Datasets:
crumb
/
js-free-sites

Dataset card Viewer Files Community
1
content
stringlengths
14
2.19M
markdown
stringlengths
14
1.11M
url
stringlengths
14
128
<html> <head> <meta content="text/html; charset=iso-8859-1" http-equiv="content-type"> <title>Simple Appropriate Technologies</title> </head> <body bgcolor="#FFFFFF" text="#000000"> <table border="0" cellpadding="0" cellspacing="0" height="549" width="100%"> <tbody> <tr> <td colspan="2" height="131" valign="top"> <div align="center"> <p><b><font face="Arial, Helvetica, sans-serif" size="6">Living Outside the Box</font></b></p> <p><b><font face="Arial, Helvetica, sans-serif" size="4">A Few Simple Technologies for Daily Living</font></b></p> </div> </td> </tr> <tr> <td rowspan="2" bgcolor="#FFFFFF" height="257" valign="top" width="40%"> <p> <a href="http://www.omick.net/history/history.htm"><font face="Arial, Helvetica, sans-serif"> History</font></a> <font face="Arial, Helvetica, sans-serif">&nbsp;<br> <a href="http://www.omick.net/shelter/shelter.htm">Shelter</a> <br> <a href="http://www.omick.net/composting_toilets/composting_toilets.htm"> Composting Toilets</a> </font> <br> <font face="Arial, Helvetica, sans-serif"> <a href="http://www.omick.net/water_use/water_use.htm">Water Use</a> <br> <a href="http://www.omick.net/water_reuse/water_reuse.htm">Water Reuse</a> </font><br> <font face="Arial, Helvetica, sans-serif"> <a href="http://www.omick.net/other_toilets/other_toilets.htm">Other Biological Toilets</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br> <a href="http://www.omick.net/graywater/graywater.htm">Other Graywater Systems</a> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br> <a href="http://www.omick.net/garden/garden.htm">Gardening</a></font><br> <font face="Arial, Helvetica, sans-serif"> <a href="http://www.omick.net/food_preservation/food_preservation.htm">Food Preservation and Storage</a> <br> <a href="http://www.omick.net/native_foods/native_foods.htm">Native Desert Foods</a> <br> <a href="http://www.omick.net/solar_ovens/solar_ovens.htm">Solar Ovens</a> <br> <a href="http://www.omick.net/cooker/cooker.htm">A Wood-Fired Cooker</a><br> <a href="adventure/adventure.html">Adventure</a><br> <a href="http://www.omick.net/design/design.htm">Design</a><br> <a href="http://www.omick.net/why/why.htm">Why?</a></font> </p> </td> <td height="1" width="60%"><br> </td> </tr> <tr> <td height="256" valign="top"> <p><font face="Arial, Helvetica, sans-serif">This website highlights our on-going exploration of some practical aspects of simple, land-integrated living. The emphasis is on simple technologies and skills that address basic needs such as food, water, shelter, etc. </font> </p> <p><font face="Arial, Helvetica, sans-serif">You will find examples from our years in South Texas, and also from Arizona and Oregon, where we currently split our time.&nbsp; </font></p> <p><font face="Arial, Helvetica, sans-serif">If you have questions or comments, we'd enjoy hearing from you.</font></p> <p><font face="Arial, Helvetica, sans-serif">Email us at: david (at) omick.com</font></p> <p>&nbsp;</p> <p>&nbsp;</p> </td> </tr> <tr> <td colspan="2" height="159" valign="top"> <p align="center">---------------------------------------------------------------------------------------------------------------------------------------------</p> <p><i><font face="Arial, Helvetica, sans-serif">"We must achieve the character and acquire the skills to live much poorer than we do. We must waste less. We must do more for ourselves and each other. It is either that or continue merely to think and talk about changes that we are inviting catastrophe to make."</font></i> </p> <p><font face="Arial, Helvetica, sans-serif">Wendell Berry, from the essay "Word and Flesh," in the book <i><u>What Are People For?</u> </i>North Point Press, 1990.</font></p> </td> </tr> <tr> <td height="2"><br> </td> <td height="2"><br> </td> </tr> </tbody> </table> </body></html>
Simple Appropriate Technologies | | | --- | | **Living Outside the Box** **A Few Simple Technologies for Daily Living** | | [History](http://www.omick.net/history/history.htm)   [Shelter](http://www.omick.net/shelter/shelter.htm) [Composting Toilets](http://www.omick.net/composting_toilets/composting_toilets.htm) [Water Use](http://www.omick.net/water_use/water_use.htm) [Water Reuse](http://www.omick.net/water_reuse/water_reuse.htm) [Other Biological Toilets](http://www.omick.net/other_toilets/other_toilets.htm)              [Other Graywater Systems](http://www.omick.net/graywater/graywater.htm)                    [Gardening](http://www.omick.net/garden/garden.htm) [Food Preservation and Storage](http://www.omick.net/food_preservation/food_preservation.htm) [Native Desert Foods](http://www.omick.net/native_foods/native_foods.htm) [Solar Ovens](http://www.omick.net/solar_ovens/solar_ovens.htm) [A Wood-Fired Cooker](http://www.omick.net/cooker/cooker.htm) [Adventure](adventure/adventure.html) [Design](http://www.omick.net/design/design.htm) [Why?](http://www.omick.net/why/why.htm) | | | This website highlights our on-going exploration of some practical aspects of simple, land-integrated living. The emphasis is on simple technologies and skills that address basic needs such as food, water, shelter, etc. You will find examples from our years in South Texas, and also from Arizona and Oregon, where we currently split our time.  If you have questions or comments, we'd enjoy hearing from you. Email us at: david (at) omick.com     | | --------------------------------------------------------------------------------------------------------------------------------------------- *"We must achieve the character and acquire the skills to live much poorer than we do. We must waste less. We must do more for ourselves and each other. It is either that or continue merely to think and talk about changes that we are inviting catastrophe to make."* Wendell Berry, from the essay "Word and Flesh," in the book *What Are People For?* North Point Press, 1990. | | | |
http://omick.net/
<html> <head> <title>Doom Inferno Site</title> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> <meta name="keywords" content="Doom, Doom 2, Final Doom, Quake, Quake 2, Quake 3, Armagon, Hexen, Hexen 2, Heretic, Hexen 2 Mystery of Egypt, Duke Nuken 3D, Blood, Shadow Warrior, Redneck Rampage, Nan, Jedi Knight, Dark Forces, Dark Forces 2, Outlaws, Wonfeistein 3D, Strife, Half-Life, 3D first-person shooting games, cheats, cheats for 3D games, games like Doom, inferno, hell, grave, The Door of Hell, Pedroom Killer, Download free Doom 2 Episode"> <meta name="description" content="Doom Web Site - Download free Doom Wads, cheats & Stuff, about Doom, Doom 2, Quake I, II and III, Jedi Knight, Heretic, Hexen, Duke Nuken 3D, Strife, Wolfenstein 3D, Blood and much more..."> </head> <frameset cols="115,85%" rows="*" frameborder="NO" bordercolor="#000000" border="0" framespacing="0"> <frame src="left.htm" noresize scrolling="NO" bordercolor="#CC0000" name="lado"> <frameset rows="80,1%" cols="*" bordercolor="#000000" frameborder="NO" border="0" framespacing="0"> <frame src="top.htm" scrolling="NO" noresize bordercolor="#C80000" frameborder="NO" name="topo"> <frame src="main.htm" frameborder="NO" bordercolor="#000000" noresize name="centro"> </frameset> </frameset> <noframes><body bgcolor="#FFFFFF"> </body></noframes> </html>
Doom Inferno Site
http://www.pedroom.com.br/portal/portal/doom/
<html> <head> <meta http-equiv="content-type" content="text/html;charset=iso-8859-1"> <title>Cartwheel Galaxy</title> <meta name="REVISIT-AFTER" content="7 days"> <meta name="robots" content="All"> <meta name="Identifier-URL" content="http://www.grandunification.com/"> <meta name="Copyright" content="Copyright 1999 John T. Nordberg"> <meta name="Author" content="John T. Nordberg"> <meta name="keywords" content='John Nordberg, Grand Unification, grandunification, grandunification.com, www.grandunification.com, John T. Nordberg, John Thomas Nordberg, Time, What is time?, The solution to the question, "What is time?", Physics, astronomy, astrophysics, Albert Einstein, Relativity, General Relativity, Special Relativity, Gravity, electromagnetics, GUT, light, speed of light, earth, Cartwheel Galaxy, massive decaying balls of light, galaxy formation, theories of galaxy formation, galactic collisions'> <meta name="Description" content="The Ball-of-Light Particle Model predicts the Cartwheel galaxy is a large, decaying ball of light. Spokes are from spiral decay mode. Inner ring has massive decaying balls of light."> </head> <body bgcolor="#ffffcc"> <h1><a href="../index.html#Introduction Welcome Home" title="Home"><img height="20" width="21" src="../gifs/Home.gif" border="0" alt="Grandunification.com Home"></a> <a name="Cartwheel Galaxy"></a>Cartwheel Galaxy</h1> <p> <hr noshade> </p> <h3><a name="The Cartwheel Galaxy's Shape"></a>The Cartwheel Galaxy's Shape</h3> <center> <p><img src="../jpgs/Cartwheel1.jpg" width="278" height="344" align="BOTTOM" border="0"></p> </center> <p>The Cartwheel Galaxy's shape is unusual. Very few galaxies have this shape. In recent years scientists have come to believe its shape is the result of a galactic collision -- a small galaxy passed through this galaxy. Simulations made by Alan Toomre in 1978 show that this is possible. However, the Ball-of-Light Particle Model predicts something different.</p> <h3><a name="Chronology of the Cartwheel Galaxy"></a>Chronology of the Cartwheel Galaxy</h3> <p>The Ball-of-Light Particle Model predicts the Cartwheel galaxy was made in approximately this fashion.</p> <ol> <li>The large ball-of-light that initially made up the Cartwheel galaxy's core became very unstable and split in two or three. <li>At least one -- maybe two -- of ejected balls-of-light became the two small galaxies off to the left of the Cartwheel. (They are not shown in the above image.) This explains a bridge of material that can be found between the Cartwheel galaxy and a small spiral galaxy. <li>The remaining core of the Cartwheel galaxy was very unstable. A very large electromagnetic field spun around the core inducing massive stars and ejecting them in ring pattern. <center> <p><spacer type="vertical" size="9"><img src="../jpgs/Cartwheel2.jpg" width="278" height="344" align="BOTTOM" border="0"></p> </center> <li>The ejected stars were relatively stable because of the high velocity at which they were ejected. (The high velocity induces large gravitational forces within a star's core, keeping it stable.) <li>The massive instability on the surface of the core of the Cartwheel Galaxy began to become more stable. It still continued to eject stars which have become the &quot;spokes&quot; in the galaxy. <center> <p><img src="../jpgs/Cartwheel3.jpg" width="278" height="344" align="BOTTOM" border="0"></p> </center> <li>The core become relatively unstable again has ejected a second ring. This inner ring has massive decaying balls-of-light that are leaving streams smaller decaying balls-of-light that trail behind creating great comet-shaped structures. </ol> <center> <p><img src="../jpgs/Cartwheel4.jpg" width="198" height="230" align="BOTTOM" border="0"></p> </center> <h3><a name="The Massive Decaying balls of light in the Cartwheel Galaxy"></a>The Massive Decaying balls-of-light in the Cartwheel Galaxy</h3> <p>These massive decaying balls-of-light are relatively hard to see in this image. If the colors in this image are manipulated, then they stand out easier:</p> <center> <p><img src="../jpgs/Cartwheel5.jpg" width="199" height="230" align="BOTTOM" border="0"></p> </center> <p>Selecting just the massive decaying balls-of-light and deleting the rest of the image:</p> <center> <p><img src="../jpgs/Cartwheel6.jpg" width="294" height="298" align="BOTTOM" border="0"></p> </center> <p>Traditional theories for galaxy formation can not explain these structures. <!-- WiredMinds eMetrics tracking with Enterprise Edition V5.4 START --> <script type='text/javascript' src='https://count.carrierzone.com/app/count_server/count.js'></script> <script type='text/javascript'><!-- wm_custnum='36c6526bb2cf6be0'; wm_page_name='Cartwheel.html'; wm_group_name='/services/webpages/g/r/grandunification.com/public/hypertext'; wm_campaign_key='campaign_id'; wm_track_alt=''; wiredminds.count(); // --> </script> <!-- WiredMinds eMetrics tracking with Enterprise Edition V5.4 END --> </body> </html>
Cartwheel Galaxy # [Grandunification.com Home](../index.html#Introduction Welcome Home "Home") Cartwheel Galaxy --- ### The Cartwheel Galaxy's Shape ![](../jpgs/Cartwheel1.jpg) The Cartwheel Galaxy's shape is unusual. Very few galaxies have this shape. In recent years scientists have come to believe its shape is the result of a galactic collision -- a small galaxy passed through this galaxy. Simulations made by Alan Toomre in 1978 show that this is possible. However, the Ball-of-Light Particle Model predicts something different. ### Chronology of the Cartwheel Galaxy The Ball-of-Light Particle Model predicts the Cartwheel galaxy was made in approximately this fashion. 1. The large ball-of-light that initially made up the Cartwheel galaxy's core became very unstable and split in two or three. - At least one -- maybe two -- of ejected balls-of-light became the two small galaxies off to the left of the Cartwheel. (They are not shown in the above image.) This explains a bridge of material that can be found between the Cartwheel galaxy and a small spiral galaxy. - The remaining core of the Cartwheel galaxy was very unstable. A very large electromagnetic field spun around the core inducing massive stars and ejecting them in ring pattern. ![](../jpgs/Cartwheel2.jpg) - The ejected stars were relatively stable because of the high velocity at which they were ejected. (The high velocity induces large gravitational forces within a star's core, keeping it stable.) - The massive instability on the surface of the core of the Cartwheel Galaxy began to become more stable. It still continued to eject stars which have become the "spokes" in the galaxy. ![](../jpgs/Cartwheel3.jpg) - The core become relatively unstable again has ejected a second ring. This inner ring has massive decaying balls-of-light that are leaving streams smaller decaying balls-of-light that trail behind creating great comet-shaped structures. ![](../jpgs/Cartwheel4.jpg) ### The Massive Decaying balls-of-light in the Cartwheel Galaxy These massive decaying balls-of-light are relatively hard to see in this image. If the colors in this image are manipulated, then they stand out easier: ![](../jpgs/Cartwheel5.jpg) Selecting just the massive decaying balls-of-light and deleting the rest of the image: ![](../jpgs/Cartwheel6.jpg) Traditional theories for galaxy formation can not explain these structures. <!-- wm\_custnum='36c6526bb2cf6be0'; wm\_page\_name='Cartwheel.html'; wm\_group\_name='/services/webpages/g/r/grandunification.com/public/hypertext'; wm\_campaign\_key='campaign\_id'; wm\_track\_alt=''; wiredminds.count(); // -->
http://www.grandunification.com/hypertext/Cartwheel.html
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html> <head> <title>Chris Covell's Homepage</title> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> </head> <body bgcolor="#000000" background="images/cyb_star_bg.gif" text="#FF4433" link="#FFFF00" vlink="#00CC00" alink="#FFFFCC" leftmargin="0" topmargin="0"> <table width="100%" border="0" cellspacing="0" cellpadding="0"> <tr> <td colspan="5"><div align="left"> <img src="images/cyb_planet3.gif" width="396" height="38"> </div> <div align="right"></div></td> </tr> <tr> <td><img src="images/blank.gif" width="160" height="112"></td> <td>&nbsp;</td> <td width="672" background="images/colony_bg.gif"> <div align="center"><img src="images/CybChrisAnim.gif" alt="CYBER-CHRIS" width="672" height="188"></div></td> <td>&nbsp;</td> <td rowspan="2" valign="bottom"> <div align="right"> <img src="images/cyb_skull.gif" width="96" height="112"><br> <a href="https://twitter.com/covell_chris/with_replies" target="_blank"><img src="images/cyb_twitter.gif" alt="Chris is on Twitter (for now)" width="128" height="54" border="0"></a><br> <a href="https://techhub.social/@chriscovell" target="_blank"><img src="images/blank.gif" width="64" height="1"><img src="images/cyb_mastodon.gif" alt="Chris is on Mastodon (now-ish)" width="128" height="54" border="0"></a></div></td> </tr> <tr> <td> <div align="center"></div> <div align="left"> <p><a href="index.html"><img src="images/cyb_guy.gif" alt="Back to TOP page!" width="28" height="43" border="0" align="left"></a><br> </p> </div> </td> <td>&nbsp;</td> <td><div align="left"><img src="images/cyb_text.gif" alt="The Homepage of Chris Covell" width="345"></div></td> <td>&nbsp;</td> </tr> </table> <table width="100%" border="0" cellspacing="0" cellpadding="0"> <tr> <td width="50" height="30" background="images/cyb_bord_tl2.gif">&nbsp;</td> <td width="*" background="images/cyb_bord_top2.gif">&nbsp;</td> <td width="49" height="30" background="images/cyb_bord_tr2.gif">&nbsp;</td> </tr> <tr> <td background="images/cyb_bord_ml2.gif">&nbsp;</td> <td> <div align="center"> <p align="left"><br> <strong><font color="#0099FF" size="-1" face="Verdana, Arial, Helvetica, sans-serif">Welcome to my website. I've had a personal homepage for over 20 years now! This is where I have put up some of my creations, as well as writing, and articles about things that have interested me over the years. Mainly my site is about videogames, but there are also plenty of pages that are not videogame-related at all. So, look around, and have fun!</font></strong></p> <table width="100%" border="0" cellspacing="0" cellpadding="3"> <tr> <td bgcolor="#662222"> <div align="left"><strong><font color="#FFFFCC" size="-1" face="Georgia, Times New Roman, Times, serif">Here are the main sections that I update regularly:</font></strong></div></td> <td><div align="center"><strong><font face="Arial, Helvetica, sans-serif"><a href="diary.html"><img src="images/cyb_leta.gif" width="32" height="32" border="0" align="absmiddle">Chris' Diary</a></font></strong></div></td> <td><div align="center"><strong><font face="Arial, Helvetica, sans-serif"><a href="creations.html"><img src="images/cyb_letb.gif" width="32" height="32" border="0" align="absmiddle">Creations</a></font></strong></div></td> <td><div align="center"><strong><font face="Arial, Helvetica, sans-serif"><strong><a href="coolstuff.html"><img src="images/cyb_letc.gif" width="32" height="32" border="0" align="absmiddle">Cool Stuff</a></strong> </font></strong></div></td> <td><div align="center"><strong><font face="Arial, Helvetica, sans-serif"><strong><a href="secret.html"><img src="images/cyb_letd.gif" width="32" height="32" border="0" align="absmiddle"></a><a href="secret.html">Secret Page</a></strong></font></strong></div></td> </tr> <tr> <td rowspan="2" bgcolor="#332222"><font color="#FF6600" size="-1" face="Georgia, Times New Roman, Times, serif"><strong>And here are some other great pages on my website:</strong></font></td> <td><div align="center"><strong><font face="Arial, Helvetica, sans-serif"><a href="lifeinjapan.html"><img src="images/cyb_staricon.gif" width="16" height="16" border="0" align="absmiddle">Life in Japan</a></font></strong></div></td> <td><div align="center"><a href="segahacking/index.html"><img src="images/cyb_staricon.gif" width="16" height="16" border="0" align="absmiddle">SEGA Hacking!</a></div></td> <td><div align="center"><a href="collectionj.html"><img src="images/cyb_staricon.gif" width="16" height="16" border="0" align="absmiddle"></a><font face="Arial, Helvetica, sans-serif"><a href="collectionj.html">Collection</a></font></div></td> <td><div align="center"><a href="Archive/index.html"><img src="images/cyb_staricon.gif" width="16" height="16" border="0" align="absmiddle">Archive</a></div></td> </tr> <tr> <td><div align="center"><font face="Times New Roman, Times, serif"><strong><strong><a href="musiccds.html"><img src="images/cyb_staricon.gif" width="16" height="16" border="0" align="absmiddle"></a></strong></strong></font><a href="musiccds.html">Game Music CD Reviews!</a></div></td> <td><div align="center"><a href="JBTribute/"><img src="images/cyb_staricon.gif" width="16" height="16" border="0" align="absmiddle"></a><a href="JBTribute/">Jerry Boy Tribute</a></div></td> <td><div align="center"><font face="Times New Roman, Times, serif"><strong><strong><a href="gotRGB/index.html"><img src="images/cyb_staricon.gif" width="16" height="16" border="0" align="absmiddle"></a><a href="gotRGB/index.html" target="_blank">I Want My RGB!</a></strong></strong></font></div></td> <td><div align="center"><a href="main.html"><img src="images/cyb_staricon.gif" width="16" height="16" border="0" align="absmiddle">Old Homepage</a></div></td> </tr> </table> </div></td> <td background="images/cyb_bord_mr2.gif">&nbsp;</td> </tr> <tr> <td width="50" height="65" background="images/cyb_bord_bl2.gif">&nbsp;</td> <td background="images/cyb_bord_bot2.gif"><div align="center"><font face="Verdana, Arial, Helvetica, sans-serif"><strong><font color="#00CCFF">e-Mail Chris:</font> <a href="mailto:chris_covell@yahoo.ca">chris_covell@yahoo.ca</a></strong></font> </div></td> <td width="49" height="65" background="images/cyb_bord_br2.gif">&nbsp;</td> </tr> </table> <table width="100%" border="0" cellspacing="0" cellpadding="0"> <tr> <td valign="top" background="images/Cyb_RogDeanbg2.gif"> <div align="center"> <table width="95%" border="0" cellspacing="0" cellpadding="0"> <tr> <td width="25" rowspan="3"> <div align="left"><img src="images/blank.gif" width="10" height="350"></div></td> <td>&nbsp;</td> <td valign="bottom" bordercolor="#000000" background="images/dither_black.gif"> <div align="left"><strong><font size="+2"><a href="mailto:chris_covell@yahoo.ca"><img src="images/cyb_retro.gif" width="96" height="6" border="0" align="right"></a>NEWS:</font></strong></div></td> <td></td> </tr> <tr> <td></td> <td valign="top"><table width="100%" border="1" cellspacing="0" cellpadding="2"> <tr> <td width="100" bgcolor="#FFFFFF"> <div align="center"><font face="Times New Roman, Times, serif"><strong><strong>7/21/2023</strong></strong></font></div></td> <td background="images/dither_black_16x16.gif"> <p><font face="Times New Roman, Times, serif"><strong>I've released a GameBoy emulator for the PC-Engine CD / SuperGrafx named <a href="huboy.html">Hu-Boy</a>!</strong></font></p></td> </tr> </table> <table width="100%" border="1" cellspacing="0" cellpadding="2"> <tr> <td width="100" bgcolor="#FFFFFF"> <div align="center"><font face="Times New Roman, Times, serif"><strong><strong>11/23/2021</strong></strong></font></div></td> <td background="images/dither_black_16x16.gif"> <p><strong><font face="Times New Roman, Times, serif">I've written an extensive document about the hidden <a href="/ActiveLifeNet/index.html">PCE-CD Active Life Network data</a>!</font></strong></p></td> </tr> </table> <table width="100%" border="1" cellspacing="0" cellpadding="2"> <tr> <td width="100" bgcolor="#FFFFFF"> <div align="center"><font face="Times New Roman, Times, serif"><strong><strong>10/25/2021</strong></strong></font></div></td> <td background="images/dither_black_16x16.gif"> <p><font face="Times New Roman, Times, serif"><strong>I've made a NOVA Suit hack to Turbografx <a href="creations.html#trans">Keith Courage / Wataru</a>!</strong></font></p></td> </tr> </table> <table width="100%" border="1" cellspacing="0" cellpadding="2"> <tr> <td width="100" bgcolor="#FFFFFF"> <div align="center"><font face="Times New Roman, Times, serif"><strong><strong>5/3/2021</strong></strong></font></div></td> <td background="images/dither_black_16x16.gif"> <p><font face="Times New Roman, Times, serif"><strong>I've released a new version of my <a href="fds-lister.html">FDS Disk Lister</a>.</strong></font></p></td> </tr> </table> <table width="100%" border="1" cellspacing="0" cellpadding="2"> <tr> <td width="100" bgcolor="#FFFFFF"> <div align="center"><font face="Times New Roman, Times, serif"><strong><strong>7/10/2020</strong></strong></font></div></td> <td background="images/dither_black_16x16.gif"> <p><font face="Times New Roman, Times, serif"><strong>Just a small update: tech info for the C64 <a href="IndusGT/">Indus GT disk drive</a>.</strong></font></p></td> </tr> </table> <table width="100%" border="1" cellspacing="0" cellpadding="2"> <tr> <td width="100" bgcolor="#FFFFFF"> <div align="center"><font face="Times New Roman, Times, serif"><strong><strong>6/15/2019</strong></strong></font></div></td> <td background="images/dither_black_16x16.gif"> <p><font face="Times New Roman, Times, serif"><strong>I've released some drawings of <a href="creations.html#misc">Super Famicom prototypes</a>, and an incomplete <a href="creations.html#courrtype">R-Type SGX Hack</a>!</strong></font></p></td> </tr> </table> <table width="100%" border="1" cellspacing="0" cellpadding="2"> <tr> <td width="100" bgcolor="#FFFFFF"> <div align="center"><font face="Times New Roman, Times, serif"><strong><strong>7/25/2016</strong></strong></font></div></td> <td background="images/dither_black_16x16.gif"> <p><font face="Times New Roman, Times, serif"><strong>I've written up a page about the tech and coding for <a href="dottorikun.html">DOTTORI-Kun</a>!</strong></font></p></td> </tr> </table> <table width="100%" border="1" cellspacing="0" cellpadding="2"> <tr> <td width="100" bgcolor="#FFFFFF"> <div align="center"><font face="Times New Roman, Times, serif"><strong><strong>9/21/2015</strong></strong></font></div></td> <td background="images/dither_black_16x16.gif"> <p><font face="Times New Roman, Times, serif"><strong>I've programmed an interesting piece of software: a <a href="PCEmon/index.html">serial Debugger/Monitor</a> for the PCE!</strong></font></p></td> </tr> </table> </td> <td></td> </tr> <tr> <td></td> <td valign="bottom"> <div align="right"> <p align="right"><img src="images/cyb_guy2.gif" width="38" height="43"><img src="images/blank.gif" width="500" height="50"><img src="images/cyb_ship.gif" width="187" height="103"></p> </div></td> <td></td> </tr> </table> </div></td> </tr> </table> </body> </html>
Chris Covell's Homepage | | | --- | | | | | | CYBER-CHRIS | | [Chris is on Twitter (for now)](https://twitter.com/covell_chris/with_replies) [Chris is on Mastodon (now-ish)](https://techhub.social/@chriscovell) | | [Back to TOP page!](index.html) | | The Homepage of Chris Covell | | | | | | | --- | --- | --- | | | | | | | **Welcome to my website. I've had a personal homepage for over 20 years now! This is where I have put up some of my creations, as well as writing, and articles about things that have interested me over the years. Mainly my site is about videogames, but there are also plenty of pages that are not videogame-related at all. So, look around, and have fun!** | | | | | | | --- | --- | --- | --- | --- | | **Here are the main sections that I update regularly:** | **[Chris' Diary](diary.html)** | **[Creations](creations.html)** | ****[Cool Stuff](coolstuff.html)**** | ****[Secret Page](secret.html)**** | | **And here are some other great pages on my website:** | **[Life in Japan](lifeinjapan.html)** | [SEGA Hacking!](segahacking/index.html) | [Collection](collectionj.html) | [Archive](Archive/index.html) | | [Game Music CD Reviews!](musiccds.html) | [Jerry Boy Tribute](JBTribute/) | ****[I Want My RGB!](gotRGB/index.html)**** | [Old Homepage](main.html) | | | | | **e-Mail Chris: [chris\_covell@yahoo.ca](mailto:chris_covell@yahoo.ca)** | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | | | | | | | | --- | --- | --- | --- | | | | **NEWS:** | | | | | | | | --- | --- | | ****7/21/2023**** | **I've released a GameBoy emulator for the PC-Engine CD / SuperGrafx named [Hu-Boy](huboy.html)!** | | | | | --- | --- | | ****11/23/2021**** | **I've written an extensive document about the hidden [PCE-CD Active Life Network data](/ActiveLifeNet/index.html)!** | | | | | --- | --- | | ****10/25/2021**** | **I've made a NOVA Suit hack to Turbografx [Keith Courage / Wataru](creations.html#trans)!** | | | | | --- | --- | | ****5/3/2021**** | **I've released a new version of my [FDS Disk Lister](fds-lister.html).** | | | | | --- | --- | | ****7/10/2020**** | **Just a small update: tech info for the C64 [Indus GT disk drive](IndusGT/).** | | | | | --- | --- | | ****6/15/2019**** | **I've released some drawings of [Super Famicom prototypes](creations.html#misc), and an incomplete [R-Type SGX Hack](creations.html#courrtype)!** | | | | | --- | --- | | ****7/25/2016**** | **I've written up a page about the tech and coding for [DOTTORI-Kun](dottorikun.html)!** | | | | | --- | --- | | ****9/21/2015**** | **I've programmed an interesting piece of software: a [serial Debugger/Monitor](PCEmon/index.html) for the PCE!** | | | | | | | |
https://www.chrismcovell.com/index2.html
<html xmlns:v="urn:schemas-microsoft-com:vml" xmlns:o="urn:schemas-microsoft-com:office:office" xmlns="http://www.w3.org/TR/REC-html40"> <head> <meta http-equiv="Content-Language" content="da"> <meta http-equiv="Content-Type" content="text/html; charset=windows-1252"> <meta name="GENERATOR" content="Microsoft FrontPage 12.0"> <meta name="ProgId" content="FrontPage.Editor.Document"> <link rel="File-List" href="DefaultNOV-filer/filelist.xml"> <title>AirmenDK&nbsp; </title> <!--[if !mso]> <style> v\:* { behavior: url(#default#VML) } o\:* { behavior: url(#default#VML) } .shape { behavior: url(#default#VML) } .auto-style2 { text-decoration: underline; } .auto-style3 { font-size: x-small; } </style> <![endif]--><!--[if gte mso 9]> <xml><o:shapedefaults v:ext="edit" spidmax="1027"/> </xml><![endif]--> </head> <body bgcolor="#99CCFF"> <table border="0" cellpadding="0" cellspacing="0" style="border-collapse: collapse" bordercolor="#111111" width="982" height="19"> <tr> <td height="19" valign="top"> <a href="http://www.linksbuketten.dk/default.htm" style="text-decoration: none"> <img height="56" alt="2.1-6-ani3.GIF (21387 bytes)" src="2.1-6-ani3.GIF" width="41" border="0" align="left"></a><img src="lancasterbuket.jpg" border="0" align="left" width="120" height="56"><b><font size="4" face="Arial">AirmenDK&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp; &nbsp;</font></b><font size="2" face="Arial"><b>Updated: </b>01 DEC 2023</font><b><font size="4" face="Arial">&nbsp;</font><font size="2" face="Arial">&nbsp;<a href="c022.htm">FAAREVEJLE</a> </font><font size="4" face="Arial"> <img border="0" src="w022ga.jpg" align="right" width="245" height="208">&nbsp; </font> </b> <font size="4" face="Arial"> <b><br> </b> </font> <font size="2" face="Arial"> <img border="0" src="uk-flagmini.gif" width="20" height="15"></font><b><font size="2" face="Arial"> Allied planes and airmen shot down over Denmark or Danish waters 1939-1945. <br> </font> </b><font style="FONT-SIZE:10pt" FACE="Arial" COLOR="#000000"> <img border="0" src="dk-flagmini.gif" width="20" height="15"></font><b><font size="2" face="Arial"> Allierede fly og flyvere skudt ned over Danmark eller danske farvande 1939-45.</font></b><font size="2" face="Arial"><b>&nbsp; <br><font style="FONT-SIZE:10pt" FACE="Arial" COLOR="#000000"> <br> <img border="0" src="dk-flagmini.gif" width="20" height="15"></font> <a href="omairmendk.htm">Om AirmenDK</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <img border="0" src="uk-flagmini.gif" width="20" height="15"> <a href="aboutairmendk.htm">About AirmenDK</a> <font size="4" face="Arial">&nbsp;</font></b></font><p> <span style="font-size: 11.0pt; line-height: 115%; font-family: Calibri,sans-serif"> <font style="FONT-SIZE:10pt" FACE="Arial" COLOR="#000000"><img border="0" src="dk-flagmini.gif" width="20" height="15"> </font></span><font face="Arial" size="2"><span style="line-height: 115%"><b>www.airmen.dk</b> af <b>Anders Baadsgaard Straarup</b> har oplysninger om fly og flyvere samt fotos af gravsten og <br>monumenter med position <a href="anavn.htm">a</a>ngivet. Brug <b>klikbare kort</b> eller </span></font><b> <span style="font-size: 10.0pt; line-height: 115%; font-family: Arial"> <a href="http://maps.google.dk/maps/ms?ie=UTF8&hl=da&msa=0&ll=55.899956,11.206055&spn=5.842059,14.040527&t=h&z=6&msid=110165503165150193333.000485170bcb6ab59d5e4" style="color: blue; text-decoration: underline; text-underline: single"> Google Map DK</a> </span></b> <span style="font-size: 10.0pt; line-height: 115%; font-family: Arial">til søgning i en <a href="https://www.dropbox.com/">d</a>el af DK. <b><font size="2" face="Arial"><a href="http://historiskranders.dk/randerstaeppet/">RAHS</a></font></b>-tæppet.<br>Se eksempel <b class="auto-style3" style="color: rgb(0, 0, 0); font-family: Arial; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(153, 204, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial;"> <a href="http://maps.google.dk/maps/ms?ie=UTF8&amp;hl=da&amp;msa=0&amp;ll=55.682617,12.540894&amp;spn=0.091746,0.219383&amp;t=h&amp;z=12&amp;msid=110165503165150193333.000480309c51692d51105"> Google Map Shellhuset</a></b><span style="color: rgb(0, 0, 0); font-family: Arial; font-size: small; font-style: normal; font-variant-ligatures: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-stroke-width: 0px; background-color: rgb(153, 204, 255); text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; display: inline !important; float: none;">.</span> Google Map-problem på tablet? Tryk 2 sek. på linket. Klik i hvid ramme på <br>Åbn på ny fane. Efter indlæsning, klik på ny fane. På smartphone? Ikke OK.&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><b> <font size="2" face="Arial"> <a href="def-kilder3.htm">Kilder</a>*<a href="def-konstruktion3.htm">Konstruktion</a>*<a href="fafresume.htm">FAF</a>*<a href="stcdatab.htm">Tab af liv</a>. </font></b> <span style="line-height: 115%; font-family: Arial"><font size="2"><u><br>Uds<a href="http://cc.finnkrogh.dk/index.php?meth=2&amp;longhalf=N&amp;longdeg=54&amp;longmin=56&amp;lathalf=E&amp;latdeg=046&amp;latmin=61&amp;Submit=Calc">k</a>rifter</u> af de fleste sider bliver bedst med pa<a href="https://www.freepdfconvert.com/">p</a>irretning liggende. findvej-links her: Klik kvadrat for visning af luftfoto.Zoom. <br> <br> </font></span><b> <font face="Arial" size="2"> <img border="0" src="uk-flagmini.gif" width="20" height="15"></font>&nbsp;<span style="line-height: 115%"><font face="Arial" size="2">www.airmen.dk</font></span></b><span style="line-height: 115%; font-family: Arial"><font size="2"> by <b>Anders Baadsgaard Straarup</b> has information about planes and airmen, and photos of headstones and monuments with positions. Use <b>clickable maps</b> or </font></span><b> <span style="font-size: 10.0pt; line-height: 115%; font-family: Arial"> <a href="http://maps.google.dk/maps/ms?ie=UTF8&hl=da&msa=0&ll=55.899956,11.206055&spn=5.842059,14.040527&t=h&z=6&msid=110165503165150193333.000485170bcb6ab59d5e4" style="color: blue; text-decoration: underline; text-underline: single"> Google Map DK</a></span></b><span style="line-height: 115%; font-family: Arial"><font size="2"> to search in a part of DK. </font></span><b><font size="2" face="Arial"><a href="def-sources3.htm">Sources</a>*<a href="def-construction3.htm">Construction</a>*<a href="fafsummary.htm">FAF</a>*</font></b><span lang="EN-GB" style="line-height: 115%; font-family: Arial"><font size="2"><b><a href="stcdaloss.htm">Loss of Lives</a></b></font></span><span style="font-size: 10.0pt; line-height: 115%; font-family: Arial"><br> See example<b><font size="2" face="Arial"> <a href="https://www.google.com/maps/d/edit?mid=1rOie9RWWVZJD8m2nHRPydgt8Ysw&amp;ie=UTF8&amp;hl=da&amp;msa=0&amp;ll=55.682560156637265%2C12.540894000000007&amp;spn=0.091746%2C0.219383&amp;t=h&amp;z=12"> Google Map Shell House</a>. </font> </b>Google Map-problem on a tablet? Press the link for 2 seconds. In the white frame you click Open on a new Tab. Then open.<u><br>Prints</u> of most pages are best with paper direction landscape. findvej-link <span class="auto-style2">here</span>: Click square for aerial photo. Zoom. <a href="https://www.airmen.dk/Ro2023.htm">Roskilde Airshow 2023</a>. <a href="https://www.airmen.dk/b17+f16s.htm">B-17 &amp; F-16s 2019</a>.</span></p> <p><font face="Arial" size="2"> <img border="0" src="uk-flagmini.gif" width="20" height="15"><b> Latest: </b> </font><font style="FONT-SIZE:10pt" FACE="Arial" COLOR="#000000"> <img border="0" src="dk-flagmini.gif" width="20" height="15"> <b>Seneste</b></font><b><font face="Arial" size="2">: <font face="Arial"><a href="RKSK.htm">RKSK - bombers in Ringkøbing</a>*<a href="Esbjerg-Varde.htm">Esbjerg - Varde</a>*<a href="https://www.airmen.dk/c116-2019-1.htm">Aalestrup&nbsp;2019</a>*<a href="p373-374m.htm">Nørreskoven</a>*<a href="p302gh.htm">Als</a>*<a href="SDBG.htm">SDBG</a> * <a href="p188.htm">Kær Bomber</a> * <a href="Aarhus1944.htm">Aarhus 1944</a> * <a href="c075langaa.htm">Langaa</a></font><br> Memorial Ceremonies: <a href="https://www.airmen.dk/c096-2023-1.htm">Svinø 2023</a>*<a href="c057-2021-1.htm">Marstal 2021</a>*<a href="c101-2020-1.htm">Tarm 2020</a>*<a href="CanadaM.htm">Memorial Wall BC</a>*<a href="Ard01.htm">Ardennes 2016</a>*<a href="netwall.htm">Netherlands</a>*<a href="p114m.htm">Mindesten</a>+<a href="p114m-e.htm">Memorial</a>*<a href="p216-2013-1.htm">Stadil 2013</a>*<a href="NOV2013-1.htm">NOV 2013</a><br> People: <a href="a113095.htm">Tree</a>*<a href="e777918.htm">Tunstall</a>*<a href="e777926.htm">Boland</a>*<a href="a074003-1.htm">Perkins</a>*<a href="a075001NH.htm">Bradley</a>*<a href="p289eh47.htm">47 names in London+Horsens</a>*<a href="o888186-hhm2.htm">Sgt Schrenk+Obl Müller</a>*<a href="women.htm">Women</a>*<a href="p432fot.htm">Doctors</a>*<a href="Toldstrupmon.htm">Toldstrup-Rebild</a>*<a href="o888293files.htm">Philson</a>*<a href="e777186.htm">Mairs</a><br> <br>Planes:<a href="usplanes.htm">USplanes</a>*<a href="p329.htm">B-24</a>*<a href="https://www.airmen.dk/sh1.htm">Shell House</a>*<a href="77-Squadron.htm">77 SQN</a>*<a href="aalb2018.htm">AAL</a>*<a href="p172.htm">BF447</a>*<a href="p313.htm">LL963</a>*<a href="p324.htm">LL950</a>*<a href="p256.htm">HX294</a>*<a href="allp-RNZAF.htm">PlanesRNZAF</a>*<a href="grove44.htm">Grove SEP1944</a>*<a href="Grove-Karup.htm">Grove-Karup</a>*<a href="moslist.htm">14 MOS</a>*<a href="navigation.htm">Navigation</a>*<a href="p114-2a.htm">LAN</a>*<a href="dff.htm">DFF</a>*<a href="p152x.htm">X</a><br> More:<a href="pdfs/TimesEnglandDK-tab.pdf">TimesEnglandDK</a>*<a href="duxford-2018-01.htm">Duxford 2018</a>+<a href="AirSpace.htm">2017</a>*<a href="esbjerg-a.htm">Esbjerg</a>*<a href="stcdaloss.htm">Loss of Lives</a>+<a href="BomberCM.htm">Bomber Command Memorial</a>*<a href="foredrag.htm">Foredrag</a>*<a href="p361-371.htm">Operation 30 AUG 1944</a>*<a href="Lux1.htm">Luxembourg 2016</a>*<a href="jmvisit2023-1.htm">Visit</a></font></b><br> <br></td> </tr> </table> <table border="1" cellspacing="1" width="982" height="1"> <tr> <td width="50%" height="1" valign="top"><font size="2" face="Arial"> <img border="0" src="uk-flagmini.gif" width="20" height="15"> </font><font face="Arial"> <b>Clickable maps: <a href="c000dk.htm">Cemeteries</a>*</b></font><span style="font-size:10.0pt;font-family:Arial"><b><a href="http://maps.google.dk/maps/ms?ie=UTF8&hl=da&msa=0&ll=55.899956,11.206055&spn=5.842059,14.040527&t=h&z=6&msid=110165503165150193333.000485170bcb6ab59d5e4">Google Map DK</a></b></span><font face="Arial"><b>*<font size="2"><a href="c000dkus.htm">USAAF</a></font><a href="c000dkus.htm">-<font size="2">airmen</font></a>*<font size="2" face="Arial"><a href="https://www.google.com/maps/d/edit?mid=1Go6lk7axugMD_Sg9hWWoZRQmIJH3lCp_&amp;ie=UTF8&amp;hl=da&amp;msa=0&amp;spn=0.744483%2C1.755066&amp;t=h&amp;ll=56.21226788039411%2C10.970417140625045&amp;z=7">Sites</a></font></b></font><br> <font size="2" face="Arial"> <img border="0" src="uk-flagmini.gif" width="20" height="15"> </font><font face="Arial"><b> <a href="p000dk5.htm">Planes - clickable map</a>&nbsp;<font size="2">Updated</font>&nbsp;<font size="2">03 OCT 2014&nbsp; </font>&nbsp;<font size="2"><a href="RKSK.htm">RKSK</a></font>&nbsp;&nbsp; <a href="p000dks.htm"> <font size="2">Planes ready</font></a> </b> </font><b><span style="font-size:10.0pt;font-family:Arial"><br> </span> <font size="2" face="Arial"> <br> </font></b><font size="2" face="Arial"> <img border="0" src="uk-flagmini.gif" width="20" height="15"> </font><b><font face="Arial"> <a href="seek.php">Search form for the database</a></font><font size="2" face="Arial">&nbsp; the MySQL database in many ways</font></b><font size="2" face="Arial"><b><br> </b> <img border="0" src="uk-flagmini.gif" width="20" height="15"><b> <a href="mon.htm">Monuments - List</a> * <a href="cemeteries-next.htm">List Cemeteries/Next</a><br> </b> <img border="0" src="uk-flagmini.gif" width="20" height="15"> </font> <b><font face="Arial"> Tables:&nbsp;</font></b><span style="FONT-FAMILY: Arial; FONT-SIZE: 10pt" lang="EN-GB"><b><a href="airmeneen.htm">Airmen 1946</a>*</b></span><b><font size="2" face="Arial"><a href="planesen.htm">Planes and missions</a>*<a href="planetypes.htm">Types of planes</a>*</font></b><font size="2" face="Arial"><b><a href="usplanes.htm">US planes</a></b> </font></td> <td width="50%" height="1" style="border-left-color: #99CCFF; border-top-color: #99CCFF" valign="top"><font style="FONT-SIZE:10pt" FACE="Arial" COLOR="#000000"> <img border="0" src="dk-flagmini.gif" width="20" height="15"> </font><b><font face="Arial"> Klikbare kort:<a href="c000dk.htm">Kirkegårde</a>*</font></b><span style="font-size:10.0pt;font-family:Arial; font-weight:700"><a href="http://maps.google.dk/maps/ms?ie=UTF8&hl=da&msa=0&ll=55.899956,11.206055&spn=5.842059,14.040527&t=h&z=6&msid=110165503165150193333.000485170bcb6ab59d5e4">Google Map DK</a></span><b><font face="Arial">*</font></b><font face="Arial"><a href="c000dkus.htm"><font size="2"><b>USAAF-</b></font><b><font size="2">flyvere</font></b></a>*</font><b><font face="Arial"><font style="FONT-SIZE: 10pt" color="#000000" face="Arial"><a href="https://www.google.com/maps/d/edit?mid=1Go6lk7axugMD_Sg9hWWoZRQmIJH3lCp_&amp;ie=UTF8&amp;hl=da&amp;msa=0&amp;spn=0.744483%2C1.755066&amp;t=h&amp;ll=56.21226788039411%2C10.970417140625045&amp;z=7">Steder</a></font><br> </font></b><font style="FONT-SIZE:10pt" FACE="Arial" COLOR="#000000"> <img border="0" src="dk-flagmini.gif" width="20" height="15"> </font> <b><font face="Arial"><a href="p000dk5.htm">Fly - klikbart kort</a>&nbsp;&nbsp;&nbsp;<font size="2">Opdateret 03 OKT 2014</font>&nbsp;&nbsp; <font size="2"><a href="RKSK.htm">RKSK</a></font>&nbsp;&nbsp;&nbsp;&nbsp; <a href="p000dks.htm"><font size="2">Fly klar</font></a> </b> </font> <span style="font-size:10.0pt;font-family:Arial"><b><br> <br> </b> </span><font style="FONT-SIZE:10pt" FACE="Arial" COLOR="#000000"> <img border="0" src="dk-flagmini.gif" width="20" height="15"></font><b><font size="2" face="Arial"> </font> <font face="Arial"><a href="seek.php">Søgeformular til databasen</a> <font size="2">&nbsp;MySQL databasen på mange måder</font></font></b><font size="2" face="Arial"><b><br> </b> </font><font style="FONT-SIZE:10pt" FACE="Arial" COLOR="#000000"> <img border="0" src="dk-flagmini.gif" width="20" height="15"></font><font size="2" face="Arial"> <b> <a href="mon.htm">Monumenter - Liste</a> *</b> </font> <b> <font size="2" face="Arial"> <a href="cemeteries-next.htm">Liste Kirkegårde/Næste</a></font></b><font size="2" face="Arial"><b><br> </b> </font><font style="FONT-SIZE:10pt" FACE="Arial" COLOR="#000000"> <img border="0" src="dk-flagmini.gif" width="20" height="15"></font><b><font size="2" face="Arial"> </font><span style="FONT-FAMILY: Arial; "> Tabeller:</span><span style="FONT-FAMILY: Arial; FONT-SIZE: 10pt">&nbsp; <a href="airmenedk.htm">Flyvere 1946</a>&nbsp; * </span> </b><font size="2" face="Arial"><b> &nbsp;<a href="planesda.htm">Fly og opgaver</a>&nbsp; *&nbsp; <a href="planetyper.htm">Flytyper</a> </b></font><b><font size="2" face="Arial"> *&nbsp; </font></b><font size="2" face="Arial"><b><a href="usplanes.htm">US planes</a></b></font></td> </tr> </table> <p> <font size="2" face="Arial"> <b> <a href="https://www.cwgc.org">CWGC</a> Commonwealth War Graves Com.</b>*<b><a href="https://internationalbcc.co.uk">IBCC</a>*<a href="https://losses.internationalbcc.co.uk/">i</a>*<a href="https://www.abmc.gov">ABMC</a></b> <b>American B. Mon.*<a href="https://gravelocator.cem.va.gov/ngl/#iframe-content">Gravesites</a>*<a href="http://www.americanairmuseum.com/">AAM</a>* <a href="https://www.fold3.com/">Fold3</a>*</b></font><span style="FONT-FAMILY: Arial; FONT-SIZE: 10pt" lang="EN-GB"><b><a href="powcamps.htm">POW-Camps</a>*</b></span><font face="Arial" size="2"><b><a href="amstart.htm">Arne Mosgaard</a> * <a href="ryvangen1.htm">RYVANGEN</a> * <a href="http://www.airmen.dk/hvi01-INFO.htm">HVIDSTEN</a><br> <a href="https://findvej.dk/">Find vej</a>*<a href="https://www.google.dk/maps/">Google Maps.dk</a>*<a href="https://support.google.com/maps/answer/18539?co=GENIE.Platform%3DDesktop&amp;hl=da">find gps</a>*<a href="http://flymuseum.dk/">DK Flymuseum</a>*<a href="http://lw1944.flyfotoarkivet.dk/">Fotos LuftWaffe</a>*<a href="http://aircrewremembered.com/">Aircrew Remembered</a>*<a href="http://modstand.natmus.dk/">Modstandsdatabasen</a>*<a href="https://samlinger.natmus.dk/search?collection=FHM">F</a>*AOD=Airwar over Denmark </b>via<b> Google<br> <a href="http://www.dki-01.dk/fl_grave_jylland_da.php"> Flygtningegrave / Krigsgrave i Jylland</a>*<a href="http://www.dki-01.dk/d_fl_grave_jylland_da.php">Deutsche Flüchtlinge/Soldaten begraben in Jütland</a>*<a href="https://www.volksbund.de">Volksbund</a> German counterpart of <a href="https://www.cwgc.org">CWGC</a>. </b></font><b><font size="2" face="Arial"><a href="https://www.veterans.gc.ca/eng/remembrance/memorials/canadian-virtual-war-memorial">CVWM</a>.<a href="https://vwma.org.au/">VWMA</a>.<a href="https://sdfikort.dk/spatialmap?">SDFI</a><br> <a href="https://natmus.dk/museer-og-slotte/frihedsmuseet/">Frihedsmuseet</a> * <a href="https://fmv.dk/">FMV</a> * Visits 1 MAY 2009 - 1 DEC 2015: 131,504. Visits from then to 07 OCT 2016: 172,433. Visits on 01 JAN 2017: 233,051. Visits 2017: 254,658<br> <a href="veteran1864.htm">Veteran 1864</a>&nbsp;* In 2018: 354,186&nbsp; Visits in 2019: 502,491&nbsp; Visits in 2020: 402,365 Visits JUN-DEC 2021: 246.502 FEB 2022-JAN 2023: 394.161</font></b></p> </body> </html>
AirmenDK  | | | --- | | [2.1-6-ani3.GIF (21387 bytes)](http://www.linksbuketten.dk/default.htm)**AirmenDK****Updated:** 01 DEC 2023**[FAAREVEJLE](c022.htm)** **Allied planes and airmen shot down over Denmark or Danish waters 1939-1945.** **Allierede fly og flyvere skudt ned over Danmark eller danske farvande 1939-45.****[Om AirmenDK](omairmendk.htm)               [About AirmenDK](aboutairmendk.htm)** **www.airmen.dk** af **Anders Baadsgaard Straarup** har oplysninger om fly og flyvere samt fotos af gravsten og monumenter med position [a](anavn.htm)ngivet. Brug **klikbare kort** eller **[Google Map DK](http://maps.google.dk/maps/ms?ie=UTF8&hl=da&msa=0&ll=55.899956,11.206055&spn=5.842059,14.040527&t=h&z=6&msid=110165503165150193333.000485170bcb6ab59d5e4)** til søgning i en [d](https://www.dropbox.com/)el af DK. **[RAHS](http://historiskranders.dk/randerstaeppet/)**-tæppet.Se eksempel **[Google Map Shellhuset](http://maps.google.dk/maps/ms?ie=UTF8&hl=da&msa=0&ll=55.682617,12.540894&spn=0.091746,0.219383&t=h&z=12&msid=110165503165150193333.000480309c51692d51105)**. Google Map-problem på tablet? Tryk 2 sek. på linket. Klik i hvid ramme på Åbn på ny fane. Efter indlæsning, klik på ny fane. På smartphone? Ikke OK.          **[Kilder](def-kilder3.htm)\*[Konstruktion](def-konstruktion3.htm)\*[FAF](fafresume.htm)\*[Tab af liv](stcdatab.htm).** Uds[k](http://cc.finnkrogh.dk/index.php?meth=2&longhalf=N&longdeg=54&longmin=56&lathalf=E&latdeg=046&latmin=61&Submit=Calc)rifter af de fleste sider bliver bedst med pa[p](https://www.freepdfconvert.com/)irretning liggende. findvej-links her: Klik kvadrat for visning af luftfoto.Zoom. **www.airmen.dk** by **Anders Baadsgaard Straarup** has information about planes and airmen, and photos of headstones and monuments with positions. Use **clickable maps** or **[Google Map DK](http://maps.google.dk/maps/ms?ie=UTF8&hl=da&msa=0&ll=55.899956,11.206055&spn=5.842059,14.040527&t=h&z=6&msid=110165503165150193333.000485170bcb6ab59d5e4)** to search in a part of DK. **[Sources](def-sources3.htm)\*[Construction](def-construction3.htm)\*[FAF](fafsummary.htm)\*****[Loss of Lives](stcdaloss.htm)** See example**[Google Map Shell House](https://www.google.com/maps/d/edit?mid=1rOie9RWWVZJD8m2nHRPydgt8Ysw&ie=UTF8&hl=da&msa=0&ll=55.682560156637265%2C12.540894000000007&spn=0.091746%2C0.219383&t=h&z=12).** Google Map-problem on a tablet? Press the link for 2 seconds. In the white frame you click Open on a new Tab. Then open.Prints of most pages are best with paper direction landscape. findvej-link here: Click square for aerial photo. Zoom. [Roskilde Airshow 2023](https://www.airmen.dk/Ro2023.htm). [B-17 & F-16s 2019](https://www.airmen.dk/b17+f16s.htm). **Latest:** **Seneste****: [RKSK - bombers in Ringkøbing](RKSK.htm)\*[Esbjerg - Varde](Esbjerg-Varde.htm)\*[Aalestrup 2019](https://www.airmen.dk/c116-2019-1.htm)\*[Nørreskoven](p373-374m.htm)\*[Als](p302gh.htm)\*[SDBG](SDBG.htm) \* [Kær Bomber](p188.htm) \* [Aarhus 1944](Aarhus1944.htm) \* [Langaa](c075langaa.htm) Memorial Ceremonies: [Svinø 2023](https://www.airmen.dk/c096-2023-1.htm)\*[Marstal 2021](c057-2021-1.htm)\*[Tarm 2020](c101-2020-1.htm)\*[Memorial Wall BC](CanadaM.htm)\*[Ardennes 2016](Ard01.htm)\*[Netherlands](netwall.htm)\*[Mindesten](p114m.htm)+[Memorial](p114m-e.htm)\*[Stadil 2013](p216-2013-1.htm)\*[NOV 2013](NOV2013-1.htm) People: [Tree](a113095.htm)\*[Tunstall](e777918.htm)\*[Boland](e777926.htm)\*[Perkins](a074003-1.htm)\*[Bradley](a075001NH.htm)\*[47 names in London+Horsens](p289eh47.htm)\*[Sgt Schrenk+Obl Müller](o888186-hhm2.htm)\*[Women](women.htm)\*[Doctors](p432fot.htm)\*[Toldstrup-Rebild](Toldstrupmon.htm)\*[Philson](o888293files.htm)\*[Mairs](e777186.htm) Planes:[USplanes](usplanes.htm)\*[B-24](p329.htm)\*[Shell House](https://www.airmen.dk/sh1.htm)\*[77 SQN](77-Squadron.htm)\*[AAL](aalb2018.htm)\*[BF447](p172.htm)\*[LL963](p313.htm)\*[LL950](p324.htm)\*[HX294](p256.htm)\*[PlanesRNZAF](allp-RNZAF.htm)\*[Grove SEP1944](grove44.htm)\*[Grove-Karup](Grove-Karup.htm)\*[14 MOS](moslist.htm)\*[Navigation](navigation.htm)\*[LAN](p114-2a.htm)\*[DFF](dff.htm)\*[X](p152x.htm) More:[TimesEnglandDK](pdfs/TimesEnglandDK-tab.pdf)\*[Duxford 2018](duxford-2018-01.htm)+[2017](AirSpace.htm)\*[Esbjerg](esbjerg-a.htm)\*[Loss of Lives](stcdaloss.htm)+[Bomber Command Memorial](BomberCM.htm)\*[Foredrag](foredrag.htm)\*[Operation 30 AUG 1944](p361-371.htm)\*[Luxembourg 2016](Lux1.htm)\*[Visit](jmvisit2023-1.htm)** | | | | | --- | --- | | **Clickable maps: [Cemeteries](c000dk.htm)\*****[Google Map DK](http://maps.google.dk/maps/ms?ie=UTF8&hl=da&msa=0&ll=55.899956,11.206055&spn=5.842059,14.040527&t=h&z=6&msid=110165503165150193333.000485170bcb6ab59d5e4)****\*[USAAF](c000dkus.htm)[-airmen](c000dkus.htm)\*[Sites](https://www.google.com/maps/d/edit?mid=1Go6lk7axugMD_Sg9hWWoZRQmIJH3lCp_&ie=UTF8&hl=da&msa=0&spn=0.744483%2C1.755066&t=h&ll=56.21226788039411%2C10.970417140625045&z=7)** **[Planes - clickable map](p000dk5.htm) Updated 03 OCT 2014   [RKSK](RKSK.htm)   [Planes ready](p000dks.htm)** **[Search form for the database](seek.php)  the MySQL database in many ways** **[Monuments - List](mon.htm) \* [List Cemeteries/Next](cemeteries-next.htm)** **Tables:****[Airmen 1946](airmeneen.htm)\*****[Planes and missions](planesen.htm)\*[Types of planes](planetypes.htm)\*****[US planes](usplanes.htm)** | **Klikbare kort:[Kirkegårde](c000dk.htm)\***[Google Map DK](http://maps.google.dk/maps/ms?ie=UTF8&hl=da&msa=0&ll=55.899956,11.206055&spn=5.842059,14.040527&t=h&z=6&msid=110165503165150193333.000485170bcb6ab59d5e4)**\***[**USAAF-****flyvere**](c000dkus.htm)\***[Steder](https://www.google.com/maps/d/edit?mid=1Go6lk7axugMD_Sg9hWWoZRQmIJH3lCp_&ie=UTF8&hl=da&msa=0&spn=0.744483%2C1.755066&t=h&ll=56.21226788039411%2C10.970417140625045&z=7)** **[Fly - klikbart kort](p000dk5.htm)   Opdateret 03 OKT 2014   [RKSK](RKSK.htm)     [Fly klar](p000dks.htm)** **[Søgeformular til databasen](seek.php)  MySQL databasen på mange måder** **[Monumenter - Liste](mon.htm) \*** **[Liste Kirkegårde/Næste](cemeteries-next.htm)** **Tabeller:  [Flyvere 1946](airmenedk.htm)  \*** **[Fly og opgaver](planesda.htm)  \*  [Flytyper](planetyper.htm)** **\*** **[US planes](usplanes.htm)** | **[CWGC](https://www.cwgc.org) Commonwealth War Graves Com.**\***[IBCC](https://internationalbcc.co.uk)\*[i](https://losses.internationalbcc.co.uk/)\*[ABMC](https://www.abmc.gov)** **American B. Mon.\*[Gravesites](https://gravelocator.cem.va.gov/ngl/#iframe-content)\*[AAM](http://www.americanairmuseum.com/)\* [Fold3](https://www.fold3.com/)\*****[POW-Camps](powcamps.htm)\*****[Arne Mosgaard](amstart.htm) \* [RYVANGEN](ryvangen1.htm) \* [HVIDSTEN](http://www.airmen.dk/hvi01-INFO.htm) [Find vej](https://findvej.dk/)\*[Google Maps.dk](https://www.google.dk/maps/)\*[find gps](https://support.google.com/maps/answer/18539?co=GENIE.Platform%3DDesktop&hl=da)\*[DK Flymuseum](http://flymuseum.dk/)\*[Fotos LuftWaffe](http://lw1944.flyfotoarkivet.dk/)\*[Aircrew Remembered](http://aircrewremembered.com/)\*[Modstandsdatabasen](http://modstand.natmus.dk/)\*[F](https://samlinger.natmus.dk/search?collection=FHM)\*AOD=Airwar over Denmark**via**Google [Flygtningegrave / Krigsgrave i Jylland](http://www.dki-01.dk/fl_grave_jylland_da.php)\*[Deutsche Flüchtlinge/Soldaten begraben in Jütland](http://www.dki-01.dk/d_fl_grave_jylland_da.php)\*[Volksbund](https://www.volksbund.de) German counterpart of [CWGC](https://www.cwgc.org).** **[CVWM](https://www.veterans.gc.ca/eng/remembrance/memorials/canadian-virtual-war-memorial).[VWMA](https://vwma.org.au/).[SDFI](https://sdfikort.dk/spatialmap?) [Frihedsmuseet](https://natmus.dk/museer-og-slotte/frihedsmuseet/) \* [FMV](https://fmv.dk/) \* Visits 1 MAY 2009 - 1 DEC 2015: 131,504. Visits from then to 07 OCT 2016: 172,433. Visits on 01 JAN 2017: 233,051. Visits 2017: 254,658 [Veteran 1864](veteran1864.htm) \* In 2018: 354,186  Visits in 2019: 502,491  Visits in 2020: 402,365 Visits JUN-DEC 2021: 246.502 FEB 2022-JAN 2023: 394.161**
https://www.airmen.dk/
<html> <head> <title>The Cynics Corner</title> <meta name="keywords" content="star trek, deep space nine, ds9, voyager, babylon 5, b5, crusade, enterprise, andromeda, review, cynics corner, cynic's corner, the cynic, sluss"> <meta name="robots" content="index, follow"> <link rel="shortcut icon" href="favicon.ico"> </head> <body bgcolor="#000000" text="#FFFFFF" link="#FFFFCC" vlink="#CCCC99" alink="#FFFF00"> <div align="left"> <table border="0" cellpadding="7" width="100%" cellspacing="0"> <tr> <td width="178" valign="top" align="center" bgcolor="#000080"><p align="center"><img src="images/cc.gif" alt="The Cynics Corner" WIDTH="177" HEIGHT="201"></td> <td bgcolor="#000000" valign="middle" align="right"><h2 align="right"><font face="Arial">Home of the Legendary<br> Cynics Corner Reviews</font></h2> </td> </tr> <tr> <td width="178" bgcolor="#0000FF" valign="top" align="center"><strong><font face="Arial">by David E. Sluss</font></strong></td> <td bgcolor="#0000FF" align="right"></td> </tr> <tr> <td width="178" valign="top" align="center" bgcolor="#000080" height="10"><font face="Arial"><small><small><small><small><small><small><small>&nbsp; </small></small></small></small></small></small></small></font></td> <td valign="top" align="center" height="10"><font face="Arial"><small><small><small><small><small><small>&nbsp; </small></small></small></small></small></small></font></td> </tr> <tr> <td width="178" valign="middle" align="center" bgcolor="#000080" height="50"><h2><font face="Arial">Review Archive</font></h2> </td> <td valign="middle" align="center" height="50"><h2><font face="Arial">&nbsp;Headlines&nbsp; </font></h2> </td> </tr> <tr> <td width="178" valign="top" align="center" bgcolor="#000080"><font face="Arial"><img src="images/ent.gif" width="172" height="20" alt="Enterprise"></font><p><font face="Arial"><strong><a href="ent_1/ent_1.html"><small>Season 1</small></a><br> <small><a href="ent_2/ent_2.html">Season 2</a><br> </small></strong>&nbsp; </font></p> <p><font face="Arial"><img src="images/andro.gif" alt="Gene Roddenberry's Andromeda" WIDTH="156" HEIGHT="39"><br> <small><strong><a href="andro_1/andro_1.html">Season 1</a><br> <a href="andro_2/andro_2.html">Season 2</a><br> </strong></small>&nbsp; <br> &nbsp; </font></p> <p><font face="Arial"><img src="images/voy.gif" alt="Star Trek: Voyager" WIDTH="156" HEIGHT="43"><br> <small><strong><a href="voy_4/voy_4.html">Season 4</a><br> <a href="voy_5/voy_5.html">Season 5</a><br> <a href="voy_6/voy_6.html">Season 6</a><br> <a href="voy_7/voy_7.html">Season 7</a><br> &nbsp; </strong></small><br> &nbsp;&nbsp; </font></p> <p><font face="Arial"><img src="images/ds9.gif" alt="Star Trek: Deep Space Nine" WIDTH="156" HEIGHT="47"><br> <strong><small><a href="ds9_6/ds9_6.html">Season 6</a><br> <a href="ds9_7/ds9_7.html">Season 7</a><br> <br> </small><br> <small><br> </small></strong><img src="images/b5.gif" alt="Babylon 5" WIDTH="151" HEIGHT="65"><br> <small><strong><a href="b5/b5.html">Assorted Reviews</a><br> </strong></small></font></td> <td valign="top" align="left"><div align="center"><center><table border="0" cellpadding="0" width="100%" cellspacing="0"> <tr> <td width="15" align="right" valign="top"><font face="Arial"><img src="images/bullet.gif" width="10" height="10"></font></td> <td width="5"></td> <td><strong><font color="#FFFF00">Administrative Note: </font></strong>On 22 March 2003 The Cynics Corner, after months of inactivity, was officially put into &quot;archive-only&quot; mode. Except for the occasional Cher-like comeback tour, that status is unchanged. The Review Archive will continue to be hosted until further notice. </td> </tr> <tr> <td width="15" height="21" align="right"></td> <td height="21" width="5"></td> <td height="21">&nbsp;&nbsp;&nbsp;&nbsp; </td> </tr> </table> </center></div><h2 align="center"><font face="Arial">Resources</font></h2> <div align="center"><center><table border="0" cellpadding="0" width="100%" cellspacing="0"> <tr> <td width="15" align="right"><font face="Arial"><img src="images/bullet.gif" width="10" height="10"></font></td> <td width="5"></td> <td><strong><a href="other/misc.html">Miscellaneous Material</a></strong></td> </tr> <tr> <td width="15" align="right"></td> <td width="5"></td> <td>Cynics Corner content not included in the Review Archive, including articles written for other sites, parodies of press releases, and other assorted articles.</td> </tr> <tr> <td width="15" height="10" align="right"></td> <td height="10" width="5"></td> <td height="10">&nbsp;&nbsp;&nbsp; </td> </tr> <tr> <td width="15" align="right"><font face="Arial"><img src="images/bullet.gif" width="10" height="10"></font></td> <td width="5"></td> <td><strong><a href="other/links.html">Links</a></strong></td> </tr> <tr> <td width="15" align="right"></td> <td width="5"></td> <td>Other sites that get The Cynic's Seal of Approval. Did your site make the cut? Probably not.</td> </tr> <tr> <td width="15" height="10" align="right"></td> <td height="10" width="5"></td> <td height="10">&nbsp;&nbsp;&nbsp; </td> </tr> <tr> <td width="15" align="right"><font face="Arial"><img src="images/bullet.gif" width="10" height="10"></font></td> <td width="5"></td> <td><strong><a href="other/faq.html">F.A.Q.</a></strong></td> </tr> <tr> <td width="15" align="right"></td> <td width="5"></td> <td>Everything you ever wanted to know about The Cynics Corner but were justifiably afraid to ask. </td> </tr> <tr> <td width="15" height="10" align="right"></td> <td height="10" width="5"></td> <td height="10">&nbsp;&nbsp;&nbsp; </td> </tr> <tr> <td width="15" align="right"><font face="Arial"><img src="images/bullet.gif" width="10" height="10"></font></td> <td width="5"></td> <td><strong><a href="other/rating.html">The Cynics Corner Rating System</a></strong></td> </tr> <tr> <td width="15" align="right"></td> <td width="5"></td> <td>The story behind the numbers.</td> </tr> <tr> <td width="15" height="10" align="right"></td> <td height="10" width="5"></td> <td height="10">&nbsp;&nbsp;&nbsp; </td> </tr> <tr> <td width="15" align="right"><font face="Arial"><img src="images/bullet.gif" width="10" height="10"></font></td> <td width="5"></td> <td><strong>Search the Cynics Corner</strong>:</td> </tr> <tr> <td width="15" height="10" align="right"></td> <td height="10" width="5"></td> <td height="10"></td> </tr> </table> </center></div><div align="center"><center><table border="0" cellpadding="0" width="413" cellspacing="0"> </table> </center></div><div align="center"><center><table border="0" cellpadding="0" width="406" cellspacing="0"> <tr> <td valign="bottom" width="458" align="center"><form method="GET" action="http://www.google.com/custom"> <input type="hidden" name="domains" value="cynicscorner.org"><input type="hidden" name="sitesearch" value="cynicscorner.org"><p><font face="Arial"><input TYPE="text" name="q" size="30" maxlength="255" value> <input type="submit" name="btnG" VALUE="Site Search"> </font></p> </form> </td> </tr> <tr> <td valign="bottom" width="458" align="center"><p align="center"><font face="Arial"><small><strong>Courtesy<br> </strong></small><a href="http://www.google.com/"><img src="images/google.gif" border="0" alt="Google" WIDTH="128" HEIGHT="53"></a></font></td> </tr> </table> </center></div><h3 align="center"><font face="Arial"><br> <small><small>Feedback: <a href="mailto:webmaster@cynicscorner.org">webmaster@cynicscorner.org</a></small></small></font></h3> </td> </tr> <tr> <td width="178" valign="top" align="center" bgcolor="#0000FF"><font color="#FFFFFF" face="Arial"><small>&nbsp; </small></font></td> <td bgcolor="#0000FF"><font color="#FFFFFF" face="Arial"><strong><small>&nbsp;&nbsp;&nbsp;&nbsp; </small></strong></font></td> </tr> <tr> <td width="178" valign="top" align="center" bgcolor="#000080"><font face="Arial"><!--webbot bot="HTMLMarkup" ALT="Site Meter" StartSpan --> <script type="text/javascript" language="JavaScript">var site="sm3cci"</script> <script type="text/javascript" language="JavaScript1.2" src="http://sm3.sitemeter.com/js/counter.js?site=sm3cci"> </script> <noscript> <a href="http://sm3.sitemeter.com/stats.asp?site=sm3cci" target=_top> <img src="http://sm3.sitemeter.com/meter.asp?site=sm3cci" title="Site Meter" border=0></a> </noscript> <!-- Copyright (c)2000 Site Meter --> <!--webbot BOT="HTMLMarkup" endspan --><br> <font color="#FFFFFF"><small>satisfied customers<br> since 31 January 1999</small></font></font></td> <td><p align="center"><font color="#FFFFFF" face="Arial"><small>This page and the reviews published at this site are</small> <small>copyright © 1997-2006 David E. Sluss</small><br> <small>All trademarks belong to their respective companies</small></font></td> </tr> </table> </div> </body> </html>
The Cynics Corner | | | | --- | --- | | The Cynics Corner | Home of the Legendary Cynics Corner Reviews | | **by David E. Sluss** | | |   |   | | Review Archive |  Headlines  | | Enterprise**[Season 1](ent_1/ent_1.html) [Season 2](ent_2/ent_2.html)**  Gene Roddenberry's Andromeda **[Season 1](andro_1/andro_1.html) [Season 2](andro_2/andro_2.html)**    Star Trek: Voyager **[Season 4](voy_4/voy_4.html) [Season 5](voy_5/voy_5.html) [Season 6](voy_6/voy_6.html) [Season 7](voy_7/voy_7.html)**    Star Trek: Deep Space Nine **[Season 6](ds9_6/ds9_6.html) [Season 7](ds9_7/ds9_7.html)**Babylon 5 **[Assorted Reviews](b5/b5.html)** | | | | | | --- | --- | --- | | | | **Administrative Note:** On 22 March 2003 The Cynics Corner, after months of inactivity, was officially put into "archive-only" mode. Except for the occasional Cher-like comeback tour, that status is unchanged. The Review Archive will continue to be hosted until further notice. | | | | | Resources | | | | | --- | --- | --- | | | | **[Miscellaneous Material](other/misc.html)** | | | | Cynics Corner content not included in the Review Archive, including articles written for other sites, parodies of press releases, and other assorted articles. | | | | | | | | **[Links](other/links.html)** | | | | Other sites that get The Cynic's Seal of Approval. Did your site make the cut? Probably not. | | | | | | | | **[F.A.Q.](other/faq.html)** | | | | Everything you ever wanted to know about The Cynics Corner but were justifiably afraid to ask. | | | | | | | | **[The Cynics Corner Rating System](other/rating.html)** | | | | The story behind the numbers. | | | | | | | | **Search the Cynics Corner**: | | | | | | | | --- | | | | **Courtesy**[Google](http://www.google.com/) | Feedback: [webmaster@cynicscorner.org](mailto:webmaster@cynicscorner.org) | |   | | | var site="sm3cci" satisfied customers since 31 January 1999 | This page and the reviews published at this site are copyright © 1997-2006 David E. Sluss All trademarks belong to their respective companies |
https://www.cynicscorner.org/index.html
<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/1998/REC-html40-19980424/loose.dtd"> <html> <head> <meta http-equiv="content-type" content="text/html; charset=windows-1252"> <meta name="viewport" content="width=device-width,initial-scale=1"> <meta http-equiv="Refresh" content="3600; URL=https://solen.info/solar/index.html"> <meta name="Keywords" content="solar flux, sunspots, solar wind, solar activity, solar images, SDO, active regions, DXing, solar flares, coronal holes, geomagnetic field, solar cycle, monthly sunspot number, radio propagation, mediumwave, reception, shortwave"> <meta name="Description" content="The Solar Terrestrial Activity Report presents current solar data and images. Coronal holes and active solar regions are tracked daily and documented using SDO images."> <title>Solar Terrestrial Activity Report</title> <link rel="shortcut icon" href="https://solen.info/staricon.jpg"> <style type="text/css"> img { border-style:solid; border-color:lightgrey; border-width:thin } </style> </head> <body style=" background-color: white; color: black;" link="#0000ff" vlink="#800080" text="#000000" bgcolor="#ffffff" alink="#ff0000"> <h1>Solar Terrestrial Activity Report</h1> <p> <img src="images/solar.png" alt="Activity chart" border="1"></p> <h3><font color="#FF0000">Last major update issued on December 26, 2023 at 10:45 UT.</font></h3> <table id="table3" width="100%" cellpadding="6" border="1" height="390"> <tbody> <tr> <td colspan="2" bgcolor="#D3D3D3"><b>Charts (<font color="#FF0000">* = updated daily</font>)</b></td> <td bgcolor="#D3D3D3"><b>Data and archive</b></td> </tr> <tr> <td>&nbsp;</td> <td><a href="images/swind.png">Solar wind</a> <font color="#FF0000">(*)</font></td> <td><a href="https://solen.info/solar/indices.html">Solar and geomagnetic data - last month <font color="#FF0000">(*)</font></a></td> </tr> <tr> <td>&nbsp;</td> <td><a href="images/electronfluence.png">Electron fluence</a> <font color="#FF0000">(*)</font></td> <td><a href="https://solen.info/solar/old_reports/">Archived daily reports and monthly data since 2003.01 (</a><a href="https://solen.info/solar/images/cycle24.png">December 7</a><a href="https://solen.info/solar/old_reports/">, 2023)</a></td> </tr> <tr> <td>Solar cycle</td> <td><a href="images/cycles23_24.png">Solar cycles 23-25 (</a><a href="https://solen.info/solar/images/cycle24.png">December 1</a><a href="images/cycles23_24.png">, 2023)</a></td> <td><a href="https://solen.info/solar/history/">Historical solar and geomagnetic data charts 1954-2006 (April 5, 2007)</a></td> </tr> <tr> <td>&nbsp;</td> <td><a href="https://solen.info/solar/images/cycle24.png">Cycle 24-25 progress (December 1, 2023)</a></td> <td>Noon SDO sunspot count <a href="images/noon/current_sdo_1k.png">1K</a> image / <a href="images/noon/current_sdo_4k.png">4K</a><font color="#FF0000"> (*)</font></td> </tr> <tr> <td>&nbsp;</td> <td><a href="cycles1_to_present.html">Solar cycles 1-24 (July 1, 2020)</a></td> <td><a href="https://solen.info/solar/poes/poes.html">POES auroral activity level [October 2009 - December 2012]</a> </td> </tr> <tr> <td>&nbsp;</td> <td><a href="images/comparison_recent_cycles.png">Comparison of cycles 21-25 (</a><a href="https://solen.info/solar/images/cycle24.png">December 1</a><a href="images/comparison_recent_cycles.png">, 2023)</a></td> <td><a href="https://solen.info/solar/presentations/ssn_workshop_tucson_2013.ppt"> 3rd SSN Workshop, Tucson, 2013</a></td> </tr> <tr> <td>&nbsp;</td> <td><a href="images/comparison_similar_cycles.png">Comparison of cycles 12-14, 16, 24-25 (</a><a href="https://solen.info/solar/images/cycle24.png">December 1</a><a href="images/comparison_similar_cycles.png">, 2023)</a></td> <td><a href="https://solen.info/solar/presentations/Parallel%20sunspot%20counts%20with%20SDO.pdf">4th SSN Workshop, Locarno, 2014</a></td> </tr> <tr> <td>&nbsp;</td> <td><a href="https://solen.info/solar/polarfields/polar.html">Solar polar fields vs. solar cycles (November 26, 2023</a>)</td> <td> <a href="https://solen.info/solar/cycle25_spots.html"> Cycle 25 spots (final update December 25, 2019)</a></td> </tr> <tr> <td>&nbsp;</td> <td> <a href="https://solen.info/solar/images/Cycles_24_25_minimum.png">Solar cycles 24-25 transition using 365d smoothing</a></td> <td> <a href="http://solarresearch.info/">Research</a>: <a href="https://www.researchgate.net/publication/342548883_Solar_Cycle_25_Started_on_November_17_2019_with_365_Days_Smoothing"> Solar Cycle 25 Started on November 17, 2019 with 365 Days Smoothing</a></td> </tr> </tbody> </table> <h2><a name="recent_activity">Recent activity</a></h2> <p><span lang="en-us">The geomagnetic field was very quiet on December 25. Solar wind speed at SOHO ranged between 372 and 443 km/sec. The high latitude magnetometer at <a href="https://flux.phys.uit.no/Last24/Last24_and1a.gif">Andenes</a> recorded quiet levels.</span></p> <p><span lang="en-us">Solar flux density measured at 20h UT on 2.8 GHz was </span>166.7<span lang="en-us"> -<font color="#0000FF"> </font> <font color="#FF0000"> decreasing 14.8 </font>over the previous solar rotation. (<font color="#800080">Centered 1 year average SF at 1 AU - 183 days ago: 158.70. In comparison SC24 peaked on June 28, 2014 at 145.50. <b>The next projected SC25 peak: 158.95 on July 7, 2023</b></font>). The Potsdam WDC planetary A index was 3 (STAR Ap - based on the mean of three hour interval <i> ap</i> indices: 2.8). Three hour interval K indices: 01000110 (<b>planetary</b>), 01101221 (<b>Boulder</b>), </span>01100020<span lang="en-us"> (<b>Andenes</b>).</span></p> <p><span lang="en-us">The background x-ray flux is at the class B9 level (GOES 16).</span></p> <p><span lang="en-us">At the time of counting spots (see image time), spots were observed in 12 active regions using 2K resolution&nbsp;(SN: 236) and in 11 active regions using <font color="#008000"> 1K</font> resolution (SN: 154) SDO/HMI images.</span></p> <p><span lang="en-us"> <font color="#008000">Region <b>13521</b> [N11W62] decayed slowly and was mostly quiet. C1 flares: C1.4 @ 23:47 UT<br> Region <b>13524</b> [N25W51] reemerged with tiny spots.<br> Region <b>13526</b> [N13W20] decayed further and was quiet.<br> Region <b>13528</b> [N09W80] rotated partly out of view and was mostly quiet.<br> Region <b>13529</b> [S20W40] lost most of the spots gained on the previous day and was mostly quiet. C1 flares: C1.6 @ 11:19 UT<br> Region <b>13530</b> [N08W19] decayed slowly and was mostly quiet. C2 flares: C1.5 @ 09:01, C1.3 @ 20:54 UT<br> Region <b>13531</b> [S20E04] gained spots and area as new flux emerged to the southwest of the main penumbra as well as in the trailing spot section. The new spots may be split into separate spot groups today or tomorrow. C1 flares: C1.5 @ 03:58 UT<br> Region <b>13533</b> [N15E04] decayed slowly and was mostly quiet. C1 flares: C1.9 @ 03:16 UT</font></span></p> <p><span lang="en-us"> <i>Spotted regions not observed (or interpreted differently) by SWPC/USAF</i>:<br> <font color="#008000"> <b>S9253</b> [N18W34] was quiet and stable.<br> <b>S9261</b> [S05E36] emerged with a tiny spot.<br> </font>New region <b>S9263</b> [N08E44] emerged with a tiny spot.<br> <font color="#008000">New region <b>S9264</b> [S09W26] emerged with tiny spots.</font></span></p> <p><font color="#0000FF"><b>C2+ flares:</b></font></p> <table id="table4" width="100%" border="1"> <tbody> <tr> <td>Magnitude</td> <td>Peak time (UT)</td> <td>Location</td> <td>Source</td> <td>Recorded by</td> <td>Comment</td> </tr> <tr> <td>C2.3</td> <td>00:09</td> <td>&nbsp;</td> <td>13530</td> <td>GOES16</td> <td>simultaneous flare in AR 13521</td> </tr> <tr> <td>C2.3</td> <td>00:30</td> <td>&nbsp;</td> <td>13530</td> <td>GOES16</td> <td>&nbsp;</td> </tr> <tr> <td>C4.7</td> <td>01:00</td> <td>N07W07</td> <td>13530</td> <td>GOES16</td> <td>&nbsp;</td> </tr> <tr> <td>C3.6</td> <td>01:35</td> <td>N07W07</td> <td>13530</td> <td>GOES16</td> <td>&nbsp;</td> </tr> <tr> <td>C2.9</td> <td>01:44</td> <td>&nbsp;</td> <td>13529</td> <td>GOES16</td> <td>&nbsp;</td> </tr> <tr> <td>C3.3</td> <td>01:49</td> <td>&nbsp;</td> <td>13521</td> <td>GOES16</td> <td>&nbsp;</td> </tr> <tr> <td>C4.4</td> <td>01:57</td> <td>&nbsp;</td> <td>13530</td> <td>GOES16</td> <td>&nbsp;</td> </tr> <tr> <td>C2.4</td> <td>02:24</td> <td>&nbsp;</td> <td>13529</td> <td>GOES16</td> <td>&nbsp;</td> </tr> <tr> <td>C2.2</td> <td>07:38</td> <td>N05W70</td> <td>13528</td> <td>GOES16</td> <td>&nbsp;</td> </tr> <tr> <td>C2.4</td> <td>07:45</td> <td>&nbsp;</td> <td>13528</td> <td>GOES16</td> <td>&nbsp;</td> </tr> </tbody> </table> <h3><span lang="en-us"><a name="cmes">Coronal mass ejections (CMEs)</a></span></h3> <p> <span lang="en-us"> <b>December 23-25</b>: No obviously Earth directed CME observed. A couple of interesting CMEs were observed on December 24, however, available data was inconclusive as to whether any of these will reach Earth.</span></p> <h3><span lang="en-us"> <a name="coronal_holes"> Coronal holes</a></span></h3> <p><span lang="en-us">[<a href="https://solen.info/solar/coronal_holes.html">Coronal hole history (since October 2002)]<br> </a> [Compare today's report to the situation one solar rotation ago: <a target="_blank" href="https://solen.info/solar/old_reports/2023/november/20231128.html">28 days ago</a> <a target="_blank" href="https://solen.info/solar/old_reports/2023/november/20231129.html">27 days ago</a> <a target="_blank" href="https://solen.info/solar/old_reports/2023/november/20231130.html">26 days ago</a>]</span></p> <p>A recurrent negative polarity trans equatorial coronal hole (CH1195) will likely become Earth facing on December 29-30.</p> <p> <img src="images/CH_20231210.png" alt="" border="0" width="512" height="512"></p> <h2><span lang="en-us"><a name="propagation">Propagation</a></span></h2> <p><span lang="en-us">Long distance low and medium frequency (below 2 MHz) propagation along paths north of due west over upper middle and high latitudes is fair to good. Propagation on long distance northeast-southwest paths is poor.</span></p> <h2><span lang="en-us"><a name="forecast">Forecast</a></span></h2> <p><span lang="en-us">The geomagnetic field is expected to be quiet on December 26-28 with a chance of unsettled and active intervals on December 28 should any of the Dec.24 CMEs reach Earth.</span></p> <table border="1"> <tbody> <tr> <td width="250"><span lang="en-us">Coronal holes (1)</span></td> <td width="250"><span lang="en-us">Coronal mass ejections (2)</span></td> <td width="250"><span lang="en-us">M and X class flares (3)</span></td> </tr> <tr> <td width="250" height="30" bgcolor="#00FF00" bordercolor="#FFFFFF">&nbsp;</td> <td width="250" bgcolor="#00FF00">&nbsp;</td> <td width="250" bgcolor="#FFFF00">&nbsp;</td> </tr> </tbody> </table> <p><span lang="en-us"><font size="2">1) Effects from a coronal hole could reach Earth within the next 5 days. When the high speed stream has arrived the color changes to green.<br> 2) Effects from a CME are likely to be observed at Earth within 96 hours.<br> 3) There is a possibility of either M or X class flares within the next 48 hours.</font></span></p> <p><span lang="en-us"><font size="2"><strong><font color="#00ff00">Green</font></strong>: 0-30% probability, <strong><font color="#ffff00">Yellow</font></strong>: 30-70% probability, <strong><font color="#ff0000">Red</font></strong>: 70-100% probability.</font></span></p> <h2><a name="asr">Active solar regions</a></h2> <p> <a href="images/AR_CH_20231225_hres.png"> <img src="images/AR_CH_20231225.png" alt="" border="0" width="1024" height="1024"></a></p> <p><i><br> (Click on image for 2K resolution<span style="COLOR: #000000">). <a href="images/AR_CH_20231225_4K.png">4K resolution</a>. <a target="_blank" href="images/AR_CH_20231224.png">Compare to the previous day's image</a>. </span></i><span style="COLOR: #000000"> <i><a href="images/charmap512.jpg">0.5K image</a></i></span></p> <p><i>When available the active region map has a coronal hole polarity overlay where red (pink) is negative and blue is positive.</i></p> <p>Data for all officially numbered solar regions according to the Solar Region Summary provided by NOAA/SWPC, all other regions are numbered sequentially as they emerge using the STAR spot number. Comments are my own, as is the STAR spot count (spots observed at or inside a few hours before midnight) and data for regions not numbered by SWPC or where SWPC has observed no spots. SWPC active region numbers in the table below and in the active region map above are the historic SWPC/USAF numbers. SWPC data considered to be not sufficiently precise (location, area, classification) are colored red.</p> <table id="table1" cellspacing="1" border="1"> <tbody> <tr> <th rowspan="3">Active region</th> <th rowspan="3">SWPC date numbered<br> <font color="#0000FF">STAR detected</font></th> <th colspan="3">Spot count</th> <th rowspan="3">Location at midnight</th> <th rowspan="3">Area</th> <th colspan="2"><a href="http://sidc.oma.be/educational/classification.php">Classification</a></th> <th colspan="2">SDO / HMI 4K continuum<br>image with magnetic polarity overlays</th> <th rowspan="3">Comment</th> </tr> <tr> <th rowspan="2">SWPC/<br> USAF</th> <th colspan="2">Magnetic<br>(SDO)</th> <th rowspan="2">SWPC</th> <th rowspan="2">STAR</th> <th rowspan="2">Current</th> <th rowspan="2">Previous</th> </tr> <tr> <th>2K</th> <th>1K</th> </tr> <tr> <td align="center">13521</td> <td align="center"> <font color="#0000FF">2023.12.14<br> </font>2023.12.15</td> <td align="center">1</td> <td align="center">3</td> <td align="center">1</td> <td align="center">N11W64</td> <td align="center"><font color="#FF0000">0030</font></td> <td align="center">HAX</td> <td align="center">HAX</td> <td align="center"> <img src="images/AR_13521_20231225_2345.png" alt="" border="0"></td> <td align="center"> <img src="images/AR_13521_20231224_2345.png" alt="" border="0" width="169" height="175"></td> <td align="center"> area: 0050<p>location: N11W49</td> </tr> <tr> <td align="center">13523</td> <td align="center"> <font color="#0000FF">2023.12.15<br> </font>2023.12.16</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">N25W60</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> merged with AR 13524</td> </tr> <tr> <td align="center">13525</td> <td align="center"> <font color="#0000FF">2023.12.15<br> </font>2023.12.16</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center"><font color="#FF0000">S05W87</font></td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> <p>location: S09W71</td> </tr> <tr> <td align="center">13524</td> <td align="center"> <font color="#0000FF">2023.12.15<br> </font>2023.12.16</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center"><font color="#FF0000">N25W53</font></td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> location: N22W55</td> </tr> <tr> <td align="center">13526</td> <td align="center"> <font color="#0000FF">2023.12.16<br> </font>2023.12.17</td> <td align="center">2</td> <td align="center">6</td> <td align="center">4</td> <td align="center"><font color="#FF0000">N15W35</font></td> <td align="center">0010</td> <td align="center">BXO</td> <td align="center">CRO</td> <td align="center"> <img src="images/AR_13526_20231225_2345.png" alt="" border="0" width="599" height="173"></td> <td align="center"> <img src="images/AR_13526_20231224_2345.png" alt="" border="0" width="503" height="197"></td> <td align="center"> <p>location: N13W35<p>area: 0025</td> </tr> <tr> <td align="center">13528</td> <td align="center"> <font color="#0000FF">2023.12.16<br> </font>2023.12.18</td> <td align="center">3</td> <td align="center">3</td> <td align="center">3</td> <td align="center"><font color="#FF0000">N07W83</font></td> <td align="center">0130</td> <td align="center">DAO</td> <td align="center">DAO</td> <td align="center"> <img src="images/AR_13528_20231225_2345.png" alt="" border="0" width="133" height="208"></td> <td align="center"> <img src="images/AR_13528_20231224_2345.png" alt="" border="0" width="135" height="220"></td> <td align="center"> <p>area: 0190</p> <p>location: N09W80</td> </tr> <tr> <td align="center">13529</td> <td align="center"> <font color="#0000FF">2023.12.16<br> </font>2023.12.18</td> <td align="center">4</td> <td align="center">16</td> <td align="center">3</td> <td align="center"><font color="#FF0000">S20W37</font></td> <td align="center"><font color="#FF0000">0320</font></td> <td align="center">EHO</td> <td align="center">EHO</td> <td align="center"> <img src="images/AR_13529_20231225_2345.png" alt="" border="0" width="435" height="215"></td> <td align="center"> <img src="images/AR_13529_20231224_2345.png" alt="" border="0" width="507" height="259"></td> <td align="center"> <p>area: 0670</p> <p>location: S20W40</td> </tr> <tr> <td align="center">S9247</td> <td align="center"> <font color="#0000FF">2023.12.17</font></td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">N14W50</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> &nbsp;</td> </tr> <tr> <td align="center">S9248</td> <td align="center"> <font color="#0000FF">2023.12.17</font></td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">S21W59</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> &nbsp;</td> </tr> <tr> <td align="center">13530</td> <td align="center"> <font color="#0000FF">2023.12.18<br> </font>2023.12.19</td> <td align="center">9</td> <td align="center">26</td> <td align="center">6</td> <td align="center">N08W19</td> <td align="center"><font color="#FF0000">0040</font></td> <td align="center">CAI</td> <td align="center">DAI</td> <td align="center"> <img src="images/AR_13530_20231225_2345.png" alt="" border="0" width="496" height="365"></td> <td align="center"> <img src="images/AR_13530_20231224_2345.png" alt="" border="0" width="505" height="274"></td> <td align="center"> <p><font color="#0000FF">beta-gamma</font></p> <p>area: 0090</td> </tr> <tr> <td align="center">S9252</td> <td align="center"> <font color="#0000FF">2023.12.19</font></td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">S16W54</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> <img src="images/AR_S9252_20231224_2345.png" alt="" border="0" width="149" height="133"></td> <td align="center"> &nbsp;</td> </tr> <tr> <td align="center">S9253</td> <td align="center"> <font color="#0000FF">2023.12.19</font></td> <td align="center">&nbsp;</td> <td align="center">10</td> <td align="center">2</td> <td align="center">N18W34</td> <td align="center">0020</td> <td align="center">&nbsp;</td> <td align="center">BXO</td> <td align="center"> <img src="images/AR_S9253_20231225_2345.png" alt="" border="0" width="363" height="170"></td> <td align="center"> <img src="images/AR_S9253_20231224_2345.png" alt="" border="0" width="392" height="216"></td> <td align="center"> &nbsp;</td> </tr> <tr> <td align="center">13531</td> <td align="center"> <font color="#0000FF">2023.12.19<br> </font>2023.12.20</td> <td align="center">3</td> <td align="center">33</td> <td align="center">15</td> <td align="center">S20E03</td> <td align="center"><font color="#FF0000">0160</font></td> <td align="center"><font color="#FF0000">HAX</font></td> <td align="center">DHI</td> <td align="center"> <img src="images/AR_13531_20231225_2345.png" alt="" border="0" width="639" height="455"></td> <td align="center"> <img src="images/AR_13531_20231224_2345.png" alt="" border="0" width="512" height="316"></td> <td align="center"> area: 0400</td> </tr> <tr> <td align="center">13533</td> <td align="center"> <font color="#0000FF">2023.12.19<br> </font>2023.12.22</td> <td align="center">6</td> <td align="center">16</td> <td align="center">6</td> <td align="center">N15E03</td> <td align="center"><font color="#FF0000">0010</font></td> <td align="center">BXO</td> <td align="center">DRI</td> <td align="center"> <img src="images/AR_13533_20231225_2345.png" alt="" border="0" width="328" height="250"></td> <td align="center"> <img src="images/AR_13533_20231224_2345.png" alt="" border="0" width="288" height="184"></td> <td align="center"> area: 0060<p>location: N15E04</td> </tr> <tr> <td align="center">S9256</td> <td align="center"> <font color="#0000FF">2023.12.20</font></td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">N29W34</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> &nbsp;</td> </tr> <tr> <td align="center">S9259</td> <td align="center"> <font color="#0000FF">2023.12.23</font></td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">N17W12</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> &nbsp;</td> </tr> <tr> <td align="center">S9260</td> <td align="center"> <font color="#0000FF">2023.12.23</font></td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">N28W11</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center"> &nbsp;</td> <td align="center"> <img src="images/AR_S9260_20231224_2345.png" alt="" border="0" width="206" height="164"></td> <td align="center"> &nbsp;</td> </tr> <tr> <td align="center">S9261</td> <td align="center"> <font color="#0000FF">2023.12.24</font></td> <td align="center">&nbsp;</td> <td align="center">7</td> <td align="center">3</td> <td align="center">S06E24</td> <td align="center">0030</td> <td align="center">&nbsp;</td> <td align="center">CRO</td> <td align="center"> <img src="images/AR_S9261_20231225_2345.png" alt="" border="0" width="151" height="134"></td> <td align="center"> <img src="images/AR_S9261_20231224_2345.png" alt="" border="0" width="133" height="134"></td> <td align="center"> &nbsp;</td> </tr> <tr> <td align="center">S9263</td> <td align="center"> <font color="#0000FF">2023.12.25</font></td> <td align="center">&nbsp;</td> <td align="center">1</td> <td align="center">&nbsp;</td> <td align="center">N08E44</td> <td align="center">0003</td> <td align="center">&nbsp;</td> <td align="center">AXX</td> <td align="center"> <img src="images/AR_S9263_20231225_2345.png" alt="" border="0" width="134" height="134"></td> <td align="center"> &nbsp;</td> <td align="center"> &nbsp;</td> </tr> <tr> <td align="center">S9264</td> <td align="center"> <font color="#0000FF">2023.12.25</font></td> <td align="center">&nbsp;</td> <td align="center">2</td> <td align="center">1</td> <td align="center">S09W26</td> <td align="center">0005</td> <td align="center">&nbsp;</td> <td align="center">BXO</td> <td align="center"> <img src="images/AR_S9264_20231225_2345.png" alt="" border="0" width="436" height="249"></td> <td align="center"> &nbsp;</td> <td align="center"> &nbsp;</td> </tr> <tr> <td colspan="2"><strong>Total spot count:</strong></td> <td valign="top" align="center"><b>28</b></td> <td valign="top" align="center"><b>123</b></td> <td valign="top" align="center"><b>44</b></td> <td colspan="7">&nbsp;</td> </tr> <tr> <td colspan="2"><strong>Sunspot number:</strong></td> <td align="center"><b>98</b></td> <td align="center"><b>243</b></td> <td align="center"><b>154</b></td> <td colspan="7">&nbsp;(total spot count + 10 * number of spotted regions)</td> </tr> <tr> <td colspan="2"><strong>Weighted SN:</strong></td> <td align="center"><b>58</b></td> <td align="center"><b>167</b></td> <td align="center"><b>78</b></td> <td colspan="7">&nbsp;(Sum of total spot count + classification weighting for each AR. Classification weighting: X=0, R=3, A/S=5, H/K=10) </td> </tr> <tr> <td colspan="2"><strong>Relative sunspot number (Wolf number):</strong></td> <td align="center"><b>108</b></td> <td align="center"><b>134</b></td> <td align="center"><b>123</b></td> <td colspan="7">&nbsp;</td> </tr> </tbody> </table> <h2><a name="solar_cycle">Monthly solar cycle data</a></h2> <div align="left"> <table cellspacing="1" border="1"> <tbody> <tr> <th rowspan="2">Month</th> <th colspan="2">Average solar flux</th> <th rowspan="2">International sunspot number<br> (<a href="http://www.sidc.be/silso/home">WDC-SILSO</a>)<span style="font-weight: 400"></span></th> <th rowspan="2">Smoothed sunspot number <span style="font-weight: 400">(4)</span></th> <th rowspan="2">Average <a href="http://www.wdc.rl.ac.uk/Help/Kp_Ap.html"> ap</a><br> <span style="FONT-STYLE: italic; FONT-WEIGHT: 400">(3)</span></th> </tr> <tr> <th>Measured</th> <th>1 AU</th> </tr> <tr> <td align="center">2014.02</td> <td align="center"><b><font color="#808000">170.3<br> (cycle peak)</font></b></td> <td align="center"><b><font color="#808000">166.3</font></b></td> <td align="center"><b><font color="#808000">146.1 (SC24 peak)</font></b></td> <td align="center">110.5</td> <td align="right"><font color="#FF0000">10.70</font></td> </tr> <tr> <td align="center">2014.04</td> <td align="center">143.9</td> <td align="center">144.8</td> <td align="center">112.5</td> <td align="center"><font color="#808000"><b>116.4</b></font><b><font color="#808000"> (SC24 solar max)</font></b></td> <td align="right"><font color="#FF0000">7.88</font></td> </tr> <tr> <td align="center">2017.09</td> <td align="center">91.3</td> <td align="center">92.3</td> <td align="center">43.6</td> <td align="center">18.2 (<font color="#FF0000">-1.3</font>)</td> <td align="right"><font color="#FF0000">18.22<br> </font>(SC24 peak)</td> </tr> <tr> <td align="center">2019.11</td> <td align="center">70.2</td> <td align="center">68.7</td> <td align="center">0.5</td> <td align="center">2.0 (<font color="#FF0000">-0.6</font>)<br> <font color="#008000">(Solar minimum using 365d smoothing:<br> November 17, 2019)</font></td> <td align="right"><font color="#FF0000">4.19</font></td> </tr> <tr> <td align="center">2019.12</td> <td align="center">70.8</td> <td align="center">68.6</td> <td align="center">1.6</td> <td align="center">1.8 (<font color="#FF0000">-0.2</font>)<br> <font color="#008000">(ISN 13 months smoothed<br> solar minimum)</font></td> <td align="right"><font color="#FF0000">3.22</font></td> </tr> <tr> <td align="center">2022.04</td> <td align="center">130.8</td> <td align="center">131.7</td> <td align="center">84.0</td> <td align="center">73.0 <font color="#0000FF">(+4.3</font>)</td> <td align="right"><font color="#FF0000">11.79</font></td> </tr> <tr> <td align="center">2022.05</td> <td align="center">133.8</td> <td align="center">136.8</td> <td align="center">96.5</td> <td align="center">77.4 <font color="#0000FF">(+4.4</font>)</td> <td align="right"><font color="#FF0000">7.48</font></td> </tr> <tr> <td align="center">2022.06</td> <td align="center">116.1</td> <td align="center">119.8</td> <td align="center">70.3</td> <td align="center">81.1 <font color="#0000FF">(+3.7</font>)</td> <td align="right"><font color="#FF0000">8.20</font></td> </tr> <tr> <td align="center">2022.07</td> <td align="center">125.4</td> <td align="center">129.5</td> <td align="center">91.4</td> <td align="center">86.7 <font color="#0000FF">(+5.6</font>)</td> <td align="right"><font color="#FF0000">9.51</font></td> </tr> <tr> <td align="center">2022.08</td> <td align="center">114.2</td> <td align="center">117.1</td> <td align="center">74.6</td> <td align="center">92.6 <font color="#0000FF">(+5.9</font>)</td> <td align="right"><font color="#FF0000">10.92</font></td> </tr> <tr> <td align="center">2022.09</td> <td align="center">135.1</td> <td align="center">136.5</td> <td align="center">96.0</td> <td align="center">96.5 <font color="#0000FF">(+3.9</font>)</td> <td align="right"><font color="#FF0000">12.18</font></td> </tr> <tr> <td align="center">2022.10</td> <td align="center">133.5</td> <td align="center">132.7</td> <td align="center">95.5</td> <td align="center">98.9 <font color="#0000FF">(+2.4</font>)</td> <td align="right"><font color="#FF0000">11.16</font></td> </tr> <tr> <td align="center">2022.11</td> <td align="center">123.4</td> <td align="center">120.7</td> <td align="center">80.5</td> <td align="center">101.2 <font color="#0000FF">(+2.3</font>)</td> <td align="right"><font color="#FF0000">9.33</font></td> </tr> <tr> <td align="center">2022.12</td> <td align="center">147.9</td> <td align="center">143.4</td> <td align="center">112.8</td> <td align="center">106.7 <font color="#0000FF">(+5.5</font>)</td> <td align="right"><font color="#FF0000">10.99</font></td> </tr> <tr> <td align="center">2023.01</td> <td align="center">182.4</td> <td align="center">176.6</td> <td align="center">144.4</td> <td align="center">113.3 <font color="#0000FF">(+6.6</font>)</td> <td align="right"><font color="#FF0000">8.73</font></td> </tr> <tr> <td align="center">2023.02</td> <td align="center">167.2</td> <td align="center">163.2</td> <td align="center">111.3</td> <td align="center">117.8 <font color="#0000FF">(+3.5</font>)</td> <td align="right"><font color="#FF0000">14.48<br> </font>(current <br> SC25 peak)</td> </tr> <tr> <td align="center">2023.03</td> <td align="center">157.2</td> <td align="center">155.6</td> <td align="center">123.3</td> <td align="center">121.0 <font color="#0000FF">(+3.2</font>)</td> <td align="right"><font color="#FF0000">14.42</font></td> </tr> <tr> <td align="center">2023.04</td> <td align="center">145.4</td> <td align="center">146.4</td> <td align="center">97.6</td> <td align="center">122.7 <font color="#0000FF">(+1.7</font>)</td> <td align="right"><font color="#FF0000">13.40</font></td> </tr> <tr> <td align="center">2023.05</td> <td align="center">155.6</td> <td align="center">159.2</td> <td align="center">137.4</td> <td align="center">123.9 <font color="#0000FF">(+1.2</font>)</td> <td align="right"><font color="#FF0000">10.67</font></td> </tr> <tr> <td align="center">2023.06</td> <td align="center">161.7</td> <td align="center">166.8</td> <td align="center">160.5</td> <td align="center">(126.3 projected, <font color="#0000FF">+2.4</font>)</td> <td align="right"><font color="#FF0000">8.95</font></td> </tr> <tr> <td align="center">2023.07</td> <td align="center">&nbsp;176.4</td> <td align="center">182.2</td> <td align="center">159.1</td> <td align="center">(127.1 projected, <font color="#0000FF">+0.8</font>)</td> <td align="right"><font color="#FF0000">8.15</font></td> </tr> <tr> <td align="center">2023.08</td> <td align="center"><i>&nbsp;</i>153.7</td> <td align="center">157.6</td> <td align="center">114.8</td> <td align="center">(128.2 projected, <font color="#0000FF">+1.1</font>)</td> <td align="right"><font color="#FF0000">7.19</font></td> </tr> <tr> <td align="center">2023.09</td> <td align="center">&nbsp;154.4</td> <td align="center">156.0</td> <td align="center">133.6</td> <td align="center">(130.4 projected, <font color="#0000FF">+2.2</font>)</td> <td align="right"><font color="#FF0000">14.26</font></td> </tr> <tr> <td align="center">2023.10</td> <td align="center">&nbsp;142.8</td> <td align="center">141.9</td> <td align="center">99.4</td> <td align="center">(132.2 projected, <font color="#0000FF">+1.8</font>)</td> <td align="right"><font color="#FF0000">8.16</font></td> </tr> <tr> <td align="center" bgcolor="#C0C0C0">2023.11</td> <td align="center" bgcolor="#C0C0C0">153.5</td> <td align="center" bgcolor="#C0C0C0">150.2</td> <td align="center" bgcolor="#C0C0C0">105.4</td> <td align="center" bgcolor="#C0C0C0">(134.1 projected max<font color="#0000FF"> </font> SC25, <font color="#0000FF">+1.9</font>)</td> <td align="right" bgcolor="#C0C0C0"><font color="#FF0000">12.20</font></td> </tr> <tr> <td align="center">2023.12</td> <td align="center"><i>152.2 (1)</i></td> <td align="center">&nbsp;</td> <td align="center"><i>99.2 (2A) / 123.0 (2B) / 150.8 (2C)</i></td> <td align="center">(132.7 projected, <font color="#FF0000">-1.4</font>)</td> <td align="right">(11.2)</td> </tr> <tr> <td align="center">2024.01</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">(130.0 projected, <font color="#FF0000">-2.7</font>)</td> <td align="right">&nbsp;</td> </tr> <tr> <td align="center">2024.02</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">(129.9 projected, <font color="#FF0000">-0.1</font>)</td> <td align="right">&nbsp;</td> </tr> <tr> <td align="center">2024.03</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">(129.3 projected, <font color="#FF0000">-0.6</font>)</td> <td align="right">&nbsp;</td> </tr> <tr> <td align="center">2024.04</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">(130.1 projected, <font color="#0000FF">+0.8</font>)</td> <td align="right">&nbsp;</td> </tr> <tr> <td align="center">2024.05</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">(132.2 projected, <font color="#0000FF">+2.1</font>)</td> <td align="right">&nbsp;</td> </tr> <tr> <td align="center">2024.06</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">&nbsp;</td> <td align="center">(131.5 projected, <font color="#FF0000">-0.7</font>)</td> <td align="right">&nbsp;</td> </tr> </tbody> </table> </div> <p>1) Running average based on the daily 20:00 UTC observed solar flux value at 2800 MHz and any corrections applied to that measurement.<br> 2A) Current impact on the monthly sunspot number based on the Boulder (NOAA/SWPC) sunspot number (accumulated daily sunspots / month days).<br> 2B) Boulder SN current month average to date.<br> 2C) STAR SDO 1K Wolf number 30 day average.<br> 3) Running average based on the quicklook and definitive Potsdam WDC <i>ap</i> indices. Values in <font color="#ff0000">red</font> are based on the definitive international <a href="https://www.gfz-potsdam.de/en/kp-index/">GFZ Potsdam</a> WDC<i> ap</i> indices.<br> 4) Source: <a href="https://sidc.be/SILSO/home">WDC-SILSO, Royal Observatory Of Belgium, Brussels</a></p> <h2><a name="solar_cycle0">Solar cycles 24-25</a></h2> <p> <img src="images/Cycle_24_averages.png" alt="Smoothed SF and sunspot numbers" border="1" width="1200" height="840"></p> <h3>Update on the progress of solar cycle 25 as of December 7, 2023</h3> <p>Due to relatively low solar activity over the last couple of months, the possibility that solar cycle 25 has already peaked has increased significantly. Whether the first peak (and maybe solar max) will be in June or July depends on solar activity in December and early January 2024. If the average solar flux is less than 150 during this period, the first peak of solar cycle 25 using 365 day smoothing will likely be sometime between June 2 and July 9. Should the average solar flux instead become 140 then the peak date will be in early June (June 4 for solar flux, June 6 for STAR 2K SN, and June 7 for all the other sunspot numbers in the graph above). We won't know for a while yet when the final peak will be, however, it is interesting that the peak of SC25 could be as early as June 2023. The next update will likely be posted here in January 2024.</p> <p>--------------------------------------------------------------------------------------</p> <p>This report has been prepared by <a href="mailto:webm%40solen%2einfo">Jan Alvestad</a>. It is based on the analysis of data from whatever sources are available at the time the report is prepared. All time references are to Universal Time. Comments and suggestions are always welcome.</p> <p>SDO images are courtesy of NASA/SDO and the AIA, EVE, and HMI science teams.</p> </body> </html>
