep. In 1110 the occupants were thinking of abandoning the hermitage when they were given donations and support by the pious Count of Albon and his wife Mathilde. The monks built a Romanesque church, which still stands.  In 1125 Pope Honorius II took Chalais under his protection. Without sufficient income, and with many applicants for admission, Chalais was forced to spread to other locations. In 1148 the fathers established a rule, which they called the "Charter of Charity of the Order of Chalais." At its peak in 1205 the Order of Chalais had ten abbeys and three priories. In the late 13th century the order declined at the expense of other, more prosperous orders. On 24 December 1303 the Bishop of Grenoble gave Chalais to the Grande Chartreuse.  The Carthusians maintained the abbey as an autonomous community. It was relatively prosperous although with limited resources. During the religious wars of the 16th century the abbey was plundered and partly destroyed in 1562. Without the resources to pay for rebuilding, the Chartreuse de Chalais lost its autonomy and became a subsidiary of the Grande Chartreuse convent. The Carthusians of this convent used the abbey as a place of refuge for their old and weak members. The number of priests and brothers gradually declined, with only five remaining when the French Revolution began in 1789. The building was taken over as national property, and sold to a private owner. In April 1844 the Dominican Abbé Lacordaire obtained permission to purchase Chalais and establish a Dominican novitiate. The house of study accommodated about forty brothers. A small new house was built for visitors. The religious painter Hyacinthe Besson was appointed the first Master of the novices. The house was populated by French novices and students who had joined the Dominicans in Italy. In 1859 Lacordaire moved the community to Saint-Maximin, Var. Chalais became a rest home for Dominicans. In 1887 it again became private property when it was sold to an industrialist from Grenoble.  In 1932 the owners of the property, the Nicolet-Courbier family, invited the Dominicans from the house of study near Chambéry to spend their holidays there. During World War II (1939–45) maintenance of the property was difficult. In 1943 the French Resistance established a base there. In 1956 a first attempt was made to restore the buildings, but had to be abandoned due to lack of resources. However, a road was built in 1958. In 1963 Dominican nuns from Oullins, near Lyon, settled in Chalais and began to build a new convent on the ruins of the old one. At first they had many financial difficulties. In 1966 they were joined by the nuns from Chinon.

Today.

The choir, transept and a bay of the nave survived the sacking on 1562, and the Carthusians rebuilt the rest of the Romanesque church. In the 18th century they erected a Carthusian porch and belfry near the west entrance of the church. The interior of the church has ribbed vaults, with the key of the vault representing the mystic lamb surrounded by the four evangelists. There are slender columns flanking the choir window, which give elegance to the abbey church.  As of 2014 there was a community of twenty nuns in the convent, finding a stable income from the manufacture of biscuits. The monastery buildings cover an area of of which is occupied by the biscuitry. The buildings include a dining hall, library, offices, laundry room and the cells of the nuns on the top floor. The nuns follow the rule of St. Augustine. Their life is organized around the liturgy, study and the work of making biscuits. They also welcome visitors who want to spend some time sharing their life of silence and prayer. There is room for 25 people in the hotel. The "hermitage", an old foresters' house, can accommodate youth groups or families.

References.

Citations  Sources

The Monastère de Chalais, also called Châlais-sur-Voreppe or Notre-Dame de Châlais, is a Dominican convent near the town of Voreppe, Isère, France. The convent dates from 1101. The monastery at Chalais began as a house of male hermits, under the guidance of S Hugh of Chateauneuf, like the Carthusian monks. At first the Order of Chalais was independent, but in 1303 it was absorbed by the Carthusians. The monastery was partly destroyed in 1562 during French Wars of Religion, but was rebuilt. The state seized it during the French Revolution (1789–99) and sold it to a private owner. From 1844 to 1887 it was again a monastery, this time of the Dominican friars, before again being sold. The present community of Dominican nuns bought the property in 1963 and restored it. Today the nuns of Chalais manufacture Monastic biscuits to cover their expenses.

Das Kloster Chalais in Voreppe (Bistum Grenoble) war von 1101 bis 1304 das Gründungskloster der Chalaisianer, wurde dann selbständiges Kartäuser-Kloster, wurde 1582 der Grande Chartreuse angeschlossen und fiel 1791 der Französischen Revolution zum Opfer. Von 1844 bis 1881 war es Dominikanerkloster. Seit 1963 ist es Dominikanerinnenkloster. Das Kloster ist seit 1974 als Monument historique klassifiziert.


