Charles Willson Peale American Revolution What was Peale's role in the American Revolution? He also raised troops for the War of Independence and eventually gained the rank of captain in the Pennsylvania militia by 1776, What military achievements did he have? he painted portraits of American notables and visitors from overseas. What else did Peale do during this war? While in the field, he continued to paint, doing miniature portraits of various officers in the Continental Army. Were these popular? He produced enlarged versions of these in later years. What was his famous piece? he is probably best known for his portraits of George Washington. Where were these displayed? It is in the collection of the Philadelphia Museum of Art.
Does he have any other famous pieces?
Aside from the portraits of George Washington, does Charles Willson Peale have any other famous pieces?
Peale's enthusiasm for the nascent national government brought him to the capital, Philadelphia, in 1776, where he painted portraits of American notables and visitors from overseas. His estate, which is on the campus of La Salle University in Philadelphia, can still be visited. He also raised troops for the War of Independence and eventually gained the rank of captain in the Pennsylvania militia by 1776, having participated in several battles. While in the field, he continued to paint, doing miniature portraits of various officers in the Continental Army. He produced enlarged versions of these in later years. He served in the Pennsylvania state assembly in 1779-1780, after which he returned to painting full-time.  Peale was quite prolific as an artist. While he did portraits of scores of historic figures (such as James Varnum, Benjamin Franklin, John Hancock, Thomas Jefferson, and Alexander Hamilton), he is probably best known for his portraits of George Washington. The first time Washington sat for a portrait was with Peale in 1772, and they had six other sittings; using these seven as models, Peale produced altogether close to 60 portraits of Washington. In January 2005, a full-length portrait of Washington at Princeton from 1779 sold for $21.3 million, setting a record for the highest price paid for an American portrait.  One of his most celebrated paintings is The Staircase Group (1795), a double portrait of his sons Raphaelle and Titian, painted in the trompe l'oeil style. It is in the collection of the Philadelphia Museum of Art. CANNOTANSWER
he did portraits of scores of historic figures (such as James Varnum, Benjamin Franklin, John Hancock, Thomas Jefferson, and Alexander Hamilton),
Charles Willson Peale (April 15, 1741February 22, 1827) was an American painter, soldier, scientist, inventor, politician and naturalist. He is best remembered for his portrait paintings of leading figures of the American Revolution, and for establishing one of the first museums in the United States.

Early life 
Peale was born in 1741 between modern-day Queenstown and Centreville, Queen Anne's County, Maryland, the son of Charles Peale and his wife Margaret. He had a younger brother, James Peale (1749–1831). He was the brother-in-law of Nathaniel Ramsey, a delegate to the Congress of the Confederation.

Charles became an apprentice to a saddle maker when he was fourteen years old. Upon reaching maturity, he opened his own saddle shop and joined the Sons of Liberty. However, he was unsuccessful in saddle making. He then tried fixing clocks and working with metals, but both of these endeavors failed as well. He then took up painting.

Career as a painter 
Finding that he had a talent for painting, especially portraiture, Peale studied for a time under John Hesselius and John Singleton Copley. John Beale Bordley and friends eventually raised enough money for him to travel to England to take instruction from Benjamin West. Peale studied with West for three years beginning in 1767, afterward returning to America and settling in Annapolis, Maryland. There, he taught painting to his younger brother, James Peale, who in time also became a noted artist.

American Revolution

Peale's enthusiasm for the nascent national government brought him to the capital, Philadelphia, in 1776, where he painted portraits of American notables and visitors from overseas. His estate, which is on the campus of La Salle University in Philadelphia, can still be visited. He also raised troops for the War of Independence and eventually gained the rank of captain in the Pennsylvania militia by 1776, having participated in several battles. While in the field, he continued to paint, doing miniature portraits of various officers in the Continental Army. He produced enlarged versions of these in later years. He served in the Pennsylvania state assembly in 1779–1780, after which he returned to painting full-time.

Peale was quite prolific as an artist. While he did portraits of scores of historic figures (such as James Varnum, Benjamin Franklin, John Hancock, Thomas Jefferson, and Alexander Hamilton), he is probably best known for his portraits of George Washington. The first time Washington sat for a portrait was with Peale in 1772, and they had six other sittings; using these seven as models, Peale produced altogether close to 60 portraits of Washington. In January 2005, a full-length portrait of Washington at Princeton from 1779 sold for $21.3 million, setting a record for the highest price paid for an American portrait.