Solar Terrestrial Activity Report img { border-style:solid; border-color:lightgrey; border-width:thin } # Solar Terrestrial Activity Report ![Activity chart](images/solar.png) ### Last major update issued on December 26, 2023 at 10:45 UT. | | | | --- | --- | | **Charts (\* = updated daily)** | **Data and archive** | | | [Solar wind](images/swind.png) (\*) | [Solar and geomagnetic data - last month (\*)](https://solen.info/solar/indices.html) | | | [Electron fluence](images/electronfluence.png) (\*) | [Archived daily reports and monthly data since 2003.01 (](https://solen.info/solar/old_reports/)[December 7](https://solen.info/solar/images/cycle24.png)[, 2023)](https://solen.info/solar/old_reports/) | | Solar cycle | [Solar cycles 23-25 (](images/cycles23_24.png)[December 1](https://solen.info/solar/images/cycle24.png)[, 2023)](images/cycles23_24.png) | [Historical solar and geomagnetic data charts 1954-2006 (April 5, 2007)](https://solen.info/solar/history/) | | | [Cycle 24-25 progress (December 1, 2023)](https://solen.info/solar/images/cycle24.png) | Noon SDO sunspot count [1K](images/noon/current_sdo_1k.png) image / [4K](images/noon/current_sdo_4k.png) (\*) | | | [Solar cycles 1-24 (July 1, 2020)](cycles1_to_present.html) | [POES auroral activity level [October 2009 - December 2012]](https://solen.info/solar/poes/poes.html) | | | [Comparison of cycles 21-25 (](images/comparison_recent_cycles.png)[December 1](https://solen.info/solar/images/cycle24.png)[, 2023)](images/comparison_recent_cycles.png) | [3rd SSN Workshop, Tucson, 2013](https://solen.info/solar/presentations/ssn_workshop_tucson_2013.ppt) | | | [Comparison of cycles 12-14, 16, 24-25 (](images/comparison_similar_cycles.png)[December 1](https://solen.info/solar/images/cycle24.png)[, 2023)](images/comparison_similar_cycles.png) | [4th SSN Workshop, Locarno, 2014](https://solen.info/solar/presentations/Parallel%20sunspot%20counts%20with%20SDO.pdf) | | | [Solar polar fields vs. solar cycles (November 26, 2023](https://solen.info/solar/polarfields/polar.html)) | [Cycle 25 spots (final update December 25, 2019)](https://solen.info/solar/cycle25_spots.html) | | | [Solar cycles 24-25 transition using 365d smoothing](https://solen.info/solar/images/Cycles_24_25_minimum.png) | [Research](http://solarresearch.info/): [Solar Cycle 25 Started on November 17, 2019 with 365 Days Smoothing](https://www.researchgate.net/publication/342548883_Solar_Cycle_25_Started_on_November_17_2019_with_365_Days_Smoothing) | ## Recent activity The geomagnetic field was very quiet on December 25. Solar wind speed at SOHO ranged between 372 and 443 km/sec. The high latitude magnetometer at [Andenes](https://flux.phys.uit.no/Last24/Last24_and1a.gif) recorded quiet levels. Solar flux density measured at 20h UT on 2.8 GHz was 166.7 - decreasing 14.8 over the previous solar rotation. (Centered 1 year average SF at 1 AU - 183 days ago: 158.70. In comparison SC24 peaked on June 28, 2014 at 145.50. **The next projected SC25 peak: 158.95 on July 7, 2023**). The Potsdam WDC planetary A index was 3 (STAR Ap - based on the mean of three hour interval *ap* indices: 2.8). Three hour interval K indices: 01000110 (**planetary**), 01101221 (**Boulder**), 01100020 (**Andenes**). The background x-ray flux is at the class B9 level (GOES 16). At the time of counting spots (see image time), spots were observed in 12 active regions using 2K resolution (SN: 236) and in 11 active regions using 1K resolution (SN: 154) SDO/HMI images. Region **13521** [N11W62] decayed slowly and was mostly quiet. C1 flares: C1.4 @ 23:47 UT Region **13524** [N25W51] reemerged with tiny spots. Region **13526** [N13W20] decayed further and was quiet. Region **13528** [N09W80] rotated partly out of view and was mostly quiet. Region **13529** [S20W40] lost most of the spots gained on the previous day and was mostly quiet. C1 flares: C1.6 @ 11:19 UT Region **13530** [N08W19] decayed slowly and was mostly quiet. C2 flares: C1.5 @ 09:01, C1.3 @ 20:54 UT Region **13531** [S20E04] gained spots and area as new flux emerged to the southwest of the main penumbra as well as in the trailing spot section. The new spots may be split into separate spot groups today or tomorrow. C1 flares: C1.5 @ 03:58 UT Region **13533** [N15E04] decayed slowly and was mostly quiet. C1 flares: C1.9 @ 03:16 UT *Spotted regions not observed (or interpreted differently) by SWPC/USAF*: **S9253** [N18W34] was quiet and stable. **S9261** [S05E36] emerged with a tiny spot. New region **S9263** [N08E44] emerged with a tiny spot. New region **S9264** [S09W26] emerged with tiny spots. **C2+ flares:** | | | | | | | | --- | --- | --- | --- | --- | --- | | Magnitude | Peak time (UT) | Location | Source | Recorded by | Comment | | C2.3 | 00:09 | | 13530 | GOES16 | simultaneous flare in AR 13521 | | C2.3 | 00:30 | | 13530 | GOES16 | | | C4.7 | 01:00 | N07W07 | 13530 | GOES16 | | | C3.6 | 01:35 | N07W07 | 13530 | GOES16 | | | C2.9 | 01:44 | | 13529 | GOES16 | | | C3.3 | 01:49 | | 13521 | GOES16 | | | C4.4 | 01:57 | | 13530 | GOES16 | | | C2.4 | 02:24 | | 13529 | GOES16 | | | C2.2 | 07:38 | N05W70 | 13528 | GOES16 | | | C2.4 | 07:45 | | 13528 | GOES16 | | ### Coronal mass ejections (CMEs) **December 23-25**: No obviously Earth directed CME observed. A couple of interesting CMEs were observed on December 24, however, available data was inconclusive as to whether any of these will reach Earth. ### Coronal holes [[Coronal hole history (since October 2002)]](https://solen.info/solar/coronal_holes.html) [Compare today's report to the situation one solar rotation ago: [28 days ago](https://solen.info/solar/old_reports/2023/november/20231128.html) [27 days ago](https://solen.info/solar/old_reports/2023/november/20231129.html) [26 days ago](https://solen.info/solar/old_reports/2023/november/20231130.html)] A recurrent negative polarity trans equatorial coronal hole (CH1195) will likely become Earth facing on December 29-30. ![](images/CH_20231210.png) ## Propagation Long distance low and medium frequency (below 2 MHz) propagation along paths north of due west over upper middle and high latitudes is fair to good. Propagation on long distance northeast-southwest paths is poor. ## Forecast The geomagnetic field is expected to be quiet on December 26-28 with a chance of unsettled and active intervals on December 28 should any of the Dec.24 CMEs reach Earth. | | | | | --- | --- | --- | | Coronal holes (1) | Coronal mass ejections (2) | M and X class flares (3) | | | | | 1) Effects from a coronal hole could reach Earth within the next 5 days. When the high speed stream has arrived the color changes to green. 2) Effects from a CME are likely to be observed at Earth within 96 hours. 3) There is a possibility of either M or X class flares within the next 48 hours. **Green**: 0-30% probability, **Yellow**: 30-70% probability, **Red**: 70-100% probability. ## Active solar regions [![](images/AR_CH_20231225.png)](images/AR_CH_20231225_hres.png) *(Click on image for 2K resolution). [4K resolution](images/AR_CH_20231225_4K.png). [Compare to the previous day's image](images/AR_CH_20231224.png).* *[0.5K image](images/charmap512.jpg)* *When available the active region map has a coronal hole polarity overlay where red (pink) is negative and blue is positive.* Data for all officially numbered solar regions according to the Solar Region Summary provided by NOAA/SWPC, all other regions are numbered sequentially as they emerge using the STAR spot number. Comments are my own, as is the STAR spot count (spots observed at or inside a few hours before midnight) and data for regions not numbered by SWPC or where SWPC has observed no spots. SWPC active region numbers in the table below and in the active region map above are the historic SWPC/USAF numbers. SWPC data considered to be not sufficiently precise (location, area, classification) are colored red. | Active region | SWPC date numbered STAR detected | Spot count | Location at midnight | Area | [Classification](http://sidc.oma.be/educational/classification.php) | SDO / HMI 4K continuumimage with magnetic polarity overlays | Comment | | --- | --- | --- | --- | --- | --- | --- | --- | | SWPC/ USAF | Magnetic(SDO) | SWPC | STAR | Current | Previous | | 2K | 1K | | 13521 | 2023.12.14 2023.12.15 | 1 | 3 | 1 | N11W64 | 0030 | HAX | HAX | | | area: 0050location: N11W49 | | 13523 | 2023.12.15 2023.12.16 | | | | N25W60 | | | | | | merged with AR 13524 | | 13525 | 2023.12.15 2023.12.16 | | | | S05W87 | | | | | | location: S09W71 | | 13524 | 2023.12.15 2023.12.16 | | | | N25W53 | | | | | | location: N22W55 | | 13526 | 2023.12.16 2023.12.17 | 2 | 6 | 4 | N15W35 | 0010 | BXO | CRO | | | location: N13W35area: 0025 | | 13528 | 2023.12.16 2023.12.18 | 3 | 3 | 3 | N07W83 | 0130 | DAO | DAO | | | area: 0190 location: N09W80 | | 13529 | 2023.12.16 2023.12.18 | 4 | 16 | 3 | S20W37 | 0320 | EHO | EHO | | | area: 0670 location: S20W40 | | S9247 | 2023.12.17 | | | | N14W50 | | | | | | | | S9248 | 2023.12.17 | | | | S21W59 | | | | | | | | 13530 | 2023.12.18 2023.12.19 | 9 | 26 | 6 | N08W19 | 0040 | CAI | DAI | | | beta-gamma area: 0090 | | S9252 | 2023.12.19 | | | | S16W54 | | | | | | | | S9253 | 2023.12.19 | | 10 | 2 | N18W34 | 0020 | | BXO | | | | | 13531 | 2023.12.19 2023.12.20 | 3 | 33 | 15 | S20E03 | 0160 | HAX | DHI | | | area: 0400 | | 13533 | 2023.12.19 2023.12.22 | 6 | 16 | 6 | N15E03 | 0010 | BXO | DRI | | | area: 0060location: N15E04 | | S9256 | 2023.12.20 | | | | N29W34 | | | | | | | | S9259 | 2023.12.23 | | | | N17W12 | | | | | | | | S9260 | 2023.12.23 | | | | N28W11 | | | | | | | | S9261 | 2023.12.24 | | 7 | 3 | S06E24 | 0030 | | CRO | | | | | S9263 | 2023.12.25 | | 1 | | N08E44 | 0003 | | AXX | | | | | S9264 | 2023.12.25 | | 2 | 1 | S09W26 | 0005 | | BXO | | | | | **Total spot count:** | **28** | **123** | **44** | | | **Sunspot number:** | **98** | **243** | **154** |  (total spot count + 10 \* number of spotted regions) | | **Weighted SN:** | **58** | **167** | **78** |  (Sum of total spot count + classification weighting for each AR. Classification weighting: X=0, R=3, A/S=5, H/K=10) | | **Relative sunspot number (Wolf number):** | **108** | **134** | **123** | | ## Monthly solar cycle data | Month | Average solar flux | International sunspot number ([WDC-SILSO](http://www.sidc.be/silso/home)) | Smoothed sunspot number (4) | Average [ap](http://www.wdc.rl.ac.uk/Help/Kp_Ap.html) (3) | | --- | --- | --- | --- | --- | | Measured | 1 AU | | 2014.02 | **170.3 (cycle peak)** | **166.3** | **146.1 (SC24 peak)** | 110.5 | 10.70 | | 2014.04 | 143.9 | 144.8 | 112.5 | **116.4** **(SC24 solar max)** | 7.88 | | 2017.09 | 91.3 | 92.3 | 43.6 | 18.2 (-1.3) | 18.22 (SC24 peak) | | 2019.11 | 70.2 | 68.7 | 0.5 | 2.0 (-0.6) (Solar minimum using 365d smoothing: November 17, 2019) | 4.19 | | 2019.12 | 70.8 | 68.6 | 1.6 | 1.8 (-0.2) (ISN 13 months smoothed solar minimum) | 3.22 | | 2022.04 | 130.8 | 131.7 | 84.0 | 73.0 (+4.3) | 11.79 | | 2022.05 | 133.8 | 136.8 | 96.5 | 77.4 (+4.4) | 7.48 | | 2022.06 | 116.1 | 119.8 | 70.3 | 81.1 (+3.7) | 8.20 | | 2022.07 | 125.4 | 129.5 | 91.4 | 86.7 (+5.6) | 9.51 | | 2022.08 | 114.2 | 117.1 | 74.6 | 92.6 (+5.9) | 10.92 | | 2022.09 | 135.1 | 136.5 | 96.0 | 96.5 (+3.9) | 12.18 | | 2022.10 | 133.5 | 132.7 | 95.5 | 98.9 (+2.4) | 11.16 | | 2022.11 | 123.4 | 120.7 | 80.5 | 101.2 (+2.3) | 9.33 | | 2022.12 | 147.9 | 143.4 | 112.8 | 106.7 (+5.5) | 10.99 | | 2023.01 | 182.4 | 176.6 | 144.4 | 113.3 (+6.6) | 8.73 | | 2023.02 | 167.2 | 163.2 | 111.3 | 117.8 (+3.5) | 14.48 (current SC25 peak) | | 2023.03 | 157.2 | 155.6 | 123.3 | 121.0 (+3.2) | 14.42 | | 2023.04 | 145.4 | 146.4 | 97.6 | 122.7 (+1.7) | 13.40 | | 2023.05 | 155.6 | 159.2 | 137.4 | 123.9 (+1.2) | 10.67 | | 2023.06 | 161.7 | 166.8 | 160.5 | (126.3 projected, +2.4) | 8.95 | | 2023.07 |  176.4 | 182.2 | 159.1 | (127.1 projected, +0.8) | 8.15 | | 2023.08 | 153.7 | 157.6 | 114.8 | (128.2 projected, +1.1) | 7.19 | | 2023.09 |  154.4 | 156.0 | 133.6 | (130.4 projected, +2.2) | 14.26 | | 2023.10 |  142.8 | 141.9 | 99.4 | (132.2 projected, +1.8) | 8.16 | | 2023.11 | 153.5 | 150.2 | 105.4 | (134.1 projected max SC25, +1.9) | 12.20 | | 2023.12 | *152.2 (1)* | | *99.2 (2A) / 123.0 (2B) / 150.8 (2C)* | (132.7 projected, -1.4) | (11.2) | | 2024.01 | | | | (130.0 projected, -2.7) | | | 2024.02 | | | | (129.9 projected, -0.1) | | | 2024.03 | | | | (129.3 projected, -0.6) | | | 2024.04 | | | | (130.1 projected, +0.8) | | | 2024.05 | | | | (132.2 projected, +2.1) | | | 2024.06 | | | | (131.5 projected, -0.7) | | 1) Running average based on the daily 20:00 UTC observed solar flux value at 2800 MHz and any corrections applied to that measurement. 2A) Current impact on the monthly sunspot number based on the Boulder (NOAA/SWPC) sunspot number (accumulated daily sunspots / month days). 2B) Boulder SN current month average to date. 2C) STAR SDO 1K Wolf number 30 day average. 3) Running average based on the quicklook and definitive Potsdam WDC *ap* indices. Values in red are based on the definitive international [GFZ Potsdam](https://www.gfz-potsdam.de/en/kp-index/) WDC *ap* indices. 4) Source: [WDC-SILSO, Royal Observatory Of Belgium, Brussels](https://sidc.be/SILSO/home) ## Solar cycles 24-25 ![Smoothed SF and sunspot numbers](images/Cycle_24_averages.png) ### Update on the progress of solar cycle 25 as of December 7, 2023 Due to relatively low solar activity over the last couple of months, the possibility that solar cycle 25 has already peaked has increased significantly. Whether the first peak (and maybe solar max) will be in June or July depends on solar activity in December and early January 2024. If the average solar flux is less than 150 during this period, the first peak of solar cycle 25 using 365 day smoothing will likely be sometime between June 2 and July 9. Should the average solar flux instead become 140 then the peak date will be in early June (June 4 for solar flux, June 6 for STAR 2K SN, and June 7 for all the other sunspot numbers in the graph above). We won't know for a while yet when the final peak will be, however, it is interesting that the peak of SC25 could be as early as June 2023. The next update will likely be posted here in January 2024. -------------------------------------------------------------------------------------- This report has been prepared by [Jan Alvestad](mailto:webm%40solen%2einfo). It is based on the analysis of data from whatever sources are available at the time the report is prepared. All time references are to Universal Time. Comments and suggestions are always welcome. SDO images are courtesy of NASA/SDO and the AIA, EVE, and HMI science teams.
http://solen.info/solar/
<!DOCTYPE HTML PUBLIC "-//W3C/DTD HTML 3.2//EN"> <!-- Created by Splash! 1.2 --> <!-- This page created by: John H. Doe --> <!-- Web Page Author's e-mail address: crowfeather@dreamsdreams.com --> <!-- Copyright: John H. Doe --> <!-- Last Updated: 4/14/00 --> <!-- 20:46:33 --> <HTML> <HEAD> <TITLE>..dreamsdreams - the works of john h doe</TITLE> <meta name="GENERATOR" content="Splash! 1.2"> <meta name="AUTHOR" content="John H. Doe"> <META name="keywords" content="prose,poetry,original,short,story,short story,short stories,poem,poems,stories,personal,madness,sanity,prose,original,story,short stories,poems,personal,sanity,poetry,short,short story,poem,stories,madness,poetry,story,poem,personal,prose,short,short stories,stories,sanity,original,short story,poems,madness,original,short stories,personal,poetry,short story,stories,short,poem,madness,prose,story,poems,sanity,story,stories,original,poem,sanity,prose,short story,personal,poetry,short stories,madness,short,poems,prose,short stories,sanity,short,stories,story,personal,original,poems,poetry,poem,short story,madness"> <META name="description" content="Original writing, prose in the form of short stories, and poetry--ruminating poems."> </HEAD> <BODY BGCOLOR="#ffffff" TEXT="#000000" LINK="#0000C0" VLINK="#C000C0" ALINK="#C00000" BACKGROUND="whitebrick.jpg"> <!-- Text Block --> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=600><TR><TD ALIGN=left> <FONT size=7><FONT face="Garamond","Palatino",serif><FONT color="#d6b58f">..dreamsdreams</FONT></FONT></FONT> </TD></TR></TABLE> <IMG SRC="spla3a3a.gif" WIDTH=1 HEIGHT=1><BR CLEAR=ALL> <!-- Horizontal Line --> <HR ALIGN=center WIDTH=228 SIZE=2 COLOR="#ffff33"> <IMG SRC="spla3a3a.gif" WIDTH=1 HEIGHT=25><BR CLEAR=ALL> <!-- Text Block --> <DIV ALIGN=CENTER> <FONT face="Garamond","Palatino",serif><FONT color="#f76b00"><b>works by john h doe</b></FONT></FONT> <br> <br> <p><b><a href="twih.html"><font face="Garamond", "Palatino", serif>the war in heaven</font></a></b> <!-- START - Joined Objects Table --> </p> </DIV> <DIV ALIGN=CENTER> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0><TR> <TD VALIGN=TOP> <!-- Display Image --> <IMG SRC="salk.jpg" BORDER=0 ALT="Image of salk.jpg" WIDTH=100 HEIGHT=83 HSPACE=0 VSPACE=0 ></TD> <TD VALIGN=MIDDLE> <!-- Spacer --> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=17 HEIGHT=36><TR><TD></TD></TR></TABLE> </TD> <TD VALIGN=MIDDLE> <!-- Text Block --> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=403> <TR valign="top"> <TD ALIGN=left> <FONT face="Garamond","Palatino",serif><FONT color="#5c00ff"><b>short stories</b></FONT><BR> <A HREF="wiseman.html">the wise man</A> <FONT color="#0078b0">- a children's story for grown-ups</FONT><BR> </FONT><font face="Garamond","Palatino",serif><a href="flute.html">the flute</a> <font color="#0078b0">- magic? is there such a thing?</font><br> <a href="line.html"></a></font><FONT face="Garamond","Palatino",serif><A HREF="line.html">the line</A> <FONT color="#008890">- man goes nowhere but tries to enjoy the ride</FONT><BR> <A HREF="awakening.html">awakening</A> <FONT color="#584898">- a madman becomes sane</FONT></FONT> </TD> </TR></TABLE> </TD> </TR></TABLE> <!-- END - Joined Objects Table --> </DIV> <IMG SRC="spla3a3a.gif" WIDTH=1 HEIGHT=33><BR CLEAR=ALL> <DIV ALIGN=CENTER> <!-- START - Joined Objects Table --> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0><TR> <TD VALIGN=TOP> <!-- Display Image --> <IMG SRC="earthrise.jpg" BORDER=0 ALT="Image of earthrise.jpg" WIDTH=105 HEIGHT=83 HSPACE=0 VSPACE=0 ></TD> <TD VALIGN=TOP> <!-- Spacer --> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=17 HEIGHT=36><TR><TD></TD></TR></TABLE> </TD> <TD VALIGN=TOP> <!-- Text Block --> <DIV ALIGN=CENTER> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=168><TR> <TD ALIGN=left> <FONT face="Garamond","Palatino",serif><FONT color="#ff366e"><b>poems</b></FONT><BR> <A HREF="ether.html">an ether</A><FONT color="#005c00"> - published</FONT><BR> <A HREF="shine.html">shine</A><BR> <A HREF="dream.html">the dream</A><BR> <A HREF="far.html">far</A><BR> <A HREF="you.html">you</A><BR> <A HREF="apocalypse.html">apocalypse</A><BR> </FONT><font face="Garamond","Palatino",serif><a href="lions.html">lions</a><br> <a href="defendants.html"></a></font><FONT face="Garamond","Palatino",serif><A HREF="defendants.html">defendants</A><FONT color="#a50000"> - experimental</FONT></FONT> </TD> </TR></TABLE> </DIV></TD> </TR></TABLE> <img src="spla3a3a.gif" width="1" height="33"><!-- END - Joined Objects Table --> </DIV> <div align="center"> <IMG SRC="spla3a3a.gif" WIDTH=1 HEIGHT=17><BR CLEAR=ALL> <!-- START - RIGHT ALIGN TAG --> </div> <table border=0 cellspacing=0 cellpadding=0> <tr> <td valign=TOP> <table border=0 cellspacing=0 cellpadding=0 width=50 align=RIGHT> <tr> <td align=left> </td> </tr> </table> <br clear=ALL> </td> <td valign=MIDDLE> <table border=0 cellspacing=0 cellpadding=0 width=265> <tr> <td align=left> <p><FONT face="Garamond","Palatino",serif><b><font color="#990033">visit</font></b><br> <a href="http://ipaladin.net/">ipaladin.net</a> <font color="#330066">- my home page<br> <a href="http://johnhdoe.com/">johnhdoe.com</a> <font color="#FF0000">- my weblog<br> <a href="http://palad1n.com/">palad1n</a> <font color="#4422CC">- my serious side</font> </font></FONT></p> <p><font face="Garamond" color="#330066"><a href="http://www.prayerbook.biz/">the sinner&#146;s prayer book</a> </font></p> </td> </tr> </table> </td> </tr> </table> <DIV ALIGN=RIGHT> <!-- START - Joined Objects Table --> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 width="246"> <TR> <TD VALIGN=MIDDLE width="176"> <!-- Text Block --> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=176> <TR><TD ALIGN=left> <FONT color="#7a3600" FACE="Garamond","Palatino",serif>earth breathing out smoke<BR>gutted and standing glassy<BR>alone and crowded<BR><div align=right>&copy; 2000</div></FONT> </TD></TR></TABLE> </TD> <TD VALIGN=TOP width="70"> <!-- Text Block --> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=70 ALIGN=RIGHT><TR><TD ALIGN=left> </TD></TR></TABLE> <BR CLEAR=ALL> </TD> </TR></TABLE> <!-- END - Joined Objects Table --> </DIV> <!-- END - Lock Page Width --> <img src="spla3a3a.gif" width="1" height="13"><br><!-- END - Joined Objects Table --> <P ALIGN=CENTER> <FONT FACE="Garamond","Palatino",serif> <script type="text/javascript"> <!-- var first = 'ma'; var second = 'il'; var third = 'to:'; var address = '&#111;&#110;&#101;'; var domain = '&#110;&#121;&#108;&#108;&#46;&#99;&#111;&#109;'; document.write('<a href="'); document.write(first+second+third); document.write(address); document.write('&#64;'); document.write(domain); document.write('">'); document.write('email me<\/a>'); // --> </script></FONT><BR> <BR> <BR> <BR> <a href="bvotd.html"><IMG SRC="cross.jpg" WIDTH=15 HEIGHT=23></a><BR> </P> <P ALIGN=CENTER><!--WEBBOT bot="HTMLMarkup" startspan ALT="Site Meter" --> <script type="text/javascript" language="JavaScript">var site="s15dreamsdreams"</script> <script type="text/javascript" language="JavaScript1.2" src="http://s15.sitemeter.com/js/counter.js?site=s15dreamsdreams"> </script> <noscript> <a href="http://s15.sitemeter.com/stats.asp?site=s15dreamsdreams" target="_top"> <img src="http://s15.sitemeter.com/meter.asp?site=s15dreamsdreams" alt="Site Meter" border=0></a> </noscript> <!-- Copyright (c)2002 Site Meter --> <!--WEBBOT bot="HTMLMarkup" Endspan --> </P> <!-- END - RIGHT ALIGN TAG --> </BODY> </HTML>
..dreamsdreams - the works of john h doe | | | --- | | ..dreamsdreams | ![](spla3a3a.gif) --- ![](spla3a3a.gif) **works by john h doe** **[the war in heaven](twih.html)** | | | | | | | --- | --- | --- | --- | --- | | Image of salk.jpg | | | | --- | | | | | | | --- | | **short stories** [the wise man](wiseman.html) - a children's story for grown-ups [the flute](flute.html) - magic? is there such a thing? [the line](line.html) - man goes nowhere but tries to enjoy the ride [awakening](awakening.html) - a madman becomes sane | | ![](spla3a3a.gif) | | | | | | | --- | --- | --- | --- | --- | | Image of earthrise.jpg | | | | --- | | | | | | | --- | | **poems** [an ether](ether.html) - published [shine](shine.html) [the dream](dream.html) [far](far.html) [you](you.html) [apocalypse](apocalypse.html) [lions](lions.html) [defendants](defendants.html) - experimental | | ![](spla3a3a.gif) ![](spla3a3a.gif) | | | | | | --- | --- | --- | --- | | | | | --- | | | | | | | --- | | **visit** [ipaladin.net](http://ipaladin.net/) - my home page [johnhdoe.com](http://johnhdoe.com/) - my weblog [palad1n](http://palad1n.com/) - my serious side [the sinner’s prayer book](http://www.prayerbook.biz/) | | | | | | | | --- | --- | --- | --- | | | | | --- | | earth breathing out smokegutted and standing glassyalone and crowded© 2000 | | | | | --- | | | | ![](spla3a3a.gif) <!-- var first = 'ma'; var second = 'il'; var third = 'to:'; var address = '&#111;&#110;&#101;'; var domain = '&#110;&#121;&#108;&#108;&#46;&#99;&#111;&#109;'; document.write('<a href="'); document.write(first+second+third); document.write(address); document.write('&#64;'); document.write(domain); document.write('">'); document.write('email me<\/a>'); // --> [![](cross.jpg)](bvotd.html) var site="s15dreamsdreams" [![Site Meter](http://s15.sitemeter.com/meter.asp?site=s15dreamsdreams)](http://s15.sitemeter.com/stats.asp?site=s15dreamsdreams)
http://www.dreamsdreams.com/
<html> <head><title>Pipes and Tobacco and the Search for Condor</title> <meta Name="author" Content="Chet Gottfried"> <meta Name="description" Content="A collection of pipe and tobacco pages, from 3D renderings to Gallaher's Condor to pipes."> <meta Name="keywords" Content="3D renderings, Condor, Condor tobacco, pipe tobacco, pipe, pipes, Ben Wade, Mark Tinsky, Tim Fuller"> </head> <body background="images/p96-long.jpg" bgcolor="#000000" text="#dcebfc" link="#82c4e3" vlink="#817dc4"> <p> <h2><font color=#b9dedf>Pipes and Tobacco<br>and the Search for Condor</font></h2> <table border=0 width=600 height=0 cellpadding=0 cellspacing=10> <tr><td width=25%> <br> </td><td> <img src="images/rule-4.gif" width=450 height=7 hspace=0 vspace=0 border=0 align=bottom> <img src="images/rule-4.gif" width=450 height=2 hspace=0 vspace=4 border=0 align=top> <br> &nbsp; <br> Pipe smoking is a pleasure . . . though also a hazard in the eyes (and lungs) of some. For the former, following is a list of my own pipe-related pages and my favorite pipe links. <p> <b>Update 6 Feb. 2011:</b> Testing a Tim Fuller otherwood pipe, <a href="fuller14.htm">Marblewood</a>. <img src="images/rule-4.gif" width=450 height=3 hspace=0 vspace=12 border=0 align=top><p> <font color=#b9dedf size=+1><b>My Pipe and Tobacco Pages</b></font><br> <table border=0 width=100% cellpadding=6 cellspacing=0> <tr valign=top><td colspan=2>My design <a HREF="contest.htm">entry</a> in Le Nuvole competition</b></td></tr> <tr valign=top><td><a HREF="anatomy.htm">Anatomy</a> of a pipe </td><td>A 3D cutaway</td></tr> <tr><td align=center colspan=2><font SIZE=+1><br><i>The Hunt for Condor</i></font></td></tr> <tr valign=top><td><a HREF="get-con.htm">Obtaining Condor</a> </td><td>Resources by mail and e-mail</td></tr> <tr valign=top><td><a href="tob-rev.htm">Tobacco reviews 1</a> <br> <a href="tob-rev2.htm">Reviews 2</a></td><td>Some irreverent reviews</td></tr> <tr valign=top><td><a href="pipe_car.htm">2 pipe cartoons</a></td><td>(Originally drawn for <i>Pipe Friendly</i>)</td></tr> <tr valign=top><td align=center colspan=2><br><font size=+1><i>A pipe assortment</i></font></td></tr> <tr valign=top><td><a HREF="preben.htm">Preben Holm</a></td><td> </tr> <tr valign=top><td><a HREF="benwade.htm">Ben Wade</a></td><td><a href="benwade2.htm">More Ben Wades</a></tr> <tr valign=top><td colspan=2> &nbsp;<br><a HREF="nuvole.htm">Le Nuvole</a> pipes by Maurizio Tombari</td></tr> <tr valign=top><td colspan=2> &nbsp;<br>Pipes by Paul <a HREF="bona.htm">Bonaquisti</a></td></tr> <tr valign=top><td colspan=2> &nbsp;<br>A few <a href="m-pipe2.htm">pipes</a> by <a href="m-tinsky.htm">Mark Tinsky</a>, along with <a HREF="bridge.htm">Odin's spear</a>, <a HREF="practice.htm">Practice</a>, and <a HREF="drift.htm">Driftwood,</a> not to mention <a href="these.htm">these five</a> or the beauty of <a href="briar.htm">natural briar</a></td></tr> <tr valign=top><td colspan=2> &nbsp;<br>Tim Fuller <a href="fuller.htm">pipes</a>, <a href="fuller2.htm">Flare</a>, <a href="fuller3.htm">Raptor</a>, <a href="fuller4.htm">Coco</a>, <a href="fuller5.htm">Applejack</a>, <a href="fuller6.htm">Adagio</a>, <a href="fuller7.htm">Pawlonia</a>, <a href="fuller8.htm">Bocote</a>, <a href="fuller9.htm">Golden</a>, <a href="fuller10.htm">Box elder</a>, <a href="fuller11.htm">Raven</a>, <a href="fuller12.htm">Sunset</a>, <a href="fuller13.htm">Ripple</a>, and <a href="fuller14.htm">Marblewood</a></td></tr> <tr valign=top><td>&nbsp;<br><a href="mypipe.htm">My pipe!</a></td><td>&nbsp;<br>A <a href="oddend.htm">random</a> assortment</td></tr> <tr valign=top><td>&nbsp;<br>New <a href="new_old.htm">old pipes</a></td><td>&nbsp;<br></td></tr> <tr valign=top><td align=center colspan=2><font size=+1><br><i>My 3D rendered pipes</i></font></td></tr> <tr valign=top><td><a href="../3d/3d5.htm">Argo: The pipe of Ulysses</a></td><td>My first &quot;natural&quot; texture pipe</td></tr> <tr valign=top><td><a href="../3d/3d6.htm">Star of Finland</a></td><td>Good photo rendering</td></tr> <tr valign=top><td><a HREF="../3d/3d7.htm">Pipe of the ax</a></td><td>A rough-hewn freehand</td></tr> <tr valign=top><td><a HREF="../3d/3d8.htm">Head Ransom</a></td><td>Egil Skallagrimsson's pipe</td></tr> <tr valign=top><td><a HREF="../3d/3d9.htm">Pohjolan tyt&auml;r</a></td><td>A woman's pipe (with jewelry)</td></tr> <tr valign=top><td><a HREF="../3d/3d10.htm">Odin's spear</a></td><td>A weapon of a pipe</td></tr> <tr valign=top><td><a HREF="../3d/3d11.htm">Leonardo Da Vinci's pipe</a></td><td>A recently discovered design</td></tr> <tr valign=top><td><a HREF="../3d/3d12.htm">The starship</a></td><td>Smoke the universe in style</td></tr> <tr valign=top><td align=center colspan=2><font SIZE=+1><br><i>My 3D AVIs</i></font></td></tr> <tr valign=top><td><a HREF="../3d/look-avi.htm">The smoke ring</a></td><td>Pohjolan tyt&auml;r in action</td></tr> </table> &nbsp; <br> <img SRC="images/rule-4.gif" WIDTH=450 HEIGHT=3 HSPACE=0 VSPACE=12 BORDER=0 ALIGN=top> <br> <font COLOR=#B9DEDF size=+1><b>Pipe and Tobacco Links</b></font> <ul> <li>About the first place anyone should stop at is <a HREF="http://www.pipes.org/">Pipes Web Page,</a> an excellent resource for the pipe smoker (and the odd cigar smokers among you). <br> <li>Another terrific page on pipes is produced by the Organization of Online Pipe Smokers, informally known to its friends as <a HREF="http://www.fujipub.com/ooops/">Ooops.</a> <br> <li>For a very personal approach to rating various tobaccos, an excellent site is maintained by <a HREF="http://www.priss.org/pipes.shtml">Kevin Cook</a>. <br> <li>Happily, the extensive <a href="http://personal.inet.fi/koti/antti.kalliokoski/pipe.htm">pipe pages</a> of my good friend Antti Kalliokoski are online again. <br> <li><a HREF="http://www.AmSmoke.com">Mark Tinsky</a> is an American pipe designer-maker whose pipes look and smoke beautifully. <br> <li>Over at <a HREF="http://www.parklanetobacconist.com/">Park Lane Tobacconist</a>, Paul Bonacquisti and friends sell a wonderous assortment of pipes and tobacco. <br> <li><a HREF="http://smokingpipes.com/">Smokingpipes.com</a> has an amazing number of pipes and tobacco for sale, as well as a weekly newsletter. <br> <li>Recalling the dynamics and beauty of Preben Holm and Ben Wade, <a href="http://www.tcfullerpipes.com">TCFuller Pipes</a> has a superb collection of handmade freehands. <li>The <a href="http://www.flashnet.it/medici/">Enzo Medici Smoking Area</a> has beautiful pages, impressive artwork, and an absolutely amazing club. <br> <li>Both a set of pages and a periodical, <a href="http://www.flash.net/~gallow/pipes.html">Pipe Friendly</a> is, well, friendly.<br> <li>In addition to having collected interesting pipes, Al Maloney, in <a href="http://members.aol.com/_ht_a/alsie32/private/index.html">Al's Pipe Pages</a>, has carved his own unique series of pipes.<br> <li>My favorite online tobacconist is <a href="http://www.smoke.co.uk">James Barber Tobacconists and Cigar Merchants</a> (England).<br> <li>The source of beautiful pipes made by Maurizio Tombari: <a href="http://www.lenuvolepipes.com/">Le Nuvole</a> (with a newly designed and friendly site, September 2009).<br> <li>Juan Carlos has started the <a href="http://groups.yahoo.com/group/italianpipe">Yahoo Italian Pipes Group</a> (YIPG) for those interested in Italian pipe makers.<br> </ul> <p> <img src="images/rule-4.gif" width=450 height=2 hspace=0 vspace=4 border=0 align=bottom> <img src="images/rule-4.gif" width=450 height=7 hspace=0 vspace=1 border=0 align=top> </td></tr></table> <br> &nbsp; <br> <a href="../index.html">Look Out!</a> &nbsp; | &nbsp; <a href="../con_here.htm">Contact</a> <p> </body> </html>
Pipes and Tobacco and the Search for Condor ## Pipes and Tobaccoand the Search for Condor | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | | |   Pipe smoking is a pleasure . . . though also a hazard in the eyes (and lungs) of some. For the former, following is a list of my own pipe-related pages and my favorite pipe links. **Update 6 Feb. 2011:** Testing a Tim Fuller otherwood pipe, [Marblewood](fuller14.htm). **My Pipe and Tobacco Pages** | | | --- | | My design [entry](contest.htm) in Le Nuvole competition | | [Anatomy](anatomy.htm) of a pipe | A 3D cutaway | | *The Hunt for Condor* | | [Obtaining Condor](get-con.htm) | Resources by mail and e-mail | | [Tobacco reviews 1](tob-rev.htm) [Reviews 2](tob-rev2.htm) | Some irreverent reviews | | [2 pipe cartoons](pipe_car.htm) | (Originally drawn for *Pipe Friendly*) | | *A pipe assortment* | | [Preben Holm](preben.htm) | | | [Ben Wade](benwade.htm) | [More Ben Wades](benwade2.htm) | | [Le Nuvole](nuvole.htm) pipes by Maurizio Tombari | | Pipes by Paul [Bonaquisti](bona.htm) | | A few [pipes](m-pipe2.htm) by [Mark Tinsky](m-tinsky.htm), along with [Odin's spear](bridge.htm), [Practice](practice.htm), and [Driftwood,](drift.htm) not to mention [these five](these.htm) or the beauty of [natural briar](briar.htm) | | Tim Fuller [pipes](fuller.htm), [Flare](fuller2.htm), [Raptor](fuller3.htm), [Coco](fuller4.htm), [Applejack](fuller5.htm), [Adagio](fuller6.htm), [Pawlonia](fuller7.htm), [Bocote](fuller8.htm), [Golden](fuller9.htm), [Box elder](fuller10.htm), [Raven](fuller11.htm), [Sunset](fuller12.htm), [Ripple](fuller13.htm), and [Marblewood](fuller14.htm) | | [My pipe!](mypipe.htm) | A [random](oddend.htm) assortment | | New [old pipes](new_old.htm) | | | *My 3D rendered pipes* | | [Argo: The pipe of Ulysses](../3d/3d5.htm) | My first "natural" texture pipe | | [Star of Finland](../3d/3d6.htm) | Good photo rendering | | [Pipe of the ax](../3d/3d7.htm) | A rough-hewn freehand | | [Head Ransom](../3d/3d8.htm) | Egil Skallagrimsson's pipe | | [Pohjolan tytär](../3d/3d9.htm) | A woman's pipe (with jewelry) | | [Odin's spear](../3d/3d10.htm) | A weapon of a pipe | | [Leonardo Da Vinci's pipe](../3d/3d11.htm) | A recently discovered design | | [The starship](../3d/3d12.htm) | Smoke the universe in style | | *My 3D AVIs* | | [The smoke ring](../3d/look-avi.htm) | Pohjolan tytär in action |   **Pipe and Tobacco Links** * About the first place anyone should stop at is [Pipes Web Page,](http://www.pipes.org/) an excellent resource for the pipe smoker (and the odd cigar smokers among you). * Another terrific page on pipes is produced by the Organization of Online Pipe Smokers, informally known to its friends as [Ooops.](http://www.fujipub.com/ooops/) * For a very personal approach to rating various tobaccos, an excellent site is maintained by [Kevin Cook](http://www.priss.org/pipes.shtml). * Happily, the extensive [pipe pages](http://personal.inet.fi/koti/antti.kalliokoski/pipe.htm) of my good friend Antti Kalliokoski are online again. * [Mark Tinsky](http://www.AmSmoke.com) is an American pipe designer-maker whose pipes look and smoke beautifully. * Over at [Park Lane Tobacconist](http://www.parklanetobacconist.com/), Paul Bonacquisti and friends sell a wonderous assortment of pipes and tobacco. * [Smokingpipes.com](http://smokingpipes.com/) has an amazing number of pipes and tobacco for sale, as well as a weekly newsletter. * Recalling the dynamics and beauty of Preben Holm and Ben Wade, [TCFuller Pipes](http://www.tcfullerpipes.com) has a superb collection of handmade freehands. * The [Enzo Medici Smoking Area](http://www.flashnet.it/medici/) has beautiful pages, impressive artwork, and an absolutely amazing club. * Both a set of pages and a periodical, [Pipe Friendly](http://www.flash.net/~gallow/pipes.html) is, well, friendly.* In addition to having collected interesting pipes, Al Maloney, in [Al's Pipe Pages](http://members.aol.com/_ht_a/alsie32/private/index.html), has carved his own unique series of pipes.* My favorite online tobacconist is [James Barber Tobacconists and Cigar Merchants](http://www.smoke.co.uk) (England).* The source of beautiful pipes made by Maurizio Tombari: [Le Nuvole](http://www.lenuvolepipes.com/) (with a newly designed and friendly site, September 2009).* Juan Carlos has started the [Yahoo Italian Pipes Group](http://groups.yahoo.com/group/italianpipe) (YIPG) for those interested in Italian pipe makers. |   [Look Out!](../index.html)   |   [Contact](../con_here.htm)
https://www.lookoutnow.com/pipe/smoke1.htm
<!DOCTYPE HTML PUBLIC "-//IETF//DTD HTML 2.0//EN"> <META NAME="Women in Ancient Rome"> <META CONTENT="Women in Ancient Rome"> <HEAD><TITLE>Women in Ancient Rome - Crystalinks</TITLE></HEAD> <body bgcolor="#FFFFFF" text="#000000" Link="#0000FF" Vlink="#0066FF" Alink="#0000FF"> <P> <BR> <center><p style="font-size:20px"/>Women in Ancient Rome </p> <P> <BR> <IMG SRC="rome-women800.jpg"></center> <P> Many girls went to a public primary school. Ovid and Martial imply that boys and girls were educated either together or similarly, and Livy takes it for granted that the daughter of a centurion would be in school. Children of the elite were taught Greek as well as Latin from an early age. Children of both genders learned to behave socially by attending dinner parties and other events and participated in religious festivals singing formal compositions in a choir. <P> Among the upper classes, women seem to have been well-educated, some highly so, and were sometimes praised by the male historians for their learning and cultivation. Cornelia Metella, the young wife of Pompey the Great at the time of his death, was distinguished for her musicianship and her knowledge of geometry, literature, and philosophy. This degree of learning indicates formal preparation. <P> Because women took no official part in public life, the lives of boys and girls began to diverge dramatically after they formally came of age, and memorials to women recognize their domestic qualities far more often than intellectual achievements. The skills a Roman matron needed to run a household required training, and mothers probably passed on their knowledge to their daughters in a manner appropriate to their station in life, given the emphasis in Roman society on traditionalism. <P> Girls are depicted in Roman art as playing many of <A HREF="romesports.html">the same games</a> as boys, such as ball, hoop-rolling, and knucklebones. Dolls are sometimes found in the tombs of those who died before adulthood. The figures are typically 15-16 cm tall, with jointed limbs, and made of materials such as wood, terracotta, and especially bone and ivory. Girls coming of age dedicated their dolls to Diana, the goddess most concerned with girlhood, or to Venus when they were preparing for marriage. <P> <BR> <HR> <P> <BR> Freeborn women in ancient Rome were citizens (cives), but could not vote or hold political office. Because of their limited public role, women are named less frequently than men by Roman historians. But while Roman women held no direct political power, those from wealthy or powerful families could and did exert influence through private negotiations. <P> Exceptional women who left an undeniable mark on history range from the semi-legendary Lucretia and Claudia Quinta, whose stories took on mythic significance; fierce Republican-era women such as Cornelia, mother of the Gracchi, and Fulvia, who commanded an army and issued coins bearing her image; women of the Julio-Claudian dynasty, most prominently Livia, who contributed to the formation of Imperial mores; and the empress Helena, a driving force in establishing Christianity as the official religion of Rome. <P> As is the case with male members of society, elite women and their politically significant deeds eclipse those of lower status in the historical record. Inscriptions and especially epitaphs document the names of a wide range of women throughout the Roman Empire, but often tell little else about them. Some vivid snapshots of daily life are preserved in Latin literary genres such as comedy, satire, and poetry, particularly the poems of Catullus and Ovid, which offer glimpses of women in Roman dining rooms and boudoirs, at sporting and theatrical events, shopping, putting on makeup, practicing magic, worrying about pregnancy - all, however, through male eyes. <P> The published letters of Cicero, for instance, reveal informally how the self-proclaimed great man interacted on the domestic front with his wife Terentia and daughter Tullia, as his speeches demonstrate through disparagement the various ways Roman women could enjoy a free-spirited sexual and social life. <P> The one major public role reserved solely for women was in the sphere of religion: the priestly office of the Vestals. Freed of any obligation to marry or have children, the Vestals devoted themselves to the study and correct observance of rituals which were deemed necessary for the security and survival of Rome but which could not be performed by the male colleges of priests. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Noble Women</h3> </center> <P> <BR> Noble woman came from, well, noble families. They were often those who could trace lineage to one of Romes former consuls or Emperors either through blood or marriage. These women were society's elite and attended banquets, festivals, and great occasions with pomp. At the gladiatorial games they had the better seating at nearly ground level. <P> For all this however, they had very little distinguishing them from common Roman freed women; from the plebeians of the lower classes. Both were focused on the home, on being a good wife, on making their husbands successful, on bearing children, and on raising strong children - especially sons. How true the Latin saying rings, et genus et formam Regina Pecunia donatur. (Queen money brings both family and beauty) <P> There were several things which marked a difference between a noble women and free women. For one, Noble women usually tried to have more children than the lower class did. This was mostly because of the added pressure to provide an heir. <P> Also the mortality rate of children was so high that even after having a son a noble women would want to have another lest the first die. It was common for only three children out of ten to survive childhood. Another thing that marked a difference between the classes was that on no account was a Noble woman to work outside of the home. It was considered highly improper and menial for the woman to help provide the families income, although in poorer families there was often little choice. <P> Some of the richer Roman women did run their own businesses and own property, especially towards the middle and end of the Empire. This was certainly not the norm but it did happen. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Freedwomen</h3> </center> <P> <BR> Freedwomen were freed slaves who owed a period of service, the terms of which might be agreed upon as a precondition of freedom, to her former owner, who became her patron. The patron had obligations in return, such as paying for said services and helping in legal matters. The patron-client relationship was one of the fundamental social structures of ancient Rome, and failure to fulfill one's obligations brought disapproval and censure. <P> In most ways, freedwomen had the same legal status as freeborn women. But because under Roman law a slave had no father, freed slaves had no inheritance rights unless they were named in a will. <P> The relationship of a former slave to her patron could be complicated. In one legal case, a woman named Petronia Iusta attempted to show - without a birth declaration to prove it - that she had been free-born. Her mother, she acknowledged, had been a slave in the household of Petronius Stephanus and Calatoria Themis, but Iusta maintained that she had been born after her mother's manumission. Calatoria, by now a widow, in turn argued that Iusta was born before her mother was free and that she had been manumitted, therefore owing her former owner the service due a patron. Calatoria could produce no documentation of this supposed manumission, and the case came down to the testimony of witnesses. <P> Uneducated or unskilled slaves had few opportunities to earn their freedom, and if they became free would lack means of supporting themselves. Therefore, a freedwoman in the workplace could have the advantage in training and skill over a woman born to a free family of working poor. <P> The status of freedwomen, like freedmen, varied widely. Caenis was a freedwoman and secretary to the Emperor Vespasian; she was also his concubine. He is said to have lived with her faithfully, but she was not considered a wife. <P> <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Women in the Family and Law</h3> </center> <P> <BR> Both daughters and sons were subject to patria potestas, the power wielded by their father as head of household (familia). A Roman household was considered a collective (corpus, a "body") over which the pater familias had mastery (dominium). Slaves, who had no legal standing, were part of the household as property. In the early Empire, the legal standing of daughters differs little if at all from that of sons. If the father died without a will, the right of a daughter to share in the family property was equal to that of a son, though legislation in the 2nd century BC had attempted to limit this right. Even apart from legal status, daughters seem no less esteemed within the Roman family than sons, though sons were expected to ensure family standing by following their fathers into public life. <P> The pater familias had the right and duty to find a husband for his daughter, and first marriages were normally arranged. Technically, the couple had to be old enough to consent, but the age of consent was 12 for girls and 14 for boys, though in practice boys seem to have been on average five years older. <P> Among the elite, 14 was the age of transition from childhood to adolescence, but a betrothal might be arranged for political reasons when the couple were too young to marry, and in general noble women married younger than women of the lower classes. Most Roman women would have married in their late teens to early twenties. An aristocratic girl was expected to be a virgin when she married, as her young age might indicate. A daughter could legitimately refuse a match made by her parents only by showing that the proposed husband was of bad character. <P> In the early Republic, the bride became subject to her husband's potestas, but to a lesser degree than their children. By the early Empire, however, a daughter's legal relationship to her father remained unchanged when she married, even though she moved into her husband's home. This arrangement was one of the factors in the degree of independence Roman women enjoyed relative to those of many other ancient cultures and up to the early modern period: although she had to answer to her father legally, she didn't conduct her daily life under his direct scrutiny, and her husband had no legal power over her. <P> A daughter was expected to be deferential toward her father and to remain loyal to him, even if it meant having to differ with her husbands. "Deference" was not always absolute. After arranging his daughter's first two marriages, Cicero disapproved - rightly, as it turned out - of her choice to marry the unreliable Dolabella, but found himself unable to prevent it. <P> A daughter kept her own family name (nomen) for life, not assuming that of her husband. Children usually took the father's name. In the Imperial period, however, children might sometimes make their mother's family name part of theirs, or even adopt it instead. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Women and the Law</h3> </center> <P> <BR> Although the rights and status of women in the earliest period of Roman history were more restricted than in the late Republic and Empire, as early as the 5th century BC, Roman women could own land, write their own wills, and appear in court as their own advocates. The historian Valerius Maximus devotes a section of his work On Memorable Deeds and Speeches to women who conducted cases on their own behalf, or on behalf of others. <P> These women showed ability as orators in the courtroom, even though oratory was considered a defining pursuit of the most ambitious Roman men. One of these, Maesia Sentinas, is identified by her origin in the town of Sentinum, and not, as was customary, by her relation to a man. The independent Maesia spoke in her own defense, and was acquitted almost unanimously after only a short trial because she spoke with such strength and effectiveness. Since these characteristics were considered masculine, however, the historian opined that under her feminine appearance, she had a "virile spirit," and thereafter she was called "the Androgyne." <P> Maesia's ability to present a case "methodically and vigorously" suggests that while women didn't plead regularly in open court, they had experience in private declamation and family court. Afrania, the wife of a senator during the time of Sulla, appeared so frequently before the praetor who presided over the court, even though she had male advocates who could have spoken for her, that she was accused of calumnia, malicious prosecution. An edict was consequently enacted that prohibited women from bringing claims on behalf of others, on the grounds that it jeopardized their pudicitia, the modesty appropriate to one's station. <P> It has been noted that while women were often impugned for their feeblemindedness and ignorance of the law, and thus in need of protection by male advocates, in reality actions were taken to restrict their influence and effectiveness. Despite this specific restriction, there are numerous examples of women taking informed actions in legal matters in the Late Republic and Principate, including dictating legal strategy to their advocate behind the scenes. <P> An emancipated woman legally became sui iuris, or her own person, and could own property and dispose of it as she saw fit. If a pater familias died intestate, the law required the equal division of his estate amongst his children, regardless of their age and sex. A will that did otherwise, or emancipated any family member without due process of law, could be challenged. From the late Republic onward, a woman who inherited a share equal with her brothers would have been independent of agnatic control. <P> As in the case of minors, an emancipated woman had a legal guardian (tutor) appointed to her. She retained her powers of administration, however, and the guardian's main if not sole purpose was to give formal consent to actions. The guardian had no say in her private life, and a woman sui iuris could marry as she pleased. A woman also had certain avenues of recourse if she wished to replace an obstructive tutor. Under Augustus, a woman who had gained the ius liberorum, the legal right to certain privileges after bearing three children, was also released from guardianship. The role of guardianship as a legal institution gradually diminished, and by the 2nd century AD the jurist Gaius said he saw no reason for it. The Christianization of the Empire, beginning with the conversion of the Emperor Constantine in the early 4th century, eventually had consequences for the legal status of women. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Marriage Law</h3> </center> <P> <BR> During the classical era of Roman law, marriage required no ceremony, but only a mutual will and agreement to live together in harmony. Marriage ceremonies, contracts, and other formalities were meant only to prove that a couple had, in fact, married. Under early or archaic Roman law, marriages were of three kinds: confarreatio, symbolized by the sharing of bread (panis farreus); coemptio, "by purchase"; and usus, by mutual cohabitation. Patricians always married by confarreatio, while plebeians married by the latter two kinds. In marriage by usus, if a woman was absent for three consecutive nights at least once a year, she would avoid her husband establishing legal control over her. This differed from the Athenian custom of arranged marriage and sequestered wives who were not supposed to walk in the street unescorted. <P> The form of marriage known as manus was the norm in the early Republic, but became less frequent thereafter. Under this early form of marriage, the bride passed into the "hand" (manus) of her husband; that is, she was transferred from the potestas of her father to that of her husband. Her dowry, any inheritance rights transferred through her marriage, and any property acquired by her after marriage belonged to him. <P> Husbands could divorce on grounds of adultery, and a few cases of divorce for a wife's infertility are recorded. Manus marriage was an unequal relationship; it changed a womanÕs intestate heirs from her siblings to her children, not because she was their mother, but because in law her position was the same as that of a daughter to her husband. Under manus, women were expected to obey their husbands in almost all aspects of their lives. <P> The custom of manus fell out of favor by the 2nd century BC, when the conditions of marriage changed dramatically in a way that favored greater independence for women. So-called "free" marriage caused no change in personal status for either the wife or the husband. Free marriage usually involved two citizens, or a citizen and a person who held Latin rights, and in the later Imperial period and with official permission, soldier-citizens and non-citizens. In a free marriage a bride brought a dowry to the husband: if the marriage ended with no cause of adultery he returned most of it. So total was the law's separation of property that gifts between spouses were not recognized as such; if a couple divorced or even lived apart, the giver could reclaim the gift. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Divorce</h3> </center> <P> <BR> Divorce was a legal but relatively informal affair which mainly involved a wife leaving her husbandÕs house and taking back her dowry. According to the historian Valerius Maximus, divorces were taking place by 604 BC or earlier, and the law code as embodied in the mid-5th century BC by the Twelve Tables provides for divorce. Divorce was socially acceptable if carried out within social norms (mos maiorum). <P> By the time of Cicero and Julius Caesar, divorce was relatively common and "shame-free," the subject of gossip rather than a social disgrace. Valerius says that Lucius Annius was disapproved of because he divorced his wife without consulting his friends; that is, he undertook the action for his own purposes and without considering its effects on his social network (amicitia and clientela). The censors of 307 BC thus expelled him from the Senate for moral turpitude. <P> Elsewhere, however, it is claimed that the first divorce took place only in 230 BC, at which time Dionysius of Halicarnassus notes that "Spurius Carvilius, a man of distinction, was the first to divorce his wife" on grounds of infertility. This was most likely the Spurius Carvilius Maximus Ruga who was consul in 234 and 228 BC. The evidence is confused. <P> During the classical period of Roman law (late Republic and Principate), a man or woman could end a marriage simply because he or she wanted to, and for no other reason. Unless the wife could prove the husband was worthless, he kept the children. Because property had been kept separate during the marriage, divorce from a "free" marriage was a very easy procedure. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Remarriage</h3> </center> <P> <BR> The frequency of remarriage among the elite was high. Speedy remarriage was not unusual, and perhaps even customary, for aristocratic Romans after the death of a spouse. While no formal waiting period was dictated for a widower, it was customary for a woman to remain in mourning for ten months before remarrying. <P> The duration may allow for pregnancy: if a woman had become pregnant just before her husband's death, the period of ten months ensures that no question of paternity, which might affect the child's social status and inheritance, would attach to the birth. No law prohibited pregnant women from marrying, and there are well-known instances: Augustus married Livia when she was carrying her former husband's child, and the College of Pontiffs ruled that it was permissible as long as the child's father was determined first. Livia's previous husband even attended the wedding. <P> Because elite marriages often occurred for reasons of politics or property, a widow or divorcŽe with assets in these areas faced few obstacles to remarrying. She was far more likely to be legally emancipated than a first-time bride, and to have a say in the choice of husband. The marriages of Fulvia, who commanded troops during the last civil war of the Republic and who was the first Roman woman to have her face on a coin, are thought to indicate her own political sympathies and ambitions: she was married first to the popularist champion Clodius Pulcher, who was murdered in the street after a long feud with Cicero; then to Scribonius Curio, a figure of less ideological certitude who at the time of his death had come over to Julius Caesar; and finally to Mark Antony, the last opponent to the republican oligarchs and to Rome's future first emperor. <P> The Greek observer Plutarch indicates that a second wedding among Romans was likely to be a quieter affair, as a widow would still feel the absence of her dead husband, and a divorcee ought to feel shame. But while the circumstances of divorce might be shameful or embarrassing, and remaining married to the same person for life was ideal, there was no general disapproval of remarriage; on the contrary, marriage was considered the right and desirable condition of adult life for both men and women. <P> Cato the Younger, who presented himself as a paragon modeled after his moral namesake, allowed his pregnant wife Marcia to divorce him and marry Hortensius, declining to offer his young daughter to the 60-year-old orator instead. After the widowed Marcia inherited considerable wealth, Cato married her again, in a ceremony lacking many of the formalities. Women might be mocked, however, for marrying too often or capriciously, particularly if it could be implied that sexual appetites and vanity were motives. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Concubinage</h3> <P> <BR> <IMG SRC="RomeProstitution"></center> <P> <BR> A concubine was defined by Roman law as a woman living in a permanent monogamous relationship with a man not her husband. There was no dishonor in being a concubine or living with a concubine, and a concubine could become a wife. Gifts could be exchanged between the partners in concubinage, in contrast to marriage, which maintained a strict separation of property. <P> Couples usually resorted to concubinage when inequality of social rank was an obstacle to marriage: for instance, a man of senatorial rank, and a woman who was a social inferior, such as a freedwoman or one who had a questionable background of poverty or prostitution. Two partners in love who lacked a right to connubium might enter into concubinage, or even a highborn woman who loved a man of low social status. <P> Concubinage differed from marriage chiefly in the status of children born from the relationship. Children had their mother's social rank, and not as was customary their father's. They thus were not subject to patria potestas. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Domestic Abuse</h3> </center> <P> <BR> Classical Roman law did not allow any domestic abuse by a husband to his wife, but as with any other crime, laws against domestic abuse can be assumed to fail to prevent it. Cato the Elder said, according to his biographer Plutarch, "that the man who struck his wife or child, laid violent hands on the holiest of holy things. Also that he thought it more praiseworthy to be a good husband than a good senator." Although modern definitions of what makes a good relationship between husband and wife might value different things, a man of status during the Roman Republic was expected to behave moderately toward his wife and to define himself as a good husband. <P> Domestic abuse enters the historical record mainly when it involves the egregious excesses of the elite. The Emperor Nero was alleged to have had his first wife (and stepsister) Claudia Octavia murdered, after subjecting her to torture and imprisonment. Nero then married his pregnant mistress Poppaea Sabina, whom he kicked to death for criticizing him. Some modern historians believe that Poppaea died from a miscarriage or childbirth, and that the story was exaggerated to vilify Nero. The despised Commodus is supposed also to have killed his wife and his sister. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Motherhood</h3> </center> <P> <BR> Roman wives were expected to bear children, but the women of the aristocracy, accustomed to a degree of independence, showed a growing disinclination to devote themselves to traditional motherhood. By the 1st century AD, most elite women avoided breast-feeding their infants themselves, and hired wet-nurses. The practice was not uncommon as early as the 2nd century BC, when the comic playwright Plautus mentions wet-nurses casually. <P> Since a mother's milk was considered best for the baby, aristocratic women might still choose to breast-feed, unless physical reasons prevented it. If a woman chose to forgo nursing her own child she could visit the Columna Lactaria ("Milk Column"), where poor parents could obtain milk for their infants as charity from wet nurses, and those who could afford it could choose to hire a wet nurse. Licinia, the wife of Cato the Elder (d. 149 BC), is reported to have nursed not only her son, but sometimes the infants of her slaves, to encourage "brotherly affection" among them. By the time of Tacitus (d. 117 AD), breastfeeding by elite matrons was idealized as a practice of the virtuous old days. <P> The extent to which Roman women might expect their husbands to participate in the rearing of very young children seems to vary and is hard to determine. Family-values traditionalists such as Cato appear to have taken an interest: Cato liked to be present when his wife bathed and swaddled their child. <P> Large families were not the norm among the elite even by the Late Republic; the family of Clodius Pulcher, who had at least three sisters and two brothers, was considered unusual. The birth rate among the aristocracy declined to such an extent that the first Roman emperor Augustus (reigned 27 BC-14 AD) passed a series of laws intended to increase it, including special honors for women who bore at least three children (the ius trium liberorum). Those who were unmarried, divorced, widowed, or barren were prohibited from inheriting property unless named in a will. <P> Roman women were not only valued for the number of children that they produced, but also for their part in raising and educating children to become good citizens. To rear children for successful lives, an exemplary Roman mother needed to be well-educated herself. <P> One of the Roman women most famous for their strength and influence as a mother was Cornelia, the mother of the Gracchi. Julius Caesar, whose father died when he was only a young teen, had a close relationship with his mother, Aurelia, whose political clout was essential in preventing the execution of her 18-year-old son during the proscriptions of Sulla. <P> <BR> <HR> <P> <BR> The educated and well-traveled Vibia Sabina (ca. 136 AD) was a grand-niece of the emperor <A HREF="trajan.html">Trajan</a> and became the wife of his successor Hadrian; unlike some empresses, she played little role in court politics and remained independent in private life, having no children and seeking emotional gratification in love affairs. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Daily Life</h3> </center> <P> <BR> Aristocratic women managed a large and complex household. Since wealthy couples often owned multiple homes and country estates with dozens or even hundreds of slaves, some of whom were educated and highly skilled, this responsibility was the equivalent of running a small corporation. In addition to the social and political importance of entertaining guests, clients, and visiting dignitaries from abroad, the husband held his morning business meetings (salutatio) at home. <P> The home (domus) was also the center of the family's social identity, with ancestral portraits displayed in the entrance hall (atrium). Since the most ambitious aristocratic men were frequently away from home on military campaign or administrative duty in the provinces, sometimes for years at a time, the maintenance of the family's property and business decisions were often left to the wives; for instance, while Julius Caesar was away from Rome throughout the 50s BC, his wife Calpurnia Pisonis was responsible for taking care of his assets. <P> When Ovid, Rome's greatest living poet, was exiled by Augustus in 8 AD, his wife exploited social connections and legal maneuvers to hold on to the family's property, on which their livelihood depended. Ovid expresses his love and admiration for her lavishly in the poetry he wrote during his exile. Frugality, parsimony, and austerity were characteristics of the virtuous matron. <P> One of the most important tasks for women to oversee in a large household was clothing production. At one time, the spinning of wool was a central domestic occupation, and indicated a family's self-sufficiency, since the wool would be produced on their estates. Even in an urban setting, wool was often a symbol of a wife's duties, and equipment for spinning might appear on the funeral monument of a woman to show that she was a good and honorable matron. Even women of the upper classes were expected to be able to spin and weave in virtuous emulation of their rustic ancestors - a practice ostentatiously observed by Livia. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>In Business</h3> </center> <P> <BR> "One of the most curious characteristics of that age," observed French classical scholar Gaston Boissier, "was that the women appear as much engaged in business and as interested in speculations as the men. Money is their first care. They work their estates, invest their funds, lend and borrow. We find one among Cicero's creditors, and two among his debtors." Although Roman society did not allow women to gain official political power, it did allow them to enter business. <P> Even women of wealth weren't supposed to be idle ladies of leisure. Among the aristocracy, women as well as men lent money to their peers to avoid resorting to a moneylender. When Pliny was considering buying an estate, he factored in a loan from his mother-in-law as a guarantee rather than an option. Women also joined in funding public works, as is frequently documented by inscriptions during the Imperial period. The "lawless" Politta, who appears in the Martyrdom of Pionius, owned estates in the province of Asia. Inscriptions record her generosity in funding the renovation of the Sardis gymnasium. <P> Because women had the right to own property, they might engage in the same business transactions and management practices as any landowner. As with their male counterparts, their management of slaves appears to have varied from relative care to negligence and outright abuse. During the First Servile War, Megallis and her husband Damophilus were both killed by their slaves on account of their brutality, but their daughter was spared because of her kindness and granted safe passage out of Sicily, along with an armed escort. <P> Unlike landholding, industry was not considered an honorable profession for those of senatorial rank. Cicero suggested that in order to gain respectability a merchant should buy land. Attitudes changed during the Empire, however, and Claudius created legislation to encourage the upper classes to engage in shipping. Women of the upper classes are documented as owning and running shipping corporations. <P> Trade and manufacturing are not well represented in Roman literature, which was produced for and largely by the elite, but funerary inscriptions sometimes record the profession of the deceased, including women. Women are known to have owned and operated brick factories. <P> A woman might develop skills to complement her husband's trade, or manage aspects of his business. Artemis the gilder was married to Dionysius the helmet maker, as indicated by a curse tablet asking for the destruction of their household, workshop, work, and livelihood. The status of ordinary women who owned a business seems to have been regarded as exceptional. Laws during the Imperial period aimed at punishing women for adultery exempted those "who have charge of any business or shop" from prosecution. <P> Some obvious occupations for a woman would be wet nurse, actress, dancer or acrobat, prostitute, and midwife - not all of equal respectability. Prostitutes and performers such as actresses were stigmatized as infames, people who had recourse to few legal protections even if they were free. Inscriptions indicate that a woman who was a wet nurse (nutrix) would be quite proud of her occupation. Women could be scribes and secretaries, including "girls trained for beautiful writing," that is, calligraphers. Pliny gives a list of female artists and their paintings. <P> Most Romans lived in insulae (apartment buildings), and those housing the poorer plebeian and non-citizen families usually lacked kitchens. The need to buy prepared food meant that "carryout" was a thriving business. Most of the Roman poor, whether male or female, young or old, earned a living through their own labor. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>In Politics</h3> <P> <BR> <IMG SRC="RomeWomen3"></center> <P> <BR> Women could neither hold political office nor serve in the army, but the mythology of the Republic recognized the patriotism, virtues, and self-sacrifice of women and censured self-serving and treacherous behavior. <P> During the civil wars that ended the Republic, Appian reports the heroism of wives who saved their husbands. An epitaph known as the Laudatio Turiae preserves a husband's eulogy for his wife, who during the civil war following the death of Julius Caesar endangered her own life and relinquished her jewelry to send support to her husband in exile. Both survived the turbulence of the time to enjoy a long marriage. Porcia, the daughter of Cato the Younger and wife of Brutus the assassin, came to a less fortunate but (in the eyes of her time) heroic end: she killed herself as the Republic collapsed, just as her father did. <P> The rise of Augustus to sole power in the last decades of the 1st century BC diminished the power of political officeholders and the traditional oligarchy, but did nothing to diminish and arguably increased the opportunities for women, as well as slaves and freedmen, to exercise influence behind the scenes. <P> One notable woman was Livia Drusilla Augusta (58 BC Ð AD 29), the wife of Augustus and the most powerful woman in the early Roman Empire, acting several times as regent and being Augustus' faithful advisor. Several women of the Imperial family, such as Livia's great-granddaughter and Caligula's sister Agrippina the Younger, gained political influence as well as public prominence. <P> Women also participated in efforts to overthrow the emperors who abused their power. Shortly after Caligula's sister Drusilla died, her widower Marcus Aemilius Lepidus and her sisters Agrippina the Younger and Livilla conspired to overthrow Caligula. The plot was discovered, and Lepidus was executed. Agrippina and Livilla were exiled, and returned from exile only when their paternal uncle Claudius came to power after Caligula's assassination in 41 AD. <P> Women could also be motivated by less than noble causes. Claudius's third wife Valeria Messalina conspired with Gaius Silius to overthrow her husband in the hope of installing herself and her lover in power. <P> Tacitus immortalized the woman Epicharis for her part in the Pisonian conspiracy, where she attempted to gain the support of the Roman fleet and was instead arrested. Once the conspiracy was uncovered, she would reveal nothing even under torture, in contrast to the senators, who were not subjected to torture and yet raced to spill the details. Tacitus also praises Egnatia Maximilla for sacrificing her fortune in order to stand by her innocent husband against Nero. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Religious Life</h3> <P> <R> <IMG SRC="RomeReligionGods"></center> <P> <BR> Women were present at most Roman festivals and cult observances. Some rituals specifically required the presence of women, but their participation might be limited. As a rule women did not perform animal sacrifice, the central rite of most major public ceremonies, though this was less a matter of prohibition than the fact that most priests presiding over state religion were men. Some cult practices were reserved for women only, for example, the rites of the Good Goddess (Bona Dea). <P> Women priests played a prominent and crucial role in the official religion of Rome. Although the state colleges of male priests were far more numerous, the six women of the college of Vestals were Rome's only "full-time professional clergy." Sacerdos, plural sacerdotes, was the Latin word for a priest of either gender. Religious titles for women include sacerdos, often in relation to a deity or temple, such as a sacerdos Cereris or Cerealis, "priestess of Ceres", an office never held by men; magistra, a high priestess, female expert or teacher in religious matters; and ministra, a female assistant, particularly one in service to a deity. A magistra or ministra would have been responsible for the regular maintenance of a cult. Epitaphs provide the main evidence for these priesthoods, and the woman is often not identified in terms of her marital status. <P> The Vestals possessed unique religious distinction, public status and privileges, and could exercise considerable political influence. It was also possible for them to amass "considerable wealth." Upon entering her office, a Vestal was emancipated from her father's authority. In archaic Roman society, these priestesses were the only women not required to be under the legal guardianship of a man, instead answering directly and only to the Pontifex Maximus. <P> Their vow of chastity freed them of the traditional obligation to marry and rear children, but its violation carried a heavy penalty: a Vestal found to have polluted her office by breaking her vow was given food, water, and entombed alive. The independence of the Vestals thus existed in relation to the prohibitions imposed on them. In addition to conducting certain religious rites, the Vestals participated at least symbolically in every official sacrifice, as they were responsible for preparing the required ritual substance mola salsa. The Vestals seem to have retained their religious and social distinctions well into the 4th century AD, until the Christian emperors dissolved the order. <P> A few priesthoods were held jointly by married couples. Marriage was a requirement for the Flamen Dialis, the high priest of Jupiter; his wife, the Flaminica Dialis, had her own unique priestly attire, and like her husband was placed under obscure magico-religious prohibitions. The flaminica was a perhaps exceptional case of a woman performing animal sacrifice; she offered a ram to Jupiter on each of the nundinae, the eight-day Roman cycle comparable to a week. The couple were not permitted to divorce, and if the flaminica died the flamen had to resign his office. <P> Like the Flaminica Dialis, the regina sacrorum, "queen of the sacred rites," wore distinctive ceremonial dress and performed animal sacrifice, offering a sow or female lamb to Juno on the first day of each month. The names of some reginae sacrorum are recorded by inscriptions. The regina was the wife of the rex sacrorum, "king of the sacred rites," an archaic priesthood regarded in the earliest period as more prestigious than even the Pontifex Maximus. <P> These highly public official duties for women contradict the commonplace notion that women in ancient Rome took part only in private or domestic religion. The dual male-female priesthoods may reflect the Roman tendency to seek a gender complement within the religious sphere; most divine powers are represented by both a male and a female deity, as seen in divine pairs such as Liber and Libera. The twelve major gods were presented as six gender-balanced pairs, and Roman religion departed from Indo-European tradition in installing two goddesses in its supreme triad of patron deities, Juno and Minerva along with Jupiter. This triad "formed the core of Roman religion." <P> From the Mid Republic onward, religious diversity became increasingly characteristic of the city of Rome. Many religions that were not part of Rome's earliest state cult offered leadership roles for women, among them the cult of Isis and of the Magna Mater. An epitaph preserves the title sacerdos maxima for a woman who held the highest priesthood of the Magna Mater's temple near the current site of St. Peter's Basilica. <P> Although less documented than public religion, private religious practices addressed aspects of life that were exclusive to women. At a time when the infant mortality rate was as high as 40 percent, divine aid was solicited for the life-threatening act of giving birth and the perils of caring for a baby, with invocations directed at the goddesses Juno, Diana, Lucina, the di nixi, and a host of specialized divine attendants. <P> Male writers vary in their depiction of women's religiosity: some represent women as paragons of Roman virtue and devotion, but also inclined by temperament to excessive religious devotion, the lure of magic, or "superstition." Nor was "private" the same as "secret": Romans were suspicious of secretive religious practices, and Cicero cautioned that nocturnal sacrifices were not to be performed by women, except for those ritually prescribed pro populo, on behalf of the Roman people, that is, for the public good. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Social Activities</h3> </center> <P> <BR> Roman women were not confined to their house as were Athenian women in the Archaic and Classical periods. Wealthy women traveled around the city in a litter carried by slaves. Women gathered in the streets on a daily basis to meet with friends, attend religious rites at temples, or to visit the baths. The wealthiest families had private baths at home, but most people went to bath houses not only to wash but to socialize, as the larger facilities offered a range of services and recreational activities, among which casual sex was not excluded. One of the most vexed questions of Roman social life is whether the sexes bathed together in public. <P> Until the late Republic, evidence suggests that women usually bathed in a separate wing or facility, or that women and men were scheduled at different times. But there is also clear evidence of mixed bathing from the late Republic until the rise of Christian dominance in the later Empire. Some scholars have thought that only lower-class women bathed with men, or those of dubious moral standing such as entertainers or prostitutes, but Clement of Alexandria observed that women of the highest social classes could be seen naked at the baths. Hadrian prohibited mixed bathing, but the ban seems not to have endured. Most likely, customs varied not only by time and place, but by facility, so that women could choose to segregate themselves by gender or not. <P> For entertainment women could attend debates at the Forum, the public games (ludi), chariot races, and theatrical performances. By the late Republic, they regularly attended dinner parties, though in earlier times the women of a household dined in private together. Conservatives such as Cato the Elder (234-149 BC) considered it improper for women to take a more active role in public life; his complaints indicated that indeed some women did voice their opinions in the public sphere. <P> Though the practice was discouraged, Roman generals would sometimes take their wives with them on military campaigns. Caligula's mother Agrippina the Elder often accompanied her husband Germanicus on his campaigns in northern Germania, and the emperor Claudius was born in Gaul for this reason. Wealthy women might tour the empire, often participating or viewing religious ceremonies and sites around the empire. Rich women traveled to the countryside during the summer when Rome became too hot. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Attire and Adornment</h3> </center> <P> <BR> Women in ancient Rome took great care in their appearance, though extravagance was frowned upon. They wore cosmetics and made different concoctions for their skin. Ovid even wrote a poem about the correct application of makeup. Women used white chalk or arsenic to whiten their faces, or rouge made of lead or caramine to add color to their cheeks as well as using lead to highlight their eyes. They spent much time arranging their hair and often dyed it black, red, or blonde. They also wore wigs regularly. <P> Matrons usually wore two simple tunics for undergarments covered by a stola. The stola was a long white dress that was cinched at the waist and which fell to the wearer's feet, secured by clasps at the shoulder. Wealthier women would decorate their stola further. When going out a woman wore a palla over her stola, which was held by a clasp at the shoulder. Women of questionable morals or young women were not permitted to wear a stola, and instead wore tunics. Wealthy women wore jewels such as emeralds, aquamarine, opal, and pearls as earrings, necklaces, rings and sometimes sewn onto their shoes and clothing. <P> In the aftermath of Roman defeat at Cannae, economic crisis provoked the passing of the Lex Oppia (215 BC) to restrict personal and public extravagance. The law limited women's possession and display of gold and silver (as money or personal ornament), expensive clothing and their "unnecessary" use of chariots and litters. Victory over Carthage flooded Rome with wealth and in 195 BC the Lex Oppia was reviewed. <P> The ruling consul, Cato the Censor argued for its retention: personal morality and self-restraint were self-evidently inadequate controls on indulgence and luxury. Luxury provoked the envy and shame of those less well-off, and was therefore divisive. Roman women, in Cato's view, had showed only too clearly that their appetites once corrupted knew no limits, and must be restrained. Large numbers of Roman matrons thought otherwise, and made concerted public protest. In 193 BC the laws were abolished: Cato's opposition did not harm his political career. <P> Later, in 42 BC, Roman women, led by Hortensia, successfully protested against laws designed to tax Roman women, by use of the argument of no taxation without representation. Evidence of a lessening on luxury restrictions can also be found; one of the Letters of Pliny is addressed to the woman Pompeia Celerina praising the luxuries she keeps in her villa. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Body Image</h3> </center> <P> <BR> Based on Roman art and literature, small breasts and wide hips were the ideal body type for women considered alluring by Roman men. Roman art from the Augustan period shows idealized women as substantial and fleshy, with a full abdomen and breasts that are rounded, not pendulous. <P> Prostitutes depicted in Roman erotic art have fleshy bodies and wide hips, and often have their breasts covered by a strophium (a sort of strapless bra) even when otherwise nude and performing sex acts. Large breasts were mocked as humorous or a sign of old age. <P> Young girls wore a strophium secured tightly in the belief that it would inhibit the growth of breasts, and a regimen of massaging the breasts with hemlock, begun while a woman was still a virgin, was thought to prevent sagging. <P> Breasts receive relatively minimal attention in erotic art and literature as a sexual focus; the breast was associated primarily with nursing infants and a woman's role as a mother. In times of extreme emotional duress, such as mourning or captivity in wartime, women might bare their breasts as an apotropaic gesture. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Gynecology and Medicine</h3> </center> <P> <BR> The practices and views in the Hippocratic Corpus regarding women's bodies and their perceived weaknesses were inadequate for addressing the needs of women in the Hellenistic and Roman eras, when women led active lives and more often engaged in family planning. The physiology of women began to be seen as less alien to that of men.In the older tradition, intercourse, pregnancy, and childbirth were not only central to women's health, but the raison d'etre for female physiology; men, by contrast, were advised to exercise moderation in their sexual behavior, since hypersexuality would cause disease and fatigue. <P> The Hippocratic view that amenorrhea was fatal became by Roman times a specific issue of infertility, and was recognized by most Roman medical writers as a likely result when women engage in intensive physical regimens for extended periods of time. Balancing food, exercise, and sexual activity came to be regarded as a choice that women might make. The observation that intensive training was likely to result in amenorrhea implies that there were women who engaged in such regimens. <P> In the Roman era, medical writers saw a place for exercise in the lives of women in sickness and health. Soranus recommends playing ball, swimming, walking, reading aloud, riding in vehicles, and travel as recreation, which would promote overall good health. In examining the causes of undesired childlessness, these later gynecological writers include information about sterility in men, rather than assuming some defect in the woman only. <P> Hypersexuality was to be avoided by women as well as men. An enlarged clitoris, like an oversized phallus, was considered a symptom of excessive sexuality. Although Hellenistic and Roman medical and other writers refer to clitoridectomy as primarily an "Egyptian" custom, gynecological manuals under the Christian Empire in late antiquity propose that hypersexuality could be treated by surgery or repeated childbirth. <P> <BR> <HR> <P> <BR> <center> <p style="font-size:20px"/>Prostitution</h3></center> <P> <BR> Women could turn to prostitution to support themselves, but not all prostitutes had freedom to decide. There is some evidence that even slave prostitutes could benefit from their labor. Although rape was a crime, the law only punished the rape of a slave if it "damaged the goods," because a slave had no legal standing. The penalty was aimed at providing her owner compensation for the "damage" of his property. Because a slave woman was considered property under Roman law, forcing her to be a prostitute was not considered a crime. <P> Prior to Septimius Severus, women who engaged in acts that brought infamia to them as slaves also suffered infamia when freed. Sometimes sellers of female slaves attached a ne serva clause to the slave to prevent her from being prostituted. The Ne Serva clause meant that if the new owner or any owner after him or her used the slave as a prostitute she would be free. Later on the ne serva agreements became enforceable by law. <P> Prostitution was not limited to slaves or poor citizens; according to Suetonius (albeit in a possible exaggeration), Caligula when converting his palace into a brothel employed upper class "matrons and youths" as prostitutes. Although another possible exaggeration. Tacitus records that during one of Nero's feasts the prefect Tigellinus had brothels filled with upper class women. Prostitution could also be a punishment instead of an occupation, and women being sentenced to a spell working in a brothel is known. <P> <BR> <HR> <P> <BR> <center><A HREF="romesociety.html">ROMAN SOCIETY</a> <P> <BR> <A HREF="romeculture.html">ROMAN CULTURE</a> <P> <BR> <A HREF="rome.html">ROME INDEX</A></center> <P> <BR> <P> <BR> <center><script type="text/javascript" src="//platform-api.sharethis.com/js/sharethis.js#property=58e3cc81b190100012ded912&product=inline-share-buttons"></script> <div class="sharethis-inline-share-buttons"></div> <P> <BR> <P> <BR> <center> <A HREF="women.html">FILES ABOUT WOMEN</A> <P> <BR> <A HREF="ancient.html">ANCIENT AND LOST CIVILIZATIONS</A> <P> <BR> <P> <BR> <A HREF="directory.html">ALPHABETICAL INDEX</A> <P> <BR> <A HREF="index.html">CRYSTALINKS HOME PAGE</A> <P> <BR> <A HREF="reading.html">PSYCHIC READING WITH ELLIE</a> <P> <BR> <A HREF="sabook.html">BOOK: THE ALCHEMY OF TIME</A> <P> <BR> <A HREF="donation.html">DONATION TO CRYSTALINKS</a> <P> <BR> <A HREF="advertise_crystalinks.html">ADVERTISE ON CRYSTALINKS</A> <P> <BR> <P> <BR> <center><form action="https://www.google.com/cse" id="cse-search-box" target="_blank"> <div> <input type="hidden" name="cx" value="partner-pub-0405918776181157:nyci3t5s84j" /> <input type="hidden" name="ie" value="ISO-8859-1" /> <input type="text" name="q" size="50" /> <input type="submit" name="sa" value="Search Crystalinks" /> </div> </form><script type="text/javascript" src="https://www.google.com/coop/cse/brand?form=cse-search-box&amp;lang=en"></script></center> <P> <BR> <P> <BR> <script type="text/javascript"> var gaJsHost = (("https:" == document.location.protocol) ? "https://ssl." : "http://www."); =document.write(unescape("%3Cscript src='" + gaJsHost + "google-analytics.com/ga.js' type='text/javascript'%3E%3C/script%3E")); </script> <script type="text/javascript"> try { var pageTracker = _gat._getTracker("UA-7775239-1");pageTracker._trackPageview(); } catch(err) {}</script> </body></html>