Etymology.

Jamalpur is named after 16th century sufi saint Jamal Baba, whose dargha(shrine) is still present at East Colony Hospital Road, Jamalpur.

History.

The paleolithic site of "Kali Pahar", atop Jamalpur Hill, was the location of an important find of quartzite Early and Middle Stone Ages implements.

Discover Jamalpur.

Jamalpur boasts of one of the largest railway sheds in the country, stone quarries and, more famously, the ‘Sholay tunnel’. This is the tunnel where a crucial scene in the unforgettable film ‘Sholay’ was shot, and locals here will take great pride in proclaiming this fact to you.  You can trek up to the Shiva temple perched on a lovely verdant hill; halfway up there you will encounter a smaller shrine dedicated to Goddess Kali, which is as good a place to catch your breath and look out over the surrounding hills. Large herbivores named nilgais and native hares can be spotted on sunny days along with several vividly colored endemic plant species.  Wander into town to sample some of north India’s favorite snacks such as piping hot jalebis, or pick up some lovely rustic earthenware that is the specialty of Kumhartoli—a small potters’ village some distance from town.  Jamalpur is also proud of its British-era 18-hole golf course that is beautifully landscaped with rolling greens, natural water bodies and stately trees.

Geography.

Jamalpur is located at at an average elevation of.  The suburb is a part of Munger city. The city centre of Munger is northwest of Jamalpur area of Munger city. There is a road as well as a rail link throughout these areas, the rail link has been completed recently Munger Ganga Bridge. Jamalpur is an overnight rail or road journey from Kolkata.  The nearest airport is Munger Airport near Safiyabad area of the Munger city. The nearest commercial domestic airport is Lok Nayak Jayaprakash Airport in Patna, away. The nearest international airport is Netaji Subhas Chandra Bose International Airport in Kolkata, from Jamalpur on NH 33.

Demographics.

, Jamalpur has a population of 105,221, with a ratio of 871 females for every 1,000 males. The average literacy rate is 87.38%; for men it is 92.58%, and for women it is 81.40%. There are 12,298 children in Jamalpur aged 0 to 6, with a ratio of 867 girls for every 1,000 boys.

Industry and culture.

Locomotive workshop.

The Jamalpur Locomotive Workshop was the first full-fledged railway workshop facility in India, founded on by the East Indian Railway Company. The Jamalpur site was chosen for its proximity both to the Sahibganj loop, which was the main trunk route at the time, and to the communities of gunsmiths and other mechanical craftsmen in Bihar.  The workshop was initially for repairing locomotives, and assembling new ones from salvaged parts. By the early 20th century, however, it had progressed to producing its own locomotives. It produced the first one, "CA 764 "Lady Curzon"", in 1899. In 1893, it became the site of the first railway foundry in India. It also had a workshop for repairing and building boilers. Today it has a foundry, metallurgical lab facilities, and machine tool facilities. Its rolling mill and nut and bolt shop ceased operation in 1984.  The school attached to the workshop eventually became the Indian Railways Institute of Mechanical and Electrical Engineering (IRIMEE).

Ananda Marga.

The Ananda Marga movement was founded here by Jamalpur native Prabhat Ranjan Sarkar in 1955.

Jamalpur is a city in the Indian state of Bihar. It is situated 8 km from Munger city center. Jamalpur is a part of Munger-Jamalpur twin cities. The name Jamalpur literally means "Jamal" (beautiful) "pur" (town). Jamalpur is best known for the Jamalpur Locomotive Workshop, which employs over 25,000 people at its training institution, The Indian Railways Institute of Mechanical and Electrical Engineering. And Annual Turnover is Rs. 10.56 billion with a no. of staffs is 1,11,485 and this is Asia's Largest and Oldest locomotive Railway Workshop. City was established in 1862 during the British Raj, with the Railways Institute forming its cultural hub. The city has become fully developed with four shopping malls and complexes and Royal Enfield showroom. Students from Jamalpur are studying in Govt.and private Top institutes in Delhi,Kolkata,Bangalore,patna and some had went abroad. And this is the reason of which the literacy rate of jamalpur is so high.