One of his most celebrated paintings is The Staircase Group (1795), a double portrait of his sons Raphaelle and Titian, painted in the trompe-l'œil style. It is in the collection of the Philadelphia Museum of Art.

Peale Museum 

Peale had a great interest in natural history, and organized the first U.S. scientific expedition in 1801. These two major interests combined in his founding of what became the Philadelphia Museum, later known as Peale's American Museum. It housed a diverse collection of botanical, biological, and archaeological specimens. In 1786, Peale was elected to the American Philosophical Society.

The museum contained a large variety of birds which Peale himself acquired, and in many instances mounted, having taught himself taxidermy. In 1792, Peale initiated a correspondence with Thomas Hall, of the Finsbury Museum, City Road, Finsbury, London proposing to purchase British stuffed items for his museum. Eventually, an exchange system was established between the two, whereby Peale sent American birds to Hall in exchange for an equal number of British birds. This arrangement continued until the end of the century. The Peale Museum was the first to display a mastodon skeleton (which in Peale's time were referred to as mammoth bones; these common names were amended by Georges Cuvier in 1800, and his proposed usage is that employed today) that Peale found in New York State. Peale worked with his son to mount the skeleton for display.

The display of the "mammoth" bones entered Peale into a long-standing debate between Thomas Jefferson and Comte de Buffon. Buffon argued that Europe was superior to the Americas biologically, which was illustrated through the size of animals found there. Jefferson referenced the existence of these "mammoths" (which he believed still roamed northern regions of the continent) as evidence for a greater biodiversity in America. Peale's display of these bones drew attention from Europe, as did his method of re-assembling large skeletal specimens in three dimensions.

The museum was among the first to adopt Linnaean taxonomy. This system drew a stark contrast between Peale's museum and his competitors who presented their artifacts as mysterious oddities of the natural world.

The museum underwent several moves during its existence. At various times it was located in several prominent buildings including Independence Hall and the original home of the American Philosophical Society.

The museum would eventually fail, in large part because Peale was unsuccessful at obtaining government funding. After his death, the museum was sold to, and split up by, showmen P. T. Barnum and Moses Kimball.

Personal life

In 1762, Peale married Rachel Brewer (1744–1790), who bore him ten children, most of them named for Peale's favorite artists, male and female. Among their sons and daughters, some of whom he taught to paint, were:

 Raphaelle Peale (1774–1825), who some consider to be the first professional American painter of still-life.
 Angelica Kauffman Peale (1775–1853), who was named for Angelica Kauffman (Peale's favorite female painter) and who married Alexander Robinson.
 Rembrandt Peale (1778–1860), portrait painter, inventor, businessman, museum owner/operator in Baltimore. He founded the "Gas Light Company of Baltimore" in 1817, now Baltimore Gas and Electric Company (BGE). He was the father of artist Rosalba Carriera Peale.
 Titian Ramsay Peale I (1780–1798), ornithologist. He died at age of 18.
 Rubens Peale (1784–1865), museum administrator and artist.
 Sophonisba Angusciola Peale (1786–1859), ornithologist. She married Coleman Sellers (1781–1834) in 1805. She was the mother of Coleman Sellers II.

After Rachel's death in 1790, Peale married Elizabeth de Peyster (1765–1804), a descendant of Johannes de Peyster, the next year. With his second wife, he had six additional children, including:

 Charles Linnaeus Peale (1794–1832), who was named for Charles Linnaeus, the Swedish botanist and zoologist.
 Franklin Peale (1795–1870), who became the Chief Coiner at the Philadelphia Mint.
 Titian Ramsay Peale II (1799–1885), explorer, ornithologist, scientific illustrator, and photographer.
 Elizabeth De Peyster Peale (1802–1857), who married William Augustus Patterson (1792–1833) in 1820.

Hannah Moore, a Quaker from Philadelphia, married Peale in 1805, becoming his third wife. She helped to raise the younger children from his previous two marriages.

Peale's slave, Moses Williams, was also trained in the arts while growing up in the Peale household and later became a professional silhouette artist.

In 1810, Peale purchased a farm in Germantown, where he intended to retire. He named this estate "Belfield" and cultivated extensive gardens there. After Hannah's death in 1821, Peale lived with his son Rubens and sold Belfield in 1826. Peale died on February 22, 1827, and was buried at the Saint Peter's Episcopal Church in Philadelphia alongside his wife Elizabeth DePeyster.