Women in Ancient Rome - Crystalinks Women in Ancient Rome ![](rome-women800.jpg) Many girls went to a public primary school. Ovid and Martial imply that boys and girls were educated either together or similarly, and Livy takes it for granted that the daughter of a centurion would be in school. Children of the elite were taught Greek as well as Latin from an early age. Children of both genders learned to behave socially by attending dinner parties and other events and participated in religious festivals singing formal compositions in a choir. Among the upper classes, women seem to have been well-educated, some highly so, and were sometimes praised by the male historians for their learning and cultivation. Cornelia Metella, the young wife of Pompey the Great at the time of his death, was distinguished for her musicianship and her knowledge of geometry, literature, and philosophy. This degree of learning indicates formal preparation. Because women took no official part in public life, the lives of boys and girls began to diverge dramatically after they formally came of age, and memorials to women recognize their domestic qualities far more often than intellectual achievements. The skills a Roman matron needed to run a household required training, and mothers probably passed on their knowledge to their daughters in a manner appropriate to their station in life, given the emphasis in Roman society on traditionalism. Girls are depicted in Roman art as playing many of [the same games](romesports.html) as boys, such as ball, hoop-rolling, and knucklebones. Dolls are sometimes found in the tombs of those who died before adulthood. The figures are typically 15-16 cm tall, with jointed limbs, and made of materials such as wood, terracotta, and especially bone and ivory. Girls coming of age dedicated their dolls to Diana, the goddess most concerned with girlhood, or to Venus when they were preparing for marriage. --- Freeborn women in ancient Rome were citizens (cives), but could not vote or hold political office. Because of their limited public role, women are named less frequently than men by Roman historians. But while Roman women held no direct political power, those from wealthy or powerful families could and did exert influence through private negotiations. Exceptional women who left an undeniable mark on history range from the semi-legendary Lucretia and Claudia Quinta, whose stories took on mythic significance; fierce Republican-era women such as Cornelia, mother of the Gracchi, and Fulvia, who commanded an army and issued coins bearing her image; women of the Julio-Claudian dynasty, most prominently Livia, who contributed to the formation of Imperial mores; and the empress Helena, a driving force in establishing Christianity as the official religion of Rome. As is the case with male members of society, elite women and their politically significant deeds eclipse those of lower status in the historical record. Inscriptions and especially epitaphs document the names of a wide range of women throughout the Roman Empire, but often tell little else about them. Some vivid snapshots of daily life are preserved in Latin literary genres such as comedy, satire, and poetry, particularly the poems of Catullus and Ovid, which offer glimpses of women in Roman dining rooms and boudoirs, at sporting and theatrical events, shopping, putting on makeup, practicing magic, worrying about pregnancy - all, however, through male eyes. The published letters of Cicero, for instance, reveal informally how the self-proclaimed great man interacted on the domestic front with his wife Terentia and daughter Tullia, as his speeches demonstrate through disparagement the various ways Roman women could enjoy a free-spirited sexual and social life. The one major public role reserved solely for women was in the sphere of religion: the priestly office of the Vestals. Freed of any obligation to marry or have children, the Vestals devoted themselves to the study and correct observance of rituals which were deemed necessary for the security and survival of Rome but which could not be performed by the male colleges of priests. --- Noble Women Noble woman came from, well, noble families. They were often those who could trace lineage to one of Romes former consuls or Emperors either through blood or marriage. These women were society's elite and attended banquets, festivals, and great occasions with pomp. At the gladiatorial games they had the better seating at nearly ground level. For all this however, they had very little distinguishing them from common Roman freed women; from the plebeians of the lower classes. Both were focused on the home, on being a good wife, on making their husbands successful, on bearing children, and on raising strong children - especially sons. How true the Latin saying rings, et genus et formam Regina Pecunia donatur. (Queen money brings both family and beauty) There were several things which marked a difference between a noble women and free women. For one, Noble women usually tried to have more children than the lower class did. This was mostly because of the added pressure to provide an heir. Also the mortality rate of children was so high that even after having a son a noble women would want to have another lest the first die. It was common for only three children out of ten to survive childhood. Another thing that marked a difference between the classes was that on no account was a Noble woman to work outside of the home. It was considered highly improper and menial for the woman to help provide the families income, although in poorer families there was often little choice. Some of the richer Roman women did run their own businesses and own property, especially towards the middle and end of the Empire. This was certainly not the norm but it did happen. --- Freedwomen Freedwomen were freed slaves who owed a period of service, the terms of which might be agreed upon as a precondition of freedom, to her former owner, who became her patron. The patron had obligations in return, such as paying for said services and helping in legal matters. The patron-client relationship was one of the fundamental social structures of ancient Rome, and failure to fulfill one's obligations brought disapproval and censure. In most ways, freedwomen had the same legal status as freeborn women. But because under Roman law a slave had no father, freed slaves had no inheritance rights unless they were named in a will. The relationship of a former slave to her patron could be complicated. In one legal case, a woman named Petronia Iusta attempted to show - without a birth declaration to prove it - that she had been free-born. Her mother, she acknowledged, had been a slave in the household of Petronius Stephanus and Calatoria Themis, but Iusta maintained that she had been born after her mother's manumission. Calatoria, by now a widow, in turn argued that Iusta was born before her mother was free and that she had been manumitted, therefore owing her former owner the service due a patron. Calatoria could produce no documentation of this supposed manumission, and the case came down to the testimony of witnesses. Uneducated or unskilled slaves had few opportunities to earn their freedom, and if they became free would lack means of supporting themselves. Therefore, a freedwoman in the workplace could have the advantage in training and skill over a woman born to a free family of working poor. The status of freedwomen, like freedmen, varied widely. Caenis was a freedwoman and secretary to the Emperor Vespasian; she was also his concubine. He is said to have lived with her faithfully, but she was not considered a wife. --- Women in the Family and Law Both daughters and sons were subject to patria potestas, the power wielded by their father as head of household (familia). A Roman household was considered a collective (corpus, a "body") over which the pater familias had mastery (dominium). Slaves, who had no legal standing, were part of the household as property. In the early Empire, the legal standing of daughters differs little if at all from that of sons. If the father died without a will, the right of a daughter to share in the family property was equal to that of a son, though legislation in the 2nd century BC had attempted to limit this right. Even apart from legal status, daughters seem no less esteemed within the Roman family than sons, though sons were expected to ensure family standing by following their fathers into public life. The pater familias had the right and duty to find a husband for his daughter, and first marriages were normally arranged. Technically, the couple had to be old enough to consent, but the age of consent was 12 for girls and 14 for boys, though in practice boys seem to have been on average five years older. Among the elite, 14 was the age of transition from childhood to adolescence, but a betrothal might be arranged for political reasons when the couple were too young to marry, and in general noble women married younger than women of the lower classes. Most Roman women would have married in their late teens to early twenties. An aristocratic girl was expected to be a virgin when she married, as her young age might indicate. A daughter could legitimately refuse a match made by her parents only by showing that the proposed husband was of bad character. In the early Republic, the bride became subject to her husband's potestas, but to a lesser degree than their children. By the early Empire, however, a daughter's legal relationship to her father remained unchanged when she married, even though she moved into her husband's home. This arrangement was one of the factors in the degree of independence Roman women enjoyed relative to those of many other ancient cultures and up to the early modern period: although she had to answer to her father legally, she didn't conduct her daily life under his direct scrutiny, and her husband had no legal power over her. A daughter was expected to be deferential toward her father and to remain loyal to him, even if it meant having to differ with her husbands. "Deference" was not always absolute. After arranging his daughter's first two marriages, Cicero disapproved - rightly, as it turned out - of her choice to marry the unreliable Dolabella, but found himself unable to prevent it. A daughter kept her own family name (nomen) for life, not assuming that of her husband. Children usually took the father's name. In the Imperial period, however, children might sometimes make their mother's family name part of theirs, or even adopt it instead. --- Women and the Law Although the rights and status of women in the earliest period of Roman history were more restricted than in the late Republic and Empire, as early as the 5th century BC, Roman women could own land, write their own wills, and appear in court as their own advocates. The historian Valerius Maximus devotes a section of his work On Memorable Deeds and Speeches to women who conducted cases on their own behalf, or on behalf of others. These women showed ability as orators in the courtroom, even though oratory was considered a defining pursuit of the most ambitious Roman men. One of these, Maesia Sentinas, is identified by her origin in the town of Sentinum, and not, as was customary, by her relation to a man. The independent Maesia spoke in her own defense, and was acquitted almost unanimously after only a short trial because she spoke with such strength and effectiveness. Since these characteristics were considered masculine, however, the historian opined that under her feminine appearance, she had a "virile spirit," and thereafter she was called "the Androgyne." Maesia's ability to present a case "methodically and vigorously" suggests that while women didn't plead regularly in open court, they had experience in private declamation and family court. Afrania, the wife of a senator during the time of Sulla, appeared so frequently before the praetor who presided over the court, even though she had male advocates who could have spoken for her, that she was accused of calumnia, malicious prosecution. An edict was consequently enacted that prohibited women from bringing claims on behalf of others, on the grounds that it jeopardized their pudicitia, the modesty appropriate to one's station. It has been noted that while women were often impugned for their feeblemindedness and ignorance of the law, and thus in need of protection by male advocates, in reality actions were taken to restrict their influence and effectiveness. Despite this specific restriction, there are numerous examples of women taking informed actions in legal matters in the Late Republic and Principate, including dictating legal strategy to their advocate behind the scenes. An emancipated woman legally became sui iuris, or her own person, and could own property and dispose of it as she saw fit. If a pater familias died intestate, the law required the equal division of his estate amongst his children, regardless of their age and sex. A will that did otherwise, or emancipated any family member without due process of law, could be challenged. From the late Republic onward, a woman who inherited a share equal with her brothers would have been independent of agnatic control. As in the case of minors, an emancipated woman had a legal guardian (tutor) appointed to her. She retained her powers of administration, however, and the guardian's main if not sole purpose was to give formal consent to actions. The guardian had no say in her private life, and a woman sui iuris could marry as she pleased. A woman also had certain avenues of recourse if she wished to replace an obstructive tutor. Under Augustus, a woman who had gained the ius liberorum, the legal right to certain privileges after bearing three children, was also released from guardianship. The role of guardianship as a legal institution gradually diminished, and by the 2nd century AD the jurist Gaius said he saw no reason for it. The Christianization of the Empire, beginning with the conversion of the Emperor Constantine in the early 4th century, eventually had consequences for the legal status of women. --- Marriage Law During the classical era of Roman law, marriage required no ceremony, but only a mutual will and agreement to live together in harmony. Marriage ceremonies, contracts, and other formalities were meant only to prove that a couple had, in fact, married. Under early or archaic Roman law, marriages were of three kinds: confarreatio, symbolized by the sharing of bread (panis farreus); coemptio, "by purchase"; and usus, by mutual cohabitation. Patricians always married by confarreatio, while plebeians married by the latter two kinds. In marriage by usus, if a woman was absent for three consecutive nights at least once a year, she would avoid her husband establishing legal control over her. This differed from the Athenian custom of arranged marriage and sequestered wives who were not supposed to walk in the street unescorted. The form of marriage known as manus was the norm in the early Republic, but became less frequent thereafter. Under this early form of marriage, the bride passed into the "hand" (manus) of her husband; that is, she was transferred from the potestas of her father to that of her husband. Her dowry, any inheritance rights transferred through her marriage, and any property acquired by her after marriage belonged to him. Husbands could divorce on grounds of adultery, and a few cases of divorce for a wife's infertility are recorded. Manus marriage was an unequal relationship; it changed a womanÕs intestate heirs from her siblings to her children, not because she was their mother, but because in law her position was the same as that of a daughter to her husband. Under manus, women were expected to obey their husbands in almost all aspects of their lives. The custom of manus fell out of favor by the 2nd century BC, when the conditions of marriage changed dramatically in a way that favored greater independence for women. So-called "free" marriage caused no change in personal status for either the wife or the husband. Free marriage usually involved two citizens, or a citizen and a person who held Latin rights, and in the later Imperial period and with official permission, soldier-citizens and non-citizens. In a free marriage a bride brought a dowry to the husband: if the marriage ended with no cause of adultery he returned most of it. So total was the law's separation of property that gifts between spouses were not recognized as such; if a couple divorced or even lived apart, the giver could reclaim the gift. --- Divorce Divorce was a legal but relatively informal affair which mainly involved a wife leaving her husbandÕs house and taking back her dowry. According to the historian Valerius Maximus, divorces were taking place by 604 BC or earlier, and the law code as embodied in the mid-5th century BC by the Twelve Tables provides for divorce. Divorce was socially acceptable if carried out within social norms (mos maiorum). By the time of Cicero and Julius Caesar, divorce was relatively common and "shame-free," the subject of gossip rather than a social disgrace. Valerius says that Lucius Annius was disapproved of because he divorced his wife without consulting his friends; that is, he undertook the action for his own purposes and without considering its effects on his social network (amicitia and clientela). The censors of 307 BC thus expelled him from the Senate for moral turpitude. Elsewhere, however, it is claimed that the first divorce took place only in 230 BC, at which time Dionysius of Halicarnassus notes that "Spurius Carvilius, a man of distinction, was the first to divorce his wife" on grounds of infertility. This was most likely the Spurius Carvilius Maximus Ruga who was consul in 234 and 228 BC. The evidence is confused. During the classical period of Roman law (late Republic and Principate), a man or woman could end a marriage simply because he or she wanted to, and for no other reason. Unless the wife could prove the husband was worthless, he kept the children. Because property had been kept separate during the marriage, divorce from a "free" marriage was a very easy procedure. --- Remarriage The frequency of remarriage among the elite was high. Speedy remarriage was not unusual, and perhaps even customary, for aristocratic Romans after the death of a spouse. While no formal waiting period was dictated for a widower, it was customary for a woman to remain in mourning for ten months before remarrying. The duration may allow for pregnancy: if a woman had become pregnant just before her husband's death, the period of ten months ensures that no question of paternity, which might affect the child's social status and inheritance, would attach to the birth. No law prohibited pregnant women from marrying, and there are well-known instances: Augustus married Livia when she was carrying her former husband's child, and the College of Pontiffs ruled that it was permissible as long as the child's father was determined first. Livia's previous husband even attended the wedding. Because elite marriages often occurred for reasons of politics or property, a widow or divorcŽe with assets in these areas faced few obstacles to remarrying. She was far more likely to be legally emancipated than a first-time bride, and to have a say in the choice of husband. The marriages of Fulvia, who commanded troops during the last civil war of the Republic and who was the first Roman woman to have her face on a coin, are thought to indicate her own political sympathies and ambitions: she was married first to the popularist champion Clodius Pulcher, who was murdered in the street after a long feud with Cicero; then to Scribonius Curio, a figure of less ideological certitude who at the time of his death had come over to Julius Caesar; and finally to Mark Antony, the last opponent to the republican oligarchs and to Rome's future first emperor. The Greek observer Plutarch indicates that a second wedding among Romans was likely to be a quieter affair, as a widow would still feel the absence of her dead husband, and a divorcee ought to feel shame. But while the circumstances of divorce might be shameful or embarrassing, and remaining married to the same person for life was ideal, there was no general disapproval of remarriage; on the contrary, marriage was considered the right and desirable condition of adult life for both men and women. Cato the Younger, who presented himself as a paragon modeled after his moral namesake, allowed his pregnant wife Marcia to divorce him and marry Hortensius, declining to offer his young daughter to the 60-year-old orator instead. After the widowed Marcia inherited considerable wealth, Cato married her again, in a ceremony lacking many of the formalities. Women might be mocked, however, for marrying too often or capriciously, particularly if it could be implied that sexual appetites and vanity were motives. --- Concubinage ![](RomeProstitution) A concubine was defined by Roman law as a woman living in a permanent monogamous relationship with a man not her husband. There was no dishonor in being a concubine or living with a concubine, and a concubine could become a wife. Gifts could be exchanged between the partners in concubinage, in contrast to marriage, which maintained a strict separation of property. Couples usually resorted to concubinage when inequality of social rank was an obstacle to marriage: for instance, a man of senatorial rank, and a woman who was a social inferior, such as a freedwoman or one who had a questionable background of poverty or prostitution. Two partners in love who lacked a right to connubium might enter into concubinage, or even a highborn woman who loved a man of low social status. Concubinage differed from marriage chiefly in the status of children born from the relationship. Children had their mother's social rank, and not as was customary their father's. They thus were not subject to patria potestas. --- Domestic Abuse Classical Roman law did not allow any domestic abuse by a husband to his wife, but as with any other crime, laws against domestic abuse can be assumed to fail to prevent it. Cato the Elder said, according to his biographer Plutarch, "that the man who struck his wife or child, laid violent hands on the holiest of holy things. Also that he thought it more praiseworthy to be a good husband than a good senator." Although modern definitions of what makes a good relationship between husband and wife might value different things, a man of status during the Roman Republic was expected to behave moderately toward his wife and to define himself as a good husband. Domestic abuse enters the historical record mainly when it involves the egregious excesses of the elite. The Emperor Nero was alleged to have had his first wife (and stepsister) Claudia Octavia murdered, after subjecting her to torture and imprisonment. Nero then married his pregnant mistress Poppaea Sabina, whom he kicked to death for criticizing him. Some modern historians believe that Poppaea died from a miscarriage or childbirth, and that the story was exaggerated to vilify Nero. The despised Commodus is supposed also to have killed his wife and his sister. --- Motherhood Roman wives were expected to bear children, but the women of the aristocracy, accustomed to a degree of independence, showed a growing disinclination to devote themselves to traditional motherhood. By the 1st century AD, most elite women avoided breast-feeding their infants themselves, and hired wet-nurses. The practice was not uncommon as early as the 2nd century BC, when the comic playwright Plautus mentions wet-nurses casually. Since a mother's milk was considered best for the baby, aristocratic women might still choose to breast-feed, unless physical reasons prevented it. If a woman chose to forgo nursing her own child she could visit the Columna Lactaria ("Milk Column"), where poor parents could obtain milk for their infants as charity from wet nurses, and those who could afford it could choose to hire a wet nurse. Licinia, the wife of Cato the Elder (d. 149 BC), is reported to have nursed not only her son, but sometimes the infants of her slaves, to encourage "brotherly affection" among them. By the time of Tacitus (d. 117 AD), breastfeeding by elite matrons was idealized as a practice of the virtuous old days. The extent to which Roman women might expect their husbands to participate in the rearing of very young children seems to vary and is hard to determine. Family-values traditionalists such as Cato appear to have taken an interest: Cato liked to be present when his wife bathed and swaddled their child. Large families were not the norm among the elite even by the Late Republic; the family of Clodius Pulcher, who had at least three sisters and two brothers, was considered unusual. The birth rate among the aristocracy declined to such an extent that the first Roman emperor Augustus (reigned 27 BC-14 AD) passed a series of laws intended to increase it, including special honors for women who bore at least three children (the ius trium liberorum). Those who were unmarried, divorced, widowed, or barren were prohibited from inheriting property unless named in a will. Roman women were not only valued for the number of children that they produced, but also for their part in raising and educating children to become good citizens. To rear children for successful lives, an exemplary Roman mother needed to be well-educated herself. One of the Roman women most famous for their strength and influence as a mother was Cornelia, the mother of the Gracchi. Julius Caesar, whose father died when he was only a young teen, had a close relationship with his mother, Aurelia, whose political clout was essential in preventing the execution of her 18-year-old son during the proscriptions of Sulla. --- The educated and well-traveled Vibia Sabina (ca. 136 AD) was a grand-niece of the emperor [Trajan](trajan.html) and became the wife of his successor Hadrian; unlike some empresses, she played little role in court politics and remained independent in private life, having no children and seeking emotional gratification in love affairs. --- Daily Life Aristocratic women managed a large and complex household. Since wealthy couples often owned multiple homes and country estates with dozens or even hundreds of slaves, some of whom were educated and highly skilled, this responsibility was the equivalent of running a small corporation. In addition to the social and political importance of entertaining guests, clients, and visiting dignitaries from abroad, the husband held his morning business meetings (salutatio) at home. The home (domus) was also the center of the family's social identity, with ancestral portraits displayed in the entrance hall (atrium). Since the most ambitious aristocratic men were frequently away from home on military campaign or administrative duty in the provinces, sometimes for years at a time, the maintenance of the family's property and business decisions were often left to the wives; for instance, while Julius Caesar was away from Rome throughout the 50s BC, his wife Calpurnia Pisonis was responsible for taking care of his assets. When Ovid, Rome's greatest living poet, was exiled by Augustus in 8 AD, his wife exploited social connections and legal maneuvers to hold on to the family's property, on which their livelihood depended. Ovid expresses his love and admiration for her lavishly in the poetry he wrote during his exile. Frugality, parsimony, and austerity were characteristics of the virtuous matron. One of the most important tasks for women to oversee in a large household was clothing production. At one time, the spinning of wool was a central domestic occupation, and indicated a family's self-sufficiency, since the wool would be produced on their estates. Even in an urban setting, wool was often a symbol of a wife's duties, and equipment for spinning might appear on the funeral monument of a woman to show that she was a good and honorable matron. Even women of the upper classes were expected to be able to spin and weave in virtuous emulation of their rustic ancestors - a practice ostentatiously observed by Livia. --- In Business "One of the most curious characteristics of that age," observed French classical scholar Gaston Boissier, "was that the women appear as much engaged in business and as interested in speculations as the men. Money is their first care. They work their estates, invest their funds, lend and borrow. We find one among Cicero's creditors, and two among his debtors." Although Roman society did not allow women to gain official political power, it did allow them to enter business. Even women of wealth weren't supposed to be idle ladies of leisure. Among the aristocracy, women as well as men lent money to their peers to avoid resorting to a moneylender. When Pliny was considering buying an estate, he factored in a loan from his mother-in-law as a guarantee rather than an option. Women also joined in funding public works, as is frequently documented by inscriptions during the Imperial period. The "lawless" Politta, who appears in the Martyrdom of Pionius, owned estates in the province of Asia. Inscriptions record her generosity in funding the renovation of the Sardis gymnasium. Because women had the right to own property, they might engage in the same business transactions and management practices as any landowner. As with their male counterparts, their management of slaves appears to have varied from relative care to negligence and outright abuse. During the First Servile War, Megallis and her husband Damophilus were both killed by their slaves on account of their brutality, but their daughter was spared because of her kindness and granted safe passage out of Sicily, along with an armed escort. Unlike landholding, industry was not considered an honorable profession for those of senatorial rank. Cicero suggested that in order to gain respectability a merchant should buy land. Attitudes changed during the Empire, however, and Claudius created legislation to encourage the upper classes to engage in shipping. Women of the upper classes are documented as owning and running shipping corporations. Trade and manufacturing are not well represented in Roman literature, which was produced for and largely by the elite, but funerary inscriptions sometimes record the profession of the deceased, including women. Women are known to have owned and operated brick factories. A woman might develop skills to complement her husband's trade, or manage aspects of his business. Artemis the gilder was married to Dionysius the helmet maker, as indicated by a curse tablet asking for the destruction of their household, workshop, work, and livelihood. The status of ordinary women who owned a business seems to have been regarded as exceptional. Laws during the Imperial period aimed at punishing women for adultery exempted those "who have charge of any business or shop" from prosecution. Some obvious occupations for a woman would be wet nurse, actress, dancer or acrobat, prostitute, and midwife - not all of equal respectability. Prostitutes and performers such as actresses were stigmatized as infames, people who had recourse to few legal protections even if they were free. Inscriptions indicate that a woman who was a wet nurse (nutrix) would be quite proud of her occupation. Women could be scribes and secretaries, including "girls trained for beautiful writing," that is, calligraphers. Pliny gives a list of female artists and their paintings. Most Romans lived in insulae (apartment buildings), and those housing the poorer plebeian and non-citizen families usually lacked kitchens. The need to buy prepared food meant that "carryout" was a thriving business. Most of the Roman poor, whether male or female, young or old, earned a living through their own labor. --- In Politics ![](RomeWomen3) Women could neither hold political office nor serve in the army, but the mythology of the Republic recognized the patriotism, virtues, and self-sacrifice of women and censured self-serving and treacherous behavior. During the civil wars that ended the Republic, Appian reports the heroism of wives who saved their husbands. An epitaph known as the Laudatio Turiae preserves a husband's eulogy for his wife, who during the civil war following the death of Julius Caesar endangered her own life and relinquished her jewelry to send support to her husband in exile. Both survived the turbulence of the time to enjoy a long marriage. Porcia, the daughter of Cato the Younger and wife of Brutus the assassin, came to a less fortunate but (in the eyes of her time) heroic end: she killed herself as the Republic collapsed, just as her father did. The rise of Augustus to sole power in the last decades of the 1st century BC diminished the power of political officeholders and the traditional oligarchy, but did nothing to diminish and arguably increased the opportunities for women, as well as slaves and freedmen, to exercise influence behind the scenes. One notable woman was Livia Drusilla Augusta (58 BC Ð AD 29), the wife of Augustus and the most powerful woman in the early Roman Empire, acting several times as regent and being Augustus' faithful advisor. Several women of the Imperial family, such as Livia's great-granddaughter and Caligula's sister Agrippina the Younger, gained political influence as well as public prominence. Women also participated in efforts to overthrow the emperors who abused their power. Shortly after Caligula's sister Drusilla died, her widower Marcus Aemilius Lepidus and her sisters Agrippina the Younger and Livilla conspired to overthrow Caligula. The plot was discovered, and Lepidus was executed. Agrippina and Livilla were exiled, and returned from exile only when their paternal uncle Claudius came to power after Caligula's assassination in 41 AD. Women could also be motivated by less than noble causes. Claudius's third wife Valeria Messalina conspired with Gaius Silius to overthrow her husband in the hope of installing herself and her lover in power. Tacitus immortalized the woman Epicharis for her part in the Pisonian conspiracy, where she attempted to gain the support of the Roman fleet and was instead arrested. Once the conspiracy was uncovered, she would reveal nothing even under torture, in contrast to the senators, who were not subjected to torture and yet raced to spill the details. Tacitus also praises Egnatia Maximilla for sacrificing her fortune in order to stand by her innocent husband against Nero. --- Religious Life ![](RomeReligionGods) Women were present at most Roman festivals and cult observances. Some rituals specifically required the presence of women, but their participation might be limited. As a rule women did not perform animal sacrifice, the central rite of most major public ceremonies, though this was less a matter of prohibition than the fact that most priests presiding over state religion were men. Some cult practices were reserved for women only, for example, the rites of the Good Goddess (Bona Dea). Women priests played a prominent and crucial role in the official religion of Rome. Although the state colleges of male priests were far more numerous, the six women of the college of Vestals were Rome's only "full-time professional clergy." Sacerdos, plural sacerdotes, was the Latin word for a priest of either gender. Religious titles for women include sacerdos, often in relation to a deity or temple, such as a sacerdos Cereris or Cerealis, "priestess of Ceres", an office never held by men; magistra, a high priestess, female expert or teacher in religious matters; and ministra, a female assistant, particularly one in service to a deity. A magistra or ministra would have been responsible for the regular maintenance of a cult. Epitaphs provide the main evidence for these priesthoods, and the woman is often not identified in terms of her marital status. The Vestals possessed unique religious distinction, public status and privileges, and could exercise considerable political influence. It was also possible for them to amass "considerable wealth." Upon entering her office, a Vestal was emancipated from her father's authority. In archaic Roman society, these priestesses were the only women not required to be under the legal guardianship of a man, instead answering directly and only to the Pontifex Maximus. Their vow of chastity freed them of the traditional obligation to marry and rear children, but its violation carried a heavy penalty: a Vestal found to have polluted her office by breaking her vow was given food, water, and entombed alive. The independence of the Vestals thus existed in relation to the prohibitions imposed on them. In addition to conducting certain religious rites, the Vestals participated at least symbolically in every official sacrifice, as they were responsible for preparing the required ritual substance mola salsa. The Vestals seem to have retained their religious and social distinctions well into the 4th century AD, until the Christian emperors dissolved the order. A few priesthoods were held jointly by married couples. Marriage was a requirement for the Flamen Dialis, the high priest of Jupiter; his wife, the Flaminica Dialis, had her own unique priestly attire, and like her husband was placed under obscure magico-religious prohibitions. The flaminica was a perhaps exceptional case of a woman performing animal sacrifice; she offered a ram to Jupiter on each of the nundinae, the eight-day Roman cycle comparable to a week. The couple were not permitted to divorce, and if the flaminica died the flamen had to resign his office. Like the Flaminica Dialis, the regina sacrorum, "queen of the sacred rites," wore distinctive ceremonial dress and performed animal sacrifice, offering a sow or female lamb to Juno on the first day of each month. The names of some reginae sacrorum are recorded by inscriptions. The regina was the wife of the rex sacrorum, "king of the sacred rites," an archaic priesthood regarded in the earliest period as more prestigious than even the Pontifex Maximus. These highly public official duties for women contradict the commonplace notion that women in ancient Rome took part only in private or domestic religion. The dual male-female priesthoods may reflect the Roman tendency to seek a gender complement within the religious sphere; most divine powers are represented by both a male and a female deity, as seen in divine pairs such as Liber and Libera. The twelve major gods were presented as six gender-balanced pairs, and Roman religion departed from Indo-European tradition in installing two goddesses in its supreme triad of patron deities, Juno and Minerva along with Jupiter. This triad "formed the core of Roman religion." From the Mid Republic onward, religious diversity became increasingly characteristic of the city of Rome. Many religions that were not part of Rome's earliest state cult offered leadership roles for women, among them the cult of Isis and of the Magna Mater. An epitaph preserves the title sacerdos maxima for a woman who held the highest priesthood of the Magna Mater's temple near the current site of St. Peter's Basilica. Although less documented than public religion, private religious practices addressed aspects of life that were exclusive to women. At a time when the infant mortality rate was as high as 40 percent, divine aid was solicited for the life-threatening act of giving birth and the perils of caring for a baby, with invocations directed at the goddesses Juno, Diana, Lucina, the di nixi, and a host of specialized divine attendants. Male writers vary in their depiction of women's religiosity: some represent women as paragons of Roman virtue and devotion, but also inclined by temperament to excessive religious devotion, the lure of magic, or "superstition." Nor was "private" the same as "secret": Romans were suspicious of secretive religious practices, and Cicero cautioned that nocturnal sacrifices were not to be performed by women, except for those ritually prescribed pro populo, on behalf of the Roman people, that is, for the public good. --- Social Activities Roman women were not confined to their house as were Athenian women in the Archaic and Classical periods. Wealthy women traveled around the city in a litter carried by slaves. Women gathered in the streets on a daily basis to meet with friends, attend religious rites at temples, or to visit the baths. The wealthiest families had private baths at home, but most people went to bath houses not only to wash but to socialize, as the larger facilities offered a range of services and recreational activities, among which casual sex was not excluded. One of the most vexed questions of Roman social life is whether the sexes bathed together in public. Until the late Republic, evidence suggests that women usually bathed in a separate wing or facility, or that women and men were scheduled at different times. But there is also clear evidence of mixed bathing from the late Republic until the rise of Christian dominance in the later Empire. Some scholars have thought that only lower-class women bathed with men, or those of dubious moral standing such as entertainers or prostitutes, but Clement of Alexandria observed that women of the highest social classes could be seen naked at the baths. Hadrian prohibited mixed bathing, but the ban seems not to have endured. Most likely, customs varied not only by time and place, but by facility, so that women could choose to segregate themselves by gender or not. For entertainment women could attend debates at the Forum, the public games (ludi), chariot races, and theatrical performances. By the late Republic, they regularly attended dinner parties, though in earlier times the women of a household dined in private together. Conservatives such as Cato the Elder (234-149 BC) considered it improper for women to take a more active role in public life; his complaints indicated that indeed some women did voice their opinions in the public sphere. Though the practice was discouraged, Roman generals would sometimes take their wives with them on military campaigns. Caligula's mother Agrippina the Elder often accompanied her husband Germanicus on his campaigns in northern Germania, and the emperor Claudius was born in Gaul for this reason. Wealthy women might tour the empire, often participating or viewing religious ceremonies and sites around the empire. Rich women traveled to the countryside during the summer when Rome became too hot. --- Attire and Adornment Women in ancient Rome took great care in their appearance, though extravagance was frowned upon. They wore cosmetics and made different concoctions for their skin. Ovid even wrote a poem about the correct application of makeup. Women used white chalk or arsenic to whiten their faces, or rouge made of lead or caramine to add color to their cheeks as well as using lead to highlight their eyes. They spent much time arranging their hair and often dyed it black, red, or blonde. They also wore wigs regularly. Matrons usually wore two simple tunics for undergarments covered by a stola. The stola was a long white dress that was cinched at the waist and which fell to the wearer's feet, secured by clasps at the shoulder. Wealthier women would decorate their stola further. When going out a woman wore a palla over her stola, which was held by a clasp at the shoulder. Women of questionable morals or young women were not permitted to wear a stola, and instead wore tunics. Wealthy women wore jewels such as emeralds, aquamarine, opal, and pearls as earrings, necklaces, rings and sometimes sewn onto their shoes and clothing. In the aftermath of Roman defeat at Cannae, economic crisis provoked the passing of the Lex Oppia (215 BC) to restrict personal and public extravagance. The law limited women's possession and display of gold and silver (as money or personal ornament), expensive clothing and their "unnecessary" use of chariots and litters. Victory over Carthage flooded Rome with wealth and in 195 BC the Lex Oppia was reviewed. The ruling consul, Cato the Censor argued for its retention: personal morality and self-restraint were self-evidently inadequate controls on indulgence and luxury. Luxury provoked the envy and shame of those less well-off, and was therefore divisive. Roman women, in Cato's view, had showed only too clearly that their appetites once corrupted knew no limits, and must be restrained. Large numbers of Roman matrons thought otherwise, and made concerted public protest. In 193 BC the laws were abolished: Cato's opposition did not harm his political career. Later, in 42 BC, Roman women, led by Hortensia, successfully protested against laws designed to tax Roman women, by use of the argument of no taxation without representation. Evidence of a lessening on luxury restrictions can also be found; one of the Letters of Pliny is addressed to the woman Pompeia Celerina praising the luxuries she keeps in her villa. --- Body Image Based on Roman art and literature, small breasts and wide hips were the ideal body type for women considered alluring by Roman men. Roman art from the Augustan period shows idealized women as substantial and fleshy, with a full abdomen and breasts that are rounded, not pendulous. Prostitutes depicted in Roman erotic art have fleshy bodies and wide hips, and often have their breasts covered by a strophium (a sort of strapless bra) even when otherwise nude and performing sex acts. Large breasts were mocked as humorous or a sign of old age. Young girls wore a strophium secured tightly in the belief that it would inhibit the growth of breasts, and a regimen of massaging the breasts with hemlock, begun while a woman was still a virgin, was thought to prevent sagging. Breasts receive relatively minimal attention in erotic art and literature as a sexual focus; the breast was associated primarily with nursing infants and a woman's role as a mother. In times of extreme emotional duress, such as mourning or captivity in wartime, women might bare their breasts as an apotropaic gesture. --- Gynecology and Medicine The practices and views in the Hippocratic Corpus regarding women's bodies and their perceived weaknesses were inadequate for addressing the needs of women in the Hellenistic and Roman eras, when women led active lives and more often engaged in family planning. The physiology of women began to be seen as less alien to that of men.In the older tradition, intercourse, pregnancy, and childbirth were not only central to women's health, but the raison d'etre for female physiology; men, by contrast, were advised to exercise moderation in their sexual behavior, since hypersexuality would cause disease and fatigue. The Hippocratic view that amenorrhea was fatal became by Roman times a specific issue of infertility, and was recognized by most Roman medical writers as a likely result when women engage in intensive physical regimens for extended periods of time. Balancing food, exercise, and sexual activity came to be regarded as a choice that women might make. The observation that intensive training was likely to result in amenorrhea implies that there were women who engaged in such regimens. In the Roman era, medical writers saw a place for exercise in the lives of women in sickness and health. Soranus recommends playing ball, swimming, walking, reading aloud, riding in vehicles, and travel as recreation, which would promote overall good health. In examining the causes of undesired childlessness, these later gynecological writers include information about sterility in men, rather than assuming some defect in the woman only. Hypersexuality was to be avoided by women as well as men. An enlarged clitoris, like an oversized phallus, was considered a symptom of excessive sexuality. Although Hellenistic and Roman medical and other writers refer to clitoridectomy as primarily an "Egyptian" custom, gynecological manuals under the Christian Empire in late antiquity propose that hypersexuality could be treated by surgery or repeated childbirth. --- Prostitution Women could turn to prostitution to support themselves, but not all prostitutes had freedom to decide. There is some evidence that even slave prostitutes could benefit from their labor. Although rape was a crime, the law only punished the rape of a slave if it "damaged the goods," because a slave had no legal standing. The penalty was aimed at providing her owner compensation for the "damage" of his property. Because a slave woman was considered property under Roman law, forcing her to be a prostitute was not considered a crime. Prior to Septimius Severus, women who engaged in acts that brought infamia to them as slaves also suffered infamia when freed. Sometimes sellers of female slaves attached a ne serva clause to the slave to prevent her from being prostituted. The Ne Serva clause meant that if the new owner or any owner after him or her used the slave as a prostitute she would be free. Later on the ne serva agreements became enforceable by law. Prostitution was not limited to slaves or poor citizens; according to Suetonius (albeit in a possible exaggeration), Caligula when converting his palace into a brothel employed upper class "matrons and youths" as prostitutes. Although another possible exaggeration. Tacitus records that during one of Nero's feasts the prefect Tigellinus had brothels filled with upper class women. Prostitution could also be a punishment instead of an occupation, and women being sentenced to a spell working in a brothel is known. --- [ROMAN SOCIETY](romesociety.html) [ROMAN CULTURE](romeculture.html) [ROME INDEX](rome.html) [FILES ABOUT WOMEN](women.html) [ANCIENT AND LOST CIVILIZATIONS](ancient.html) [ALPHABETICAL INDEX](directory.html) [CRYSTALINKS HOME PAGE](index.html) [PSYCHIC READING WITH ELLIE](reading.html) [BOOK: THE ALCHEMY OF TIME](sabook.html) [DONATION TO CRYSTALINKS](donation.html) [ADVERTISE ON CRYSTALINKS](advertise_crystalinks.html) var gaJsHost = (("https:" == document.location.protocol) ? "https://ssl." : "http://www."); =document.write(unescape("%3Cscript src='" + gaJsHost + "google-analytics.com/ga.js' type='text/javascript'%3E%3C/script%3E")); try { var pageTracker = \_gat.\_getTracker("UA-7775239-1");pageTracker.\_trackPageview(); } catch(err) {}
http://www.crystalinks.com/romewomen.html
<HTML> <HEAD> <TITLE>PUBLIC NETBASE ZER0 NEWS</TITLE> <META NAME="author" CONTENT="ZER0 NEWS"> <META NAME="classification" CONTENT="non-profit independent internet content provider austria"> <META NAME="description" CONTENT="Public Netbase Media~Space! Website"> <META HTTP-EQUIV="keywords" CONTENT="Public Netbase, internet, politics, culture, technology, society, media, theory, art, activism, cyber, electronic, music, internet publishing, multimedia, hypermedia, hyper, tourism, pilgrim, cybergnosis, paranirvana, travel, voodoo, autonomous agents, webguide, SUBTERRANEAN, WARFARE, BLACK HOLE, FALLING, ALLIGATORS, HOLLOW PLANET, SECRETS, BUTTER, DOG , SEA "> </HEAD> <BODY BACKGROUND= "t0images/znews4.gif" BGCOLOR="#FF0000" TEXT= "#FFFFFF" ALINK= "#00FF00" VLINK= "#000000"> <center><A HREF="http://www.t0.or.at" onMouseOver="self.status='Public Netbase';return true"><img BORDER=0 width=50 height=50 src="t0images/netbl50t.gif"></A><P> <P> <A HREF="about0n.htm"><img width=400 height=5 src="t0images/brcode5t.gif"></A><P><FONT FACE="Arial, Helvetica"> <align><A HREF="about0n.htm" onMouseOver="self.status='About Zer0 News';return true"><img BORDER=0 width=370 height=120 src= "t0images/znews1.gif" ALT="ABOUT ZERO NEWS"></A></align><P> <A HREF="about0n.htm"><img width=400 height=5 src="t0images/brcode5t.gif"></A><P> NEWS <A HREF="news/news.htm" onMouseOver="self.status='NEWS AND UPDATES';return true" ><img WIDTH=10 HEIGHT=10 border=3 src="t0images/reddot.gif"></A> &Oslash; NAVIGATION <A HREF="http://www.t0.or.at/navigate.htm" onMouseOver="self.status='PUBLIC NETBASE t0 NAVIGATION';return true"><img WIDTH=10 HEIGHT=10 border=3 src="t0images/reddot1.gif"></A> LOCAL <A HREF="local.htm" onMouseOver="self.status='MATERIAL IN GERMAN';return true"><img WIDTH=10 HEIGHT=10 border=3 src="t0images/reddot1.gif"></A> &Oslash; EVENTS <A HREF="http://robot.t0.or.at/" onMouseOver="self.status=' ROBOTRONIKA';return true"><img WIDTH=10 HEIGHT=10 border=3 src="t0images/reddot1.gif"></A><P> <A HREF="about0n.htm"><img width=400 height=5 src="t0images/brcode5t.gif"></A><BR><P><P> <A HREF="http://www.t0.or.at/texts.htm"><IMG BORDER=0 WIDTH=50 HEIGHT=50 alt="Zer0 News. Texts and Material" SRC="http://www.t0.or.at/t0images/zeronr50.gif"><P> </A><FONT SIZE=+0> Zer0 News<BR>DATAPOOL<P> </font></FONT> <BR><P> <A HREF="about0n.htm"><img width=400 height=5 src="t0images/brcode5t.gif"></A><P> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=5> <TR> <TD NOWRAP width=180 valign=top align=right> <FONT FACE="Arial, Helvetica" SIZE=+0> e~lands<BR> on the web</TD> <TD NOWRAP width=60 valign=top align=right> <A HREF="/e-land/index.htm"><img BORDER=0 WIDTH=50 HEIGHT=50 src="t0images/enav.gif"></A></TD> <TD NOWRAP width=60 valign=top align=left> <A HREF="/dolores/" onMouseOver="self.status='DOLORES' ;return true"> <img BORDER=0 WIDTH=50 HEIGHT=50 src="/dolores/images/d01sw.gif"></A></TD> <TD NOWRAP width=180 valign=top align=left> <FONT FACE="Arial, Helvetica" SIZE=+0>dolores' <BR> bulimic <BR>breakfast </TD></TR> <TR> <TD NOWRAP width=180 valign=top align=right> <FONT FACE="Arial, Helvetica" SIZE=+0> AUTONOMOUS<BR> NEWS AGENT</TD> <TD NOWRAP width=60 valign=top align=right> <A HREF="/scl/agents.htm"><img BORDER=0 WIDTH=50 HEIGHT=50 src="t0images/agentz50.gif"></A></TD> <TD NOWRAP width=60 valign=top align=left> <A HREF="msguide/msguide.htm" onMouseOver="self.status='MS. GUIDANCE' ;return true"> <img BORDER=0 WIDTH=50 HEIGHT=50 src="t0images/miss50.gif"></A></TD> <TD NOWRAP width=180 valign=top align=left> <FONT FACE="Arial, Helvetica" SIZE=+0> MS. GUIDANCE <BR> WWW <BR>METADATA</TD></TR> <TR> <TD NOWRAP width=180 valign=top align=right> <FONT FACE="Arial, Helvetica" SIZE=+0> INTERACTIVE<BR> CATTLE<BR> MUTILATOR</TD> <TD NOWRAP width=60 valign=top align=right> <A HREF="mutilate/mutilate.htm"><img BORDER=0 WIDTH=50 HEIGHT=50 src="t0images/vacasw50.gif"></A></TD> <TD NOWRAP width=60 valign=top align=left> <A HREF="vvv" onMouseOver="self.status=' VERY VIRTUAL VOODOO' ;return true"> <img BORDER=0 WIDTH=50 HEIGHT=50 src="t0images/vooicon6.gif"></A></TD> <TD NOWRAP width=180 valign=top align=left> <FONT FACE="Arial, Helvetica" SIZE=+0> VVV <BR> VERY VIRTUAL <BR>VOODOO </TD></TR> <TR><TD NOWRAP width=180 valign=top align=right> <FONT FACE="Arial, Helvetica" SIZE=+0> HYPER<BR>MEDIA </TD> <TD NOWRAP width=60 valign=top align=right> <A HREF="escape.htm"><img BORDER=0 WIDTH=50 HEIGHT=50 src="t0images/escasw50.gif"></A></TD> <TD NOWRAP width=60 valign=top align=left> <A HREF="musick.htm"><img BORDER=0 WIDTH=50 HEIGHT=50 src="t0images/d_lines.gif"></A></TD> <TD NOWRAP width=180 valign=top> <FONT FACE="Arial, Helvetica" SIZE=+0> MUSICK<P></TD></TR> <TR><TR><TD NOWRAP width=180 valign=top align=right> <FONT FACE="Arial, Helvetica" SIZE=+0> ZERO POINT<BR> SUBRISE</TD> <TD NOWRAP width=60 valign=top align=right> <A HREF="subrise/subrise.htm"><img BORDER=0 WIDTH=50 HEIGHT=50 src="t0images/0subrs50.gif"></A></TD> <TD NOWRAP width=60 valign=top align=left> <A HREF="http://web.t0.or.at/t0/scl/sclintm.htm"><img BORDER=0 WIDTH=50 HEIGHT=50 src="t0images/scl50.gif"></A></TD> <TD NOWRAP width=180 valign=top> <FONT FACE="Arial, Helvetica" SIZE=+0> SCL<BR> HYPERMAIL<P> </TD></TR> </TD></TABLE><BR> <A HREF="about0n.htm" onMouseOver="self.status='About Zer0 News';return true"><img width=400 height=5 src="t0images/brcode5t.gif"></A><P> <!-- <A HREF="http://www.mordor.com/neslon/programs/decide.cgi?http://www.t0.or.at/zero.htm"><img border=3 src="t0images/reddot.gif"></A> <FONT FACE="Arial, Helvetica" SIZE=+0>.... DISINFORMATION SUPERHIGHWAY.... <A HREF="http://www.mordor.com/neslon/programs/decide.cgi?http://www.t0.or.at/zero.htm"><img border=3 src="t0images/reddot.gif"></A><P> --> <A HREF="http://www.t0.or.at/dd"><img WIDTH=10 HEIGHT=10 border=3 src="t0images/reddot1.gif"></A> <FONT FACE="Arial, Helvetica" SIZE=+0> .... DIGITALE DEMOKRATIE .... <A HREF="http://www.t0.or.at/dd"><img WIDTH=10 HEIGHT=10 border=3 src="t0images/reddot1.gif"></A> <P><A HREF="msguide/surfie.htm"><img WIDTH=10 HEIGHT=10 border=3 src="t0images/reddot.gif"></A> <FONT FACE="Arial, Helvetica" SIZE=+0> .... SURFER'S DELITE .... <A HREF="msguide/surfie.htm"><img border=3 src="t0images/reddot.gif"></A><P> <P><A HREF="msguide/biotechnology.htm"><img WIDTH=10 HEIGHT=10 border=3 src="t0images/reddot.gif"></A> <FONT FACE="Arial, Helvetica" SIZE=+0> .... BIOTECHNOLOGY .... <A HREF="msguide/biotechnology.htm"><img border=3 src="t0images/reddot.gif"></A><P> </FONT> <P><A HREF="msguide/surveillance.htm"><img WIDTH=10 HEIGHT=10 border=3 src="t0images/reddot.gif"></A> <FONT FACE="Arial, Helvetica" SIZE=+0> .... SURVEILLANCE .... <A HREF="msguide/surveillance.htm"><img border=3 src="t0images/reddot.gif"></A><P> </FONT> <A HREF="/gbook/gbook.htm"><img WIDTH=10 HEIGHT=10 border=3 src="t0images/reddot1.gif"></A> <FONT FACE="Arial, Helvetica" SIZE=+0> .... GUESTBOOK.... <A HREF="/gbook/gbook.htm"><img WIDTH=10 HEIGHT=10 border=3 src="t0images/reddot1.gif"></A><P> <CENTER><img width=50 height=50 src="t0images/shurivsr.gif"><P> <!-- <A HREF="http://www.t0.or.at/zero.htm#index"><img WIDTH=10 HEIGHT=10 border=3 src="t0images/reddot1.gif"></A> .... TEXTS and MATERIAL .... <A HREF="http://www.t0.or.at/zero.htm#index"><img WIDTH=10 HEIGHT=10 border=3 src="t0images/reddot1.gif"></A><P> <CENTER><img width=50 height=50 src="t0images/shurivsr.gif"><P> --> <A HREF="http://www.t0.or.at/msguide/cyberwar.htm" onMouseOver="self.status='INFORMATION WARFARE';return true"> <img BORDER=0 width=60 height=60 src="http://www.t0.or.at/t0images/mine60.gif"></IMG></A><P><P><BR><A NAME="index"> </A> <BR><TT>SEARCH</TT><BR> <form method=GET action="/cgi-bin/wwwwais/searchprog=swish"> <input type=text name="keywords" size=40> </form> <P> <!-- <A HREF="/msguide/cyberwar.htm" onMouseOver="self.status='INFORMATION WARFARE';return true"> <img BORDER=0 width=60 height=60 src="http://www.t0.or.at/t0images/mine60.gif"></IMG></A><P><P><BR><A NAME="index"> </A> --><P> <A HREF="/subrise/subwar.htm" onMouseOver="self.status='Subterranean Warfare';return true"> <img BORDER=0 width=207 height=100 src="t0images/subwavsm.gif"></IMG></A><P> <A HREF="/netbase.htm" onMouseOver="self.status='Public Netbase';return true"><img BORDER=0 width=50 height=50 src="t0images/netbl50t.gif"></IMG></A><P> <P> </center> </BODY> </HTML>
PUBLIC NETBASE ZER0 NEWS [![](t0images/netbl50t.gif)](http://www.t0.or.at) [![](t0images/brcode5t.gif)](about0n.htm) [![ABOUT ZERO NEWS](t0images/znews1.gif)](about0n.htm) [![](t0images/brcode5t.gif)](about0n.htm) NEWS [![](t0images/reddot.gif)](news/news.htm) Ø NAVIGATION [![](t0images/reddot1.gif)](http://www.t0.or.at/navigate.htm) LOCAL [![](t0images/reddot1.gif)](local.htm) Ø EVENTS [![](t0images/reddot1.gif)](http://robot.t0.or.at/) [![](t0images/brcode5t.gif)](about0n.htm) [![Zer0 News. Texts and Material](http://www.t0.or.at/t0images/zeronr50.gif)](http://www.t0.or.at/texts.htm) Zer0 News DATAPOOL [![](t0images/brcode5t.gif)](about0n.htm) | | | | | | --- | --- | --- | --- | | e~lands on the web | | | dolores' bulimic breakfast | | AUTONOMOUS NEWS AGENT | | | MS. GUIDANCE WWW METADATA | | INTERACTIVE CATTLE MUTILATOR | | | VVV VERY VIRTUAL VOODOO | | HYPERMEDIA | | | MUSICK | || ZERO POINT SUBRISE | | | SCL HYPERMAIL | [![](t0images/brcode5t.gif)](about0n.htm) [![](t0images/reddot1.gif)](http://www.t0.or.at/dd) .... DIGITALE DEMOKRATIE .... [![](t0images/reddot1.gif)](http://www.t0.or.at/dd) [![](t0images/reddot.gif)](msguide/surfie.htm) .... SURFER'S DELITE .... [![](t0images/reddot.gif)](msguide/surfie.htm) [![](t0images/reddot.gif)](msguide/biotechnology.htm) .... BIOTECHNOLOGY .... [![](t0images/reddot.gif)](msguide/biotechnology.htm) [![](t0images/reddot.gif)](msguide/surveillance.htm) .... SURVEILLANCE .... [![](t0images/reddot.gif)](msguide/surveillance.htm) [![](t0images/reddot1.gif)](/gbook/gbook.htm) .... GUESTBOOK.... [![](t0images/reddot1.gif)](/gbook/gbook.htm) ![](t0images/shurivsr.gif) [![](http://www.t0.or.at/t0images/mine60.gif)](http://www.t0.or.at/msguide/cyberwar.htm) SEARCH [![](t0images/subwavsm.gif)](/subrise/subwar.htm) [![](t0images/netbl50t.gif)](/netbase.htm)
http://www.t0.or.at/zero.htm
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2//EN"> <html> <head> <link rel="stylesheet" type="text/css" href="DBNstyle.css"> <meta name="Author" content="Ron Lussier"> <meta name="description" content="Dancing Baby Net - home of the original internet baby and more!"> <meta name="keywords" content="dancing baby net, original dancing baby, babies dance, new groove, cha cha, breakdance, Blockbuster commercials, character animation, infants, what was the song, FAQ"> <title>Dancing Baby animation</title> <style type="text/css"> .style2 { text-align: center; letter-spacing:2px; } .style3 { font-family: "Times New Roman"; } .style4 { border-style: solid; border-width: 1px; background-color: #802332; } .style5 { color: #C0C0C0; } .style6 { background-color: #802332; } .style10 { font-size: 9pt; color: #C0C0C0; text-align: center; } .style12 { color: #C08620; } .style14 { background-color: #4A4A4A; } .style15 { text-align: center; background-color: #4A4A4A; } .style16 { text-align: center; background-color: #808080; } .style8 { background-color: #F2F2F2; } .style17 { text-align: center; } .style9 { border-width: 0px; } .style18 { text-align: center; letter-spacing: 2px; color: #C0C0C0; } </style> </head> <body text="#000000" bgcolor="#808080" link="#405063" Vlink="#000000" alink="#405063"> <div align="center"> <b><font size="7"> <table style="width: 720px" cellspacing="0" cellpadding="4"> <tr> <td class="style15">&nbsp;<font color="#905620" size="4"><img src="images/TxBbWkr2.jpg" alt="Tux, Baby, Walker image" width="225" height="300"></font></td> <td class="style16"> <img src="images/DBNlogoG2.jpg" align="top" border="0" alt="dancing-baby.net" width="200" height="70"><br> <img src="images/GT_AnimH2.jpg" alt="Animation" width="212" height="58"><br> <img alt="Dancing baby stage loop" height="180" src="images/BstageB_e.gif" width="180">&nbsp;<br> </td> <td class="style15"> <font color="#905620" size="4"> <img src="images/TxBbWkr3.jpg" alt="Tux, Baby, Walker image" width="225" height="300"></font>&nbsp;</td> </tr> </table> </font></b> All files <span class="style3">©</span>1996-2018 Burning Pixel Productions<span style="Font-Size : 8pt"><br> These files are <i>for private use only</i> and may not be altered in any way.<br></span> </div> <p> Xmas baby! Back after so many years! <br>With terrible music!<br><a href="Xmasbab1.htm"> <img class="style9" height="200" src="images/xmasbab1.jpg" width="150"></a><br> </p> <div align="center"> <script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <ins class="adsbygoogle" style="display:inline-block;width:728px;height:90px" data-ad-client="ca-pub-3279270216894105" data-ad-slot="5584172486"> </ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script> </div> <br> <div align="center"> <center> <table border="0" cellspacing="0" cellpadding="7" class="style14" style="width: 650px; height: 120px"> <tr> <td width="82" class="style2"><a href="NewDanc1.html"><img src="images/baby1w.jpg" align="bottom" alt="New moves Dancing Baby groove" border="0" width="82" height="98"></a></td> <td width="98"><a href="MotoBaby.htm"><img src="images/MotoBabS.jpg" align="bottom" border="0" alt="Moto Baby wheelie" width="98" height="98"></a></td> <td width="94"><a href="Babygif.htm"><img src="images/BabFamS2.jpg" align="bottom" border="0" width="94" height="98" alt="Original net Dancing Baby"></a></td> <td width="61"><a href="BabyDanc2a.htm"><img src="images/BabStil2.GIF" align="bottom" border="0" alt="Twirling dancing baby on metal drum" width="61" height="98"></a></td> <td width="70"><a href="BBbaby2.htm"><img src="images/BBbaby1.jpg" align="bottom" border="0" alt="Download BabyBlockbuster movie" width="70" height="98"></a></td> <td width="127" align="center"> <a href="http://www.ronlussier.com/CHParchive/Images/UbabyCom.asf"> <img src="images/BUrb_S3.jpg" border="0" alt="Dancing Babies CMI TV commercial" width="127" height="96"></a></td> <td width="61"> <img border="0" src="images/BabyNoirWht.jpg" width="61" height="98" alt="Baby Noir"></td> </tr> </table> </center> <center> <table border="0" cellspacing="1" style="width: 75%"> <tr> <td style="width: 33%"><p align="center"><a href="BabyFAQ.htm">Dancing Baby FAQ</a></td> <td style="width: 33%" class="style2"><a href="Bcopyrgt.htm">Terms of Use</a></td> <td style="width: 33%"><p align="center">Baby Antarctica <a href="Antarct1.htm">goofy-ness</a>.</td> </tr> </table> </center><img src="images/GlassLine1.jpg" alt="Rope Line graphic" width="600" height="120"></div> <div align="center"><center> <table width="90%" bordercolor="#000000" bordercolorlight="#9295C2" bordercolordark="#6B696A" class="style4" cellspacing="3"> <tr> <td style="width: 33%"><h3 align="center"><A name="newB"></A><font color="#C08620">Original music and some new moves.</font></h3> <p align="center" class="style5">(Music by me, on keys, guitar and drum machine. © 1999 Burning Pixel Productions) <br>1meg QuickTime file</p> <p align="center"><br> <a href="NewDanc1.html"><img src="images/baby1w.jpg" align="bottom" alt="New moves Dancing Baby groove" border="0" width="164" height="196"></a></p> <p align="center">Check it out <a href="NewDanc1.html">here</a> </td> <td style="width: 33%">&nbsp;<h3 align="center"><span class="style12">Stunt-Baby</span></h3> <p align="center" class="style5">Rollin' a wheelie down the freeway, 337k animated looping GIF file <br> (silent)</p> <h3 align="center"><a href="MotoBaby.htm"><img src="images/MotoBabS.jpg" align="bottom" border="0" alt="Moto Baby wheelie" width="120" height="120"></a></h3> <p align="center"><a href="MotoBaby.htm">MotoCross Baby</a></p> <p align="center" class="style5">See the dangerous <a href="BabyBldg.html"> building jump!</a><p align="center" class="style5">Or the always disturbing <a href="BabySqsh.html">squish trick!</a><p align="center">&nbsp;</td> <td style="width: 33%"><h3 align="center"><font color="#C08620">The original net-file that started it all</font></h3> <p align="center" class="style5">A GIF file from the original frames&nbsp;&nbsp; <span class="style3">©</span>1996</p> <h3 align="center"><a href="Babygif.htm"><img src="images/BabFamS2.jpg" align="bottom" border="0" alt="Original net Dancing Baby" width="120" height="125"></a></h3> <p align="center">View it as a<a href="../"> </a><a href="Babygif.htm">MiniGIF</a> <p align="center">or <a href="http://www.ronlussier.com/CHParchive/Images/babyFlip.asf">Flip2</a><BR>in WindowsMedia<p align="center"> &nbsp;<p align="center">&nbsp;</td> </tr> </table> </center> <font size="2"> <img src="images/GlassLine1.jpg" alt="Rope Line graphic" width="600" height="120"></font></div> <div align="center"><center> <table bordercolorlight="#9295C2" bordercolordark="#6B696A" class="style4" style="width: 90%"> <tr> <td style="width: 33%">&nbsp;<h3 align="center"><font color="#C08620">Blockbuster BreakDance</font></h3> <p align="center" class="style5">Blockbuster commissioned the Baby for a commercial, here is a MPEG version of the commercial I did for them.</p> <p align="center"><img src="images/BBbaby1.jpg" align="bottom" border="0" alt="Download BabyBlockbuster movie" width="155" height="215"></p> <p align="center"><a href="BBbaby2.htm">View Baby Blockbuster</a></p> <p align="center">&nbsp;</td> <td style="width: 33%"><h3 align="center"><font color="#C08620">CMI Films TV Commercial</font></h3> <p align="center" class="style5">The TV commercial I did for CMI Films.</p> <p align="center"><span style="Font-Size : 9pt"> <span class="style5">Here's a .ASF file (300k) for anybody with the Windows Media Player. <br> </span> </span> <a href="http://www.ronlussier.com/CHParchive/Images/UbabyCom.asf">Ubaby.asf</a></p> <p align="center"> <img src="images/BUrb_S3.jpg" align="bottom" border="0" alt="Dancing Babies CMI TV commercial" width="260" height="195"></p> <p align="center">&nbsp; </td> <td style="width: 33%"><h3 align="center"><font color="#C08620">Baby Dance 2</font></h3> <p align="center" class="style5">A bit more of a free-form dance here, just twirling. (silent)&nbsp; <span class="style3">©1</span>997</p> <p align="center">&nbsp;</p> <p align="center"><img src="images/BabStil2.GIF" align="bottom" border="0" alt="Twirling dancing baby on metal drum" width="142" height="228"> <p align="center"><a href="BabyDanc2a.htm">View Animated GIF file</a></p> </td> </tr> </table> <center> <!-- SiteSearch Google --> <form method="get" action="http://www.google.com/custom" target="google_window"> <table border="0" bgcolor="#606060"> <tr><td nowrap="nowrap" valign="top" align="left" height="32"> </td> <td nowrap="nowrap"> <input type="hidden" name="domains" value="dancing-baby.net"/> <label for="sbi" style="display: none">Enter your search terms</label> <input type="text" name="q" size="32" maxlength="255" value="" id="sbi"/> <label for="sbb" style="display: none">Submit search form</label> <input type="submit" name="sa" value="Google Search" id="sbb"/> </td></tr> <tr> <td>&nbsp;</td> <td nowrap="nowrap"> <table> <tr> <td> <input type="radio" name="sitesearch" value="" checked id="ss0"/> <label for="ss0" title="Search the Web"><font size="-1" color="#000000">Web</font></label></td> <td> <input type="radio" name="sitesearch" value="dancing-baby.net" id="ss1"/> <label for="ss1" title="Search dancing-baby.net"><font size="-1" color="#000000">dancing-baby.net</font></label></td> </tr> </table> <input type="hidden" name="client" value="pub-3279270216894105"/> <input type="hidden" name="forid" value="1"/> <input type="hidden" name="channel" value="8532445666"/> <input type="hidden" name="ie" value="ISO-8859-1"/> <input type="hidden" name="oe" value="ISO-8859-1"/> <input type="hidden" name="safe" value="active"/> <input type="hidden" name="cof" value="GALT:#333333;GL:1;DIV:#373537;VLC:000000;AH:center;BGC:AAAAAA;LBGC:606060;ALC:000000;LC:000000;T:323232;GFNT:663333;GIMP:663333;LH:50;LW:143;L:http://dancing-baby.net/Baby/images/DBNlogoG2.jpg;S:http://dancing-baby.net/;FORID:1"/> <input type="hidden" name="hl" value="en"/> </td></tr></table> </form> <!-- SiteSearch Google --> </center> <div align="center"> <script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <ins class="adsbygoogle" style="display:inline-block;width:728px;height:90px" data-ad-client="ca-pub-3279270216894105" data-ad-slot="5584172486"> </ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script> </div> <br> <font size="2"> <img src="images/GlassLine1.jpg" alt="Rope Line graphic" width="600" height="120"></font><br> <img border="0" src="images/torusl1b.jpg" width="160" height="160">&nbsp;&nbsp; <img alt="" height="160" src="images/SpinnerV5f.gif" width="352">&nbsp;&nbsp; <img border="0" src="images/torusl1.jpg" width="160" height="160"> <br> All files <span class="style3">©</span>1996-2008 Burning Pixel Productions<span style="Font-Size : 8pt"><br> These files are <i>for private use only</i> and may not be altered in any way.</span><br> <img src="images/GlassLine1.jpg" alt="Rope Line graphic" width="600" height="120"> <table style="width: 560px; height: 240px" class="style6"> <tr> <td class="style17"> <p class="style18"> <font size="4">Tired of the bs, bias and infotainment in the &quot;news&quot;?</font> <br> - no corporate dollars, no government funding, no commercials, non profit </p> <table style="width: 208px" align="center"> </table> <br> <a href="http://www.therealnews.com/" target="_blank"> <span class="style5"> <img border="0" src="images/TheRealNews.png" width="131" height="80" alt="The Real News"></span></a> <p class="style10">&quot;the First Amendment rests on the assumption that the widest possible dissemination of information from diverse and antagonistic sources is essential to the welfare of the public, that a free press is a condition of a free society.&quot;&nbsp; - Supreme Court Justice Hugo Black</p> </td> </tr> </table> </center> </div> <br> <div align="center"> <script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <ins class="adsbygoogle" style="display:inline-block;width:728px;height:90px" data-ad-client="ca-pub-3279270216894105" data-ad-slot="5584172486"> </ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script> </div> <p align="center"> <a href="../index.htm"><br> </a>&nbsp; <a href="#Top">/\Top</a></p> <script type="text/javascript"> var gaJsHost = (("https:" == document.location.protocol) ? "https://ssl." : "http://www."); document.write(unescape("%3Cscript src='" + gaJsHost + "google-analytics.com/ga.js' type='text/javascript'%3E%3C/script%3E")); </script> <script type="text/javascript"> try { var pageTracker = _gat._getTracker("UA-7040368-1"); pageTracker._trackPageview(); } catch(err) {} </script> <hr style="width: 60%; height: 12px"> <p align="center"><span lang="en-us"> |&nbsp; <a href="http://www.burningpixel.com/index.htm">Home</a> &nbsp; |&nbsp; <a href="http://www.burningpixel.com/homepage.htm">Info</a> &nbsp; |&nbsp; <a href="http://www.burningpixel.com/Max/index.htm">3ds Max</a> &nbsp; |&nbsp; <a target="_blank" href="http://ronlussier.com/music/index.htm">Music</a> &nbsp; |&nbsp; <a target="_blank" href="http://www.ronlussier.com/photo_gallery/photo_gallery.htm">Photography</a> &nbsp; |&nbsp; <a href="http://www.burningpixel.com/svg/index.htm">Vector Graphics</a> &nbsp; |&nbsp; <a href="http://www.dancing-baby.net/BabyMus1.htm">Dancing Baby</a> &nbsp; | <br> |&nbsp; <a href="http://www.burningpixel.com/Gallery/galery0.htm">Graphics Gallery</a> &nbsp; |&nbsp; <a href="http://www.burningpixel.com/Gallery/galerys.htm">3D Stereo Gallery</a> &nbsp; |&nbsp; <a href="http://www.burningpixel.com/Brazil/index.htm">Brazil Gallery</a> &nbsp; |&nbsp; <a target="_blank" href="http://www.ronlussier.com/Blog/index.htm">QuotesBlog</a> &nbsp; |</span></p> <p id="copyright" align="center"> <img border="0" src="images/webcrt.jpg" width="547" height="20"> </p> </body> </html>
 Dancing Baby animation .style2 { text-align: center; letter-spacing:2px; } .style3 { font-family: "Times New Roman"; } .style4 { border-style: solid; border-width: 1px; background-color: #802332; } .style5 { color: #C0C0C0; } .style6 { background-color: #802332; } .style10 { font-size: 9pt; color: #C0C0C0; text-align: center; } .style12 { color: #C08620; } .style14 { background-color: #4A4A4A; } .style15 { text-align: center; background-color: #4A4A4A; } .style16 { text-align: center; background-color: #808080; } .style8 { background-color: #F2F2F2; } .style17 { text-align: center; } .style9 { border-width: 0px; } .style18 { text-align: center; letter-spacing: 2px; color: #C0C0C0; } **| | | | | --- | --- | --- | | Tux, Baby, Walker image | dancing-baby.net Animation Dancing baby stage loop  | Tux, Baby, Walker image |** All files ©1996-2018 Burning Pixel Productions These files are *for private use only* and may not be altered in any way. Xmas baby! Back after so many years! With terrible music! [![](images/xmasbab1.jpg)](Xmasbab1.htm) (adsbygoogle = window.adsbygoogle || []).push({}); | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | | [New moves Dancing Baby groove](NewDanc1.html) | [Moto Baby wheelie](MotoBaby.htm) | [Original net Dancing Baby](Babygif.htm) | [Twirling dancing baby on metal drum](BabyDanc2a.htm) | [Download BabyBlockbuster movie](BBbaby2.htm) | [Dancing Babies CMI TV commercial](http://www.ronlussier.com/CHParchive/Images/UbabyCom.asf) | Baby Noir | | | | | | --- | --- | --- | | [Dancing Baby FAQ](BabyFAQ.htm) | [Terms of Use](Bcopyrgt.htm) | Baby Antarctica [goofy-ness](Antarct1.htm). | ![Rope Line graphic](images/GlassLine1.jpg) | | | | | --- | --- | --- | | Original music and some new moves. (Music by me, on keys, guitar and drum machine. © 1999 Burning Pixel Productions) 1meg QuickTime file [New moves Dancing Baby groove](NewDanc1.html) Check it out [here](NewDanc1.html) | Stunt-Baby Rollin' a wheelie down the freeway, 337k animated looping GIF file (silent) [Moto Baby wheelie](MotoBaby.htm) [MotoCross Baby](MotoBaby.htm) See the dangerous [building jump!](BabyBldg.html)Or the always disturbing [squish trick!](BabySqsh.html)  | The original net-file that started it all A GIF file from the original frames   ©1996 [Original net Dancing Baby](Babygif.htm) View it as a[MiniGIF](Babygif.htm) or [Flip2](http://www.ronlussier.com/CHParchive/Images/babyFlip.asf)in WindowsMedia    | ![Rope Line graphic](images/GlassLine1.jpg) | | | | | --- | --- | --- | | Blockbuster BreakDance Blockbuster commissioned the Baby for a commercial, here is a MPEG version of the commercial I did for them. Download BabyBlockbuster movie [View Baby Blockbuster](BBbaby2.htm)   | CMI Films TV Commercial The TV commercial I did for CMI Films. Here's a .ASF file (300k) for anybody with the Windows Media Player. [Ubaby.asf](http://www.ronlussier.com/CHParchive/Images/UbabyCom.asf) Dancing Babies CMI TV commercial   | Baby Dance 2 A bit more of a free-form dance here, just twirling. (silent)  ©1997   Twirling dancing baby on metal drum [View Animated GIF file](BabyDanc2a.htm) | | | | | --- | --- | | | Enter your search terms Submit search form | | | | | | | --- | --- | | Web | dancing-baby.net | | (adsbygoogle = window.adsbygoogle || []).push({}); ![Rope Line graphic](images/GlassLine1.jpg) ![](images/torusl1b.jpg)   ![](images/SpinnerV5f.gif)   ![](images/torusl1.jpg) All files ©1996-2008 Burning Pixel Productions These files are *for private use only* and may not be altered in any way. ![Rope Line graphic](images/GlassLine1.jpg) | | | --- | | Tired of the bs, bias and infotainment in the "news"? - no corporate dollars, no government funding, no commercials, non profit [The Real News](http://www.therealnews.com/) "the First Amendment rests on the assumption that the widest possible dissemination of information from diverse and antagonistic sources is essential to the welfare of the public, that a free press is a condition of a free society."  - Supreme Court Justice Hugo Black | (adsbygoogle = window.adsbygoogle || []).push({});   [/\Top](#Top) var gaJsHost = (("https:" == document.location.protocol) ? "https://ssl." : "http://www."); document.write(unescape("%3Cscript src='" + gaJsHost + "google-analytics.com/ga.js' type='text/javascript'%3E%3C/script%3E")); try { var pageTracker = \_gat.\_getTracker("UA-7040368-1"); pageTracker.\_trackPageview(); } catch(err) {} --- |  [Home](http://www.burningpixel.com/index.htm)   |  [Info](http://www.burningpixel.com/homepage.htm)   |  [3ds Max](http://www.burningpixel.com/Max/index.htm)   |  [Music](http://ronlussier.com/music/index.htm)   |  [Photography](http://www.ronlussier.com/photo_gallery/photo_gallery.htm)   |  [Vector Graphics](http://www.burningpixel.com/svg/index.htm)   |  [Dancing Baby](http://www.dancing-baby.net/BabyMus1.htm)   | |  [Graphics Gallery](http://www.burningpixel.com/Gallery/galery0.htm)   |  [3D Stereo Gallery](http://www.burningpixel.com/Gallery/galerys.htm)   |  [Brazil Gallery](http://www.burningpixel.com/Brazil/index.htm)   |  [QuotesBlog](http://www.ronlussier.com/Blog/index.htm)   | ![](images/webcrt.jpg)
http://dancing-baby.net/BabyMus1.htm
<HTML> <HEAD> <TITLE>The CastleVania Dungeon - Entrance</TITLE> </HEAD> <BODY BGCOLOR=BLACK TEXT=WHITE LINK=RED ALINK=WHITE VLINK=ORANGE> <CENTER> <IMG SRC="lightn1.gif"> <A HREF="dungeon.htm"><IMG BORDER=0 SRC="frame-y.gif"></A> <IMG BORDER=0 SRC="enter.gif"> <A HREF="welcome.htm"><IMG BORDER=0 SRC="frame-n.gif"></A> <IMG SRC="lightn2.gif"> <BR CLEAR=ALL> [ BROWSE <A HREF="dungeon.htm">WITH FRAMES</A> | OR <A HREF="welcome.html">WITHOUT FRAMES</A> ] <TABLE BORDER=1 CELLSPACING=0 CELLPADDING=5 WIDTH=100%> <TR> <TD BGCOLOR="#000040"> <CENTER> <FONT FACE=ARIAL SIZE=2> THE CASTLEVANIA DUNGEON IS BEST WHEN VIEWED AT <FONT COLOR=RED>800x600</FONT> WITH <FONT COLOR=RED>64K</FONT> OR MORE <FONT COLOR=RED>COLORS</FONT><BR CLEAR=ALL> THE CASTLEVANIA DUNGEON UTILIZES A TRUE TYPE FONT CALLED <FONT COLOR=RED>'HALLOWEEN'</FONT> FOR ADDED EFFECT. THIS FONT IS <I>NOT</I> NECESSARY FOR VIEWING THESE PAGES, BUT WILL ENHANCE YOUR EXPERIENCE IF YOU CHOOSE TO USE IT.<BR CLEAR=ALL> <A HREF="hallween.zip">DOWNLOAD THE 'HALLOWEEN' FONT HERE.</A><BR CLEAR=ALL> </CENTER> </TD> </TR> </TABLE> <FONT COLOR=RED SIZE=1> <B>CastleVania&reg, and all associated video games, music, characters, etc. are owned by <A HREF="http://www.konami.com">Konami</A> - all rights reserved.</B> </FONT> </CENTER> </BODY> </HTML>
The CastleVania Dungeon - Entrance ![](lightn1.gif) [![](frame-y.gif)](dungeon.htm) ![](enter.gif) [![](frame-n.gif)](welcome.htm) ![](lightn2.gif) [ BROWSE [WITH FRAMES](dungeon.htm) | OR [WITHOUT FRAMES](welcome.html) ] | | | --- | | THE CASTLEVANIA DUNGEON IS BEST WHEN VIEWED AT 800x600 WITH 64K OR MORE COLORS THE CASTLEVANIA DUNGEON UTILIZES A TRUE TYPE FONT CALLED 'HALLOWEEN' FOR ADDED EFFECT. THIS FONT IS *NOT* NECESSARY FOR VIEWING THESE PAGES, BUT WILL ENHANCE YOUR EXPERIENCE IF YOU CHOOSE TO USE IT. [DOWNLOAD THE 'HALLOWEEN' FONT HERE.](hallween.zip) | **CastleVania®, and all associated video games, music, characters, etc. are owned by [Konami](http://www.konami.com) - all rights reserved.**
http://www.hardcoregaming101.net/cvbackup/
<!DOCTYPE html> <html> <head> <meta content="text/html; charset=utf-8" http-equiv="Content-Type" /> <title>Footh Main</title> <meta content="width=device-width, initial-scale=1.0" name="viewport" /> <style type="text/css">body { /*background: linear-gradient(90deg, white, gray);*/ background-color: #eee; } body, h1, p { font-family: "Helvetica Neue", "Segoe UI", Segoe, Helvetica, Arial, "Lucida Grande", sans-serif; font-weight: normal; margin: 0; padding: 0; text-align: center; } .container { margin-left: auto; margin-right: auto; margin-top: 60px; max-width: 1000px; padding-right: 15px; padding-left: 15px; } h1 { font-size: 48px; font-weight: 300; margin: 0 0 20px 0; } .lead { font-size: 21px; font-weight: 200; margin-bottom: 20px; } p { margin: 0 0 10px; } a { color: #3282e6; text-decoration: none; } .half { width: 48.6%; height: auto; min-width:400px; float: left; font-size: 18px; font-family: "Arial"; color: black; background-color:#eeeeee; padding-left: 4px; margin-top: 8px; margin-left: 8px; margin-bottom: 8px; } #colorstrip{ position: fixed; top: 0; width: 100%; height: 38px; z-index: 100; border-style: solid; border-color: white; background-color: white; } a:link.heads, a:visited.heads { background-color: #f44336; color: white; padding: 8px 16px; text-align: center; text-decoration: none; display: inline-block; } a:hover.heads, a:active.heads { background-color: red; } .alignleft { float: left; } .alignright { float: right; margin-right: 6px; } img { max-width: 100%; height: auto; width: auto\9; /* ie8 */ } .attLeft { float: left; } </style> </head> <header> <div id="colorstrip"> <p class="alignleft"> <a class="heads" style = "background-color: #f06000;" href="./footh">Footh</a> <a class="heads" href="./foo/screenshots">Screen Shots</a> <a class="heads" href="./foo/wiki/main">Wiki</a> <a class="heads" href="./forum">Forum</a> </p> <p class="alignright"> <a class="heads" href="./foo/download">Download</a> <!-- <a class="heads" href="foo/forum">Forum</a> --> </p> <div style="clear: both;"></div> </div><!-- End of "colorstrip" --> </header> <body> <div class="container text-center" id="error"> <div class="col-md-12"> <p><img alt="FoothTheme" width="372" height="260" src="./res/Footh/FoothTheme.png" /></p> <p class="lead"> Footh is a Open World Survival Game in early alpha development.<br> Unique terrain editing allows for mechanics and creativity never before digital.<br> </p> </div> </div> <p><img alt="foothMount01" width="1920" height="1080" src="./res/Footh/foothMount01.png" /></p> <div class="container text-center" id="error"> <div class="col-md-12"> <div class = "half"> <p><b>6 Character Attributes</b><br> <div class="attLeft" align = "left"> <b>Dexterity</b>:<br> <b>Strength</b>:<br> <b>Agility</b>:<br> <b>Endurance</b>:<br> <b>Constitution:&nbsp</b><br> <b>Arcane</b>:<br> </div> <div align = "left"> Upper body Skill and Accuracy.<br> Upperbody Physical Power.<br> Lower body Skill and Speed.<br> Lowerbody Physical power.<br> Health, Toughness, Reistance.<br> Magic Skill and Power.<br> </div> </p> </div> <div class = "half"> <p><b>Numerous Skills</b><br> <div align = "left"> Mining:<br> Smithing:<br> Leather Working:<br> Chopping:<br> Enchanting:<br> Etc...<br> </div> </p> </div> <div style="display: block; clear: both;"></div> <div class="col-md-12"> <div class = "half"> <p><b>World</b><br> <div align = "left"> Procedural world generation for infinite exploration.<br> Terrain mesh allows for intricate control while maintaining a realistic appeal.<br> Fully functioned physics engine to traverse and manipulate the environment<bR> </div> </p> </div> <div class = "half"> <p><b>Crafting</b><br> <div align = "left"> Collect raw resources through the world.<br> Interactive crafting system allows experimentation inorder to assign various properties.<br> For Example: Crafting a sword with a thiner blade will weigh less, and be sharper, but break easier.<br> </div> </p> </div> <div style="display: block; clear: both;"></div> <div class="col-md-12"> <div class = "half"> <p><b>Massively Multiplayer</b><br> <div align = "left"> Host a server for your community or join another's.<br> Written in C with OpenGL to provide maximum perfomance and expandability.<br> <br> </div> </p> </div> <div class = "half"> <p><b>Mod API</b><br> <div align = "left"> Item, recipe, model, and entity loading scripts.<br> Modloader to Liveswap precompiled mods without restarting Footh.<br> Precompiled Modpacks.<br> Pubicly released .h's + .lib's.<br> </div> </p> </div> <p> </p> </div> </div> </div> </body> </html>
Footh Main body { /\*background: linear-gradient(90deg, white, gray);\*/ background-color: #eee; } body, h1, p { font-family: "Helvetica Neue", "Segoe UI", Segoe, Helvetica, Arial, "Lucida Grande", sans-serif; font-weight: normal; margin: 0; padding: 0; text-align: center; } .container { margin-left: auto; margin-right: auto; margin-top: 60px; max-width: 1000px; padding-right: 15px; padding-left: 15px; } h1 { font-size: 48px; font-weight: 300; margin: 0 0 20px 0; } .lead { font-size: 21px; font-weight: 200; margin-bottom: 20px; } p { margin: 0 0 10px; } a { color: #3282e6; text-decoration: none; } .half { width: 48.6%; height: auto; min-width:400px; float: left; font-size: 18px; font-family: "Arial"; color: black; background-color:#eeeeee; padding-left: 4px; margin-top: 8px; margin-left: 8px; margin-bottom: 8px; } #colorstrip{ position: fixed; top: 0; width: 100%; height: 38px; z-index: 100; border-style: solid; border-color: white; background-color: white; } a:link.heads, a:visited.heads { background-color: #f44336; color: white; padding: 8px 16px; text-align: center; text-decoration: none; display: inline-block; } a:hover.heads, a:active.heads { background-color: red; } .alignleft { float: left; } .alignright { float: right; margin-right: 6px; } img { max-width: 100%; height: auto; width: auto\9; /\* ie8 \*/ } .attLeft { float: left; } [Footh](./footh) [Screen Shots](./foo/screenshots) [Wiki](./foo/wiki/main) [Forum](./forum) [Download](./foo/download) ![FoothTheme](./res/Footh/FoothTheme.png) Footh is a Open World Survival Game in early alpha development. Unique terrain editing allows for mechanics and creativity never before digital. ![foothMount01](./res/Footh/foothMount01.png) **6 Character Attributes** **Dexterity**: **Strength**: **Agility**: **Endurance**: **Constitution:** **Arcane**: Upper body Skill and Accuracy. Upperbody Physical Power. Lower body Skill and Speed. Lowerbody Physical power. Health, Toughness, Reistance. Magic Skill and Power. **Numerous Skills** Mining: Smithing: Leather Working: Chopping: Enchanting: Etc... **World** Procedural world generation for infinite exploration. Terrain mesh allows for intricate control while maintaining a realistic appeal. Fully functioned physics engine to traverse and manipulate the environment **Crafting** Collect raw resources through the world. Interactive crafting system allows experimentation inorder to assign various properties. For Example: Crafting a sword with a thiner blade will weigh less, and be sharper, but break easier. **Massively Multiplayer** Host a server for your community or join another's. Written in C with OpenGL to provide maximum perfomance and expandability. **Mod API** Item, recipe, model, and entity loading scripts. Modloader to Liveswap precompiled mods without restarting Footh. Precompiled Modpacks. Pubicly released .h's + .lib's.