Jamalpur ist eine Stadt im Bundesstaat Bihar im Osten Indiens. Sie ist Teil des Distrikt Munger. Jamalpur hat den Status eines City Council ("Nagar parishad"). Die Stadt ist in 36 Wards gegliedert. Sie ist ungefähr 199 km von Bihars Hauptstadt Patna entfernt. Die Stadt bildet mit dem benachbarten Munger eine Zwillingsstadt.


History.

The Brunswick rifle was one of several designs submitted to replace the Baker rifle. Unlike the Baker rifle, the Brunswick rifle used a special round ball with raised ribs that fit into two spiraling grooves in the barrel.  During its evaluation, it was noted that the Brunswick's unique round meant that the Brunswick rifle could not fire the standard British paper cartridges in use at the time. The rifle was also noted as being very heavy, and that it fired a relatively low velocity round. Despite these detriments, the rifle performed much better than expected, and the Master-General of Ordnance ordered the rifle to be produced with a 30-inch barrel of.654 caliber. The new rifle was designed to accept a bayonet, though the design was changed with the mounting moved farther back since experience had shown that the Baker rifle could not be fired with its bayonet fixed.  In December 1836, trials were conducted to compare the Brunswick rifle against the Baker rifle. The Brunswick rifle proved to be equally accurate at shorter ranges, and more accurate at longer ranges. The Brunswick rifle also proved to require less cleaning than the Baker rifle. Evaluators also noted that the simplified two groove design of the Brunswick was likely to have a longer service life than the barrel of the Baker, and the Brunswick rifle was noted as being very rugged overall. In January 1837, the rifle was approved for production.  Almost immediately, the caliber was changed from.654 to.704 under a new program of standardization. An altered pattern was submitted in August 1837, and the first bulk order of 1000 rifles was given on October 25, 1837. In January of the following year, it became apparent that 600 of these would be required urgently for Col. Brown’s Battalion of the Rifle Brigade and that the Enfield factory would not be able to supply them in time. Thus the whole order was put out to the trade in London at a charge of 38s per rifle. The first Brunswick rifles were made by the following gunmakers:  Production began in March 1838, and the first mass-produced rifles were issued to the Rifle Brigade, the Canadian Rifle Regiment, and a few specialized units in 1840.  The Brunswick rifle developed a reputation for being difficult to load, but was fairly well received and remained in production for almost 50 years. The rifle was used in England and assorted colonies and outposts throughout the world. Several refinements were made to the design during its production life, and production of the rifle was finally discontinued in 1885.  The Brunswick was also manufactured in Belgium. Limited numbers of Brunswick rifles were imported to the United States during the Civil War. Some of those ended up in the hands of units like the 26th Louisiana Infantry, which was partly equipped with Brunswicks during the Siege of Vicksburg.  The rifle takes its name from the German state of Brunswick.

Design and Features.

The Brunswick had a two groove barrel designed to accept a "belted" round ball. Like all rifles of the period, the Brunswick rifle suffered from the problem of being difficult to load. Rounds for rifles were required to fit tightly into the barrel so that the round would grip the rifling as it traveled down the barrel, imparting a spin to the round and improving its stability. Even though the rib and groove design of the Brunswick allowed it to use rounds that did not fit quite as tightly, the black powder used during this period would quickly foul the barrel, making even the Brunswick's design more and more difficult to load as the rifle was used.  Since the Brunswick used a round that was specifically designed to be mated with the grooves in the rifle, it had to be oriented properly in order to be loaded. This made the rifle difficult to load at night, when the grooves could not be seen.  The lock was originally a back action design, with the mainspring located behind the hammer. This design proved to be unpopular, as it weakened the wrist of the stock. Later Brunswick rifles featured a more conventional side action lock.  The stock was made of walnut, and featured a straight wrist and a low comb butt. A patch box with a hinged brass lid was located on the right side of the butt. Originally, the Brunswick rifle used a single compartment patch box. Later rifles used a slightly larger patch box with two compartments.  The ramrod pipes, trigger guard, and butt plate were all made of polished brass.  The rifle was designed to accept a sword type bayonet which mounted by use of a bayonet bar, similar to the design of that used on the Baker rifle. The bayonet bar was relocated further back due to problems that had been experienced with the Baker rifle.  The Brunswick rifle used a block front sight and a two position folding leaf rear sight which could be set for either 200 or 300 yards.  The rifle weighed approximately 9 to 10 lbs (depending on the pattern) without the bayonet attached.