Expertise 
A Renaissance man, Peale had expertise not only in painting but also in many diverse fields, including carpentry, dentistry, optometry, shoemaking, and taxidermy. In 1802, John Isaac Hawkins patented the second official physiognotrace, a mechanical drawing device, and partnered with Peale to market it to prospective buyers. Peale sent a watercolor sketch of the physiognotrace, along with a detailed explanation, to Thomas Jefferson. The drawing is now held with the Jefferson Papers in the Library of Congress.

Around 1804, Peale obtained the American patent rights to the polygraph from its inventor John Isaac Hawkins, about the same time as the purchase of one by Thomas Jefferson. Peale and Jefferson collaborated on refinements to this device, which enabled a copy of a handwritten letter to be produced simultaneously with the original.

Peale wrote several books. Two of these were An Essay on Building Wooden Bridges (1797) and An Epistle to a Friend on the Means of Preserving Health (1803).

Legacy and honors 

 Three of his sons, Rembrandt Peale, Raphaelle Peale, and Titian Ramsay Peale, became noted artists.
 The World War II cargo Liberty Ship S.S. Charles Willson Peale was named in his honor.

Notable works

See also 
 Peale's Barber Farm Mastodon Exhumation Site
 George Escol Sellers, grandson who was an inventor

References 

Sources
 Lily Bita, Charles Willson Peale, the patriarch "Apodemon Epos" Magazine of European Art Center (EUARCE) of Greece, 2st issue 1997 p. 3

Further reading 
Ward, David C. 2004 Charles Willson Peale: Art and Selfhood in the Early Republic Berkley, California : University of California Press

External links 

 Reynolda House Museum of American Art: Mr. and Mrs. Alexander Robinson, 1795
 Charles Willson Peale and His World from the Metropolitan Museum of Art
 Peale-Sellers Family Collection at the American Philosophical Society
 Portrait of General David Foreman, Berkshire Museum
 The Winterthur Library Overview of an archival collection on Charles Willson Peale.
 History of Peale at Belfield, now the grounds of La Salle University, Philadelphia, PA
 Union List of Artist Names, Getty Vocabularies. ULAN Full Record Display for Charles Willson Peale. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California.
 James Madison, Bust Portrait Miniature by Peale from the *Rare Book and Special Collection Division at The Library of Congress
Catherine "Kitty" Floyd, Bust Portrait Miniature by Peale from the Rare Book and Special Collection Division at The Library of Congress

1741 births
1827 deaths
18th-century American painters
19th-century American painters
American male painters
American slave owners
American people of English descent
American portrait painters
Trompe-l'œil artists
Museum founders
Pennsylvania militiamen in the American Revolution
People from Queen Anne's County, Maryland
Charles
Sibling artists
People of colonial Maryland
Burials at St. Peter's churchyard, Philadelphia
19th-century male artists
Members of the American Philosophical Society
A hinged dissection, also known as a swing-hinged dissection or Dudeney dissection, is a kind of geometric dissection in which all of the pieces are connected into a chain by "hinged" points, such that the rearrangement from one figure to another can be carried out by swinging the chain continuously, without severing any of the connections. Typically, it is assumed that the pieces are allowed to overlap in the folding and unfolding process; this is sometimes called the "wobbly-hinged" model of hinged dissection.

History

The concept of hinged dissections was popularised by the author of mathematical puzzles, Henry Dudeney. He introduced the famous hinged dissection of a square into a triangle (pictured) in his 1907 book The Canterbury Puzzles. The Wallace–Bolyai–Gerwien theorem, first proven in 1807, states that any two equal-area polygons must have a common dissection. However, the question of whether two such polygons must also share a hinged dissection remained open until 2007, when Erik Demaine et al. proved that there must always exist such a hinged dissection, and provided a constructive algorithm to produce them. This proof holds even under the assumption that the pieces may not overlap while swinging, and can be generalised to any pair of three-dimensional figures which have a common dissection (see Hilbert's third problem). In three dimensions, however, the pieces are not guaranteed to swing without overlap.

Other hinges
Other types of "hinges" have been considered in the context of dissections. A twist-hinge dissection is one which use a three-dimensional "hinge" which is placed on the edges of pieces rather than their vertices, allowing them to be "flipped" three-dimensionally. As of 2002, the question of whether any two polygons must have a common twist-hinged dissection remains unsolved.