http://jaboct.com/footh
<HTML> <HEAD> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=windows-1252"> <META NAME="Generator" CONTENT="Microsoft FrontPage 6.0"> <TITLE>The Data Egg - One-hand position-independent typing and data entry</TITLE> <meta name=description content="A new way to type for portable computers"> <meta name="robots" content="index, follow"><meta name="revisit-after" content="15 days"><meta name="distribution" content="Global"><meta name="doc-type" content="Public"><meta name="doc-rights" content="Copywritten Work"><META HTTP-EQUIV="Expires" CONTENT="0"><META HTTP-EQUIV="Pragma" CONTENT="no-cache"><META HTTP-EQUIV="Cache-Control" CONTENT="no-cache"> <META NAME="Template" CONTENT="C:\PROGRAM FILES\MICROSOFT OFFICE\OFFICE\html.dot"> </HEAD> <BODY VLINK="#ff0000" BACKGROUND="Image7.jpg"> <B><P ALIGN="CENTER"><font size="7">Introducing the &quot;Data Egg&quot;</font></P> </B> <P align="center"><FONT COLOR="#ffff00"> <img border="3" src="Mykel_Image.jpg" width="371" height="249"> <span style="font-size:12.0pt;font-family:&quot;Times New Roman&quot;; mso-fareast-font-family:&quot;Times New Roman&quot;;mso-ansi-language:EN-US;mso-fareast-language: EN-US;mso-bidi-language:AR-SA"> </span></FONT></P> <p align="center"><font size="4"><i>Finally, a usable way to type for Handheld computers, PDAs, and Cell Phones!</i></font></p> <p align="center"><a href="index.html">Home</a> | <a href="History.html">History</a> | <a href="Alphabet.html"> How do you type?</a> | <a href="FAQ.html"> FAQ</a> | <a href="ProductsThatNeedIt.htm"> Potential Markets and Uses</a> |&nbsp;</p> <p align="center"><a href="everyday_usage_scenarios.htm">Everyday Usage Scenarios</a> | <a href="Investor%20Relations.htm">Investor Relations</a> |&nbsp;<a href="mailto:Gary@Friedman.org">Contact Us</a></p> <p align="center">&nbsp;</p> <P align="center"><IMG SRC="grenade75dpi.jpg" WIDTH=351 HEIGHT=228><FONT COLOR="#ffff00">&nbsp; <IMG SRC="DataEggNewShape.jpg" WIDTH=347 HEIGHT=227> </FONT></P> <P align="center">&nbsp;</P> <P>Imagine having access to the whole world of information in your hand - everything from a 2-way alphanumeric pager, e-mail, phone book, calendar, notepad, and to-do lists. Now imagine that you can access this information AND CAPTURE NOTES AND IDEAS anytime, anywhere -- even while walking, driving, running, lying down, or even waiting in line at the airport. </P> <UL> <LI>NO MORE tiny, klutzy keyboards that are inaccessible even when seated at a desk! </LI> <LI>Instantly accessible - wears like a 2-way pager, but works like a pocket organizer - all in the palm of your hand! </LI> <LI>Capture information faster than any other pocket organizer -- faster than Palm Pilot, Blackberry, or Pocket Windows! </LI> <LI>Extremely easy to use - most people learn the alphabet in only a few hours (same learning curve as Graffiti). </LI></UL> <P>In a nutshell, the Data Egg is the answer to the current trend of continuously shrinking portable devices -- 2-way pager, pocket organizers, for example -- all of them too small to type on, and none of them accessible unless you're sitting down and anchored to a desk. Originally developed by Gary Friedman of NASA's Jet Propulsion Laboratory as a keyboard for astronauts, the Data Egg is now poised to forge the next wave in Personal Information Appliances. Having solved the keyboard barrier problem, the Data Egg for the first time will enable the merger of 2-way pager, phone book, notepad, calendar, e-mail, alarm clock, language translator, and a host of other specialized functions to all co-exist in one self-contained, handheld device that can easily capture as well as retrieve information on the fly, regardless of position or activity.</P> <P>The Data Egg's "keyboard" consists of seven buttons (at least 3 for the thumb, 1 for each of the remaining fingers) wrapped around a shape that's easy for the hand to hold.&nbsp; The seven buttons are pressed in different combinations, much like playing chords on a piano (hence the name 'chording'), and can be used to type all letters, all numbers, all punctuation -- pretty much anything one can type on a typewriter. <A HREF="Alphabet.html">The Alphabet</A> is also easy to learn since the shapes of the letters resemble the button patterns that are pressed. The first physical prototype had the buttons mounted onto an Easter egg, hence the name 'Data Egg' was born. </P> <P>The applicability of the Data Egg to everyday tasks is unending; and properly marketed, the Egg can have the same impact on society as have the microwave oven, the pager, credit card, and the spreadsheet. </P> <P>UPDATE: After pursuing this idea for more than 15 years, as of January 1, 2005, development on the Data Egg concept has ceased.&nbsp; There are no prototypes or schematics that can be shared.&nbsp; This site remains up in the hopes that someone else will grab hold of the idea and run with it. </P> <P>E-mail to <A HREF="mailto:info@e2solutions.com">Gary@Friedman.org</A><FONT FACE="Comic Sans MS" COLOR="#ffff00"> </P> </FONT><FONT FACE="Comic Sans MS"><P>&nbsp;</P><DIR> <DIR> <DIR> <DIR> </FONT><P><IMG SRC="Astronaut.gif" WIDTH=235 HEIGHT=318 ALT="Astronaut Keyboard"> <span style="font-size:12.0pt;font-family:&quot;Times New Roman&quot;; mso-fareast-font-family:&quot;Times New Roman&quot;;mso-ansi-language:EN-US;mso-fareast-language: EN-US;mso-bidi-language:AR-SA"><FONT COLOR="#ffff00"><img width="231" height="318" src="all-in-1.jpg" v:shapes="_x0000_i1025"> </FONT></span><IMG SRC="runner72dpi3x4.jpg" WIDTH=212 HEIGHT=318></P></DIR> </DIR> </DIR> </DIR> <P> <i> Originally designed for astronaut use, the Data Egg has many down-to-earth applications for position-independent activities.</i></P> <P> &nbsp;</P> <P> &nbsp;</P> <P> <i><a href="http://www.xaphoon.com"><font size="1" color="#F7E1FF">www.xaphoon.com</font></a><font size="1" color="#F7E1FF">&nbsp; </font></i><a href="http://www.friedmanarchives.com"><font size="1" color="#F7E1FF">www.friedmanarchives.com</font></a><font size="1" color="#F7E1FF">&nbsp; www.notyourordinary.com</font></P></BODY> </HTML>
The Data Egg - One-hand position-independent typing and data entry **Introducing the "Data Egg"** ![](Mykel_Image.jpg) *Finally, a usable way to type for Handheld computers, PDAs, and Cell Phones!* [Home](index.html) | [History](History.html) | [How do you type?](Alphabet.html) | [FAQ](FAQ.html) | [Potential Markets and Uses](ProductsThatNeedIt.htm) |  [Everyday Usage Scenarios](everyday_usage_scenarios.htm) | [Investor Relations](Investor%20Relations.htm) | [Contact Us](mailto:Gary@Friedman.org)   ![](grenade75dpi.jpg)  ![](DataEggNewShape.jpg)   Imagine having access to the whole world of information in your hand - everything from a 2-way alphanumeric pager, e-mail, phone book, calendar, notepad, and to-do lists. Now imagine that you can access this information AND CAPTURE NOTES AND IDEAS anytime, anywhere -- even while walking, driving, running, lying down, or even waiting in line at the airport. * NO MORE tiny, klutzy keyboards that are inaccessible even when seated at a desk! * Instantly accessible - wears like a 2-way pager, but works like a pocket organizer - all in the palm of your hand! * Capture information faster than any other pocket organizer -- faster than Palm Pilot, Blackberry, or Pocket Windows! * Extremely easy to use - most people learn the alphabet in only a few hours (same learning curve as Graffiti). In a nutshell, the Data Egg is the answer to the current trend of continuously shrinking portable devices -- 2-way pager, pocket organizers, for example -- all of them too small to type on, and none of them accessible unless you're sitting down and anchored to a desk. Originally developed by Gary Friedman of NASA's Jet Propulsion Laboratory as a keyboard for astronauts, the Data Egg is now poised to forge the next wave in Personal Information Appliances. Having solved the keyboard barrier problem, the Data Egg for the first time will enable the merger of 2-way pager, phone book, notepad, calendar, e-mail, alarm clock, language translator, and a host of other specialized functions to all co-exist in one self-contained, handheld device that can easily capture as well as retrieve information on the fly, regardless of position or activity. The Data Egg's "keyboard" consists of seven buttons (at least 3 for the thumb, 1 for each of the remaining fingers) wrapped around a shape that's easy for the hand to hold.  The seven buttons are pressed in different combinations, much like playing chords on a piano (hence the name 'chording'), and can be used to type all letters, all numbers, all punctuation -- pretty much anything one can type on a typewriter. [The Alphabet](Alphabet.html) is also easy to learn since the shapes of the letters resemble the button patterns that are pressed. The first physical prototype had the buttons mounted onto an Easter egg, hence the name 'Data Egg' was born. The applicability of the Data Egg to everyday tasks is unending; and properly marketed, the Egg can have the same impact on society as have the microwave oven, the pager, credit card, and the spreadsheet. UPDATE: After pursuing this idea for more than 15 years, as of January 1, 2005, development on the Data Egg concept has ceased.  There are no prototypes or schematics that can be shared.  This site remains up in the hopes that someone else will grab hold of the idea and run with it. E-mail to [Gary@Friedman.org](mailto:info@e2solutions.com)   ![Astronaut Keyboard](Astronaut.gif) ![](all-in-1.jpg) ![](runner72dpi3x4.jpg) *Originally designed for astronaut use, the Data Egg has many down-to-earth applications for position-independent activities.*     *[www.xaphoon.com](http://www.xaphoon.com)*[www.friedmanarchives.com](http://www.friedmanarchives.com)  www.notyourordinary.com
https://friedmanarchives.com/dataegg/
<HTML> <HEAD> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=windows-1252"> </HEAD> <BODY> <DIR> <h2><P ALIGN="CENTER">&#9;The Gentle Seduction </h2></p> <P ALIGN="CENTER">&#9;by </P> <P ALIGN="CENTER">&#9;Marc Stiegler</P> <P ALIGN="CENTER">First Published by Analog Magazine in 1989</P> <P ALIGN="CENTER">&#9;</P> <P>&#9;</P> <P>&#9; He worked with computers; she worked with trees, and the flowers that took hold on the sides of the Mountain.</P> <P>&#9; She was surprised that he was interested in her. He was so smart; she was so ... normal. But he was interesting; he always said something new and different; he was nice. </P> <P>&#9; She was 25. He was older, almost 33; sometimes, Jack seemed very old indeed.</P> <P>&#9; One day they walked through the mist of a gray day by the Mountain. The forest here on the edge of Rainier glowed in the mist, bright with lush greens. On this day he told her about the future, the future he was building.</P> <P>&#9; Other times when he had spoken of the future, a wild look had entered his eyes. But now his eyes were sharply focused as he talked, as if, this time, he could see it all very clearly. He spoke as if he were describing something as real and obvious as the veins of a leaf hanging down before them on the path.</P> <P>&#9; "Have you ever heard of Singularity?" he asked.</P> <P>&#9; She shook her head. "What's that?"</P> <P>&#9; "Singularity is a time in the future. It'll occur when the rate of change of technology is very great--so great that the effort to keep up with the change will overwhelm us. People will face a whole new set of problems that we can't even imagine." A look of great tranquility smoothed the ridges around his eyes. "On the other hand, all our normal, day to day problems fade away. For example, you'll be immortal." </P> <P>&#9; She shook her head with distaste. "I don't want to live forever," she said.</P> <P>&#9; He smiled, his eyes twinkling. "Of course you do, you just don't know it yet."</P> <P>&#9; She shuddered. "The future scares me."</P> <P>&#9; "There's no reason to fear it. You'll love it." He looked away from her. His next words were bitter, but his tone was resigned. "It pisses me off that you'll live to see it and I won't." </P> <P>&#9; Speaking to the sorrow in his voice, she tried to cheer him. "You'll live to see it too," she replied. </P> <P>&#9; He shook his head. "No. I have a bad heart. My father died young from a heart attack, and so did my father's father. If I'm lucky, I have maybe 30 more years. It'll take at least a hundred years for us to get to Singularity. "</P> <P>&#9; "Then I'll be dead before it happens, too. Good," she said.</P> <P>&#9; He chuckled. "No. You'll live long enough, so that they'll figure out how to make you live long enough so that you can live longer."</P> <P>&#9; "You're still only 7 years older than I am." </P> <P>&#9; "Ah, but you have your mother's genes. She looks very young."</P> <P>&#9; She smiled, and changed the subject. "I'll have to tell her you said that. She'll like it." </P> <P>&#9; There was a long pause. Then she confessed, "My grandfather is 92, and he still cuts the grass every week."</P> <P>&#9; Jack smiled triumphantly. "See?" </P> <P>&#9; She was adamant. "I'll live to be 80 or 90. I don't want to live longer than that."</P> <P>&#9; "Not if you're crippled, of course not. But they'll find ways of rejuvenating you." He laughed knowingly. "You'll look older when you're 60 than when you're 120" he said.</P> <P>&#9; She just shook her head.</P> <P>&#9; Another time, as they walked in the sun along the beach of Fox Island, he told her more about the future. "You'll have a headband." He ran his fingers across his forehead; he squinted as the wind blew sand in his eyes. "It'll allow you to talk right to your computer."</P> <P>&#9; She frowned. "I don't want to talk to a computer."</P> <P>&#9; "Sure you do. At least, you will. Your computer will watch your baby all night long. If it sees something wrong, it'll wake you." Wicked delight widened his smile, and she knew he would now tell her something outrageous. "While you're laying in bed with your eyes closed, you'll look at your baby through your computer's TV camera to see if it's something serious."</P> <P>&#9; &#9;"Ugh." </P> <P>&#9;&#9;"Of course, there's a tiny chance, really tiny, that an accident could scramble your memories."</P> <P>&#9;&#9;The thought made her dizzy with horror. "I would rather die." She grabbed his arm and pulled him under the bridge, out of the wind. She shuddered, though unsure whether her chill came from the wind or the fear.</P> <P>&#9; He changed his tack. Pointing at a scattering of elaborate seaside mansions across the water, he asked, "Would you like to live in one of those?"</P> <P>&#9; She studied them. "Maybe that one," she said, pointing at a beautiful old Victorian home. "Or that one." She pointed at another, very different from the first, a series of diagonal slashes with huge windows.</P> <P>&#9; "Have you ever heard of nanotechnology?" he asked.</P> <P>&#9; "Uh-uh."</P> <P>&#9; "Well, with nanotechnology they'll build these tiny little machines--machines the size of molecules." He pointed at the drink in her hand. "They'll put a billion of them in a spaceship the size of a Coke can, and shoot it off to an asteroid. The Coke can will rebuild the asteroid into mansions and palaces. You'll have an asteroid all to your self, if you want one."</P> <P>&#9; "I don't want an asteroid. I don't want to go into space."</P> <P>&#9; He shook his head. "Don't you want to see Mars?You liked the Grand Canyon; I remember how you told me about it. Mars has huge gorges--they make the Grand Canyon look tiny. Don't you want to see them? Don't you want to hike across them?"</P> <P>&#9; It took her a long time to reply. "I guess so," she admitted.</P> <P>&#9; "I won't tell you all the things I expect to happen," he smiled mischievously, "I'm afraid I'd <i>really</i> scare you. But you'll see it all. And you'll remember that I told you." His voice grew intense. "And you'll remember that I knew you'd remember."</P> <P>&#9; She shook her head. Sometimes Jack was just silly.</P> <P>&#9; They never made love, though often, they fell asleep in each other's arms. Sometimes she wondered why; she wondered if he also wondered why. Somehow it just didn't seem important.</P> <P>&#9; He seemed so at home in the deep forest, he so clearly belonged on the Mountain, she first thought they might stay together forever. But one day she went with him to his office. She watched as he worked with computers, as he worked with other people. He was as natural a part of their computer world as he was a part of her Mountain world.</P> <P>&#9; Working in that alien world, he was a different person. In the woods, he was a calm source of sustaining strength. Here, he was a feverish instructor. His heart belonged to the forest, but his mind, she realized, belonged to the machines that would build his vision.</P> <P>&#9; One day he received a call. A distant company gave him an offer he could not refuse. So he went to California, to build great computers, to hurry his vision to fruition. </P> <P>&#9; She stayed by the Mountain. She walked the snows, and watched the birds fly overhead. Yet no bird flew so high that she could not climb the slopes of Rainier until she stood above them.</P> <P>&#9; He would come to visit on weekends sometimes, and they would backpack, or ski cross country. But his visits became less frequent. He would write instead. That too decreased in regularity. One letter was the last, though neither of them knew it at the time. </P> <P>&#9; A year passed. And by then, it just didn't seem to matter.</P> <P>&#9;&#9;&#9;&#9;***</P> <P>&#9; She married a forest ranger, a bright, quiet man with dark eyes and a rugged face. They had three small children and two large dogs, friendly dogs with thick soft fur. She loved all the members of her family, almost all the time; it was the theme that never changed though she thought about different things at different times.</P> <P>&#9; Her children grew up and moved away.</P> <P>&#9; Erich, the beautiful red chou, went to sleep one night and never awakened.</P> <P>&#9; A terrible avalanche, from a seemingly safe slope, fell down the Mountain and buried a climbing team, her husband among them. </P> <P>&#9; Haikku, her mighty and faithful akita,whimpered in his old age. He crooned his apology for leaving her alone, and that night he joined Erich and her husband.</P> <P>&#9; She was 82. She had lived a long and happy life. She was not afraid to die. But she stood outside in the snow and faced a terrible decision.</P> <P>&#9; Overnight, a thick blanket of new white powder had fallen, burying her sidewalk. Standing in the snow, she stared at a mechanical beast her children had given her years before. It represented one possible choice.</P> <P>&#9;&#9;In one hand she held a shovel. In the other hand she held a small capsule. The capsule was another gift her children had given her. They had begged her to take it. Until now, she had refused. The capsule represented another choice.</P> <P>&#9; Her back was aching. It was an ache that sometimes expanded, shooting spikes of pain down her legs. Today the pain was great; she could not shovel the sidewalk.</P> <P>&#9; The mechanical beast was a robot, a fully automatic snow remover. She could just flip a switch and it would hurl the snow away, but that seemed grotesque; the noise would be terrible, the mounds of thoughtlessly discarded snow would remain as an unseemly scar until late spring.</P> <P>&#9; She opened her hand and looked at the capsule. It was not a pill to make her younger; that much her children had promised her. They knew she would reject such a thing out of hand. But the millions of tiny machines tucked inside the capsule would disperse throughout her body and repair every trace of damage to her bones. They would also rebuild her sagging muscle tissue. In short, the pill would cure her back and make the pain go away. </P> <P>&#9; The thought of all those little machines inside her made her shudder. But the thought of the automatic snow remover made her sick. </P> <P>&#9; She went back inside the house to get a glass of water.</P> <P>&#9; In a few days her back felt fine; her healthy muscles gave her a feeling of new vigor, and the vigor gave rise to a yearning to go out and do things that she had not considered for many years. She started to climb the Mountain, but it was too much for her: she huffed and puffed and had to go home. Annoyed, she went to the drug store and bought another capsule, one that restored her circulatory system and her lungs. Her next assault on the Mountain carried her as far as she dared, and the steady beat of her heart urged her to go on despite the crumbling snow.</P> <P>&#9; But she was getting increasingly forgetful. Things that had happened years earlier were clear in her mind, but she could not remember what she needed at the store. One day she forgot her daughter's telephone number, and found that she had forgotten where she had misplaced the phone book. The store had another capsule that tightened up her neural circuitry. After taking it, she discovered a side effect no one had bothered to mention. The pill did not merely make her memory effective again; rather, it made her memory perfect. With a brief glance through the pages of the phone book, she found she no longer needed it. She shrugged and continued on with her life.</P> <P>&#9; One day as she skied across the slopes, a stranger passed her going the other way. He was tall and rugged, and he reminded her of her husband. She was annoyed that he did not even look at her, though she had smiled at him; when she looked in the mirror upon returning home, she understood why. She was 95 years old; she looked like an old woman. It was ridiculous; fortunately it was easily fixed.</P> <P>&#9; When she turned 115 she stabilized her physical appearance. Thereafter, she always appeared to be about the age of 32.</P> <P>&#9;&#9;&#9;&#9;***</P> <P>&#9; She still owned the snug little house she thought of as home. But she slept more often in the tent she carried in her pack. Built with nanomachined equipment, the pack was lighter than any other she had ever owned, yet it was impossibly strong. All her tools performed feats she would once have thought miraculous, and none weighed more than a pound. She lived in great comfort despite the inherent rigors of the glacier-crusted slopes.</P> <P>&#9; One day, she was climbing along the ancient trail from Camp Muir toward the summit, crossing the ridges to reach Disappointment Cleaver. As she stepped over the last ridge to the broad flat in front of the Cleaver, she saw a man standing alone. He was staring up the steep ice flows overhead. He stepped backward, and backward, and turned to walk briskly in her direction. She continued forward to pass him, but he cried out, "Stop!"</P> <P>&#9; She obeyed the fear in his voice. He paused, and his eyes came unfocussed for a moment. He pointed to the right of the ridge she had just crossed, a fin of rock rising rapidly along the mountain's edge. "Up there," he said, "Quickly." He broke into a hobbling run across snow that sometimes collapsed under his heavy step. She followed, her adrenalin rising with her bewilderment.</P> <P>&#9; A massive <i>Crack</i>! filled the air. Far above the Cleaver, an overhanging ledge of ice snapped off and fell with an acrobat's graceful tumbling motion to the flat where they had just been standing. The mass qualified as a large hill in its own right. When it landed it broke into a thousand huge pieces. Some of the pieces ground each other to powder, while others bounced off the flat, down another precipice of several thousand feet, to crash again in a duller explosion of sound.</P> <P>&#9; The ice fall was an extraordinary event to witness under any circumstance; the narrowness of escape from death that accompanied it overlayed the experience with a religious awe. </P> <P>&#9; She heard the man panting next to her. She turned to study him more carefully.</P> <P>&#9; He was unremarkable for a mountaineer; his lean form supported long straps of hard muscle, and the reflected sun from the glaciers had given him a coffee-colored tan. Then she noticed the sweatband across his head. It was not just a sweatband: she could see from the stretch marks that a series of thin disks ran across within the cotton layers. She realized he was wearing a <i>nection</i>, a headband to connect his mind with distant computers.</P> <P>&#9; She recoiled slightly; he smiled and touched his forehead. "Don't be too upset," he said, "my headband just saved your life."</P> <P>&#9; She stuttered. "I wasn't upset," she said, though she knew that he knew she was lying. "I've just never seen one up close before."</P> <P>&#9; It was true. Her grandchildren told her that nections were quite common in space, but on Earth they were almost illegal. It was socially unacceptable to wear one, and when the police saw a nection-wearing person they would use any excuse to hassle the individual. But there were no specific laws against them. </P> <P>&#9; When her grandchildren had told her that <i>they</i> wore headbands all the time, she had tried only briefly to dissuade them; she had spent more time listening to their descriptions of the headband's capabilities. Her grandchildren's description sounded considerably different from the list of dangers usually described on the news.</P> <P>&#9; The man who had saved her life watched her for several more seconds, then apparently made up his mind about something. "You really ought to get one yourself, you know. Do you realize how dangerous this mountain is? And it's getting more dangerous every year."</P> <P>&#9; She started to tell him that she knew perfectly well how dangerous it was--then stopped, thinking back over the years, realizing that it <i>had</i>, by gradual degrees, grown worse every year.</P> <P>&#9; "With my headband, I see things better," he explained. "I confess I don't understand why very well--I mean, it doesn't affect my eyesight. But I notice more things about what I see, and I can get a view of what the extra things mean--like how that piece of ice would fall, and more or less when."</P> <P>&#9; She nodded her head, but her mind was distracted. The Mountain <I>was</I> changing! The Mountain <I>was</I> getting more dangerous! The rapid alternation of clear, sunny days with cool, misty days had become more vigorous over the course of the last 50 years, leading to more weak layers and ice faults. She had never really noticed until now.</P> <P>&#9; Then the full impact of her savior's words struck her--she held her hands to her throat as she considered how her husband had died. She realized that, with a nection, his death could have been prevented.</P> <P>&#9; She smiled at the man. They talked; she invited him to dinner at Alexander's.</P> <P>&#9; When she returned home, she started searching through electronic equipment catalogs. If she bought one mail order and wore it only while hiking, there was no reason for any of her friends ever to know.</P> <P>&#9; &#9;&#9; ***</P> <P>&#9; It was a simple white headband, soft absorbent cotton. She slipped it on her head, expecting to feel something special, but nothing happened. She started to clean the house, still waiting for something to happen. It never did. Eventually she sat down and read the instructions that had come with the headband.</P> <P>&#9; The instructions told her to start with a simple request, and to visualize herself projecting the request at her forehead. She projected the request, "2 times 2?" just above her eyes. Nothing seemed to happen. She knew the answer was 4.</P> <P>&#9; She tried again, and this time she noticed a kind of echo--she knew the answer was 4, but the thought of the answer came to her twice, in rapid succession. The next time she tried it, she noticed that the echo seemed to come from her forehead.</P> <P>&#9; Next she projected a request to divide 12345 by 6789. She didn't know the answer--but wait, of course she did, it was 1.81838. Of course, she didn't know the answer to many decimal places--but as she thought about it, she realized the next digit was 2, the next was 6, then at an accelerating pace more digits roared from her memory--she shook her head, and the stream stopped. She took the headband off, shaking a little. She didn't try it again until the next day.</P> <P>&#9; A week later, she hiked past Camp Schurman and peered up the slope. She projected her view of the slope through her forehead to study the patterns of snow and ice. </P> <P>&#9; It did indeed look different as she looked at it this way. She had a sensation similar to that of looking at the edges of a cube on a sheet of paper: at one moment, the lines formed a cube with the top showing. The next moment it was an alternate cube with the bottom exposed. She could flip the cube, or at least the way she looked at it, at will. </P> <P>&#9; In the same manner she could now see patterns of slippage in the layers of ice crystals; then she would flip the image and it was just snow, the beautiful work of nature that she had loved all her life.</P> <P>&#9; For a moment she wished she could see it from above as well--and her heart skipped a beat as the wish came true. Suddenly she was looking down from a great height. She saw the long curves of shadows across the snow from high above, and she saw the shorter but distinctive shadow of a woman with a pack standing on the snow field. She threw the headband to the ground even as she realized what she had just seen: a view of the Mountain from a satellite passing by.</P> <P>&#9; She stared at the white headband, almost invisible in the white snow, for a long time. She felt distaste, wonder, fear, and curiousity. Curiousity finally won out. She twisted the headband back on. She blinked her mind's eye, blinking from her own eyes to the satellite's eyes and back again, a moment's taste of the new sensation. </P> <P>&#9; Vertigo struck her. Though the satellite was interesting, it was not comfortable. She would not look at the world from a satellite's height often, but it was yet another life-saving form of sight: from a distance, it was easy to spot a depression in the snow that might signal an underlying crevasse, even though the depression was too shallow to be seen close up. Such crevasses were invisible until one stepped through to a long fatal plunge to the Mountain's heart.</P> <P>&#9; The headband was so clearly a life saving tool, why were people so set against it? Why did some of her friends support laws proscribing it? </P> <P>&#9; It didn't make any difference; she had no need of it except here on the Mountain. </P> <P>&#9;&#9;&#9;&#9;***</P> <P>&#9; Though the fight over the headband's legal status did not at first interest her, it became an increasing impediment to her life. The headband was quite useful in a number of ways; though each individual use was trivial, in sum they qualitatively effected her life. She stopped tracking her checkbook; it was all in her head, all the transactions, the current balance, and even the encumbrances. When she awoke in the morning she could turn on the coffee pot if she wanted to, without getting up.</P> <P>&#9; She wore her headband while hiking, and while working around her house; but she dared not wear it to work. One day an ecologist asked her a question about the marmots that inhabited the park. She grew angry as she had to manually root through the computer systems trying to find the answer, for she knew that the answer was available for the mere thinking about it if she could wear her headband. That night she stopped at the drugstore and bought two more capsules.</P> <P>&#9; She swallowed one. This capsule was nastier than the others she had taken in earlier years. Before, the nanomachines she had swallowed had gone through her body, fixing what was not right, then flushing themselves out again. But the machines in this one would build, just under her forehead, a subcutaneous nection. </P> <P>&#9; The other capsule would dissolve the nection away if she decided she didn't like it.</P> <P>&#9; When she awoke the next morning she was very hungry. She felt her forehead, but there wasn't anything there.</P> <P>&#9; The next morning she felt her forehead again, and it was ... different. She looked in the mirror; with the flickering double vision of her eyes and the analysis from her forehead, she could see on the one hand that she looked the same as always. Yet on the other hand, there were curves there she hadn't noticed before. When she went in to work, one man complimented her on her new hair color. </P> <P>&#9; No one else commented until her boss arrived. When he entered the reception area and looked at her, his eyes lit up, and he laughed.</P> <P>&#9; She looked at him with mild annoyance. Then she noticed, again with her double vision, that there were very shallow curves in <i>his</i> forehead. </P> <P>&#9; He came up close, and put his finger to his lips. "Listen," he said.</P> <P>&#9; She listened. As she concentrated, she heard heard soft murmurs in the background; as she focussed on the murmurs, they grew louder, until she could hear that he was speaking--but not with his lips, not through her ears. She heard him through her forehead. "Welcome to the gang," he said. "Isn't it great fun, joining a rebellion? I haven't had this much fun since I was a teenager."</P> <P>&#9; They both broke into laughter. Everyone else in the room wondered what the joke was about.</P> <P>&#9;&#9;&#9;&#9;***</P> <P>&#9; She talked to her children, and her children's children, more often now; though they were spread from Mars to Mercury, they were but a thought away. It surprised her to realize that the simple process of dialing the number, and the uncertainty of whether or not she would get through, had often put her off from calling even though the cost had plummeted in recent years till it was virtually free. </P> <P>&#9; She became increasingly comfortable with her distant grandchildren. Through visual links like the one she had with the satellite, they took her on outings into the stunning naked beauty of their home planet Mars. When they asked her for the hundredth time to come for a visit, she agreed.</P> <P>&#9; In her youth she had ridden trains across the country. She had expected the space trip to be the same, but it was not. The ship was far more comfortable than any other vehicle she had ridden; it was more comfortable than her own home, though she still did not quite like it as well.</P> <P>&#9; When she arrived, she found she loved to hike across the plains and the canyons of an unknown planet. She walked amid forests of alien trees, related to the Earthly trees from which they had been shaped, yet different. Comparing the lands of Mars to the lands of Earth reminded her of watching the sun set two days in a row: though the outcome was the same, the process was nevertheless different. The strange wilderness yielded for her new kinds of solitude.</P> <P>&#9; She came to know her grandchildren's children for the first time. Before, these children had represented an unspoken, uncomfortable complication in her thoughts of Mars. They were <i>different</i>. They were of her blood, but not in the manner of normal children. They had been genetically engineered.</P> <P>&#9; Her grandchildren had designed them, giving them a parent's loving care long before they had even been conceived. Only the best characteristics of her family had been passed on; she did not know how the other aspects of these radiantly happy children had been chosen. They were very different from her, but not quite alien. With time she learned to love them as they loved her.</P> <P>&#9; One day they went on a longview picnic. First they walked to the high edge of a deep canyon. She looked over the rim. The height was not great by comparison with the distances in space she had traveled to come here. Yet <i>this</i> distance impressed her. It impressed her because she could appreciate it: thousands of tiny twists and angles of rock acted as signposts, allowing her to mark off the immense distance in tiny steps. She shook her head, smiled, and stepped over the edge. </P> <P>&#9; Together with her family, she descended gently on suspensors; their picnic basket and wine glasses descended with them, on suspensors of their own. They watched the planet come up to meet them as they dined and chatted.</P> <P>&#9; The discussion turned to the family's upcoming expedition to Jupiter. They had asked her several times to come along, but she had refused. Now they asked her again. She watched the extraordinary scenery float past her and considered the question one last time. A trip to Jupiter would have been all right if it could have been like Mars. But it could not, and that was both the attraction and the horror.</P> <P>&#9; Though humanity had made Mars Earthlike, they could not do the same for Jupiter. Jupiter's methane oceans simply were not amenable to terraforming. No one could go there in person.</P> <P>&#9; To see Jupiter, she would in a sense have to leave her body. Oh, she wouldn't have to leave it very far; indeed, in one sense she would stay with her body on Mars throughout the journey. But just as she had seen Rainier through the satellite's eyes rather than her own, just as she spoke to her friends with her headband rather than her voice, now she would have to use her headband for all her senses. </P> <P>&#9;&#9;And the machine would not merely <i>replace</i> her sight, her hearing, her touch, her smell--it would <i>transform</i> them. Ordinary sight and sound did not work on Jupiter; for each of her old senses a new one would be substituted. She would see ultrasonic vibrations; she would smell ionic changes. For all intents and purposes, she would live as a being designed for the comforts of Jupiter's titanic gravity well. </P> <P>&#9;&#9;Of course, she would not be marooned there: she could leave at any time.</P> <P>&#9; The pleasure of her experience on Mars made her confident; the quiet exhiliaration of the longview picnic made her bold. She agreed to go along.</P> <P>&#9;&#9;&#9;&#9;*** </P> <P>&#9; For a moment it was dark, a moment too short to launch the panic she held in trip-wired readiness. Then there was light, a confusing light that seemed oddly related to the sounds that joined it. She held up her hands. They were metal, and she looked at them in alarm. She closed her eyes, and it was better.</P> <P>&#9; The strange sounds took on rhythm. Instinctively she turned toward them, and her back feet rotated, propelling her closer. When she felt she was too close--she could smell the source of the sounds now, a tangy, pleasant odor--she opened her eyes. Studying the shape as it wavered before her, seemingly separated by shimmering air, she realized it was another robot like herself. Indeed, she recognized it: she was looking at her granddaughter.</P> <P>&#9; She looked around and had a sudden overwhelming sensation of immensity. </P> <P>&#9; The hugeness of space had seemed dwarfed by the height of the Martian canyon, for she had been able to comprehend it through the tiny weathered etchings of rock she could peer at in the distance. Here on Jupiter her comprehension was even greater, for her senses ranged distance with new clarity. The ultrasonic echoes told her how far it was to each whorl of current she could see; she could see to distances very great indeed. It made her think of the way she had felt as a child, looking across a vast Kansan plain for the first time. It seemed as if infinity was right <i>there</i>, within easy reach. She reveled in it for a moment, then stepped out.</P> <P>&#9; She was back in her own body again, sitting on Mars.</P> <P>&#9; She dipped back in for ten minutes and stepped out again. Next she went in for half an hour. Then an hour.</P> <P>&#9; She had sworn that she would not stay on Jupiter for more than an hour at a time; a longer stay required mechanical operation of parts of her body while she was away. But once she became so absorbed in exploring the Jovian landscape, she stayed for an hour and a half . The maintenance machines disconnected themselves before she returned, and their intervention didn't seem to make a difference. So she stayed longer.</P> <P>&#9; Jupiter, she found, was an astonishing world, truly alien from all she had experienced before. And the new senses she acquired through her new robot required extensive exploration of their own. It was all incredibly novel, and she realized she would need at least a year to explore.</P> <P>&#9; The linkage between her mind on Mars and her robot body on Jupiter had delays; to have a completely satisfying experience, she would need a temporary residence that didn't require such a commute. </P> <P>&#9; So a small cylinder, somewhat smaller than a Coke can, was launched at an asteroid that had been parked in orbit around Jupiter for this purpose. As the billions of robots from the cylinder swarmed across the asteroid, transforming it into a marvelous home, she boarded another ship. It seemed silly to spend any of her transit time stuck in the confines of her cabin; she went to Jupiter for the duration. She intended to return to her own body when it arrived in orbit.</P> <P>&#9; But when it arrived, she was busy. She was learning about a new robot designed for the frozen world of Europa, with another whole new set of senses, new novelties to explore. She left her body in storage for a short time longer.</P> <P>&#9; A year passed. And by then, it just didn't seem to matter.</P> <P>&#9;&#9;&#9;&#9;***</P> <P>&#9; A bubble hung poised on the edge of the solar system, a sphere pockmarked with thousands of holes, each hole the width of a pin. A bolt of light struck the sphere, a bolt powered by kilometers of molecular mirrors near the orbit of Mercury. </P> <P>&#9; The bubble seemed to explode as thousands of needles leaped from their cradles, driven forth by tiny beams of laser light, slivers of the titanic bolt from the Sun. The needles accelerated away from the bubble for years, till their speed reached close to that of light. Thereafter they drifted ever outward.</P> <P>&#9; Upon occasion, a needle approached a star. The needle would shift, to ensure a close passage. If planets or other items of note beckoned, the needle would swoop in, on a tight spiral to oblivion: its billions of nanomachines would break apart at the touch of an asteroid, and build anew. Where once there had been a needle, now there would be a bubble, and a molecular mirror, and thousands of needles that would explode out and travel forever.</P> <P>&#9; But in addition, the nanomachines in that system would continue to build. They would build machines and living flesh well suited to the conditions of the planet. And then the nanomachines would come back together into a single structure--not a needle now, but a communication bubble. Through the bubble and its instantaneous communication she could live across space. She could dwell at home near Jupiter yet roam among the stars.</P> <P>&#9; She was often one of the first humans Called to newly opened planets. Her wisdom from earth, her expertise from Jupiter, these made her invaluble as an explorer and a guide. As she had swum within the methane oceans, so now she swam in carbon dioxide atmospheres, or flew through liquid mercury. She imprinted herself upon organic synapses and silicon circuits light years from home, and lived in many places.</P> <P>&#9; Mentally she was bigger now than she had been at 25. The meaning of complexity had changed for her; she understood the laws of physics with the same simple clarity that she understood the rules of checkers. She could build a starship as easily as she could pitch a tent. </P> <P>&#9;&#9;Her mind had grown and spilled from the confines of her original body. She could easily dedicate a part of her mind to each of several different tasks. Notably she could lead several different groups, touring several different planets, all at the same time.</P> <P>&#9; But of all her new capacities, it was the boundless singing that filled her with wonder.</P> <P>&#9; She was not an introspective person; she did not often think about her own past, and how strange she might have found her present. But when she did think such thoughts, the singing amazed her most of all. When she was 25, she had liked vintage Fleetwood Mac. At 105, she had admitted her growing fondness for Beethoven. Pressing 200, she had fallen in love with Monteverdi. In later centuries she had come to appreciate the double beat of the Echoes of Saturn and the operas of Ro Biljaan. Patterns so subtle that the unaugmented human mind could not even sense them filled her with ecstacy.</P> <P>&#9; She no longer listened to one or the other of these musical masters at rare opportunities. Rather, they all played, all the time, each in a different subliminal part of her mind. They gave to her a rippling sensation of love that never quite went away. The constant undertone of the singing formed the theme that bound her mind together, no matter how many different things she might do at one time.</P> <P>&#9; As the melodies suffused her mind they intermingled, sometimes playing upon one another in a concordance of point and counterpoint. Once, such a duet evoked from several masterpieces a harmony, which surged to drive the cadence of a grander euphony, that captured and empowered an even greater polyphony, filling her mind with a symphony of symphonies. And on a thousand planets, with a thousand bodies and a thousand voices, she leapt in the air and filled the sky with lilting laughter, a chorus of joy that spanned the arm of a galaxy. </P> <P>&#9; Returning to ground on those scattered planets of distant stars, she felt surprised by her outburst. She marveled at herself. In her childhood she never would have laughed in such a way. She had once been so quiet it had been easy to think she was shy. The millennia had changed her, and she was delighted; how sad it would have been, never to express one's deepest joy!</P> <P>&#9; Still, she was a woman of simple tastes. In earlier times some would have called her sturdy. Others might have called her childlike.</P> <P>&#9; Yet these were not fair descriptions; better to think of her in the terms of ancient mythology. She was an elemental, almost a force of nature, with a core of simplicity that mocked overeager acceptance yet offered adaptability, that rejected panic yet always guaranteed caution.</P> <P>&#9; Her elemental qualities were vital, humanity had come to realize. Though the needles traveling through space never found other intelligent beings, they had found scattered remains of what had once been intelligence. Other species had come up to Singularity and had died there. </P> <P>&#9; Some had died in a frenzy, as the builders of new technologies indulged an orgy of inventions, releasing just one that destroyed them all. Others had died in despair, as fear-filled leaders beat down the innovators, strangling them, putting the future beyond their grasp. The fear-ridden species settled into a long slide of despair that ended with degenerate descendants no longer able to dream. </P> <P>&#9; Only those who knew caution without fear, only those marked by her elemental form of prudence, made it through. Only humanity had survived.</P> <P>&#9; And humanity had not survived unscathed. Terrible mistakes had been made, many had been lost. Even millennia later there still remained a form of death--or perhaps not death, but a form of impenetrable isolation. The dreams could become too strong, so strong that the individual lived in dreams always, never reaching out to touch reality. Many of her friends from the early millennia had lost themselves to these enchanted infinities leading nowhere.</P> <P>&#9; She did not fear such dream-bound death. Seeing the span and deep intensity of her own dreams, she could almost understand those who wrapped themselves within and disappeared. But the new things humanity found every day were just as wonderful. The volume of space touched by the needleships grew at a geometric pace, opening hundreds of star systems. Even on days when few strikingly new systems were found, there were new planets, constructed by artists, awaiting her exploration. And the new things she learned in the realm of the mind matched these treasures and more.</P> <P>&#9; Someday, she believed, she too would dream an endless dream. She did not want to live forever. But the beginning of that dream was far away.</P> <P>&#9; The new meaning of death was complimented by a new meaning of life. This new meaning was extremely complex, even for her; life dealt with wholes much greater than the sums of their parts. But she understood it intuitively--it was easy to distinguish an engineering intelligence, good only for manufacture, from a member of the community, even though that member might once have been just an engineering intelligence as well. New members of humanity usually came to life this way: an intelligence designed as a machine or an artwork expressed a special genius, a genius that deserved the ability to appreciate itself through self-awareness. When this happened, the psychological engineers would add those elements of the mind needed for life. </P> <P>&#9; In this manner had her great-great grandchildren had been born. Her great grandchildren had envisioned them, giving them a parent's loving care long before they had even been designed. Only the best characteristics of the minds of her family had been passed on to them. They were very different from her, but not quite alien. With time, she learned to love them as they loved her. </P> <P>&#9;&#9;&#9;&#9;***</P> <P>&#9; The day came to say goodby to her oldest friend. With her wonderful old earth-born body, she returned to Earth to hike Rainier one last time: Rainier, whose surface lay so cold and eternal, was boiling within. With dawn, she knew, the boiling fury would break through, in the greatest volcanic event in earthly centuries. She stood at the summit the day before the end and surveyed the horizon. Her feeling of appreciation grew till she thought she would burst. This was home in a sense few others could now understand.</P> <P>&#9; She descended. A marmot met her on the way down; she swooped him into her arms and carried him to safety, though he fought her and cut her and her bleeding would seem to never end. Still the marmot could not prevent her from saving him.</P> <P>&#9; She had considered saving the mountain itself; she could, she knew. She could lace the mountain with billions of tiny tubes, capillaries so small no living thing would notice. She could extract the heat, cool the heart. </P> <P>&#9; But to deny the Mountain its moment of brilliance seemed not right: perpetual sameness was never right, though change might often be wrong.</P> <P>&#9; So the next day, she and the marmot watched the eruption from afar. It was as beautiful as she had expected. And though the aftermath was gray and dreary, she knew that in a very short time the marmot's children would return to the Mountain, and a new kind of beauty would grow there.</P> <P>&#9; Nor was the the Mountain truly lost. Even as her earth-born body returned to her asteroid circling Jupiter, she built an exact replica of the Mountain: an image, molecule for molecule, of the Mountain's surface the day before it erupted. When her body returned, she joined the Mountain, to walk there forever, in another part of her eternal dream.</P> <P>&#9; Haikku, her loyal companion, was long dead; but she traced the descendants of his descendants. She arranged a mating. A new pup was born with Haikku's genes, in the image of Haikku. And so Haikku2 came to join her on the slopes of Mt. Rainier, on the orbit of Jupiter.</P> <P>&#9;&#9;&#9;&#9;***</P> <P>&#9; One day two needleships met in space. This was not uncommon; needles from different launchers often crossed paths and were easy to spot, with the hundreds of kilometers of molecular sensor webs they spun.</P> <P>&#9; But this meeting was special, for one of the needles had no link to a human. It belonged to aliens.</P> <P>&#9; Aliens! Wild hopes and wilder fears rocked the human community. She watched the hysteria calmly, confident it would pass and wisdom would rule.</P> <P>&#9; The needles passed one another, too fast to meet. They swerved in long, graceful arcs to a distant rendezvous.</P> <P>&#9; A sense of calm, and prudence, returned to humanity. They selected a contact team to break off and meet the aliens.</P> <P>&#9; The needles closed. In their last moments they danced in a tight orbit about one another, a dance of creation: for though the needles died, a bubble formed where they met--a communications bubble.</P> <P>&#9; The two communities, human and alien, reached out. They touched--but the touch was jarring. Bafflement ruled. The deadlock of confusion ensued.</P> <P>&#9; She watched with interest. She felt sorrow that it was not going well, but her confidence remained.</P> <P>&#9; Then from the contact team she received a Call. They needed her; they needed her elemental resilience and adaptability.</P> <P>&#9; But in needing her elemental nature, they needed more than she had ever given before. They did not need the thoughts or calculations of her mind: they needed the basic traits of her personality, the very core of her being. To reinforce the team, she would have to expand her communication channels, open them so wide that what she thought, they would also think; there would be no filter protecting her internal thoughts. Far worse, what others thought, she would think; there would be no filter protecting her internal memories. It seemed to her it would be easy for her memories to get scrambled; she would rather die. And so for the first time in millennia, she was afraid. The team asked others of the community that held her special strength to come with them instead; they too were afraid.</P> <P>&#9; Meanwhile humanity was failing. The anticipation, the yearning, the hope for contact with new beings developed a tinge of desperation. </P> <P>&#9; They showed her how easy it was to open the channels of her mind--but more, they showed her again and again how easy it was to close them. They did not believe they would need her for long, thousands of milliseconds at most. They guaranteed she would be fine afterward. Reluctantly, she agreed.</P> <P>&#9; She opened her mind; the shock of raw contact stunned her. A moment's near-panic like that of her first exploration of Jupiter returned.</P> <P>&#9; And then she was moving, there within the team, and she grew accustomed. The sensation reminded her of jumping into a mountain lake--the cold plunge that blotted out all thought, the sluggish warmth of her muscles responding, the passing of the coldness from her awareness as she concentrated on the act of swimming. She swam among the members of her team.</P> <P>&#9; Here she found many tasks to perform, the calming and soothing of a myriad of panicked souls as they plunged into the ice-cold lake of alien minds. She became the muscle that supplied the warmth, that allowed the awareness of the team to move beyond the cold, to swim.</P> <P>&#9; As the team responded, the sensation of cold changed to one of warmth, a merry warmth, and she was a bubble floating on a wide, warm ocean, clinging and bouncing with the other bubbles, some friends, some human, some alien. Then they were bubbles of champagne, effervescent, expanding and floating away.</P> <P>&#9; She floated to a greater distance; they no longer needed her; she was free to go. She closed the channels to her mind with slow grace, as would a woman walking from the sea through the sucking motions of the surf. She found herself alone again.</P> <P>&#9; In those first moments of solitude, being alone seemed unnatural, as unnatural as the communion had seemed earlier; she felt the coldness that comes after a swim, when breeze strikes bare skin. She shuddered.</P> <P>&#9;Was she still herself?</P> <i><P>&#9; Of course you are. You are all you have ever been, and more.</i></P> <P>&#9; The answer was her own, but it had once belonged to another person. For a moment she stumbled; perfect memory did not guarantee instantaneous memory, and she was seeking thoughts from her infancy. Then she remembered.</P> <P>&#9;<i>&#9;Jack!</i></P> </i><P>&#9; She remembered, he had known that she'd remember.</P> <P>&#9;&#9;<i>What had happened to Jack!</i></P> <P>&#9;&#9;Could she have missed him all these years? She initiated a search of the community, but knew its futility even as it began; he could not, would not have remained hidden.</P> <P>&#9;&#9;Yet her need to know him again grew stronger as she opened more of her long unbidden memories.</P> <P>&#9;&#9;She searched swiftly back through the annals of history. Her search slowed suddenly to a crawl as she reached the early moments of Singularity: before the dawn of civilization, records had been crudely kept, with links insufficient to allow swift scanning. An analogy to cobwebs made her smile for a moment.&aacute;</P> <P>&#9;&#9;Only a handful of machines maintained this ancient knowledge, older machines in older places. Her search plunged to the surface of Earth. There, in a place once called California, all the remnants of prehistoric information had been collected. But it had not been collated. It would take much time to find Jack in this maze. But she had the time.</P> <P>&#9;&#9;A salary report from a corporation of long ago ... an article on accelerated technology's impact on the individual ... a program design with its inventor's initials ... and suddenly she found him, in a richly interconnected tiny tapestry within the sparsely connected morass. She read all of it, rapidly, as if she were inhaling fresh air after too long a stay in a stale room.</P> <P>&#9; Jack had saved her life, she realized. The capsule she had taken so long ago to heal her backache, that first step on the road to the life she now knew, was his--he had designed the machine that designed the machine that designed that pill. It turned out that he had learned much from her on that day when they walked quietly amidst the lush green wilderness. And it had taken her all these millennia to learn what he had known even then.</P> <P>&#9; From her, Jack had learned the importance of making technology's steps small, making its pieces bite-size. He had learned this as he watched, in her disbelieving eyes, her reaction to the world he had planned. </P> <P>&#9; For those who loved technology and breathed of it deeply, small bite-size steps were not important. It would have been easy to callously cast off those who did not understand or who were afraid. But Jack had thought of her, and had not wanted her to die. </P> <P>&#9;&#9;Reading these glimpses of his past, she grew to know Jack better than she had ever known him in life. With her growing wisdom, she soon understood even the clarity of organization that encompassed this lone swatch of antiquity: the clarity too was of his making. He had believed in her. He had believed that one day she would search for him here. And he had known that, when she arrived, her expanded powers of perception would enable her to understand the message embodied in the clarity, and in all his work.</P> <P>&#9; <i>I loved you, you know</i>, Jack told her across the millennia. </P> <P>&#9;&#9;She wanted to answer. But there was no one to hear. </P> <P>&#9;&#9;It hurt her to think of him lost forever, and she had not felt hurt for a very long time. Feverish, she worked to rebuild him. The Earth-bound computers gave her all the help they had to give, every memory of every moment of Jack they had ever recorded. She traced her own memories, perfect now, of every word he spoke, every phrase he uttered, every look he gave her in their long walks. She built a simulation of him, the best and most perfect simulation she could build with all her resources, resources far beyond those of a million biological human minds. It was illegal to build a simulation such as this, one of the few laws recognized by the community, but this did not deter her.</P> <P>&#9; The simulation looked like Jack; it talked like Jack; it even laughed like Jack. But it was not Jack. She then understood why it was illegal to build such a simulation; she also understood why it was not a law that needed to be enforced: such simulations always failed.</P> <P>&#9;</i> <i>Jack was gone.</P> </i><P>&#9;&#9;What could she do?</P> <P>&#9;&#9;<i>What did she have to do?</i> Suddenly she realized how silly the simulation had been: how could she have hoped to get closer to him, than to live his vision of the future? </P> <P>&#9;&#9;Only one small action, one appropriate action, remained that she could perform. She could remember forever.</P> <P>&#9; And so, just as a part of her lived forever on the Mountain, just as a part of her lived forever singing, so now she maintained a part of her that would spend all its moments remembering her earlier moments with him. She became in part a living memorial to the one who brought her here.</P> <P>&#9; And though no one could hear, the essence of her memory would have been easy to express: <i>Jack. I love you.</i></P> <P>&#9; She turned her attention to the living members of humanity. There were many other places in the community, she realized, where the techniques she employed in contact with the aliens could help; there were many places where they needed her elemental force invested with the fullness of such expanded communion. She was eager to go. But still a question remained.</P> <P>&#9; <i>Would she still be herself?</P> </i><P>&#9; The answer Jack had wrought so long ago welled up from within, her rightful inheritance of his understanding. Part of the answer, she knew, lay within another question:</P> <P>&#9;<i>Are you still yourself, even now? Were you still yourself, even when you were 25?</i></P> <P>&#9; She looked back with the vision that perfect memory brings. She remembered who she had been when she was 25; she remembered who she had been when she was just 10. Amusingly, she also remembered how, at 25, she had erroneously remembered her thoughts of age 10. The changes she had gone through during those 15 years of dusty antiquity were vast, perhaps as vast as all the changes she had accepted in the millennia thereafter. Certainly, considering the scales involved, she had as much right today to think of herself as the same person as she had had then. Expanded communion would not destroy her; she was her own bubble no matter how frothy the ocean might become.</P> <P>&#9; At least, this first time she had remained her own bubble. Would it be so always?</P> <P>&#9; She dipped into communion, and withdrew to ask the question. She found the answer, and it was good. She dipped again, for a longer time; and still the answer was good, perhaps better.</P> <P>&#9; She dipped much longer still and asked one more time. This time she understood. The answer was so simple, so glorious, so joyful, that she did not ask the question again for a billion years. </P> <P>&#9; And by then, it just didn't seem to matter.</P> </FONT><FONT FACE="Tms Rmn" SIZE=4><P>&#9;</P> </i></FONT><FONT FACE="Helv"></DIR> </FONT></BODY> </HTML>
## The Gentle Seduction by Marc Stiegler First Published by Analog Magazine in 1989 He worked with computers; she worked with trees, and the flowers that took hold on the sides of the Mountain. She was surprised that he was interested in her. He was so smart; she was so ... normal. But he was interesting; he always said something new and different; he was nice. She was 25. He was older, almost 33; sometimes, Jack seemed very old indeed. One day they walked through the mist of a gray day by the Mountain. The forest here on the edge of Rainier glowed in the mist, bright with lush greens. On this day he told her about the future, the future he was building. Other times when he had spoken of the future, a wild look had entered his eyes. But now his eyes were sharply focused as he talked, as if, this time, he could see it all very clearly. He spoke as if he were describing something as real and obvious as the veins of a leaf hanging down before them on the path. "Have you ever heard of Singularity?" he asked. She shook her head. "What's that?" "Singularity is a time in the future. It'll occur when the rate of change of technology is very great--so great that the effort to keep up with the change will overwhelm us. People will face a whole new set of problems that we can't even imagine." A look of great tranquility smoothed the ridges around his eyes. "On the other hand, all our normal, day to day problems fade away. For example, you'll be immortal." She shook her head with distaste. "I don't want to live forever," she said. He smiled, his eyes twinkling. "Of course you do, you just don't know it yet." She shuddered. "The future scares me." "There's no reason to fear it. You'll love it." He looked away from her. His next words were bitter, but his tone was resigned. "It pisses me off that you'll live to see it and I won't." Speaking to the sorrow in his voice, she tried to cheer him. "You'll live to see it too," she replied. He shook his head. "No. I have a bad heart. My father died young from a heart attack, and so did my father's father. If I'm lucky, I have maybe 30 more years. It'll take at least a hundred years for us to get to Singularity. " "Then I'll be dead before it happens, too. Good," she said. He chuckled. "No. You'll live long enough, so that they'll figure out how to make you live long enough so that you can live longer." "You're still only 7 years older than I am." "Ah, but you have your mother's genes. She looks very young." She smiled, and changed the subject. "I'll have to tell her you said that. She'll like it." There was a long pause. Then she confessed, "My grandfather is 92, and he still cuts the grass every week." Jack smiled triumphantly. "See?" She was adamant. "I'll live to be 80 or 90. I don't want to live longer than that." "Not if you're crippled, of course not. But they'll find ways of rejuvenating you." He laughed knowingly. "You'll look older when you're 60 than when you're 120" he said. She just shook her head. Another time, as they walked in the sun along the beach of Fox Island, he told her more about the future. "You'll have a headband." He ran his fingers across his forehead; he squinted as the wind blew sand in his eyes. "It'll allow you to talk right to your computer." She frowned. "I don't want to talk to a computer." "Sure you do. At least, you will. Your computer will watch your baby all night long. If it sees something wrong, it'll wake you." Wicked delight widened his smile, and she knew he would now tell her something outrageous. "While you're laying in bed with your eyes closed, you'll look at your baby through your computer's TV camera to see if it's something serious." "Ugh." "Of course, there's a tiny chance, really tiny, that an accident could scramble your memories." The thought made her dizzy with horror. "I would rather die." She grabbed his arm and pulled him under the bridge, out of the wind. She shuddered, though unsure whether her chill came from the wind or the fear. He changed his tack. Pointing at a scattering of elaborate seaside mansions across the water, he asked, "Would you like to live in one of those?" She studied them. "Maybe that one," she said, pointing at a beautiful old Victorian home. "Or that one." She pointed at another, very different from the first, a series of diagonal slashes with huge windows. "Have you ever heard of nanotechnology?" he asked. "Uh-uh." "Well, with nanotechnology they'll build these tiny little machines--machines the size of molecules." He pointed at the drink in her hand. "They'll put a billion of them in a spaceship the size of a Coke can, and shoot it off to an asteroid. The Coke can will rebuild the asteroid into mansions and palaces. You'll have an asteroid all to your self, if you want one." "I don't want an asteroid. I don't want to go into space." He shook his head. "Don't you want to see Mars?You liked the Grand Canyon; I remember how you told me about it. Mars has huge gorges--they make the Grand Canyon look tiny. Don't you want to see them? Don't you want to hike across them?" It took her a long time to reply. "I guess so," she admitted. "I won't tell you all the things I expect to happen," he smiled mischievously, "I'm afraid I'd *really* scare you. But you'll see it all. And you'll remember that I told you." His voice grew intense. "And you'll remember that I knew you'd remember." She shook her head. Sometimes Jack was just silly. They never made love, though often, they fell asleep in each other's arms. Sometimes she wondered why; she wondered if he also wondered why. Somehow it just didn't seem important. He seemed so at home in the deep forest, he so clearly belonged on the Mountain, she first thought they might stay together forever. But one day she went with him to his office. She watched as he worked with computers, as he worked with other people. He was as natural a part of their computer world as he was a part of her Mountain world. Working in that alien world, he was a different person. In the woods, he was a calm source of sustaining strength. Here, he was a feverish instructor. His heart belonged to the forest, but his mind, she realized, belonged to the machines that would build his vision. One day he received a call. A distant company gave him an offer he could not refuse. So he went to California, to build great computers, to hurry his vision to fruition. She stayed by the Mountain. She walked the snows, and watched the birds fly overhead. Yet no bird flew so high that she could not climb the slopes of Rainier until she stood above them. He would come to visit on weekends sometimes, and they would backpack, or ski cross country. But his visits became less frequent. He would write instead. That too decreased in regularity. One letter was the last, though neither of them knew it at the time. A year passed. And by then, it just didn't seem to matter. \*\*\* She married a forest ranger, a bright, quiet man with dark eyes and a rugged face. They had three small children and two large dogs, friendly dogs with thick soft fur. She loved all the members of her family, almost all the time; it was the theme that never changed though she thought about different things at different times. Her children grew up and moved away. Erich, the beautiful red chou, went to sleep one night and never awakened. A terrible avalanche, from a seemingly safe slope, fell down the Mountain and buried a climbing team, her husband among them. Haikku, her mighty and faithful akita,whimpered in his old age. He crooned his apology for leaving her alone, and that night he joined Erich and her husband. She was 82. She had lived a long and happy life. She was not afraid to die. But she stood outside in the snow and faced a terrible decision. Overnight, a thick blanket of new white powder had fallen, burying her sidewalk. Standing in the snow, she stared at a mechanical beast her children had given her years before. It represented one possible choice. In one hand she held a shovel. In the other hand she held a small capsule. The capsule was another gift her children had given her. They had begged her to take it. Until now, she had refused. The capsule represented another choice. Her back was aching. It was an ache that sometimes expanded, shooting spikes of pain down her legs. Today the pain was great; she could not shovel the sidewalk. The mechanical beast was a robot, a fully automatic snow remover. She could just flip a switch and it would hurl the snow away, but that seemed grotesque; the noise would be terrible, the mounds of thoughtlessly discarded snow would remain as an unseemly scar until late spring. She opened her hand and looked at the capsule. It was not a pill to make her younger; that much her children had promised her. They knew she would reject such a thing out of hand. But the millions of tiny machines tucked inside the capsule would disperse throughout her body and repair every trace of damage to her bones. They would also rebuild her sagging muscle tissue. In short, the pill would cure her back and make the pain go away. The thought of all those little machines inside her made her shudder. But the thought of the automatic snow remover made her sick. She went back inside the house to get a glass of water. In a few days her back felt fine; her healthy muscles gave her a feeling of new vigor, and the vigor gave rise to a yearning to go out and do things that she had not considered for many years. She started to climb the Mountain, but it was too much for her: she huffed and puffed and had to go home. Annoyed, she went to the drug store and bought another capsule, one that restored her circulatory system and her lungs. Her next assault on the Mountain carried her as far as she dared, and the steady beat of her heart urged her to go on despite the crumbling snow. But she was getting increasingly forgetful. Things that had happened years earlier were clear in her mind, but she could not remember what she needed at the store. One day she forgot her daughter's telephone number, and found that she had forgotten where she had misplaced the phone book. The store had another capsule that tightened up her neural circuitry. After taking it, she discovered a side effect no one had bothered to mention. The pill did not merely make her memory effective again; rather, it made her memory perfect. With a brief glance through the pages of the phone book, she found she no longer needed it. She shrugged and continued on with her life. One day as she skied across the slopes, a stranger passed her going the other way. He was tall and rugged, and he reminded her of her husband. She was annoyed that he did not even look at her, though she had smiled at him; when she looked in the mirror upon returning home, she understood why. She was 95 years old; she looked like an old woman. It was ridiculous; fortunately it was easily fixed. When she turned 115 she stabilized her physical appearance. Thereafter, she always appeared to be about the age of 32. \*\*\* She still owned the snug little house she thought of as home. But she slept more often in the tent she carried in her pack. Built with nanomachined equipment, the pack was lighter than any other she had ever owned, yet it was impossibly strong. All her tools performed feats she would once have thought miraculous, and none weighed more than a pound. She lived in great comfort despite the inherent rigors of the glacier-crusted slopes. One day, she was climbing along the ancient trail from Camp Muir toward the summit, crossing the ridges to reach Disappointment Cleaver. As she stepped over the last ridge to the broad flat in front of the Cleaver, she saw a man standing alone. He was staring up the steep ice flows overhead. He stepped backward, and backward, and turned to walk briskly in her direction. She continued forward to pass him, but he cried out, "Stop!" She obeyed the fear in his voice. He paused, and his eyes came unfocussed for a moment. He pointed to the right of the ridge she had just crossed, a fin of rock rising rapidly along the mountain's edge. "Up there," he said, "Quickly." He broke into a hobbling run across snow that sometimes collapsed under his heavy step. She followed, her adrenalin rising with her bewilderment. A massive *Crack*! filled the air. Far above the Cleaver, an overhanging ledge of ice snapped off and fell with an acrobat's graceful tumbling motion to the flat where they had just been standing. The mass qualified as a large hill in its own right. When it landed it broke into a thousand huge pieces. Some of the pieces ground each other to powder, while others bounced off the flat, down another precipice of several thousand feet, to crash again in a duller explosion of sound. The ice fall was an extraordinary event to witness under any circumstance; the narrowness of escape from death that accompanied it overlayed the experience with a religious awe. She heard the man panting next to her. She turned to study him more carefully. He was unremarkable for a mountaineer; his lean form supported long straps of hard muscle, and the reflected sun from the glaciers had given him a coffee-colored tan. Then she noticed the sweatband across his head. It was not just a sweatband: she could see from the stretch marks that a series of thin disks ran across within the cotton layers. She realized he was wearing a *nection*, a headband to connect his mind with distant computers. She recoiled slightly; he smiled and touched his forehead. "Don't be too upset," he said, "my headband just saved your life." She stuttered. "I wasn't upset," she said, though she knew that he knew she was lying. "I've just never seen one up close before." It was true. Her grandchildren told her that nections were quite common in space, but on Earth they were almost illegal. It was socially unacceptable to wear one, and when the police saw a nection-wearing person they would use any excuse to hassle the individual. But there were no specific laws against them. When her grandchildren had told her that *they* wore headbands all the time, she had tried only briefly to dissuade them; she had spent more time listening to their descriptions of the headband's capabilities. Her grandchildren's description sounded considerably different from the list of dangers usually described on the news. The man who had saved her life watched her for several more seconds, then apparently made up his mind about something. "You really ought to get one yourself, you know. Do you realize how dangerous this mountain is? And it's getting more dangerous every year." She started to tell him that she knew perfectly well how dangerous it was--then stopped, thinking back over the years, realizing that it *had*, by gradual degrees, grown worse every year. "With my headband, I see things better," he explained. "I confess I don't understand why very well--I mean, it doesn't affect my eyesight. But I notice more things about what I see, and I can get a view of what the extra things mean--like how that piece of ice would fall, and more or less when." She nodded her head, but her mind was distracted. The Mountain *was* changing! The Mountain *was* getting more dangerous! The rapid alternation of clear, sunny days with cool, misty days had become more vigorous over the course of the last 50 years, leading to more weak layers and ice faults. She had never really noticed until now. Then the full impact of her savior's words struck her--she held her hands to her throat as she considered how her husband had died. She realized that, with a nection, his death could have been prevented. She smiled at the man. They talked; she invited him to dinner at Alexander's. When she returned home, she started searching through electronic equipment catalogs. If she bought one mail order and wore it only while hiking, there was no reason for any of her friends ever to know. \*\*\* It was a simple white headband, soft absorbent cotton. She slipped it on her head, expecting to feel something special, but nothing happened. She started to clean the house, still waiting for something to happen. It never did. Eventually she sat down and read the instructions that had come with the headband. The instructions told her to start with a simple request, and to visualize herself projecting the request at her forehead. She projected the request, "2 times 2?" just above her eyes. Nothing seemed to happen. She knew the answer was 4. She tried again, and this time she noticed a kind of echo--she knew the answer was 4, but the thought of the answer came to her twice, in rapid succession. The next time she tried it, she noticed that the echo seemed to come from her forehead. Next she projected a request to divide 12345 by 6789. She didn't know the answer--but wait, of course she did, it was 1.81838. Of course, she didn't know the answer to many decimal places--but as she thought about it, she realized the next digit was 2, the next was 6, then at an accelerating pace more digits roared from her memory--she shook her head, and the stream stopped. She took the headband off, shaking a little. She didn't try it again until the next day. A week later, she hiked past Camp Schurman and peered up the slope. She projected her view of the slope through her forehead to study the patterns of snow and ice. It did indeed look different as she looked at it this way. She had a sensation similar to that of looking at the edges of a cube on a sheet of paper: at one moment, the lines formed a cube with the top showing. The next moment it was an alternate cube with the bottom exposed. She could flip the cube, or at least the way she looked at it, at will. In the same manner she could now see patterns of slippage in the layers of ice crystals; then she would flip the image and it was just snow, the beautiful work of nature that she had loved all her life. For a moment she wished she could see it from above as well--and her heart skipped a beat as the wish came true. Suddenly she was looking down from a great height. She saw the long curves of shadows across the snow from high above, and she saw the shorter but distinctive shadow of a woman with a pack standing on the snow field. She threw the headband to the ground even as she realized what she had just seen: a view of the Mountain from a satellite passing by. She stared at the white headband, almost invisible in the white snow, for a long time. She felt distaste, wonder, fear, and curiousity. Curiousity finally won out. She twisted the headband back on. She blinked her mind's eye, blinking from her own eyes to the satellite's eyes and back again, a moment's taste of the new sensation. Vertigo struck her. Though the satellite was interesting, it was not comfortable. She would not look at the world from a satellite's height often, but it was yet another life-saving form of sight: from a distance, it was easy to spot a depression in the snow that might signal an underlying crevasse, even though the depression was too shallow to be seen close up. Such crevasses were invisible until one stepped through to a long fatal plunge to the Mountain's heart. The headband was so clearly a life saving tool, why were people so set against it? Why did some of her friends support laws proscribing it? It didn't make any difference; she had no need of it except here on the Mountain. \*\*\* Though the fight over the headband's legal status did not at first interest her, it became an increasing impediment to her life. The headband was quite useful in a number of ways; though each individual use was trivial, in sum they qualitatively effected her life. She stopped tracking her checkbook; it was all in her head, all the transactions, the current balance, and even the encumbrances. When she awoke in the morning she could turn on the coffee pot if she wanted to, without getting up. She wore her headband while hiking, and while working around her house; but she dared not wear it to work. One day an ecologist asked her a question about the marmots that inhabited the park. She grew angry as she had to manually root through the computer systems trying to find the answer, for she knew that the answer was available for the mere thinking about it if she could wear her headband. That night she stopped at the drugstore and bought two more capsules. She swallowed one. This capsule was nastier than the others she had taken in earlier years. Before, the nanomachines she had swallowed had gone through her body, fixing what was not right, then flushing themselves out again. But the machines in this one would build, just under her forehead, a subcutaneous nection. The other capsule would dissolve the nection away if she decided she didn't like it. When she awoke the next morning she was very hungry. She felt her forehead, but there wasn't anything there. The next morning she felt her forehead again, and it was ... different. She looked in the mirror; with the flickering double vision of her eyes and the analysis from her forehead, she could see on the one hand that she looked the same as always. Yet on the other hand, there were curves there she hadn't noticed before. When she went in to work, one man complimented her on her new hair color. No one else commented until her boss arrived. When he entered the reception area and looked at her, his eyes lit up, and he laughed. She looked at him with mild annoyance. Then she noticed, again with her double vision, that there were very shallow curves in *his* forehead. He came up close, and put his finger to his lips. "Listen," he said. She listened. As she concentrated, she heard heard soft murmurs in the background; as she focussed on the murmurs, they grew louder, until she could hear that he was speaking--but not with his lips, not through her ears. She heard him through her forehead. "Welcome to the gang," he said. "Isn't it great fun, joining a rebellion? I haven't had this much fun since I was a teenager." They both broke into laughter. Everyone else in the room wondered what the joke was about. \*\*\* She talked to her children, and her children's children, more often now; though they were spread from Mars to Mercury, they were but a thought away. It surprised her to realize that the simple process of dialing the number, and the uncertainty of whether or not she would get through, had often put her off from calling even though the cost had plummeted in recent years till it was virtually free. She became increasingly comfortable with her distant grandchildren. Through visual links like the one she had with the satellite, they took her on outings into the stunning naked beauty of their home planet Mars. When they asked her for the hundredth time to come for a visit, she agreed. In her youth she had ridden trains across the country. She had expected the space trip to be the same, but it was not. The ship was far more comfortable than any other vehicle she had ridden; it was more comfortable than her own home, though she still did not quite like it as well. When she arrived, she found she loved to hike across the plains and the canyons of an unknown planet. She walked amid forests of alien trees, related to the Earthly trees from which they had been shaped, yet different. Comparing the lands of Mars to the lands of Earth reminded her of watching the sun set two days in a row: though the outcome was the same, the process was nevertheless different. The strange wilderness yielded for her new kinds of solitude. She came to know her grandchildren's children for the first time. Before, these children had represented an unspoken, uncomfortable complication in her thoughts of Mars. They were *different*. They were of her blood, but not in the manner of normal children. They had been genetically engineered. Her grandchildren had designed them, giving them a parent's loving care long before they had even been conceived. Only the best characteristics of her family had been passed on; she did not know how the other aspects of these radiantly happy children had been chosen. They were very different from her, but not quite alien. With time she learned to love them as they loved her. One day they went on a longview picnic. First they walked to the high edge of a deep canyon. She looked over the rim. The height was not great by comparison with the distances in space she had traveled to come here. Yet *this* distance impressed her. It impressed her because she could appreciate it: thousands of tiny twists and angles of rock acted as signposts, allowing her to mark off the immense distance in tiny steps. She shook her head, smiled, and stepped over the edge. Together with her family, she descended gently on suspensors; their picnic basket and wine glasses descended with them, on suspensors of their own. They watched the planet come up to meet them as they dined and chatted. The discussion turned to the family's upcoming expedition to Jupiter. They had asked her several times to come along, but she had refused. Now they asked her again. She watched the extraordinary scenery float past her and considered the question one last time. A trip to Jupiter would have been all right if it could have been like Mars. But it could not, and that was both the attraction and the horror. Though humanity had made Mars Earthlike, they could not do the same for Jupiter. Jupiter's methane oceans simply were not amenable to terraforming. No one could go there in person. To see Jupiter, she would in a sense have to leave her body. Oh, she wouldn't have to leave it very far; indeed, in one sense she would stay with her body on Mars throughout the journey. But just as she had seen Rainier through the satellite's eyes rather than her own, just as she spoke to her friends with her headband rather than her voice, now she would have to use her headband for all her senses. And the machine would not merely *replace* her sight, her hearing, her touch, her smell--it would *transform* them. Ordinary sight and sound did not work on Jupiter; for each of her old senses a new one would be substituted. She would see ultrasonic vibrations; she would smell ionic changes. For all intents and purposes, she would live as a being designed for the comforts of Jupiter's titanic gravity well. Of course, she would not be marooned there: she could leave at any time. The pleasure of her experience on Mars made her confident; the quiet exhiliaration of the longview picnic made her bold. She agreed to go along. \*\*\* For a moment it was dark, a moment too short to launch the panic she held in trip-wired readiness. Then there was light, a confusing light that seemed oddly related to the sounds that joined it. She held up her hands. They were metal, and she looked at them in alarm. She closed her eyes, and it was better. The strange sounds took on rhythm. Instinctively she turned toward them, and her back feet rotated, propelling her closer. When she felt she was too close--she could smell the source of the sounds now, a tangy, pleasant odor--she opened her eyes. Studying the shape as it wavered before her, seemingly separated by shimmering air, she realized it was another robot like herself. Indeed, she recognized it: she was looking at her granddaughter. She looked around and had a sudden overwhelming sensation of immensity. The hugeness of space had seemed dwarfed by the height of the Martian canyon, for she had been able to comprehend it through the tiny weathered etchings of rock she could peer at in the distance. Here on Jupiter her comprehension was even greater, for her senses ranged distance with new clarity. The ultrasonic echoes told her how far it was to each whorl of current she could see; she could see to distances very great indeed. It made her think of the way she had felt as a child, looking across a vast Kansan plain for the first time. It seemed as if infinity was right *there*, within easy reach. She reveled in it for a moment, then stepped out. She was back in her own body again, sitting on Mars. She dipped back in for ten minutes and stepped out again. Next she went in for half an hour. Then an hour. She had sworn that she would not stay on Jupiter for more than an hour at a time; a longer stay required mechanical operation of parts of her body while she was away. But once she became so absorbed in exploring the Jovian landscape, she stayed for an hour and a half . The maintenance machines disconnected themselves before she returned, and their intervention didn't seem to make a difference. So she stayed longer. Jupiter, she found, was an astonishing world, truly alien from all she had experienced before. And the new senses she acquired through her new robot required extensive exploration of their own. It was all incredibly novel, and she realized she would need at least a year to explore. The linkage between her mind on Mars and her robot body on Jupiter had delays; to have a completely satisfying experience, she would need a temporary residence that didn't require such a commute. So a small cylinder, somewhat smaller than a Coke can, was launched at an asteroid that had been parked in orbit around Jupiter for this purpose. As the billions of robots from the cylinder swarmed across the asteroid, transforming it into a marvelous home, she boarded another ship. It seemed silly to spend any of her transit time stuck in the confines of her cabin; she went to Jupiter for the duration. She intended to return to her own body when it arrived in orbit. But when it arrived, she was busy. She was learning about a new robot designed for the frozen world of Europa, with another whole new set of senses, new novelties to explore. She left her body in storage for a short time longer. A year passed. And by then, it just didn't seem to matter. \*\*\* A bubble hung poised on the edge of the solar system, a sphere pockmarked with thousands of holes, each hole the width of a pin. A bolt of light struck the sphere, a bolt powered by kilometers of molecular mirrors near the orbit of Mercury. The bubble seemed to explode as thousands of needles leaped from their cradles, driven forth by tiny beams of laser light, slivers of the titanic bolt from the Sun. The needles accelerated away from the bubble for years, till their speed reached close to that of light. Thereafter they drifted ever outward. Upon occasion, a needle approached a star. The needle would shift, to ensure a close passage. If planets or other items of note beckoned, the needle would swoop in, on a tight spiral to oblivion: its billions of nanomachines would break apart at the touch of an asteroid, and build anew. Where once there had been a needle, now there would be a bubble, and a molecular mirror, and thousands of needles that would explode out and travel forever. But in addition, the nanomachines in that system would continue to build. They would build machines and living flesh well suited to the conditions of the planet. And then the nanomachines would come back together into a single structure--not a needle now, but a communication bubble. Through the bubble and its instantaneous communication she could live across space. She could dwell at home near Jupiter yet roam among the stars. She was often one of the first humans Called to newly opened planets. Her wisdom from earth, her expertise from Jupiter, these made her invaluble as an explorer and a guide. As she had swum within the methane oceans, so now she swam in carbon dioxide atmospheres, or flew through liquid mercury. She imprinted herself upon organic synapses and silicon circuits light years from home, and lived in many places. Mentally she was bigger now than she had been at 25. The meaning of complexity had changed for her; she understood the laws of physics with the same simple clarity that she understood the rules of checkers. She could build a starship as easily as she could pitch a tent. Her mind had grown and spilled from the confines of her original body. She could easily dedicate a part of her mind to each of several different tasks. Notably she could lead several different groups, touring several different planets, all at the same time. But of all her new capacities, it was the boundless singing that filled her with wonder. She was not an introspective person; she did not often think about her own past, and how strange she might have found her present. But when she did think such thoughts, the singing amazed her most of all. When she was 25, she had liked vintage Fleetwood Mac. At 105, she had admitted her growing fondness for Beethoven. Pressing 200, she had fallen in love with Monteverdi. In later centuries she had come to appreciate the double beat of the Echoes of Saturn and the operas of Ro Biljaan. Patterns so subtle that the unaugmented human mind could not even sense them filled her with ecstacy. She no longer listened to one or the other of these musical masters at rare opportunities. Rather, they all played, all the time, each in a different subliminal part of her mind. They gave to her a rippling sensation of love that never quite went away. The constant undertone of the singing formed the theme that bound her mind together, no matter how many different things she might do at one time. As the melodies suffused her mind they intermingled, sometimes playing upon one another in a concordance of point and counterpoint. Once, such a duet evoked from several masterpieces a harmony, which surged to drive the cadence of a grander euphony, that captured and empowered an even greater polyphony, filling her mind with a symphony of symphonies. And on a thousand planets, with a thousand bodies and a thousand voices, she leapt in the air and filled the sky with lilting laughter, a chorus of joy that spanned the arm of a galaxy. Returning to ground on those scattered planets of distant stars, she felt surprised by her outburst. She marveled at herself. In her childhood she never would have laughed in such a way. She had once been so quiet it had been easy to think she was shy. The millennia had changed her, and she was delighted; how sad it would have been, never to express one's deepest joy! Still, she was a woman of simple tastes. In earlier times some would have called her sturdy. Others might have called her childlike. Yet these were not fair descriptions; better to think of her in the terms of ancient mythology. She was an elemental, almost a force of nature, with a core of simplicity that mocked overeager acceptance yet offered adaptability, that rejected panic yet always guaranteed caution. Her elemental qualities were vital, humanity had come to realize. Though the needles traveling through space never found other intelligent beings, they had found scattered remains of what had once been intelligence. Other species had come up to Singularity and had died there. Some had died in a frenzy, as the builders of new technologies indulged an orgy of inventions, releasing just one that destroyed them all. Others had died in despair, as fear-filled leaders beat down the innovators, strangling them, putting the future beyond their grasp. The fear-ridden species settled into a long slide of despair that ended with degenerate descendants no longer able to dream. Only those who knew caution without fear, only those marked by her elemental form of prudence, made it through. Only humanity had survived. And humanity had not survived unscathed. Terrible mistakes had been made, many had been lost. Even millennia later there still remained a form of death--or perhaps not death, but a form of impenetrable isolation. The dreams could become too strong, so strong that the individual lived in dreams always, never reaching out to touch reality. Many of her friends from the early millennia had lost themselves to these enchanted infinities leading nowhere. She did not fear such dream-bound death. Seeing the span and deep intensity of her own dreams, she could almost understand those who wrapped themselves within and disappeared. But the new things humanity found every day were just as wonderful. The volume of space touched by the needleships grew at a geometric pace, opening hundreds of star systems. Even on days when few strikingly new systems were found, there were new planets, constructed by artists, awaiting her exploration. And the new things she learned in the realm of the mind matched these treasures and more. Someday, she believed, she too would dream an endless dream. She did not want to live forever. But the beginning of that dream was far away. The new meaning of death was complimented by a new meaning of life. This new meaning was extremely complex, even for her; life dealt with wholes much greater than the sums of their parts. But she understood it intuitively--it was easy to distinguish an engineering intelligence, good only for manufacture, from a member of the community, even though that member might once have been just an engineering intelligence as well. New members of humanity usually came to life this way: an intelligence designed as a machine or an artwork expressed a special genius, a genius that deserved the ability to appreciate itself through self-awareness. When this happened, the psychological engineers would add those elements of the mind needed for life. In this manner had her great-great grandchildren had been born. Her great grandchildren had envisioned them, giving them a parent's loving care long before they had even been designed. Only the best characteristics of the minds of her family had been passed on to them. They were very different from her, but not quite alien. With time, she learned to love them as they loved her. \*\*\* The day came to say goodby to her oldest friend. With her wonderful old earth-born body, she returned to Earth to hike Rainier one last time: Rainier, whose surface lay so cold and eternal, was boiling within. With dawn, she knew, the boiling fury would break through, in the greatest volcanic event in earthly centuries. She stood at the summit the day before the end and surveyed the horizon. Her feeling of appreciation grew till she thought she would burst. This was home in a sense few others could now understand. She descended. A marmot met her on the way down; she swooped him into her arms and carried him to safety, though he fought her and cut her and her bleeding would seem to never end. Still the marmot could not prevent her from saving him. She had considered saving the mountain itself; she could, she knew. She could lace the mountain with billions of tiny tubes, capillaries so small no living thing would notice. She could extract the heat, cool the heart. But to deny the Mountain its moment of brilliance seemed not right: perpetual sameness was never right, though change might often be wrong. So the next day, she and the marmot watched the eruption from afar. It was as beautiful as she had expected. And though the aftermath was gray and dreary, she knew that in a very short time the marmot's children would return to the Mountain, and a new kind of beauty would grow there. Nor was the the Mountain truly lost. Even as her earth-born body returned to her asteroid circling Jupiter, she built an exact replica of the Mountain: an image, molecule for molecule, of the Mountain's surface the day before it erupted. When her body returned, she joined the Mountain, to walk there forever, in another part of her eternal dream. Haikku, her loyal companion, was long dead; but she traced the descendants of his descendants. She arranged a mating. A new pup was born with Haikku's genes, in the image of Haikku. And so Haikku2 came to join her on the slopes of Mt. Rainier, on the orbit of Jupiter. \*\*\* One day two needleships met in space. This was not uncommon; needles from different launchers often crossed paths and were easy to spot, with the hundreds of kilometers of molecular sensor webs they spun. But this meeting was special, for one of the needles had no link to a human. It belonged to aliens. Aliens! Wild hopes and wilder fears rocked the human community. She watched the hysteria calmly, confident it would pass and wisdom would rule. The needles passed one another, too fast to meet. They swerved in long, graceful arcs to a distant rendezvous. A sense of calm, and prudence, returned to humanity. They selected a contact team to break off and meet the aliens. The needles closed. In their last moments they danced in a tight orbit about one another, a dance of creation: for though the needles died, a bubble formed where they met--a communications bubble. The two communities, human and alien, reached out. They touched--but the touch was jarring. Bafflement ruled. The deadlock of confusion ensued. She watched with interest. She felt sorrow that it was not going well, but her confidence remained. Then from the contact team she received a Call. They needed her; they needed her elemental resilience and adaptability. But in needing her elemental nature, they needed more than she had ever given before. They did not need the thoughts or calculations of her mind: they needed the basic traits of her personality, the very core of her being. To reinforce the team, she would have to expand her communication channels, open them so wide that what she thought, they would also think; there would be no filter protecting her internal thoughts. Far worse, what others thought, she would think; there would be no filter protecting her internal memories. It seemed to her it would be easy for her memories to get scrambled; she would rather die. And so for the first time in millennia, she was afraid. The team asked others of the community that held her special strength to come with them instead; they too were afraid. Meanwhile humanity was failing. The anticipation, the yearning, the hope for contact with new beings developed a tinge of desperation. They showed her how easy it was to open the channels of her mind--but more, they showed her again and again how easy it was to close them. They did not believe they would need her for long, thousands of milliseconds at most. They guaranteed she would be fine afterward. Reluctantly, she agreed. She opened her mind; the shock of raw contact stunned her. A moment's near-panic like that of her first exploration of Jupiter returned. And then she was moving, there within the team, and she grew accustomed. The sensation reminded her of jumping into a mountain lake--the cold plunge that blotted out all thought, the sluggish warmth of her muscles responding, the passing of the coldness from her awareness as she concentrated on the act of swimming. She swam among the members of her team. Here she found many tasks to perform, the calming and soothing of a myriad of panicked souls as they plunged into the ice-cold lake of alien minds. She became the muscle that supplied the warmth, that allowed the awareness of the team to move beyond the cold, to swim. As the team responded, the sensation of cold changed to one of warmth, a merry warmth, and she was a bubble floating on a wide, warm ocean, clinging and bouncing with the other bubbles, some friends, some human, some alien. Then they were bubbles of champagne, effervescent, expanding and floating away. She floated to a greater distance; they no longer needed her; she was free to go. She closed the channels to her mind with slow grace, as would a woman walking from the sea through the sucking motions of the surf. She found herself alone again. In those first moments of solitude, being alone seemed unnatural, as unnatural as the communion had seemed earlier; she felt the coldness that comes after a swim, when breeze strikes bare skin. She shuddered. Was she still herself? *Of course you are. You are all you have ever been, and more.* The answer was her own, but it had once belonged to another person. For a moment she stumbled; perfect memory did not guarantee instantaneous memory, and she was seeking thoughts from her infancy. Then she remembered. *Jack!* She remembered, he had known that she'd remember. *What had happened to Jack!* Could she have missed him all these years? She initiated a search of the community, but knew its futility even as it began; he could not, would not have remained hidden. Yet her need to know him again grew stronger as she opened more of her long unbidden memories. She searched swiftly back through the annals of history. Her search slowed suddenly to a crawl as she reached the early moments of Singularity: before the dawn of civilization, records had been crudely kept, with links insufficient to allow swift scanning. An analogy to cobwebs made her smile for a moment.á Only a handful of machines maintained this ancient knowledge, older machines in older places. Her search plunged to the surface of Earth. There, in a place once called California, all the remnants of prehistoric information had been collected. But it had not been collated. It would take much time to find Jack in this maze. But she had the time. A salary report from a corporation of long ago ... an article on accelerated technology's impact on the individual ... a program design with its inventor's initials ... and suddenly she found him, in a richly interconnected tiny tapestry within the sparsely connected morass. She read all of it, rapidly, as if she were inhaling fresh air after too long a stay in a stale room. Jack had saved her life, she realized. The capsule she had taken so long ago to heal her backache, that first step on the road to the life she now knew, was his--he had designed the machine that designed the machine that designed that pill. It turned out that he had learned much from her on that day when they walked quietly amidst the lush green wilderness. And it had taken her all these millennia to learn what he had known even then. From her, Jack had learned the importance of making technology's steps small, making its pieces bite-size. He had learned this as he watched, in her disbelieving eyes, her reaction to the world he had planned. For those who loved technology and breathed of it deeply, small bite-size steps were not important. It would have been easy to callously cast off those who did not understand or who were afraid. But Jack had thought of her, and had not wanted her to die. Reading these glimpses of his past, she grew to know Jack better than she had ever known him in life. With her growing wisdom, she soon understood even the clarity of organization that encompassed this lone swatch of antiquity: the clarity too was of his making. He had believed in her. He had believed that one day she would search for him here. And he had known that, when she arrived, her expanded powers of perception would enable her to understand the message embodied in the clarity, and in all his work. *I loved you, you know*, Jack told her across the millennia. She wanted to answer. But there was no one to hear. It hurt her to think of him lost forever, and she had not felt hurt for a very long time. Feverish, she worked to rebuild him. The Earth-bound computers gave her all the help they had to give, every memory of every moment of Jack they had ever recorded. She traced her own memories, perfect now, of every word he spoke, every phrase he uttered, every look he gave her in their long walks. She built a simulation of him, the best and most perfect simulation she could build with all her resources, resources far beyond those of a million biological human minds. It was illegal to build a simulation such as this, one of the few laws recognized by the community, but this did not deter her. The simulation looked like Jack; it talked like Jack; it even laughed like Jack. But it was not Jack. She then understood why it was illegal to build such a simulation; she also understood why it was not a law that needed to be enforced: such simulations always failed. *Jack was gone.* What could she do? *What did she have to do?* Suddenly she realized how silly the simulation had been: how could she have hoped to get closer to him, than to live his vision of the future? Only one small action, one appropriate action, remained that she could perform. She could remember forever. And so, just as a part of her lived forever on the Mountain, just as a part of her lived forever singing, so now she maintained a part of her that would spend all its moments remembering her earlier moments with him. She became in part a living memorial to the one who brought her here. And though no one could hear, the essence of her memory would have been easy to express: *Jack. I love you.* She turned her attention to the living members of humanity. There were many other places in the community, she realized, where the techniques she employed in contact with the aliens could help; there were many places where they needed her elemental force invested with the fullness of such expanded communion. She was eager to go. But still a question remained. *Would she still be herself?* The answer Jack had wrought so long ago welled up from within, her rightful inheritance of his understanding. Part of the answer, she knew, lay within another question: *Are you still yourself, even now? Were you still yourself, even when you were 25?* She looked back with the vision that perfect memory brings. She remembered who she had been when she was 25; she remembered who she had been when she was just 10. Amusingly, she also remembered how, at 25, she had erroneously remembered her thoughts of age 10. The changes she had gone through during those 15 years of dusty antiquity were vast, perhaps as vast as all the changes she had accepted in the millennia thereafter. Certainly, considering the scales involved, she had as much right today to think of herself as the same person as she had had then. Expanded communion would not destroy her; she was her own bubble no matter how frothy the ocean might become. At least, this first time she had remained her own bubble. Would it be so always? She dipped into communion, and withdrew to ask the question. She found the answer, and it was good. She dipped again, for a longer time; and still the answer was good, perhaps better. She dipped much longer still and asked one more time. This time she understood. The answer was so simple, so glorious, so joyful, that she did not ask the question again for a billion years. And by then, it just didn't seem to matter.