Variants.

The Pattern 1836 featured the original back action lock and the single compartment patch box. The first of these were.654 caliber. This was changed fairly early in the rifle's life, and most were.704 caliber. All subsequent patterns were.704 caliber.  The Pattern 1840 featured a dual compartment patch box, and had several minor improvements to the Pattern 1836.  The Pattern 1841 replaced the back action lock with a side lock. However, this lock change was not put into manufacturing until 1845. This version also used a wrought iron barrel instead of twisted steel, and a simple plug that replaced the break-off breech plug used in earlier patterns.  The Pattern 1848 featured other minor improvements, and used an improved bayonet latch with the locking notch located halfway along the bayonet bar on its upper side. Only a few batches of rifles produced for the British Army were fitted with this improvement.  A heavier version in.796 caliber was produced for the Royal Navy.  Copies of the Brunswick rifle were made in Nepal, from approximately 1840 to 1860. These copies were apparently hand made, and as such their details varied slightly. There were two distinct versions, a "light" pattern that weighed approximately 7.5 lbs, and a version that was more similar to the standard Brunswick rifle that weighed over 9 lbs. It is estimated that approximately 10,000 to 12,000 of these were made in Nepal.

The Brunswick rifle was a large calibre (.704) muzzle-loading percussion rifle manufactured for the British Army at the Royal Small Arms Factory at Enfield in the early 19th century.

Die Brunswick Rifle ist eine Vorderladerbüchse mit Perkussionsschloss, welche zur Mitte des 19. Jahrhunderts von der British Army eingeführt wurde und rund ein halbes Jahrhundert gefertigt wurde. Sie war das erste Gewehr der britischen Armee mit Perkussionsschloss.


Synopsis.

Set after the events of "" (2019), Wanda Maximoff and Vision begin to suspect things are not as they seem as the two live their ideal suburban life.

Production.

Development.

By September 2018, Marvel Studios was developing several limited series for its parent company Disney's streaming service, Disney+, to be centered on supporting characters from the Marvel Cinematic Universe (MCU) films who had not starred in their own films, such as Scarlet Witch. Actors who portrayed the characters in the films were expected to reprise their roles for the limited series, including Elizabeth Olsen as Scarlet Witch. The series were expected to be six to eight episodes each, have a "hefty [budget] rivaling those of a major studio production", and be produced by Marvel Studios rather than Marvel Television, who produced previous television series in the MCU. Marvel Studios President Kevin Feige was believed to be taking a "hands-on role" in each series' development, focusing on "continuity of story" with the films and "handling" the actors who would be reprising their roles from the films. By the end of October, Paul Bettany's Vision was expected to play a significant role in the series, which would focus on the relationship between Scarlet Witch and Vision. In the following months, the titles "Vision and the Scarlet Witch" and "The Vision and Scarlet Witch" were both reported.  Jac Schaeffer was hired as head writer of the series in January 2019 after previously working as a writer on the films "Captain Marvel" (2019) and "Black Widow" (2020) for Marvel Studios. Schaeffer was set to write the pilot episode and executive produce the series. That April, Disney and Marvel officially announced the series with the title "WandaVision". Later in the month, Olsen indicated parts of the series would be set in the 1950s. In August, Matt Shakman was hired to direct the miniseries, which consists of six episodes. Budgets for each episode were reported to be as much as $25 million. At Disney's biennial convention D23, Feige described the series as part "classic sitcom", part "Marvel epic", and showed a teaser for the series that combined footage from previous MCU films featuring Maximoff and Vision with images from "The Dick Van Dyke Show" and "Father Knows Best". Bettany called the series "super avant-garde and weird", while Olsen added that there were "plenty of comic books that support" the characters appearing in a sitcom setting. Olsen also indicated that there were ongoing discussions regarding whether the series would use a laugh track.

Writing.