References

Bibliography

External links
An applet demonstrating Dudeney's hinged square-triangle dissection
A gallery of hinged dissections

Geometric dissection
Recreational mathematics
Discrete geometry
Euclidean plane geometry Ming Mang () is a two-player abstract strategy board game from Tibet. Ming Mang is also a general term for the word "boardgame" in Tibet.  The correct name and spelling of the game may actually be Mig Mang(s) (or Mig-Mang(s)), but pronounced Ming Mang or Mi Mang.  The term Mig Mang is also applied to Tibetan Go with both games using exactly the same board which is a 17 x 17 square board, and black and white pieces.  Mig is in reference to the chart (the pattern of horizontal and vertical lines) of the board, and Mangs refers to the notion that the more charts are used on the board, the more pieces are needed to play the game, but some state that it means "many eyes".  The game may also be known as Gundru (or Gun-dru).  The game was popular among some Tibetan monks before the Chinese invasion of Tibet in 1950, and the uprising in 1959, and among aristocratic families.

Tibetans in their diaspora have had to make use of whatever board was available be it a 19 x 19 Go board, or an 8 x 8 checkered board from draughts or checkers and orthodox chess.  It is also played on other sized square boards.

Mig Mang utilizes custodian capture of enemy pieces or a line of enemy pieces, and the captured pieces are replaced with the pieces of the player performing the capture(s); it thus resembles the games of Reversi and Othello in these respects.  Each player's pieces are initially situated on two adjacent sides of the board (see diagram), and move orthogonally any number of unoccupied spaces like the rook in chess.  It is an elimination game, as the objective is to capture all of the opponent's pieces.  As such the game resembles Jul-Gonu, Hasami shogi, Dai hasami shogi, Mak-yek, Apit-sodok, Rek (Game), Seega, Ludus latrunculorum, and Petteia.  The game also bears some resemblance to Go, Baduk, and Weiqi since Mig Mang uses the same 17 x 17 square board as Tibetan Go which is related to the other three games, and Mig Mang is often played with Go's 19 x 19 square board [Confusing since picture below shows an 8 x 8 board]; custodian capture is somewhat related to the capture method in Go, as both methods surround or outflank enemy pieces in capturing them.  Other games that might be comparable are  Ataxx and its variant Hexxagōn, as these two games capture enemy pieces by placing pieces adjacent to them and converting them into their own pieces.

A work by a Tibetan woman, Rin-chen Lha-mo, We Tibetans (1926) describes a possible variation of the Mig-Mang rules which have been interpreted to include captures of a piece or a group of pieces that turn perpendicularly such as around corners of the board, which are generally difficult to capture using the regular custodian method; moreover, she states that when one of the players has only one piece left, it develops the additional power to leap over the other player's pieces and capture them as in draughts or Alquerque.

Setup 

The game is played on an n x n square board, but traditionally it was played on a 17×17 square board.  But varying board sizes are played with including the 8×8 square board depicted in the diagram, and it's this 8×8 square board that will be described here-in-forth with respect to the setup and rules.  To start the game, each player needs 14 pieces on the board.  However, each player has an additional 14 pieces in order to replace captured enemy pieces on the board.  One player plays the white pieces and the other plays the black pieces, however, any two colors are appropriate.

Instead of an additional 14 pieces per player, pieces with one side white and the other side black can be used similar to those used in Reversi and Othello, that way captured pieces are simply turned over to the colors of the player who performed the capture.

Players decide what colored pieces to play, and who will start first.

The game starts with each player's 14 pieces lined up on two adjacent sides of the board as depicted on the diagram.  Each player's remaining 14 pieces are set beside the board as their respective stockpile.