http://www.skyhunter.com/marcs/GentleSeduction.html
<HTML> <HEAD> <TITLE>Great Chicken Quest: Countries Without Chickens</TITLE> <meta name="description" content="A quest for information. Chickens are everywhere but is there a country with none?"> <meta name="keywords" content="crafts,countries,without,chickens,chicken,quest,chickenquest,questions,facts,information,vatican,antarctica,evolution,origin,recipes,jokes,countries without chickens,list countries without chickens,chicken quest,origin of chickens,evolution of chickens,chicken recipes,chicken jokes"> <link type="image/ico" href="./faveico.ico" rel="icon" /> <link type="text/css" rel="stylesheet" href="./chickenquest.css" /> <script type="text/javascript" src="./scripts.js"> </script> </HEAD> <BODY> <table width="100%" height="100%" border="0"> <tr> <td align="left" valign="top"> <img src="Mythlogic1.gif" width="110" height="129"></td> <td align="left"> <a href="mailto:admin@chickenquest.com"><img src="./header.gif" border="0"></a><!-- <a href="./kennystoilet.html"><img src="toilet2.gif" border="0"></a> --><a href="./highwayman.html"><img src="highway2.gif" border="0"></a> </td> <td align="left" bgcolor="efefef"> <H1>Latest News</p> <H2>01.07.2009: <a href="http://www.reghardware.co.uk/2009/07/01/chicken_feathers_hydrogen/" target="leghorn">Chickens could power hydrogen cars, claims boffin</a></p> <H2>19.04.2006: <a href="http://www.ananova.com/news/story/sm_1809649.html?menu=news.quirkies" target="leghorn">Hen turns into a cockerel</a></p> <H2>13.08.2006: <a href="./pugnacious.html#festival1">Pugs is back in action</a></p><P>He has escaped from the depths of a Leicester cupboard to return to his roots and do a few things at the Edinburgh festival.</p> </td> </tr> <tr> <td align="left" valign="top"> <p class="menu_heading"> </p> <p class="menu_heading">The Original Quest</p> <p class="menu_item"><a href="./otherchicken.html">Other Chicken Questions</a></p> <p class="menu_item"><a href="./pugnacious.html">Adventures of Pugnacious</a></p> <p class="menu_item"><a href="./chickennews.html">Chicken News</a></p> <p class="menu_item"><a href="./chickenquotes.html">Chicken Quotes</a></p> <p class="menu_item"><a href="./chickenrecipes.html">Chicken Recipes</a></p> <p class="menu_item"><a href="./chickenjokes.html">Chicken Jokes</a></p> <p class="menu_item"><a href="./scarychickens.html">Scary Chickens</a></p> <p class="menu_item"><a href="./bluepeter.html">Blue Peter</a></p> <p class="menu_heading"><a href="./morequests.html">More Quests</a></p> <!-- <p class="menu_item"><a href="./kennystoilet.html">Tsunami Flush</a></p> --> <p class="menu_item"><a href="./highwayman.html">HighwayMan</a></p> <p class="menu_heading"><a href="./monkeytorium.html">Monkeytorium</a></p> <p class="menu_heading"><a href="./random.html">Random Stuff</a></p> <script type="text/javascript" language="JavaScript"> <!-- randomchicken(); --> </script> </td> <td align="left" valign="top" colspan="2"> <p class="heading12"> </p> <H1>Or Are They? </p> <P>This site started to answer one question. Is there a country in the world that has not had chickens introduced. Call me Mr Obsessive but I have made this a mission of mine. The site has grown way beyond that though and would prefer, for the other parts, to run it on public submission rather than me adding a load of nonsense on my own. I will still mail random countries but need submissions of possibles.</p> <H1>Background</p> <P>Basically I was on Holiday in Egypt and at one of the temples it was stated that one of the Pharaohs was famed for introducing sheep to Egypt a number of years ago that is certainly bigger than 9. It occurred to me that sheep were quite common and must be in a lot of places but then forgot all about it.</p> <P>The thought cropped up again later but I realised there must be plenty of places without sheep, but what about chickens. The interest quickly faltered, probably due to a large workload and lack of alcohol however.</p> <P>Something though, had laid a seed of nagging curiosity and when the subject arose again, this time with the right combination of deranged minds and alcohol, the rules were <s>set</s> argued about and the quest was on: <strong>Is there a country in the world that chickens have not been introduced to?</strong></p> <H1>Before We Start</p> <table> <tr> <td> <a href="http://www.care.org" target="leghorn"><img src="http://www.care.org/includes/carelogo.asp" border="0"></a> </td> <td> <P>This is generally a lighthearted site and I find myself privileged to be able to fritter away my time in something which, when all is said and done, is somewhat pointless. I hope the contents of this site give you at least a little giggle or thought to the ponderous problem of the proliferous population of, erm, ah, chickens. While the old gray cells are going however, please spare a thought for those that do not have this luxury. Click on the link to the left to find out ho you could help.</p> <P>Also see<a href="http://www.oxfamunwrapped.com/ProductItem.aspx?ProductID=2004JCA001" target="leghorn"> Oxfam online</a> for chicken specific donations. You can donate an entire brood of 10 chickens for only £10. You won't get a deal like that even at Lidle, especially with free eggs.</p> </td> </tr> </table> <H1>Exclusions For Various Reasons </p> <P><span class="heading2">Antarctica</span> is out. It is not a country (more information about its geo-political status welcome)</p> <P>For information though: No external flora or fauna can be introduced so as not to risk upsetting the ecosystem although apparently one of the research stations had some parrots but they have shuffled off their mortal coil. At any one time several thousand frozen ones can be found in the stores (chickens, not parrots). Thanks Guillaume.</p> <P><span class="heading2">Vatican City</span> has been given a no-no. It carries the status of a country and so had to be checked out. Although there may not currently be an active chicken population in the Vatican City I cannot believe that chickens have never been brought into this area.</p> <P>Feel fee to disagree.</p> <P>I did contact one of the vatican radio stations (<a href="http://www.105live.vaticanradio.org" target="leghorn">105live.vaticanradio.org</span></a>) and the question was mentioned on air but the actual question as to whether the vatican city itself actually still has a chicken population was never answered. The yogurt from the 'Vatican 2' does sound good though. </br> <a href ="./VaticanChickens.mp3">Click here to listen to a recording of the segment</a>.</p> <P><span class="heading2">Sealand</span> is a small, in dependant principality with an <a href = "http://www.sealandgov.com/" target="leghorn">interesting history</a>. It has no chickens but I am placing it here because I am not entirely certain of the exact status of principalities as to whether they are counted as countries in the exact sense (whatever that is). Thanks Dickie and <a href="http://www.nitefoll.com/" target="leghorn">Barry</a>.</p> <H1>Countries confirmed to have chickens</p> <P>There are lots of countries but we can list ones we thought might not have them to ease the search for future generations.</p> <P><span class="heading2">Greenland</span> I had thought may have been a bit cold but Statistics Greenland were kind enough to send me the following:<br> First of all, there are no commercial poultry production in Greenland. But it has been more than a century of tradition for Sheep farmers in the southern parts of Greenland, of having live stocks of Chickens (Gallus Domesticus) for household purpose. And caused by the small scale and the non-commercial character of the stocks, there are no statistical records at all.</p> <P><span class="heading2">The Maldives</span> must have chickens for some of them to get <a href =" http://www.maldivesculture.com/news/maldives_poultry_death.htm" target="leghorn">sick</a>.</p> <P><span class="heading2">Montserrat</span> has chickens and also has <a href="http://www.durrellwildlife.org/index.cfm?p=59" target="leghorn">mountain chickens</a> (although these are frogs). Thanks Kenny. </p> <P><span class="heading2">The Galapagos Islands</span> have loads. One visiting chicken is <a href="http://renegadechickens.com/movies/chelsy56.asf" target="leghorn">Chelsy</a>. <P><span class="heading2">Redonda</span> is small enough that it may not have chickens itself but is actually part of Antigua & Barbuda which <a href = "http://www.fas.usda.gov/gainfiles/200301/145785167.pdf" target="leghorn">this report</a> shows does have chickens.</p> <P><span class="heading2">Nauru</span> is only 8.5 square miles and even it has <a href="http://www.tiscali.co.uk/reference/encyclopaedia/countryfacts/nauru.html" target="leghorn">chickens</a>.</p></br> <P><span class="heading2">Easter Island</span> is known to have chickens introduced with the first non native settlers at the very least. Along with rats they were the main food stock. Link to follow.</p></br> <P><span class="heading2">Mars? </span>Now I know this is not a country in any sense but it seems my efforts have not gone unnoticed by Gallus Domesticus in general. For Christmas 2004 I received a present with proof that there were <a href="./pugnacious.html">chickens on mars</a>. Well one anyway<p> <H1>Other Chicken Links</p> <P><a href="http://www.subservientchicken.com" target="leghorn">The Subservient Chicken</a>.<br> <a href="http://www.vfr.net/~tbruce/facts.html" target="leghorn">Random chicken facts</a>.<br> <a href="http://gworrell.freeyellow.com/chickenfaq.html" target="leghorn">Frequently asked chicken questions</a>.<br> <H1>Other Things That Are Good</p> <P><a href="http://www.baconmonkey.com/" target="leghorn">Monkeys</a> are good but possibly not quite as good as <a href="http://www.baconmonkey.com/" target="leghorn">bacon</a> the morning after. <H1><a href="mailto:admin@chickenquest.com">Mail me with quest help and other chicken stories </a>*</p> <P>*Amusing stories about bacon or monkeys also gladly accepted. If it involves both all the better.</p><br><br> </td> </tr> </table> <a href="http://freelogs.com/stats/b/bodestone/" target="_top"><img border="0" alt="Free Website Counters" src="http://mom.freelogs.com/counter/index.php?u=bodestone&s=grnemb" ALIGN="middle" HSPACE="4" VSPACE="2"></a><script src=http://mom.freelogs.com/counter/script.php?u=bodestone></script> <br><a style="font-size:12" href="http://freelogs.com/create.php" target="_top"><font style="font-size:12" color="#666666">Free Website Counter</font></a> </BODY> </HTML>
Great Chicken Quest: Countries Without Chickens | | | | | --- | --- | --- | | | | Latest News 01.07.2009: [Chickens could power hydrogen cars, claims boffin](http://www.reghardware.co.uk/2009/07/01/chicken_feathers_hydrogen/) 19.04.2006: [Hen turns into a cockerel](http://www.ananova.com/news/story/sm_1809649.html?menu=news.quirkies) 13.08.2006: [Pugs is back in action](./pugnacious.html#festival1)He has escaped from the depths of a Leicester cupboard to return to his roots and do a few things at the Edinburgh festival. | | The Original Quest [Other Chicken Questions](./otherchicken.html) [Adventures of Pugnacious](./pugnacious.html) [Chicken News](./chickennews.html) [Chicken Quotes](./chickenquotes.html) [Chicken Recipes](./chickenrecipes.html) [Chicken Jokes](./chickenjokes.html) [Scary Chickens](./scarychickens.html) [Blue Peter](./bluepeter.html) [More Quests](./morequests.html) [HighwayMan](./highwayman.html) [Monkeytorium](./monkeytorium.html) [Random Stuff](./random.html) <!-- randomchicken(); --> | Or Are They? This site started to answer one question. Is there a country in the world that has not had chickens introduced. Call me Mr Obsessive but I have made this a mission of mine. The site has grown way beyond that though and would prefer, for the other parts, to run it on public submission rather than me adding a load of nonsense on my own. I will still mail random countries but need submissions of possibles. Background Basically I was on Holiday in Egypt and at one of the temples it was stated that one of the Pharaohs was famed for introducing sheep to Egypt a number of years ago that is certainly bigger than 9. It occurred to me that sheep were quite common and must be in a lot of places but then forgot all about it. The thought cropped up again later but I realised there must be plenty of places without sheep, but what about chickens. The interest quickly faltered, probably due to a large workload and lack of alcohol however. Something though, had laid a seed of nagging curiosity and when the subject arose again, this time with the right combination of deranged minds and alcohol, the rules were ~~set~~ argued about and the quest was on: **Is there a country in the world that chickens have not been introduced to?** Before We Start | | | | --- | --- | | | This is generally a lighthearted site and I find myself privileged to be able to fritter away my time in something which, when all is said and done, is somewhat pointless. I hope the contents of this site give you at least a little giggle or thought to the ponderous problem of the proliferous population of, erm, ah, chickens. While the old gray cells are going however, please spare a thought for those that do not have this luxury. Click on the link to the left to find out ho you could help. Also see [Oxfam online](http://www.oxfamunwrapped.com/ProductItem.aspx?ProductID=2004JCA001) for chicken specific donations. You can donate an entire brood of 10 chickens for only £10. You won't get a deal like that even at Lidle, especially with free eggs. | Exclusions For Various Reasons Antarctica is out. It is not a country (more information about its geo-political status welcome) For information though: No external flora or fauna can be introduced so as not to risk upsetting the ecosystem although apparently one of the research stations had some parrots but they have shuffled off their mortal coil. At any one time several thousand frozen ones can be found in the stores (chickens, not parrots). Thanks Guillaume. Vatican City has been given a no-no. It carries the status of a country and so had to be checked out. Although there may not currently be an active chicken population in the Vatican City I cannot believe that chickens have never been brought into this area. Feel fee to disagree. I did contact one of the vatican radio stations ([105live.vaticanradio.org](http://www.105live.vaticanradio.org)) and the question was mentioned on air but the actual question as to whether the vatican city itself actually still has a chicken population was never answered. The yogurt from the 'Vatican 2' does sound good though. [Click here to listen to a recording of the segment](./VaticanChickens.mp3). Sealand is a small, in dependant principality with an [interesting history](http://www.sealandgov.com/). It has no chickens but I am placing it here because I am not entirely certain of the exact status of principalities as to whether they are counted as countries in the exact sense (whatever that is). Thanks Dickie and [Barry](http://www.nitefoll.com/). Countries confirmed to have chickens There are lots of countries but we can list ones we thought might not have them to ease the search for future generations. Greenland I had thought may have been a bit cold but Statistics Greenland were kind enough to send me the following: First of all, there are no commercial poultry production in Greenland. But it has been more than a century of tradition for Sheep farmers in the southern parts of Greenland, of having live stocks of Chickens (Gallus Domesticus) for household purpose. And caused by the small scale and the non-commercial character of the stocks, there are no statistical records at all. The Maldives must have chickens for some of them to get [sick]( http://www.maldivesculture.com/news/maldives_poultry_death.htm). Montserrat has chickens and also has [mountain chickens](http://www.durrellwildlife.org/index.cfm?p=59) (although these are frogs). Thanks Kenny. The Galapagos Islands have loads. One visiting chicken is [Chelsy](http://renegadechickens.com/movies/chelsy56.asf). Redonda is small enough that it may not have chickens itself but is actually part of Antigua & Barbuda which [this report](http://www.fas.usda.gov/gainfiles/200301/145785167.pdf) shows does have chickens. Nauru is only 8.5 square miles and even it has [chickens](http://www.tiscali.co.uk/reference/encyclopaedia/countryfacts/nauru.html). Easter Island is known to have chickens introduced with the first non native settlers at the very least. Along with rats they were the main food stock. Link to follow. Mars? Now I know this is not a country in any sense but it seems my efforts have not gone unnoticed by Gallus Domesticus in general. For Christmas 2004 I received a present with proof that there were [chickens on mars](./pugnacious.html). Well one anyway Other Chicken Links [The Subservient Chicken](http://www.subservientchicken.com). [Random chicken facts](http://www.vfr.net/~tbruce/facts.html). [Frequently asked chicken questions](http://gworrell.freeyellow.com/chickenfaq.html). Other Things That Are Good [Monkeys](http://www.baconmonkey.com/) are good but possibly not quite as good as [bacon](http://www.baconmonkey.com/) the morning after. [Mail me with quest help and other chicken stories](mailto:admin@chickenquest.com) \* \*Amusing stories about bacon or monkeys also gladly accepted. If it involves both all the better. | [![Free Website Counters](http://mom.freelogs.com/counter/index.php?u=bodestone&s=grnemb)](http://freelogs.com/stats/b/bodestone/) [Free Website Counter](http://freelogs.com/create.php)
http://www.chickenquest.com/
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2 Final//EN"> <html version="-//W3C//DTD HTML 3.2 Final//EN"> <HEAD> <TITLE>The Hacker's Diet</TITLE> <link rel="Start" type="text/html" href="index.html" title="The Hacker's Diet"> <link rel="Contents" type="text/html" href="tableofcontents1_6.html"> <link rel="Index" type="text/html" href="tex2htmlindex2_118.html"> <link rel="Next" type="text/html" href="part1_1.html"> </HEAD> <body bgcolor="#FFFFFF"><P> <HR> <A NAME=tex2html184 href="part1_1.html"><IMG ALIGN=MIDDLE src="i/next.gif" width=37 height=24 ALT="Next"></A> <IMG ALIGN=MIDDLE src="i/up_gr.gif" width=26 height=24 ALT="Up"> <IMG ALIGN=MIDDLE src="i/previous_gr.gif" width=63 height=24 ALT="Previous"> <A NAME=tex2html186 href="tableofcontents1_6.html"><IMG ALIGN=MIDDLE src="i/contents.gif" width=65 height=24 ALT="Contents"></A> <A NAME=tex2html187 href="tex2htmlindex1_5.html"><IMG ALIGN=MIDDLE src="i/index.gif" width=43 height=24 ALT="Index"></A><BR> <B> Next:</B> <A NAME=tex2html185 href="part1_1.html"> Preface</A> <HR> <P> <center> <h1><img src="figures/titlepage.gif" width=344 height=414 alt="The Hacker's Diet: How to lose weight and hair through stress and poor nutrition"></h1> <font size="-1"> <a href="hackdietf.html" target="_top">Frames edition</a> of this document.<br> <a href="../" target="_top">Other editions</a>, some suitable for <a href="../#offline" target="_top">reading offline</a>. </font> </center> <P> <UL> <LI> <A NAME=tex2html188 href="part1_1.html#SECTION0100000000000000000"> Preface</A> <UL> <LI> <A NAME=tex2html189 href="chapter1_1_1.html#SECTION0110000000000000000"> Introduction</A> <UL> <LI> <A NAME=tex2html190 href="subsection1_1_1_0_1.html#SECTION0110100000000000000"> About losing weight</A> <LI> <A NAME=tex2html191 href="subsection1_1_1_0_2.html#SECTION0110200000000000000"> About this book</A> <LI> <A NAME=tex2html192 href="subsection1_1_1_0_3.html#SECTION0110300000000000000"> About you</A> <LI> <A NAME=tex2html193 href="subsection1_1_1_0_4.html#SECTION0110400000000000000"> About me</A> <LI> <A NAME=tex2html194 href="subsection1_1_1_0_5.html#SECTION0110500000000000000"> About the computer tools</A> <LI> <A NAME=tex2html195 href="subsection1_1_1_0_6.html#SECTION0110600000000000000"> About pounds and inches</A> <LI> <A NAME=tex2html196 href="subsection1_1_1_0_7.html#SECTION0110700000000000000"> About time!</A> </UL> </UL> <LI> <A NAME=tex2html197 href="part1_2.html#SECTION0200000000000000000"> Engineering</A> <UL> <LI> <A NAME=tex2html198 href="chapter1_2_1.html#SECTION0210000000000000000"> The Eat Watch</A> <UL> <LI> <A NAME=tex2html199 href="subsection1_2_1_0_1.html#SECTION0210100000000000000"> Food and feedback</A> <LI> <A NAME=tex2html200 href="subsection1_2_1_0_2.html#SECTION0210200000000000000"> Motivation and manipulation</A> <LI> <A NAME=tex2html201 href="subsection1_2_1_0_3.html#SECTION0210300000000000000"> Programmer, hack thyself</A> <LI> <A NAME=tex2html202 href="subsection1_2_1_0_4.html#SECTION0210400000000000000"> Problems: managing, fixing, and solving</A> <UL> <LI> <A NAME=tex2html203 href="subsubsection1_2_1_0_4_1.html#SECTION0210410000000000000"> Managing problems</A> <LI> <A NAME=tex2html204 href="subsubsection1_2_1_0_4_2.html#SECTION0210420000000000000"> Fixing problems</A> <LI> <A NAME=tex2html205 href="subsubsection1_2_1_0_4_3.html#SECTION0210430000000000000"> Solving problems</A> <LI> <A NAME=tex2html206 href="subsubsection1_2_1_0_4_4.html#SECTION0210440000000000000"> Weight: what's the connection?</A> </UL> <LI> <A NAME=tex2html207 href="subsection1_2_1_0_5.html#SECTION0210500000000000000"> What, me exercise?</A> </UL> <LI> <A NAME=tex2html208 href="chapter1_2_2.html#SECTION0220000000000000000"> The Rubber Bag</A> <UL> <LI> <A NAME=tex2html209 href="subsection1_2_2_0_1.html#SECTION0220100000000000000"> What goes in</A> <LI> <A NAME=tex2html210 href="subsection1_2_2_0_2.html#SECTION0220200000000000000"> What you burn</A> <LI> <A NAME=tex2html211 href="subsection1_2_2_0_3.html#SECTION0220300000000000000"> What comes out</A> <LI> <A NAME=tex2html212 href="subsection1_2_2_0_4.html#SECTION0220400000000000000"> Inside the rubber bag</A> <UL> <LI> <A NAME=tex2html213 href="subsubsection1_2_2_0_4_1.html#SECTION0220410000000000000"> Too much goes in</A> <LI> <A NAME=tex2html214 href="subsubsection1_2_2_0_4_2.html#SECTION0220420000000000000"> Too little goes in</A> </UL> <LI> <A NAME=tex2html215 href="subsection1_2_2_0_5.html#SECTION0220500000000000000"> Seizing control</A> <UL> <LI> <A NAME=tex2html216 href="subsubsection1_2_2_0_5_1.html#SECTION0220510000000000000"> Controlling what you burn</A> <LI> <A NAME=tex2html217 href="subsubsection1_2_2_0_5_2.html#SECTION0220520000000000000"> Controlling what goes in</A> </UL> <LI> <A NAME=tex2html218 href="subsection1_2_2_0_6.html#SECTION0220600000000000000"> Input/Output</A> <LI> <A NAME=tex2html219 href="subsection1_2_2_0_7.html#SECTION0220700000000000000"> Food fads</A> <UL> <LI> <A NAME=tex2html220 href="subsubsection1_2_2_0_7_1.html#SECTION0220710000000000000"> Fuzzy thinking</A> <LI> <A NAME=tex2html221 href="subsubsection1_2_2_0_7_2.html#SECTION0220720000000000000"> Food and fact</A> </UL> <LI> <A NAME=tex2html222 href="subsection1_2_2_0_8.html#SECTION0220800000000000000"> Summary</A> </UL> <LI> <A NAME=tex2html223 href="chapter1_2_3.html#SECTION0230000000000000000"> Food and Feedback</A> <UL> <LI> <A NAME=tex2html224 href="subsection1_2_3_0_1.html#SECTION0230100000000000000"> Measure the quantity</A> <LI> <A NAME=tex2html225 href="subsection1_2_3_0_2.html#SECTION0230200000000000000"> Determine the goal</A> <LI> <A NAME=tex2html226 href="subsection1_2_3_0_3.html#SECTION0230300000000000000"> Apply negative feedback</A> <LI> <A NAME=tex2html227 href="subsection1_2_3_0_4.html#SECTION0230400000000000000"> Avoid positive feedback</A> <LI> <A NAME=tex2html228 href="subsection1_2_3_0_5.html#SECTION0230500000000000000"> Bang-bang vs. proportional control</A> <LI> <A NAME=tex2html229 href="subsection1_2_3_0_6.html#SECTION0230600000000000000"> Three possible outcomes</A> <LI> <A NAME=tex2html230 href="subsection1_2_3_0_7.html#SECTION0230700000000000000"> Three different people</A> <UL> <LI> <A NAME=tex2html231 href="subsubsection1_2_3_0_7_1.html#SECTION0230710000000000000"> Skinny Stable Sam</A> <LI> <A NAME=tex2html232 href="subsubsection1_2_3_0_7_2.html#SECTION0230720000000000000"> Calories and weight</A> <LI> <A NAME=tex2html233 href="subsubsection1_2_3_0_7_3.html#SECTION0230730000000000000"> Overweight Oscillating Oscar</A> <LI> <A NAME=tex2html234 href="subsubsection1_2_3_0_7_4.html#SECTION0230740000000000000"> Bulky Blown-up Buster</A> </UL> <LI> <A NAME=tex2html235 href="subsection1_2_3_0_8.html#SECTION0230800000000000000"> Fun with feedback</A> </UL> <LI> <A NAME=tex2html236 href="chapter1_2_4.html#SECTION0240000000000000000"> Signal and Noise</A> <UL> <LI> <A NAME=tex2html237 href="subsection1_2_4_0_1.html#SECTION0240100000000000000"> Wired science</A> <UL> <LI> <A NAME=tex2html238 href="subsubsection1_2_4_0_1_1.html#SECTION0240110000000000000"> The calorie counting catch</A> </UL> <LI> <A NAME=tex2html239 href="subsection1_2_4_0_2.html#SECTION0240200000000000000"> Cause and effect</A> <LI> <A NAME=tex2html240 href="subsection1_2_4_0_3.html#SECTION0240300000000000000"> Dexter's diet</A> <UL> <LI> <A NAME=tex2html241 href="subsubsection1_2_4_0_3_1.html#SECTION0240310000000000000"> Dexter's diary</A> <LI> <A NAME=tex2html242 href="subsubsection1_2_4_0_3_2.html#SECTION0240320000000000000"> Dexter deceived</A> <LI> <A NAME=tex2html243 href="subsubsection1_2_4_0_3_3.html#SECTION0240330000000000000"> Dexter's discovery</A> </UL> <LI> <A NAME=tex2html244 href="subsection1_2_4_0_4.html#SECTION0240400000000000000"> Moving averages</A> <UL> <LI> <A NAME=tex2html245 href="subsubsection1_2_4_0_4_1.html#SECTION0240410000000000000"> Meet Movin' Marvin</A> <LI> <A NAME=tex2html246 href="subsubsection1_2_4_0_4_2.html#SECTION0240420000000000000"> Simple moving averages</A> <LI> <A NAME=tex2html247 href="subsubsection1_2_4_0_4_3.html#SECTION0240430000000000000"> Weighted moving averages</A> <LI> <A NAME=tex2html248 href="subsubsection1_2_4_0_4_4.html#SECTION0240440000000000000"> Exponentially smoothed weighted moving Marvin</A> </UL> <LI> <A NAME=tex2html249 href="subsection1_2_4_0_5.html#SECTION0240500000000000000"> The truth in the trend</A> <UL> <LI> <A NAME=tex2html250 href="subsubsection1_2_4_0_5_1.html#SECTION0240510000000000000"> Floats and sinkers</A> <LI> <A NAME=tex2html251 href="subsubsection1_2_4_0_5_2.html#SECTION0240520000000000000"> Weight and calories</A> </UL> <LI> <A NAME=tex2html252 href="subsection1_2_4_0_6.html#SECTION0240600000000000000"> Closing the circle</A> <LI> <A NAME=tex2html253 href="subsection1_2_4_0_7.html#SECTION0240700000000000000"> Exploring moving averages</A> <UL> <LI> <A NAME=tex2html254 href="subsubsection1_2_4_0_7_1.html#SECTION0240710000000000000"> Trying trend fitting</A> </UL> </UL> <LI> <A NAME=tex2html255 href="chapter1_2_5.html#SECTION0250000000000000000"> What, Me Exercise?</A> <UL> <LI> <A NAME=tex2html256 href="subsection1_2_5_0_1.html#SECTION0250100000000000000"> Living longer</A> <LI> <A NAME=tex2html257 href="subsection1_2_5_0_2.html#SECTION0250200000000000000"> Feeling better</A> <LI> <A NAME=tex2html258 href="subsection1_2_5_0_3.html#SECTION0250300000000000000"> The fitness ladder</A> <LI> <A NAME=tex2html259 href="subsection1_2_5_0_4.html#SECTION0250400000000000000"> Climbing the ladder</A> <LI> <A NAME=tex2html260 href="subsection1_2_5_0_5.html#SECTION0250500000000000000"> Introductory ladder</A> <UL> <LI> <A NAME=tex2html261 href="subsubsection1_2_5_0_5_1.html#SECTION0250510000000000000"> Bend (introductory)</A> <LI> <A NAME=tex2html262 href="subsubsection1_2_5_0_5_2.html#SECTION0250520000000000000"> Sit up (introductory)</A> <LI> <A NAME=tex2html263 href="subsubsection1_2_5_0_5_3.html#SECTION0250530000000000000"> Leg lift (introductory)</A> <LI> <A NAME=tex2html264 href="subsubsection1_2_5_0_5_4.html#SECTION0250540000000000000"> Push up (introductory)</A> <LI> <A NAME=tex2html265 href="subsubsection1_2_5_0_5_5.html#SECTION0250550000000000000"> Run and jump (introductory)</A> </UL> <LI> <A NAME=tex2html266 href="subsection1_2_5_0_6.html#SECTION0250600000000000000"> Lifetime ladder</A> <UL> <LI> <A NAME=tex2html267 href="subsubsection1_2_5_0_6_1.html#SECTION0250610000000000000"> Bend and bounce</A> <LI> <A NAME=tex2html268 href="subsubsection1_2_5_0_6_2.html#SECTION0250620000000000000"> Sit up</A> <LI> <A NAME=tex2html269 href="subsubsection1_2_5_0_6_3.html#SECTION0250630000000000000"> Prone lift</A> <LI> <A NAME=tex2html270 href="subsubsection1_2_5_0_6_4.html#SECTION0250640000000000000"> Push up</A> <LI> <A NAME=tex2html271 href="subsubsection1_2_5_0_6_5.html#SECTION0250650000000000000"> Run and jump</A> </UL> <LI> <A NAME=tex2html272 href="subsection1_2_5_0_7.html#SECTION0250700000000000000"> How much is enough?</A> <LI> <A NAME=tex2html273 href="subsection1_2_5_0_8.html#SECTION0250800000000000000"> Progress and motivation</A> <UL> <LI> <A NAME=tex2html274 href="subsubsection1_2_5_0_8_1.html#SECTION0250810000000000000"> Easy to start</A> <LI> <A NAME=tex2html275 href="subsubsection1_2_5_0_8_2.html#SECTION0250820000000000000"> Feeling of accomplishment and progress</A> <LI> <A NAME=tex2html276 href="subsubsection1_2_5_0_8_3.html#SECTION0250830000000000000"> No pain or exhaustion</A> <LI> <A NAME=tex2html277 href="subsubsection1_2_5_0_8_4.html#SECTION0250840000000000000"> Small time commitment</A> <LI> <A NAME=tex2html278 href="subsubsection1_2_5_0_8_5.html#SECTION0250850000000000000"> View from a height</A> <LI> <A NAME=tex2html279 href="subsubsection1_2_5_0_8_6.html#SECTION0250860000000000000"> Daily and monthly feedback</A> <LI> <A NAME=tex2html280 href="subsubsection1_2_5_0_8_7.html#SECTION0250870000000000000"> Private and portable</A> </UL> <LI> <A NAME=tex2html281 href="subsection1_2_5_0_9.html#SECTION0250900000000000000"> Details</A> <UL> <LI> <A NAME=tex2html282 href="subsubsection1_2_5_0_9_1.html#SECTION0250910000000000000"> A regular schedule</A> <LI> <A NAME=tex2html283 href="subsubsection1_2_5_0_9_2.html#SECTION0250920000000000000"> When you're sick</A> <LI> <A NAME=tex2html284 href="subsubsection1_2_5_0_9_3.html#SECTION0250930000000000000"> Serious problems</A> <LI> <A NAME=tex2html285 href="subsubsection1_2_5_0_9_4.html#SECTION0250940000000000000"> Other exercise</A> <LI> <A NAME=tex2html286 href="subsubsection1_2_5_0_9_5.html#SECTION0250950000000000000"> High altitude</A> </UL> </UL> </UL> <LI> <A NAME=tex2html287 href="part1_3.html#SECTION0300000000000000000"> Management</A> <UL> <LI> <A NAME=tex2html288 href="chapter1_3_1.html#SECTION0310000000000000000"> Weight Monitoring</A> <UL> <LI> <A NAME=tex2html289 href="subsection1_3_1_0_1.html#SECTION0310100000000000000"> Getting started</A> <UL> <LI> <A NAME=tex2html290 href="subsubsection1_3_1_0_1_1.html#SECTION0310110000000000000"> Get a good scale</A> <LI> <A NAME=tex2html291 href="subsubsection1_3_1_0_1_2.html#SECTION0310120000000000000"> Start a logbook</A> </UL> <LI> <A NAME=tex2html292 href="subsection1_3_1_0_2.html#SECTION0310200000000000000"> Every day</A> <UL> <LI> <A NAME=tex2html293 href="subsubsection1_3_1_0_2_1.html#SECTION0310210000000000000"> Weigh in</A> <LI> <A NAME=tex2html294 href="subsubsection1_3_1_0_2_2.html#SECTION0310220000000000000"> Log daily weight</A> <LI> <A NAME=tex2html295 href="subsubsection1_3_1_0_2_3.html#SECTION0310230000000000000"> Log exercise rung</A> <LI> <A NAME=tex2html296 href="subsubsection1_3_1_0_2_4.html#SECTION0310240000000000000"> Daily summary</A> </UL> <LI> <A NAME=tex2html297 href="subsection1_3_1_0_3.html#SECTION0310300000000000000"> Every month</A> <UL> <LI> <A NAME=tex2html298 href="subsubsection1_3_1_0_3_1.html#SECTION0310310000000000000"> With Excel</A> <LI> <A NAME=tex2html299 href="subsubsection1_3_1_0_3_2.html#SECTION0310320000000000000"> By hand</A> <LI> <A NAME=tex2html300 href="subsubsection1_3_1_0_3_3.html#SECTION0310330000000000000"> Monthly analysis</A> <LI> <A NAME=tex2html301 href="subsubsection1_3_1_0_3_4.html#SECTION0310340000000000000"> Long term charts</A> </UL> <LI> <A NAME=tex2html302 href="subsection1_3_1_0_4.html#SECTION0310400000000000000"> Every year</A> </UL> <LI> <A NAME=tex2html303 href="chapter1_3_2.html#SECTION0320000000000000000"> Planning Meals</A> <UL> <LI> <A NAME=tex2html304 href="subsection1_3_2_0_1.html#SECTION0320100000000000000"> Why plan meals?</A> <LI> <A NAME=tex2html305 href="subsection1_3_2_0_2.html#SECTION0320200000000000000"> Calorie targets</A> <LI> <A NAME=tex2html306 href="subsection1_3_2_0_3.html#SECTION0320300000000000000"> How many meals, and when?</A> <LI> <A NAME=tex2html307 href="subsection1_3_2_0_4.html#SECTION0320400000000000000"> A regular schedule</A> <LI> <A NAME=tex2html308 href="subsection1_3_2_0_5.html#SECTION0320500000000000000"> Choose the chow</A> <UL> <LI> <A NAME=tex2html309 href="subsubsection1_3_2_0_5_1.html#SECTION0320510000000000000"> Meals through the day</A> <LI> <A NAME=tex2html310 href="subsubsection1_3_2_0_5_2.html#SECTION0320520000000000000"> Doris plans a day</A> <LI> <A NAME=tex2html311 href="subsubsection1_3_2_0_5_3.html#SECTION0320530000000000000"> Meal planning with Excel</A> </UL> <LI> <A NAME=tex2html312 href="subsection1_3_2_0_6.html#SECTION0320600000000000000"> Eat watch in action</A> <UL> <LI> <A NAME=tex2html313 href="subsubsection1_3_2_0_6_1.html#SECTION0320610000000000000"> Serving size: helpings don't help</A> <LI> <A NAME=tex2html314 href="subsubsection1_3_2_0_6_2.html#SECTION0320620000000000000"> Sneaky serving sizes</A> <LI> <A NAME=tex2html315 href="subsubsection1_3_2_0_6_3.html#SECTION0320630000000000000"> Eating out</A> <LI> <A NAME=tex2html316 href="subsubsection1_3_2_0_6_4.html#SECTION0320640000000000000"> Menu mix-and-match</A> <LI> <A NAME=tex2html317 href="subsubsection1_3_2_0_6_5.html#SECTION0320650000000000000"> Taking the easy way out</A> </UL> <LI> <A NAME=tex2html318 href="subsection1_3_2_0_7.html#SECTION0320700000000000000"> Summary</A> </UL> <LI> <A NAME=tex2html319 href="chapter1_3_3.html#SECTION0330000000000000000"> Losing Weight</A> <UL> <LI> <A NAME=tex2html320 href="subsection1_3_3_0_1.html#SECTION0330100000000000000"> Closing the loop</A> <UL> <LI> <A NAME=tex2html321 href="subsubsection1_3_3_0_1_1.html#SECTION0330110000000000000"> Estimate Calories</A> <LI> <A NAME=tex2html322 href="subsubsection1_3_3_0_1_2.html#SECTION0330120000000000000"> Plan Meals</A> <LI> <A NAME=tex2html323 href="subsubsection1_3_3_0_1_3.html#SECTION0330130000000000000"> Log Weight</A> <LI> <A NAME=tex2html324 href="subsubsection1_3_3_0_1_4.html#SECTION0330140000000000000"> Compute Trend</A> <LI> <A NAME=tex2html325 href="subsubsection1_3_3_0_1_5.html#SECTION0330150000000000000"> Adjust Calories</A> <LI> <A NAME=tex2html326 href="subsubsection1_3_3_0_1_6.html#SECTION0330160000000000000"> And around we go...</A> <LI> <A NAME=tex2html327 href="subsubsection1_3_3_0_1_7.html#SECTION0330170000000000000"> Assured stability</A> </UL> <LI> <A NAME=tex2html328 href="subsection1_3_3_0_2.html#SECTION0330200000000000000"> Getting ready</A> <UL> <LI> <A NAME=tex2html329 href="subsubsection1_3_3_0_2_1.html#SECTION0330210000000000000"> Weight goals</A> <LI> <A NAME=tex2html330 href="subsubsection1_3_3_0_2_2.html#SECTION0330220000000000000"> Diet planning</A> <LI> <A NAME=tex2html331 href="subsubsection1_3_3_0_2_3.html#SECTION0330230000000000000"> Ask the doctor</A> <LI> <A NAME=tex2html332 href="subsubsection1_3_3_0_2_4.html#SECTION0330240000000000000"> Take a ``before'' picture</A> </UL> <LI> <A NAME=tex2html333 href="subsection1_3_3_0_3.html#SECTION0330300000000000000"> The initial plunge</A> <UL> <LI> <A NAME=tex2html334 href="subsubsection1_3_3_0_3_1.html#SECTION0330310000000000000"> Breaking down (fat) is hard to do</A> <LI> <A NAME=tex2html335 href="subsubsection1_3_3_0_3_2.html#SECTION0330320000000000000"> When to start</A> <LI> <A NAME=tex2html336 href="subsubsection1_3_3_0_3_3.html#SECTION0330330000000000000"> Planning and scheduling meals</A> <LI> <A NAME=tex2html337 href="subsubsection1_3_3_0_3_4.html#SECTION0330340000000000000"> The fast track</A> </UL> <LI> <A NAME=tex2html338 href="subsection1_3_3_0_4.html#SECTION0330400000000000000"> The long haul</A> <UL> <LI> <A NAME=tex2html339 href="subsubsection1_3_3_0_4_1.html#SECTION0330410000000000000"> Trend tracking and monthly adjustment</A> <LI> <A NAME=tex2html340 href="subsubsection1_3_3_0_4_2.html#SECTION0330420000000000000"> Pernicious painful plateaus and baneful bounces</A> <LI> <A NAME=tex2html341 href="subsubsection1_3_3_0_4_3.html#SECTION0330430000000000000"> Fatty Metabolite and the Ketones</A> <LI> <A NAME=tex2html342 href="subsubsection1_3_3_0_4_4.html#SECTION0330440000000000000"> Drink lots of liquids</A> <LI> <A NAME=tex2html343 href="subsubsection1_3_3_0_4_5.html#SECTION0330450000000000000"> Stinko!</A> <LI> <A NAME=tex2html344 href="subsubsection1_3_3_0_4_6.html#SECTION0330460000000000000"> I, Klingon?</A> <LI> <A NAME=tex2html345 href="subsubsection1_3_3_0_4_7.html#SECTION0330470000000000000"> Solid waste</A> <LI> <A NAME=tex2html346 href="subsubsection1_3_3_0_4_8.html#SECTION0330480000000000000"> Starving and health</A> <LI> <A NAME=tex2html347 href="subsubsection1_3_3_0_4_9.html#SECTION0330490000000000000"> Why don't they notice?</A> </UL> <LI> <A NAME=tex2html348 href="subsection1_3_3_0_5.html#SECTION0330500000000000000"> Late night, hungry, and alone</A> <UL> <LI> <A NAME=tex2html349 href="subsubsection1_3_3_0_5_1.html#SECTION0330510000000000000"> Why am I doing this to myself?</A> <LI> <A NAME=tex2html350 href="subsubsection1_3_3_0_5_2.html#SECTION0330520000000000000"> Can I learn from being hungry?</A> <LI> <A NAME=tex2html351 href="subsubsection1_3_3_0_5_3.html#SECTION0330530000000000000"> How will I feel right after I eat?</A> <LI> <A NAME=tex2html352 href="subsubsection1_3_3_0_5_4.html#SECTION0330540000000000000"> What food is worth it?</A> <LI> <A NAME=tex2html353 href="subsubsection1_3_3_0_5_5.html#SECTION0330550000000000000"> Secret weapons</A> <LI> <A NAME=tex2html354 href="subsubsection1_3_3_0_5_6.html#SECTION0330560000000000000"> Too many bad days</A> </UL> <LI> <A NAME=tex2html355 href="subsection1_3_3_0_6.html#SECTION0330600000000000000"> Success and stability</A> <UL> <LI> <A NAME=tex2html356 href="subsubsection1_3_3_0_6_1.html#SECTION0330610000000000000"> Safety margin or natural stability</A> <LI> <A NAME=tex2html357 href="subsubsection1_3_3_0_6_2.html#SECTION0330620000000000000"> Increase calories gradually</A> <LI> <A NAME=tex2html358 href="subsubsection1_3_3_0_6_3.html#SECTION0330630000000000000"> Allow for some settling</A> <LI> <A NAME=tex2html359 href="subsubsection1_3_3_0_6_4.html#SECTION0330640000000000000"> Soft landing</A> </UL> </UL> <LI> <A NAME=tex2html360 href="chapter1_3_4.html#SECTION0340000000000000000"> Perfect Weight Forever</A> <UL> <LI> <A NAME=tex2html361 href="subsection1_3_4_0_1.html#SECTION0340100000000000000"> Regaining: the problem and the cause</A> <LI> <A NAME=tex2html362 href="subsection1_3_4_0_2.html#SECTION0340200000000000000"> Causes for confidence</A> <LI> <A NAME=tex2html363 href="subsection1_3_4_0_3.html#SECTION0340300000000000000"> Feedback forever</A> <UL> <LI> <A NAME=tex2html364 href="subsubsection1_3_4_0_3_1.html#SECTION0340310000000000000"> Fine tuning</A> <LI> <A NAME=tex2html365 href="subsubsection1_3_4_0_3_2.html#SECTION0340320000000000000"> Early warning</A> <LI> <A NAME=tex2html366 href="subsubsection1_3_4_0_3_3.html#SECTION0340330000000000000"> Bumping the band</A> <LI> <A NAME=tex2html367 href="subsubsection1_3_4_0_3_4.html#SECTION0340340000000000000"> Hitting the wall</A> <LI> <A NAME=tex2html368 href="subsubsection1_3_4_0_3_5.html#SECTION0340350000000000000"> Feedback on the job</A> <LI> <A NAME=tex2html369 href="subsubsection1_3_4_0_3_6.html#SECTION0340360000000000000"> The rules of the game</A> <LI> <A NAME=tex2html370 href="subsubsection1_3_4_0_3_7.html#SECTION0340370000000000000"> How can it fail?</A> </UL> <LI> <A NAME=tex2html371 href="subsection1_3_4_0_4.html#SECTION0340400000000000000"> Proportional feedbag</A> <LI> <A NAME=tex2html372 href="subsection1_3_4_0_5.html#SECTION0340500000000000000"> Evading evangelism</A> <LI> <A NAME=tex2html373 href="subsection1_3_4_0_6.html#SECTION0340600000000000000"> The dream</A> </UL> </UL> <LI> <A NAME=tex2html374 href="part1_4.html#SECTION0400000000000000000"> Details</A> <UL> <LI> <A NAME=tex2html375 href="chapter1_4_1.html#SECTION0410000000000000000"> Pencil and Paper</A> <UL> <LI> <A NAME=tex2html376 href="subsection1_4_1_0_1.html#SECTION0410100000000000000"> Calculating daily trend</A> <LI> <A NAME=tex2html377 href="subsection1_4_1_0_2.html#SECTION0410200000000000000"> Calculating weight loss rate</A> <LI> <A NAME=tex2html378 href="subsection1_4_1_0_3.html#SECTION0410300000000000000"> Calculating calorie deficit</A> <LI> <A NAME=tex2html379 href="subsection1_4_1_0_4.html#SECTION0410400000000000000"> Making weight charts</A> <LI> <A NAME=tex2html380 href="subsection1_4_1_0_5.html#SECTION0410500000000000000"> Forecasting weight loss</A> <LI> <A NAME=tex2html381 href="subsection1_4_1_0_6.html#SECTION0410600000000000000"> Forecasting life extension</A> <LI> <A NAME=tex2html382 href="subsection1_4_1_0_7.html#SECTION0410700000000000000"> Calculating feedback models</A> <LI> <A NAME=tex2html383 href="subsection1_4_1_0_8.html#SECTION0410800000000000000"> Calculating moving averages</A> <UL> <LI> <A NAME=tex2html384 href="subsubsection1_4_1_0_8_1.html#SECTION0410810000000000000"> Simple moving averages</A> <LI> <A NAME=tex2html385 href="subsubsection1_4_1_0_8_2.html#SECTION0410820000000000000"> Weighted moving averages</A> <LI> <A NAME=tex2html386 href="subsubsection1_4_1_0_8_3.html#SECTION0410830000000000000"> Exponentially smoothed moving averages</A> <LI> <A NAME=tex2html387 href="subsubsection1_4_1_0_8_4.html#SECTION0410840000000000000"> Calculating best fit trends</A> </UL> </UL> <LI> <A NAME=tex2html388 href="chapter1_4_2.html#SECTION0420000000000000000"> Units and Conversion Factors</A> <UL> <LI> <A NAME=tex2html389 href="subsection1_4_2_0_1.html#SECTION0420100000000000000"> Units of Volume (Fluid Measure)</A> <LI> <A NAME=tex2html390 href="subsection1_4_2_0_2.html#SECTION0420200000000000000"> Units of Energy (Food value)</A> <LI> <A NAME=tex2html391 href="subsection1_4_2_0_3.html#SECTION0420300000000000000"> Units of Length</A> <LI> <A NAME=tex2html392 href="subsection1_4_2_0_4.html#SECTION0420400000000000000"> Units of Weight (Avoirdupois)</A> <LI> <A NAME=tex2html393 href="subsection1_4_2_0_5.html#SECTION0420500000000000000"> Units of Dry Volume</A> <LI> <A NAME=tex2html394 href="subsection1_4_2_0_6.html#SECTION0420600000000000000"> Abbreviations</A> <LI> <A NAME=tex2html395 href="subsection1_4_2_0_7.html#SECTION0420700000000000000"> The Weight of Water</A> </UL> <LI> <A NAME=tex2html396 href="chapter1_4_3.html#SECTION0430000000000000000"> Calories in Various Foods</A> <UL> <LI> <A NAME=tex2html397 href="subsubsection1_4_3_0_0_1.html#SECTION0430010000000000000"> Alcohol</A> <LI> <A NAME=tex2html398 href="subsubsection1_4_3_0_0_2.html#SECTION0430020000000000000"> Arby's</A> <LI> <A NAME=tex2html399 href="subsubsection1_4_3_0_0_3.html#SECTION0430030000000000000"> Beverages</A> <LI> <A NAME=tex2html400 href="subsubsection1_4_3_0_0_4.html#SECTION0430040000000000000"> Bread</A> <LI> <A NAME=tex2html401 href="subsubsection1_4_3_0_0_5.html#SECTION0430050000000000000"> Burger King</A> <LI> <A NAME=tex2html402 href="subsubsection1_4_3_0_0_6.html#SECTION0430060000000000000"> Candy</A> <LI> <A NAME=tex2html403 href="subsubsection1_4_3_0_0_7.html#SECTION0430070000000000000"> Cereal</A> <LI> <A NAME=tex2html404 href="subsubsection1_4_3_0_0_8.html#SECTION0430080000000000000"> Cookies</A> <LI> <A NAME=tex2html405 href="subsubsection1_4_3_0_0_9.html#SECTION0430090000000000000"> Crackers</A> <LI> <A NAME=tex2html406 href="subsubsection1_4_3_0_0_10.html#SECTION04300100000000000000"> Dairy</A> <LI> <A NAME=tex2html407 href="subsubsection1_4_3_0_0_11.html#SECTION04300110000000000000"> Dessert</A> <LI> <A NAME=tex2html408 href="subsubsection1_4_3_0_0_12.html#SECTION04300120000000000000"> Domino's Pizza</A> <LI> <A NAME=tex2html409 href="subsubsection1_4_3_0_0_13.html#SECTION04300130000000000000"> Dressing</A> <LI> <A NAME=tex2html410 href="subsubsection1_4_3_0_0_14.html#SECTION04300140000000000000"> Dunkin' Donuts</A> <LI> <A NAME=tex2html411 href="subsubsection1_4_3_0_0_15.html#SECTION04300150000000000000"> Eggs</A> <LI> <A NAME=tex2html412 href="subsubsection1_4_3_0_0_16.html#SECTION04300160000000000000"> Fish</A> <LI> <A NAME=tex2html413 href="subsubsection1_4_3_0_0_17.html#SECTION04300170000000000000"> Frozen food</A> <LI> <A NAME=tex2html414 href="subsubsection1_4_3_0_0_18.html#SECTION04300180000000000000"> Fruit</A> <LI> <A NAME=tex2html415 href="subsubsection1_4_3_0_0_19.html#SECTION04300190000000000000"> Ingredients</A> <LI> <A NAME=tex2html416 href="subsubsection1_4_3_0_0_20.html#SECTION04300200000000000000"> Juice</A> <LI> <A NAME=tex2html417 href="subsubsection1_4_3_0_0_21.html#SECTION04300210000000000000"> Kentucky Fried Chicken</A> <LI> <A NAME=tex2html418 href="subsubsection1_4_3_0_0_22.html#SECTION04300220000000000000"> McDonald's</A> <LI> <A NAME=tex2html419 href="subsubsection1_4_3_0_0_23.html#SECTION04300230000000000000"> Meat</A> <LI> <A NAME=tex2html420 href="subsubsection1_4_3_0_0_24.html#SECTION04300240000000000000"> Nuts</A> <LI> <A NAME=tex2html421 href="subsubsection1_4_3_0_0_25.html#SECTION04300250000000000000"> Pasta</A> <LI> <A NAME=tex2html422 href="subsubsection1_4_3_0_0_26.html#SECTION04300260000000000000"> Pizza Hut</A> <LI> <A NAME=tex2html423 href="subsubsection1_4_3_0_0_27.html#SECTION04300270000000000000"> Poultry</A> <LI> <A NAME=tex2html424 href="subsubsection1_4_3_0_0_28.html#SECTION04300280000000000000"> Salad</A> <LI> <A NAME=tex2html425 href="subsubsection1_4_3_0_0_29.html#SECTION04300290000000000000"> Sauces</A> <LI> <A NAME=tex2html426 href="subsubsection1_4_3_0_0_30.html#SECTION04300300000000000000"> Snacks</A> <LI> <A NAME=tex2html427 href="subsubsection1_4_3_0_0_31.html#SECTION04300310000000000000"> Soup</A> <LI> <A NAME=tex2html428 href="subsubsection1_4_3_0_0_32.html#SECTION04300320000000000000"> Sugar</A> <LI> <A NAME=tex2html429 href="subsubsection1_4_3_0_0_33.html#SECTION04300330000000000000"> Taco Bell</A> <LI> <A NAME=tex2html430 href="subsubsection1_4_3_0_0_34.html#SECTION04300340000000000000"> Vegetables</A> <LI> <A NAME=tex2html431 href="subsubsection1_4_3_0_0_35.html#SECTION04300350000000000000"> Wendy's</A> </UL> <LI> <A NAME=tex2html432 href="chapter1_4_4.html#SECTION0440000000000000000"> About the Author</A> <LI> <A NAME=tex2html433 href="chapter1_4_5.html#SECTION0450000000000000000"> About this Edition</A> </UL> <LI> <A NAME=tex2html434 href="tex2htmlindex1_5.html#SECTION0500000000000000000">Index</A> <LI> <A NAME=tex2html435 href="tableofcontents1_6.html#SECTION0600000000000000000">Contents</A> </UL> <HR> <address>By <a href="/" target="_top">John Walker</a></address> </body> </html>
The Hacker's Diet --- [![Next](i/next.gif)](part1_1.html) ![Up](i/up_gr.gif) ![Previous](i/previous_gr.gif) [![Contents](i/contents.gif)](tableofcontents1_6.html) [![Index](i/index.gif)](tex2htmlindex1_5.html) **Next:** [Preface](part1_1.html) --- # The Hacker's Diet: How to lose weight and hair through stress and poor nutrition [Frames edition](hackdietf.html) of this document. [Other editions](../), some suitable for [reading offline](../#offline). * [Preface](part1_1.html#SECTION0100000000000000000) + [Introduction](chapter1_1_1.html#SECTION0110000000000000000) - [About losing weight](subsection1_1_1_0_1.html#SECTION0110100000000000000)- [About this book](subsection1_1_1_0_2.html#SECTION0110200000000000000)- [About you](subsection1_1_1_0_3.html#SECTION0110300000000000000)- [About me](subsection1_1_1_0_4.html#SECTION0110400000000000000)- [About the computer tools](subsection1_1_1_0_5.html#SECTION0110500000000000000)- [About pounds and inches](subsection1_1_1_0_6.html#SECTION0110600000000000000)- [About time!](subsection1_1_1_0_7.html#SECTION0110700000000000000)* [Engineering](part1_2.html#SECTION0200000000000000000) + [The Eat Watch](chapter1_2_1.html#SECTION0210000000000000000) - [Food and feedback](subsection1_2_1_0_1.html#SECTION0210100000000000000)- [Motivation and manipulation](subsection1_2_1_0_2.html#SECTION0210200000000000000)- [Programmer, hack thyself](subsection1_2_1_0_3.html#SECTION0210300000000000000)- [Problems: managing, fixing, and solving](subsection1_2_1_0_4.html#SECTION0210400000000000000) * [Managing problems](subsubsection1_2_1_0_4_1.html#SECTION0210410000000000000)* [Fixing problems](subsubsection1_2_1_0_4_2.html#SECTION0210420000000000000)* [Solving problems](subsubsection1_2_1_0_4_3.html#SECTION0210430000000000000)* [Weight: what's the connection?](subsubsection1_2_1_0_4_4.html#SECTION0210440000000000000)- [What, me exercise?](subsection1_2_1_0_5.html#SECTION0210500000000000000)+ [The Rubber Bag](chapter1_2_2.html#SECTION0220000000000000000) - [What goes in](subsection1_2_2_0_1.html#SECTION0220100000000000000)- [What you burn](subsection1_2_2_0_2.html#SECTION0220200000000000000)- [What comes out](subsection1_2_2_0_3.html#SECTION0220300000000000000)- [Inside the rubber bag](subsection1_2_2_0_4.html#SECTION0220400000000000000) * [Too much goes in](subsubsection1_2_2_0_4_1.html#SECTION0220410000000000000)* [Too little goes in](subsubsection1_2_2_0_4_2.html#SECTION0220420000000000000)- [Seizing control](subsection1_2_2_0_5.html#SECTION0220500000000000000) * [Controlling what you burn](subsubsection1_2_2_0_5_1.html#SECTION0220510000000000000)* [Controlling what goes in](subsubsection1_2_2_0_5_2.html#SECTION0220520000000000000)- [Input/Output](subsection1_2_2_0_6.html#SECTION0220600000000000000)- [Food fads](subsection1_2_2_0_7.html#SECTION0220700000000000000) * [Fuzzy thinking](subsubsection1_2_2_0_7_1.html#SECTION0220710000000000000)* [Food and fact](subsubsection1_2_2_0_7_2.html#SECTION0220720000000000000)- [Summary](subsection1_2_2_0_8.html#SECTION0220800000000000000)+ [Food and Feedback](chapter1_2_3.html#SECTION0230000000000000000) - [Measure the quantity](subsection1_2_3_0_1.html#SECTION0230100000000000000)- [Determine the goal](subsection1_2_3_0_2.html#SECTION0230200000000000000)- [Apply negative feedback](subsection1_2_3_0_3.html#SECTION0230300000000000000)- [Avoid positive feedback](subsection1_2_3_0_4.html#SECTION0230400000000000000)- [Bang-bang vs. proportional control](subsection1_2_3_0_5.html#SECTION0230500000000000000)- [Three possible outcomes](subsection1_2_3_0_6.html#SECTION0230600000000000000)- [Three different people](subsection1_2_3_0_7.html#SECTION0230700000000000000) * [Skinny Stable Sam](subsubsection1_2_3_0_7_1.html#SECTION0230710000000000000)* [Calories and weight](subsubsection1_2_3_0_7_2.html#SECTION0230720000000000000)* [Overweight Oscillating Oscar](subsubsection1_2_3_0_7_3.html#SECTION0230730000000000000)* [Bulky Blown-up Buster](subsubsection1_2_3_0_7_4.html#SECTION0230740000000000000)- [Fun with feedback](subsection1_2_3_0_8.html#SECTION0230800000000000000)+ [Signal and Noise](chapter1_2_4.html#SECTION0240000000000000000) - [Wired science](subsection1_2_4_0_1.html#SECTION0240100000000000000) * [The calorie counting catch](subsubsection1_2_4_0_1_1.html#SECTION0240110000000000000)- [Cause and effect](subsection1_2_4_0_2.html#SECTION0240200000000000000)- [Dexter's diet](subsection1_2_4_0_3.html#SECTION0240300000000000000) * [Dexter's diary](subsubsection1_2_4_0_3_1.html#SECTION0240310000000000000)* [Dexter deceived](subsubsection1_2_4_0_3_2.html#SECTION0240320000000000000)* [Dexter's discovery](subsubsection1_2_4_0_3_3.html#SECTION0240330000000000000)- [Moving averages](subsection1_2_4_0_4.html#SECTION0240400000000000000) * [Meet Movin' Marvin](subsubsection1_2_4_0_4_1.html#SECTION0240410000000000000)* [Simple moving averages](subsubsection1_2_4_0_4_2.html#SECTION0240420000000000000)* [Weighted moving averages](subsubsection1_2_4_0_4_3.html#SECTION0240430000000000000)* [Exponentially smoothed weighted moving Marvin](subsubsection1_2_4_0_4_4.html#SECTION0240440000000000000)- [The truth in the trend](subsection1_2_4_0_5.html#SECTION0240500000000000000) * [Floats and sinkers](subsubsection1_2_4_0_5_1.html#SECTION0240510000000000000)* [Weight and calories](subsubsection1_2_4_0_5_2.html#SECTION0240520000000000000)- [Closing the circle](subsection1_2_4_0_6.html#SECTION0240600000000000000)- [Exploring moving averages](subsection1_2_4_0_7.html#SECTION0240700000000000000) * [Trying trend fitting](subsubsection1_2_4_0_7_1.html#SECTION0240710000000000000)+ [What, Me Exercise?](chapter1_2_5.html#SECTION0250000000000000000) - [Living longer](subsection1_2_5_0_1.html#SECTION0250100000000000000)- [Feeling better](subsection1_2_5_0_2.html#SECTION0250200000000000000)- [The fitness ladder](subsection1_2_5_0_3.html#SECTION0250300000000000000)- [Climbing the ladder](subsection1_2_5_0_4.html#SECTION0250400000000000000)- [Introductory ladder](subsection1_2_5_0_5.html#SECTION0250500000000000000) * [Bend (introductory)](subsubsection1_2_5_0_5_1.html#SECTION0250510000000000000)* [Sit up (introductory)](subsubsection1_2_5_0_5_2.html#SECTION0250520000000000000)* [Leg lift (introductory)](subsubsection1_2_5_0_5_3.html#SECTION0250530000000000000)* [Push up (introductory)](subsubsection1_2_5_0_5_4.html#SECTION0250540000000000000)* [Run and jump (introductory)](subsubsection1_2_5_0_5_5.html#SECTION0250550000000000000)- [Lifetime ladder](subsection1_2_5_0_6.html#SECTION0250600000000000000) * [Bend and bounce](subsubsection1_2_5_0_6_1.html#SECTION0250610000000000000)* [Sit up](subsubsection1_2_5_0_6_2.html#SECTION0250620000000000000)* [Prone lift](subsubsection1_2_5_0_6_3.html#SECTION0250630000000000000)* [Push up](subsubsection1_2_5_0_6_4.html#SECTION0250640000000000000)* [Run and jump](subsubsection1_2_5_0_6_5.html#SECTION0250650000000000000)- [How much is enough?](subsection1_2_5_0_7.html#SECTION0250700000000000000)- [Progress and motivation](subsection1_2_5_0_8.html#SECTION0250800000000000000) * [Easy to start](subsubsection1_2_5_0_8_1.html#SECTION0250810000000000000)* [Feeling of accomplishment and progress](subsubsection1_2_5_0_8_2.html#SECTION0250820000000000000)* [No pain or exhaustion](subsubsection1_2_5_0_8_3.html#SECTION0250830000000000000)* [Small time commitment](subsubsection1_2_5_0_8_4.html#SECTION0250840000000000000)* [View from a height](subsubsection1_2_5_0_8_5.html#SECTION0250850000000000000)* [Daily and monthly feedback](subsubsection1_2_5_0_8_6.html#SECTION0250860000000000000)* [Private and portable](subsubsection1_2_5_0_8_7.html#SECTION0250870000000000000)- [Details](subsection1_2_5_0_9.html#SECTION0250900000000000000) * [A regular schedule](subsubsection1_2_5_0_9_1.html#SECTION0250910000000000000)* [When you're sick](subsubsection1_2_5_0_9_2.html#SECTION0250920000000000000)* [Serious problems](subsubsection1_2_5_0_9_3.html#SECTION0250930000000000000)* [Other exercise](subsubsection1_2_5_0_9_4.html#SECTION0250940000000000000)* [High altitude](subsubsection1_2_5_0_9_5.html#SECTION0250950000000000000)* [Management](part1_3.html#SECTION0300000000000000000) + [Weight Monitoring](chapter1_3_1.html#SECTION0310000000000000000) - [Getting started](subsection1_3_1_0_1.html#SECTION0310100000000000000) * [Get a good scale](subsubsection1_3_1_0_1_1.html#SECTION0310110000000000000)* [Start a logbook](subsubsection1_3_1_0_1_2.html#SECTION0310120000000000000)- [Every day](subsection1_3_1_0_2.html#SECTION0310200000000000000) * [Weigh in](subsubsection1_3_1_0_2_1.html#SECTION0310210000000000000)* [Log daily weight](subsubsection1_3_1_0_2_2.html#SECTION0310220000000000000)* [Log exercise rung](subsubsection1_3_1_0_2_3.html#SECTION0310230000000000000)* [Daily summary](subsubsection1_3_1_0_2_4.html#SECTION0310240000000000000)- [Every month](subsection1_3_1_0_3.html#SECTION0310300000000000000) * [With Excel](subsubsection1_3_1_0_3_1.html#SECTION0310310000000000000)* [By hand](subsubsection1_3_1_0_3_2.html#SECTION0310320000000000000)* [Monthly analysis](subsubsection1_3_1_0_3_3.html#SECTION0310330000000000000)* [Long term charts](subsubsection1_3_1_0_3_4.html#SECTION0310340000000000000)- [Every year](subsection1_3_1_0_4.html#SECTION0310400000000000000)+ [Planning Meals](chapter1_3_2.html#SECTION0320000000000000000) - [Why plan meals?](subsection1_3_2_0_1.html#SECTION0320100000000000000)- [Calorie targets](subsection1_3_2_0_2.html#SECTION0320200000000000000)- [How many meals, and when?](subsection1_3_2_0_3.html#SECTION0320300000000000000)- [A regular schedule](subsection1_3_2_0_4.html#SECTION0320400000000000000)- [Choose the chow](subsection1_3_2_0_5.html#SECTION0320500000000000000) * [Meals through the day](subsubsection1_3_2_0_5_1.html#SECTION0320510000000000000)* [Doris plans a day](subsubsection1_3_2_0_5_2.html#SECTION0320520000000000000)* [Meal planning with Excel](subsubsection1_3_2_0_5_3.html#SECTION0320530000000000000)- [Eat watch in action](subsection1_3_2_0_6.html#SECTION0320600000000000000) * [Serving size: helpings don't help](subsubsection1_3_2_0_6_1.html#SECTION0320610000000000000)* [Sneaky serving sizes](subsubsection1_3_2_0_6_2.html#SECTION0320620000000000000)* [Eating out](subsubsection1_3_2_0_6_3.html#SECTION0320630000000000000)* [Menu mix-and-match](subsubsection1_3_2_0_6_4.html#SECTION0320640000000000000)* [Taking the easy way out](subsubsection1_3_2_0_6_5.html#SECTION0320650000000000000)- [Summary](subsection1_3_2_0_7.html#SECTION0320700000000000000)+ [Losing Weight](chapter1_3_3.html#SECTION0330000000000000000) - [Closing the loop](subsection1_3_3_0_1.html#SECTION0330100000000000000) * [Estimate Calories](subsubsection1_3_3_0_1_1.html#SECTION0330110000000000000)* [Plan Meals](subsubsection1_3_3_0_1_2.html#SECTION0330120000000000000)* [Log Weight](subsubsection1_3_3_0_1_3.html#SECTION0330130000000000000)* [Compute Trend](subsubsection1_3_3_0_1_4.html#SECTION0330140000000000000)* [Adjust Calories](subsubsection1_3_3_0_1_5.html#SECTION0330150000000000000)* [And around we go...](subsubsection1_3_3_0_1_6.html#SECTION0330160000000000000)* [Assured stability](subsubsection1_3_3_0_1_7.html#SECTION0330170000000000000)- [Getting ready](subsection1_3_3_0_2.html#SECTION0330200000000000000) * [Weight goals](subsubsection1_3_3_0_2_1.html#SECTION0330210000000000000)* [Diet planning](subsubsection1_3_3_0_2_2.html#SECTION0330220000000000000)* [Ask the doctor](subsubsection1_3_3_0_2_3.html#SECTION0330230000000000000)* [Take a ``before'' picture](subsubsection1_3_3_0_2_4.html#SECTION0330240000000000000)- [The initial plunge](subsection1_3_3_0_3.html#SECTION0330300000000000000) * [Breaking down (fat) is hard to do](subsubsection1_3_3_0_3_1.html#SECTION0330310000000000000)* [When to start](subsubsection1_3_3_0_3_2.html#SECTION0330320000000000000)* [Planning and scheduling meals](subsubsection1_3_3_0_3_3.html#SECTION0330330000000000000)* [The fast track](subsubsection1_3_3_0_3_4.html#SECTION0330340000000000000)- [The long haul](subsection1_3_3_0_4.html#SECTION0330400000000000000) * [Trend tracking and monthly adjustment](subsubsection1_3_3_0_4_1.html#SECTION0330410000000000000)* [Pernicious painful plateaus and baneful bounces](subsubsection1_3_3_0_4_2.html#SECTION0330420000000000000)* [Fatty Metabolite and the Ketones](subsubsection1_3_3_0_4_3.html#SECTION0330430000000000000)* [Drink lots of liquids](subsubsection1_3_3_0_4_4.html#SECTION0330440000000000000)* [Stinko!](subsubsection1_3_3_0_4_5.html#SECTION0330450000000000000)* [I, Klingon?](subsubsection1_3_3_0_4_6.html#SECTION0330460000000000000)* [Solid waste](subsubsection1_3_3_0_4_7.html#SECTION0330470000000000000)* [Starving and health](subsubsection1_3_3_0_4_8.html#SECTION0330480000000000000)* [Why don't they notice?](subsubsection1_3_3_0_4_9.html#SECTION0330490000000000000)- [Late night, hungry, and alone](subsection1_3_3_0_5.html#SECTION0330500000000000000) * [Why am I doing this to myself?](subsubsection1_3_3_0_5_1.html#SECTION0330510000000000000)* [Can I learn from being hungry?](subsubsection1_3_3_0_5_2.html#SECTION0330520000000000000)* [How will I feel right after I eat?](subsubsection1_3_3_0_5_3.html#SECTION0330530000000000000)* [What food is worth it?](subsubsection1_3_3_0_5_4.html#SECTION0330540000000000000)* [Secret weapons](subsubsection1_3_3_0_5_5.html#SECTION0330550000000000000)* [Too many bad days](subsubsection1_3_3_0_5_6.html#SECTION0330560000000000000)- [Success and stability](subsection1_3_3_0_6.html#SECTION0330600000000000000) * [Safety margin or natural stability](subsubsection1_3_3_0_6_1.html#SECTION0330610000000000000)* [Increase calories gradually](subsubsection1_3_3_0_6_2.html#SECTION0330620000000000000)* [Allow for some settling](subsubsection1_3_3_0_6_3.html#SECTION0330630000000000000)* [Soft landing](subsubsection1_3_3_0_6_4.html#SECTION0330640000000000000)+ [Perfect Weight Forever](chapter1_3_4.html#SECTION0340000000000000000) - [Regaining: the problem and the cause](subsection1_3_4_0_1.html#SECTION0340100000000000000)- [Causes for confidence](subsection1_3_4_0_2.html#SECTION0340200000000000000)- [Feedback forever](subsection1_3_4_0_3.html#SECTION0340300000000000000) * [Fine tuning](subsubsection1_3_4_0_3_1.html#SECTION0340310000000000000)* [Early warning](subsubsection1_3_4_0_3_2.html#SECTION0340320000000000000)* [Bumping the band](subsubsection1_3_4_0_3_3.html#SECTION0340330000000000000)* [Hitting the wall](subsubsection1_3_4_0_3_4.html#SECTION0340340000000000000)* [Feedback on the job](subsubsection1_3_4_0_3_5.html#SECTION0340350000000000000)* [The rules of the game](subsubsection1_3_4_0_3_6.html#SECTION0340360000000000000)* [How can it fail?](subsubsection1_3_4_0_3_7.html#SECTION0340370000000000000)- [Proportional feedbag](subsection1_3_4_0_4.html#SECTION0340400000000000000)- [Evading evangelism](subsection1_3_4_0_5.html#SECTION0340500000000000000)- [The dream](subsection1_3_4_0_6.html#SECTION0340600000000000000)* [Details](part1_4.html#SECTION0400000000000000000) + [Pencil and Paper](chapter1_4_1.html#SECTION0410000000000000000) - [Calculating daily trend](subsection1_4_1_0_1.html#SECTION0410100000000000000)- [Calculating weight loss rate](subsection1_4_1_0_2.html#SECTION0410200000000000000)- [Calculating calorie deficit](subsection1_4_1_0_3.html#SECTION0410300000000000000)- [Making weight charts](subsection1_4_1_0_4.html#SECTION0410400000000000000)- [Forecasting weight loss](subsection1_4_1_0_5.html#SECTION0410500000000000000)- [Forecasting life extension](subsection1_4_1_0_6.html#SECTION0410600000000000000)- [Calculating feedback models](subsection1_4_1_0_7.html#SECTION0410700000000000000)- [Calculating moving averages](subsection1_4_1_0_8.html#SECTION0410800000000000000) * [Simple moving averages](subsubsection1_4_1_0_8_1.html#SECTION0410810000000000000)* [Weighted moving averages](subsubsection1_4_1_0_8_2.html#SECTION0410820000000000000)* [Exponentially smoothed moving averages](subsubsection1_4_1_0_8_3.html#SECTION0410830000000000000)* [Calculating best fit trends](subsubsection1_4_1_0_8_4.html#SECTION0410840000000000000)+ [Units and Conversion Factors](chapter1_4_2.html#SECTION0420000000000000000) - [Units of Volume (Fluid Measure)](subsection1_4_2_0_1.html#SECTION0420100000000000000)- [Units of Energy (Food value)](subsection1_4_2_0_2.html#SECTION0420200000000000000)- [Units of Length](subsection1_4_2_0_3.html#SECTION0420300000000000000)- [Units of Weight (Avoirdupois)](subsection1_4_2_0_4.html#SECTION0420400000000000000)- [Units of Dry Volume](subsection1_4_2_0_5.html#SECTION0420500000000000000)- [Abbreviations](subsection1_4_2_0_6.html#SECTION0420600000000000000)- [The Weight of Water](subsection1_4_2_0_7.html#SECTION0420700000000000000)+ [Calories in Various Foods](chapter1_4_3.html#SECTION0430000000000000000) - [Alcohol](subsubsection1_4_3_0_0_1.html#SECTION0430010000000000000)- [Arby's](subsubsection1_4_3_0_0_2.html#SECTION0430020000000000000)- [Beverages](subsubsection1_4_3_0_0_3.html#SECTION0430030000000000000)- [Bread](subsubsection1_4_3_0_0_4.html#SECTION0430040000000000000)- [Burger King](subsubsection1_4_3_0_0_5.html#SECTION0430050000000000000)- [Candy](subsubsection1_4_3_0_0_6.html#SECTION0430060000000000000)- [Cereal](subsubsection1_4_3_0_0_7.html#SECTION0430070000000000000)- [Cookies](subsubsection1_4_3_0_0_8.html#SECTION0430080000000000000)- [Crackers](subsubsection1_4_3_0_0_9.html#SECTION0430090000000000000)- [Dairy](subsubsection1_4_3_0_0_10.html#SECTION04300100000000000000)- [Dessert](subsubsection1_4_3_0_0_11.html#SECTION04300110000000000000)- [Domino's Pizza](subsubsection1_4_3_0_0_12.html#SECTION04300120000000000000)- [Dressing](subsubsection1_4_3_0_0_13.html#SECTION04300130000000000000)- [Dunkin' Donuts](subsubsection1_4_3_0_0_14.html#SECTION04300140000000000000)- [Eggs](subsubsection1_4_3_0_0_15.html#SECTION04300150000000000000)- [Fish](subsubsection1_4_3_0_0_16.html#SECTION04300160000000000000)- [Frozen food](subsubsection1_4_3_0_0_17.html#SECTION04300170000000000000)- [Fruit](subsubsection1_4_3_0_0_18.html#SECTION04300180000000000000)- [Ingredients](subsubsection1_4_3_0_0_19.html#SECTION04300190000000000000)- [Juice](subsubsection1_4_3_0_0_20.html#SECTION04300200000000000000)- [Kentucky Fried Chicken](subsubsection1_4_3_0_0_21.html#SECTION04300210000000000000)- [McDonald's](subsubsection1_4_3_0_0_22.html#SECTION04300220000000000000)- [Meat](subsubsection1_4_3_0_0_23.html#SECTION04300230000000000000)- [Nuts](subsubsection1_4_3_0_0_24.html#SECTION04300240000000000000)- [Pasta](subsubsection1_4_3_0_0_25.html#SECTION04300250000000000000)- [Pizza Hut](subsubsection1_4_3_0_0_26.html#SECTION04300260000000000000)- [Poultry](subsubsection1_4_3_0_0_27.html#SECTION04300270000000000000)- [Salad](subsubsection1_4_3_0_0_28.html#SECTION04300280000000000000)- [Sauces](subsubsection1_4_3_0_0_29.html#SECTION04300290000000000000)- [Snacks](subsubsection1_4_3_0_0_30.html#SECTION04300300000000000000)- [Soup](subsubsection1_4_3_0_0_31.html#SECTION04300310000000000000)- [Sugar](subsubsection1_4_3_0_0_32.html#SECTION04300320000000000000)- [Taco Bell](subsubsection1_4_3_0_0_33.html#SECTION04300330000000000000)- [Vegetables](subsubsection1_4_3_0_0_34.html#SECTION04300340000000000000)- [Wendy's](subsubsection1_4_3_0_0_35.html#SECTION04300350000000000000)+ [About the Author](chapter1_4_4.html#SECTION0440000000000000000)+ [About this Edition](chapter1_4_5.html#SECTION0450000000000000000)* [Index](tex2htmlindex1_5.html#SECTION0500000000000000000)* [Contents](tableofcontents1_6.html#SECTION0600000000000000000) --- By [John Walker](/)
https://www.fourmilab.ch/hackdiet/www/hackdiet.html
<!DOCTYPE html> <HTML LANG=en-US> <head> <TITLE>Twilit Grotto -- Esoteric Archives</TITLE> <META NAME="KEYWORDS" CONTENT="black magic, book of shadows, grimoire, grimoires, sorcery, spells, witchcraft, Enochian, Hermeticism, magic, magick, Hermetic, Trithemius, esoteric, esoterica, ritual magic, ceremonial magic, Solomon, kabbalah, renaissance, angels, spirits, demons, devils, conjuring, Giordano Bruno, John Dee, wicca"> <script language="JavaScript"> <!-- var interval = 5000; // 5 seconds var ImageNum = 0; imageArray = new Array(); imageArray[ImageNum++] = new imageItem("gifs/tritem.jpg"); imageArray[ImageNum++] = new imageItem("gifs/bruno.jpg"); imageArray[ImageNum++] = new imageItem("gifs/agrippa.gif"); imageArray[ImageNum++] = new imageItem("gifs/dee.jpg"); imageArray[ImageNum++] = new imageItem("besterman/Pegram_Sibylla_Fatidica_t.jpg"); imageArray[ImageNum++] = new imageItem("mseye.gif"); var number_of_image = imageArray.length; function imageItem(image_location) { this.image_item = new Image(); this.image_item.src = image_location; } function get_ImageItemLocation(imageObj) { return(imageObj.image_item.src) } function getNextImage() { ImageNum = (ImageNum+1) % number_of_image; var new_image = get_ImageItemLocation(imageArray[ImageNum]); return(new_image); } function getPrevImage() { ImageNum = (ImageNum-1) % number_of_image; var new_image = get_ImageItemLocation(imageArray[ImageNum]); return(new_image); } function prevImage(place) { var new_image = getPrevImage(); document[place].src = new_image; } function switchImage(place) { var new_image = getNextImage(); document[place].src = new_image; var recur_call = "switchImage('"+place+"')"; timerID = setTimeout(recur_call, interval); } // --> </script> </head> <body bgcolor=#ffffee> <TABLE border=0> <TR><TD BGCOLOR=white> <img name="rImage" src="logo_JHP.jpg" width=106 height=87 border=1> <!-- <img name="rImage" src="mseye.gif" width=106 height=87 border=1> --> </TD><TD><FONT SIZE=+3 COLOR="#FF2222" BGCOLOR="#FFFFFF">Twilit Grotto: Archives of Western Esoterica</FONT> </TD> <TD><FONT SIZE=2><A HREF="whatsnew.htm">*</A></FONT></TD> </TR> <TR> <TD VALIGN=TOP> <BR> <A HREF="search.htm"><IMG SRC="style/search.gif" ALT="Search"></A> <A HREF="whatsnew.htm"><IMG SRC="style/whatsnew.gif" ALT="What's new"></A><BR> <A HREF="esotime.htm"><IMG SRC="style/timeline.gif" ALT="Timeline"></A><BR> <A HREF="links.htm"><IMG SRC="style/links.gif" ALT="Links"></A><BR> <A HREF="sitemap.htm"><IMG SRC="style/sitemap.gif" ALT="site map"></A><BR> <A HREF="support.htm"><IMG SRC="style/supportus.gif" ALT="Support us"></A> <A HREF="feedback.htm"><IMG SRC="style/feedback.gif" ALT="Feedback"></A> <BR><BR> <A HREF="books.htm"><IMG SRC="gifs/oldbook.gif" WIDTH=40><BR> My books</A> <BR><BR> <!--A HREF="cd.htm"><IMG SRC="gifs/cd.gif" WIDTH=30> Our CD</A>--> <P> <A HREF="tarot/index.html"> <IMG SRC="tarot/41Jz5raX9PL._SS60_.jpg"> Tarot</A> <P> <A HREF="recommended.htm">Recommended reading etc.</A> <P> <a href="http://www.amazon.com/exec/obidos/redirect-home/esotericarchi-20"> <img src="home.gif" border="0" alt="In Association with Amazon.com"> </a> <P> <A HREF="top20.htm">Top 20</A> <P> </TD> <TD VALIGN=TOP> <!--In 1453, Constantinople fell to the Turks, ending the Byzantine empire. This date also marks the beginning of the Renaissance, since the waves of Greek refugees spread knowledge of Greek throughout Europe. Included with the newly available Greek manuscripts were the Corpus Hermetica, Plotinus, and the works of the Neoplatonists. <BR><BR> Shortly thereafter in 1492, Isabella and Ferdinand expelled the Jews from Spain. This sent waves of Jewish refugees throughout Europe, spreading knowledge of Hebrew and of the Kabbalah. <BR><BR> Renaissance philosophers sought to integrate these traditions with the view of unifying the rapidly disintegrating religious factions and also ending the constant political strife. Thus they are the forerunners or prophets of the Rosicrucian and Illuminati movements. <BR><BR--> <!--===============================================================================--> <TABLE BORDER=1> <TR> <TD VALIGN=TOP WIDTH=33%> <IMG SRC="gifs/tritem.jpg" WIDTH=60 ALIGN=LEFT> <FONT SIZE=4><A HREF="tritheim/index.html">Johannes Trithemius (1462-1516)</A></FONT> <BR> Master cryptographer and magician, Trithemius was the mentor of <A HREF="agrippa/index.html">Henrich Cornelius Agrippa</A>. <UL> <LI><A HREF="tritheim/tritem.htm">The Seven Secondary Intelligences (De septem secundeis)</A></LI> <LI><STRONG>Steganographia</STRONG> (Secret Writing) <A HREF="tritheim/stegano.htm">Book 1</A> <A HREF="tritheim/steg4.htm">Book 2</A> <A HREF="tritheim/stegano3.htm">Book 3</A></LI> <LI><A HREF="tritheim/trchryst.htm"><STRONG>The art of drawing spirits into crystals</STRONG></A></LI> <LI><A HREF="tritheim/8quest.htm"><STRONG>Liber octo quaestionum</STRONG></A> (excerpts, LATIN)</LI> </UL> <BR><HR><BR> <IMG SRC="gifs/agrippa.gif" WIDTH=60 ALIGN=LEFT> <FONT SIZE=4><A HREF="agrippa/index.html">Heinrich Agrippa</A></FONT> <BR> The most influential writer of renaissance esoterica. <BR><BR><HR><BR> <FONT SIZE=4><A HREF="kircher/index.html">Athanasius Kircher</A></FONT> <UL> <LI><A HREF="kircher/goddess.htm">The Goddess: her names and symbols</A> <LI><A HREF="kircher/ovum.htm">Zoroaster's Egg</A> <LI><A HREF="juratus/kircher.htm">Sigillum Dei Aemeth</A> <LI><A HREF="kircher/mithra.jpg">Mithra</A> <LI><A HREF="kircher/cabala.htm">Cabala Hebraeorum</A> </UL> </TD> <TD VALIGN=TOP WIDTH=33%> <IMG SRC="gifs/dee.jpg" WIDTH=60 ALIGN=LEFT> <FONT SIZE=4><A HREF="dee/index.html">Dr. John Dee (1527-1608)</A></FONT> <BR> Another influential Renaissance figure, Dee was Queen Elizabeth's scientific advisor. In later life, he became disillusioned with pure science and started experimenting with occult techniques of the day. Many of his esoteric writing were kept secret and only discovered by accident long after his death. <UL> <LI><A HREF="dee/sl3188.htm"><STRONG>Five Books of the Mysteries</STRONG> (Mysteriorum Libri Quinque)</A> <LI><A HREF="dee/sl3189.htm"><STRONG>Mysteriorum Liber Sextus et Sanctus</STRONG> (Liber Loagaeth)</A> <LI><A HREF="dee/angelix.htm">Index Verborum of the <STRONG>&quot;Angelic Language&quot;</STRONG> from Liber Loagaeth</A> <LI><A HREF="dee/chm.htm"><STRONG>Compendium Heptarchiae Mysticae</STRONG></A> <LI><A HREF="dee/hm.htm"><STRONG>De Heptarchia Mystica</STRONG></A></LI> <LI><A HREF="dee/hm1790.htm"><B>Liber exercitii Heptarchici ("Book of the Exercise Heptarchicall")</B> <IMG SRC="gifs/new.gif"></LI> <LI><STRONG>Monas Hieroglyphica</STRONG> (The Hieroglyphic Monad) <A HREF="dee/monad.htm">English</A> <A HREF="dee/monade.htm">French</A> <LI><A HREF="dee/tubaven.htm"><STRONG>Tuba Veneris</STRONG></A> ('The Trumpet of Venus') <LI><A HREF="dee/invocat.htm"><STRONG>Tabula bonorum angelorum invocationes</STRONG></A> <LI><A HREF="dee/holytab.htm">The Holy Table and Lamen</A> <IMG SRC="../gifs/updated2.gif" alt="(updated)"></LI> <LI><A HREF="necronom/josten.htm">An excerpt from Josten's translation of the <I>Hieroglyphic Monad</I></A> <LI><A HREF="dee/aletter.htm">A Letter Containing a most briefe Discourse Apologeticall</A> <LI><A HREF="dee/tfr/tfr.htm">Meric Casaubon: <I>A True and Faithful Relation</I> (excerpts)</A></UL> </TD> <TD VALIGN=TOP> <IMG SRC="gifs/bruno.jpg" WIDTH=60 ALIGN=LEFT> <FONT SIZE=4><A HREF="bruno/">Giordano Bruno (1548-1600)</A></FONT> <BR> Bruno was one of the most original and colorful thinkers of the Renaissance. The Inquisition considered him a dangerous heretic, and had him burned at the stake in 1600. <UL> <LI><A HREF="bruno/umbris.htm"><STRONG>De Umbris Idearum</STRONG></A> ('The Shadow of Ideas') (1582) (Latin)</LI> <LI><A HREF="bruno/arsmemor.htm">Ars Memoriae</A> ('The Art of Memory') (1582) (Latin)</LI> <LI><A HREF="bruno/circaeus.htm"><STRONG>Cantus Circaeus</STRONG></A> (&quot;Incantations of Circe&quot;) (1582) (Latin)</LI> <LI><A HREF="bruno/reminis.htm"><STRONG>Ars Reminiscendi -- Triginta Sigilli</STRONG></A> (1583) (Latin)</LI> <LI><A HREF="bruno/trigint.htm"><STRONG>Explicatio triginti sigillorum</STRONG></A> (1583) (Latin)</LI> <LI><A HREF="bruno/furori.htm"><STRONG>The Heroic Frenzies</STRONG></A> (English)</LI> <LI><A HREF="bruno/magia.htm"><STRONG>De Magia</STRONG></A> (Latin)</LI> <LI><A HREF="bruno/theses.htm"><STRONG>Theses De Magia</STRONG></A> (Latin)</LI> <LI><A HREF="bruno/magiamat.htm"><STRONG>Magia Mathematica</STRONG></A> (Latin)</LI> <LI><A HREF="bruno/vinculis.htm"><STRONG>De vinculis in genere</STRONG></A> (Latin)</LI> <LI><A HREF="bruno/imaginum.htm"><STRONG>De Imaginum Compositione</STRONG></A> (Book I, Latin)</LI> </UL> <HR> <FONT SIZE=4>Jacques Gohory (1520-1576)</FONT> <UL> <LI><A HREF="gohory/de_usu_et_mysteriis_notarum_liber.pdf"><I>De Usu &amp; Mysteriis Notarum Liber</I></A> (1550) (Latin)</LI> </UL> </TD> </TR> <TR> <TD><!--------------------------------------------------------------------> <A NAME="grimoires"></A> <H3>Classical magic texts (aka Grimoires)</H3> <UL> <LI><STRONG>Abramelin</STRONG>, <A HREF="abramelin/abramelin.htm"><I>Book of the Sacred Magic</I></A> <LI><STRONG>Agrippa</STRONG>,</LI> <UL><LI><A HREF="agrippa/op1.htm"><I>Of Occult Philosophy I:</I> Natural Magic</A></LI> <LI><A HREF="agrippa/op2.htm"><I>Of Occult Philosophy II:</I> Celestial Magic</A></LI> <LI><A HREF="agrippa/op3.htm"><I>Of Occult Philosophy III:</I> Ceremonial Magic</A></LI> <LI><A HREF="agrippa/agrippa4.htm"><I>Fourth Book of Occult Philosophy</I></A></LI></UL> <LI><STRONG>Albertus Magnus (Pseudo-)</STRONG>, <A HREF="moses/egyptian.htm"><I>Egyptian Secrets for Man and Beast</I></A></LI> <LI><A HREF="soyga/Book_of_Soyga_8x10.pdf"><STRONG>Aldaraia sive Soyga vocor</STRONG></A> (<I>The Book of Soyga</I>), edited and translated by Jane Kupin, 2014. Used with permission.</LI> <LI><STRONG><A HREF="solomon/almadel.htm">Almadel</A></STRONG> <A HREF="solomon/Allmodellum_Salomonis.pdf">[DE]</A></LI> <LI><STRONG><I>Arbatel of Magic</I></STRONG> (1575) <A HREF="solomon/arbatel.htm">(English+Latin)</A> <A HREF="solomon/arbatel_de.htm">(Deutsch)</A></LI> <LI><A HREF="notoria/notoria.htm">Ars Notoria</A> This medieval magic text centers around orations which can impart instant knowledge of divine and human arts and sciences.</LI> <LI><A HREF="gollancz/protect.htm">Book of Protection</A>, Hermann Gollancz (1912)</LI> <LI>Armand Delatte: <A HREF="DelAnec/index.html"><I>Anecdota Atheniensia</I></A>: Containing the text of a large number of magical manuscripts, including the <I>Magical Treatise of Solomon</I> (in GREEK)</LI> <LI><A HREF="folger/v_b_26_transcription.pdf">Folger MS. V.B.26 Book of Magic <IMG SRC="../gifs/pdficon_small.gif" ALT="(pdf)"></A> (ca. 1577-1583)</LI> <LI><A HREF="ganell/ssm.htm">Ganell, Berengar: <I>Summa Sacre Magice</I></A> (contents)</LI> <LI>Ghent 1021A excerpts: <A HREF="solomon/scrying_aerial_kings_ghent_1021A_108v.pdf">Scrying with the 7 aerial kings <IMG SRC="../gifs/pdficon_small.gif" ALT="(pdf)"></A> </LI> <LI>Hermes <A HREF="http://esotericarchives.com/hermes/The_Book_of_the_12_Images_of_the_Hours_of_the_Night_of_Hermes_Free.pdf"><I>The Book of the 12 Images of the Hours of the Night</I> <IMG SRC="../gifs/pdficon_small.gif" ALT="(pdf)"></A>, courtesy of Mihai V&acirc;rtejaru (2021) <IMG SRC="gifs/new.gif"></LI> <LI><STRONG>Honorius of Thebes:</STRONG> <A HREF="juratus/juratus.htm">Liber Juratus</A>, or the Sworn Book of Honorius. This thirteenth century Grimoire is one of the foundation works of European magical practice. It was one of Dr. Dee's sources for the Sigillum Dei Aemeth.</LI> </UL> <TABLE BORDER><TR><TD> <B><I>Key of Solomon</I> variants:</B> <P>This is the most famous and influential handbook of magic. <UL> <LI><STRONG><A HREF="solomon/ksol.htm">Key of Solomon</A></STRONG> Mathers' edition.</LI> <LI><STRONG><A HREF="solomon/ad36674.htm">The Key of Knowledge</A></STRONG>. A Sixteenth-Century English translation of the <I>Key of Solomon</I>.</LI> <LI><A HREF="solomon/sl3847.htm"><I>The Clavicle of Solomon, revealed by Ptolomy the Grecian.</I></A> (Sloane 3847)</LI> <LI><A HREF="solomon/ksol4.htm">Clavicules du Roi Salomon, Par Armadel. Livre Quatrieme. Des Esprits qui gouvernent sous les Ordres du Souverain Createur.</A> (The Key of King Solomon, Book 4: The Spirits which govern under the Orders of the sovereign Creator.) (Excepts, French)</LI> <LI><A HREF="solomon/l1203.htm"><I>The Veritable Clavicles of Solomon,</I></A> Translated from Hebrew into the Latin Language by Rabbi Abognazar (Lansdowne MS. 1203).</LI> <LI><A HREF="gollancz/mafteah.htm">Mafteah Shelomoh / Clavicula Salomonis</A>, A Hebrew Manuscript Newly discovered and now described, by Hermann Gollancz (1903)</LI> <LI><A HREF="gollancz/mafteahs.htm">Sepher Maphteah Shelomoh (Book of the Key of Solomon)</A> An exact facsimile of an original book of magic in Hebrew, ed. by Hermann Gollancz, (1914)</LI> <LI><A HREF="solomon/VSG334_transcription.pdf">VSG334</A> (pp. 25 ff.) (Latin, ca 1550)</LI> <LI><A HREF="solomon/clavicula_salomonis_aub24.pdf">Zecorbeni sive Claviculae Salomonis</A> <IMG SRC="../gifs/pdficon_small.gif" ALT="(pdf)"> Transcribed from Oxford, Bodleian Libraries MS. Aubrey 24. </LI> <LI><A HREF="solomon/ksol_d388.htm">D388</A>. Clavicula Salomonis filii David. Printed book, ca 1650.</LI> </UL> </TD></TR></TABLE> <UL> <LI><STRONG><A HREF="solomon/lemegeton.htm">The Lesser Key of Solomon (Lemegeton):</A></STRONG> All five books. This famous 16-17th century grimoire was compiled from earlier texts. It was considered important by Crowley, Mathers, Waite, and others. The scrying methods correspond closely with Dee's.</LI> <LI><A HREF="ganell/liber_trium_animarum_working_JHP.pdf"><I>Liber Trium Animarum</I></A> ("The Book of Three Souls") <IMG SRC="../gifs/pdficon_small.gif" ALT="(pdf)"> (Latin) <IMG SRC="gifs/new.gif"></LI> <LI><A HREF="mc/index.html"><I>The Magical Calendar</I></A> (<I>Calendarium Naturale Magicum Perpetuum</I>) by Johann Baptista Gro&szlig;chedel. (excerpts)</LI> <LI>Messalah: <A HREF="messalah/The_Book_of_the_Seven_Rings_of_the_Planets_of_Messalah_Mihai_V%E2rtejaru.pdf"><I>The Book of the Seven Rings of the Planets of Messalah</I></A>, edited and translated by Mihai V&acirc;rtejaru. Used with permission. </LI> <LI><A HREF="solomon/archidox.htm">Paracelsus: <I>Archidoxis of Magic</I></A> (excerpts, English)</LI> <LI><STRONG>Peter of Abano (pseudo)</STRONG>: <UL><LI><A HREF="solomon/heptamer.htm">Heptameron, or Magical Elements</A> (Latin with English translation)</LI> <LI><A HREF="solomon/Lucidarium.pdf">Lucidarium in arte magica</A> (Latin) <IMG SRC="gifs/new.gif"></LI> </UL> <LI><A HREF="picatrix.htm">Picatrix (<I>The Goal of the Wise</I>)</A> pseudo-Majriti. (Summary) <LI><A HREF="solomon/scot16.htm">Reginald Scot's collection of magical texts</A> A fine example of Elizabethan English <LI><A HREF="moses/romanus.htm">Romanus-B&uuml;chlein</A> Little Charm-book of the Roma (Gypsies). One of the main sourceworks for Hoodoo and American Folk magic. (German and English)</LI> <LI>A. W. Greenup: <A HREF="levanah/levanah.htm"> <I>Sefer ha-Levanah -- The Book of the Moon</I></A> (Hebrew) <LI><A HREF="http://esotericarchives.com/moses/67moses2.htm#appendix4"><I>Sefer Shimmush Tehillim - Book of the Magical Uses of the Psalms</I></A> </LI> <LI><A HREF="solomon/sibly4.htm">Ebenezer Sibly, <STRONG><I>A New and Complete Illustration of the Occult Sciences</I></STRONG>, Book 4. (1795?)</A> Methods used for raising up and consulting Spirits are laid open, including a general Display of the Mysteries of Witchcraft, Divination, Charms, and Necromancy. Also includes an alchemical process for raising the form of plants from their essences (ala Borelli).</LI> <LI><A HREF="raziel/raziel.htm">Sepher Raziel</A> (English translation from Sl. 3846, colophon dated 1564)</LI> <LI><A HREF="moses/67moses.htm"><I>Sixth and Seventh Books of Moses</I></A>. This has already become one of the most requested documents at this site. <!--If you are interested in discussing this text, I have set up a forum on <A HREF="http://groups.yahoo.com/group/sixth_and_seventh_books_of_moses/">Yahoo Groups</A>. <a href="http://groups.yahoo.com/group/sixth_and_seventh_books_of_moses/join"> Click to join</a>.--> </LI> <LI><A HREF="solomon/sword.htm"><I>Sword of Moses</I></A> Tenth century Hebrew handbook of magic</LI> <LI><A HREF="solomon/testamen.htm">Testament of Solomon</A> One of the oldest magical texts attributed to King Solomon, dating First to Third Century A.D. Includes a catalog of demons summoned by King Solomon, and how they can be countered by invoking angels and other magical techniques.</LI> <LI><A HREF="tp/tp.pdf">Theosophia Pneumatica</I> <IMG SRC="../gifs/pdficon_small.gif" ALT="(pdf)"></A></LI> <LI> <A HREF="solomon/VSG_Slg_ms_334_1up.pdf">Vadian manuscript (VSG 334) <IMG SRC="../gifs/pdficon_small.gif" ALT="(pdf)"></A>. One of the earliest texts of the <I>Key of Solomon</I> as well as <I>Lucidarium of the Art of Necromancy</I>. Used with permission. <IMG SRC="gifs/new.gif"> </LI> <BR><BR> </LI> </UL> </TD> <TD VALIGN=TOP> <A NAME="blackmagic"></A> <H3>Black Magic</H3> <UL> <LI><A HREF="solomon/csds.htm">Clavicula Salomonis de Secretis</A> (LATIN)</LI> <LI><A HREF="solomon/ksol3.htm">Clavicules du Roi Salomon, Par Armadel. Livre Troisieme. Concernant les Esprits & leurs pouvoirs. </A>("Concerning the Spirits and their Capabilities")</LI> <LI><A HREF="solomon/anneaux.htm">Douze Anneaux (Lansdowne MS 1202)</A></LI> <LI><A HREF="solomon/grimoire_pour_les_conjurations.pdf"><I>Grimoire pour les conjurations</I> <IMG SRC="../gifs/pdficon_small.gif" ALT="(pdf)"></A> (18th ce)</LI> <LI><A HREF="solomon/grand.htm"><STRONG>Le Grand Grimoire</STRONG></A> One of the most famous and outrageous Grimoires of black magic. (French and English)</LI> <LI><A HREF="solomon/gg1421.htm"><STRONG>L'art de commander les esprits ... du Grand Grimoire</STRONG></A> (1750?) Another edition. (French)</LI> <LI><A HREF="solomon/Il_Grand_Grimoire.pdf">Il Grand Grimoire (Italian) <IMG SRC="../gifs/pdficon_small.gif" ALT="(pdf)"></A> </LI> <LI><B>Le Grimoire du Pape Honorius</B>, &quot;Perhaps the most frankly diabolical of the rituals connected with Black Magic.&quot;</LI> <UL> <LI><STRONG><A HREF="solomon/Veritable_gremoire_GH_Lyon.pdf">V&eacute;ritable gremoire</A> (Lyon, ca 1770?)</STRONG> </LI> <LI><STRONG><A HREF="solomon/grimhono.htm">Le Grimoire du Pape Honorius</A></STRONG>. "Rome 1670" (French)</LI> <LI><STRONG><A HREF="solomon/grem_hono_1670b.htm">GREMOIRE du Pape Honorius</STRONG>, avec un recueil des plus rares secrets (Rome, 1670-B)</A>. Another edition, with quite different text and drawings. (French)</LI> <LI><STRONG><A HREF="solomon/grimhon2.htm">Gremoire du Pape Honorius</A></STRONG>. "Rome 1800" (French) <!--Another edition, with quite different text and drawings.--> Very similar to 1670-B, but missing one plate</LI> <LI><STRONG><A HREF="solomon/grimhon3.htm">Grimoire du Pape Honorius</A></STRONG>. "Rome 1760" (i.e. Lille, Blocquel) (French)</LI> <LI><A HREF="solomon/The-True-Grimoire-of-Pope-Honorius-1736.pdf"><STRONG>The True Grimoire of Pope Honorius</STRONG> ("1736")</A> Edited and translated by Mihai Vârtejaru, 2003. Used with permission.</LI> </UL> <LI><STRONG><A HREF="solomon/gv.htm">Grimorium Verum</A>:</STRONG> (Alibeck 1817, French) Called &quot;par excellence the magical book of Europe.&quot;</LI> <UL> <LI><A HREF="solomon/clav1868.htm">(Italian, 1868)</A></LI> <LI><A HREF="solomon/clavicol.htm">(Italian, 1880)</A></LI> </UL> <LI><A HREF="solomon/The-Necromantic-Rings-of-Solomon-Translated-and-edited-by-Mihai-Vartejaru-2017.pdf">The Necromantic Rings of Solomon</A>. Translated and edited by Mihai Vartejaru (2017) </LI> <LI><A HREF="solomon/petitalb.htm">Le Petit Albert</A> <I>Secrets merveilleux de la magie naturelle et cabalistique du petit Albert</I> <LI>Johann Weyer: <I><A HREF="solomon/weyer.htm">Pseudomonarchia daemonum</A></I> (Latin with English translation) This catalog of demons was perhaps the prototype for the <I>Goetia</I>. <LI><A HREF="solomon/jesuit.htm"><STRONG>Verus Jesuitarum Libellus</STRONG></A> (Latin with Eng. transl.) </UL> </TD> <TD VALIGN=TOP> <A NAME="other"></A> <H3 id=aemeth>Sigillum Dei Aemeth</H3> <UL> <li><a href="https://colenda.library.upenn.edu/catalog/81431-p30m06">UPenn LJS 226 (1410)</a></li> <LI>Ganell's <I>Summa Sacre Magice</I>, Kassel <A HREF="http://orka.bibliothek.uni-kassel.de/viewer/image/1343812736802/215/">4° Ms. astron. 3, fol. 104r</A>.</LI> <LI><A HREF="juratus/aemeth_jhp_ssm_hybrida.jpg">My reconstruction based on description in <I>Liber Iuratus</I> and Ganell's drawing</A></LI> <LI><STRONG>Athanasius Kircher</STRONG> <A HREF="juratus/kircher.htm">Oedipus Aegyptiacus</A> (1652) Kircher's discussion of Sigillum Dei Aemeth (Latin)</LI> <LI><A HREF="juratus/leip_cod_mag_16_p175.jpg">Leipzig mag. cod. 16, p. 175</A>, from <A HREF="http://histbest.ub.uni-leipzig.de/receive/UBLHistBestCBU_cbu_00000039">uni-leipzig.de</A> (ca 1750)</LI> <LI><A HREF="juratus/bnf14783_f06r.jpg">BNF ms. 14783 f6r</A></LI> <LI><A HREF="juratus/aemeth2.gif">Sloane 313, fol 4r.</A> (late 14-early 15 ce)</LI> <LI><A HREF="juratus/aemeth_jhp_sl313s.jpg">My reconstruction based on Sl. 313</A></LI> <LI><A HREF="juratus/sl3850_070v.jpg">Sloane 3850, fol 70v</LI> <LI><A HREF="juratus/aemeth3.jpg">Sloane 3853, fol 127v</A></LI> <LI><A HREF="juratus/magia_naturalis_et_innaturalis_509.PNG">From Faust, <I>Magia Naturalis et Innaturalis</I></A></LI> <LI>From an Italian manuscript of the <I>Key of Solomon</I> in the Bodleian Library, <A HREF="gifs/aemethms.gif">MS. Mich. 276, fol 13r.</A></LI> <LI><A HREF="juratus/aemeth_jhp_m276_bw.jpg">Redrawn but based on Mich. 276.</A> </LI> <LI>From a Latin manuscript of the <I>Key of Solomon</I> in the Bodleian Library, <A HREF="gifs/au24_60r.gif">MS. Aubrey 24, fol. 60r</A> (1674)</LI> <LI><A HREF="dee/aemethd.jpg">John Dee</A></LI> <LI><A HREF="juratus/aemeth_p.gif">From Will Erich Peuckert, <I>Pansophie</I></A> (Berlin, 1956)</LI> <LI><A HREF="juratus/aemeth_vmn_p69a.jpg"><I>La V&eacute;ritable Magie Noire</I></A> ("Rome", "1750")</LI> <LI><A HREF="https://mhs.web.ox.ac.uk/collections-online#/item/hsm-catalogue-4051">Oxford, History of Science Museum (16th ce?)</A></LI> </UL> <H3>Miscellaneous</H3> <UL> <LI><A HREF="solomon/halle_14B36_f218v_tabula_new.jpg">Semamphoras table, from SSM and the Halle MS</A></LI> <LI><A HREF="fonts/index.html">FONTS</A></LI> <LI><A HREF="gifs/gifs.htm">Occult symbols and esoteric GIF's</A></LI> <LI><A HREF="solomon/nameindx.htm">Angel Registry:</A> Index of Angel names, magical words, and names of God</LI> <LI><A HREF="besterman/index.html">Theodore Besterman, <I>Crystal-Gazing</I></LI> <LI><A HREF="oracle/oraclez.htm">Chaldaean Oracles of Zoroaster</A> (W.W. Wescott, 1895)</LI> <LI><A HREF="oracle/oraclesj.htm">Chaldaean Oracles</A> (Stanley, 1661)</LI> <LI><A HREF="cocles/index.html">Images from Bartholomeus Cocles, <I>Chyromantie ac phisionomie anastasis</I></A> (Bononie 1504)</LI> <LI><A HREF="oracle/dionys1.htm">Dionysius the Areopagite: <I>Mystical Theology</I></A></LI> <LI><A HREF="oracle/dionys2.htm">Dionysius the Areopagite: <I>The Celestial Hierarchies</I></A></LI> <LI><A HREF="http://www.avesta.org/yezidi/peacock.htm">E.S. Drower: <I>Peacock Angel</I> (1941)</A></LI> <LI><A HREF="vulgate/psalms_magic.htm">Magical Psalter</A></LI> <LI><A HREF="wands/index.html">Magic wand lore</A></LI> <LI><A HREF="psellos/daemonibus.pdf">Pseudo-Psellos, <I>On the Operation of Daemons</I>.</A></LI> <LI><A HREF="solomon/mes49.htm">Solomon and the Ars Notoria:</A> From Lynn Thorndike, <I>Magic and Experimental Science</I>, 1923-58, Chapter XLIX. <!--"necronom/necronom.htm" Lovecraft and the Ars Necronomica (Necronomicon) (JHP)--> <LI><A HREF="oracle/iambl_th.htm">Iamblichus: <I>Theurgia, or the Mysteries of Egypt</I></A> <LI><A HREF="pico/beinguni.htm">Giovanni Pico della Mirandola: <I>Of Being and Unity</I></A> <LI><A HREF="pico/conclus.htm">Pico: <I>Conclusiones sive Theses DCCCC</I></A> (Latin)</LI> <LI><A HREF="proclus/metaelem.htm">Proclus: <STRONG>Metaphysical Elements</STRONG></A></LI> <LI><A HREF="solomon/sphere.htm">The Sphere of Sacrobosco</A> </UL> </TD><!--------------------------------------------------------------------> </TR></TABLE> <!--===============================================================================--> </TD> </TR> </TABLE> </body> </html>