The series takes place after "" (2019), and its events tie-into the film "Doctor Strange in the Multiverse of Madness" (2022), which includes Maximoff. Schaeffer hired eight writers for the series' writers room, including four women and several people of color because of her belief that "stories are better the more perspectives you have". Megan McDonnell served as a staff writer on the series, before being promoted to story editor. Comparing her work on the series to the film "Black Widow", Schaeffer said "WandaVision" would be "the polar opposite" to the film's style of aggressive, visceral action. Comic book writer Tom King indicated in October 2019 that his run on "The Vision" would be an inspiration for "WandaVision". In December 2019, Feige described the series as an opportunity to tell the story of Maximoff and Vision, show more of what Wanda can do, further explore who Vision is, and introduce the comic book name "Scarlet Witch" to the MCU "in ways that are entirely fun, entirely funny, somewhat scary, and will have repercussions for the entire future of Phase Four of the MCU".

Casting.

With the official announcement of the series in April 2019 came confirmation that Olsen and Bettany would reprise their roles of Maximoff and Vision, respectively, in the series. Teyonah Parris was announced as cast in the role of Monica Rambeau in July 2019; the character was introduced to the MCU as a child (played by Akira Akbar) in "Captain Marvel", which was set in 1995. The next month, Kat Dennings and Randall Park were set to reprise their MCU film roles as Darcy Lewis and Jimmy Woo, respectively, while Kathryn Hahn was also cast. Park joined the series following a general meeting with Marvel to discuss Woo's future in the MCU after his introduction in "Ant-Man and the Wasp" (2018).

Filming.

Filming began in early November 2019, at Pinewood Atlanta Studios in Atlanta, Georgia, with Shakman directing. The series is filmed under the working title "Big Red", with Jess Hall serving as cinematographer. Filming was previously reported to begin on September 21 in Los Angeles, California. Location shooting took place in the Atlanta metropolitan area throughout the months of December 2019 and February 2020. A filming wrap party for the series occurred on March 1, but production was still underway for the series on March 14 when it was halted due to the COVID-19 pandemic. Filming is expected to resume in Los Angeles in July 2020.

Music.

In January 2020, Christophe Beck announced he would compose for the series; he previously wrote the scores for "Ant-Man" (2015) and "Ant-Man and the Wasp" (2018).

Marketing.

The series was promoted as part of "Expanding the Universe", a Marvel Studios special that debuted on Disney+ on November 12, 2019. In December, Feige debuted the first image from the series at Comic Con Experience. Vinnie Mancuso of Collider found the image to be "very ", highlighting the "old-school black and white" coloring. A commercial for the series, "The Falcon and the Winter Soldier", and "Loki" was shown during Super Bowl LIV. "Inverse"s Dais Johnston noted that the clips shown visually referenced past sitcoms spanning different eras, including "The Dick Van Dyke Show" (1961–1966), "Leave It to Beaver" (1957–1963), "Bewitched" (1964–1972), "The Brady Bunch" (1969–1974), "Roseanne" (1988–1997), and "Full House" (1987–1995). Johnston thought the series would be "a must-see not only for Marvel fans but also for anyone looking for a hit of nostalgia: the era-spanning framework means anyone can relive the shows of their childhood in this age of streaming." Julia Alexander of "The Verge" said the footage "wasn't much" but offered "enough glimpses to tease fans". Haleigh Foutch at "Collider" felt of all the Super Bowl commercials, Marvel's teasers "stole the whole show" and had "a lot to get excited about". Foutch said the "WandaVision" footage was "the most exciting", saying it was "utterly strange and unpredictable looking".

Release.

"WandaVision" is expected to debut in December 2020 on Disney+, and will consist of six episodes to be released weekly. The series was originally set to be released in early 2021. "WandaVision" will be part of of the MCU.

WandaVision is an upcoming American web television miniseries created for Disney+ by Jac Schaeffer, based on the Marvel Comics characters Wanda Maximoff / Scarlet Witch and Vision. It is set in the Marvel Cinematic Universe (MCU), sharing continuity with the films of the franchise. The events of the series take place after the 2019 film "". The series is produced by Marvel Studios, with Schaeffer serving as head writer and Matt Shakman directing.

WandaVision ist eine angekündigte US-amerikanische Fernsehserie über die titelgebenden Hauptfiguren Wanda Maximoff und Vision innerhalb des Marvel Cinematic Universe (MCU). Die Ausstrahlung soll im Dezember 2020 auf Disney+ erfolgen.


Background.