Rules 

  Players alternate their turns.  Each player moves only one piece per turn.
  A piece is moved orthogonally any number of unoccupied spaces.  The moves are identical to the rook in chess or the pieces in Tafl. 
  A player is not allowed to move a piece that brings the game back to a previous position. 
  Capture of an enemy piece or a line of enemy pieces is done by the custodian method (also known as interception), and this must be created by the player performing the capture on his or her turn. The player's piece moves adjacently next to an enemy piece or line of enemy pieces that are already flanked on the other side by a friendly piece. All these pieces must be in the same row or column with no vacant space between any of them.
  Captured enemy pieces are removed at the end of the turn, and immediately replaced by one of the captor's pieces from their stock pile.
  A player is allowed to move a piece between two of the enemy's pieces on a row or column (with no vacant space between any of them) without being captured, since the enemy did not create the custodian capture on their turn.  One of the enemy pieces must move away, and then return to the same position to capture the sandwiched piece if the opportunity is still available.
 Similarly, a player is allowed to move a piece next to a line of friendly pieces which together as a group are flanked on two opposite sides by enemy pieces on a row or column (with no vacant space between any of them) without any of them being captured, since the enemy did not create the custodian capture on their turn.  One of the enemy pieces must move away, and then return to the same position to capture the sandwiched pieces if the opportunity is still available. 
  Multiple custodian captures can be performed in one turn. There are three general cases that exist:
  A player moves their piece between two enemy pieces (or between two lines of enemy pieces) which are flanked on their respective opposite sides by a friendly piece (all of these pieces being on the same row or column with no space between any of them), this is cause for the capture of the enemy pieces.  In this case, two custodian captures were performed but on one row or column only.
  A player moves their piece between two enemy pieces (or between two lines of enemy pieces) in such a way that one of the enemy pieces (or one of the lines of enemy pieces) is on the same row, and the other enemy piece (or the other line of enemy pieces) is on the same column, and that each enemy piece (or each of the two lines of enemy pieces) is flanked on the other side by a friendly piece of the same row or column respectively (with no vacant space between any of them), this is cause for the capture of the two enemy pieces (or of the two lines of enemy pieces).  In this case, two custodian captures were performed but one was on a row, and the other was on a column. 
  A player moves their piece between three enemy pieces (or between three lines of enemy pieces) in such a way that two of the enemy pieces (or two lines of enemy pieces) are on the same row (or column), and the third enemy piece (or third line of enemy pieces) is on the same column (or row), and that each enemy piece (each of the three lines of enemy pieces) is flanked on the other side by a friendly piece of the same row or column respectively (with no vacant space between any of them), this is cause for the capture of the three enemy pieces (or of the three lines of enemy pieces).  In this case, three custodian captures were performed but two were on a row (or column), and the other was on a column (or row).
  A player wins if he or she captures all of their opponent's pieces, or stalemates their opponent's pieces by not allowing them to move on their turn.

Other Rules 
  In Rin-chen Lha-mo's work We Tibetans (1926), she states that "The longer the sequence you can [capture] . . . the better and the sequence is not broken by going around a corner, thus:".  This has been interpreted to mean that it may be possible to capture a corner piece, or a line(s) of pieces that occupy a portion of two adjacent sides of the board (hence at most one corner piece) by flanking them on two opposite ends provided there is no vacant space between any of the pieces, and Rin-cen Lha-mo actually provides an illustration showing just that.  This rule is useful because it's generally difficult to perform these types of captures using the regular custodian method.  However, some critics have debated whether this rule can be applied to any position on the board, or just with corner pieces.  Rin-chen Lha-mo does however specifically state "...going around a corner...", and provides an illustrative example of pieces strictly going around a corner of the board.  Lastly, Rin-chen Lha-mo does not specify whether or not the two pieces used to flank the captured pieces must occupy the same two adjacent sides that the captured pieces are occupying, although based upon the illustrative example she gave, she may have been attempting to suggest that.  For example, in the beginning of the game, can one player attempt to capture the other player's 14 pieces as it is initially laid out using this modified custodian method?  She also does not specify if (any of) the two pieces can be corner pieces (but opposite one another on the board if both are corner pieces) since these two corner pieces would not only occupy the same adjacent sides of the captured pieces, but also the remaining two other sides.
Rin-chen Lha-mo also states that when a player has only one piece left, then ". . . this acquires the additional power of taking pieces by hopping as in draughts, so that, to prevent this, it has to be closed in on each side by two pieces instead of one: it is thus possible to win, even when reduced to this desperate position, but of course most unlikely."  The piece likely can perform captures using the short leap along an orthogonal direction, although she does not clarify if captures are compulsory or if multiple leaps and captures can be performed in a single turn.

Strategy and Concepts 

As a player continues to capture more enemy pieces, he or she is also amassing more pieces (that he or she can use) since captured enemy pieces are replaced with the player's pieces from their stockpile.

See also 
Jul-Gonu,
Hasami shogi,
Dai hasami shogi,
Mak-yek,
Apit-sodok,
Rek (Game)
Ludus latrunculorum, and Petteia
Reversi and Othello
Go, Baduk, Weiqi
 Ataxx and its variant Hexxagōn

External links 
 http://members.tripod.com/Mongolian_Page/games/mingmang.html
 http://homepages.di.fc.ul.pt/~jpn/gv/mingmang.htm

References 

Abstract strategy games
Traditional board games