Twilit Grotto -- Esoteric Archives <!-- var interval = 5000; // 5 seconds var ImageNum = 0; imageArray = new Array(); imageArray[ImageNum++] = new imageItem("gifs/tritem.jpg"); imageArray[ImageNum++] = new imageItem("gifs/bruno.jpg"); imageArray[ImageNum++] = new imageItem("gifs/agrippa.gif"); imageArray[ImageNum++] = new imageItem("gifs/dee.jpg"); imageArray[ImageNum++] = new imageItem("besterman/Pegram\_Sibylla\_Fatidica\_t.jpg"); imageArray[ImageNum++] = new imageItem("mseye.gif"); var number\_of\_image = imageArray.length; function imageItem(image\_location) { this.image\_item = new Image(); this.image\_item.src = image\_location; } function get\_ImageItemLocation(imageObj) { return(imageObj.image\_item.src) } function getNextImage() { ImageNum = (ImageNum+1) % number\_of\_image; var new\_image = get\_ImageItemLocation(imageArray[ImageNum]); return(new\_image); } function getPrevImage() { ImageNum = (ImageNum-1) % number\_of\_image; var new\_image = get\_ImageItemLocation(imageArray[ImageNum]); return(new\_image); } function prevImage(place) { var new\_image = getPrevImage(); document[place].src = new\_image; } function switchImage(place) { var new\_image = getNextImage(); document[place].src = new\_image; var recur\_call = "switchImage('"+place+"')"; timerID = setTimeout(recur\_call, interval); } // --> | | | | | --- | --- | --- | | | Twilit Grotto: Archives of Western Esoterica | [\*](whatsnew.htm) | | [Search](search.htm) [What's new](whatsnew.htm) [Timeline](esotime.htm) [Links](links.htm) [site map](sitemap.htm) [Support us](support.htm) [Feedback](feedback.htm) [My books](books.htm) [Tarot](tarot/index.html) [Recommended reading etc.](recommended.htm) [In Association with Amazon.com](http://www.amazon.com/exec/obidos/redirect-home/esotericarchi-20) [Top 20](top20.htm) | | | | | | --- | --- | --- | | [Johannes Trithemius (1462-1516)](tritheim/index.html) Master cryptographer and magician, Trithemius was the mentor of [Henrich Cornelius Agrippa](agrippa/index.html). * [The Seven Secondary Intelligences (De septem secundeis)](tritheim/tritem.htm) * **Steganographia** (Secret Writing) [Book 1](tritheim/stegano.htm) [Book 2](tritheim/steg4.htm) [Book 3](tritheim/stegano3.htm) * [**The art of drawing spirits into crystals**](tritheim/trchryst.htm) * [**Liber octo quaestionum**](tritheim/8quest.htm) (excerpts, LATIN) --- [Heinrich Agrippa](agrippa/index.html) The most influential writer of renaissance esoterica. --- [Athanasius Kircher](kircher/index.html)* [The Goddess: her names and symbols](kircher/goddess.htm)* [Zoroaster's Egg](kircher/ovum.htm)* [Sigillum Dei Aemeth](juratus/kircher.htm)* [Mithra](kircher/mithra.jpg)* [Cabala Hebraeorum](kircher/cabala.htm) | [Dr. John Dee (1527-1608)](dee/index.html) Another influential Renaissance figure, Dee was Queen Elizabeth's scientific advisor. In later life, he became disillusioned with pure science and started experimenting with occult techniques of the day. Many of his esoteric writing were kept secret and only discovered by accident long after his death. * [**Five Books of the Mysteries** (Mysteriorum Libri Quinque)](dee/sl3188.htm)* [**Mysteriorum Liber Sextus et Sanctus** (Liber Loagaeth)](dee/sl3189.htm)* [Index Verborum of the **"Angelic Language"** from Liber Loagaeth](dee/angelix.htm)* [**Compendium Heptarchiae Mysticae**](dee/chm.htm)* [**De Heptarchia Mystica**](dee/hm.htm) * [**Liber exercitii Heptarchici ("Book of the Exercise Heptarchicall")**](dee/hm1790.htm) * **Monas Hieroglyphica** (The Hieroglyphic Monad) [English](dee/monad.htm) [French](dee/monade.htm)* [**Tuba Veneris**](dee/tubaven.htm) ('The Trumpet of Venus') * [**Tabula bonorum angelorum invocationes**](dee/invocat.htm)* [The Holy Table and Lamen](dee/holytab.htm) (updated) * [An excerpt from Josten's translation of the *Hieroglyphic Monad*](necronom/josten.htm)* [A Letter Containing a most briefe Discourse Apologeticall](dee/aletter.htm)* [Meric Casaubon: *A True and Faithful Relation* (excerpts)](dee/tfr/tfr.htm) | [Giordano Bruno (1548-1600)](bruno/) Bruno was one of the most original and colorful thinkers of the Renaissance. The Inquisition considered him a dangerous heretic, and had him burned at the stake in 1600. * [**De Umbris Idearum**](bruno/umbris.htm) ('The Shadow of Ideas') (1582) (Latin) * [Ars Memoriae](bruno/arsmemor.htm) ('The Art of Memory') (1582) (Latin) * [**Cantus Circaeus**](bruno/circaeus.htm) ("Incantations of Circe") (1582) (Latin) * [**Ars Reminiscendi -- Triginta Sigilli**](bruno/reminis.htm) (1583) (Latin) * [**Explicatio triginti sigillorum**](bruno/trigint.htm) (1583) (Latin) * [**The Heroic Frenzies**](bruno/furori.htm) (English) * [**De Magia**](bruno/magia.htm) (Latin) * [**Theses De Magia**](bruno/theses.htm) (Latin) * [**Magia Mathematica**](bruno/magiamat.htm) (Latin) * [**De vinculis in genere**](bruno/vinculis.htm) (Latin) * [**De Imaginum Compositione**](bruno/imaginum.htm) (Book I, Latin) --- Jacques Gohory (1520-1576)* [*De Usu & Mysteriis Notarum Liber*](gohory/de_usu_et_mysteriis_notarum_liber.pdf) (1550) (Latin) | | Classical magic texts (aka Grimoires)* **Abramelin**, [*Book of the Sacred Magic*](abramelin/abramelin.htm)* **Agrippa**, + [*Of Occult Philosophy I:* Natural Magic](agrippa/op1.htm) + [*Of Occult Philosophy II:* Celestial Magic](agrippa/op2.htm) + [*Of Occult Philosophy III:* Ceremonial Magic](agrippa/op3.htm) + [*Fourth Book of Occult Philosophy*](agrippa/agrippa4.htm)* **Albertus Magnus (Pseudo-)**, [*Egyptian Secrets for Man and Beast*](moses/egyptian.htm) * [**Aldaraia sive Soyga vocor**](soyga/Book_of_Soyga_8x10.pdf) (*The Book of Soyga*), edited and translated by Jane Kupin, 2014. Used with permission. * **[Almadel](solomon/almadel.htm)** [[DE]](solomon/Allmodellum_Salomonis.pdf) * ***Arbatel of Magic*** (1575) [(English+Latin)](solomon/arbatel.htm) [(Deutsch)](solomon/arbatel_de.htm) * [Ars Notoria](notoria/notoria.htm) This medieval magic text centers around orations which can impart instant knowledge of divine and human arts and sciences. * [Book of Protection](gollancz/protect.htm), Hermann Gollancz (1912) * Armand Delatte: [*Anecdota Atheniensia*](DelAnec/index.html): Containing the text of a large number of magical manuscripts, including the *Magical Treatise of Solomon* (in GREEK) * [Folger MS. V.B.26 Book of Magic (pdf)](folger/v_b_26_transcription.pdf) (ca. 1577-1583) * [Ganell, Berengar: *Summa Sacre Magice*](ganell/ssm.htm) (contents) * Ghent 1021A excerpts: [Scrying with the 7 aerial kings (pdf)](solomon/scrying_aerial_kings_ghent_1021A_108v.pdf) * Hermes [*The Book of the 12 Images of the Hours of the Night* (pdf)](http://esotericarchives.com/hermes/The_Book_of_the_12_Images_of_the_Hours_of_the_Night_of_Hermes_Free.pdf), courtesy of Mihai Vârtejaru (2021) * **Honorius of Thebes:** [Liber Juratus](juratus/juratus.htm), or the Sworn Book of Honorius. This thirteenth century Grimoire is one of the foundation works of European magical practice. It was one of Dr. Dee's sources for the Sigillum Dei Aemeth. | | | --- | | ***Key of Solomon* variants:** This is the most famous and influential handbook of magic. * **[Key of Solomon](solomon/ksol.htm)** Mathers' edition. * **[The Key of Knowledge](solomon/ad36674.htm)**. A Sixteenth-Century English translation of the *Key of Solomon*. * [*The Clavicle of Solomon, revealed by Ptolomy the Grecian.*](solomon/sl3847.htm) (Sloane 3847) * [Clavicules du Roi Salomon, Par Armadel. Livre Quatrieme. Des Esprits qui gouvernent sous les Ordres du Souverain Createur.](solomon/ksol4.htm) (The Key of King Solomon, Book 4: The Spirits which govern under the Orders of the sovereign Creator.) (Excepts, French) * [*The Veritable Clavicles of Solomon,*](solomon/l1203.htm) Translated from Hebrew into the Latin Language by Rabbi Abognazar (Lansdowne MS. 1203). * [Mafteah Shelomoh / Clavicula Salomonis](gollancz/mafteah.htm), A Hebrew Manuscript Newly discovered and now described, by Hermann Gollancz (1903) * [Sepher Maphteah Shelomoh (Book of the Key of Solomon)](gollancz/mafteahs.htm) An exact facsimile of an original book of magic in Hebrew, ed. by Hermann Gollancz, (1914) * [VSG334](solomon/VSG334_transcription.pdf) (pp. 25 ff.) (Latin, ca 1550) * [Zecorbeni sive Claviculae Salomonis](solomon/clavicula_salomonis_aub24.pdf) (pdf) Transcribed from Oxford, Bodleian Libraries MS. Aubrey 24. * [D388](solomon/ksol_d388.htm). Clavicula Salomonis filii David. Printed book, ca 1650. | * **[The Lesser Key of Solomon (Lemegeton):](solomon/lemegeton.htm)** All five books. This famous 16-17th century grimoire was compiled from earlier texts. It was considered important by Crowley, Mathers, Waite, and others. The scrying methods correspond closely with Dee's. * [*Liber Trium Animarum*](ganell/liber_trium_animarum_working_JHP.pdf) ("The Book of Three Souls") (pdf) (Latin) * [*The Magical Calendar*](mc/index.html) (*Calendarium Naturale Magicum Perpetuum*) by Johann Baptista Großchedel. (excerpts) * Messalah: [*The Book of the Seven Rings of the Planets of Messalah*](messalah/The_Book_of_the_Seven_Rings_of_the_Planets_of_Messalah_Mihai_V%E2rtejaru.pdf), edited and translated by Mihai Vârtejaru. Used with permission. * [Paracelsus: *Archidoxis of Magic*](solomon/archidox.htm) (excerpts, English) * **Peter of Abano (pseudo)**: + [Heptameron, or Magical Elements](solomon/heptamer.htm) (Latin with English translation) + [Lucidarium in arte magica](solomon/Lucidarium.pdf) (Latin)* [Picatrix (*The Goal of the Wise*)](picatrix.htm) pseudo-Majriti. (Summary) * [Reginald Scot's collection of magical texts](solomon/scot16.htm) A fine example of Elizabethan English * [Romanus-Büchlein](moses/romanus.htm) Little Charm-book of the Roma (Gypsies). One of the main sourceworks for Hoodoo and American Folk magic. (German and English) * A. W. Greenup: [*Sefer ha-Levanah -- The Book of the Moon*](levanah/levanah.htm) (Hebrew) * [*Sefer Shimmush Tehillim - Book of the Magical Uses of the Psalms*](http://esotericarchives.com/moses/67moses2.htm#appendix4) * [Ebenezer Sibly, ***A New and Complete Illustration of the Occult Sciences***, Book 4. (1795?)](solomon/sibly4.htm) Methods used for raising up and consulting Spirits are laid open, including a general Display of the Mysteries of Witchcraft, Divination, Charms, and Necromancy. Also includes an alchemical process for raising the form of plants from their essences (ala Borelli). * [Sepher Raziel](raziel/raziel.htm) (English translation from Sl. 3846, colophon dated 1564) * [*Sixth and Seventh Books of Moses*](moses/67moses.htm). This has already become one of the most requested documents at this site. * [*Sword of Moses*](solomon/sword.htm) Tenth century Hebrew handbook of magic * [Testament of Solomon](solomon/testamen.htm) One of the oldest magical texts attributed to King Solomon, dating First to Third Century A.D. Includes a catalog of demons summoned by King Solomon, and how they can be countered by invoking angels and other magical techniques. * [Theosophia Pneumatica (pdf)](tp/tp.pdf) * [Vadian manuscript (VSG 334) (pdf)](solomon/VSG_Slg_ms_334_1up.pdf). One of the earliest texts of the *Key of Solomon* as well as *Lucidarium of the Art of Necromancy*. Used with permission. | Black Magic* [Clavicula Salomonis de Secretis](solomon/csds.htm) (LATIN) * [Clavicules du Roi Salomon, Par Armadel. Livre Troisieme. Concernant les Esprits & leurs pouvoirs.](solomon/ksol3.htm)("Concerning the Spirits and their Capabilities") * [Douze Anneaux (Lansdowne MS 1202)](solomon/anneaux.htm) * [*Grimoire pour les conjurations* (pdf)](solomon/grimoire_pour_les_conjurations.pdf) (18th ce) * [**Le Grand Grimoire**](solomon/grand.htm) One of the most famous and outrageous Grimoires of black magic. (French and English) * [**L'art de commander les esprits ... du Grand Grimoire**](solomon/gg1421.htm) (1750?) Another edition. (French) * [Il Grand Grimoire (Italian) (pdf)](solomon/Il_Grand_Grimoire.pdf) * **Le Grimoire du Pape Honorius**, "Perhaps the most frankly diabolical of the rituals connected with Black Magic." + **[Véritable gremoire](solomon/Veritable_gremoire_GH_Lyon.pdf) (Lyon, ca 1770?)** + **[Le Grimoire du Pape Honorius](solomon/grimhono.htm)**. "Rome 1670" (French) + **[GREMOIRE du Pape Honorius](solomon/grem_hono_1670b.htm)**, avec un recueil des plus rares secrets (Rome, 1670-B). Another edition, with quite different text and drawings. (French) + **[Gremoire du Pape Honorius](solomon/grimhon2.htm)**. "Rome 1800" (French) Very similar to 1670-B, but missing one plate + **[Grimoire du Pape Honorius](solomon/grimhon3.htm)**. "Rome 1760" (i.e. Lille, Blocquel) (French) + [**The True Grimoire of Pope Honorius** ("1736")](solomon/The-True-Grimoire-of-Pope-Honorius-1736.pdf) Edited and translated by Mihai Vârtejaru, 2003. Used with permission. * **[Grimorium Verum](solomon/gv.htm):** (Alibeck 1817, French) Called "par excellence the magical book of Europe." + [(Italian, 1868)](solomon/clav1868.htm) + [(Italian, 1880)](solomon/clavicol.htm) * [The Necromantic Rings of Solomon](solomon/The-Necromantic-Rings-of-Solomon-Translated-and-edited-by-Mihai-Vartejaru-2017.pdf). Translated and edited by Mihai Vartejaru (2017) * [Le Petit Albert](solomon/petitalb.htm) *Secrets merveilleux de la magie naturelle et cabalistique du petit Albert** Johann Weyer: *[Pseudomonarchia daemonum](solomon/weyer.htm)* (Latin with English translation) This catalog of demons was perhaps the prototype for the *Goetia*. * [**Verus Jesuitarum Libellus**](solomon/jesuit.htm) (Latin with Eng. transl.) | Sigillum Dei Aemeth* [UPenn LJS 226 (1410)](https://colenda.library.upenn.edu/catalog/81431-p30m06) * Ganell's *Summa Sacre Magice*, Kassel [4° Ms. astron. 3, fol. 104r](http://orka.bibliothek.uni-kassel.de/viewer/image/1343812736802/215/). * [My reconstruction based on description in *Liber Iuratus* and Ganell's drawing](juratus/aemeth_jhp_ssm_hybrida.jpg) * **Athanasius Kircher** [Oedipus Aegyptiacus](juratus/kircher.htm) (1652) Kircher's discussion of Sigillum Dei Aemeth (Latin) * [Leipzig mag. cod. 16, p. 175](juratus/leip_cod_mag_16_p175.jpg), from [uni-leipzig.de](http://histbest.ub.uni-leipzig.de/receive/UBLHistBestCBU_cbu_00000039) (ca 1750) * [BNF ms. 14783 f6r](juratus/bnf14783_f06r.jpg) * [Sloane 313, fol 4r.](juratus/aemeth2.gif) (late 14-early 15 ce) * [My reconstruction based on Sl. 313](juratus/aemeth_jhp_sl313s.jpg) * [Sloane 3850, fol 70v](juratus/sl3850_070v.jpg) * [Sloane 3853, fol 127v](juratus/aemeth3.jpg) * [From Faust, *Magia Naturalis et Innaturalis*](juratus/magia_naturalis_et_innaturalis_509.PNG) * From an Italian manuscript of the *Key of Solomon* in the Bodleian Library, [MS. Mich. 276, fol 13r.](gifs/aemethms.gif) * [Redrawn but based on Mich. 276.](juratus/aemeth_jhp_m276_bw.jpg) * From a Latin manuscript of the *Key of Solomon* in the Bodleian Library, [MS. Aubrey 24, fol. 60r](gifs/au24_60r.gif) (1674) * [John Dee](dee/aemethd.jpg) * [From Will Erich Peuckert, *Pansophie*](juratus/aemeth_p.gif) (Berlin, 1956) * [*La Véritable Magie Noire*](juratus/aemeth_vmn_p69a.jpg) ("Rome", "1750") * [Oxford, History of Science Museum (16th ce?)](https://mhs.web.ox.ac.uk/collections-online#/item/hsm-catalogue-4051) Miscellaneous* [Semamphoras table, from SSM and the Halle MS](solomon/halle_14B36_f218v_tabula_new.jpg) * [FONTS](fonts/index.html) * [Occult symbols and esoteric GIF's](gifs/gifs.htm) * [Angel Registry:](solomon/nameindx.htm) Index of Angel names, magical words, and names of God * [Theodore Besterman, *Crystal-Gazing*](besterman/index.html) * [Chaldaean Oracles of Zoroaster](oracle/oraclez.htm) (W.W. Wescott, 1895) * [Chaldaean Oracles](oracle/oraclesj.htm) (Stanley, 1661) * [Images from Bartholomeus Cocles, *Chyromantie ac phisionomie anastasis*](cocles/index.html) (Bononie 1504) * [Dionysius the Areopagite: *Mystical Theology*](oracle/dionys1.htm) * [Dionysius the Areopagite: *The Celestial Hierarchies*](oracle/dionys2.htm) * [E.S. Drower: *Peacock Angel* (1941)](http://www.avesta.org/yezidi/peacock.htm) * [Magical Psalter](vulgate/psalms_magic.htm) * [Magic wand lore](wands/index.html) * [Pseudo-Psellos, *On the Operation of Daemons*.](psellos/daemonibus.pdf) * [Solomon and the Ars Notoria:](solomon/mes49.htm) From Lynn Thorndike, *Magic and Experimental Science*, 1923-58, Chapter XLIX. * [Iamblichus: *Theurgia, or the Mysteries of Egypt*](oracle/iambl_th.htm)* [Giovanni Pico della Mirandola: *Of Being and Unity*](pico/beinguni.htm)* [Pico: *Conclusiones sive Theses DCCCC*](pico/conclus.htm) (Latin) * [Proclus: **Metaphysical Elements**](proclus/metaelem.htm) * [The Sphere of Sacrobosco](solomon/sphere.htm) | |
http://www.esotericarchives.com/
<html> <head> <!-- Google Analytics --> <script> window.ga=window.ga||function(){(ga.q=ga.q||[]).push(arguments)};ga.l=+new Date; ga('create', 'UA-131966-1', 'auto'); ga('send', 'pageview'); </script> <script async src='https://www.google-analytics.com/analytics.js'></script> <!-- End Google Analytics --> <title>Silicon Valley Tea Party</title> </head> <body> <h1 ALIGN="CENTER">Silicon Valley Tea Party aka the great 1998 linux revolt take II</h1> <h2>Introduction</h2> For those who hadn't heard the story, microsoft has opened an developers' center in the Silicon Valley. This is somewhat significant because so far they didn't have any direct presence here.<BR> Obviously, some people welcomed this as warmly as the French welcomed mac donalds and their cardboard food when they first came to France (I'm french BTW <img src="/gifs/people/smile.happy.gif" alt=":-)" align="TOP" WIDTH=16 HEIGHT=16>).<BR> So, what happened is that Hans Cathcart first quicked around on the svlug list the idea of showing up there, just like we had for the <a href="http://web.archive.org/web/19990224201149/http://www.penguincomputing.com/svlug-rally.html">great 1998 linux revolt that happened the day of the win98 launch</a>. This time we had made tentative plans a little earlier than last time (a little more than 10 days vs a few hours). Yet, much got decided a little at the last minute (read one day in advance to a few hours before going there).<BR> Once again, Ian Kluft did a great job with keeping the web page up to date (sometimes by the hour), and organizing some of the stuff, along with the other officers. He also wrote a <a href="http://www.svlug.org/events/tea-party-199811-kluft.shtml">review</a>, and the main svlug linux tea party page is <a href="http://www.svlug.org/events/tea-party-199811.shtml">here</a><BR> <img src="/gifs/signs/new04.gif" alt="[new] " align="middle" WIDTH=60 HEIGHT=34> <a href="paloaltodaily.gif">The Palo Alto daily</a> ran an article on the event (thanks to Ira Abramov for the scan) <h2>Before getting to the ms developer center</h2> I first want to reassure the worried reader: "Rick Moen was there". David "Sparc" Miller (multiplatform kernel hacker and former svlug speaker for those who don't know him) gave us the pleasant surprise of also showing up.<P> <img src="Dave_S_Miller.jpg" alt="[picture of Dave and me] " WIDTH=356 HEIGHT=254> <BR> <tt>(David is on the left, and I'm the guy on the right)</tt> <P> Anyway, here's what happened:<BR> Not to say that big brother is everywhere, but short of having microsoft people monitoring our lists and newsgroups (with wouldn't overly surprise me, after all they also tried a PR compain with magazines, posing as simple users who liked microsoft products), the announcement was available in several places, including freshneat and <a href="http://www.linuxtoday.com/stories/758.html">Linux Today</a>, as well as the <a href="http://www.svlug.org/events/tea-party-199811.shtml"> Svlug web page</a>, so I did expect some microsoft people to have learned about it, some way or another, and to be waiting for us there. <P> They were actually much smarter than that, and did what I hadn't quite expected: two microsoft people, Dan Frumin and Mike, met us at the cafe where we had planned to meet before going to the ms event.<BR> Basically they were worried to have an unknown number of linux geeks rampaging around their party, and kind of overwhelm the place.<BR> Our goal wasn't obviously to ruin their party, but it's true that having 30 to 40 geeky looking people, with our crazy Sam Ockman harassing people in suit with Linux CDs (just kidding Sam <img src="/gifs/people/smile.happy.gif" alt=":-)" align="TOP" WIDTH=16 HEIGHT=16>), might have been somewhat disruptive. <P> Their offer was to give us 5 SVLUG badges to let 5 of us in at a time, and let us rotate. Their claim was that you actually had to have received an invitation from them before being able to RSVP.<P> <img src="svlug_badge.gif" alt="[svlug badge picture]" WIDTH=347 HEIGHT=238> <BR> <tt>One of the five badges they had prepared for us</tt> <P> This may or may not have been true as in practise, anyone who RSVPed in time did have a badge waiting for them at the entrance, whether or not they had received an initial invitation of microsoft.<BR> Those who tried to RSVP later received an Email saying that they could still register at the door, and it's only the last day that their autoresponder said that they event was full (some thought that they just refused requests from obvious linux people, like me when I forgot to strip out my "Microsoft is to software what McDonalds is to gourmet cooking" signature in my first RSVP, but that was just a conspiracy theory, someone simply modified their script on the event day to reject further RSVPs) <P> My point is that it would have been possible for at least some of us (as long as it wasn't too obvious) to RSVP at the door and get a badge.<P> Their second option was to invite us all to eat instead, so that none of us wouldn't have to wait outside in the cold :-)<BR> That was obviously a nice try, and we politely declined. <P> Of course the third option would have been to ignore them and try to sneak as many of us in as we could have. <P> We however went with the first one because: <ol> <li>They appeared most polite and friendly and didn't entice us to go trash the place (which we never intended to do anyway) <li>I personally thought (and others most likely also did) that having as many of us inside as possible could have indeed been somewhat to severly disruptive, and possibly annoying for their other guests, and we wanted to avoid that. <li>Since they behaved politely and in a civilized way with us, we had no reason to not return the favor, even if in this case we were dealing with microsoft </ol> <BR> <h2>At the ms developer center</h2> So, we went together to the place, and about 10 of us got in (the five badges, plus those who had registered sufficiently in advance (Rick Moen, Don Marti, and a few others)).<BR> We were armed with about 500 Caldera and Suse CDs. Thanks to those two for providing them in the first place. Some also came with nice signs which those of us who stayed outside used, while giving out CDs.<P> <P ALIGN="center"> <img src="photographer.jpg" alt="[picture of the photographer]" WIDTH=184 HEIGHT=383> <img src="Yoshimoto-San.jpg" alt=" [picture of Yoshimoto-San]" WIDTH=264 HEIGHT=385> <BR> <tt>Picture of the New York Times photographer and Yoshimoto-San</tt> </P> Two reporters showed up, Amy Harmon from the New York Times, along with a professional photographer. She was looking at covering an open source even while she was on the west coast, and contacted no one else than Rick Moen, who decided to bring her that that event. We also had Yoshimoto-San, a Freelance Japanese journalist who had heard about the event.<BR> We answered their questions on linux, and got some pictures taken. The photographer took a lot of pictures, and some should turn out to be very good, I wonder where they're going to show up... <P ALIGN="center"> <img src="GotCDs.jpg" alt="[picture of the crowd]" WIDTH=556 HEIGHT=353><BR> <tt>From left to righ: Brian Chrisman, Jesse Mundis, Mark Smith, and Wayne Earl</tt> <BR><BR> <img src="sign1.jpg" alt="[picture of linux sign]" WIDTH=404 HEIGHT=385> <img src="sign2.jpg" alt=" [picture of linux sign]" WIDTH=261 HEIGHT=386><BR> <tt>From left to right, Marc Merlin (that'd be me <img src="/gifs/people/smile.happy.gif" alt=":-)" align="TOP" WIDTH=16 HEIGHT=16>), Mark Smith, and Josh Hill</tt><BR> <tt>As you can see, some people brought some nice signs (and I also have a zoomed picture of the <a href="sign3.jpg">back</a></tt>)<BR><BR> <img src="crowd.jpg" alt="[picture of the crowd]" WIDTH=484 HEIGHT=342><BR><BR> <img src="Ian_Kluft.jpg" alt="[Ian Kluft]" WIDTH=307 HEIGHT=260> <img src="Sam_Ockman_and_Got_Source.jpg" alt=" [Sam Ockman]" WIDTH=316 HEIGHT=260><BR> <tt>Another two officers from SVLUG, Ian Kluft and Sam Ockman on the left of each picture. On the right of each picture, two of our linux enthousiasts: Colin Howell and Alexandre Petit-Bianco</tt> </P> Those of us who went inside sampled the microsoft while talking to a few people, some of which were amused by seeing us (BTW the food was pretty good, and talking about food, I should mention that the ms people sent a waiter outside to serve coffee to those of us who were outside [picture below]. You have to admit that it's a nice touch).<BR> <P ALIGN="center"> <img src="door.jpg" alt="[door to ms building]" WIDTH=368 HEIGHT=392> <img src="GotCoffee.jpg" alt="[ we were offered coffee outside]" WIDTH=265 HEIGHT=392><BR> <tt>A few bold ones in the group did go through that door, but some got <a href="index.html#assimilated">assimilated</a></tt><BR> <em>Abandon hope all ye who enter here</em> <img src="/gifs/people/smile.happy.gif" alt=" :-)" align="TOP" WIDTH=16 HEIGHT=16> </P> We decided not to give CDs inside as it didn't seem appropriate, besides we had a shot at everyone on their way in and their way out<BR> The good news is that no one seemed annoyed to see us. People were either indifferent or either amused, some even happy ("it's cool that you guys are here"). That in itself proved that it was a successful evening because we didn't apparently create negative feelings against us and linux.<BR> Well, I can't quite say that none of the microsoft people were annoyed to see us, but if they were, they dealt with it very well, and didn't show any negative feelings.<P> The funny thing is that a couple of ladies inside actually pet tux, my penguin that I was carrying along with me. You have to admit that it's a cute penguin :-) <P ALIGN="center"> <img src="tux_my_hero.jpg" alt="[picture of Allison and me with Tux]" WIDTH=364 HEIGHT=354> <img src="girls_love_linux.jpg" alt=" [picture of Allison with Tux]" WIDTH=246 HEIGHT=354> <BR> <tt>Here we have Allison Huynh, who definitely likes Tux. So, who said that girls don't like linux?</tt> </P> After people had gotten in, and before they were getting out, some of us that were outside started handing out CDs to random people who were driving by in their cars. <P ALIGN="center"> <img src="street.jpg" alt="[picture of CD giveout]" WIDTH=191 HEIGHT=284> <img src="givetocars1.jpg" alt=" [picture of CD giveout]" WIDTH=508 HEIGHT=284> <BR> <tt>Let's face it, we had some awesome guys there. Here we have Drew Bertola going beyond the call the duty</tt><BR><BR> <img src="givetocars2.jpg" alt=" [picture of CD giveout]" WIDTH=568 HEIGHT=328><BR><BR> <img src="givetocars3.jpg" alt=" [picture of CD giveout]" WIDTH=583 HEIGHT=391><BR> <em>"Dad, there's weird guy who's trying to give me a CD" - "Don't worry, our penguins don't bite"</em> </P> Don't think we stopped there: we still had more CDs <P ALIGN="center"> <img src="carlinux1.jpg" alt="[car with linux flier on windshield]" WIDTH=587 HEIGHT=391><BR><BR> <img src="carlinux2.jpg" alt=" [car with linux flier on windshield]" WIDTH=594 HEIGHT=392> </P> We also took some really cool pictures, like one with Tux in front of the microsoft logo on their door, and one with a linux CD in front of microsoft's second 'o'. Those were taken by the professional photographer, so I don't yet know where they're going to show up. <P> After most people got out and had a second shot at getting a CD from us, we left for a local Pizza à gogo. Some of us took a microsoft gift (cocktail glass and t-shirt, both with microsoft logo). I personally got neither since I didn't quite see where I could have used them with them having a logo and all. <P> Then, Dan from microsoft called the pizzeria where we were to pay us a round of beers and sodas, which was obviously nice of them. After that, we eventually headed home.<P> <img src="assimilated1.jpg" alt="[Rick Moen]" WIDTH=385 HEIGHT=567><BR> <tt>Our legendary Rick Moen, the man who has his own <a href="http://www.linuxmafia.com/~rick/faq/">FAQ</a></tt> <P> <A NAME="assimilated">Now,</A> if you have a closer look, you'll notice that in fact some of us who had entered the ms building had been assimilated<P> <img src="assimilated2.jpg" alt="[Rick Moen wearing an ms shirt and badge]" WIDTH=445 HEIGHT=594><BR> <tt>(the T-shirt and the badge say: "Microsoft, Silicon Valley Developer Center"). Rest assured that we took the necessary steps to put him back on the right track, starting with preventing him to watch Babylon V that evening (private joke) <img src="/gifs/people/smile.happy.gif" alt=":-)" align="TOP" WIDTH=16 HEIGHT=16></tt>. <P> <h2>Conclusion</h2> This definitely was a fun evening. As Ian said the outcome was totally unexpected, but it turned out very well. We spread the word about linux, and among the CDs we gave out, some people have to install it, and some of those may even come see us during future meetings. <P> I have to say that the microsoft people were really cool with us. They behaved much more intelligently than the Fry's manager who called the cops to have us thrown out during the Win98 launch a few months ago.<BR> Don't take me wrong, I still think their OSes are crap, along with many (but not all) of their software products. I still think they're a monopolistic company which thrives to crush their competition without worring too much about laws, and that constantly changing their protocols and file formats to make sure people can't really be compatible with them is plain evil (the list is longer than that, but I'll spare you the rest).<BR> Yet, they are also very careful at not getting bad press and they did let us get away with things like taking pictures with tux in from of their logo (no one even told us anything). I have to admit that I was pleasantly surprised by their positive behavior, and the little things they did to be nice to us. <P> Thanks all those who came, and see you all next time.<BR> Marc Merlin <em>marc_web@merlins.org</em><BR> (feel free to write me to give your name if you recognize yourself on a picture. Also, if you are a journalist and have some questions about the event, feel free to send me Email)<P> A few Emailed me to ask where they could buy Tux, the penguin. I got mine from <a href="http://www.linuxmall.com/">Linuxmall</a> a couple of years ago. <P ALIGN="center"> <img src="/gifs/lines/misc/lampline.gif" alt="" WIDTH=720 HEIGHT=14> </P> <br> <img src="/gifs/misc/wizard.gif" alt="" align="middle" WIDTH=72 HEIGHT=61> <img src="/gifs/linux/damn-powered.gif" alt="" align="right" WIDTH=170 HEIGHT=29> <IMG SRC="/gifs/icons/msfree.gif" ALT="[ms free site]" ALIGN="right" WIDTH=95 HEIGHT=31> <A HREF="/~merlin/perso/contact.html">Email</A><BR> <A HREF="/~merlin/">Link to Home Page</A> <P> <FONT SIZE=-2> Last updated on November 20th 1998. V 1.11 </FONT> </body> </html>
window.ga=window.ga||function(){(ga.q=ga.q||[]).push(arguments)};ga.l=+new Date; ga('create', 'UA-131966-1', 'auto'); ga('send', 'pageview'); Silicon Valley Tea Party # Silicon Valley Tea Party aka the great 1998 linux revolt take II ## Introduction For those who hadn't heard the story, microsoft has opened an developers' center in the Silicon Valley. This is somewhat significant because so far they didn't have any direct presence here. Obviously, some people welcomed this as warmly as the French welcomed mac donalds and their cardboard food when they first came to France (I'm french BTW ![:-)](/gifs/people/smile.happy.gif)). So, what happened is that Hans Cathcart first quicked around on the svlug list the idea of showing up there, just like we had for the [great 1998 linux revolt that happened the day of the win98 launch](http://web.archive.org/web/19990224201149/http://www.penguincomputing.com/svlug-rally.html). This time we had made tentative plans a little earlier than last time (a little more than 10 days vs a few hours). Yet, much got decided a little at the last minute (read one day in advance to a few hours before going there). Once again, Ian Kluft did a great job with keeping the web page up to date (sometimes by the hour), and organizing some of the stuff, along with the other officers. He also wrote a [review](http://www.svlug.org/events/tea-party-199811-kluft.shtml), and the main svlug linux tea party page is [here](http://www.svlug.org/events/tea-party-199811.shtml) ![[new] ](/gifs/signs/new04.gif) [The Palo Alto daily](paloaltodaily.gif) ran an article on the event (thanks to Ira Abramov for the scan) ## Before getting to the ms developer center I first want to reassure the worried reader: "Rick Moen was there". David "Sparc" Miller (multiplatform kernel hacker and former svlug speaker for those who don't know him) gave us the pleasant surprise of also showing up. ![[picture of Dave and me] ](Dave_S_Miller.jpg) (David is on the left, and I'm the guy on the right) Anyway, here's what happened: Not to say that big brother is everywhere, but short of having microsoft people monitoring our lists and newsgroups (with wouldn't overly surprise me, after all they also tried a PR compain with magazines, posing as simple users who liked microsoft products), the announcement was available in several places, including freshneat and [Linux Today](http://www.linuxtoday.com/stories/758.html), as well as the [Svlug web page](http://www.svlug.org/events/tea-party-199811.shtml), so I did expect some microsoft people to have learned about it, some way or another, and to be waiting for us there. They were actually much smarter than that, and did what I hadn't quite expected: two microsoft people, Dan Frumin and Mike, met us at the cafe where we had planned to meet before going to the ms event. Basically they were worried to have an unknown number of linux geeks rampaging around their party, and kind of overwhelm the place. Our goal wasn't obviously to ruin their party, but it's true that having 30 to 40 geeky looking people, with our crazy Sam Ockman harassing people in suit with Linux CDs (just kidding Sam ![:-)](/gifs/people/smile.happy.gif)), might have been somewhat disruptive. Their offer was to give us 5 SVLUG badges to let 5 of us in at a time, and let us rotate. Their claim was that you actually had to have received an invitation from them before being able to RSVP. ![[svlug badge picture]](svlug_badge.gif) One of the five badges they had prepared for us This may or may not have been true as in practise, anyone who RSVPed in time did have a badge waiting for them at the entrance, whether or not they had received an initial invitation of microsoft. Those who tried to RSVP later received an Email saying that they could still register at the door, and it's only the last day that their autoresponder said that they event was full (some thought that they just refused requests from obvious linux people, like me when I forgot to strip out my "Microsoft is to software what McDonalds is to gourmet cooking" signature in my first RSVP, but that was just a conspiracy theory, someone simply modified their script on the event day to reject further RSVPs) My point is that it would have been possible for at least some of us (as long as it wasn't too obvious) to RSVP at the door and get a badge. Their second option was to invite us all to eat instead, so that none of us wouldn't have to wait outside in the cold :-) That was obviously a nice try, and we politely declined. Of course the third option would have been to ignore them and try to sneak as many of us in as we could have. We however went with the first one because: 1. They appeared most polite and friendly and didn't entice us to go trash the place (which we never intended to do anyway) - I personally thought (and others most likely also did) that having as many of us inside as possible could have indeed been somewhat to severly disruptive, and possibly annoying for their other guests, and we wanted to avoid that. - Since they behaved politely and in a civilized way with us, we had no reason to not return the favor, even if in this case we were dealing with microsoft ## At the ms developer center So, we went together to the place, and about 10 of us got in (the five badges, plus those who had registered sufficiently in advance (Rick Moen, Don Marti, and a few others)). We were armed with about 500 Caldera and Suse CDs. Thanks to those two for providing them in the first place. Some also came with nice signs which those of us who stayed outside used, while giving out CDs. ![[picture of the photographer]](photographer.jpg) ![ [picture of Yoshimoto-San]](Yoshimoto-San.jpg) Picture of the New York Times photographer and Yoshimoto-San Two reporters showed up, Amy Harmon from the New York Times, along with a professional photographer. She was looking at covering an open source even while she was on the west coast, and contacted no one else than Rick Moen, who decided to bring her that that event. We also had Yoshimoto-San, a Freelance Japanese journalist who had heard about the event. We answered their questions on linux, and got some pictures taken. The photographer took a lot of pictures, and some should turn out to be very good, I wonder where they're going to show up... ![[picture of the crowd]](GotCDs.jpg) From left to righ: Brian Chrisman, Jesse Mundis, Mark Smith, and Wayne Earl ![[picture of linux sign]](sign1.jpg) ![ [picture of linux sign]](sign2.jpg) From left to right, Marc Merlin (that'd be me ![:-)](/gifs/people/smile.happy.gif)), Mark Smith, and Josh Hill As you can see, some people brought some nice signs (and I also have a zoomed picture of the [back](sign3.jpg)) ![[picture of the crowd]](crowd.jpg) ![[Ian Kluft]](Ian_Kluft.jpg) ![ [Sam Ockman]](Sam_Ockman_and_Got_Source.jpg) Another two officers from SVLUG, Ian Kluft and Sam Ockman on the left of each picture. On the right of each picture, two of our linux enthousiasts: Colin Howell and Alexandre Petit-Bianco Those of us who went inside sampled the microsoft while talking to a few people, some of which were amused by seeing us (BTW the food was pretty good, and talking about food, I should mention that the ms people sent a waiter outside to serve coffee to those of us who were outside [picture below]. You have to admit that it's a nice touch). ![[door to ms building]](door.jpg) ![[ we were offered coffee outside]](GotCoffee.jpg) A few bold ones in the group did go through that door, but some got [assimilated](index.html#assimilated) *Abandon hope all ye who enter here* ![ :-)](/gifs/people/smile.happy.gif) We decided not to give CDs inside as it didn't seem appropriate, besides we had a shot at everyone on their way in and their way out The good news is that no one seemed annoyed to see us. People were either indifferent or either amused, some even happy ("it's cool that you guys are here"). That in itself proved that it was a successful evening because we didn't apparently create negative feelings against us and linux. Well, I can't quite say that none of the microsoft people were annoyed to see us, but if they were, they dealt with it very well, and didn't show any negative feelings. The funny thing is that a couple of ladies inside actually pet tux, my penguin that I was carrying along with me. You have to admit that it's a cute penguin :-) ![[picture of Allison and me with Tux]](tux_my_hero.jpg) ![ [picture of Allison with Tux]](girls_love_linux.jpg) Here we have Allison Huynh, who definitely likes Tux. So, who said that girls don't like linux? After people had gotten in, and before they were getting out, some of us that were outside started handing out CDs to random people who were driving by in their cars. ![[picture of CD giveout]](street.jpg) ![ [picture of CD giveout]](givetocars1.jpg) Let's face it, we had some awesome guys there. Here we have Drew Bertola going beyond the call the duty ![ [picture of CD giveout]](givetocars2.jpg) ![ [picture of CD giveout]](givetocars3.jpg) *"Dad, there's weird guy who's trying to give me a CD" - "Don't worry, our penguins don't bite"* Don't think we stopped there: we still had more CDs ![[car with linux flier on windshield]](carlinux1.jpg) ![ [car with linux flier on windshield]](carlinux2.jpg) We also took some really cool pictures, like one with Tux in front of the microsoft logo on their door, and one with a linux CD in front of microsoft's second 'o'. Those were taken by the professional photographer, so I don't yet know where they're going to show up. After most people got out and had a second shot at getting a CD from us, we left for a local Pizza à gogo. Some of us took a microsoft gift (cocktail glass and t-shirt, both with microsoft logo). I personally got neither since I didn't quite see where I could have used them with them having a logo and all. Then, Dan from microsoft called the pizzeria where we were to pay us a round of beers and sodas, which was obviously nice of them. After that, we eventually headed home. ![[Rick Moen]](assimilated1.jpg) Our legendary Rick Moen, the man who has his own [FAQ](http://www.linuxmafia.com/~rick/faq/) Now, if you have a closer look, you'll notice that in fact some of us who had entered the ms building had been assimilated ![[Rick Moen wearing an ms shirt and badge]](assimilated2.jpg) (the T-shirt and the badge say: "Microsoft, Silicon Valley Developer Center"). Rest assured that we took the necessary steps to put him back on the right track, starting with preventing him to watch Babylon V that evening (private joke) ![:-)](/gifs/people/smile.happy.gif). ## Conclusion This definitely was a fun evening. As Ian said the outcome was totally unexpected, but it turned out very well. We spread the word about linux, and among the CDs we gave out, some people have to install it, and some of those may even come see us during future meetings. I have to say that the microsoft people were really cool with us. They behaved much more intelligently than the Fry's manager who called the cops to have us thrown out during the Win98 launch a few months ago. Don't take me wrong, I still think their OSes are crap, along with many (but not all) of their software products. I still think they're a monopolistic company which thrives to crush their competition without worring too much about laws, and that constantly changing their protocols and file formats to make sure people can't really be compatible with them is plain evil (the list is longer than that, but I'll spare you the rest). Yet, they are also very careful at not getting bad press and they did let us get away with things like taking pictures with tux in from of their logo (no one even told us anything). I have to admit that I was pleasantly surprised by their positive behavior, and the little things they did to be nice to us. Thanks all those who came, and see you all next time. Marc Merlin *marc\_web@merlins.org* (feel free to write me to give your name if you recognize yourself on a picture. Also, if you are a journalist and have some questions about the event, feel free to send me Email) A few Emailed me to ask where they could buy Tux, the penguin. I got mine from [Linuxmall](http://www.linuxmall.com/) a couple of years ago. ![](/gifs/lines/misc/lampline.gif) ![](/gifs/misc/wizard.gif) ![](/gifs/linux/damn-powered.gif) ![[ms free site]](/gifs/icons/msfree.gif) [Email](/~merlin/perso/contact.html) [Link to Home Page](/~merlin/) Last updated on November 20th 1998. V 1.11
http://marc.merlins.org/linux/teaparty/
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html><!-- InstanceBegin template="/Templates/studenttemp.dwt" codeOutsideHTMLIsLocked="false" --> <head> <!-- InstanceBeginEditable name="doctitle" --> <title>Life at Sea - Welcome Aboard</title> <!-- InstanceEndEditable --> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> <!-- InstanceBeginEditable name="head" --><!-- InstanceEndEditable --> </head> <body background="../Backgrounds/bkgd.jpg"> <table width="836" border="0" cellpadding="0" cellspacing="0"> <!--DWLayoutTable--> <tr> <td width="289" height="162" valign="middle"> <div align="center"><!-- InstanceBeginEditable name="graphic" --><img src="../Graphics/Wetdeck.gif" width="173" height="150"><!-- InstanceEndEditable --></div></td> <td width="544" valign="top"><div align="center"> <p><img src="../Graphics/TitleBar.gif" width="478" height="86"></p> <h1><!-- InstanceBeginEditable name="subheading" --><img src="../Graphics/WelcomeTitle.gif" width="322" height="52"><!-- InstanceEndEditable --></h1> </div></td> <td width="3">&nbsp;</td> </tr> <tr> <td height="507" valign="top"> <table width="100%" border="0"> <tr> <td align="center"><a href="shipparts.htm"><img src="../Graphics/shipartsbut.gif" width="210" height="45" border="0"></a></td> </tr> <tr> <td align="center"><a href="seasongs.htm"><img src="../Graphics/songbutt.gif" width="210" height="45" border="0"></a></td> </tr> <tr> <td align="center"><a href="knots.htm"><img src="../Graphics/knotbut.gif" width="210" height="45" border="0"></a></td> </tr> <tr> <td align="center"><a href="spicefun.htm"><img src="../Graphics/spicebutt.gif" width="210" height="45" border="0"></a></td> </tr> <tr> <td align="center"><a href="navtools.htm"><img src="../Graphics/navbutt.gif" width="210" height="45" border="0"></a></td> </tr> <tr> <td align="center"><a href="math.htm"><img src="../Graphics/mathbut.gif" width="210" height="45" border="0"></a></td> </tr> <tr> <td align="center"><a href="literature.htm"><img src="../Graphics/litbut.gif" width="210" height="45" border="0"></a></td> </tr> <tr> <td align="center"><a href="hotlinks.htm"><img src="../Graphics/hotbutt.gif" width="210" height="45" border="0"></a></td> </tr> <tr> <td align="center"><a href="museums.htm"><img src="../Graphics/mussbut.gif" width="210" height="45" border="0"></a></td> </tr> <tr> <td align="center"><a href="../index.html"><img src="../Graphics/homebutt.gif" width="210" height="45" border="0"></a></td> </tr> <tr> <td align="center"><a href="http://www.moraga.k12.ca.us/dr/index.html"><img src="../Graphics/rheembut.gif" width="210" height="45" border="0"></a></td> </tr> <tr> <td align="center"><a href="http://www.moraga.k12.ca.us"><img src="../Graphics/msd2but.gif" width="210" height="45" border="0"></a></td> </tr> </table></td> <td valign="top"><!-- InstanceBeginEditable name="body too" --> <table width="100%" border="0" cellpadding="2"> <tr> <td><div align="center"><img src="../GraphicAnim/boat3.gif" width="472" height="67"></div></td> </tr> <tr> <td><div align="center"><img src="../Photos/ahoylads3.gif" width="182" height="36"></div></td> </tr> <tr> <td valign="top"> <p align="left"><font size="+1">Journey with our classes as you learn about the Age of Exploration and what life was like as a sailor on the high seas. </font></p> <p align="left"><font size="+1">Are you a greenhand or an old salt? Do you know the difference between a figure eight knot and a clovehitch? Do you go down the hatch or up the mast? Ever use a head for something other then thinking? </font></p> <p align="left"><font size="+1">To find out the answers to these and other exciting questions, explore our website. Click on the navigation bar on the left to begin you journey. Fair winds!</font></p></td> </tr> </table> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p align="center">&nbsp;</p> <p align="center"><font size="+2"></font></p> <p align="center">&nbsp;</p> <p align="center">&nbsp;</p> <p align="center">&nbsp;</p> <!-- InstanceEndEditable --></td> <td></td> </tr> </table> </body> <!-- InstanceEnd --></html>
Life at Sea - Welcome Aboard | | | | | | | | --- | | | | | | | | | | | | | | | | | | | | | | | | | | | | | --- | | | | | | Journey with our classes as you learn about the Age of Exploration and what life was like as a sailor on the high seas. Are you a greenhand or an old salt? Do you know the difference between a figure eight knot and a clovehitch? Do you go down the hatch or up the mast? Ever use a head for something other then thinking? To find out the answers to these and other exciting questions, explore our website. Click on the navigation bar on the left to begin you journey. Fair winds! |                 | |
https://www.cccoe.net/lifeatsea/student/
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <title>Gary's Place</title> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" /> <meta name="description" content="A collection of anime and military images and information." /> <meta name="keywords" content="military,aviation,army,air force,navy,marines,rocket,airplane,jet,tank,ship,submarine,helicopter,artillery,animation,anime,guns,ammo,ammunition,firearms,sci-fi,science fiction,8 Man After, Arcadia Of My Youth, Area 88, Arrivederci Yamato, Be Forever Yamato, Bugs Bunny, Cowboy Bebop, Crusher Joe, Dirty Pair, Fantasia, Fire and Ice, Genesis Surviver Gaiarth, Giant Robo, Gunsmith Cats, Inuyasha, Iria - Zeiram, The Irresponsible Captain Tylor, Lord of the Rings, MADOX-01, Megazone 23, Ninja Scroll, Roughnecks: Starship Troopers Chronicles, Sol Bianca, Spicy City, Starblazers, The Professional: Golgo 13, They Were 11, Toward the Terra, Wings of Honneamise, Wizards, Yamato, Yu Yu Hakusho, Babylon 5, Robotech" /> <link rel="stylesheet" type="text/css" href="gp/basics.css" /> <style type="text/css" media="all">@import url(inetres.css);</style> <link rel="Shortcut Icon" type="image/ico" href="favicon.ico" /> </head> <body bgcolor="white" text="black"> <div class="PageLogo"><img src="gp/images/gp.gif" alt="Gary's Place" width="200" height="100" /></div><br /> <div class="clear"></div> <ul class="nav"> <li> <a href="gp/anime/index.html"> <img src="gp/images/gap_small.gif" alt="To Anime Page" width="150" height="75" /> &nbsp;Gary's Anime Page</a><p>&nbsp;Anime and animation images.</p><br /> </li> <li> <a href="gp/military/index.html"> <img src="gp/images/odp_small.gif" alt="To Olive Drab Page" width="150" height="75" /> &nbsp;Gary's Olive Drab Page</a><p>&nbsp;Military images and information.</p><br /> </li> <li> <a href="gp/sf/index.html"> <img src="gp/images/sf_small.gif" alt="To Science Fiction Page" width="150" height="75" /> &nbsp;Gary's Science Fiction Page</a><p>&nbsp;Science fiction movies and series images.</p><br /> </li> <li> <a href="gp/va/index.html"> <img src="gp/images/va_small.gif" alt="To Virtual Arsenal" width="150" height="75" /> &nbsp;Gary's Virtual Arsenal</a><p>&nbsp;Guns and ammunition images.</p><br /> </li> </ul> <div class="clear"></div> <p class="footer"> Copyright &copy;1998-2008 Gary W. Cooke. All rights reserved.<br /> email: <a href="mailto:garywcooke@yahoo.com"> garywcooke@yahoo.com</a> </p> </body> </html>
Gary's Place @import url(inetres.css); ![Gary's Place](gp/images/gp.gif) * [![To Anime Page](gp/images/gap_small.gif)  Gary's Anime Page](gp/anime/index.html) Anime and animation images. * [![To Olive Drab Page](gp/images/odp_small.gif)  Gary's Olive Drab Page](gp/military/index.html) Military images and information. * [![To Science Fiction Page](gp/images/sf_small.gif)  Gary's Science Fiction Page](gp/sf/index.html) Science fiction movies and series images. * [![To Virtual Arsenal](gp/images/va_small.gif)  Gary's Virtual Arsenal](gp/va/index.html) Guns and ammunition images. Copyright ©1998-2008 Gary W. Cooke. All rights reserved. email: [garywcooke@yahoo.com](mailto:garywcooke@yahoo.com)
http://www.inetres.com/
<html> <head> <title>Internet Pizza Server--Order Here</title> <link rel="icon" type="image/png" href="/pizza/favicon.png" /> <link rel="icon" type="image/vnd.microsoft.icon" href="/pizza/favicon.ico" /> <link rel="icon" type="image/gif" href="/pizza/favicon.gif" /> </head> <body bgcolor="#000000" TEXT="#ffffff" LINK="#2020d0" VLINK="#d02020" background="images/stars.gif"> <table border="0" cellspacing="10" cellpadding="0"> <tr><td><img src="images/pizzathumb.gif" width="80" height="60"></td> <td><H1>Internet Pizza Server Ordering Area</H1></td></tr> </table> <p> Please select the toppings you would like to chow down on...don't hold back! We need your money! A piping hot pizza will be delivered to your terminal before you can count to 300 billion! <HR> <FORM METHOD="POST" ACTION="pizzaweb.cgi"> Select the size pizza you would like: <select NAME="size"> <OPTION VALUE="small">Small <OPTION SELECTED VALUE="medium">Medium <OPTION VALUE="large">Large <OPTION VALUE="family">Family </select> <dl> <dt>What would you like on your pizza? <dd> <p><b>Meats!</b><br> <pre> <INPUT TYPE="checkbox" NAME="topping" VALUE="baconbits">Bacon Bits <INPUT TYPE="checkbox" NAME="topping" VALUE="beef">Beef <INPUT TYPE="checkbox" NAME="topping" VALUE="beetles">Beetles <INPUT TYPE="checkbox" NAME="topping" VALUE="canadianbacon">Canadian Bacon <INPUT TYPE="checkbox" NAME="topping" VALUE="eyeballs">Eyeballs <INPUT TYPE="checkbox" NAME="topping" VALUE="goblins">Goblins <INPUT TYPE="checkbox" NAME="topping" VALUE="kittens">Kittens <INPUT TYPE="checkbox" NAME="topping" VALUE="pepperoni">Pepperoni <INPUT TYPE="checkbox" NAME="topping" VALUE="pork">Pork <INPUT TYPE="checkbox" NAME="topping" VALUE="salami">Salami <INPUT TYPE="checkbox" NAME="topping" VALUE="sausage">Sausage <input type="checkbox" name="topping" value="finger">Fingers <input type="checkbox" name="topping" value="curly">Curly </pre> <p><b>Veggies!</b><br> <pre> <INPUT TYPE="checkbox" NAME="topping" VALUE="garlick">Garlick <INPUT TYPE="checkbox" NAME="topping" VALUE="greenolive">Green Olives <INPUT TYPE="checkbox" NAME="topping" VALUE="greenpepper">Green Pepper <INPUT TYPE="checkbox" NAME="topping" VALUE="mushrooms">Mushrooms <INPUT TYPE="checkbox" NAME="topping" VALUE="olives">Olives <INPUT TYPE="checkbox" NAME="topping" VALUE="onions">Onions <INPUT TYPE="checkbox" NAME="topping" VALUE="pineapple">Pineapple <INPUT TYPE="checkbox" NAME="topping" VALUE="redpepper">Red Pepper </pre> <p><b>Breakfast!</b><br> <pre> <INPUT TYPE="checkbox" NAME="topping" VALUE="bacon">Bacon <INPUT TYPE="checkbox" NAME="topping" VALUE="eggs">Eggs <INPUT TYPE="checkbox" NAME="topping" VALUE="toast">Toast </pre> <p><b>Sporting Goods!</b><br> <pre> <INPUT TYPE="checkbox" NAME="topping" VALUE="baseballs">Baseballs <INPUT TYPE="checkbox" NAME="topping" VALUE="basketballs">Basketballs <INPUT TYPE="checkbox" NAME="topping" VALUE="footballs">Footballs <INPUT TYPE="checkbox" NAME="topping" VALUE="golfballs">Golfballs <INPUT TYPE="checkbox" NAME="topping" VALUE="tennisballs">Tennisballs </pre> <p><b>Junk Food!</b><br> <pre> <INPUT TYPE="checkbox" NAME="topping" VALUE="quik">Quik <INPUT TYPE="checkbox" NAME="topping" VALUE="altoids">Altoids <input type="checkbox" name="topping" value="pizza">Pizzas <input type="checkbox" name="topping" value="poptart">Poptarts </pre> <p><b>Hardware!</b><br> <pre> <INPUT TYPE="checkbox" NAME="topping" VALUE="bolts">Bolts <INPUT TYPE="checkbox" NAME="topping" VALUE="hammers">Hammers <INPUT TYPE="checkbox" NAME="topping" VALUE="nails">Nails <INPUT TYPE="checkbox" NAME="topping" VALUE="nuts">Nuts </pre> <p><b>Aphrodite's Favorites!</b><br> <pre> <INPUT TYPE="checkbox" NAME="topping" VALUE="greenmnm">Green M&Ms </pre> <p><b>Misc!</b> <pre> <INPUT TYPE="checkbox" NAME="topping" VALUE="disks">Disks <INPUT TYPE="checkbox" NAME="topping" VALUE="lego">Legos <input type=checkbox name=topping value=roadsign>Roadsigns <input type=checkbox name=topping value=sink>Sinks <INPUT TYPE="checkbox" NAME="topping" VALUE="smile">Smiles <INPUT TYPE="checkbox" NAME="topping" VALUE="8ball">8 Balls <INPUT TYPE="checkbox" NAME="topping" VALUE="firecracker">Firecrackers <input type=checkbox name=topping value=candle>Candles </pre> </dd> </dl> <p>Click <INPUT TYPE="submit" VALUE="Order pizza"> or <INPUT TYPE="reset" VALUE="Start Over"> to clear your order and start over. </FORM> <HR> </body> </html>
Internet Pizza Server--Order Here | | | | --- | --- | | | Internet Pizza Server Ordering Area | Please select the toppings you would like to chow down on...don't hold back! We need your money! A piping hot pizza will be delivered to your terminal before you can count to 300 billion! --- Select the size pizza you would like: Small Medium Large Family What would you like on your pizza? **Meats!** ``` Bacon Bits Beef Beetles Canadian Bacon Eyeballs Goblins Kittens Pepperoni Pork Salami Sausage Fingers Curly ``` **Veggies!** ``` Garlick Green Olives Green Pepper Mushrooms Olives Onions Pineapple Red Pepper ``` **Breakfast!** ``` Bacon Eggs Toast ``` **Sporting Goods!** ``` Baseballs Basketballs Footballs Golfballs Tennisballs ``` **Junk Food!** ``` Quik Altoids Pizzas Poptarts ``` **Hardware!** ``` Bolts Hammers Nails Nuts ``` **Aphrodite's Favorites!** ``` Green M&Ms ``` **Misc!** ``` Disks Legos Roadsigns Sinks Smiles 8 Balls Firecrackers Candles ``` Click or to clear your order and start over. ---
https://beej.us/pizza/pizzaweb.html
<html> <head> <META Name="description" Content="Stunning photography of over 100 lighthouses, with historical data and locator information."> <META Name="keywords" Content="lighthouse, lighthouses, Lighthouse, pictures, lighthouse pictures,images, photographs, photography, photograph, sale, lighthouse, lighthouse, lighthouses, lighthouses, lighthouse, photography, travel, art, Minots Ledge, Cape Hatteras, Fresnel, Ponce Inlet, Block Island, St. Augustine, Bodie, Brant Point, Boston Light, Pemaquid Point Lighthouse, Nauset Lighthouse, Tybee Island Lighthouse, Nubble Lighthouse, Minots Ledge, Aids To Navigation, Coast Guard, Light, Bass Head Lighthouse, West Quoddy Lighthouse, East Quoddy, Owls Head, Dice Head, Cape Cape Elizabeth, Barnegat, Cape May, Jupiter, Sandy Hook, Portland Head Light, St. Simon's Island, Heceta Head Lighthouse, Gay Head Lighthouse, Sankaty Head Lighthouse, Marshall Point Light, Smoky Mountain, wildflowers, waterfalls, Smoky Mountain National Park, tennessee, fine art prints, online print gallery, appalachian, notecards, Monhegan Island Light, Point Bonita Light, Pt. Reyes Light, Montauk Point Light, Highland Light, Ocracoke Island Lighthouse, Key West Lighthouse"> </head><body bgcolor=#ffffff > <TITLE>Lighthouse Getaway</TITLE> <TABLE BORDER=2 width=80% ALIGN=CENTER CELLPADDING=5> <tr> <td border=0 width=121> <script type="text/javascript"><!-- google_ad_client = "pub-8119978047343069"; google_ad_width = 120; google_ad_height = 600; google_ad_format = "120x600_as"; google_ad_type = "text_image"; google_ad_channel = ""; google_color_border = "C3D9FF"; google_color_bg = "C3D9FF"; google_color_link = "0000FF"; google_color_text = "000000"; google_color_url = "008000"; //--></script> <script type="text/javascript" src="http://pagead2.googlesyndication.com/pagead/show_ads.js"> </script> </td> <td border=0> <center><IMG HEIGHT=268 WIDTH=649 SRC="lights/getaway2.jpg"><p> <font size=4><strong> New! Lot's of lighthouse prints and digital downloads available from <a href="https://www.etsy.com/shop/WilliamBrittenPhoto/search?search_query=lighthouse">William Britten's Etsy shop.</a><p> Also, <a href="http://www.istockphoto.com/search/lightbox/3447652#17282e2d">All of William Britten's <b>lighthouse images</b> now available for download at istock.com</a> <p> New! Check out William Britten's <a href="http://williambritten.com/">Smoky Mountains photos and daily news from the Smokies</a> at our sister site <p> <CENTER> <TABLE BORDER=0 width=80% ALIGN=CENTER CELLPADDING=5> <TR> <TD WIDTH=32% VALIGN=TOP> <font size=4><strong> <DT><A HREF="lights/newengl.html">New England</A> <DT><A HREF="lights/atlantic.html">Atlantic Towers </A> <DT><A HREF="lights/banks.html">Outer Banks </A> <DT><A HREF="lights/florida.html">Florida</A> </strong></font></td> <TD WIDTH=32% VALIGN=TOP> <font size=4><strong> <DT><A HREF="lights/g_lakes.html">Great Lakes</A> <DT><A HREF="lights/calif.html">California</A> <DT><A HREF="lights/oregon.html">Oregon</A> <dt><a href="lights/chesapeake.html">Chesapeake Bay</a> </strong></font></td> <TD WIDTH=36% VALIGN=TOP> <font size=4><strong> <DT><A HREF="lights/eagle/eagle.html">Ireland</A> <DT><a href="lights/fresnel.html">The Fresnel Lens</a> <DT><a href="lights/soc.html">Lighthouse Societies</a> <DT><a href="lights/about.html"> About the Images</a> </strong></font></td> </tr> </table> <font size=2> <p> <hr width=40%> <i>On the Internet since 1993 <br> This tour brought to you by <a href= mailto:info@lighthousegetaway.com>William A. Britten</a><br> </i> <i> <br>Copyright &#169; 1994-2010 William A. Britten</i><p> </td> </tr> </table> <p> <center> </center></font></center></center></body></html>
Lighthouse Getaway | | | | | | | --- | --- | --- | --- | --- | | <!-- google\_ad\_client = "pub-8119978047343069"; google\_ad\_width = 120; google\_ad\_height = 600; google\_ad\_format = "120x600\_as"; google\_ad\_type = "text\_image"; google\_ad\_channel = ""; google\_color\_border = "C3D9FF"; google\_color\_bg = "C3D9FF"; google\_color\_link = "0000FF"; google\_color\_text = "000000"; google\_color\_url = "008000"; //--> | **New! Lot's of lighthouse prints and digital downloads available from [William Britten's Etsy shop.](https://www.etsy.com/shop/WilliamBrittenPhoto/search?search_query=lighthouse) Also, [All of William Britten's **lighthouse images** now available for download at istock.com](http://www.istockphoto.com/search/lightbox/3447652#17282e2d) New! Check out William Britten's [Smoky Mountains photos and daily news from the Smokies](http://williambritten.com/) at our sister site | | | | | --- | --- | --- | | **[New England](lights/newengl.html) [Atlantic Towers](lights/atlantic.html) [Outer Banks](lights/banks.html) [Florida](lights/florida.html)** | **[Great Lakes](lights/g_lakes.html) [California](lights/calif.html) [Oregon](lights/oregon.html) [Chesapeake Bay](lights/chesapeake.html)** | **[Ireland](lights/eagle/eagle.html) [The Fresnel Lens](lights/fresnel.html) [Lighthouse Societies](lights/soc.html) [About the Images](lights/about.html)** | --- *On the Internet since 1993 This tour brought to you by [William A. Britten](mailto:info@lighthousegetaway.com)* *Copyright © 1994-2010 William A. Britten*** |
https://lighthousegetaway.com/
<!DOCTYPE html> <html lang="en"> <head> <meta charset="utf-8"> <meta name="viewport" content="width=device-width, initial-scale=1"> <title>Tilde.Club Gallery</title> <meta name="author" content="~tweska"> <link rel="stylesheet" href="static/style.css"> </head> <body> <h1>Welcome to the Tilde.Club Gallery!</h1> <p><a href="index.html">index</a></p> <p><a href="A.html">A</a> <a href="B.html">B</a> <a href="C.html">C</a> <a href="D.html">D</a> <a href="E.html">E</a> <a href="F.html">F</a> <a href="G.html">G</a> <a href="H.html">H</a> <a href="I.html">I</a> <a href="J.html">J</a> <a href="K.html">K</a> <a href="L.html">L</a> <a href="M.html">M</a> <a href="N.html">N</a> <a href="O.html">O</a> <a href="P.html">P</a> <a href="Q.html">Q</a> <a href="R.html">R</a> <a href="S.html">S</a> <a href="T.html">T</a> <a href="U.html">U</a> <a href="V.html">V</a> <a href="W.html">W</a> <a href="X.html">X</a> <a href="Y.html">Y</a> <a href="Z.html">Z</a> <a href="other.html">?</a></p> <div class="content"> <p> Hello there fellow internet surfer! You are about to explore the tilde.club community using a revolutionary tool! The Tilde.Club Gallery is a collection of over a 1000 screenshots of tilde.club homepages. </p> <p> All screenshots are ordered alphabetically, you click on of the characters in the menu above to see all pages belonging to users with names starting with the corresponding character. </p> <p> Have fun exploring tilde.club! You can send a message <code>/msg tweska</code> on <a href="http://tilde.chat/">IRC</a> if you have question, run into an issue or want to give feedback. </p> <h2>Frequently asked questions</h2> <h3>Why is my amazing homepage missing from the gallery?</h3> <p> Users that did not change their homepage are ignored by the program, about half of all homepages are never changed and the gallery gets boring really quickly if I include those pages. If you did change your page, it is possible an error occured while the scraper took a screenshot. Send <code>tweska</code> a message on <a href="http://tilde.chat/">IRC</a> if you want to be 100% sure. </p> <p> Errors often occur if the page includes widgets or if your page just keeps loading forever. I am not going to support this. </p> <h3>Why does my homepage not fit in the screenshot?</h3> <p> Because your homepage does not properly support a window size of 800 by 600 pixels. </p> <h3>Why does my screenshot not update after a modification?</h3> <p> If you change content other than the <code>index.html</code> file of your homepage (like an image or stylesheet) the scraper will not update your homepage. Just run: <code>touch index.html</code> to update the modification time of the file. </p> <h3>Can I see the code?</h3> <p> <a href="http://github.com/Tweska/TildeverseGallery/">Sure!</a> </p> </div> <p>Made by <a href="/~tweska/">~tweska</a></p> <a href="/"><img src="static/tildeclub.gif"></a> </body> </html>
Tilde.Club Gallery # Welcome to the Tilde.Club Gallery! [index](index.html) [A](A.html) [B](B.html) [C](C.html) [D](D.html) [E](E.html) [F](F.html) [G](G.html) [H](H.html) [I](I.html) [J](J.html) [K](K.html) [L](L.html) [M](M.html) [N](N.html) [O](O.html) [P](P.html) [Q](Q.html) [R](R.html) [S](S.html) [T](T.html) [U](U.html) [V](V.html) [W](W.html) [X](X.html) [Y](Y.html) [Z](Z.html) [?](other.html) Hello there fellow internet surfer! You are about to explore the tilde.club community using a revolutionary tool! The Tilde.Club Gallery is a collection of over a 1000 screenshots of tilde.club homepages. All screenshots are ordered alphabetically, you click on of the characters in the menu above to see all pages belonging to users with names starting with the corresponding character. Have fun exploring tilde.club! You can send a message `/msg tweska` on [IRC](http://tilde.chat/) if you have question, run into an issue or want to give feedback. ## Frequently asked questions ### Why is my amazing homepage missing from the gallery? Users that did not change their homepage are ignored by the program, about half of all homepages are never changed and the gallery gets boring really quickly if I include those pages. If you did change your page, it is possible an error occured while the scraper took a screenshot. Send `tweska` a message on [IRC](http://tilde.chat/) if you want to be 100% sure. Errors often occur if the page includes widgets or if your page just keeps loading forever. I am not going to support this. ### Why does my homepage not fit in the screenshot? Because your homepage does not properly support a window size of 800 by 600 pixels. ### Why does my screenshot not update after a modification? If you change content other than the `index.html` file of your homepage (like an image or stylesheet) the scraper will not update your homepage. Just run: `touch index.html` to update the modification time of the file. ### Can I see the code? [Sure!](http://github.com/Tweska/TildeverseGallery/) Made by [~tweska](/~tweska/) [![](static/tildeclub.gif)](/)
http://tilde.club/~tweska/gallery/
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html lang="en"> <head> <meta http-equiv="content-type" content="text/html; charset=iso-8859-1"> <title>Intro: Why this Web Site</title> <base target="_blank"> <LINK rel="STYLESHEET" type="text/css" href="elh.css" media="screen"> </head> <body> <center> <table border="1" width="99%" cellpadding="2" bordercolor="#006699"> <tr> <td class=page1 width="100%" valign="top"> <!------------------------BEGIN MAIN PAGE CONTENT------------------------> <center> <p><b><font size="4">Welcome to the My Privacy & Security Page&nbsp;<br><i>at</i><br> </font></b> <font size="4"><b><a href="http://www.spywarewarrior.com/"> <font color="#800000"><u>Spyware Warrior.com</u></font></a></b></font></p> </center> <div align="center"> <center> <table border="0" width="70%" cellspacing="1" cellpadding="0"> <tr><td class=title3 width="100%" align="center">Introduction: Why This Web Site</td></tr></table> </center> </div> <blockquote> <p><font size="2">This site contains <b> links</b> to numerous pages on the Web where home users can find software and information relevant to Windows PC privacy and security. It also contains a <b> rudimentary "checklist"</b> of basic steps that home PC users can take to enhance their privacy and security while using the Internet. Finally, you'll find a set of <b>resources</b> developed by the author of this site to help you protect your privacy and security on the Internet, including information about <b><a href="http://www.pgp.com/">Pretty Good Privacy (PGP)</a></b> and the <b><a href="http://www.gnupg.org/">Gnu Privacy Guard (GPG)</a></b>.<br> &nbsp;</font></p> <hr width="55%"> <p><font size="2">This web site was originally designed to assist students who took my <a href="http://units.english.uiuc.edu/ppw/"><b>B&TW classes</b></a> in <a href="http://units.english.uiuc.edu/ppw/"><b>Programs in Professional Writing</b></a> (<a href="http://www.english.uiuc.edu/"><b>Dept. of English</b></a>) at the <b><a href="http://www.uiuc.edu/">University of Illinois at Urbana-Champaign</a></b>. It was first intended for the students in <b><font color="#800000">B&TW 263 F1</font></b> (Business and Technical Writing) during the Spring of 2001. It was also used by several <b>B&amp;TW 250</b> classes and a <b>B&amp;TW 261</b> class over the past few semesters. It was last used by the students who took <font color="#800000"><b>B&TW 263 C</b> </font> during the Spring of 2002. </font></p> <p><font size="2">In all of those classes the students wrote a "how to" guide for home users of "Wintel" PC's who want to take basic steps to protect their privacy and security while using the Internet. The students in each class were divided into five groups to cover five topic areas: </font></p> <ul> <li><font size="2"><a href="btw/ps-intro/btw-intro1.htm"><b>Mal-ware Control</b></a></font></li> <li><font size="2"><a href="btw/ps-intro/btw-intro2.htm"><b>Email Privacy &amp; Security</b></a></font></li> <li><font size="2"><a href="btw/ps-intro/btw-intro3.htm"><b>WWW Privacy &amp; Security</b></a></font></li> <li><font size="2"><a href="btw/ps-intro/btw-intro4.htm"><b>Networking Privacy &amp; Security</b></a></font></li> <li><font size="2"><a href="btw/ps-intro/btw-intro5.htm"><b>Desktop Privacy &amp; Security</b></a></font></li> </ul> <p><font size="2">Note that the five web pages above were written as topic introductions for my class during the Spring of 2002. Those pages have not been updated since, and the information found on them about applications and threats is, thus, not up-to-date. The final written product that each group turned in averaged between 40-60 pages.</font></p> <p><font size="2">The course description for that <b><font color="#800000">B&TW</font></b> topic read:</font></p> <ul> <dl> <dt><font size="2">&quot;In this class we will produce a 'how to' guide for users of home PC's who are interested in protecting their privacy and security while using the Internet. Students will learn to write technical documents for users with little technical experience. Students will also gain valuable knowledge about safely using desktop computers both at home and in the workplace. We will learn and write about such things as banner ads, cookies, web bugs, data encryption, 'spyware,' viruses and worms, trojan horses, and personal firewalls. While students with a high degree of PC knowledge and proficiency are encouraged to enroll, technical knowledge of PC hardware or software is not required or even assumed. This class is for those who wish to educate themselves about an increasingly important aspect of Internet usage, as well as those who are technically savvy and who seek to tailor their writing skills to audiences that do not share the same level of technical competence.&quot;</font></dt> </dl> </ul> <p><font size="2">In January 2006, the web site was moved to <a href="http://www.spywarewarrior.com/">SpywareWarrior.com</a> after I left the University of Illinois and became Director of Malware Research at the <a href="http://www.sunbelt-software.com/">Sunbelt Software</a>.</font></p> <hr width="55%"> <p><font size="2">Please note that this web site is <i><b>not</b></i> and was <i> <b>not</b></i> connected in any way with the <b><a href="http://www.uiuc.edu/">University of Illinois</a></b>' several well-known computer programs and organizations, including the <b><a href="http://www.cs.uiuc.edu/">Dept. of Computer Science</a></b>, <b><a href="http://www.cites.uiuc.edu/">CITES</a></b>, and the <b><a href="http://ncsa.uiuc.edu/">NCSA</a>,</b> even when the site was located at the University of Illinois. You can find many other computer privacy and security resources at the <b><a href="http://www.uiuc.edu/">University of Illinois</a></b> -- see <b><a href="info15b.htm" target="_self">THIS</a></b> page for a list of links.</font></p> <p><font size="2"><b><i>Background &amp; Bio</i><br> </b><br> I am currently Director of <a href="http://research.sunbelt-software.com/">Malware Research</a> at <a href="http://www.sunbelt-software.com">Sunbelt Software</a>. Prior to joining Sunbelt I was a graduate student in the <a href="http://www.lis.uiuc.edu/gslis/index.html"> Graduate School of Library and Information Science</a> (GSLIS) at the <a href="http://www.uiuc.edu/"> University of Illinois at Urbana-Champaign</a>. For twelve years I taught <a href="http://units.english.uiuc.edu/ppw/"> business and technical writing</a> at the University of Illinois. During 2004-2005 I taught a course in GSLIS titled &quot;<a href="http://www.inquiry.uiuc.edu/ilabs/out.php?cilid=929">Literacy in the Information Age</a>.&quot; For three years I also taught composition courses at <a href="http://www.parkland.edu/"> Parkland Community College</a> in Champaign.&nbsp;<br> <br> Over the past five years I have maintained a <a href="http://www.spywarewarrior.com/uiuc/"> personal web site</a> -- first at at the University of Illinois; now at Spyware Warrior.com -- to supply internet users with resources to protect their privacy and security on the internet. Among those resources are several <a href="http://www.spywarewarrior.com/uiuc/resource6.htm"> utilities</a> and &quot;<a href="http://www.spywarewarrior.com/uiuc/resource.htm">block lists</a>&quot; that allow users of Microsoft's Internet Explorer web browser to protect themselves against the flood of unwanted software and content pushed on them by aggressive advertising and marketing entities. </font></p> <p><font size="2">In June 2004 I began collaborating with Suzi of <a href="http://www.spywarewarrior.com/">SpywareWarrior.com</a> to create and maintain a number of pages with information on anti-spyware applications, including the &quot;<a href="http://www.spywarewarrior.com/rogue_anti-spyware.htm">Rogue/Suspect Anti-Spyware List</a>.&quot; I attended the <a href="http://www.spywarewarrior.com/uiuc/ftc-spyware.htm"> FTC's Spyware Workshop</a> (April 2004) and was a panelist at the <a href="http://www.download.com/antispywareworkshop/1200-2023-5142509.html"> CNET AntiSpyware Workshop</a> (May 2005) as well as the <a href="http://www.antispywarecoalition.org/events/feb2006agenda.htm"> AntiSpyware Coalition Workshop</a> (Feb. 2006).<br> <br> In recognition of my work to help internet users protect their privacy and security, Microsoft awarded me its MVP (Most Valued Professional) Award (<a href="http://mvp.support.microsoft.com/">http://mvp.support.microsoft.com/</a>).<br> <br><i>Full disclosure:</i> from late November 2004 to December 2005 I performed part-time consulting work as an independent contractor for <a href="http://www.sunbelt-software.com/"> Sunbelt Software</a>, makers of <a href="http://www.sunbelt-software.com/CounterSpy.cfm">CounterSpy</a>. In January 2006 I became a full time employee of Sunbelt Software. Because of that relationship and the conflict of interest that it represents, I must recuse myself from public comment on CounterSpy. That means that I cannot and will not publicly evaluate, test, or even recommend Sunbelt's anti-spyware product. The anti-spyware products that I do recommend, all of which are competitors to CounterSpy, are listed <a href="http://spywarewarrior.com/asw-features.htm#rec">here</a>.</font></p> &nbsp; <!------------------------FINISH MAIN PAGE CONTENT-----------------------> </blockquote> </td> </tr> </table> </center> <center> <table border="1" width="99%" cellpadding="2" bordercolor="#006699"> <tr> <td class=page2 width="50%" valign="middle"> <!---------------------------BEGIN BOTTOM INFO---------------------------> <div align="center"> <table border="0" cellspacing="5" width="95%"> <tr> <td width="100%"> <p> <font size="2"><b><a href="priv-pol.htm" target="_blank"><font color="#333399"> Privacy Policy</font></a></b><br> <b><a href="disclaim.htm" target="_self"><font color="#333399">About This Web Site/Disclaimer </font></a></b></font> </p> </td> </tr> <tr> <td width="100%"> <b><font size="2"><a href="history.htm" target="_self"><font color="#333399">Update History</font></a></font></b> </td> </tr> <tr> <td width="100%"><b><i><font size="2">© 2000-2006 Eric L. Howes</font></i></b></td> </tr> </table> </div> </td> <td class=page2 width="50%" valign="middle"> <div align="center"> <table border="0" cellspacing="5" width="95%"> <tr> <td width="100%"> <b><font size="2"> Comments? Spot a broken link?&nbsp; Want to recommend a link? Then contact me at:</font></b> </td> </tr> <tr> <td width="100%"> <img border="0" src="pics/ehowes-sww12.jpg" width="205" height="19"> </td> </tr> <tr> <td width="100%"><font size="2">You can get my <b>PGP public keys</b> <a href="pgp-keys.htm" target="_self"><b><font color="#333399">HERE</font></b></a>. </font> </td> </tr> </table> </div> <!---------------------------FINISH BOTTOM INFO--------------------------> </td> </tr> </table> </center> <p align="center"><b><font size="2">These pages are generously hosted by</font></b></p> <center> <table border="0" cellpadding="2" cellspacing="0" width="75%" style="border-collapse: collapse" bordercolor="#111111"> <tr> <td width="50%"> <p align="center"><a href="http://spywarewarrior.com/index.php"> <img border="0" src="pics/sww-logo.gif" alt="Forums: http://spywarewarrior.com/index.php" width="318" height="58"></a></td> <td width="50%"> <p align="center"><a href="http://www.netrn.net/spywareblog/"> <img border="0" src="pics/sww-logo2.gif" alt="Blog: http://www.netrn.net/spywareblog/" width="248" height="73"></a></td> </tr> </table> </center> </body> </html>
Intro: Why this Web Site | | | | --- | --- | | **Welcome to the My Privacy & Security Page *at*** **[Spyware Warrior.com](http://www.spywarewarrior.com/)** | | | --- | | Introduction: Why This Web Site | This site contains **links** to numerous pages on the Web where home users can find software and information relevant to Windows PC privacy and security. It also contains a **rudimentary "checklist"** of basic steps that home PC users can take to enhance their privacy and security while using the Internet. Finally, you'll find a set of **resources** developed by the author of this site to help you protect your privacy and security on the Internet, including information about **[Pretty Good Privacy (PGP)](http://www.pgp.com/)** and the **[Gnu Privacy Guard (GPG)](http://www.gnupg.org/)**.   --- This web site was originally designed to assist students who took my [**B&TW classes**](http://units.english.uiuc.edu/ppw/) in [**Programs in Professional Writing**](http://units.english.uiuc.edu/ppw/) ([**Dept. of English**](http://www.english.uiuc.edu/)) at the **[University of Illinois at Urbana-Champaign](http://www.uiuc.edu/)**. It was first intended for the students in **B&TW 263 F1** (Business and Technical Writing) during the Spring of 2001. It was also used by several **B&TW 250** classes and a **B&TW 261** class over the past few semesters. It was last used by the students who took **B&TW 263 C** during the Spring of 2002. In all of those classes the students wrote a "how to" guide for home users of "Wintel" PC's who want to take basic steps to protect their privacy and security while using the Internet. The students in each class were divided into five groups to cover five topic areas: * [**Mal-ware Control**](btw/ps-intro/btw-intro1.htm) * [**Email Privacy & Security**](btw/ps-intro/btw-intro2.htm) * [**WWW Privacy & Security**](btw/ps-intro/btw-intro3.htm) * [**Networking Privacy & Security**](btw/ps-intro/btw-intro4.htm) * [**Desktop Privacy & Security**](btw/ps-intro/btw-intro5.htm) Note that the five web pages above were written as topic introductions for my class during the Spring of 2002. Those pages have not been updated since, and the information found on them about applications and threats is, thus, not up-to-date. The final written product that each group turned in averaged between 40-60 pages. The course description for that **B&TW** topic read: "In this class we will produce a 'how to' guide for users of home PC's who are interested in protecting their privacy and security while using the Internet. Students will learn to write technical documents for users with little technical experience. Students will also gain valuable knowledge about safely using desktop computers both at home and in the workplace. We will learn and write about such things as banner ads, cookies, web bugs, data encryption, 'spyware,' viruses and worms, trojan horses, and personal firewalls. While students with a high degree of PC knowledge and proficiency are encouraged to enroll, technical knowledge of PC hardware or software is not required or even assumed. This class is for those who wish to educate themselves about an increasingly important aspect of Internet usage, as well as those who are technically savvy and who seek to tailor their writing skills to audiences that do not share the same level of technical competence." In January 2006, the web site was moved to [SpywareWarrior.com](http://www.spywarewarrior.com/) after I left the University of Illinois and became Director of Malware Research at the [Sunbelt Software](http://www.sunbelt-software.com/). --- Please note that this web site is ***not*** and was ***not*** connected in any way with the **[University of Illinois](http://www.uiuc.edu/)**' several well-known computer programs and organizations, including the **[Dept. of Computer Science](http://www.cs.uiuc.edu/)**, **[CITES](http://www.cites.uiuc.edu/)**, and the **[NCSA](http://ncsa.uiuc.edu/),** even when the site was located at the University of Illinois. You can find many other computer privacy and security resources at the **[University of Illinois](http://www.uiuc.edu/)** -- see **[THIS](info15b.htm)** page for a list of links. ***Background & Bio*** I am currently Director of [Malware Research](http://research.sunbelt-software.com/) at [Sunbelt Software](http://www.sunbelt-software.com). Prior to joining Sunbelt I was a graduate student in the [Graduate School of Library and Information Science](http://www.lis.uiuc.edu/gslis/index.html) (GSLIS) at the [University of Illinois at Urbana-Champaign](http://www.uiuc.edu/). For twelve years I taught [business and technical writing](http://units.english.uiuc.edu/ppw/) at the University of Illinois. During 2004-2005 I taught a course in GSLIS titled "[Literacy in the Information Age](http://www.inquiry.uiuc.edu/ilabs/out.php?cilid=929)." For three years I also taught composition courses at [Parkland Community College](http://www.parkland.edu/) in Champaign.  Over the past five years I have maintained a [personal web site](http://www.spywarewarrior.com/uiuc/) -- first at at the University of Illinois; now at Spyware Warrior.com -- to supply internet users with resources to protect their privacy and security on the internet. Among those resources are several [utilities](http://www.spywarewarrior.com/uiuc/resource6.htm) and "[block lists](http://www.spywarewarrior.com/uiuc/resource.htm)" that allow users of Microsoft's Internet Explorer web browser to protect themselves against the flood of unwanted software and content pushed on them by aggressive advertising and marketing entities. In June 2004 I began collaborating with Suzi of [SpywareWarrior.com](http://www.spywarewarrior.com/) to create and maintain a number of pages with information on anti-spyware applications, including the "[Rogue/Suspect Anti-Spyware List](http://www.spywarewarrior.com/rogue_anti-spyware.htm)." I attended the [FTC's Spyware Workshop](http://www.spywarewarrior.com/uiuc/ftc-spyware.htm) (April 2004) and was a panelist at the [CNET AntiSpyware Workshop](http://www.download.com/antispywareworkshop/1200-2023-5142509.html) (May 2005) as well as the [AntiSpyware Coalition Workshop](http://www.antispywarecoalition.org/events/feb2006agenda.htm) (Feb. 2006). In recognition of my work to help internet users protect their privacy and security, Microsoft awarded me its MVP (Most Valued Professional) Award (<http://mvp.support.microsoft.com/>). *Full disclosure:* from late November 2004 to December 2005 I performed part-time consulting work as an independent contractor for [Sunbelt Software](http://www.sunbelt-software.com/), makers of [CounterSpy](http://www.sunbelt-software.com/CounterSpy.cfm). In January 2006 I became a full time employee of Sunbelt Software. Because of that relationship and the conflict of interest that it represents, I must recuse myself from public comment on CounterSpy. That means that I cannot and will not publicly evaluate, test, or even recommend Sunbelt's anti-spyware product. The anti-spyware products that I do recommend, all of which are competitors to CounterSpy, are listed [here](http://spywarewarrior.com/asw-features.htm#rec).   | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | | | | | --- | | **[Privacy Policy](priv-pol.htm)** **[About This Web Site/Disclaimer](disclaim.htm)** | | **[Update History](history.htm)** | | ***© 2000-2006 Eric L. Howes*** | | | | | --- | | **Comments? Spot a broken link?  Want to recommend a link? Then contact me at:** | | | | You can get my **PGP public keys** [**HERE**](pgp-keys.htm). | | **These pages are generously hosted by** | | | | --- | --- | | [Forums: http://spywarewarrior.com/index.php](http://spywarewarrior.com/index.php) | [Blog: http://www.netrn.net/spywareblog/](http://www.netrn.net/spywareblog/) |
http://www.spywarewarrior.com/uiuc/intro.htm
<HTML> <HEAD> <title>The TecfaMOO( Jan-1995)</title> <!-- Changed by: D.K.S., 7-Apr-1999 --> </HEAD> <BODY BACKGROUND="/gif/backgrnd.jpg" text="FFFFFF" link="FFFF00" vlink="FFAA00"> <H1><img align=left src="/gif/tecfacowy.gif" hspace=10 width=170 height=134 alt="[COW Picture] - ">The TecfaMOO</H1> The <b> TECFA</b><tt>MOO</tt> is a <A NAME=tex2html12 HREF="http://tecfa.unige.ch/edu-comp/WWW-VL/eduVR-page.html">text-based virtual reality</A>. It is a Virtual Space for Educational Technology, Education, Research and Life at TECFA, School of Psychology and Education, University of Geneva, Switzerland. <P> The <b> TECFA</b><tt>MOO</tt> project has been started as a small informal project in the fall of 1994. We have been using MOO technology as internal CMC tool (most Tecfa Members are "on the MOO"), for some teaching and some <A HREF="http://tecfa.unige.ch/moo/projects.html">research</A>. <hr> Warning: this page (and subpages) haven't been updated for a while (DKS/3/99). <hr> <H2><img align=left src="/gif/tecfacow-small.gif" hspace=10 width=50 height=38 alt="[COW Picture] - "><A HREF="/moo/how_to.html">Introductory Manuals &amp; how to connect</A></H2> <H2><img align=left src="/gif/tecfacow-small.gif" hspace=10 width=50 height=38 alt="[COW Picture] - "> <A HREF="/moo/projects.html">TecfaMOO Projects &amp; Publications</A></H2> <H2><img align=left src="/gif/tecfacow-small.gif" hspace=10 width=50 height=38 alt="[COW Picture] - "> <A HREF="/moo/education.html">MOO Education at Tecfa</A></H2> <H2><img align=left src="/gif/tecfacow-small.gif" hspace=10 width=50 height=38 alt="[COW Picture] - "><A HREF="/moo/builders.html">Builder's Info and Programming Manuals</A></H2> <H2><img align=left src="/gif/tecfacow-small.gif" hspace=10 width=50 height=38 alt="[COW Picture] - "> <A HREF="/moo/partners.html">Project Partners</A></H2> <H2><img align=left src="/gif/tecfacow-small.gif" hspace=10 width=50 height=38 alt="[COW Picture] - "> <A HREF="/moo/moocommunity.html">Services for the "Moo community"</A></H2> <br clear=all> <hr> Most popular pages (all under permanent revision): <A HREF="/edu-comp/WWW-VL/eduVR-page.html">Tecfa's Educational MUD page</A> * <A HREF="/moo/tecfaman/www/TecfaMOOMan_1.html">The TecfaMOO Manuel</A> (in French) * <A HREF="/moo/book2/tm2.html">The TecfaMOO book - part II Technical Manuel</A> * <A HREF="/moo/spider-bib/spider-bib.html">The SPIDER Bibliography</A> * <A HREF="/moo/short_guide.html">The very short guide</A> * <hr> <H2><img align=left src="/gif/tecfacow-small.gif" hspace=10 width=50 height=38 alt="[COW Picture] - ">Events at Tecfamoo or involving TecfaMOOers</H2> Workshop: <UL> <LI><A HREF="/moo/paris96/">Virtual Environments and the WWW</A>. A full-day work shop at the <A HREF="http://www5conf.inria.fr/">Fifth International World Wide Web Conference</A>, May 6-10, 1996 - Paris. </UL> Proposals: <UL> <LI> <A HREF="moo/boston95/woo-workshop.html">WOO Workshop Proposal</A> for the 4th WWW conference in Boston. Got lost... <LI> <A HREF="/moo/boston95/woo-tutorial2.html">Woo Tutorial Proposal</A> for the same event (got refused for the following reason: "We received many more tutorial proposals than we had slots available, so we had to select a small subset" </UL> Past Events: <UL> <LI><A HREF="/moo/icde95/welcome.html">ICDE95/ A tour to TecfaMOO on June 22</A> <LI>See also: <A HREF="/~marcus/icde95/">ICDE95 Panel on Commercial MOO Applications</A> (session transcripts available) </UL> <hr> <A HREF="/moo/quest.html">A quest for names</A> <hr> <A HREF="/tecfa/tecfa-research/CMC/CMC-overview.html">UP to CMC Overview page</A> - <A HREF="http://tecfa.unige.ch/">UP to server home page</A> <hr> <ADDRESS> <A Name=Signature HREF="http://tecfa.unige.ch/tecfa/general/tecfa-people/schneider.html"> Daniel Schneider</A>, <A HREF="/tecfa/tecfa-overview.html"><IMG SRC="/gif/icon-tecfa-unit-small.gif" ALT="TECFA"></A> </ADDRESS> </BODY> </HTML>
The TecfaMOO( Jan-1995) # [COW Picture] - The TecfaMOO The **TECFA**MOO is a [text-based virtual reality](http://tecfa.unige.ch/edu-comp/WWW-VL/eduVR-page.html). It is a Virtual Space for Educational Technology, Education, Research and Life at TECFA, School of Psychology and Education, University of Geneva, Switzerland. The **TECFA**MOO project has been started as a small informal project in the fall of 1994. We have been using MOO technology as internal CMC tool (most Tecfa Members are "on the MOO"), for some teaching and some [research](http://tecfa.unige.ch/moo/projects.html). --- Warning: this page (and subpages) haven't been updated for a while (DKS/3/99). --- ## [COW Picture] - [Introductory Manuals & how to connect](/moo/how_to.html) ## [COW Picture] - [TecfaMOO Projects & Publications](/moo/projects.html) ## [COW Picture] - [MOO Education at Tecfa](/moo/education.html) ## [COW Picture] - [Builder's Info and Programming Manuals](/moo/builders.html) ## [COW Picture] - [Project Partners](/moo/partners.html) ## [COW Picture] - [Services for the "Moo community"](/moo/moocommunity.html) --- Most popular pages (all under permanent revision): [Tecfa's Educational MUD page](/edu-comp/WWW-VL/eduVR-page.html) \* [The TecfaMOO Manuel](/moo/tecfaman/www/TecfaMOOMan_1.html) (in French) \* [The TecfaMOO book - part II Technical Manuel](/moo/book2/tm2.html) \* [The SPIDER Bibliography](/moo/spider-bib/spider-bib.html) \* [The very short guide](/moo/short_guide.html) \* --- ## [COW Picture] - Events at Tecfamoo or involving TecfaMOOers Workshop: * [Virtual Environments and the WWW](/moo/paris96/). A full-day work shop at the [Fifth International World Wide Web Conference](http://www5conf.inria.fr/), May 6-10, 1996 - Paris. Proposals: * [WOO Workshop Proposal](moo/boston95/woo-workshop.html) for the 4th WWW conference in Boston. Got lost... * [Woo Tutorial Proposal](/moo/boston95/woo-tutorial2.html) for the same event (got refused for the following reason: "We received many more tutorial proposals than we had slots available, so we had to select a small subset" Past Events: * [ICDE95/ A tour to TecfaMOO on June 22](/moo/icde95/welcome.html)* See also: [ICDE95 Panel on Commercial MOO Applications](/~marcus/icde95/) (session transcripts available) --- [A quest for names](/moo/quest.html) --- [UP to CMC Overview page](/tecfa/tecfa-research/CMC/CMC-overview.html) - [UP to server home page](http://tecfa.unige.ch/) --- [Daniel Schneider](http://tecfa.unige.ch/tecfa/general/tecfa-people/schneider.html), [![TECFA](/gif/icon-tecfa-unit-small.gif)](/tecfa/tecfa-overview.html)
https://tecfa.unige.ch/moo/tecfamoo.html