The Pirates won the National League East by seven games over the St. Louis Cardinals then defeated the San Francisco Giants, three games to one, in the National League Championship Series. The Orioles won the American League East by 12 games over the Detroit Tigers then swept the Oakland A's in the American League Championship Series.  The Orioles were coming off their third straight AL playoff series sweep (twice over the Minnesota Twins and once over Oakland) and their third straight season with over 100 wins: 109 (1969), 108 (1970), 101 (1971). Featuring four pitchers with 20 or more wins (Dave McNally (21), Mike Cuellar (20), Pat Dobson (20), Jim Palmer (20)), the booming bats of sluggers Frank Robinson (28, 99,.281) and Boog Powell (22, 92,.256), and the sure hands of Brooks Robinson at third and Mark Belanger at short, the O's were primed to defend their title.  The Pirates were in the World Series for the first time since the heroics of Bill Mazeroski (his only appearance in the series came as a pinch-hitter in Game 1) in Game 7 of the 1960 match-up against the New York Yankees. Though not as decorated as the O's staff, the Pirates featured 19-game winner Dock Ellis and 15-game winner Steve Blass. The Bucs did boast a murderous lineup led by Willie Stargell (48, 125,.295), Bob Robertson (26, 72,.271) and Roberto Clemente (13, 86,.341), who collected 12 series hits and hit.414.

Matchups.

Game 1.

The Pirates scored three in the second off of Dave McNally due to sloppy defense by the Orioles. Bob Robertson led off with a walk and went to second on a wild pitch by O's starter Dave McNally. Manny Sanguillén grounded to short, but Mark Belanger threw wildly to third in an attempt to retire Robertson. Robertson scored and Sanguillén pulled in at second. After advancing to third on a ground ball by José Pagán, Sanguillén scored on a suicide squeeze bunt laid down by Jackie Hernández, who went to second when catcher Elrod Hendricks threw wildly to first. Dave Cash singled home Hernandez with the only hit the Pirates got the whole inning among the three runs.  The Orioles rallied behind the long-ball. Frank Robinson hit a home run in the second and Merv Rettenmund blasted a three-run home run in the third off Dock Ellis to give the Orioles the lead. Don Buford added a home run off of Bob Moose in the fifth as McNally settled down and allowed only two more hits and no runs the rest of the way.

Game 2.

Following a one-day delay caused by the first World Series rainout in nine years, the Orioles took a series lead on Monday afternoon. Baltimore pounded six Pirate pitchers for 14 hits (all singles) and 11 runs, led by three hits and four RBI by Brooks Robinson, who drove in the first Oriole run in the second. In the fourth, with the bases loaded by a single, hit-by-pitch and walk, Davey Johnson's two-run single made it 3–0 Orioles and knocked starter Bob Johnson out of the game. Two walks by Bruce Kison forced in another run to make it 4–0 Orioles. In the fifth, after two singles, Elrod Hendricks's two-run single, aided by an error and Robinson's single, made it 7–0 Orioles. After another single, Bob Veale relieved Moose and allowed two walks to load the bases and force in another run. Don Buford's groundout and Merv Rettenmund's RBI single made it 10–0 Orioles. Robinson's RBI single next inning off of Bob Miller capped the Orioles' scoring. Jim Palmer pitched seven shutout innings and helped himself the easy way by drawing two bases-loaded walks for two RBIs - the only time this has happened in a World Series game. The Pirates got their runs in the eighth when Richie Hebner hit a three-run homer  This was very nearly the first night game in World Series history. After rain postponed Game Two—originally scheduled for Sunday afternoon—Commissioner Bowie Kuhn suggested that the rescheduled game be played on Monday night. However, the Pirates objected as they wanted the honor of hosting the first World Series night game themselves at Three Rivers Stadium when Game Four was played. Thus Game Two was played on Monday afternoon in Baltimore.

Game 3.

With the Series shifting to Three Rivers Stadium and with Steve Blass available, the Pirates got back into it. Roberto Clemente's groundout with runners on second and third in the first put them up 1–0. Manny Sanguillén hit a leadoff double in the sixth and scored on Jose Pagan's single to make it 2–0 Pirates. Steve Blass pitched a complete game, allowing only three hits and one run (on a Frank Robinson home run in the seventh) and striking out eight. The big blow on offense was provided by Bob Robertson, who slammed a three-run home run in the seventh off starter Mike Cuellar—after missing the bunt sign. Manager Danny Murtaugh issued the sign to Robertson, who had no sacrifice bunts on the season. Television replays showed Roberto Clemente, who was on second base, appearing to call a timeout, but Cuellar was already in his windup at the time. Blass was sitting next to Murtaugh in the dugout at the time, and told the Pirate manager: "If you fine him (Robertson, for missing the bunt sign), I'll pay." Murtaugh didn't.

Game 4.

In the first night game in World Series history, it started out looking like a long night for the Pirates. Starting pitcher Luke Walker gave up singles to the Orioles' first three batters, Paul Blair, Mark Belanger, and Merv Rettenmund, loading the bases. Blair scored and the others advanced on a Manny Sanguillén passed ball. Walker then intentionally walked Frank Robinson and gave up consecutive sacrifice flies to Brooks Robinson and Boog Powell, giving the Orioles a  Manager Danny Murtaugh then pulled Walker in favor of Bruce Kison. Kison proceeded to get the final out of the inning and then pitched shutout baseball for the next six innings, allowing only one hit and despite hitting three Oriole batters, a World Series record.  Kison's heroics allowed the Pirates to claw back off of starter Pat Dobson. Willie Stargell and Al Oliver cut the lead to in the bottom of the first with back-to-back RBI doubles after a leadoff walk. Oliver tied the score at 3 in the third with an RBI single.  In the seventh, Bob Robertson and Sanguillén stroked one-out singles off reliever Eddie Watt. Pinch-hitter Vic Davalillo then lofted a short fly to center that Paul Blair dropped. Robertson reached third and Davalillo first, but Sanguillén was caught in a rundown between second and third. Backup catcher Milt May then batted for Kison and delivered a clutch go-ahead RBI single, scoring Robertson.  Dave Giusti pitched the final two innings of hitless ball for the Pirates and got the save.

Game 5.

Pirates manager Danny Murtaugh chose Nelson Briles to start Game 5 over the Pirates' top starters, Steve Blass and Dock Ellis, choosing to save them for potential Games 6 and 7. The gamble paid off as Briles pitched an efficient two-hit shutout. Bob Robertson's leadoff home run in the second inning off Dave McNally put the Pirates up 1–0. Manny Sanguillén singled, stole second and scored on Nelson Briles's two-out single to bump the Pirates' lead to 2–0. A wild pitch with runners on first and third allowed another run to score to make it 3-0 after three innings. Gene Clines hit a leadoff triple in the fifth and scored on Roberto Clemente's single, his first RBI scoring hit of the series, to cap the scoring as the Pirates took a series lead heading back to Baltimore.

Game 6.

The series shifted back to Baltimore with the Orioles facing elimination. With Steve Blass needing another day of rest and Dock Ellis nursing an injury, Danny Murtaugh had to go to the well once again, starting reliever Bob Moose—his sixth different starter in this Series. Moose responded well by pitching shutout ball for five innings, while his Pirate teammates got him a 2–0 lead. Al Oliver doubled in the second off Jim Palmer and scored on a Bob Robertson single. Roberto Clemente added a homer in the third.  Moose started having trouble in the sixth, however. Don Buford belted a one-out homer and Moose allowed the next two batters to reach base before giving way to Bob Johnson, who ended the threat. The Orioles tied it off Johnson in the seventh when Mark Belanger singled, stole second, and scored on a single by Davey Johnson.  Both teams threatened late; the Orioles had runners on second and third in the bottom of the ninth with two out, but failed to score. The Pirates loaded the bases in the top of the tenth, but Dave McNally, pitching in relief, squelched the threat.  The Orioles staved off a World Series defeat in their half of the tenth when Frank Robinson drew a one-out walk and went to third on a Merv Rettenmund single. Brooks Robinson lifted a short fly to center and Frank Robinson tagged and scored the winning run, barely beating Vic Davalillo's throw to the plate.

Game 7.