<html> <head> <title>Hollywood Tarot</title> </head> <body bgcolor="#000000" text="#ffffff" link="#f100f1" vlink="#0000ff"> <center><a href="/10card.html"><img src="/htlogo.JPG" ALT="Hollywood Tarot: Ask Your Question!" border="0" ></a></center> <basefont size=3> <p> <blockquote><font color="#0000ff"><b> <blink>Warning!</blink> This web site is an affront to all serious students of the divinatory arts. If you are in dire need of an actual prophecy, contact the International Tarot Society, <a href="http://www.ata-tarot.com/">The American Tarot Association</a>, the Clairvoyant Certification Board, <a href="http://www.cms.edu/">The College of Metaphysical Studies</a> for a listing of professional oracles and diviners in your area. </b></font></blockquote> <img src="/colorsqu.gif" align=left> <b> <br><br> <table><!--table starts--> <tr><td><spacer></td><td><valign=top><img src="/moonbutton1.JPG"></td></tr><tr> <td valign=top><br><a href="#one"><img src="/introductionbutton.JPG" height=50></a> </td> <td valign=top><br>At some point (maybe even now!) you should definitely read this, which explains such things as what it means when we refer to people as Level 1 and Level 2 Archetypes. <br></td></tr> <tr><td valign=top><br><a href="/10card.html"><img src="/questionbutton.JPG" height=50></a></td> <td valign=top><br>But if you want, you can skip over the introductory crap and seek immediate answers using one of our three different Tarot layouts. <br></td> </tr> <tr> <td valign=top><br> <a href="/whosonwhatcard.html"><img src="/whatcardbutton.JPG" height=50></a></td> <td valign=top><br> Or you can skip over the introductory crap and check out the individual cards, which will lead you to lots of links to the stars. <br></td></tr> <tr><td valign=top><br><a href="/archive.html"><img src="/girlsbutton.JPG" height=50></a></td> <td valign=top><br> Another option: if you don't understand how Tarot works and want to see some "professionals" in action, you can visit these ladies and see earth-shattering prophesies in the making: the latest question, 3/5/99: <a href="esmene10.html"><I><b>"What does the next year hold for Eddie Murphy?"</a></b></I>.<br></td> </tr> <tr> <td valign=top><br><a href="/faq.html"><img src="/faqsbutton.JPG" height=50></a></td> <td valign=top><br>Questions about why your favorite actors don't have their own cards? Depressed because your cards always turn out negative? Answers here. <br></td></tr> <tr><td valign=top><br><a href="/makeyourown.html"><img src="/deckbutton.JPG" height=50></a></td> <td valign=top><br> No, you cannot purchase the Hollywood Tarot deck. You can, however, make your own deck for your own personal home use, if you promise not to sell the cards or in any way profit by these names and faces which are owned by many other people, none of whom are me. <br></td> </tr> <tr> <td valign=top><br><a href="/links.html"><img src="/linksbutton.JPG" height=50></a></td> <td valign=top><br>Or, you could skip over this web site entirely, and find over 500 links to other wonderful world wide places. <br></td></tr> <tr><td valign=top><br><a href="/wildweb.html"><img src="/cowgirlmelbutton.JPG" height=50></a></td> <td valign=top><br>This is more stuff from the author of Hollywood Tarot. You can totally skip this and still have a very fulfilling Hollywood Tarot experience. <br></td></tr> <tr><td valign=top><br><a href="http://www.lunarace.com/melanie.html"><img src="/melantop.gif" height=45></a></td> <td valign=top><br>The author of Hollywood Tarot is interviewed by the sweet folks at <a href="http://www.lunarace.com/">Rebel Planet</a> (they even created a background image using her initials! She was so impressed!). <br></td></tr> <tr><td valign=top><br><img src="/hollywoodtarotbutton.JPG"></td> <td valign=top><br>You can use this logo in links to this site, if you'd like. <br></td></tr> <tr><td valign=top><br><a href="/usage/"><img src="/statsbutton.JPG" height=50></a></td> <td valign=top><br>Here are all the statistics you could ever possibly want to know about how many people have visited Hollywood Tarot and exactly when they stopped by. If you want to know why, you'll have to ask the cards. <br></td></tr> <tr><td valign=top><br> <a href="http://mercury.beseen.com/guestbook/t/39120/guestbook.html"><img src="/viewbutton.JPG" height=50></a> <a href="http://mercury.beseen.com/guestbook/t/39120/sign.html"><img src="/signbutton.JPG" height=50></a></td> <td><valign=top><br> Sign our handy-dandy guest book; you don't have to include your e-mail address - and you can make up a name, for all I care. (Note: If you read the guest book and notice famous people have signed it, don't get too excited about it; if <I> (insert famous name here)</I> ever really did sign the guest book, he/she would no doubt use an alias). (Another note: the guest book with its obligatory advertisers is a free web service from <a href="http://www.beseen.com/b-index.html">Beseen.com<a>.)</td></tr> <tr><td><valign=top><img src="/moonbutton4.JPG"></td></tr> </table><!--table ends--> <p><font color="#000000"><a name="one">Introduction</a></font><br> <img src="/colorsqu.gif"> <br> <img src="/introductorycrap.JPG"> <br><img src="/colorsqu.gif"> <p><basefont size=3> <blockquote> <p>The tarot's been around for a long darn time. The reason it works is because it acknowledges the archetypes that function in the human psyche. A tarot reading is the use of tarot cards as an intuition tool to access conscious awareness of the archetypes that are manifesting in a person's life. <br><img src="/moonbutton1.JPG" align=center> <br> These archetypes exist in the larger human universe, not just in tarot cards. For example, the Greek and Roman gods are personifications of these same archetypes--the god of war, the god of love, the hunter, mother earth, etcetera--all of these characters are part of the mass consciousness, pieces of our larger identity as human beings. Or for another example, Carl Jung's archetypes. <br> <img src="/moonbutton4.JPG"> Blah, blah, blah. <img src="/moonbutton5.JPG"> <p> Anyway, that's why certain entertainers become so vivid and real and important to the rest of us joe schmoes. They epitomize archetypes. There is a name for it in Hollywood: it's called "type casting".<br><img src="/moonbutton2.JPG" align=center> <br> Famous entertainers exist on at least three levels. Wise ones exist on at least four: <br><img src="/moonbutton5.JPG" align=right> <br> <font color="#f100f1">Level One:</font> The archetype of the character they portray on film, TV, whatever-- (example: Woody Allen as the schlemiel). <br> <font color="#f100f1">Level Two:</font> The archetype of their real life as identified by the outside, aka their National Enquirer persona-- (example: Woody Allen as cradle-robbing narcissist). <br> <font color="#f100f1">Level Three:</font> Who they actually are in daily life-- (having never met Woody Allen, I cannot provide a description). <br> <font color="#f100f1">Level Four</font> (which most people are never aware of): Their actual identity archetype--(what people discover when they finally "find themself"; your author has not seen "Deconstructing Harry", but I have a sense that it alludes to this). <p><img src="/moonbutton3.JPG"> The audience can be aware of only the first two levels. In some entertainers, the Level One archetype (the character they portray) is their strongest archetype. For others, the Level Two archetype is stronger (their National Enquirer persona). <br><img src="/moonbutton5.JPG" align=right> <br> Hollywood Tarot prefers to use Level One archetypes when possible; however, in some instances a Level Two archetype is so powerful that I have selected it for the card. I kind of feel bad about it in some cases--Hugh Grant, Paul Reubens, Robert Downey, Jr., etc. should be allowed to put their youthful indiscretions aside and get on with their lives--but unfortunately when they misbehaved they built an Archetype. Sorry, guys. <p><img src="/moonbutton1.JPG" align=right> There are many versions of tarot cards available. Being a traditionalist, I have opted to use the classic Rider-Waite tarot and older decks as noted by Walker (see below) as the basis for my cards and interpretations. The Rider-Waite deck works well for my purposes, for the same reason many tarot professionals reject it: it's loathesomely sexist and anthropomorphizes the universe. Also: it is heavily biased toward sex and violence. <p> <img src="/moonbutton4.JPG"> Perfect for Hollywood Tarot! <img src="/moonbutton5.JPG"> <p><img src="/moonbutton1.JPG"> You'll notice there is no "reverse side" on Hollywood Tarot cards. The positives and negatives of any situation are already built into the archetype. For example: if you get Elvis Presley (6 of Wands--Glory), you're astute enough to figure out whether a positive Elvis or negative Elvis is appropriate to your question. <br><img src="/moonbutton2.JPG" align=right> <p><br><img src="/moonbutton3.JPG"> <br>COPYRIGHT INFO: All of the text and ideas enclosed within the pages of this web site (except where cited otherwise) were written and originated by Melanie Bacon, 1998-1999--so if you're going to use any of it to make money, send a reasonable amount of the scratch my way (and I reserve the right to define "reasonable", thank you very much). You have my blessing to use it in free transmission of information, but please provide links and/or citations. <p><img src="/moonbutton5.JPG"> All graphics were taken without permission or discussion from the web sites indicated (see <a href="/whosonwhatcard.html">Who's On What Card</a>); contact those folks for further information on the pics. I used Adobe PhotoDeluxe and Presto! ImageFolio LE to add frames. <br><img src="/moonbutton1.JPG" align=right> <p><img src="/moonbutton2.JPG"> <br>"Hollywood Tarot" is trademarked by <a href="/buffalomel.html">Melanie Bacon</a>. </blockquote></b> <img src="/moonbutton4.JPG"> <p><i>Primary Sources for Hollywood Tarot:</i> <br>Abraham, Sylvia. <b>How to Read the Tarot</b>. St. Paul: Llewellyn Publications, 1994. <br>Japikse, Carl. <b>Exploring the Tarot</b>. Columbus: Ariel Press, 1989. <br>Waite, Arthur Edward. <b>The Pictorial Key to the Tarot</b>. Stamford: U.S. Games Systems edition published in 1996. <br>Walker, Barbara G. <b>The Secrets of the Tarot</b>. San Francisco: Harper & Row, 1984. <br>Wilson, Robert Anton. <b>Prometheus Rising</b>. Tempe: New Falcon Publications, 1997. <p><img src="/moonbutton5.JPG"> Also: this site could not have been developed without the research tools <a href="http://www.dogpile.com/">Dogpile</a>, <a href="http://www.fansites.com/">The Network for Entertainment Fans--fansites.com</a>, <a href="http://www.celebsite.com/">CelebSite</a>, <a href="http://us.imdb.com/">The Internet Movie Database</a> and <a href="http://www.webring.org/">Webring</a>, and the web site development tool <a href="http://www.angelfire.com">Angelfire</a>. Also, big thanks to Tim, Bryan, Yvonne and the other fine folks at <a href="http://www.internet-connections.net/">Internet Connections</a>. <font size="3"> <p><img src="/moonbutton1.JPG"> <center> <p> Email: <a href="mailto:melanieraebacon@yahoo.com"> melanieraebacon@yahoo.com</a></center><img src="/moonbutton2.JPG" align=right> <p> <img src="/moonbutton3.JPG"> <center>| <a href="/index.phtml">Home </a> | <a href="/10card.html">Hollywood Tarot: Ask Your Question</a> | <a href="/whosonwhatcard.html">Who's On What Card </a> | <a href="/esmene.html">Lady Esmene and Madame Esmeralda Read The Cards</a> | <a href="/links.html">Links </a> | <a href="/faq.html">FAQ</a> | <a href="/makeyourown.html">Make Your Own Deck</a> </center><br> </center><br><img src="/moonbutton4.JPG" align=center> </body> </html>
Hollywood Tarot [![Hollywood Tarot: Ask Your Question!](/htlogo.JPG)](/10card.html) > **Warning! This web site is an affront to all serious students of the divinatory arts. If you are in dire need of an actual prophecy, contact the International Tarot Society, [The American Tarot Association](http://www.ata-tarot.com/), the Clairvoyant Certification Board, [The College of Metaphysical Studies](http://www.cms.edu/) for a listing of professional oracles and diviners in your area.** ![](/colorsqu.gif) **| | | | | At some point (maybe even now!) you should definitely read this, which explains such things as what it means when we refer to people as Level 1 and Level 2 Archetypes. | | | But if you want, you can skip over the introductory crap and seek immediate answers using one of our three different Tarot layouts. | | | Or you can skip over the introductory crap and check out the individual cards, which will lead you to lots of links to the stars. | | | Another option: if you don't understand how Tarot works and want to see some "professionals" in action, you can visit these ladies and see earth-shattering prophesies in the making: the latest question, 3/5/99: [***"What does the next year hold for Eddie Murphy?"***](esmene10.html) |**. | | Questions about why your favorite actors don't have their own cards? Depressed because your cards always turn out negative? Answers here. | | | No, you cannot purchase the Hollywood Tarot deck. You can, however, make your own deck for your own personal home use, if you promise not to sell the cards or in any way profit by these names and faces which are owned by many other people, none of whom are me. | | | Or, you could skip over this web site entirely, and find over 500 links to other wonderful world wide places. | | | This is more stuff from the author of Hollywood Tarot. You can totally skip this and still have a very fulfilling Hollywood Tarot experience. | | | The author of Hollywood Tarot is interviewed by the sweet folks at [Rebel Planet](http://www.lunarace.com/) (they even created a background image using her initials! She was so impressed!). | | | You can use this logo in links to this site, if you'd like. | | | Here are all the statistics you could ever possibly want to know about how many people have visited Hollywood Tarot and exactly when they stopped by. If you want to know why, you'll have to ask the cards. | | | Sign our handy-dandy guest book; you don't have to include your e-mail address - and you can make up a name, for all I care. (Note: If you read the guest book and notice famous people have signed it, don't get too excited about it; if *(insert famous name here)* ever really did sign the guest book, he/she would no doubt use an alias). (Another note: the guest book with its obligatory advertisers is a free web service from [Beseen.com.)](http://www.beseen.com/b-index.html) | | | Introduction ![](/colorsqu.gif) ![](/introductorycrap.JPG) ![](/colorsqu.gif) > > The tarot's been around for a long darn time. The reason it works is because it acknowledges the archetypes that function in the human psyche. A tarot reading is the use of tarot cards as an intuition tool to access conscious awareness of the archetypes that are manifesting in a person's life. > ![](/moonbutton1.JPG) > > > > These archetypes exist in the larger human universe, not just in tarot cards. For example, the Greek and Roman gods are personifications of these same archetypes--the god of war, the god of love, the hunter, mother earth, etcetera--all of these characters are part of the mass consciousness, pieces of our larger identity as human beings. Or for another example, Carl Jung's archetypes. > > > > > > > > > ![](/moonbutton4.JPG) > > Blah, blah, blah. > > ![](/moonbutton5.JPG) > > > Anyway, that's why certain entertainers become so vivid and real and important to the rest of us joe schmoes. They epitomize archetypes. There is a name for it in Hollywood: it's called "type casting". > ![](/moonbutton2.JPG) > > > > Famous entertainers exist on at least three levels. Wise ones exist on at least four: > > > > > > > > > ![](/moonbutton5.JPG) > > Level One: The archetype of the character they portray on film, TV, whatever-- > > > > > > (example: Woody Allen as the schlemiel). > > > > > > > > > > Level Two: The archetype of their real life as identified by the outside, aka their National Enquirer persona-- > > > > > > (example: Woody Allen as cradle-robbing narcissist). > > > > > > > > > > Level Three: Who they actually are in daily life-- > > > > > > (having never met Woody Allen, I cannot provide a description). > > > > > > > > > > Level Four (which most people are never aware of): Their actual identity archetype--(what people discover when they finally "find themself"; your author has not seen "Deconstructing Harry", but I have a sense that it alludes to this). > > > > > > > > ![](/moonbutton3.JPG) > > The audience can be aware of only the first two levels. In some entertainers, the Level One archetype (the character they portray) is their strongest archetype. For others, the Level Two archetype is stronger (their National Enquirer persona). > > > > > > > > > ![](/moonbutton5.JPG) > > Hollywood Tarot prefers to use Level One archetypes when possible; however, in some instances a Level Two archetype is so powerful that I have selected it for the card. I kind of feel bad about it in some cases--Hugh Grant, Paul Reubens, Robert Downey, Jr., etc. should be allowed to put their youthful indiscretions aside and get on with their lives--but unfortunately when they misbehaved they built an Archetype. Sorry, guys. ![](/moonbutton1.JPG) > > > > > > > > There are many versions of tarot cards available. Being a traditionalist, I have opted to use the classic Rider-Waite tarot and older decks as noted by Walker (see below) as the basis for my cards and interpretations. The Rider-Waite deck works well for my purposes, for the same reason many tarot professionals reject it: it's loathesomely sexist and anthropomorphizes the universe. Also: it is heavily biased toward sex and violence. > > > > ![](/moonbutton4.JPG) > > Perfect for Hollywood Tarot! ![](/moonbutton5.JPG) > ![](/moonbutton1.JPG) > > You'll notice there is no "reverse side" on Hollywood Tarot cards. The positives and negatives of any situation are already built into the archetype. For example: if you get Elvis Presley (6 of Wands--Glory), you're astute enough to figure out whether a positive Elvis or negative Elvis is appropriate to your question. > ![](/moonbutton2.JPG) > > ![](/moonbutton3.JPG) > > COPYRIGHT INFO: All of the text and ideas enclosed within the pages of this web site (except where cited otherwise) were written and originated by Melanie Bacon, 1998-1999--so if you're going to use any of it to make money, send a reasonable amount of the scratch my way (and I reserve the right to define "reasonable", thank you very much). You have my blessing to use it in free transmission of information, but please provide links and/or citations. > > > > ![](/moonbutton5.JPG) > > All graphics were taken without permission or discussion from the web sites indicated (see [Who's On What Card](/whosonwhatcard.html)); contact those folks for further information on the pics. I used Adobe PhotoDeluxe and Presto! ImageFolio LE to add frames. > ![](/moonbutton1.JPG) > ![](/moonbutton2.JPG) > > "Hollywood Tarot" is trademarked by [Melanie Bacon](/buffalomel.html). > > > > > > > > > > > > > > > > > > > > > > > > > > ![](/moonbutton4.JPG) *Primary Sources for Hollywood Tarot:* Abraham, Sylvia. **How to Read the Tarot**. St. Paul: Llewellyn Publications, 1994. Japikse, Carl. **Exploring the Tarot**. Columbus: Ariel Press, 1989. Waite, Arthur Edward. **The Pictorial Key to the Tarot**. Stamford: U.S. Games Systems edition published in 1996. Walker, Barbara G. **The Secrets of the Tarot**. San Francisco: Harper & Row, 1984. Wilson, Robert Anton. **Prometheus Rising**. Tempe: New Falcon Publications, 1997. ![](/moonbutton5.JPG) Also: this site could not have been developed without the research tools [Dogpile](http://www.dogpile.com/), [The Network for Entertainment Fans--fansites.com](http://www.fansites.com/), [CelebSite](http://www.celebsite.com/), [The Internet Movie Database](http://us.imdb.com/) and [Webring](http://www.webring.org/), and the web site development tool [Angelfire](http://www.angelfire.com). Also, big thanks to Tim, Bryan, Yvonne and the other fine folks at [Internet Connections](http://www.internet-connections.net/). ![](/moonbutton1.JPG) Email: [melanieraebacon@yahoo.com](mailto:melanieraebacon@yahoo.com) ![](/moonbutton2.JPG) ![](/moonbutton3.JPG) | [Home](/index.phtml) | [Hollywood Tarot: Ask Your Question](/10card.html) | [Who's On What Card](/whosonwhatcard.html) | [Lady Esmene and Madame Esmeralda Read The Cards](/esmene.html) | [Links](/links.html) | [FAQ](/faq.html) | [Make Your Own Deck](/makeyourown.html) ![](/moonbutton4.JPG)
https://hollywoodtarot.com/
<html> <head> <title>Color Landform Atlas of the United States</title> <meta name="Keywords" contents="Shaded relief maps, US States, satellite images, topographic maps, landforms"> <meta name="Description" contents="Shaded relief maps showing landforms of each US state. Satellite views of 48 states. 1895 maps. External links to newpapers, weather, and more."> </head> <body bgcolor="#ccbbaa" background="star_bar.gif" link="ff0000" alink="#ffffff" vlink= "#0000ff"> <ul><ul> <img border=0 width=457 height=40 src="states_title.gif"> <b> <pre> <a href="ak_0.html"><img border=0 src="B_gr.gif"></a> AK Alaska <a href="ma_0.html"><img border=0 src="B_gr.gif"></a> MA Massachusetts <a href="or_0.html"><img border=0 src="B_gr.gif"></a> OR Oregon <a href="al_0.html"><img border=0 src="B_gr.gif"></a> AL Alabama <a href="md_0.html"><img border=0 src="B_gr.gif"></a> MD Maryland <a href="pa_0.html"><img border=0 src="B_gr.gif"></a> PA Pennsylvania <a href="ar_0.html"><img border=0 src="B_gr.gif"></a> AR Arkansas <a href="me_0.html"><img border=0 src="B_gr.gif"></a> ME Maine <a href="ri_0.html"><img border=0 src="B_gr.gif"></a> RI Rhode Island <a href="az_0.html"><img border=0 src="B_gr.gif"></a> AZ Arizona <a href="mi_0.html"><img border=0 src="B_gr.gif"></a> MI Michigan <a href="sc_0.html"><img border=0 src="B_gr.gif"></a> SC South Carolina <a href="ca_0.html"><img border=0 src="B_gr.gif"></a> CA California <a href="mn_0.html"><img border=0 src="B_gr.gif"></a> MN Minnesota <a href="sd_0.html"><img border=0 src="B_gr.gif"></a> SD South Dakota <a href="co_0.html"><img border=0 src="B_gr.gif"></a> CO Colorado <a href="mo_0.html"><img border=0 src="B_gr.gif"></a> MO Missouri <a href="tn_0.html"><img border=0 src="B_gr.gif"></a> TN Tennessee <a href="ct_0.html"><img border=0 src="B_gr.gif"></a> CT Connecticut <a href="ms_0.html"><img border=0 src="B_gr.gif"></a> MS Mississippi <a href="tx_0.html"><img border=0 src="B_gr.gif"></a> TX Texas <a href="de_0.html"><img border=0 src="B_gr.gif"></a> DE Delaware <a href="mt_0.html"><img border=0 src="B_gr.gif"></a> MT Montana <a href="ut_0.html"><img border=0 src="B_gr.gif"></a> UT Utah <a href="fl_0.html"><img border=0 src="B_gr.gif"></a> FL Florida <a href="nc_0.html"><img border=0 src="B_gr.gif"></a> NC North Carolina <a href="va_0.html"><img border=0 src="B_gr.gif"></a> VA Virginia <a href="ga_0.html"><img border=0 src="B_gr.gif"></a> GA Georgia <a href="nd_0.html"><img border=0 src="B_gr.gif"></a> ND North Dakota <a href="vt_0.html"><img border=0 src="B_gr.gif"></a> VT Vermont <a href="hi_0.html"><img border=0 src="B_gr.gif"></a> HI Hawaii <a href="ne_0.html"><img border=0 src="B_gr.gif"></a> NE Nebraska <a href="wa_0.html"><img border=0 src="B_gr.gif"></a> WA Washington <a href="ia_0.html"><img border=0 src="B_gr.gif"></a> IA Iowa <a href="nh_0.html"><img border=0 src="B_gr.gif"></a> NH New Hampshire <a href="wi_0.html"><img border=0 src="B_gr.gif"></a> WI Wisconsin <a href="id_0.html"><img border=0 src="B_gr.gif"></a> ID Idaho <a href="nj_0.html"><img border=0 src="B_gr.gif"></a> NJ New Jersey <a href="wv_0.html"><img border=0 src="B_gr.gif"></a> WV West Virginia <a href="il_0.html"><img border=0 src="B_gr.gif"></a> IL Illinois <a href="nm_0.html"><img border=0 src="B_gr.gif"></a> NM New Mexico <a href="wy_0.html"><img border=0 src="B_gr.gif"></a> WY Wyoming <a href="in_0.html"><img border=0 src="B_gr.gif"></a> IN Indiana <a href="nv_0.html"><img border=0 src="B_gr.gif"></a> NV Nevada <a href="ks_0.html"><img border=0 src="B_gr.gif"></a> KS Kansas <a href="ny_0.html"><img border=0 src="B_gr.gif"></a> NY New York <a href="us_links.html"><img border=0 src="B_gr.gif"></a> U.S. Links <a href="ky_0.html"><img border=0 src="B_gr.gif"></a> KY Kentucky <a href="oh_0.html"><img border=0 src="B_gr.gif"></a> OH Ohio <a href="la_0.html"><img border=0 src="B_gr.gif"></a> LA Louisiana <a href="ok_0.html"><img border=0 src="B_gr.gif"></a> OK Oklahoma </pre> <pre> <a href="about.html"><img border=0 src="B_or.gif"></a> About these maps <a href="elev_key_v2.gif"><img border=0 src="B_or.gif"></a> Elevation Key <a href="web_sites.html"><img border=0 src="B_or.gif"></a> Other Map Users </pre> </b> <pre><a href="awards/awards.html"><img border=0 src="B_cy.gif"></a><b> Web Awards</b></pre> <hr> <em>by <a href="http://fermi.jhuapl.edu/res/"> R. Sterner</a></em> &nbsp; &nbsp; &nbsp; <font size=2> Online since 12:15 GMT May 4, 1995</font> <!--- --------------------------------------------- ---> <p> <table cellpadding=7 border=3 width=75%><tr><td bgcolor="#ffffff"> <h3>Map users</h3> <a href="http://www.crazyguyonabike.com/journal/?o=as&doc_id=830&v=p8"> <img src="mtjeff_s.jpg" align="right"> <b>Across the US - 2005</b></a> <br>Tim Thompson's journal of his bicycle trip across the U.S. <br clear="right"> <p> <a href="http://www.earthspan.org/Projects/Eagles/MainMap.htm"> <img src="eagle.gif" align="right"> <b>Satellite tracking of eagles</b></a> <br>Four immature Bald Eagles are being tracked using satellites. Their positions are displayed on various kinds of maps including shaded relief maps. Visit the web site to see where they are. <br clear="right"> <p> <a href="http://fermi.jhuapl.edu/maps/afghanistan/"> <b>Afghanistan shaded relief map</b></a> <br>Shows topography, major cities, and major highways. <p> <a href="http://fermi.jhuapl.edu/wallpaper"><b>Wallpaper</b></a> <br>Here's a new background image for your computer, a U.S. flag flying in front of the Capitol Dome. <p> <a href="http://www.sitesforteachers.com/perl/rankem.pcgi?id=sterner"> Sites for Teachers</a> <br>Hundreds of useful web sites for teachers (and others). <p> <a href="http://www.top100familysites.com/scripts/arp/rankem.cgi?action=in&id=sterner"> Top 100 Family Sites</a> <p> </table> <!--- --------------------------------------------- ---> </body>
Color Landform Atlas of the United States ![](states_title.gif) **``` [![](B_gr.gif)](ak_0.html) AK Alaska [![](B_gr.gif)](ma_0.html) MA Massachusetts [![](B_gr.gif)](or_0.html) OR Oregon [![](B_gr.gif)](al_0.html) AL Alabama [![](B_gr.gif)](md_0.html) MD Maryland [![](B_gr.gif)](pa_0.html) PA Pennsylvania [![](B_gr.gif)](ar_0.html) AR Arkansas [![](B_gr.gif)](me_0.html) ME Maine [![](B_gr.gif)](ri_0.html) RI Rhode Island [![](B_gr.gif)](az_0.html) AZ Arizona [![](B_gr.gif)](mi_0.html) MI Michigan [![](B_gr.gif)](sc_0.html) SC South Carolina [![](B_gr.gif)](ca_0.html) CA California [![](B_gr.gif)](mn_0.html) MN Minnesota [![](B_gr.gif)](sd_0.html) SD South Dakota [![](B_gr.gif)](co_0.html) CO Colorado [![](B_gr.gif)](mo_0.html) MO Missouri [![](B_gr.gif)](tn_0.html) TN Tennessee [![](B_gr.gif)](ct_0.html) CT Connecticut [![](B_gr.gif)](ms_0.html) MS Mississippi [![](B_gr.gif)](tx_0.html) TX Texas [![](B_gr.gif)](de_0.html) DE Delaware [![](B_gr.gif)](mt_0.html) MT Montana [![](B_gr.gif)](ut_0.html) UT Utah [![](B_gr.gif)](fl_0.html) FL Florida [![](B_gr.gif)](nc_0.html) NC North Carolina [![](B_gr.gif)](va_0.html) VA Virginia [![](B_gr.gif)](ga_0.html) GA Georgia [![](B_gr.gif)](nd_0.html) ND North Dakota [![](B_gr.gif)](vt_0.html) VT Vermont [![](B_gr.gif)](hi_0.html) HI Hawaii [![](B_gr.gif)](ne_0.html) NE Nebraska [![](B_gr.gif)](wa_0.html) WA Washington [![](B_gr.gif)](ia_0.html) IA Iowa [![](B_gr.gif)](nh_0.html) NH New Hampshire [![](B_gr.gif)](wi_0.html) WI Wisconsin [![](B_gr.gif)](id_0.html) ID Idaho [![](B_gr.gif)](nj_0.html) NJ New Jersey [![](B_gr.gif)](wv_0.html) WV West Virginia [![](B_gr.gif)](il_0.html) IL Illinois [![](B_gr.gif)](nm_0.html) NM New Mexico [![](B_gr.gif)](wy_0.html) WY Wyoming [![](B_gr.gif)](in_0.html) IN Indiana [![](B_gr.gif)](nv_0.html) NV Nevada [![](B_gr.gif)](ks_0.html) KS Kansas [![](B_gr.gif)](ny_0.html) NY New York [![](B_gr.gif)](us_links.html) U.S. Links [![](B_gr.gif)](ky_0.html) KY Kentucky [![](B_gr.gif)](oh_0.html) OH Ohio [![](B_gr.gif)](la_0.html) LA Louisiana [![](B_gr.gif)](ok_0.html) OK Oklahoma ``` ``` [![](B_or.gif)](about.html) About these maps [![](B_or.gif)](elev_key_v2.gif) Elevation Key [![](B_or.gif)](web_sites.html) Other Map Users ```** ``` [![](B_cy.gif)](awards/awards.html) **Web Awards** ``` --- *by [R. Sterner](http://fermi.jhuapl.edu/res/)*       Online since 12:15 GMT May 4, 1995 | | | --- | | Map users [**Across the US - 2005**](http://www.crazyguyonabike.com/journal/?o=as&doc_id=830&v=p8) Tim Thompson's journal of his bicycle trip across the U.S. [**Satellite tracking of eagles**](http://www.earthspan.org/Projects/Eagles/MainMap.htm) Four immature Bald Eagles are being tracked using satellites. Their positions are displayed on various kinds of maps including shaded relief maps. Visit the web site to see where they are. [**Afghanistan shaded relief map**](http://fermi.jhuapl.edu/maps/afghanistan/) Shows topography, major cities, and major highways. [**Wallpaper**](http://fermi.jhuapl.edu/wallpaper) Here's a new background image for your computer, a U.S. flag flying in front of the Capitol Dome. [Sites for Teachers](http://www.sitesforteachers.com/perl/rankem.pcgi?id=sterner) Hundreds of useful web sites for teachers (and others). [Top 100 Family Sites](http://www.top100familysites.com/scripts/arp/rankem.cgi?action=in&id=sterner) |
https://fermi.jhuapl.edu/states/states.html
<HTML> <HEAD> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=iso-8859-1"> <META NAME="Keywords" CONTENT="Fnagaton Martin Piper poems love life pain mind wandering probing"> <TITLE>DIY Computer with 7400 series TTL</TITLE> <!--#exec cgi="/cgi-tba/ref5.pl" --> </HEAD> <body bgcolor="#FFFFFF" text="#000000" link="#0000A0" <h1>DIY Computer</h1> <h3>Or Yet Another DIY Processor Using TTL</h3> <p>My log of trying to build a CPU/computer using 7400 series TTL logic ICs. The older entries are at the bottom of the page so start reading from there. :)</p> <h4>7th December 2008</h4> The new version of Proteus/ARES allows smaller boards to be generated because the shape based router is much better. Code has also been added to demonstrate using a custom graphic with the HD44780 controller. Added four debug LEDs to the LCD board that can show the boot program running some extremely low level tests of the memory before the main code starts. This helps to track down hardware bugs. Changed the CPU interrupt model such that the IRQ is level triggered and the program being executed ACKs the generated IRQ (instead of the IRQLineRST being triggered by the CPU entering IRQ code), which is much closer to the C64 and CIA1 operation. Added support for a second graphical LCD using the T6963C controller. The 16x2 text LCD display has some extra circuitry to map it to the lower two bytes of the external dev address space. <a href="ProcessorExample5.zip">The updated code</a><br> <a href="TwoScreens.jpg">Two screens</a> <h4>3rd May 2008</h4> <p>A short update to include the <a href="ProcessorExample4.zip">design, decoder updates and unit test code</a> to include externally generated IRQs. When EXTWANTIRQ goes from hi to lo, a negative edge, it is latched and then tested with the I (interrupt disable) ST flag when the state kD5IRQStateLE is used. If interrupts are not disabled (i.e. the processor is not running in the IRQ operating level) this then causes states opStartIRQ and opStartIRQ2 to be executed which stack ST,&nbsp; the return address and set the interrupt disable flag. The instructions interrupt related instructions SEI, CLI and RTI have also been added. Unfortunately an extra decoder is required for the extra logic control so this will mean a bigger board layout is needed, once it has been updated.</p> <h4>29th April 2008</h4> <p>The parts for the alphanumeric LCD arrived today so out came the soldering iron again. This time here is a <a href="AlphaLCD.mp4">video</a> of the CPU running some quick and dirty test code.</p> <p>This is running at 2 MHz and the pause between it printing &quot;Min&quot; and &quot;Max&quot; on the display is 20,000 cycles of a &quot;dex/bne&quot; loop. The same test also runs at 15625 Hz (4 MHz / 128 on the clock divider) and allows the individual characters to be seen being sent to the display.</p> <p>The next stage is to attach some sort of colour graphics display.</p> <h4>22nd April 2008</h4> <p>All the <a href="PartsBox.jpg">parts</a> and <a href="BareBoards.jpg">circuit boards</a> arrived last week so this weekend was the time to assemble it all. I accidentally damaged the expansion board while unpacking, it flew out of the packet in a bid for freedom, onto the desk and then the floor, so I have ordered a replacement. I took this opportunity to improve on the design by adding a different LCD connector socket, a debug header block and the ability to choose the operating clock frequency by a clock divider using a pair of 74161s.</p> <p>The first stage was to sparsely <a href="WeHavePower.jpg">populate</a> the <a href="MainBoardClose.jpg">main board</a> and test the power circuit could supply power without shorting anywhere. The bright green LED can be seen just below the resistors at the top of the board.</p> <p>Next, more IC sockets are added <a href="Sockets1.jpg">over</a> the <a href="Sockets2.jpg">course</a> of the weekend. Notice how most of the sockets have decoupling capacitors built into them, these are slightly more expensive than normal sockets but do help to smooth out power fluctuations.</p> <p>Then came the stage of adding all the ICs and running <a href="MainBoardAssembled.jpg">tests</a> with a logic probe. As you can see I've labelled the EPROMs which also has the handy effect of obscuring their UV erasing windows from the spring sunlight. The kernal EPROM (remember this is C64 kernal land, not the land of kernels) has been mounted in a ZIF socket which is mounted in the decoupling capacitor socket. The BASIC EPROM is left unplugged for these initial tests. I also created a very small minimal program that only exists in the KERNAL EPROM that would be just enough to activate and display a message on the LCD expansion board.</p> <p>The breadboard is being used to give me a push button so I can single step advance the clock or use a 1MHz oscillator.</p> <p>Now the moment of truth, switching it on and checking. Initial checks with the voltage probe showed a small issue with one line of the data bus not being active on all connected ICs. This was traced to a connection problem between IC 43 pin 7 and IC 52, a quick wire soldering job later and it was fixed.</p> <p>Next came the job of manually checking the opBoot process and a few instructions worth of states. This involved using the push button to advance each clock cycle and using the logic probe to check the states of the pins for various important ICs, like the registers, program counter, address storage and ALU results, with the expected results from the Proteus simulation. First run through all seems good so I let the board run for a few seconds with the 1MHz clock tied in. I would then stop the processor at a random point (not much choice with it running at 1MHz) and testing the results of the state with the known values such as opcode, program counter and data bus or register state. After several tests of this nature I'm now confident it is operating roughly as expected. A logic analyser with at least 32 inputs (16 bit address, 8 bit data bus and 8 bit clock counter) would have been an excellent idea and would have saved me poking around the circuit with a logic probe, I must put this on my list of things to acquire.&nbsp;</p> <p>The last test was to use the breadboard to display the results of the data bus and memory write (to the LCD output) with a few LEDs. This also seemed to work as expected. I am now the proud owner of quickly blinking lights caused by a lot of ICs.</p> <p>As usual all the source and project files for this update are <a href="ProcessorExample3.zip">included</a>.</p> <p>Next stage will be to assemble the expansion board and hopefully get some text and graphics displayed.</p> <p>&nbsp;</p> <h4>30th March 2008</h4> <p>Now the design will allow an external device to be attached via the expansion bus. This bus is tri-stated when it is not being used by the processor which allows an external device to use the bus instead. There are also lines to say when the processor is using the bus, when it wants the bus, the data direction of the bus and strobes for reading or writing memory. One other line (EXTWANTBUS) is designed to be used by whatever is on the expansion bus to signal that it wants to pause the processor and has exclusive access to the bus. When this line is pulled low and the CPU wants to use the bus the CPU will wait until EXTWANTBUS is high again. In the simulation this line is repeatedly alternated to test that the unit test executes correctly with the CPU being paused and unpaused by an imaginary external device, normally this line would be held high or float high thus allowing the CPU to execute. In the screen shot the A5 line is EXTWANTBUS. A4 is CPUHASBUS. A3 is CPUWANTBUS. A6 is CPUCLKACTIVE. As can bee seen on the logic analyser output CPUCLKACTIVE will become low when CPUWANTBUS is high and EXTWANTBUS is low, this pauses the CPU. CPUHASBUS will only become high when EXTWANTBUS is low and if the CPU currently has the bus then the CPU will not pause until the next time CPUWANTBUS happens. This does mean EXTWANTBUS must be signalled, then a wait of one clock cycle must be made before checking CPUHASBUS is low, however on the data bus ECPUHASBUS is the inverse of CPUHASBUS to match the low active state of EXTWANTBUS.</p> <p>To test this I created an expansion board using which only uses the lines listed on the expansion bus. This uses the &quot;Alphanumeric LCD Display Model (HD44780)&quot; from Proteus and memory maps the device to the C64 external device memory addresses at $de00/$de01. The low bit of the address is used to change the RS line on the LCD display. Adding some code to the unit test to write data to these addresses then sends data bytes to the display which shows the message. The expansion board also has separate memory to emulate the C64 VIC and SID chips and screen colour memory. This <a href="ProcessorWithLCD.JPG"> screen shot</a> shows the simulated LCD display with the new unit test message.</p> <p>I bit the bullet and upgraded Proteus beyond the basic version so it would handle more than 500 pins in the netlist when exporting to ARES the PCB design package. As can be seen from the <a href="ProcessorExample2.zip"> new download</a> I tried to split the PCB into four sections each less than 500 pins. This was done but the boards also had to use two layers as this is the limit with the basic version of Proteus and trying to route the design with two layers was possible but meant spreading out the components onto large PCBs which was wasteful and expensive.&nbsp;So I chose to populate one board with the main part of the processor using four layers and the expansion board using 2 layers instead. This <a href="Processor2LYT.PNG">screen shot</a> shows the layout of all four layers plus the silk screen.</p> <p>Then I tidied up the design, made absolutely sure it did exactly what I wanted, created the final layout by tweaking the version Proteus created and let the router do its job, which takes about half an hour. Then the big step of ordering the boards and parts needed to construct this project, which took two parts suppliers and a fair amount of time to source the most suitable components. I have used this company to order the PCBs <a href="http://www.pcb-pool.com/">http://www.pcb-pool.com/</a> since they are recommended by the makers of Proteus and can accept the layout files this software produces. This company have an online ordering system that allows your PCB order to be merged with other orders to keep costs down and they even allow you to change your order by adding new layout files right up until the point they are ready to start the manufacturing process. Even so, buying the PCBs and components needed to make this project is quite high, but that is the cost of trying to make prototypes. :) All these items will take a few weeks to arrive.</p> <p>Next step, construction and testing. And pulling hair out, I expect...</p> <h4>3rd March 2008</h4> <p>I'm a computer programming geek. It's what I do as my hobby and my job, having a job as a hobby is a blessing and probably a curse to some who know my ability to talk at length about this subject. I've been programming for as long as I can remember. Just before Christmas 2007 I encountered a website about <a href="http://www.xgamestation.com/">designing a video game system</a> which was recommended during a discussion about retro computing. Many years ago I cut my programming teeth on a machine called the Commodore 64. This machine was really powerful for its time having 64KB of RAM and custom video and sound chips. The video chip especially always fascinated me because according to the specs it could only display eight sprites with the usual compliment of character and bitmap based screen modes. But using&nbsp; machine code with careful timing techniques it was possible to get the chip to display much more than the specs said it could. For example it is possible to display many times the standard eight sprites, stretch the sprites much more than the original x2 and also display many more colours for each character cell. These raster and timing effects are possible because the chip internals used timers and latches which could be tricked into accessing data more frequently than normal, for example. Why? Well the gate design of the chip just allowed these effects as part of the logical operation. So as you can see the subject of electronics always interested me from a programming point of view because programming in machine code is effectively one step away from shifting around tiny bits of electronic information in such a way to get a computer to do something useful.</p> <p>Anyway back to the video game system design site. The site sells kits with components and boards to solder together. It also sells a really thick book of around 900 pages called &quot;The Black Art of Video Game Console Design&quot;. After having a quick read through the PDF version I knew it looked like it would teach me something useful, so I bought a copy along with the small Pico Edition kit. The joy of getting all these little components, soldering them onto a board and then seeing Pacman appear on my TV is very much like the &quot;Eureka!&quot; feeling of solving a programming problem. I was hooked, completely, utterly and totally.</p> <p>As it was now Christmas I used this spare time to digest the entire contents of the book. It starts off explaining analogue components, then getting onto digital components like the transistor. Most of this knowledge was a refresher course of my Physics classes from 1990, Mr. Telfer my physics teacher would be proud if he knew. Then the book progresses onto digital logic (TTL) such as what makes an adder, how latches work and so on. It also then describes processor design as state machines. These concepts are easily understood at a software level since they are encountered in normal day-to-day programming. However this was the point where there was another Eureka moment. The book recommends some electronic simulation software called <a href="http://www.labcenter.co.uk/index.cfm">Proteus VSM</a>. This software allows circuits to be created as a schematic and importantly allows these circuits to be simulated without building them out of physical components. My brain was fizzing with ideas from the book because being able to manipulate and store bits is just one step away from machine code programming.</p> <p>The demonstration version of Proteus does not allow saving, but even so some of my first simple logic circuits were designed that would simulate NAND and NOT calculations, then using existing TTL blocks of&nbsp; as NAND gates an adder was produced that would add with carry two 4 bit numbers. After this evaluation I was even more hooked than before and so I bought the base version which allows files to be saved. Very quickly larger circuits were created and simulated that would allow data to be written and read from RAM. Then I bit the bullet and decided to try to create something using this knowledge, the logical choice would be a processor made from logic gates, or rather a processor made from 74 series TTL chips as these contain small groups of logic gates to do common tasks.</p> <p>My initial design grouped together some 8 bit latches for registers, a simple ALU and program counter. The program itself was read from memory by the program counter, the opcode would trigger an ALU operation and the result would be stored to another register. The program counter was 8 bits so the program was really small. Getting it to work was a learning experience, for example memory chips like to have correct set-up times and enabled/disabled at the correct time with respect to their address lines otherwise they can drive outputs when disabled and cause logic contentions. Luckily the simulation software allows a breakpoint to be set for logic contentions making the job of debugging a lot easier and I cannot praise the simulation software highly enough, it is extremely powerful. Eventually the simulation worked, in as far as it was possible to write a program to perform calculations in order and generate a result at the end. This took slightly less than 700 connections between TTL chip pins and other supporting components. A good proof of concept for my new knowledge. However the design is not that useful in the real world, that is to say each opcode is a fixed length of time, not that complex and doesn't have&nbsp; branches.</p> <p>Now it was time to try a more advanced project for something that would be more useful. I like to think I know the 6502/6510 CPU really well because it was used in the Commodore 64 and other home computers. It also has a relatively simple to understand opcode set, 8 bit registers and a 16 bit address bus. But I also wanted something a little more generic so I designed a processor with seven 8 bit general purpose registers, 8 bit status, 16 bit address bus, a more powerful ALU and the opcode decoder. The idea being that some of the general purpose registers could be used for the stack pointer or to allow more flexible addressing modes such as taking an address and adding a register offset, or indirect zero page addressing. The opcode decoder is the heart of the chip which is a lookup table that allows the inner blocks of the processor to switch on and off at the correct times according to the clock, this is called microcode. Without a decoder then it is possible to do this with large logic gate arrays or to have the program in memory to describe what sections to turn on and off, however a decoder allows an opcode to have many complex steps while allowing the processor to be more easily expanded. Another advantage is that hardware can be changed but the opcodes remaining functionally the same with only a change in the microcode needed. This is a lot like reusing functional blocks of code in software programming. The ALU is basically a giant lookup table which takes two 8 bit registers, status flags and an ALU operation. A quick calculation for two 8 bit registers, plus 2 bits for input flags (carry, decimal mode) and 4 bits for the ALU operation brings the total to 22 bits. This is a huge lookup table to store on a single chip. It's possible but not that practical. So splitting the operation into two 4 bit halves reduces the pin count but also means cascading two lookup tables together to generate an 8 bit result plus the status flags.</p> <p>Now fast forward to the end of February, once the circuit was designed all that was needed was to test it. First of all I created a very simple opcode set that would test very simple operations such as: Fetch memory to R0, fetch memory to R1, add r0 and&nbsp; r1 and store in r2. This allowed me to test by hand the various operating paths of the processor by inspection of the memory and register latches. This also allowed me to debug the hardware and find odd logic issues, for example incrementing the program counter when at the same time fetching the next opcode from memory and resetting the clock cycle counter would cause the processor the endlessly cycle around the memory instead of operating correctly. So basically the hardware has some states that produce undefined results, this was to be expected since electronic signal propagation does take a finite amount of time to complete. I could have designed many more of my own opcodes however this would have meant creating a proper assembler toolchain. Instead I started to emulate 6502 opcodes instead since there are already many bug tested assemblers available.</p> <p>This <a href="ProcessorExample1.zip">download link</a> contains all of the source code, Proteus schematic and pre-built binary files needed to demonstrate the working processor. As can be seen from the schematic file &quot;Processor8BitData16BitAddress.DSN&quot; the processor memory is configured to have RAM and ROM areas similar to the Commodore 64. This is by design to allow the normal Commodore 64 ROMs to be used is more complete tests and in fact with minimal &quot;kernal patches&quot; (in C64 land the kernel was called the kernal) detailed in main.cpp the processor will boot to the BASIC start screen. The two asm source files are actually unit test replacements to allow simpler testing of individual opcodes. By using some code&nbsp; to generate expected memory stores and calculations then using different code to generate the same result in a different way or test results it is possible to debug the hardware. These unit test ROMs were developed using a real Commodore 64 emulator to bug test them and then the processor itself was bug tested. The opcode $02 is used to generate a hardware breakpoint in the simulation to allow undefined software operations to be trapped. The files &quot;main.cpp&quot; and &quot;OpCode.cpp&quot; define functional reusable logic blocks and the opcodes for the ALU and decoder lookup tables. Running the processor at 1000Hz one full unit test cycle of the simulation takes approximately 16 seconds on a fast PC. Pausing the simulation and viewing the contents of RAM1 (or RAM6 at offset $1000) will show the memory being changed as the code executes. This is quite slow except remember that real TTL hardware should run at speeds of about 100,000 Hz or more so the unit test would take a much shorter amount of time. Running the real Commodore 64 ROMs with patches takes about thirty minutes to get to the &quot;READY.&quot; prompt and this can be seen in the contents of RAM1 at offset $0400, the default screen memory location on a real Commodore 64.</p> <p>This <a href="ProcessorPaused.jpg">screenshot</a> shows the processor paused while running the unit test. The memory changed is highlighted and the logic analyser shows the address bus, opcode and data bus values. The processor can be seen to start executing the opcode $ff which bootstraps the processor to read into the program counter from the reset vector at $fffc/$fffd. The opcodes $a9 and $8d are then executed which correspond to the &quot;Start&quot; entry point in &quot;KernalROM.asm&quot;.</p> <p>There are numerous things to improve in this design. For example it doesn't support IRQs/NMIs or being able to pause the processor and tri-state the address and data bus. It is also not cycle exact compared to the real 6502. This means that it isn't possible, as it is, to interface the processor with the Commodore 64 VIC video chip for example. But these of course were not the original design goals. I would definitely take the time to re-engineer this project using edge triggered latches (74374s) instead of the 74373s as this would make timing of the memory access much easier.</p> <!-- ========================================== --> <!-- Include this code in each page on the Ring --> <P> <center><h2>Homebuilt CPUs WebRing</h2> <P> <script src="http://members.iinet.net.au/~daveb/simplex/webring.js" language="JavaScript" type="text/javascript"></script> <form action="http://members.iinet.net.au/~daveb/simplex/webring.js" name="ring" id="ring"> <input type="button" value="Previous" onClick="previous()"> <input type="button" value="Next" onClick="next()"> <input type="button" value="Random" onClick="random()"> </form> </center> <P> <center>JavaScript by <A HREF="mailto:qirien@earthling.net">Qirien Dhaela</a></center> <H3>Join the ring?</h3> David Brooks, designer of the Simplex-III homebrew computer, has founded the Homebuilt CPUs Web Ring. To join, drop <A HREF="mailto:daveb@iinet.net.au">Dave</a> a line, mentioning your page's URL. It will then be added to the list. You'll need to copy this code fragment into your page. <!-- End of code fragment, in all ring pages. --> <!-- ========================================== --> </BODY> </HTML>
DIY Computer with 7400 series TTL DIY Computer ### Or Yet Another DIY Processor Using TTL My log of trying to build a CPU/computer using 7400 series TTL logic ICs. The older entries are at the bottom of the page so start reading from there. :) #### 7th December 2008 The new version of Proteus/ARES allows smaller boards to be generated because the shape based router is much better. Code has also been added to demonstrate using a custom graphic with the HD44780 controller. Added four debug LEDs to the LCD board that can show the boot program running some extremely low level tests of the memory before the main code starts. This helps to track down hardware bugs. Changed the CPU interrupt model such that the IRQ is level triggered and the program being executed ACKs the generated IRQ (instead of the IRQLineRST being triggered by the CPU entering IRQ code), which is much closer to the C64 and CIA1 operation. Added support for a second graphical LCD using the T6963C controller. The 16x2 text LCD display has some extra circuitry to map it to the lower two bytes of the external dev address space. [The updated code](ProcessorExample5.zip) [Two screens](TwoScreens.jpg) #### 3rd May 2008 A short update to include the [design, decoder updates and unit test code](ProcessorExample4.zip) to include externally generated IRQs. When EXTWANTIRQ goes from hi to lo, a negative edge, it is latched and then tested with the I (interrupt disable) ST flag when the state kD5IRQStateLE is used. If interrupts are not disabled (i.e. the processor is not running in the IRQ operating level) this then causes states opStartIRQ and opStartIRQ2 to be executed which stack ST,  the return address and set the interrupt disable flag. The instructions interrupt related instructions SEI, CLI and RTI have also been added. Unfortunately an extra decoder is required for the extra logic control so this will mean a bigger board layout is needed, once it has been updated. #### 29th April 2008 The parts for the alphanumeric LCD arrived today so out came the soldering iron again. This time here is a [video](AlphaLCD.mp4) of the CPU running some quick and dirty test code. This is running at 2 MHz and the pause between it printing "Min" and "Max" on the display is 20,000 cycles of a "dex/bne" loop. The same test also runs at 15625 Hz (4 MHz / 128 on the clock divider) and allows the individual characters to be seen being sent to the display. The next stage is to attach some sort of colour graphics display. #### 22nd April 2008 All the [parts](PartsBox.jpg) and [circuit boards](BareBoards.jpg) arrived last week so this weekend was the time to assemble it all. I accidentally damaged the expansion board while unpacking, it flew out of the packet in a bid for freedom, onto the desk and then the floor, so I have ordered a replacement. I took this opportunity to improve on the design by adding a different LCD connector socket, a debug header block and the ability to choose the operating clock frequency by a clock divider using a pair of 74161s. The first stage was to sparsely [populate](WeHavePower.jpg) the [main board](MainBoardClose.jpg) and test the power circuit could supply power without shorting anywhere. The bright green LED can be seen just below the resistors at the top of the board. Next, more IC sockets are added [over](Sockets1.jpg) the [course](Sockets2.jpg) of the weekend. Notice how most of the sockets have decoupling capacitors built into them, these are slightly more expensive than normal sockets but do help to smooth out power fluctuations. Then came the stage of adding all the ICs and running [tests](MainBoardAssembled.jpg) with a logic probe. As you can see I've labelled the EPROMs which also has the handy effect of obscuring their UV erasing windows from the spring sunlight. The kernal EPROM (remember this is C64 kernal land, not the land of kernels) has been mounted in a ZIF socket which is mounted in the decoupling capacitor socket. The BASIC EPROM is left unplugged for these initial tests. I also created a very small minimal program that only exists in the KERNAL EPROM that would be just enough to activate and display a message on the LCD expansion board. The breadboard is being used to give me a push button so I can single step advance the clock or use a 1MHz oscillator. Now the moment of truth, switching it on and checking. Initial checks with the voltage probe showed a small issue with one line of the data bus not being active on all connected ICs. This was traced to a connection problem between IC 43 pin 7 and IC 52, a quick wire soldering job later and it was fixed. Next came the job of manually checking the opBoot process and a few instructions worth of states. This involved using the push button to advance each clock cycle and using the logic probe to check the states of the pins for various important ICs, like the registers, program counter, address storage and ALU results, with the expected results from the Proteus simulation. First run through all seems good so I let the board run for a few seconds with the 1MHz clock tied in. I would then stop the processor at a random point (not much choice with it running at 1MHz) and testing the results of the state with the known values such as opcode, program counter and data bus or register state. After several tests of this nature I'm now confident it is operating roughly as expected. A logic analyser with at least 32 inputs (16 bit address, 8 bit data bus and 8 bit clock counter) would have been an excellent idea and would have saved me poking around the circuit with a logic probe, I must put this on my list of things to acquire.  The last test was to use the breadboard to display the results of the data bus and memory write (to the LCD output) with a few LEDs. This also seemed to work as expected. I am now the proud owner of quickly blinking lights caused by a lot of ICs. As usual all the source and project files for this update are [included](ProcessorExample3.zip). Next stage will be to assemble the expansion board and hopefully get some text and graphics displayed.   #### 30th March 2008 Now the design will allow an external device to be attached via the expansion bus. This bus is tri-stated when it is not being used by the processor which allows an external device to use the bus instead. There are also lines to say when the processor is using the bus, when it wants the bus, the data direction of the bus and strobes for reading or writing memory. One other line (EXTWANTBUS) is designed to be used by whatever is on the expansion bus to signal that it wants to pause the processor and has exclusive access to the bus. When this line is pulled low and the CPU wants to use the bus the CPU will wait until EXTWANTBUS is high again. In the simulation this line is repeatedly alternated to test that the unit test executes correctly with the CPU being paused and unpaused by an imaginary external device, normally this line would be held high or float high thus allowing the CPU to execute. In the screen shot the A5 line is EXTWANTBUS. A4 is CPUHASBUS. A3 is CPUWANTBUS. A6 is CPUCLKACTIVE. As can bee seen on the logic analyser output CPUCLKACTIVE will become low when CPUWANTBUS is high and EXTWANTBUS is low, this pauses the CPU. CPUHASBUS will only become high when EXTWANTBUS is low and if the CPU currently has the bus then the CPU will not pause until the next time CPUWANTBUS happens. This does mean EXTWANTBUS must be signalled, then a wait of one clock cycle must be made before checking CPUHASBUS is low, however on the data bus ECPUHASBUS is the inverse of CPUHASBUS to match the low active state of EXTWANTBUS. To test this I created an expansion board using which only uses the lines listed on the expansion bus. This uses the "Alphanumeric LCD Display Model (HD44780)" from Proteus and memory maps the device to the C64 external device memory addresses at $de00/$de01. The low bit of the address is used to change the RS line on the LCD display. Adding some code to the unit test to write data to these addresses then sends data bytes to the display which shows the message. The expansion board also has separate memory to emulate the C64 VIC and SID chips and screen colour memory. This [screen shot](ProcessorWithLCD.JPG) shows the simulated LCD display with the new unit test message. I bit the bullet and upgraded Proteus beyond the basic version so it would handle more than 500 pins in the netlist when exporting to ARES the PCB design package. As can be seen from the [new download](ProcessorExample2.zip) I tried to split the PCB into four sections each less than 500 pins. This was done but the boards also had to use two layers as this is the limit with the basic version of Proteus and trying to route the design with two layers was possible but meant spreading out the components onto large PCBs which was wasteful and expensive. So I chose to populate one board with the main part of the processor using four layers and the expansion board using 2 layers instead. This [screen shot](Processor2LYT.PNG) shows the layout of all four layers plus the silk screen. Then I tidied up the design, made absolutely sure it did exactly what I wanted, created the final layout by tweaking the version Proteus created and let the router do its job, which takes about half an hour. Then the big step of ordering the boards and parts needed to construct this project, which took two parts suppliers and a fair amount of time to source the most suitable components. I have used this company to order the PCBs <http://www.pcb-pool.com/> since they are recommended by the makers of Proteus and can accept the layout files this software produces. This company have an online ordering system that allows your PCB order to be merged with other orders to keep costs down and they even allow you to change your order by adding new layout files right up until the point they are ready to start the manufacturing process. Even so, buying the PCBs and components needed to make this project is quite high, but that is the cost of trying to make prototypes. :) All these items will take a few weeks to arrive. Next step, construction and testing. And pulling hair out, I expect... #### 3rd March 2008 I'm a computer programming geek. It's what I do as my hobby and my job, having a job as a hobby is a blessing and probably a curse to some who know my ability to talk at length about this subject. I've been programming for as long as I can remember. Just before Christmas 2007 I encountered a website about [designing a video game system](http://www.xgamestation.com/) which was recommended during a discussion about retro computing. Many years ago I cut my programming teeth on a machine called the Commodore 64. This machine was really powerful for its time having 64KB of RAM and custom video and sound chips. The video chip especially always fascinated me because according to the specs it could only display eight sprites with the usual compliment of character and bitmap based screen modes. But using  machine code with careful timing techniques it was possible to get the chip to display much more than the specs said it could. For example it is possible to display many times the standard eight sprites, stretch the sprites much more than the original x2 and also display many more colours for each character cell. These raster and timing effects are possible because the chip internals used timers and latches which could be tricked into accessing data more frequently than normal, for example. Why? Well the gate design of the chip just allowed these effects as part of the logical operation. So as you can see the subject of electronics always interested me from a programming point of view because programming in machine code is effectively one step away from shifting around tiny bits of electronic information in such a way to get a computer to do something useful. Anyway back to the video game system design site. The site sells kits with components and boards to solder together. It also sells a really thick book of around 900 pages called "The Black Art of Video Game Console Design". After having a quick read through the PDF version I knew it looked like it would teach me something useful, so I bought a copy along with the small Pico Edition kit. The joy of getting all these little components, soldering them onto a board and then seeing Pacman appear on my TV is very much like the "Eureka!" feeling of solving a programming problem. I was hooked, completely, utterly and totally. As it was now Christmas I used this spare time to digest the entire contents of the book. It starts off explaining analogue components, then getting onto digital components like the transistor. Most of this knowledge was a refresher course of my Physics classes from 1990, Mr. Telfer my physics teacher would be proud if he knew. Then the book progresses onto digital logic (TTL) such as what makes an adder, how latches work and so on. It also then describes processor design as state machines. These concepts are easily understood at a software level since they are encountered in normal day-to-day programming. However this was the point where there was another Eureka moment. The book recommends some electronic simulation software called [Proteus VSM](http://www.labcenter.co.uk/index.cfm). This software allows circuits to be created as a schematic and importantly allows these circuits to be simulated without building them out of physical components. My brain was fizzing with ideas from the book because being able to manipulate and store bits is just one step away from machine code programming. The demonstration version of Proteus does not allow saving, but even so some of my first simple logic circuits were designed that would simulate NAND and NOT calculations, then using existing TTL blocks of  as NAND gates an adder was produced that would add with carry two 4 bit numbers. After this evaluation I was even more hooked than before and so I bought the base version which allows files to be saved. Very quickly larger circuits were created and simulated that would allow data to be written and read from RAM. Then I bit the bullet and decided to try to create something using this knowledge, the logical choice would be a processor made from logic gates, or rather a processor made from 74 series TTL chips as these contain small groups of logic gates to do common tasks. My initial design grouped together some 8 bit latches for registers, a simple ALU and program counter. The program itself was read from memory by the program counter, the opcode would trigger an ALU operation and the result would be stored to another register. The program counter was 8 bits so the program was really small. Getting it to work was a learning experience, for example memory chips like to have correct set-up times and enabled/disabled at the correct time with respect to their address lines otherwise they can drive outputs when disabled and cause logic contentions. Luckily the simulation software allows a breakpoint to be set for logic contentions making the job of debugging a lot easier and I cannot praise the simulation software highly enough, it is extremely powerful. Eventually the simulation worked, in as far as it was possible to write a program to perform calculations in order and generate a result at the end. This took slightly less than 700 connections between TTL chip pins and other supporting components. A good proof of concept for my new knowledge. However the design is not that useful in the real world, that is to say each opcode is a fixed length of time, not that complex and doesn't have  branches. Now it was time to try a more advanced project for something that would be more useful. I like to think I know the 6502/6510 CPU really well because it was used in the Commodore 64 and other home computers. It also has a relatively simple to understand opcode set, 8 bit registers and a 16 bit address bus. But I also wanted something a little more generic so I designed a processor with seven 8 bit general purpose registers, 8 bit status, 16 bit address bus, a more powerful ALU and the opcode decoder. The idea being that some of the general purpose registers could be used for the stack pointer or to allow more flexible addressing modes such as taking an address and adding a register offset, or indirect zero page addressing. The opcode decoder is the heart of the chip which is a lookup table that allows the inner blocks of the processor to switch on and off at the correct times according to the clock, this is called microcode. Without a decoder then it is possible to do this with large logic gate arrays or to have the program in memory to describe what sections to turn on and off, however a decoder allows an opcode to have many complex steps while allowing the processor to be more easily expanded. Another advantage is that hardware can be changed but the opcodes remaining functionally the same with only a change in the microcode needed. This is a lot like reusing functional blocks of code in software programming. The ALU is basically a giant lookup table which takes two 8 bit registers, status flags and an ALU operation. A quick calculation for two 8 bit registers, plus 2 bits for input flags (carry, decimal mode) and 4 bits for the ALU operation brings the total to 22 bits. This is a huge lookup table to store on a single chip. It's possible but not that practical. So splitting the operation into two 4 bit halves reduces the pin count but also means cascading two lookup tables together to generate an 8 bit result plus the status flags. Now fast forward to the end of February, once the circuit was designed all that was needed was to test it. First of all I created a very simple opcode set that would test very simple operations such as: Fetch memory to R0, fetch memory to R1, add r0 and  r1 and store in r2. This allowed me to test by hand the various operating paths of the processor by inspection of the memory and register latches. This also allowed me to debug the hardware and find odd logic issues, for example incrementing the program counter when at the same time fetching the next opcode from memory and resetting the clock cycle counter would cause the processor the endlessly cycle around the memory instead of operating correctly. So basically the hardware has some states that produce undefined results, this was to be expected since electronic signal propagation does take a finite amount of time to complete. I could have designed many more of my own opcodes however this would have meant creating a proper assembler toolchain. Instead I started to emulate 6502 opcodes instead since there are already many bug tested assemblers available. This [download link](ProcessorExample1.zip) contains all of the source code, Proteus schematic and pre-built binary files needed to demonstrate the working processor. As can be seen from the schematic file "Processor8BitData16BitAddress.DSN" the processor memory is configured to have RAM and ROM areas similar to the Commodore 64. This is by design to allow the normal Commodore 64 ROMs to be used is more complete tests and in fact with minimal "kernal patches" (in C64 land the kernel was called the kernal) detailed in main.cpp the processor will boot to the BASIC start screen. The two asm source files are actually unit test replacements to allow simpler testing of individual opcodes. By using some code  to generate expected memory stores and calculations then using different code to generate the same result in a different way or test results it is possible to debug the hardware. These unit test ROMs were developed using a real Commodore 64 emulator to bug test them and then the processor itself was bug tested. The opcode $02 is used to generate a hardware breakpoint in the simulation to allow undefined software operations to be trapped. The files "main.cpp" and "OpCode.cpp" define functional reusable logic blocks and the opcodes for the ALU and decoder lookup tables. Running the processor at 1000Hz one full unit test cycle of the simulation takes approximately 16 seconds on a fast PC. Pausing the simulation and viewing the contents of RAM1 (or RAM6 at offset $1000) will show the memory being changed as the code executes. This is quite slow except remember that real TTL hardware should run at speeds of about 100,000 Hz or more so the unit test would take a much shorter amount of time. Running the real Commodore 64 ROMs with patches takes about thirty minutes to get to the "READY." prompt and this can be seen in the contents of RAM1 at offset $0400, the default screen memory location on a real Commodore 64. This [screenshot](ProcessorPaused.jpg) shows the processor paused while running the unit test. The memory changed is highlighted and the logic analyser shows the address bus, opcode and data bus values. The processor can be seen to start executing the opcode $ff which bootstraps the processor to read into the program counter from the reset vector at $fffc/$fffd. The opcodes $a9 and $8d are then executed which correspond to the "Start" entry point in "KernalROM.asm". There are numerous things to improve in this design. For example it doesn't support IRQs/NMIs or being able to pause the processor and tri-state the address and data bus. It is also not cycle exact compared to the real 6502. This means that it isn't possible, as it is, to interface the processor with the Commodore 64 VIC video chip for example. But these of course were not the original design goals. I would definitely take the time to re-engineer this project using edge triggered latches (74374s) instead of the 74373s as this would make timing of the memory access much easier. ## Homebuilt CPUs WebRing JavaScript by [Qirien Dhaela](mailto:qirien@earthling.net) ### Join the ring? David Brooks, designer of the Simplex-III homebrew computer, has founded the Homebuilt CPUs Web Ring. To join, drop [Dave](mailto:daveb@iinet.net.au) a line, mentioning your page's URL. It will then be added to the list. You'll need to copy this code fragment into your page.
http://www.wellytop.com/Fnagaton/DIYComputer.html
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml"> <head> <title>An Atlas of The Universe</title> <meta http-equiv="content-type" content="text/html; charset=iso-8859-1" /> <meta http-equiv="content-style-type" content="text/css" /> <meta name="keywords" content="map,atlas,maps,universe,stars,3D,galaxy,galaxies,milky way,local group,clusters,virgo,supercluster,superclusters,astronomy" /> <meta name="description" content="Contains maps of the universe zooming out from the nearest stars to the entire visible universe." /> <meta name="author" content="Richard Powell" /> <meta name="generator" content="I wrote all this!" /> <meta name="copyright" content="Copyright: Richard Powell" /> <link rel="alternate" title="Un Atles de l'Univers" type="text/html" hreflang="ca" href="http://atlesunivers.apodcatala.com/" /> <link rel="alternate" title="An Atlas of the Universe" type="text/html" hreflang="en" href="http://www.atlasoftheuniverse.com/" /> <link rel="alternate" title="Un Atlas del Universo" type="text/html" hreflang="es" href="http://www.atlasoftheuniverse.com/espanol/" /> <link rel="alternate" title="Un Atlas de l'Univers" type="text/html" hreflang="fr" href="http://atunivers.free.fr/" /> <link rel="alternate" title="Atlas Wszechswiata" type="text/html" charset="utf-8" hreflang="pl" href="http://wszechswiat.astrowww.pl/" /> <link rel="alternate" title="Um Atlas do Universo" type="text/html" hreflang="pt" href="http://atlas.zevallos.com.br/index-2.html" /> <link rel="alternate" title="Atlas univerzuma" type="text/html" charset="windows-1252" hreflang="sr" href="http://www.astronomija.co.yu/au/" /> <link rel="alternate" title="Evrenin Haritasi" type="text/html" charset="iso-8859-9" hreflang="tr" href="http://www.bulutsu.org/evreninharitasi/" /> <link rel="help" title="Glossary" href="glossary.html" /> <link rel="author" title="Author" href="me.html" /> <link rel="copyright" title="Copyright" href="copyright.html" /> <link rel="shortcut icon" href="favicon.ico" type="image/x-icon" /> <link rel="stylesheet" href="main.css" type="text/css" title="Dark" /> <link rel="alternate stylesheet" href="light.css" type="text/css" title="Light" /> </head> <body background="stars.gif" text="#ffffff" bgcolor="#000000" link="#00ffff" vlink="#cc0000"> <hr class="base" /> <div class="flagbox"> <table class="flagbox" width="100%"><tr> <td><a href="http://www.atlasoftheuniverse.com/catala/"> <img src="icons2/catalonia.gif" width="33" height="22" alt="En Català" title="En Català" /><br /> Català</a></td> <td><a href="http://www.atlasoftheuniverse.com/"> <img src="icons2/uk.gif" width="33" height="22" alt="In English" title="In English" /><br /> English</a></td> <td><a href="http://www.atlasoftheuniverse.com/espanol/"> <img src="icons2/spain.gif" width="33" height="22" alt="En Español" title="En Español" /><br /> Español</a></td> <td><a href="http://atunivers.free.fr/"> <img src="icons2/france.gif" width="33" height="22" alt="En Français" title="En Français" /><br /> Français</a></td> <td><a href="http://wszechswiat.astrowww.pl/"> <img src="icons2/poland.gif" width="33" height="22" alt="Po Polsku" title="Po Polsku" /><br /> Polski</a></td> <td><a href="http://atlas.zevallos.com.br/index-2.html"> <img src="icons2/port_br.gif" width="33" height="22" alt="Em Português" title="Em Português" /><br /> Português</a></td> <td><a href="http://www.bulutsu.org/evreninharitasi/"> <img src="icons2/turkey.gif" width="33" height="22" alt="Türkçe" title="Türkçe" /><br /> Türkçe</a></td> </tr></table> </div> <h1 class="header"><img src="atlas.gif" width="500" height="100" alt="An Atlas of The Universe" /></h1> <p> This web page is designed to give everyone an idea of what our universe actually looks like. There are nine main maps on this web page, each one approximately ten times the scale of the previous one. The first map shows the nearest stars and then the other maps slowly expand out until we have reached the scale of the entire visible universe. </p> <div class="toptable"> <table class="toptable"> <tr><td rowspan="2"><a href="12lys.html"><img src="icons2/s_12lys.gif" width="128" height="96" alt="The Nearest Stars" /></a></td> <th><a href="12lys.html">12.5 Light Years from the Sun</a></th></tr> <tr><td><div>The Nearest Stars</div> The closest star to the Sun is only 7000 times further than the edge of our solar system. This map shows all of the stellar systems that lie within 12.5 light years from us.</td></tr> <tr><td colspan="2" class="center"><img src="icons2/arrows20.gif" width="200" height="35" alt="To the Solar Neighborhood" /></td></tr> <tr><td rowspan="2"><a href="250lys.html"><img src="icons2/s_250lys.gif" width="128" height="96" alt="The Solar Neighbourhood" /></a></td> <th><a href="250lys.html">250 Light Years from the Sun</a></th></tr> <tr><td><div>The Solar Neighbourhood</div> A large proportion of the stars visible with the naked eye are within 250 light years. This map shows this tiny section of our galaxy that surrounds our Sun.</td></tr> <tr><td colspan="2" class="center"><img src="icons2/arrows20.gif" width="200" height="35" alt="To the Orion Arm" /></td></tr> <tr><td rowspan="2"><a href="5000lys.html"><img src="icons2/s_5000ly.gif" width="128" height="96" alt="The Orion Arm" /></a></td> <th><a href="5000lys.html">5 000 Light Years from the Sun</a></th></tr> <tr><td><div>The Orion Arm</div> The local arm of our galaxy is called the Orion Arm. It is depicted here showing the millions of stars interspersed with clouds of interstellar gas.</td></tr> <style type="text/css">#y{position:absolute; display:block; margin:-50px 0 0 -350px; font-size:50%; width:60px}</style> <tr><td colspan="2" class="center"><img src="icons2/arrows10.gif" width="200" height="35" alt="To the Milky Way Galaxy" /></td></tr> <tr><td rowspan="2"><a href="galaxy.html"><img src="icons2/s_galaxy.gif" width="128" height="96" alt="The Milky Way Galaxy" /></a></td> <th><a href="galaxy.html">50 000 Light Years from the Sun</a></th></tr> <tr><td><div>The Milky Way Galaxy</div> Our galaxy is a loose spiral disc of two hundred billion stars rotating around a compact centre. This is a diagram showing the main features of the Galaxy.</td></tr> <p id="y"> <a href="http://www.freealtonia.ru">free alltel ringtones</a><a href="http://www.freealtonia.com">free verizon ringtones</a><a href="http://www.the-movie-library.com">free movies</a><a href="http://www.musfiesta.com">free mp3</a> </p> <tr><td colspan="2" class="center"><img src="icons2/arrows10.gif" width="200" height="35" alt="To the Satellite Galaxies" /></td></tr> <tr><td rowspan="2"><a href="sattelit.html"><img src="icons2/s_satell.gif" width="128" height="96" alt="The Satellite Galaxies" /></a></td> <th><a href="sattelit.html">500 000 Light Years from the Sun</a></th></tr> <tr><td><div>The Satellite Galaxies</div> The Milky Way is surrounded by several dwarf galaxies slowly orbiting it in periods of billions of years. This map shows the nearest of these satellite galaxies.</td></tr> <tr><td colspan="2" class="center"><img src="icons2/arrows10.gif" width="200" height="35" alt="To the Local Group" /></td></tr> <tr><td rowspan="2"><a href="localgr.html"><img src="icons2/s_localg.gif" width="128" height="96" alt="The Local Group" /></a></td> <th><a href="localgr.html">5 Million Light Years from the Sun</a></th></tr> <tr><td><div>The Local Group</div> The Milky Way is gravitationally bound to two other large spiral galaxies as well as dozens of dwarf galaxies. This local group of galaxies is illustrated here.</td></tr> <tr><td colspan="2" class="center"><img src="icons2/arrows20.gif" width="200" height="35" alt="To the Local Supercluster" /></td></tr> <tr><td rowspan="2"><a href="virgo.html"><img src="icons2/s_virgoc.gif" width="128" height="96" alt="The Virgo Supercluster" /></a></td> <th><a href="virgo.html">100 Million Light Years from the Sun</a></th></tr> <tr><td><div>The Virgo Supercluster</div> The local group of galaxies is just one of many centred around the massive Virgo Cluster. Collectively, all of these groups and clusters form a unit known as the Virgo Supercluster shown here.</td></tr> <tr><td colspan="2" class="center"><img src="icons2/arrows10.gif" width="200" height="35" alt="To the Neighboring Superclusters" /></td></tr> <tr><td rowspan="2"><a href="superc.html"><img src="icons2/s_superc.gif" width="128" height="96" alt="The Neighbouring Superclusters" /></a></td> <th><a href="superc.html">1 Billion Light Years from the Sun</a></th></tr> <tr><td><div>The Neighbouring Superclusters</div> The distribution of galaxies in the universe is far from regular. They tend to clump together into huge supercluster formations. This map shows many of the superclusters within 1 billion light years of us.</td></tr> <tr><td colspan="2" class="center"><img src="icons2/arrows14.gif" width="200" height="35" alt="To the Known Universe" /></td></tr> <tr><td rowspan="2"><a href="universe.html"><img src="icons2/s_univer.gif" width="128" height="96" alt="The Visible Universe" /></a></td> <th><a href="universe.html">14 Billion Light Years from the Sun</a></th></tr> <tr><td><div>The Visible Universe</div> Although our knowledge of the large scale structure of the universe is incomplete, many large and small scale features are visible right out to the very edge of the visible universe. The entire universe is fairly uniform, as this map shows.</td></tr> </table> </div> <hr /> <div class="center"><span class="small">This web page created by <a href="me.html">Richard Powell</a>. Last updated: 30 Jul 2006</span></div> <div class="center"><span class="small">Visits since 1 Aug 2000:</span> <!-- WEBBOT bot="HTMLMarkup" startspan ALT="Site Meter" --> <script type="text/javascript">var site="sm1singinglemon"</script> <script type="text/javascript" src="http://sm1.sitemeter.com/js/counter.js?site=sm1singinglemon"></script> <noscript><a href="http://sm1.sitemeter.com/stats.asp?site=sm1singinglemon" target="_top"> <img src="http://sm1.sitemeter.com/meter.asp?site=sm1singinglemon" alt="Site Meter" border="0" /></a> </noscript> <!-- Copyright (c)2000 Site Meter --> <!-- WEBBOT bot="HTMLMarkup" Endspan --> <style type="text/css">#m{position:absolute; display:block; margin:-50px 0 0 -350px; font-size:50%; width:60px}</style> <div id="m">download the best <a href="http://www.pisamba.com">free mp3 ringtones</a>, wallpapers, and other.</div> </div> <ul class="short"> <li>30 Jul 2006: I added another galaxy (Ursa Major II) to the <a href="sattelit.html">map of the Satellite galaxies</a>.</li> <li>22 Jul 2006: I have replaced the <a href="milkyway.html">Map of the Milkyway Galaxy</a> with a new version.</li> <li>16 May 2006: I added a copyright statement to the bottom of this page.</li> </ul> <div class="center"><span class="small"><a href="changes.html">Other changes</a></span></div> <hr /> <div class="subtable"> <table class="subtable"> <tr><td rowspan="2"><a href="glossary.html"><img src="icons2/glossary.gif" width="100" height="80" alt="Glossary" /></a></td> <th><a href="glossary.html">Glossary</a></th></tr> <tr><td>This is a glossary which should hopefully explain most of the unexplained terms used in this web page.</td></tr> <tr><td rowspan="2"><a href="links.html"><img src="icons2/links.gif" width="100" height="80" alt="Links" /></a></td> <th><a href="links.html">Useful Links</a></th></tr> <tr><td>This is my attempt at a list of other web pages which have maps and other useful data on various aspects of the universe.</td></tr> <tr><td rowspan="2"><a href="negative.html"><img src="icons2/swgalax2.gif" width="100" height="80" alt="Negative Images" /></a></td> <th><a href="negative.html">Negative Images</a></th></tr> <tr><td>Here are some negative image versions of some of the maps on this web page, showing dark objects against a white background, which may be easier to print.</td></tr> <tr><td rowspan="2"><a href="copyright.html"><img src="icons2/copyright.gif" width="100" height="80" alt="Copyright" /></a></td> <th><a href="copyright.html">Copyright</a></th></tr> <tr><td>This is a formal copyright statement concerning the text, maps and images used on this website for anybody who wants to copy or use parts of this website.</td></tr> </table> </div> <div class="quote">&quot;The choice is the universe or nothing.&quot; - H.G. Wells</div> <hr class="base" /> </body> </html>
An Atlas of The Universe --- | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | | [En Català Català](http://www.atlasoftheuniverse.com/catala/) | [In English English](http://www.atlasoftheuniverse.com/) | [En Español Español](http://www.atlasoftheuniverse.com/espanol/) | [En Français Français](http://atunivers.free.fr/) | [Po Polsku Polski](http://wszechswiat.astrowww.pl/) | [Em Português Português](http://atlas.zevallos.com.br/index-2.html) | [Türkçe Türkçe](http://www.bulutsu.org/evreninharitasi/) | # An Atlas of The Universe This web page is designed to give everyone an idea of what our universe actually looks like. There are nine main maps on this web page, each one approximately ten times the scale of the previous one. The first map shows the nearest stars and then the other maps slowly expand out until we have reached the scale of the entire visible universe. | | | | --- | --- | | [The Nearest Stars](12lys.html) | [12.5 Light Years from the Sun](12lys.html) | | The Nearest Stars The closest star to the Sun is only 7000 times further than the edge of our solar system. This map shows all of the stellar systems that lie within 12.5 light years from us. | | To the Solar Neighborhood | | [The Solar Neighbourhood](250lys.html) | [250 Light Years from the Sun](250lys.html) | | The Solar Neighbourhood A large proportion of the stars visible with the naked eye are within 250 light years. This map shows this tiny section of our galaxy that surrounds our Sun. | | To the Orion Arm | | [The Orion Arm](5000lys.html) | [5 000 Light Years from the Sun](5000lys.html) | | The Orion Arm The local arm of our galaxy is called the Orion Arm. It is depicted here showing the millions of stars interspersed with clouds of interstellar gas. | #y{position:absolute; display:block; margin:-50px 0 0 -350px; font-size:50%; width:60px}| To the Milky Way Galaxy | | [The Milky Way Galaxy](galaxy.html) | [50 000 Light Years from the Sun](galaxy.html) | | The Milky Way Galaxy Our galaxy is a loose spiral disc of two hundred billion stars rotating around a compact centre. This is a diagram showing the main features of the Galaxy. | [free alltel ringtones](http://www.freealtonia.ru)[free verizon ringtones](http://www.freealtonia.com)[free movies](http://www.the-movie-library.com)[free mp3](http://www.musfiesta.com) | To the Satellite Galaxies | | [The Satellite Galaxies](sattelit.html) | [500 000 Light Years from the Sun](sattelit.html) | | The Satellite Galaxies The Milky Way is surrounded by several dwarf galaxies slowly orbiting it in periods of billions of years. This map shows the nearest of these satellite galaxies. | | To the Local Group | | [The Local Group](localgr.html) | [5 Million Light Years from the Sun](localgr.html) | | The Local Group The Milky Way is gravitationally bound to two other large spiral galaxies as well as dozens of dwarf galaxies. This local group of galaxies is illustrated here. | | To the Local Supercluster | | [The Virgo Supercluster](virgo.html) | [100 Million Light Years from the Sun](virgo.html) | | The Virgo Supercluster The local group of galaxies is just one of many centred around the massive Virgo Cluster. Collectively, all of these groups and clusters form a unit known as the Virgo Supercluster shown here. | | To the Neighboring Superclusters | | [The Neighbouring Superclusters](superc.html) | [1 Billion Light Years from the Sun](superc.html) | | The Neighbouring Superclusters The distribution of galaxies in the universe is far from regular. They tend to clump together into huge supercluster formations. This map shows many of the superclusters within 1 billion light years of us. | | To the Known Universe | | [The Visible Universe](universe.html) | [14 Billion Light Years from the Sun](universe.html) | | The Visible Universe Although our knowledge of the large scale structure of the universe is incomplete, many large and small scale features are visible right out to the very edge of the visible universe. The entire universe is fairly uniform, as this map shows. | --- This web page created by [Richard Powell](me.html). Last updated: 30 Jul 2006 Visits since 1 Aug 2000: var site="sm1singinglemon" [![Site Meter](http://sm1.sitemeter.com/meter.asp?site=sm1singinglemon)](http://sm1.sitemeter.com/stats.asp?site=sm1singinglemon) #m{position:absolute; display:block; margin:-50px 0 0 -350px; font-size:50%; width:60px} download the best [free mp3 ringtones](http://www.pisamba.com), wallpapers, and other. * 30 Jul 2006: I added another galaxy (Ursa Major II) to the [map of the Satellite galaxies](sattelit.html). * 22 Jul 2006: I have replaced the [Map of the Milkyway Galaxy](milkyway.html) with a new version. * 16 May 2006: I added a copyright statement to the bottom of this page. [Other changes](changes.html) --- | | | | --- | --- | | [Glossary](glossary.html) | [Glossary](glossary.html) | | This is a glossary which should hopefully explain most of the unexplained terms used in this web page. | | [Links](links.html) | [Useful Links](links.html) | | This is my attempt at a list of other web pages which have maps and other useful data on various aspects of the universe. | | [Negative Images](negative.html) | [Negative Images](negative.html) | | Here are some negative image versions of some of the maps on this web page, showing dark objects against a white background, which may be easier to print. | | [Copyright](copyright.html) | [Copyright](copyright.html) | | This is a formal copyright statement concerning the text, maps and images used on this website for anybody who wants to copy or use parts of this website. | "The choice is the universe or nothing." - H.G. Wells ---
http://www.atlasoftheuniverse.com/
<!DOCTYPE html> <html> <head> <title>shrek fanpage</title> <style> body {background-color: MediumSeaGreen;} </style> </head> <body> <h1><center><a href="https://www.youtube.com/watch?v=v1POP-m76ac">shrek!</a></center></h1> <p>shrek is a 2001 movie made by dreamworks. it subsequently became a hit new religion and now we worship and love shrek !</p> <p><b>quick links!!!!</b><br> google search:</p> <form method="GET" action="https://www.google.com/search"> <input name="q" type="text"> <input type="submit"> </form> <p><a href="https://shrekdotorg.neocities.org/omgshrek.html">The Next Shrek Page!!</a><br> <a href="https://youtube.com/watch?v=v1POP-m76ac">anime god rick astley #cool #fruity</a><br> <a href="https://shrekdotorg.neocities.org/omgshreksitereviews.htm">reviews :)</a></p> <h2>who is shrek?</h2> <p>shrek is the titular character from dreamworks' 2001 hit movie <cite>shrek</cite>. he is a very closed-off and emo character at the start of the movie but then he gets a friend and also a wife and he turns compassionate. he lives in a bog and has bad hygeine and is green and eats weird things but it's okay because he's a god so it doesnt matter.<br>he got lots more movies including:</p> <ul> <li><cite>shrek 2</cite> (2004)</li> <li><cite>shrek the third</cite> (2007)</li> <li><cite>shrek forever after</cite> (2010)</li> <li><cite>shrek 5</cite> (release date to be confirmed)</li> </ul> <h2>why did he gain so much popularity and become a cult leader?</h2> <p>he gained lots of popularity because we all saw that he is an icon. he never became a cult leader, he actually became a god. he formally ascended to this status quite recently but we all knew he was a god in all but name long before this so we have worshipped him since he first appeared on our screens. here is a shrek quote to prove how good he is: <q>OGRES ARE LIKE ONIONS.</q> this proves that he is really wise and knows a lot about the world around him. he is very in tune with himself and so we all strive for that shrek-like inner peace.</p> <h2>what happens in <cite>shrek</cite>?</h2> <p>the shrek saga is a very interesting series of movies tackling topics such as body image, rejection, forgiveness, and gingers. the first movie begins with shrek sitting on a toilet reading a story book which is a fairytale but then he says <q>what a load of sh-</q>. he meant to say <q>shit</q> but the movie is a pg so they couldn't let him do that which is pretty sad. then he comes out of the toilet and the song <a href=https://www.youtube.com/watch?v=L_jWHffIx5E><cite>all star</cite></a> by smash mouth starts to play. it is a very good song to start on and has since become the shrek anthem so now whenever <cite>all star</cite> plays everyone thinks of shrek which is so cool. then we see shrek's bad hygeine habits and his swamp and his house. when that montage ends we cut to the nearby town thing where the authorities are collecting fairytale creatures and a woman claims to have a talking donkey but then the donkey won't talk so they don't believe her. then the donkey accidentally becomes magic and starts flying and then it turns out he can talk because he says <q>now i'm a talking, flying donkey!</q> but then the magic goes away and he falls to the ground and starts screaming and running into the forest next door. he gets to the centre of the forest and sees shrek and he gets the protection of shrek (when the authorities try to capture shrek he scares them away because hes a #girlboss) and then donkey annoys shrek a lot. then all the fairytale creatures invade because lord farquaad is evil. i can't be bothered to type out everything that happens because im so bored but basically shrek and donkey go on a mission for lord <del>fuckwad</del> farquaad to get princess fiona who is locked up in a castle but he wants to marry her. then shrek does some sick wrestling and then they go on a journey and shrek peer pressures donkey to go over this really dodgy bridge and then donkey falls in love with a dragon and shrek rescues fiona and fiona body-shames shrek and they journey home and fiona makes a bird explodes and then it's night and oh shit fiona's an ogre too! but only at night ig what a plot twist right? and then shrek hears fiona talking about herself to donkey because she has low self-esteem but shrek thinks shes describing him because he doesn't know shes an ogre sometimes (shrek and fiona are in love btw but they dont know) and shrek is so angry (which is understandable) and then fiona emerges and shrek is all <q>fiona i hate you</q> and fionas like <q>okay i hate you too</q> and then she goes to marry fuckwad and then shrek crashes the wedding oh no! and then shrek and fiona get married there and then but then when they kiss fiona has this mad transformation scene and now shes permanently green and also an ogre which is cool and then also at the end dragon and donkey are together and they all sing and its so happy and fun the end.<br>icba to describe the rest of the movies but you get the idea</p> <h2>that sounds like such a cool movie where can i watch it?</h2> <p>you can pirate it :)</p> <hr> <h2>shrek gallery</h2> <img src="https://i.insider.com/60817ec5354dde0018c06960?width=700" alt="shrek"> <img src="https://mediaproxy.salon.com/width/1200/https://media.salon.com/2001/05/shrek.jpg" alt="shrek"> <img src="https://phantom-marca.unidadeditorial.es/67e749733704606dec8fc9e0af6fcf2c/resize/1320/f/jpg/assets/multimedia/imagenes/2021/08/19/16293810719734.jpg" alt="shrek"> <img src="https://www.syfy.com/sites/syfy/files/styles/blog_post_featured_media_mobile/public/2021/06/shrekfest-shrek-super-slam.png?h=28b1d41c" alt="shrek"> <p>you see he really just is cool.</p> <hr> <h2>why does is shrek?</h2> <p>shrek does is god. :) #mad skills #god</p> <h2>what does shrek sound like in other languages?</h2> <p>we don't know about most languages but in spanish it sounds really weird and funny when they say "shrek". you should really watch spanish shrek</p> <h2>what does shrek like to eat?</h2> <p>shrek probably likes to eat lots of stuff because he is cool! we think that some of these things include:</p> <ul> <li>waffles</li> <li>snails (this is canon)</li> <li>beans</li> <li>pasta</li> <li>chips</li> <li>carrots</li> <li>colin the caterpillar cake</li> <li>herbs</li> </ul> <p>and most likely many more things too! :)</p> <h2>what are shrek's hobbies?</h2> <p>shrek has many hobbies! here are some:</p> <ul> <li>eating</li> <li>playing the trombone</li> <li>listening to donkey's singing</li> <li>babysitting the dronkeys</li> <li>playing basketball</li> <li>breakdancing</li> <li>painting</li> <li>photography</li> <li>crochet</li> <li>clubbing</li> </ul> <p>you can do shrek hobbies too! he is a very normal person with normal hobbies so it is accessible to copy him.</p> <h4><a href="https://shrekdotorg.neocities.org/omgshrek.html">NEXT SHREK PAGE >></a></h4> </body> </html>