With ace pitchers Steve Blass and Mike Cuellar on the mound for their respective teams, Game 7 proved to be a pitcher's duel.  Series MVP Roberto Clemente drew first blood for the Pirates by hitting a two-out homer in the fourth off Cuellar. The Pirates added another run in the eighth when José Pagán doubled in Willie Stargell.  The only run the O's could muster off Blass was an RBI groundout by Don Buford in the eighth. Blass would get his second complete game win of the series.  Game 7 was the only game in which the visiting team won. It was the fourth World Series in which the home team won each of the first six games before the road team won Game 7 with the others being 1955, 1956 and 1965.  After Game 2, the O's bats went silent. After hitting the Pirates pitching staff for 16 runs and 24 hits in the first two games, the O's scored only eight runs on 21 hits, hitting only.141 (21–149) in the next five games, enabling the Pirates to upset the Orioles.

Composite box.

1971 World Series (4–3): Pittsburgh Pirates (N.L.) over Baltimore Orioles (A.L.)

The 1971 World Series was the championship series of Major League Baseball's (MLB) 1971 season. The 68th edition of the World Series, it was a best-of-seven playoff between the defending World Series and American League (AL) champion Baltimore Orioles and the National League (NL) champion Pittsburgh Pirates. The Pirates won in seven games. Game 4 in Pittsburgh was the first World Series game played

Die World Series 1971 war die 68. Auflage des Finals der Major League Baseball. Es standen sich die Meister der American League, die Baltimore Orioles, und der Champion der National League, die Pittsburgh Pirates, gegenüber. Die Best-Of-Seven Serie startete am 9. und endete am 17. Oktober 1971. Sieger durch einen 4:3-Sieg wurden die Pittsburgh Pirates, die damit ihre insgesamt vierte Meisterschaft erringen konnten.


Orbit and classification.

"Burns" is a Themistian asteroid that belongs to the Themis family (), a very large family of carbonaceous asteroids, named after 24 Themis. It orbits the Sun in the outer main-belt at a distance of 2.5–3.6 AU once every 5 years and 5 months (1,975 days; semi-major axis of 3.08 AU). Its orbit has an eccentricity of 0.18 and an inclination of 3° with respect to the ecliptic.  The asteroid was first observed as at Winchester Observatory in January 1912. The body's observation arc begins with a precovery taken at Goethe Link Observatory in February 1950, more than 31 years prior to its official discovery observation at Anderson Mesa.

Naming.

This minor planet was named after Joseph A. Burns (born 1941), American planetary scientist and astronomer at Cornell University in New York, and a co-discoverer of the trans-Neptunian object at Palomar in 1997. The official naming citation was published by the Minor Planet Center on 4 August 1982 ().

Physical characteristics.

In the SMASS classification, "Burns" is a carbonaceous B-type, which are somewhat brighter than the common C-type asteroids.

Rotation period.

In March 2010, a rotational lightcurve of "Burns" was obtained from photometric observations by French amateur astronomer René Roy. Lightcurve analysis gave a well-defined rotation period of 5.315 hours with a brightness amplitude of 0.52 magnitude, indicative for a non-spherical shape ().

Diameter and albedo.

According to the survey carried out by the NEOWISE mission of NASA's Wide-field Infrared Survey Explorer, "Burns" measures between 13.63 and 22 kilometers in diameter and its surface has an albedo between 0.051 and 0.12. The "Collaborative Asteroid Lightcurve Link" assumes an albedo of 0.08 and calculates a diameter of 17.86 kilometers based on an absolute magnitude of 12.1.

2708 Burns ("prov. designation": ) is a carbonaceous Themistian asteroid from the outer regions of the asteroid belt, approximately in diameter. It was discovered on 24 November 1981, by American astronomer Edward Bowell at the Anderson Mesa Station near Flagstaff, Arizona, in the United States. It was named after American planetary scientist Joseph A. Burns. The likely elongated B-type asteroid has a rotation period of 5.3 hours.

(2708) Burns ("1981 WT"; "1951 GG"; "1961 DN"; "1965 YB"; "1978 EL"; "A912 AE") ist ein ungefähr 20 Kilometer großer Asteroid des äußeren Hauptgürtels, der am 24. November 1981 vom US-amerikanischen Astronomen Edward L. G. Bowell am Lowell-Observatorium, Anderson Mesa Station (Anderson Mesa) in der Nähe von Flagstaff, Arizona (IAU-Code 688) entdeckt wurde. Er gehört zur Themis-Familie, einer Gruppe von Asteroiden, die nach (24) Themis benannt ist.