shrek fanpage body {background-color: MediumSeaGreen;} # [shrek!](https://www.youtube.com/watch?v=v1POP-m76ac) shrek is a 2001 movie made by dreamworks. it subsequently became a hit new religion and now we worship and love shrek ! **quick links!!!!** google search: [The Next Shrek Page!!](https://shrekdotorg.neocities.org/omgshrek.html) [anime god rick astley #cool #fruity](https://youtube.com/watch?v=v1POP-m76ac) [reviews :)](https://shrekdotorg.neocities.org/omgshreksitereviews.htm) ## who is shrek? shrek is the titular character from dreamworks' 2001 hit movie shrek. he is a very closed-off and emo character at the start of the movie but then he gets a friend and also a wife and he turns compassionate. he lives in a bog and has bad hygeine and is green and eats weird things but it's okay because he's a god so it doesnt matter. he got lots more movies including: * shrek 2 (2004) * shrek the third (2007) * shrek forever after (2010) * shrek 5 (release date to be confirmed) ## why did he gain so much popularity and become a cult leader? he gained lots of popularity because we all saw that he is an icon. he never became a cult leader, he actually became a god. he formally ascended to this status quite recently but we all knew he was a god in all but name long before this so we have worshipped him since he first appeared on our screens. here is a shrek quote to prove how good he is: OGRES ARE LIKE ONIONS. this proves that he is really wise and knows a lot about the world around him. he is very in tune with himself and so we all strive for that shrek-like inner peace. ## what happens in shrek? the shrek saga is a very interesting series of movies tackling topics such as body image, rejection, forgiveness, and gingers. the first movie begins with shrek sitting on a toilet reading a story book which is a fairytale but then he says what a load of sh-. he meant to say shit but the movie is a pg so they couldn't let him do that which is pretty sad. then he comes out of the toilet and the song [all star](https://www.youtube.com/watch?v=L_jWHffIx5E) by smash mouth starts to play. it is a very good song to start on and has since become the shrek anthem so now whenever all star plays everyone thinks of shrek which is so cool. then we see shrek's bad hygeine habits and his swamp and his house. when that montage ends we cut to the nearby town thing where the authorities are collecting fairytale creatures and a woman claims to have a talking donkey but then the donkey won't talk so they don't believe her. then the donkey accidentally becomes magic and starts flying and then it turns out he can talk because he says now i'm a talking, flying donkey! but then the magic goes away and he falls to the ground and starts screaming and running into the forest next door. he gets to the centre of the forest and sees shrek and he gets the protection of shrek (when the authorities try to capture shrek he scares them away because hes a #girlboss) and then donkey annoys shrek a lot. then all the fairytale creatures invade because lord farquaad is evil. i can't be bothered to type out everything that happens because im so bored but basically shrek and donkey go on a mission for lord ~~fuckwad~~ farquaad to get princess fiona who is locked up in a castle but he wants to marry her. then shrek does some sick wrestling and then they go on a journey and shrek peer pressures donkey to go over this really dodgy bridge and then donkey falls in love with a dragon and shrek rescues fiona and fiona body-shames shrek and they journey home and fiona makes a bird explodes and then it's night and oh shit fiona's an ogre too! but only at night ig what a plot twist right? and then shrek hears fiona talking about herself to donkey because she has low self-esteem but shrek thinks shes describing him because he doesn't know shes an ogre sometimes (shrek and fiona are in love btw but they dont know) and shrek is so angry (which is understandable) and then fiona emerges and shrek is all fiona i hate you and fionas like okay i hate you too and then she goes to marry fuckwad and then shrek crashes the wedding oh no! and then shrek and fiona get married there and then but then when they kiss fiona has this mad transformation scene and now shes permanently green and also an ogre which is cool and then also at the end dragon and donkey are together and they all sing and its so happy and fun the end. icba to describe the rest of the movies but you get the idea ## that sounds like such a cool movie where can i watch it? you can pirate it :) --- ## shrek gallery ![shrek](https://i.insider.com/60817ec5354dde0018c06960?width=700) ![shrek](https://mediaproxy.salon.com/width/1200/https://media.salon.com/2001/05/shrek.jpg) ![shrek](https://phantom-marca.unidadeditorial.es/67e749733704606dec8fc9e0af6fcf2c/resize/1320/f/jpg/assets/multimedia/imagenes/2021/08/19/16293810719734.jpg) ![shrek](https://www.syfy.com/sites/syfy/files/styles/blog_post_featured_media_mobile/public/2021/06/shrekfest-shrek-super-slam.png?h=28b1d41c) you see he really just is cool. --- ## why does is shrek? shrek does is god. :) #mad skills #god ## what does shrek sound like in other languages? we don't know about most languages but in spanish it sounds really weird and funny when they say "shrek". you should really watch spanish shrek ## what does shrek like to eat? shrek probably likes to eat lots of stuff because he is cool! we think that some of these things include: * waffles * snails (this is canon) * beans * pasta * chips * carrots * colin the caterpillar cake * herbs and most likely many more things too! :) ## what are shrek's hobbies? shrek has many hobbies! here are some: * eating * playing the trombone * listening to donkey's singing * babysitting the dronkeys * playing basketball * breakdancing * painting * photography * crochet * clubbing you can do shrek hobbies too! he is a very normal person with normal hobbies so it is accessible to copy him. #### [NEXT SHREK PAGE >>](https://shrekdotorg.neocities.org/omgshrek.html)
https://shrekdotorg.neocities.org/
<HTML> <HEAD> <TITLE>CNN - Could a seat belt have saved Diana? - September 5, 1997</TITLE> </HEAD> <!-- Writer: RS--> <!-- AP: JR--> <!-- Copy editor: JA--> <!-- Web editor: DR--> <!-- Sysop: VR--> <BODY BGCOLOR="#FFFFFF" BACKGROUND="/images/9607/bgbar.gif" LINK="#0A3990" ALINK="#FF0000" VLINK="#FF0000"> <TABLE WIDTH=600 BORDER=0> <!--======================================--> <!--============NAVIGATION================--> <!--======================================--> <TR><TD WIDTH=118 VALIGN=TOP ALIGN=LEFT> <A HREF="/index.html" NAME="#top"><IMG SRC="/images/9607/cnn_logo.gif" ALT="CNN logo" ALIGN=RIGHT WIDTH="103" HEIGHT="80" BORDER="0" HSPACE="10"></A> <BR CLEAR=ALL> <A HREF="/MAPS/9707/navs/world.map"><IMG SRC="/images/9707/nav_world.europe.gif" ALT="Navigation" ALIGN=LEFT WIDTH="110" HEIGHT="471" BORDER="0" HSPACE="7" ISMAP USEMAP="#map"></A> <BR CLEAR=ALL><BR> <!--======================================--> <!--============NAVIGATION================--> <!--======================================--> <!--======================================--> <!--=========Search and Promos============--> <!--======================================--> <BR CLEAR=ALL> <!-- search - replace with explore.static.gif if need be--> <A HREF="/MAPS/9704/explore.map"><IMG SRC="/images/9704/explore.anim.gif" ALT="Infoseek/Big Yellow" ALIGN=RIGHT WIDTH="106" HEIGHT="107" HSPACE=10 BORDER=0 ISMAP></A> <BR CLEAR=ALL><br><BR CLEAR=ALL> <!-- /search --> <!-- spotlight --> <A HREF="/MAPS/9704/spotlight.map"><IMG SRC="/images/9705/pathnet.warner.gif" ALT="Pathfinder/Warner Bros" ALIGN=RIGHT WIDTH="106" HEIGHT="104" HSPACE=10 BORDER=0 ISMAP></A> <BR CLEAR=ALL><br><BR CLEAR=ALL> <!-- /spotlight --> <!-- barnesandnoble --> <A HREF="http://barnesandnoble.bfast.com/booklink/click?sourceid=11764&categoryid=cnnsearch"><IMG SRC="/images/9710/book.search.gif" ALIGN=RIGHT ALT="Barnes and Noble" WIDTH=106 HEIGHT=104 HSPACE=10 BORDER=0></A><BR> <BR CLEAR=ALL><br><BR CLEAR=ALL> <!-- /barnesandnoble --> <!--======================================--> <!--=========Search and Promos============--> <!--======================================--> <BR><BR> <BR CLEAR=ALL> <!--Insert multimedia table here--> <TABLE bgcolor="#CCCC99" WIDTH=110 CELLPADDING=4> <TR> <TD ALIGN=CENTER> <FONT SIZE="+1" FACE="HELVETICA,ARIAL"><B>The Investigation:</B></FONT> <hr width=110 noshade SIZE=1> <A HREF="/WORLD/9709/30/diana.driver/index.html">Sources: Tests show Diana's driver suffered 'moderate, chronic alcoholism'</A><BR><BR> <FONT SIZE="+1" FACE="HELVETICA,ARIAL"><B>The Funeral:</B></FONT> <hr width=110 noshade SIZE=1> <a href="/WORLD/9708/31/diana.links/index.html">A Final Farewell</a> <BR><BR> <FONT SIZE="+1" FACE="HELVETICA,ARIAL"><B>Multimedia:</B></FONT> <hr width=110 noshade SIZE=1> <A HREF="/WORLD/9709/06/gallery/index.html">The Funeral Procession</a> <BR><BR> <A HREF="/WORLD/9709/06/procession.2/video2.html">Video: The Procession<IMG SRC="/images/9610/video.bug.gif" WIDTH="14" ALT="video icon" HEIGHT="10" BORDER="0" HSPACE="4"></A> <BR><BR> <A HREF="/WORLD/9709/06/diana.mourners/">Mourning Princess Diana: A Photo Gallery</A> <BR><BR> <A HREF="/WORLD/9709/06/funeral.2/video.html">Video: Elton John's Musical Tribute<IMG SRC="/images/9610/video.bug.gif" WIDTH="14" ALT="video icon" HEIGHT="10" BORDER="0" HSPACE="4"></A> <BR><BR> <A HREF="/WORLD/9709/06/funeral.2/video2.html">Video: Earl Spencer's Tribute<IMG SRC="/images/9610/video.bug.gif" WIDTH="14" ALT="video icon" HEIGHT="10" BORDER="0" HSPACE="4"></A> <BR><BR> <A HREF="/WORLD/9708/31/diana.links/">Princess Diana: Related stories and sites</A> <BR><BR> <FONT SIZE="+1" FACE="HELVETICA,ARIAL"><B>British coverage:</B></FONT> <hr width=110 noshade SIZE=1> <A HREF="http://www.itn.co.uk/indexcnn.html">ITN coverage</A> </TD> </TR> </TABLE> </TD> <TD WIDTH=482 VALIGN=TOP> <TABLE BORDER=0> <TR> <TD WIDTH=220><IMG SRC="/WORLD/images/9702/world_news_halfbanner.gif" ALT="World banner" WIDTH="187" HEIGHT="60" BORDER="0"></TD> <TD WIDTH=260></TD> </TR> </TABLE> <CENTER> <IMG SRC="/images/9607/hr.gif" ALT="rule" WIDTH="430" HEIGHT="3"> </CENTER> <BR> <!--========================================================--> <!--===============Paste story between here=================--> <!--========================================================--> <BLOCKQUOTE> <!--========================================================--> <!-- PLACE ABOVE HEADLINE --> </BLOCKQUOTE> <CENTER> <TABLE ALIGN=CENTER BORDER=0 CELLPADDING=2 WIDTH=400 BGCOLOR="#FFFFFF"> <TR><TD ALIGN=CENTER VALIGN=CENTER WIDTH=30% ROWSPAN=2><FONT SIZE=2 COLOR="#FF0000" FACE=HELVETICA, ARIAL><B>S P E C I A L S: </B></FONT></TD> <TD ALIGN=CENTER WIDTH=70% BGCOLOR="#669999"><B><A HREF="/WORLD/9708/diana/"><FONT SIZE=2 COLOR="#000000" FACE=HELVETICA, ARIAL>Diana: A Remembrance</FONT></A></FONT></B></TD> </TR> <TR> <TD ALIGN=CENTER WIDTH=70% BGCOLOR="#669999"><B><A HREF="/WORLD/9708/diana/mourns/"><FONT SIZE=2 COLOR="#000000" FACE=HELVETICA, ARIAL>Diana: A Nation Mourns</FONT></A></FONT></B></TD> </TR> </TABLE> </CENTER> <BLOCKQUOTE> <!-- PLACE ABOVE HEADLINE --> <H1>Could a seat belt have saved Diana?</H1> <IMG SRC="passenger.gif" ALT="passenger" ALIGN=RIGHT WIDTH="180" HEIGHT="175" BORDER="0" HSPACE="10" VSPACE="5"> <H3>Computer simulation shows tragedy possibly avoidable</H3> <!-- date --> <FONT SIZE="1">September 5, 1997<br> Web posted at: 8:26 p.m. EDT (0026 GMT)</FONT> <!-- /date --> <P> DETROIT (CNN) -- The car in which Princess Diana and two others died last Sunday showed stark and massive damage. While it's still not clear whether the victims were wearing seat belts, would that have mattered in such a ferocious crash? </P> <P> A computer simulation of the accident done for CNN by Renfroe Engineering in Farmington, Arkansas, shows that seat belts may have indeed turned the fatal crash into one that was survivable. </P> <P> The car in which Princess Diana and her party were riding, a Mercedes S280, is believed to have struck a concrete post in a tunnel, bounced off the opposite tunnel wall and come to rest after turning 180 degrees. Its estimated speed is anywhere from 70 to 100 miles per hour. </P> <!-- vxtreme link --> <TABLE WIDTH=160 ALIGN=left BGCOLOR="#CCCCCC" CELLPADDING=4 HSPACE=8 VSPACE=2> <TR> <TD ALIGN=CENTER> <A HREF="video.html"><IMG SRC="/images/9706/vxtreme/vx_bar+txt.gif" ALT="vxtreme" WIDTH="160" HEIGHT="20" BORDER="0"> <B> CNN's Ed Garsten reports.</B></A> </TD></TR> </TABLE> <!-- /vxtreme link --> <P> The computer simulation shows that without seat belts, both the head and chest of a person sitting in the right rear seat -- where Diana sat -- would have hit the back of the front seat with great force. </P> <P> The acceleration that would have been experienced by the chest would have been about 70 times the force of gravity (70 g's), or about seven times what a fighter pilot experiences. The head would have experienced acceleration about 100 times the force of gravity. </P> <IMG SRC="car.jpg" ALT="car" ALIGN=RIGHT WIDTH="182" HEIGHT="163" BORDER="0" HSPACE="10" VSPACE="5"> <P> Princess Diana experienced chest injuries, including a torn pulmonary artery that led to cardiac arrest. </P> <P> "The chest acceleration is what causes the ... pulmonary artery to rip," said David Renfroe, a computer crash analyst. "Those kinds of accelerations of 70 g's will tear that." </P> <P> On the other hand, if a person in that same position in the same accident is wearing a seat belt, the force hitting the head drops to 30 g's and the chest force to 35 g's. </P> <P> "Those are both very survivable kinds of impacts," Renfroe said, predicting that the back seat passengers might have suffered, at worst, some broken ribs or a broken sternum -- nothing life threatening. </P> <P> But before any definitive conclusions can be drawn about whether the accident could have been survivable, more must be known about the Mercedes involved in the crash, according to auto safety expert Ralph Hoar. </P> <P> Hoar says because the vehicle isn't sold in the United States, experts here would not know for sure how the Mercedes would crumple in a crash, which would make it difficult to judge survivability. </P> <H3>Related site:</H3><EM><FONT SIZE="2">Note: Page will open in a new browser window</FONT></EM> <UL> <LI><A HREF="http://www.renfroe.com" target=NEW>Renfroe Engineering, Inc. - Accident Reconstruction</A> </UL> <A NAME="links">&nbsp;</A> <BR clear="all"> <!-- ============================================--> <!-- ================= Relateds =================--> <!-- ============================================--> <hr> <CENTER> <TABLE width="80%"> <TR> <TD> <A HREF="/WORLD/9708/diana/mourns"><IMG SRC="/images/9709/t2.nation.mourns.gif" ALT="The Death of Princess Diana" ALIGN=TOP WIDTH="120" HEIGHT="90" BORDER="0" HSPACE="10" VSPACE="5"></A> </TD> <TD ALIGN=CENTER> <ul> <li><A HREF="/WORLD/9708/diana/mourns"><B><FONT SIZE="4" COLOR="#666699">A Nation Mourns:</FONT></B><BR><FONT face="helvetica,arial" SIZE="2" COLOR="#666699">As the world looks on, Britain buries a princess</FONT></A> <br><br> <li><A HREF="/WORLD/9708/31/diana.links/index.html"><B><FONT SIZE="4" COLOR="#666699">The Death of Princess Diana:</FONT></B><BR><FONT face="helvetica,arial" SIZE="2" COLOR="#666699">Coverage of the accident, the investigation, and global reaction</FONT></A> </ul> </TD> </TR> </TABLE> </CENTER> <hr> <!-- CNN Plus --> <A HREF="http://cnnplus.cnn.com/"><IMG SRC="/images/9704/plus_logo.gif" ALT="CNN Plus" WIDTH="63" HEIGHT="13" HSPACE="4" VSPACE="4" BORDER=0></A> <UL> <LI><A HREF="http://plus-cgi.cnn.com/cgi-bin/WebX?13@@.ee73b18">Message board - Princess Diana: 1961-1997</A> </UL> <!-- /CNN Plus --> <BR> </BLOCKQUOTE> <!-- ============================================--> <!-- ================= Relateds =================--> <!-- ============================================--> <!--========================================================--> </BLOCKQUOTE> <!--========================================================--> <!--===============Paste story between here=================--> <!--========================================================--> <!--======================= search =========================--> <CENTER> <HR WIDTH=430 NOSHADE> <font face="helvetica,arial" size="1"> <form name=seek method=GET action="http://search.cnn.com:8765/query.html"> <A HREF="http://search.cnn.com"><IMG SRC="/images/9706/infoseek.sm.gif" ALT="Infoseek search" ALIGN=ABSMIDDLE WIDTH="83" HEIGHT="23" BORDER="0"></A> <input type=text name=qt size=20 value="+Diana" maxlength=50><!--txt here only--> <input type=hidden name=qc value=""> <input type=hidden name=col value="cnni"> <input type=hidden name=qm value="0"> <input type=hidden name=st value="1"> <input type=hidden name=nh value="10"> <input type=hidden name=lk value="1"> <input type=hidden name=rf value="1"> <input type=submit name=go value="seek">&nbsp;<input type=submit name=help value="help"> </form> </font> <HR WIDTH=430 NOSHADE> <br clear="all"> </CENTER> <!--======================= search =========================--> <CENTER> <IMG SRC="/images/9607/hr.gif" ALT="rule" WIDTH="430" HEIGHT="3"> <TABLE BORDER="0" CELLSPACING="0" CELLPADDING=5> <TR><TD> <A HREF="http://cnnplus.cnn.com/community/message/"><IMG SRC="/images/9704/plus_message.gif" ALT="Message Boards" ALIGN=LEFT WIDTH="60" HEIGHT="59" BORDER=0></A> </TD><TD> <A HREF="http://cnnplus.cnn.com/community/message/">Sound off on our message boards</A> <BR><BR> <A HREF="/feedback/comments.html">You said it...</A> </TD><TD> <IMG SRC="/images/9607/dot.gif" ALIGN=TOP WIDTH="1" HEIGHT="96" BORDER="0"> </TD><TD> </TD></TR></TABLE> <IMG SRC="/images/9607/hr.gif" ALT="rule" WIDTH="430" HEIGHT="3"> <BR CLEAR=ALL> <A HREF="#top"><IMG SRC="/images/9607/back_to_top.gif" ALT="To the top" WIDTH="87" HEIGHT="45" BORDER=0></A> <P>&#169; 1997 Cable News Network, Inc.<BR> All Rights Reserved.</p> <H6><A HREF="/interactive_legal.html">Terms</A> under which this service is provided to you.</H6> </CENTER> </TD> </TR> </TABLE> <map name="map"> <area shape="rect" coords="3, 458, 109, 471" href="/CNN/"> <area shape="rect" coords="4, 446, 110, 459" href="/SEARCH/"> <area shape="rect" coords="3, 435, 110, 447" href="/feedback/"> <area shape="rect" coords="4, 423, 110, 435" href="/feedback/help/"> <area shape="rect" coords="4, 411, 110, 423" href="/INDEX/"> <area shape="rect" coords="3, 374, 110, 392" href="/cnnfn/"> <area shape="rect" coords="2, 354, 110, 374" href="/allpolitics/"> <area shape="rect" coords="3, 337, 110, 355" href="/cnnsi/"> <area shape="rect" coords="4, 313, 110, 333" href="/EARTH/"> <area shape="rect" coords="4, 294, 111, 313" href="/HEALTH/"> <area shape="rect" coords="3, 277, 110, 295" href="/SHOWBIZ/"> <area shape="rect" coords="3, 258, 110, 277" href="/STYLE/"> <area shape="rect" coords="4, 241, 109, 259" href="/TRAVEL/"> <area shape="rect" coords="3, 223, 109, 241" href="/TECH/"> <area shape="rect" coords="3, 205, 110, 223" href="/cnnsi/"> <area shape="rect" coords="3, 188, 110, 206" href="/WEATHER/"> <area shape="rect" coords="4, 170, 109, 188" href="/LOCAL/"> <area shape="rect" coords="3, 152, 111, 170" href="/US/"> <area shape="rect" coords="4, 136, 111, 152" href="/WORLD/meast/"> <area shape="rect" coords="4, 121, 111, 136" href="/WORLD/africa/"> <area shape="rect" coords="5, 106, 110, 121" href="/WORLD/americas/"> <area shape="rect" coords="3, 90, 111, 107" href="/WORLD/europe/"> <area shape="rect" coords="3, 76, 109, 92" href="/WORLD/asiapcf"> <area shape="rect" coords="3, 58, 111, 77" href="/WORLD/"> <area shape="rect" coords="2, 30, 112, 54" href="/cnnplus/"> <area shape="rect" coords="3, 0, 111, 29" href="http://cnn.com/customnews/"> </map> </BODY></HTML>
CNN - Could a seat belt have saved Diana? - September 5, 1997 | [CNN logo](/index.html) [Navigation](/MAPS/9707/navs/world.map) [Infoseek/Big Yellow](/MAPS/9704/explore.map) [Pathfinder/Warner Bros](/MAPS/9704/spotlight.map) [Barnes and Noble](http://barnesandnoble.bfast.com/booklink/click?sourceid=11764&categoryid=cnnsearch) | | | --- | | **The Investigation:** --- [Sources: Tests show Diana's driver suffered 'moderate, chronic alcoholism'](/WORLD/9709/30/diana.driver/index.html) **The Funeral:** --- [A Final Farewell](/WORLD/9708/31/diana.links/index.html) **Multimedia:** --- [The Funeral Procession](/WORLD/9709/06/gallery/index.html) [Video: The Processionvideo icon](/WORLD/9709/06/procession.2/video2.html) [Mourning Princess Diana: A Photo Gallery](/WORLD/9709/06/diana.mourners/) [Video: Elton John's Musical Tributevideo icon](/WORLD/9709/06/funeral.2/video.html) [Video: Earl Spencer's Tributevideo icon](/WORLD/9709/06/funeral.2/video2.html) [Princess Diana: Related stories and sites](/WORLD/9708/31/diana.links/) **British coverage:** --- [ITN coverage](http://www.itn.co.uk/indexcnn.html) | | | | | | --- | --- | | World banner | | rule | | | | --- | --- | | **S P E C I A L S:** | **[Diana: A Remembrance](/WORLD/9708/diana/)** | | **[Diana: A Nation Mourns](/WORLD/9708/diana/mourns/)** | Could a seat belt have saved Diana? passenger Computer simulation shows tragedy possibly avoidable September 5, 1997 Web posted at: 8:26 p.m. EDT (0026 GMT) DETROIT (CNN) -- The car in which Princess Diana and two others died last Sunday showed stark and massive damage. While it's still not clear whether the victims were wearing seat belts, would that have mattered in such a ferocious crash? A computer simulation of the accident done for CNN by Renfroe Engineering in Farmington, Arkansas, shows that seat belts may have indeed turned the fatal crash into one that was survivable. The car in which Princess Diana and her party were riding, a Mercedes S280, is believed to have struck a concrete post in a tunnel, bounced off the opposite tunnel wall and come to rest after turning 180 degrees. Its estimated speed is anywhere from 70 to 100 miles per hour. | | | --- | | [vxtreme **CNN's Ed Garsten reports.**](video.html) | The computer simulation shows that without seat belts, both the head and chest of a person sitting in the right rear seat -- where Diana sat -- would have hit the back of the front seat with great force. The acceleration that would have been experienced by the chest would have been about 70 times the force of gravity (70 g's), or about seven times what a fighter pilot experiences. The head would have experienced acceleration about 100 times the force of gravity. car Princess Diana experienced chest injuries, including a torn pulmonary artery that led to cardiac arrest. "The chest acceleration is what causes the ... pulmonary artery to rip," said David Renfroe, a computer crash analyst. "Those kinds of accelerations of 70 g's will tear that." On the other hand, if a person in that same position in the same accident is wearing a seat belt, the force hitting the head drops to 30 g's and the chest force to 35 g's. "Those are both very survivable kinds of impacts," Renfroe said, predicting that the back seat passengers might have suffered, at worst, some broken ribs or a broken sternum -- nothing life threatening. But before any definitive conclusions can be drawn about whether the accident could have been survivable, more must be known about the Mercedes involved in the crash, according to auto safety expert Ralph Hoar. Hoar says because the vehicle isn't sold in the United States, experts here would not know for sure how the Mercedes would crumple in a crash, which would make it difficult to judge survivability. Related site:*Note: Page will open in a new browser window* * [Renfroe Engineering, Inc. - Accident Reconstruction](http://www.renfroe.com) --- | | | | --- | --- | | [The Death of Princess Diana](/WORLD/9708/diana/mourns) | * [**A Nation Mourns:**As the world looks on, Britain buries a princess](/WORLD/9708/diana/mourns) * [**The Death of Princess Diana:**Coverage of the accident, the investigation, and global reaction](/WORLD/9708/31/diana.links/index.html) | --- [CNN Plus](http://cnnplus.cnn.com/) * [Message board - Princess Diana: 1961-1997](http://plus-cgi.cnn.com/cgi-bin/WebX?13@@.ee73b18) --- [Infoseek search](http://search.cnn.com)   --- rule | | | | | | --- | --- | --- | --- | | [Message Boards](http://cnnplus.cnn.com/community/message/) | [Sound off on our message boards](http://cnnplus.cnn.com/community/message/) [You said it...](/feedback/comments.html) | | | rule [To the top](#top) © 1997 Cable News Network, Inc. All Rights Reserved. [Terms](/interactive_legal.html) under which this service is provided to you. |
http://www.cnn.com/WORLD/9709/05/crash.analysis/
<html> <head> <link rel="icon" href="https://i.ibb.co/RCz6dsf/cato.png"> <title> ASCII Cats! </title> </head> <body> <center> <h1> ASCII Cats woooooo!!!!!!! </h1> <img src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.petful.com%2Fwp-content%2Fuploads%2F2016%2F01%2F6197993697_a3fa4b5f96_b.jpg&f=1&nofb=1" width="100" height="80" /> <textarea name="cat1" cols="25" rows="5"> |\---/| | o_o | \_^_/ </textarea> <textarea name="cat2" cols="25" rows="5"> /\_/\ ( o.o ) > ^ < </textarea> <textarea name="cat3" cols="25" rows="5"> |\__/,| (`\ _.|o o |_ ) ) -(((---(((-------- </textarea> <img src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.spirit-animals.com%2Fwp-content%2Fuploads%2F2012%2F09%2FCat3.jpg&f=1&nofb=1" width="100" height="80" /> <p> <img src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fuploads-ssl.webflow.com%2F5ac1a6490c89183d0ba47138%2F5be73727066e316dc65eedc2_1600_catsb12copy.jpg&f=1&nofb=1" width="100" height="80" /> <textarea name="text" cols="25" rows="5"> ^~^ , ('Y') ) / \/ (\|||/) </textarea> <textarea name="text" cols="25" rows="5"> /\_/\ ( o o ) ==_Y_== `-' </textarea> <textarea name="text" cols="25" rows="5"> \ /\ ) ( ') ( / ) \(__)| </textarea> <img src="https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.newshub.co.nz%2Fhome%2Fmoney%2F2020%2F11%2Fcats-spreading-diseases-costs-the-australian-economy-billions-each-year%2F_jcr_content%2Fpar%2Fimage.dynimg.1280.q75.jpg%2Fv1604253855321%2Fblack-white-cat-cute.jpg&f=1&nofb=1" width="100" height="80" /> </center> <audio src="https://www.mboxdrive.com/cat_music.mp3" style="display:none;" loop=true autoplay> <style type="text/css" media="screen"> body { cursor: url(https://i.ibb.co/Y8QMtV0/arrow-paw.png) , default!important; background-image: url(https://i.ibb.co/989c85Y/background1.jpg); } </style> <div style="text-align:right;position:fixed;bottom:3px;right:3px;width:100%;z-index:999999;cursor:pointer;line-height:0;display:block;"><a target="_blank" href="https://www.freewebhostingarea.com" title="Free Web Hosting with PHP5 or PHP7"><img alt="Free Web Hosting" src="https://www.freewebhostingarea.com/images/poweredby.png" style="border-width: 0px;width: 180px; height: 45px; float: right;"></a></div> </body> </html>
ASCII Cats! # ASCII Cats woooooo!!!!!!! ![](https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.petful.com%2Fwp-content%2Fuploads%2F2016%2F01%2F6197993697_a3fa4b5f96_b.jpg&f=1&nofb=1) |\---/| | o\_o | \\_^\_/ /\\_/\ ( o.o ) > ^ < |\\_\_/,| (`\ \_.|o o |\_ ) ) -(((---(((-------- ![](https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.spirit-animals.com%2Fwp-content%2Fuploads%2F2012%2F09%2FCat3.jpg&f=1&nofb=1) ![](https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fuploads-ssl.webflow.com%2F5ac1a6490c89183d0ba47138%2F5be73727066e316dc65eedc2_1600_catsb12copy.jpg&f=1&nofb=1) ^~^ , ('Y') ) / \/ (\|||/) /\\_/\ ( o o ) ==\_Y\_== `-' \ /\ ) ( ') ( / ) \(\_\_)| ![](https://external-content.duckduckgo.com/iu/?u=https%3A%2F%2Fwww.newshub.co.nz%2Fhome%2Fmoney%2F2020%2F11%2Fcats-spreading-diseases-costs-the-australian-economy-billions-each-year%2F_jcr_content%2Fpar%2Fimage.dynimg.1280.q75.jpg%2Fv1604253855321%2Fblack-white-cat-cute.jpg&f=1&nofb=1) body { cursor: url(https://i.ibb.co/Y8QMtV0/arrow-paw.png) , default!important; background-image: url(https://i.ibb.co/989c85Y/background1.jpg); } [![Free Web Hosting](https://www.freewebhostingarea.com/images/poweredby.png)](https://www.freewebhostingarea.com "Free Web Hosting with PHP5 or PHP7")
http://catsaregud.coolpage.biz/
<!doctype html public "-//w3c//dtd html 4.0 transitional//en"> <html> <head> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> <meta name="Author" content="bob"> <meta name="GENERATOR" content="Mozilla/4.75 [en] (Win98; U) [Netscape]"> <META NAME="description" CONTENT="Site Loaded with free video game nintendo goodies and downloads. Codes, Reviews, Fan Fict, and more!"> <META NAME="keywords" CONTENT="Super, Mario, Brothers, Royal, Castle, Nintendo, N64, NES, Virtual, Boy, Game, Gameboy, GB, VB, SNES, Images, Movies, Sounds, Codes, Reviews, Previews, Free, Download, MP3, MP3s, Online Games, Interactive, Retro, Roms, Romz"> <title>Super Mario Royal Castle</title> </head> <body> <br>&nbsp; <br>&nbsp; <br> <center> <p> <a href="/smrc/main.html"><img SRC="/smrc/alexlogo.gif" BORDER=0 height=100 width=450></a> </p> <p> <a href="/smrc/main.html">Enter Here</a> </p> <br>&nbsp; <p> <font size=-2> Site Designed for 1024X768 Resolution, 16-bit color, Netscape 4.0+, IE 4.0+<br /> but heck, it should look good in just about anything.<br /> This site is in no way affilated with Nintendo.<br /> To view Site Map, <a href="/smrc/sitemap.html">Click Here</a> </font> </p> </center> </body> </html>
Super Mario Royal Castle     [![](/smrc/alexlogo.gif)](/smrc/main.html) [Enter Here](/smrc/main.html)   Site Designed for 1024X768 Resolution, 16-bit color, Netscape 4.0+, IE 4.0+
http://www.thesmrc.com/
<TITLE>Welcome to Mosaic Communications Corporation!</TITLE> <CENTER> <A HREF="MCOM/index2.html"><IMG SRC="MCOM/images/mcomwelcome1.gif" BORDER=1></A> <H3> <A HREF="MCOM/index2.html">Click on the Image or here to advance</A> </H3> </CENTER>
Welcome to Mosaic Communications Corporation! [![](MCOM/images/mcomwelcome1.gif)](MCOM/index2.html) ### [Click on the Image or here to advance](MCOM/index2.html)
http://home.mcom.com/
<html> <title> The Road Runner Show Page </title> <BASE TARGET="_parent"><body background="bbrrbg.jpg"> <p><hr> <center><img src="rrshow1.jpg" border=2> <h3>THE ROAD RUNNER SHOW</h3> </center> <hr> Written by Kevin McCorry <hr> <center><img src="rout65678.jpg"></center> <pre> "If you're on a highway and Road Runner goes beep-beep! Just step aside, or you might end up in heap! Road Runner, Road Runner runs on the road all day. Even the Coyote can't make him change his ways. Road Runner, that Coyote's after you! Road Runner, if he catches you, you're through! Road Runner, that Coyote's after you! Road Runner, if he catches you, you're through! That Coyote is really a crazy clown! When will he learn that he never can mow him down? Poor little Road Runner never bothers anyone. Just running down the road is his idea of having fun!" </pre> <img src="tobeepnottobeep56123.jpg" align=left> Animated-cartoon director Chuck Jones created the Road Runner, an extremely speedy bird that literally runs on roads in the U.S. southwestern desert, in 1948. Together with writers Tedd Pierce and Michael Maltese, Jones paired the road-running fowl with a hungry coyote, later given the name of Wile E., who has an overweening belief in his own ingenuity and in scientific methods and instruments of ACME Corporation design for use in his constant pursuit of the elusive, fast bird. <p> Regarded by Jones as a violently comedic parable for the modern conundrum of advanced technology versus an indomitable force of nature, or for a man's quest for the perfect, succulent bird (woman) that is always beyond his reach, Wile E. Coyote's chase of the Road Runner has lasted for a half-century and continues unabated in television reruns of the classic Warner Brothers cartoons. <p> <img src="wile18.jpg" align=right> Wile E. Coyote is every man's failing hero. His facial expressions or proclamations on hand-held signs as one of his schemes is about to go painfully awry are always totally empathetic. He becomes so single-minded, so fixated on his pursuit of Road Runner that he forgets his original, gastronomic intentions and has become determined to catch the Road Runner to preserve what is left of his dignity, and fails constantly to consider Murphy's Law, even as he attempts schemes that by all standards of credibility cannot possibly succeed: trying to fly in a poorly-fitting Superman costume, or encasing himself inside of a steel ball of random trajectory, or fixing an arrowhead onto his nose and sling-shooting himself at the Road Runner, or using a wheeled helmet on a wire to ride upside down off of a cliff. The ACME materials that he utilises become more and more fantastic, like tornado seeds, earthquake pills, dehydrated boulders, an ice-making machine, and a jet-powered unicycle, and all fail by necessity of their one possible fallibility, which Wile E. never anticipates. <p> <img src="zoombored.jpg" align=left> In Jones' Road Runner cartoons, starting with "Fast and Furry-ous" (1948), nothing happens to Wile E. that Wile E. does not initiate. The Road Runner can only harm him after the chase has already begun by suddenly beep-beeping the Road Runner's one characteristic sound) and startling Wile E. into falling off of a cliff, jumping upward and hitting his head on a rock formation, <i>et cetera</i>. <p> Between 1948 and 1964, Jones directed 24 Road Runner cartoons, with "Beep Prepared" (1961) nominated for an Academy Award and with cartoon animation for "To Beep or Not to Beep" (1963) used in 1962 for an unsold pilot episode for a prime-time television series, <b>The Adventures of the Road Runner</b>. Jones' final Road Runner cartoon of this time period was "War and Pieces" in 1964. <img src="roadrunnergogo19374p.jpg" align=right> Two further Road Runner cartoon shorts by Jones, "Zip Zip Hooray!" and "Road Runner-A-Go-Go", were edited from parts of the unsold pilot episode. <p> DePatie-Freleng Enterprises was formed in 1964 after the Warner Brothers cartoon studio was closed, and Jones' fellow director of more than 25 years, Friz Freleng, revived the chase by Wile E. Coyote of the Road Runner for an additional series of cartoon shorts, starting with "The Wild Chase" (1965), directed by Freleng and Hawley Pratt, in which Wile E. and Sylvester Cat join mishap-prone forces to pursue the racing Road Runner and Speedy Gonzales. Robert McKimson then directed "Rushing Roulette" (1965), a Road Runner cartoon short almost entirely in the Jones style, with Wile E. attempting and failing to catch the Road Runner by rigging a photograph machine with a cannon, putting all-stick glue on the road, attaching TNT to a piano on which the Road Runner, without ill effects, plays "Those Endearing Young Charms", aiming a solar-ray-magnifying glass at the mirror-holding Road Runner, and releasing a boulder that shears away the base of the narrow mesa atop of which he is standing. <p> Rudy Larriva at Format Films next directed eleven additional Road Runner cartoons for DePatie-Freleng Enterprises to distribute to Warner Brothers, cartoons in which Wile E.'s schemes involved a chemistry set, a World War One aeroplane, a huge robot in his likeness, and a hot rod built from junk metal, plus such interesting ploys as an exploding telephone in a phony bird sanctuary and a lightning rod disguised as a female Road Runner. McKimson followed the Larriva eleven with his second Road Runner cartoon, "Sugar and Spies" (1966), the last theatrical Road Runner film until the release of Jones' "Chariots of Fur" in 1995. <p> <center><img src="coyotearrow2.jpg"></center> <p> In September, 1966, Wile E. and his elusive, highway-traversing prey appeared on Saturday morning network television in <b>The Road Runner Show</b>. <p> <center><img src="rrunn2.jpg"></center> <p> Episodes of <b>The Road Runner Show</b> were opened and closed with a "groovy" song written by Barbara Cameron and performed by a vocal group, with difficult-to-understand lyrics rather like those on the classic <b>Spiderman</b> television series (1967-70). This was the same song that would be played after "This is it" on <b>The Bugs Bunny/Road Runner Hour</b>. With the song, quick cuts from various Road Runner cartoons were shown. Some of the cartoons from which the cuts were extracted were "Run, Run, Sweet Road Runner" (Wile E. fluttering his eyebrows at the camera), "Tired and Feathered" (Wile E. shaking his head to mean "no" and the Road Runner releasing a lever to send Wile E. barrelling down a hill on a stone log which crushes him against the rock formation at the base of the hill), "Highway Runnery" (Wile E.'s fan losing power just as he is about to clear a gorge on his wind sail), "Hip Hip- Hurry!" (Wile E. being startled from behind him and between his legs by the beep-beeping Road Runner; Wile E. trying to slingshot a dynamite stick, only to have it explode in his face), and "Wild About Hurry" (Wile E.'s rocket colliding with a rock). <p> <img src="bprepared6668p.jpg" align=left> Each episode of the 30-minute-long <b>Road Runner Show</b> that aired on CBS from September 10, 1966 to September 7, 1968, started with a Road Runner cartoon, many of which, directed by Larriva or by McKimson, had been completed and distributed to movie theatres just months earlier! Road Runner cartoons on <b>The Road Runner Show</b> were titled on red background, with Wile E. standing to the left of the title and looking schemingly at the Road Runner, who stood to the title's right. The same Road Runner and Wile E. poses were seen during the closing credits of every <b>Road Runner Show</b>. McKimson drew the poses of the Road Runner and Wile E. Coyote used for the Road Runner cartoon title cards on <b>The Road Runner Show</b>, which is why Wile E. Coyote and the Road Runner on those title cards have a look distinctively recognisable as that in the McKimson-directed cartoons, "Rushing Roulette" and "Sugar and Spies". <p> <img src="tdreams.jpg" align=right> The second cartoon was always one from the Tweety Bird and Sylvester Cat series of cartoons. Each Tweety-and-Sylvester cartoon presented on <b>The Road Runner Show</b> was titled with a scene of Sylvester glancing from behind a tree at a running Tweety. McKimson probably was responsible for those title cards, though whether he personally drew them is questionable, because Sylvester in them looks quite like he did in Freleng's cartoons. Someone from the pre-1964 Freleng cartoon-animation unit at Warner Brothers might have provided talents for drawing of the Tweety-and-Sylvester cartoon title card. <p> <img src="cannery.jpg" align=left> Third and last was a cartoon with one or some of the following characters: Sylvester, Sylvester Jr., Hippety Hopper, Speedy Gonzales, Ralph Wolf, Sam Sheepdog, Pepe Le Pew, Foghorn Leghorn, Henery Hawk, Miss Prissy, Elmer Fudd, canines Spike and Chester, the Rum Cake-Eating Mouse, Angelo the Mighty Flea, Bulldog, and Daffy Duck- and titled with a group of five characters (Foghorn Leghorn, Pepe Le Pew, Speedy Gonzales, Yosemite Sam, Elmer Fudd) arranged in a semi-circle. The characters on the title card look like they could have been drawn by McKimson. <p> <b>The Bugs Bunny/Road Runner Hour</b> (1968-71; 1975-8), CBS' Saturday morning successor to <b>The Road Runner Show</b>, would coopt most of the cartoons on <b>The Road Runner Show</b>, in addition to their title cards. <p> A sponsor's identification would follow the theme song inaugurating each <b>Road Runner Show</b>, and clusters of commercials were positioned by CBS elsewhere in the episodes. <p> <center><img src="rr-water1.jpg"></center> <p> And brief sequences with the Road Runner and Wile E. Coyote, cartoon-animated specially for <b>The Road Runner Show</b> by staff of DePatie-Freleng Enterprises under the direction of McKimson, were inserted between cartoons one and two and between cartoons two and three of each episode. In these interstitial segments, Wile E. uses grenades with a tennis racket, a cannon, a red-nosed, wheeled robot, a rifle tied to a string, a rocket with an unreliable fuse, a Road Runner replica costume, a jet-powered car, a sketch of himself and of the Road Runner on an easel, a boulder dropped from a cliff above a water cooler, dynamite under two manhole covers, a telephone connected by a fuse to a huge TNT stick, a remote-controlled rocket that launches and then descends explosively upon him, and a motorcycle that carries him up a hill to arrive on the bottom side of a pointed cliff, from which he falls, demolishing the motorcycle. <p> <b>The Road Runner Show</b> was superseded on CBS by <b>The Bugs Bunny/Road Runner Hour</b> on September 14, 1968. <b>The Bugs Bunny/Road Runner Hour</b> would be shown by CBS on Saturday mornings for three consecutive television broadcast years until 1971, when CBS opted to reduce Saturday airtime for Bugs Bunny to a half-hour and waived for awhile the broadcast rights to all of the cartoons that had composed the episodes of <b>The Road Runner Show</b> between 1966 and 1968. The ABC television network promptly acquired <b>The Road Runner Show</b> and all constituent cartoons, and starting in September, 1971, <b>The Road Runner Show</b> was rerun on ABC in a reassembled form, with some trimming to remove Sam Sheepdog and Ralph Wolf respectively smoking pipe and cigarette in "A Sheep in the Deep", the sound of Sylvester slapping his own face in "Snow Business", Foghorn Leghorn's quip about his cupboard being, "Bare as a cooch dancer's midriff," in "Strangled Eggs", and some of the consequences of Wile E. Coyote's failing schemes in the between-cartoon segments. Speculation is that some of these edits were done at some point in time during the 1968-71 CBS broadcast of <b>The Bugs Bunny/Road Runner Hour</b>. <p> <center><img src="wildchasepic.jpg"><br> <i>"The Wild Chase", with the Road Runner and Speedy Gonzales in competition with each other for claim to being fastest creature of the desert region of North America, "Highway Runnery", a Road Runner cartoon in which one of Wile E. Coyote's schemes to catch the Road Runner results in the hatching of a baby robot clock Road Runner, and "Claws in the Lease", which opens with Sylvester and Sylvester Jr. scrounging for food in a city dump, were among many cartoons that premiered on U.S. network television on <b>The Road Runner Show</b>.</i></center> <p> CBS' first episode of <b>The Road Runner Show</b> on September 10, 1966 contained "Zip 'n Snort", "Hyde and Go Tweet", and "The Wild Chase". One of the episodes during <b>The Road Runner Show</b>'s two years of transmission on CBS consisted of the cartoon shorts, "Sugar and Spies", "A Street Cat Named Sylvester", and "Birds of a Father". And the cartoons in the final <b>Road Runner Show</b> on CBS on September 7, 1968 were "Highway Runnery", "Fowl Weather", and "Don't Axe Me". Many of the cartoons in the first season episodes of <b>The Road Runner Show</b> were having their U.S. network television premieres. This included all of the Road Runner cartoons made after 1959, several late-1950s and all post-1960 Tweety-and-Sylvester cartoons, and a number of Foghorn Leghorn, Speedy Gonzales, Sylvester-without-Tweety, and Elmer Fudd cartoons. <p> <center><img src="rrshowrocket67409.jpg"><br> <i>In a between-cartoon gag vignette in some episodes of <b>The Road Runner Show</b>'s first two seasons, Wile E. Coyote tries to ride a rocket in pursuit of the Road Runner, but the fuse lit by Wile E. to start the rocket motor causes the rocket to explode.</i></center> <p> Cartoons Shown On <b>The Road Runner Show</b> (1966-8) <p> "Zip 'n Snort" with Road Runner and Wile E. Coyote<br> "The Wild Chase" with Road Runner, Wile E. Coyote, Sylvester, and Speedy Gonzales<br> "Beep Prepared" with Road Runner and Wile E. Coyote<br> "Ready.. Set.. Zoom!" with Road Runner and Wile E. Coyote<br> "Zoom at the Top" with Road Runner and Wile E. Coyote<br> "War and Pieces" with Road Runner and Wile E. Coyote<br> "To Beep or Not to Beep" with Road Runner and Wile E. Coyote<br> "Tired and Feathered" with Road Runner and Wile E. Coyote<br> "Stop! Look! And Hasten!" with Road Runner and Wile E. Coyote<br> "Fast and Furry-ous" with Road Runner and Wile E. Coyote<br> "Scrambled Aches" with Road Runner and Wile E. Coyote<br> "Rushing Roulette" with Road Runner and Wile E. Coyote<br> "There They Go-Go-Go!" with Road Runner and Wile E. Coyote<br> "Gee Whiz-z-z-z!" with Road Runner and Wile E. Coyote<br> "Hairied and Hurried" with Road Runner and Wile E. Coyote<br> "Whoa, Be-Gone!" with Road Runner and Wile E. Coyote<br> "Hopalong Casualty" with Road Runner and Wile E. Coyote<br> "Run, Run, Sweet Road Runner" with Road Runner and Wile E. Coyote<br> "Sugar and Spies" with Road Runner and Wile E. Coyote<br> "Boulder Wham!" with Road Runner and Wile E. Coyote<br> "Going! Going! Gosh!" with Road Runner and Wile E. Coyote<br> "Shot and Bothered" with Road Runner and Wile E. Coyote<br> "Out and Out Rout" with Road Runner and Wile E. Coyote<br> "The Solid Tin Coyote" with Road Runner and Wile E. Coyote<br> "Lickety-Splat" with Road Runner and Wile E. Coyote<br> "Clippety Clobbered" with Road Runner and Wile E. Coyote<br> "Highway Runnery" with Road Runner and Wile E. Coyote<br> "Hyde and Go Tweet" with Tweety and Sylvester<br> "Putty Tat Trouble" with Tweety and Sylvester<br> "Tweet and Lovely" with Tweety and Sylvester<br> "The Jet Cage" with Tweety, Sylvester, and Granny<br> "Tree Cornered Tweety" with Tweety and Sylvester<br> "Tweet Tweet Tweety" with Tweety and Sylvester<br> "Trick or Tweet" with Tweety and Sylvester<br> "Dog Pounded" with Tweety and Sylvester<br> "Tweety's Circus" with Tweety and Sylvester<br> "Ain't She Tweet" with Tweety, Sylvester, and Granny<br> "Hawaiian Aye Aye" with Tweety, Sylvester, and Granny<br> "A Bird in a Guilty Cage" with Tweety and Sylvester<br> "Tugboat Granny" with Tweety, Sylvester, and Granny<br> "Tweet and Sour" with Tweety, Sylvester, and Granny<br> "Catty Cornered" with Tweety, Sylvester, and Rocky<br> "Gift Wrapped" with Tweety, Sylvester, and Granny<br> "A Bird in a Bonnet" with Tweety, Sylvester, and Granny<br> "A Street Cat Named Sylvester" with Tweety, Sylvester, Granny, and Hector Bulldog<br> "Tweet Zoo" with Tweety and Sylvester<br> "A Pizza Tweety-Pie" with Tweety, Sylvester, and Granny<br> "Trip For Tat" with Tweety, Sylvester, and Granny<br> "Muzzle Tough" with Tweety, Sylvester, and Granny<br> "Tweet Dreams" with Tweety and Sylvester<br> "Greedy For Tweety" with Tweety, Sylvester, and Granny<br> "Snow Business" with Tweety, Sylvester, and Granny<br> "Fowl Weather" with Tweety, Sylvester, Granny, and Hector Bulldog<br> "Hoppy Daze" with Sylvester and Hippety Hopper<br> "Pop 'im Pop!" with Sylvester, Sylvester Jr., and Hippety Hopper<br> "Fish and Slips" with Sylvester and Sylvester Jr.<br> "Dr. Jerkyl's Hide" with Sylvester, Spike, and Chester<br> "Birds of a Father" with Sylvester and Sylvester Jr.<br> "Mouse-Taken Identity" with Sylvester, Sylvester Jr., and Hippety Hopper<br> "Claws in the Lease" with Sylvester and Sylvester Jr.<br> "The Slap-Hoppy Mouse" with Sylvester, Sylvester Jr., and Hippety Hopper<br> "Cannery Woe" with Speedy Gonzales and Sylvester<br> "Cats and Bruises" with Sylvester and Speedy Gonzales<br> "Chili Weather" with Sylvester and Speedy Gonzales<br> "The Dixie Fryer" with Foghorn Leghorn, Pappy, and Elvis<br> "Weasel While You Work" with Foghorn Leghorn and the Weasel<br> "Mother Was a Rooster" with Foghorn Leghorn<br> "Strangled Eggs" with Foghorn Leghorn, Henery Hawk, and Miss Prissy<br> "The Slick Chick" with Foghorn Leghorn<br> "Wild Over You" with Pepe Le Pew<br> "Touche and Go" with Pepe Le Pew<br> "A Mutt in a Rut" with Elmer Fudd and Rover the Dog<br> "What's My Lion?" with Elmer Fudd and Rocky the Mountain Lion<br> "Don't Axe Me" with Daffy Duck, Elmer Fudd, and Mrs. Fudd<br> "A Sheep in the Deep" with Ralph Wolf and Sam Sheepdog<br> "Woolen Under Where" with Ralph Wolf and Sam Sheepdog<br> "The Mouse On 57th Street" with the Rum Cake-Eating Mouse<br> "To Itch His Own" with Angelo the Mighty Flea and Bulldog <p> Below is an episode guide for <b>The Road Runner Show</b> as assembled for telecast on ABC in 1971-2. <p> <center><img src="chase.jpg"><br> <i>In one of the between-cartoon gag vignettes of instalment seven of <b>The Road Runner Show</b>- Season 3, Wile E. Coyote rides a motorcycle in his chase of the Road Runner, both characters eventually coming to a stop on the bottom side of a pointed cliff. Needless to say, it is Wile E.- and motorcycle- that plummet to the ground many, many feet below the cliff.</i></center> <pre> Season 3 <b>Road Runner Show</b> # 1 (Sept. 4, 1971) Cannons, a hand grenade in a toy aeroplane, and axle grease applied to feet are some of the failed props in Wile E. Coyote's schemes to procure Road Runner meat. He also joins Sylvester in a chase of both the Road Runner and Speedy Gonzales while the two rapid denizens of the desert are racing each other. "Zip 'n Snort" with Road Runner and Wile E. Coyote "The Jet Cage" with Tweety, Sylvester, and Granny "The Wild Chase" with Road Runner, Wile E. Coyote, Sylvester, and Speedy Gonzales <b>Road Runner Show</b> # 2 (Sept. 11, 1971) Wile E. Coyote's items of unsuccessful use: an extended tripping foot, a portable hole, a magnet, and a rocket sled on a railroad track. Sylvester and another cat fight to have claim of Tweety for lunch on a winter day, and Sylvester disrupts Speedy's celebration of Cinco de Mayo. "Beep Prepared" with Road Runner and Wile E. Coyote "Putty Tat Trouble" with Tweety and Sylvester "Cats and Bruises" with Sylvester and Speedy Gonzales <b>Road Runner Show</b> # 3 (Sept. 18, 1971) Glue on the road, a dynamite stick, a 10,000 pound weight, a giant rubber band, and a female road runner costume are all painfully ineffective for Wile E. Coyote, Sylvester is startled to repeatedly find a huge Mr. Hyde bird in the place of tiny Tweety, and amid ice and snow does Foghorn Leghorn direct a hungry weasel toward the barnyard dog. "Ready.. Set.. Zoom!" with Road Runner and Wile E. Coyote "Hyde and Go Tweet" with Tweety and Sylvester "Weasel While You Work" with Foghorn Leghorn and the Weasel <b>Road Runner Show</b> # 4 (Sept. 25, 1971) Failures for Wile E. Coyote are the result of an ice-maker machine, a bear trap, and a boomerang, Sylvester's Tweety-hunt brings him to a city's automated cafeteria, into a mine field, and onto a wooden bridge in Colorado, and Sylvester almost does not endure a confrontation with Hippety Hopper in a pier warehouse. "Zoom at the Top" with Road Runner and Wile E. Coyote "Tree Cornered Tweety" with Tweety and Sylvester "Hoppy Daze" with Sylvester and Hippety Hopper <b>Road Runner Show</b> # 5 (Oct. 2, 1971) A thrown hand grenade is ricocheted into Wile E. Coyote's face by a cactus, Wile E.'s invisible paint does not protect him from being struck by a beep-beeping truck, the Road Runner cannot be reached atop a cliff, and a misfired rocket sends Wile E. through the Earth to the Orient. A lion and a sheepdog respectively thwart Sylvester and Ralph Wolf's quest for sustenance. "War and Pieces" with Road Runner and Wile E. Coyote "Tweety's Circus" with Tweety and Sylvester "A Sheep in the Deep" with Ralph Wolf and Sam Sheepdog <b>Road Runner Show</b> # 6 (Oct. 9, 1971) No matter where Wile E. Coyote positions himself, his catapult drops a boulder on top of him. Sylvester and a feline friend strive not to allow rivalry for grabbing pole-top-nested Tweety to undermine their amicable relationship. Sylvester discovers that his son's best pal is a bird. "To Beep or Not to Beep" with Road Runner and Wile E. Coyote "Trick or Tweet" with Tweety and Sylvester "Birds of a Father" with Sylvester and Sylvester Jr. <b>Road Runner Show</b> # 7 (Oct. 16, 1971) Wile E. Coyote's huge coyote robot is an unmitigated disaster, as is Sylvester's chase of Tweety in his own winter quarters, and Foghorn Leghorn combats two Southern chicken hawks. "The Solid Tin Coyote" with Road Runner and Wile E. Coyote "A Street Cat Named Sylvester" with Tweety, Sylvester, Granny, and Hector Bulldog "The Dixie Fryer" with Foghorn Leghorn, Pappy, and Elvis <b>Road Runner Show</b> # 8 (Oct. 23, 1971) A clay chicken is no contest as a succulent meal against a Road Runner, but Wile E. Coyote cannot attain the speed of the road-blazing force of nature. Nor can Sylvester access Tweety in the midst of a dog pound, and likewise is Ralph Wolf unable to attain mutton by grabbing one of Sam Sheepdog's lambs. "There They Go-Go-Go!" with Road Runner and Wile E. Coyote "Dog Pounded" with Tweety and Sylvester "Woolen Under Where" with Ralph Wolf and Sam Sheepdog <b>Road Runner Show</b> # 9 (Oct. 30, 1971) Dehydrated boulders, a Mr. Hyde cat and fly, and a shark living in an underwater dog house are among the contents of this instalment. "Scrambled Aches" with Road Runner and Wile E. Coyote "Hawaiian Aye Aye" with Tweety, Sylvester, and Granny "Dr. Jerkyl's Hide" with Sylvester, Spike, and Chester <b>Road Runner Show</b> # 10 (Nov. 6, 1971) Can a spy kit aid Wile E. Coyote in catching his Road Runner quarry? No more than Sylvester can stop Speedy Gonzales from raiding a cheese store. No more than Tweety can be grasped from his display cage inside of a department store. "Sugar and Spies" with Road Runner and Wile E. Coyote "A Bird in a Guilty Cage" with Tweety and Sylvester "Cannery Woe" with Speedy Gonzales and Sylvester <b>Road Runner Show</b> # 11 (Nov. 13, 1971) Trampolines do not break a coyote's fall from a 100-foot cliff, ACME tornado seeds should not be placed beneath a faulty water pistol, and Sylvester ought not to try to filch Tweety from a National Park. "Whoa, Be-Gone!" with Road Runner and Wile E. Coyote "Tweet Tweet Tweety" with Tweety and Sylvester "Don't Axe Me" with Daffy Duck, Elmer Fudd, and Mrs. Fudd <b>Road Runner Show</b> # 12 (Nov. 20, 1971) A baby kangaroo escapes from a circus, Sylvester and Tweety are in hospital with broken legs, and Wile E. Coyote is owner of a chemistry set. "Clippety Clobbered" with Road Runner and Wile E. Coyote "Greedy For Tweety" with Tweety, Sylvester, and Granny "Pop 'im Pop!" with Sylvester, Sylvester Jr., and Hippety Hopper <b>Road Runner Show</b> # 13 (Nov. 27, 1971) Earthquakes, a chemically concocted thunderstorm, and a wildcat equal a volatile instalment. "Hopalong Casualty" with Road Runner and Wile E. Coyote "Tweet and Lovely" with Tweety and Sylvester "Wild Over You" with Pepe Le Pew <b>Road Runner Show</b> # 14 (Dec. 4, 1971) For this episode, tornadoes, a sky-diving Coyote and a parachutist putty tat, and a maternal rooster are the distinguishing elements. "Hairied and Hurried" with Road Runner and Wile E. Coyote "Tugboat Granny" with Tweety, Sylvester, and Granny "Mother Was a Rooster" with Foghorn Leghorn <b>Road Runner Show</b> # 15 (Dec. 11, 1971) Roller skis, a slingshot, exploding darts, and a boomerang do not yield Road Runner fricassee for a hungry Wile E. Coyote, and Sylvester must act as protector to Tweety lest he become violin strings as per Granny's decree. A fishing expedition reveals another of Sylvester's shortcomings. "Lickety-Splat" with Road Runner and Wile E. Coyote "Tweet and Sour" with Tweety, Sylvester, and Granny "Fish and Slips" with Sylvester and Sylvester Jr. <b>Road Runner Show</b> # 16 (Dec. 18, 1971) Wile E. Coyote's bogus bird sanctuary, a telephone booth with a dynamite fuse, does not end the Road Runner's trail- blazing ways, Tweety finds shelter from Sylvester in a chicken coop, and Elmer Fudd's faithful dog wrongly believes that Elmer intends his demise. "Tired and Feathered" with Road Runner and Wile E. Coyote "Fowl Weather" with Tweety, Sylvester, Granny, and Hector Bulldog "A Mutt in a Rut" with Elmer Fudd and Rover the Dog <b>Road Runner Show</b> # 17 (Dec. 25, 1971) It is Christmas at Granny's house. Wile E. Coyote continues his futile chase, this time with such schemes as a painted road at the edge of a cliff, dynamite fastened to an arrow, quick-drying cement, a boulder, and an anvil released from a street-cleaner wagon underneath a balloon. "Going! Going! Gosh!" with Road Runner and Wile E. Coyote "Gift Wrapped" with Tweety, Sylvester, and Granny "Mouse-Taken Identity" with Sylvester, Sylvester Jr., and Hippety Hopper <b>Road Runner Show</b> # 18 (Jan. 1, 1972) AJAX Stix-All glue presents a problem for Wile E. Coyote when the Road Runner runs straight through a piece of road covered by it and Wile E. then himself tests the extreme stickiness of the adhesive, the cannon in a trick photograph booth actually snapshoots the Road Runner but blasts Wile E., and Sylvester cannot penetrate the bulldog-filled yard surrounding Granny and Tweety's domicile. "Rushing Roulette" with Road Runner and Wile E. Coyote "Ain't She Tweet" with Tweety, Sylvester, and Granny "The Mouse On 57th Street" with the Rum Cake-Eating Mouse <b>Road Runner Show</b> # 19 (Jan. 8, 1972) Wile E. Coyote's Burmese tiger trap, intended to capture the Road Runner, spawns a real tiger, Sylvester rescues Tweety from a hostage situation but cannot eat the canary because he has been declared a hero, and Speedy enters into a food processing factory to obtain nourishment for his friends and finds guard-cat Sylvester waiting for him inside the establishment. "Stop! Look! And Hasten!" with Road Runner and Wile E. Coyote "Catty Cornered" with Tweety, Sylvester, and Rocky "Chili Weather" with Sylvester and Speedy Gonzales <b>Road Runner Show</b> # 20 (Jan. 15, 1972) Wile E. Coyote learns that it is unwise to chase the Road Runner around an old jalopy, an Italiano putty tat is all wet- not to mention concussed and swallowed by a shark- after attempting to capture Tweety in Venice, and Foghorn Leghorn is unable to destroy Miss Prissy's adopted son, Henery Hawk. "Highway Runnery" with Road Runner and Wile E. Coyote "A Pizza Tweety-Pie" with Tweety, Sylvester, and Granny "Strangled Eggs" with Foghorn Leghorn, Henery Hawk, and Miss Prissy <b>Road Runner Show</b> # 21 (Jan. 22, 1972) Tweety and Sylvester are globetrotters, Elmer Fudd prepares to hunt mountain lion, and Wile E. tries without avail to swoop downward in a flying Batman costume upon the Road Runner. "Gee Whiz-z-z-z!" with Road Runner and Wile E. Coyote "Trip For Tat" with Tweety, Sylvester, and Granny "What's My Lion?" with Elmer Fudd and Rocky the Mountain Lion <b>Road Runner Show</b> # 22 (Jan. 29, 1972) Wile E. Coyote inflates himself with helium in a misbegotten plot to bomb the Road Runner from high above the desert roads. Sylvester, disguised as a female dog, attracts the amorous attention of a bulldog guarding Tweety and Granny's city home. And lastly is a Pepe Le Pew cartoon set in southern France, with the usual chase by Pepe of an accidentally skunk-striped cat, whom Pepe desires to woo. "Shot and Bothered" with Road Runner and Wile E. Coyote "Muzzle Tough" with Tweety, Sylvester, and Granny "Touche and Go" with Pepe Le Pew <b>Road Runner Show</b> # 23 (Feb. 5, 1972) Rocket-powered sneakers do not enable Wile E. Coyote to catch the Road Runner on a complicated cloverleaf highway, and feisty ladies prevent Sylvester from feasting on Tweety and joining his son in a comfortable abode. "Fast and Furry-ous" with Road Runner and Wile E. Coyote "A Bird in a Bonnet" with Tweety, Sylvester, and Granny "Claws in the Lease" with Sylvester and Sylvester Jr. <b>Road Runner Show</b> # 24 (Feb. 12, 1972) How does a Coyote attain the ability to fly? Perhaps instead of tying doves to his feet, he should consult Sylvester's psychiatrist, who after listening to Sylvester's woeful story of frustration in chasing Tweety, flaps his arms and aerially departs his high-rise office. Foghorn Leghorn learns that it is unwise to volunteer as caretaker for a trouble- making boy chick. "Out and Out Rout" with Road Runner and Wile E. Coyote "Tweet Dreams" with Tweety and Sylvester "The Slick Chick" with Foghorn Leghorn <b>Road Runner Show</b> # 25 (Feb. 19, 1972) Indian rain dancing, Tweety singing in a paper ship within Sylvester's stove pot, and a muscular flea vanquishing a bulldog are unlikely scenarios of this strange show. "Run, Run, Sweet Road Runner" with Road Runner and Wile E. Coyote "Snow Business" with Tweety, Sylvester, and Granny "To Itch His Own" with Angelo the Mighty Flea and Bulldog <b>Road Runner Show</b> # 26 (Feb. 26, 1972) Attaining the unattainable at its most hazardous: Wile E. Coyote attempting to bridge the gap between two steep cliffs to reach the Road Runner on the other side of the chasm. Sylvester pursues Tweety in a zoo and combats Hippety Hopper in a dilapidated house. "Boulder Wham!" with Road Runner and Wile E. Coyote "Tweet Zoo" with Tweety and Sylvester "The Slap-Hoppy Mouse" with Sylvester, Sylvester Jr., and Hippety Hopper </pre> <center><img src="wile2.jpg"></center> <p> From 1997 to 2003, <b>The Road Runner Show</b> was intermittently presented in Canada on the Teletoon cable television specialty channel. It was the third season (i.e. the ABC version) that Teletoon aired, after having converted all episodes to digital videotape, with rather mixed results in terms of picture quality and glitches in the digitising process. Audio and video were out of synchronisation during some of the between-cartoon Road Runner and Coyote gags, especially those in Show 2. And after but one Teletoon broadcast, Show 13 vanished from the sequence of instalments, though its Road Runner cartoon, "Hopalong Casualty", continued to surface on Teletoon-French in the Canadian province of Quebec. <p> Bonus material on LOONEY TUNES GOLDEN COLLECTION digital videodiscs (DVDs) did not include the opening, closing credits, and between-cartoon gag segments of <b>The Road Runner Show</b>. <p> <center><img src="rrshow6.jpg"></center> <p> IN MEMORIAM <p> Cartoon directors Friz Freleng, Chuck Jones, and Robert McKimson<br> Voice characterisation performers Mel Blanc, Daws Butler, Hal Smith, and Bea Benaderet<br> Musicians Carl W. Stalling, Milt Franklyn, John Seely, Bill Lava, and Walter Greene <p><hr> All images (c) Warner Bros.<br> <b>Textual content (c) Kevin McCorry, with all rights reserved<br> This Web page, the remembered information, and the observations therein are the intellectual property of the author unless otherwise noted and may not be reproduced and then altered in any way without the express written consent of the author, and any scholarly quoting, paraphrasing, or other repetition of them MUST be accompanied by full stated credit to the author, with failure to do so possibly exposing an individual or group to litigation and possible civil or criminal penalty</b> <hr> <center><a href="index.html"><img src="newbanner.jpg"></a><br> <b><a href="index.html">Kevin McCorry's Home Page</a></b></center> <hr></html>
The Road Runner Show Page --- ![](rrshow1.jpg) ### THE ROAD RUNNER SHOW --- Written by Kevin McCorry --- ![](rout65678.jpg) ``` "If you're on a highway and Road Runner goes beep-beep! Just step aside, or you might end up in heap! Road Runner, Road Runner runs on the road all day. Even the Coyote can't make him change his ways. Road Runner, that Coyote's after you! Road Runner, if he catches you, you're through! Road Runner, that Coyote's after you! Road Runner, if he catches you, you're through! That Coyote is really a crazy clown! When will he learn that he never can mow him down? Poor little Road Runner never bothers anyone. Just running down the road is his idea of having fun!" ``` ![](tobeepnottobeep56123.jpg) Animated-cartoon director Chuck Jones created the Road Runner, an extremely speedy bird that literally runs on roads in the U.S. southwestern desert, in 1948. Together with writers Tedd Pierce and Michael Maltese, Jones paired the road-running fowl with a hungry coyote, later given the name of Wile E., who has an overweening belief in his own ingenuity and in scientific methods and instruments of ACME Corporation design for use in his constant pursuit of the elusive, fast bird. Regarded by Jones as a violently comedic parable for the modern conundrum of advanced technology versus an indomitable force of nature, or for a man's quest for the perfect, succulent bird (woman) that is always beyond his reach, Wile E. Coyote's chase of the Road Runner has lasted for a half-century and continues unabated in television reruns of the classic Warner Brothers cartoons. ![](wile18.jpg) Wile E. Coyote is every man's failing hero. His facial expressions or proclamations on hand-held signs as one of his schemes is about to go painfully awry are always totally empathetic. He becomes so single-minded, so fixated on his pursuit of Road Runner that he forgets his original, gastronomic intentions and has become determined to catch the Road Runner to preserve what is left of his dignity, and fails constantly to consider Murphy's Law, even as he attempts schemes that by all standards of credibility cannot possibly succeed: trying to fly in a poorly-fitting Superman costume, or encasing himself inside of a steel ball of random trajectory, or fixing an arrowhead onto his nose and sling-shooting himself at the Road Runner, or using a wheeled helmet on a wire to ride upside down off of a cliff. The ACME materials that he utilises become more and more fantastic, like tornado seeds, earthquake pills, dehydrated boulders, an ice-making machine, and a jet-powered unicycle, and all fail by necessity of their one possible fallibility, which Wile E. never anticipates. ![](zoombored.jpg) In Jones' Road Runner cartoons, starting with "Fast and Furry-ous" (1948), nothing happens to Wile E. that Wile E. does not initiate. The Road Runner can only harm him after the chase has already begun by suddenly beep-beeping the Road Runner's one characteristic sound) and startling Wile E. into falling off of a cliff, jumping upward and hitting his head on a rock formation, *et cetera*. Between 1948 and 1964, Jones directed 24 Road Runner cartoons, with "Beep Prepared" (1961) nominated for an Academy Award and with cartoon animation for "To Beep or Not to Beep" (1963) used in 1962 for an unsold pilot episode for a prime-time television series, **The Adventures of the Road Runner**. Jones' final Road Runner cartoon of this time period was "War and Pieces" in 1964. ![](roadrunnergogo19374p.jpg) Two further Road Runner cartoon shorts by Jones, "Zip Zip Hooray!" and "Road Runner-A-Go-Go", were edited from parts of the unsold pilot episode. DePatie-Freleng Enterprises was formed in 1964 after the Warner Brothers cartoon studio was closed, and Jones' fellow director of more than 25 years, Friz Freleng, revived the chase by Wile E. Coyote of the Road Runner for an additional series of cartoon shorts, starting with "The Wild Chase" (1965), directed by Freleng and Hawley Pratt, in which Wile E. and Sylvester Cat join mishap-prone forces to pursue the racing Road Runner and Speedy Gonzales. Robert McKimson then directed "Rushing Roulette" (1965), a Road Runner cartoon short almost entirely in the Jones style, with Wile E. attempting and failing to catch the Road Runner by rigging a photograph machine with a cannon, putting all-stick glue on the road, attaching TNT to a piano on which the Road Runner, without ill effects, plays "Those Endearing Young Charms", aiming a solar-ray-magnifying glass at the mirror-holding Road Runner, and releasing a boulder that shears away the base of the narrow mesa atop of which he is standing. Rudy Larriva at Format Films next directed eleven additional Road Runner cartoons for DePatie-Freleng Enterprises to distribute to Warner Brothers, cartoons in which Wile E.'s schemes involved a chemistry set, a World War One aeroplane, a huge robot in his likeness, and a hot rod built from junk metal, plus such interesting ploys as an exploding telephone in a phony bird sanctuary and a lightning rod disguised as a female Road Runner. McKimson followed the Larriva eleven with his second Road Runner cartoon, "Sugar and Spies" (1966), the last theatrical Road Runner film until the release of Jones' "Chariots of Fur" in 1995. ![](coyotearrow2.jpg) In September, 1966, Wile E. and his elusive, highway-traversing prey appeared on Saturday morning network television in **The Road Runner Show**. ![](rrunn2.jpg) Episodes of **The Road Runner Show** were opened and closed with a "groovy" song written by Barbara Cameron and performed by a vocal group, with difficult-to-understand lyrics rather like those on the classic **Spiderman** television series (1967-70). This was the same song that would be played after "This is it" on **The Bugs Bunny/Road Runner Hour**. With the song, quick cuts from various Road Runner cartoons were shown. Some of the cartoons from which the cuts were extracted were "Run, Run, Sweet Road Runner" (Wile E. fluttering his eyebrows at the camera), "Tired and Feathered" (Wile E. shaking his head to mean "no" and the Road Runner releasing a lever to send Wile E. barrelling down a hill on a stone log which crushes him against the rock formation at the base of the hill), "Highway Runnery" (Wile E.'s fan losing power just as he is about to clear a gorge on his wind sail), "Hip Hip- Hurry!" (Wile E. being startled from behind him and between his legs by the beep-beeping Road Runner; Wile E. trying to slingshot a dynamite stick, only to have it explode in his face), and "Wild About Hurry" (Wile E.'s rocket colliding with a rock). ![](bprepared6668p.jpg) Each episode of the 30-minute-long **Road Runner Show** that aired on CBS from September 10, 1966 to September 7, 1968, started with a Road Runner cartoon, many of which, directed by Larriva or by McKimson, had been completed and distributed to movie theatres just months earlier! Road Runner cartoons on **The Road Runner Show** were titled on red background, with Wile E. standing to the left of the title and looking schemingly at the Road Runner, who stood to the title's right. The same Road Runner and Wile E. poses were seen during the closing credits of every **Road Runner Show**. McKimson drew the poses of the Road Runner and Wile E. Coyote used for the Road Runner cartoon title cards on **The Road Runner Show**, which is why Wile E. Coyote and the Road Runner on those title cards have a look distinctively recognisable as that in the McKimson-directed cartoons, "Rushing Roulette" and "Sugar and Spies". ![](tdreams.jpg) The second cartoon was always one from the Tweety Bird and Sylvester Cat series of cartoons. Each Tweety-and-Sylvester cartoon presented on **The Road Runner Show** was titled with a scene of Sylvester glancing from behind a tree at a running Tweety. McKimson probably was responsible for those title cards, though whether he personally drew them is questionable, because Sylvester in them looks quite like he did in Freleng's cartoons. Someone from the pre-1964 Freleng cartoon-animation unit at Warner Brothers might have provided talents for drawing of the Tweety-and-Sylvester cartoon title card. ![](cannery.jpg) Third and last was a cartoon with one or some of the following characters: Sylvester, Sylvester Jr., Hippety Hopper, Speedy Gonzales, Ralph Wolf, Sam Sheepdog, Pepe Le Pew, Foghorn Leghorn, Henery Hawk, Miss Prissy, Elmer Fudd, canines Spike and Chester, the Rum Cake-Eating Mouse, Angelo the Mighty Flea, Bulldog, and Daffy Duck- and titled with a group of five characters (Foghorn Leghorn, Pepe Le Pew, Speedy Gonzales, Yosemite Sam, Elmer Fudd) arranged in a semi-circle. The characters on the title card look like they could have been drawn by McKimson. **The Bugs Bunny/Road Runner Hour** (1968-71; 1975-8), CBS' Saturday morning successor to **The Road Runner Show**, would coopt most of the cartoons on **The Road Runner Show**, in addition to their title cards. A sponsor's identification would follow the theme song inaugurating each **Road Runner Show**, and clusters of commercials were positioned by CBS elsewhere in the episodes. ![](rr-water1.jpg) And brief sequences with the Road Runner and Wile E. Coyote, cartoon-animated specially for **The Road Runner Show** by staff of DePatie-Freleng Enterprises under the direction of McKimson, were inserted between cartoons one and two and between cartoons two and three of each episode. In these interstitial segments, Wile E. uses grenades with a tennis racket, a cannon, a red-nosed, wheeled robot, a rifle tied to a string, a rocket with an unreliable fuse, a Road Runner replica costume, a jet-powered car, a sketch of himself and of the Road Runner on an easel, a boulder dropped from a cliff above a water cooler, dynamite under two manhole covers, a telephone connected by a fuse to a huge TNT stick, a remote-controlled rocket that launches and then descends explosively upon him, and a motorcycle that carries him up a hill to arrive on the bottom side of a pointed cliff, from which he falls, demolishing the motorcycle. **The Road Runner Show** was superseded on CBS by **The Bugs Bunny/Road Runner Hour** on September 14, 1968. **The Bugs Bunny/Road Runner Hour** would be shown by CBS on Saturday mornings for three consecutive television broadcast years until 1971, when CBS opted to reduce Saturday airtime for Bugs Bunny to a half-hour and waived for awhile the broadcast rights to all of the cartoons that had composed the episodes of **The Road Runner Show** between 1966 and 1968. The ABC television network promptly acquired **The Road Runner Show** and all constituent cartoons, and starting in September, 1971, **The Road Runner Show** was rerun on ABC in a reassembled form, with some trimming to remove Sam Sheepdog and Ralph Wolf respectively smoking pipe and cigarette in "A Sheep in the Deep", the sound of Sylvester slapping his own face in "Snow Business", Foghorn Leghorn's quip about his cupboard being, "Bare as a cooch dancer's midriff," in "Strangled Eggs", and some of the consequences of Wile E. Coyote's failing schemes in the between-cartoon segments. Speculation is that some of these edits were done at some point in time during the 1968-71 CBS broadcast of **The Bugs Bunny/Road Runner Hour**. ![](wildchasepic.jpg) *"The Wild Chase", with the Road Runner and Speedy Gonzales in competition with each other for claim to being fastest creature of the desert region of North America, "Highway Runnery", a Road Runner cartoon in which one of Wile E. Coyote's schemes to catch the Road Runner results in the hatching of a baby robot clock Road Runner, and "Claws in the Lease", which opens with Sylvester and Sylvester Jr. scrounging for food in a city dump, were among many cartoons that premiered on U.S. network television on **The Road Runner Show**.* CBS' first episode of **The Road Runner Show** on September 10, 1966 contained "Zip 'n Snort", "Hyde and Go Tweet", and "The Wild Chase". One of the episodes during **The Road Runner Show**'s two years of transmission on CBS consisted of the cartoon shorts, "Sugar and Spies", "A Street Cat Named Sylvester", and "Birds of a Father". And the cartoons in the final **Road Runner Show** on CBS on September 7, 1968 were "Highway Runnery", "Fowl Weather", and "Don't Axe Me". Many of the cartoons in the first season episodes of **The Road Runner Show** were having their U.S. network television premieres. This included all of the Road Runner cartoons made after 1959, several late-1950s and all post-1960 Tweety-and-Sylvester cartoons, and a number of Foghorn Leghorn, Speedy Gonzales, Sylvester-without-Tweety, and Elmer Fudd cartoons. ![](rrshowrocket67409.jpg) *In a between-cartoon gag vignette in some episodes of **The Road Runner Show**'s first two seasons, Wile E. Coyote tries to ride a rocket in pursuit of the Road Runner, but the fuse lit by Wile E. to start the rocket motor causes the rocket to explode.* Cartoons Shown On **The Road Runner Show** (1966-8) "Zip 'n Snort" with Road Runner and Wile E. Coyote "The Wild Chase" with Road Runner, Wile E. Coyote, Sylvester, and Speedy Gonzales "Beep Prepared" with Road Runner and Wile E. Coyote "Ready.. Set.. Zoom!" with Road Runner and Wile E. Coyote "Zoom at the Top" with Road Runner and Wile E. Coyote "War and Pieces" with Road Runner and Wile E. Coyote "To Beep or Not to Beep" with Road Runner and Wile E. Coyote "Tired and Feathered" with Road Runner and Wile E. Coyote "Stop! Look! And Hasten!" with Road Runner and Wile E. Coyote "Fast and Furry-ous" with Road Runner and Wile E. Coyote "Scrambled Aches" with Road Runner and Wile E. Coyote "Rushing Roulette" with Road Runner and Wile E. Coyote "There They Go-Go-Go!" with Road Runner and Wile E. Coyote "Gee Whiz-z-z-z!" with Road Runner and Wile E. Coyote "Hairied and Hurried" with Road Runner and Wile E. Coyote "Whoa, Be-Gone!" with Road Runner and Wile E. Coyote "Hopalong Casualty" with Road Runner and Wile E. Coyote "Run, Run, Sweet Road Runner" with Road Runner and Wile E. Coyote "Sugar and Spies" with Road Runner and Wile E. Coyote "Boulder Wham!" with Road Runner and Wile E. Coyote "Going! Going! Gosh!" with Road Runner and Wile E. Coyote "Shot and Bothered" with Road Runner and Wile E. Coyote "Out and Out Rout" with Road Runner and Wile E. Coyote "The Solid Tin Coyote" with Road Runner and Wile E. Coyote "Lickety-Splat" with Road Runner and Wile E. Coyote "Clippety Clobbered" with Road Runner and Wile E. Coyote "Highway Runnery" with Road Runner and Wile E. Coyote "Hyde and Go Tweet" with Tweety and Sylvester "Putty Tat Trouble" with Tweety and Sylvester "Tweet and Lovely" with Tweety and Sylvester "The Jet Cage" with Tweety, Sylvester, and Granny "Tree Cornered Tweety" with Tweety and Sylvester "Tweet Tweet Tweety" with Tweety and Sylvester "Trick or Tweet" with Tweety and Sylvester "Dog Pounded" with Tweety and Sylvester "Tweety's Circus" with Tweety and Sylvester "Ain't She Tweet" with Tweety, Sylvester, and Granny "Hawaiian Aye Aye" with Tweety, Sylvester, and Granny "A Bird in a Guilty Cage" with Tweety and Sylvester "Tugboat Granny" with Tweety, Sylvester, and Granny "Tweet and Sour" with Tweety, Sylvester, and Granny "Catty Cornered" with Tweety, Sylvester, and Rocky "Gift Wrapped" with Tweety, Sylvester, and Granny "A Bird in a Bonnet" with Tweety, Sylvester, and Granny "A Street Cat Named Sylvester" with Tweety, Sylvester, Granny, and Hector Bulldog "Tweet Zoo" with Tweety and Sylvester "A Pizza Tweety-Pie" with Tweety, Sylvester, and Granny "Trip For Tat" with Tweety, Sylvester, and Granny "Muzzle Tough" with Tweety, Sylvester, and Granny "Tweet Dreams" with Tweety and Sylvester "Greedy For Tweety" with Tweety, Sylvester, and Granny "Snow Business" with Tweety, Sylvester, and Granny "Fowl Weather" with Tweety, Sylvester, Granny, and Hector Bulldog "Hoppy Daze" with Sylvester and Hippety Hopper "Pop 'im Pop!" with Sylvester, Sylvester Jr., and Hippety Hopper "Fish and Slips" with Sylvester and Sylvester Jr. "Dr. Jerkyl's Hide" with Sylvester, Spike, and Chester "Birds of a Father" with Sylvester and Sylvester Jr. "Mouse-Taken Identity" with Sylvester, Sylvester Jr., and Hippety Hopper "Claws in the Lease" with Sylvester and Sylvester Jr. "The Slap-Hoppy Mouse" with Sylvester, Sylvester Jr., and Hippety Hopper "Cannery Woe" with Speedy Gonzales and Sylvester "Cats and Bruises" with Sylvester and Speedy Gonzales "Chili Weather" with Sylvester and Speedy Gonzales "The Dixie Fryer" with Foghorn Leghorn, Pappy, and Elvis "Weasel While You Work" with Foghorn Leghorn and the Weasel "Mother Was a Rooster" with Foghorn Leghorn "Strangled Eggs" with Foghorn Leghorn, Henery Hawk, and Miss Prissy "The Slick Chick" with Foghorn Leghorn "Wild Over You" with Pepe Le Pew "Touche and Go" with Pepe Le Pew "A Mutt in a Rut" with Elmer Fudd and Rover the Dog "What's My Lion?" with Elmer Fudd and Rocky the Mountain Lion "Don't Axe Me" with Daffy Duck, Elmer Fudd, and Mrs. Fudd "A Sheep in the Deep" with Ralph Wolf and Sam Sheepdog "Woolen Under Where" with Ralph Wolf and Sam Sheepdog "The Mouse On 57th Street" with the Rum Cake-Eating Mouse "To Itch His Own" with Angelo the Mighty Flea and Bulldog Below is an episode guide for **The Road Runner Show** as assembled for telecast on ABC in 1971-2. ![](chase.jpg) *In one of the between-cartoon gag vignettes of instalment seven of **The Road Runner Show**- Season 3, Wile E. Coyote rides a motorcycle in his chase of the Road Runner, both characters eventually coming to a stop on the bottom side of a pointed cliff. Needless to say, it is Wile E.- and motorcycle- that plummet to the ground many, many feet below the cliff.* ``` Season 3 **Road Runner Show** # 1 (Sept. 4, 1971) Cannons, a hand grenade in a toy aeroplane, and axle grease applied to feet are some of the failed props in Wile E. Coyote's schemes to procure Road Runner meat. He also joins Sylvester in a chase of both the Road Runner and Speedy Gonzales while the two rapid denizens of the desert are racing each other. "Zip 'n Snort" with Road Runner and Wile E. Coyote "The Jet Cage" with Tweety, Sylvester, and Granny "The Wild Chase" with Road Runner, Wile E. Coyote, Sylvester, and Speedy Gonzales **Road Runner Show** # 2 (Sept. 11, 1971) Wile E. Coyote's items of unsuccessful use: an extended tripping foot, a portable hole, a magnet, and a rocket sled on a railroad track. Sylvester and another cat fight to have claim of Tweety for lunch on a winter day, and Sylvester disrupts Speedy's celebration of Cinco de Mayo. "Beep Prepared" with Road Runner and Wile E. Coyote "Putty Tat Trouble" with Tweety and Sylvester "Cats and Bruises" with Sylvester and Speedy Gonzales **Road Runner Show** # 3 (Sept. 18, 1971) Glue on the road, a dynamite stick, a 10,000 pound weight, a giant rubber band, and a female road runner costume are all painfully ineffective for Wile E. Coyote, Sylvester is startled to repeatedly find a huge Mr. Hyde bird in the place of tiny Tweety, and amid ice and snow does Foghorn Leghorn direct a hungry weasel toward the barnyard dog. "Ready.. Set.. Zoom!" with Road Runner and Wile E. Coyote "Hyde and Go Tweet" with Tweety and Sylvester "Weasel While You Work" with Foghorn Leghorn and the Weasel **Road Runner Show** # 4 (Sept. 25, 1971) Failures for Wile E. Coyote are the result of an ice-maker machine, a bear trap, and a boomerang, Sylvester's Tweety-hunt brings him to a city's automated cafeteria, into a mine field, and onto a wooden bridge in Colorado, and Sylvester almost does not endure a confrontation with Hippety Hopper in a pier warehouse. "Zoom at the Top" with Road Runner and Wile E. Coyote "Tree Cornered Tweety" with Tweety and Sylvester "Hoppy Daze" with Sylvester and Hippety Hopper **Road Runner Show** # 5 (Oct. 2, 1971) A thrown hand grenade is ricocheted into Wile E. Coyote's face by a cactus, Wile E.'s invisible paint does not protect him from being struck by a beep-beeping truck, the Road Runner cannot be reached atop a cliff, and a misfired rocket sends Wile E. through the Earth to the Orient. A lion and a sheepdog respectively thwart Sylvester and Ralph Wolf's quest for sustenance. "War and Pieces" with Road Runner and Wile E. Coyote "Tweety's Circus" with Tweety and Sylvester "A Sheep in the Deep" with Ralph Wolf and Sam Sheepdog **Road Runner Show** # 6 (Oct. 9, 1971) No matter where Wile E. Coyote positions himself, his catapult drops a boulder on top of him. Sylvester and a feline friend strive not to allow rivalry for grabbing pole-top-nested Tweety to undermine their amicable relationship. Sylvester discovers that his son's best pal is a bird. "To Beep or Not to Beep" with Road Runner and Wile E. Coyote "Trick or Tweet" with Tweety and Sylvester "Birds of a Father" with Sylvester and Sylvester Jr. **Road Runner Show** # 7 (Oct. 16, 1971) Wile E. Coyote's huge coyote robot is an unmitigated disaster, as is Sylvester's chase of Tweety in his own winter quarters, and Foghorn Leghorn combats two Southern chicken hawks. "The Solid Tin Coyote" with Road Runner and Wile E. Coyote "A Street Cat Named Sylvester" with Tweety, Sylvester, Granny, and Hector Bulldog "The Dixie Fryer" with Foghorn Leghorn, Pappy, and Elvis **Road Runner Show** # 8 (Oct. 23, 1971) A clay chicken is no contest as a succulent meal against a Road Runner, but Wile E. Coyote cannot attain the speed of the road-blazing force of nature. Nor can Sylvester access Tweety in the midst of a dog pound, and likewise is Ralph Wolf unable to attain mutton by grabbing one of Sam Sheepdog's lambs. "There They Go-Go-Go!" with Road Runner and Wile E. Coyote "Dog Pounded" with Tweety and Sylvester "Woolen Under Where" with Ralph Wolf and Sam Sheepdog **Road Runner Show** # 9 (Oct. 30, 1971) Dehydrated boulders, a Mr. Hyde cat and fly, and a shark living in an underwater dog house are among the contents of this instalment. "Scrambled Aches" with Road Runner and Wile E. Coyote "Hawaiian Aye Aye" with Tweety, Sylvester, and Granny "Dr. Jerkyl's Hide" with Sylvester, Spike, and Chester **Road Runner Show** # 10 (Nov. 6, 1971) Can a spy kit aid Wile E. Coyote in catching his Road Runner quarry? No more than Sylvester can stop Speedy Gonzales from raiding a cheese store. No more than Tweety can be grasped from his display cage inside of a department store. "Sugar and Spies" with Road Runner and Wile E. Coyote "A Bird in a Guilty Cage" with Tweety and Sylvester "Cannery Woe" with Speedy Gonzales and Sylvester **Road Runner Show** # 11 (Nov. 13, 1971) Trampolines do not break a coyote's fall from a 100-foot cliff, ACME tornado seeds should not be placed beneath a faulty water pistol, and Sylvester ought not to try to filch Tweety from a National Park. "Whoa, Be-Gone!" with Road Runner and Wile E. Coyote "Tweet Tweet Tweety" with Tweety and Sylvester "Don't Axe Me" with Daffy Duck, Elmer Fudd, and Mrs. Fudd **Road Runner Show** # 12 (Nov. 20, 1971) A baby kangaroo escapes from a circus, Sylvester and Tweety are in hospital with broken legs, and Wile E. Coyote is owner of a chemistry set. "Clippety Clobbered" with Road Runner and Wile E. Coyote "Greedy For Tweety" with Tweety, Sylvester, and Granny "Pop 'im Pop!" with Sylvester, Sylvester Jr., and Hippety Hopper **Road Runner Show** # 13 (Nov. 27, 1971) Earthquakes, a chemically concocted thunderstorm, and a wildcat equal a volatile instalment. "Hopalong Casualty" with Road Runner and Wile E. Coyote "Tweet and Lovely" with Tweety and Sylvester "Wild Over You" with Pepe Le Pew **Road Runner Show** # 14 (Dec. 4, 1971) For this episode, tornadoes, a sky-diving Coyote and a parachutist putty tat, and a maternal rooster are the distinguishing elements. "Hairied and Hurried" with Road Runner and Wile E. Coyote "Tugboat Granny" with Tweety, Sylvester, and Granny "Mother Was a Rooster" with Foghorn Leghorn **Road Runner Show** # 15 (Dec. 11, 1971) Roller skis, a slingshot, exploding darts, and a boomerang do not yield Road Runner fricassee for a hungry Wile E. Coyote, and Sylvester must act as protector to Tweety lest he become violin strings as per Granny's decree. A fishing expedition reveals another of Sylvester's shortcomings. "Lickety-Splat" with Road Runner and Wile E. Coyote "Tweet and Sour" with Tweety, Sylvester, and Granny "Fish and Slips" with Sylvester and Sylvester Jr. **Road Runner Show** # 16 (Dec. 18, 1971) Wile E. Coyote's bogus bird sanctuary, a telephone booth with a dynamite fuse, does not end the Road Runner's trail- blazing ways, Tweety finds shelter from Sylvester in a chicken coop, and Elmer Fudd's faithful dog wrongly believes that Elmer intends his demise. "Tired and Feathered" with Road Runner and Wile E. Coyote "Fowl Weather" with Tweety, Sylvester, Granny, and Hector Bulldog "A Mutt in a Rut" with Elmer Fudd and Rover the Dog **Road Runner Show** # 17 (Dec. 25, 1971) It is Christmas at Granny's house. Wile E. Coyote continues his futile chase, this time with such schemes as a painted road at the edge of a cliff, dynamite fastened to an arrow, quick-drying cement, a boulder, and an anvil released from a street-cleaner wagon underneath a balloon. "Going! Going! Gosh!" with Road Runner and Wile E. Coyote "Gift Wrapped" with Tweety, Sylvester, and Granny "Mouse-Taken Identity" with Sylvester, Sylvester Jr., and Hippety Hopper **Road Runner Show** # 18 (Jan. 1, 1972) AJAX Stix-All glue presents a problem for Wile E. Coyote when the Road Runner runs straight through a piece of road covered by it and Wile E. then himself tests the extreme stickiness of the adhesive, the cannon in a trick photograph booth actually snapshoots the Road Runner but blasts Wile E., and Sylvester cannot penetrate the bulldog-filled yard surrounding Granny and Tweety's domicile. "Rushing Roulette" with Road Runner and Wile E. Coyote "Ain't She Tweet" with Tweety, Sylvester, and Granny "The Mouse On 57th Street" with the Rum Cake-Eating Mouse **Road Runner Show** # 19 (Jan. 8, 1972) Wile E. Coyote's Burmese tiger trap, intended to capture the Road Runner, spawns a real tiger, Sylvester rescues Tweety from a hostage situation but cannot eat the canary because he has been declared a hero, and Speedy enters into a food processing factory to obtain nourishment for his friends and finds guard-cat Sylvester waiting for him inside the establishment. "Stop! Look! And Hasten!" with Road Runner and Wile E. Coyote "Catty Cornered" with Tweety, Sylvester, and Rocky "Chili Weather" with Sylvester and Speedy Gonzales **Road Runner Show** # 20 (Jan. 15, 1972) Wile E. Coyote learns that it is unwise to chase the Road Runner around an old jalopy, an Italiano putty tat is all wet- not to mention concussed and swallowed by a shark- after attempting to capture Tweety in Venice, and Foghorn Leghorn is unable to destroy Miss Prissy's adopted son, Henery Hawk. "Highway Runnery" with Road Runner and Wile E. Coyote "A Pizza Tweety-Pie" with Tweety, Sylvester, and Granny "Strangled Eggs" with Foghorn Leghorn, Henery Hawk, and Miss Prissy **Road Runner Show** # 21 (Jan. 22, 1972) Tweety and Sylvester are globetrotters, Elmer Fudd prepares to hunt mountain lion, and Wile E. tries without avail to swoop downward in a flying Batman costume upon the Road Runner. "Gee Whiz-z-z-z!" with Road Runner and Wile E. Coyote "Trip For Tat" with Tweety, Sylvester, and Granny "What's My Lion?" with Elmer Fudd and Rocky the Mountain Lion **Road Runner Show** # 22 (Jan. 29, 1972) Wile E. Coyote inflates himself with helium in a misbegotten plot to bomb the Road Runner from high above the desert roads. Sylvester, disguised as a female dog, attracts the amorous attention of a bulldog guarding Tweety and Granny's city home. And lastly is a Pepe Le Pew cartoon set in southern France, with the usual chase by Pepe of an accidentally skunk-striped cat, whom Pepe desires to woo. "Shot and Bothered" with Road Runner and Wile E. Coyote "Muzzle Tough" with Tweety, Sylvester, and Granny "Touche and Go" with Pepe Le Pew **Road Runner Show** # 23 (Feb. 5, 1972) Rocket-powered sneakers do not enable Wile E. Coyote to catch the Road Runner on a complicated cloverleaf highway, and feisty ladies prevent Sylvester from feasting on Tweety and joining his son in a comfortable abode. "Fast and Furry-ous" with Road Runner and Wile E. Coyote "A Bird in a Bonnet" with Tweety, Sylvester, and Granny "Claws in the Lease" with Sylvester and Sylvester Jr. **Road Runner Show** # 24 (Feb. 12, 1972) How does a Coyote attain the ability to fly? Perhaps instead of tying doves to his feet, he should consult Sylvester's psychiatrist, who after listening to Sylvester's woeful story of frustration in chasing Tweety, flaps his arms and aerially departs his high-rise office. Foghorn Leghorn learns that it is unwise to volunteer as caretaker for a trouble- making boy chick. "Out and Out Rout" with Road Runner and Wile E. Coyote "Tweet Dreams" with Tweety and Sylvester "The Slick Chick" with Foghorn Leghorn **Road Runner Show** # 25 (Feb. 19, 1972) Indian rain dancing, Tweety singing in a paper ship within Sylvester's stove pot, and a muscular flea vanquishing a bulldog are unlikely scenarios of this strange show. "Run, Run, Sweet Road Runner" with Road Runner and Wile E. Coyote "Snow Business" with Tweety, Sylvester, and Granny "To Itch His Own" with Angelo the Mighty Flea and Bulldog **Road Runner Show** # 26 (Feb. 26, 1972) Attaining the unattainable at its most hazardous: Wile E. Coyote attempting to bridge the gap between two steep cliffs to reach the Road Runner on the other side of the chasm. Sylvester pursues Tweety in a zoo and combats Hippety Hopper in a dilapidated house. "Boulder Wham!" with Road Runner and Wile E. Coyote "Tweet Zoo" with Tweety and Sylvester "The Slap-Hoppy Mouse" with Sylvester, Sylvester Jr., and Hippety Hopper ``` ![](wile2.jpg) From 1997 to 2003, **The Road Runner Show** was intermittently presented in Canada on the Teletoon cable television specialty channel. It was the third season (i.e. the ABC version) that Teletoon aired, after having converted all episodes to digital videotape, with rather mixed results in terms of picture quality and glitches in the digitising process. Audio and video were out of synchronisation during some of the between-cartoon Road Runner and Coyote gags, especially those in Show 2. And after but one Teletoon broadcast, Show 13 vanished from the sequence of instalments, though its Road Runner cartoon, "Hopalong Casualty", continued to surface on Teletoon-French in the Canadian province of Quebec. Bonus material on LOONEY TUNES GOLDEN COLLECTION digital videodiscs (DVDs) did not include the opening, closing credits, and between-cartoon gag segments of **The Road Runner Show**. ![](rrshow6.jpg) IN MEMORIAM Cartoon directors Friz Freleng, Chuck Jones, and Robert McKimson Voice characterisation performers Mel Blanc, Daws Butler, Hal Smith, and Bea Benaderet Musicians Carl W. Stalling, Milt Franklyn, John Seely, Bill Lava, and Walter Greene --- All images (c) Warner Bros. **Textual content (c) Kevin McCorry, with all rights reserved This Web page, the remembered information, and the observations therein are the intellectual property of the author unless otherwise noted and may not be reproduced and then altered in any way without the express written consent of the author, and any scholarly quoting, paraphrasing, or other repetition of them MUST be accompanied by full stated credit to the author, with failure to do so possibly exposing an individual or group to litigation and possible civil or criminal penalty** --- [![](newbanner.jpg)](index.html) **[Kevin McCorry's Home Page](index.html)** ---
http://www.kevinmccorrytv.ca/rrshow.html
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"><html xmlns="http://www.w3.org/1999/xhtml"><!-- #BeginTemplate "/Templates/site template.dwt" --><!-- DW6 --> <head> <!-- #BeginEditable "doctitle" --> <title>History of Phrenology on the Web</title> <!-- #EndEditable --> <meta http-equiv="Content-Type" content="text/html; charset=utf-8" /> <style type="text/css"> <!-- .phrensite1 { font-family: "Times New Roman", Times, serif; color: #000000; background: #000000} body,td,th { color: #000000; } body { background-color: #FFFFFF; } .style1 {font-family: Verdana, Arial, Helvetica, sans-serif} .style2 {font-size: 9px} --> </style> </head> <body link="#990000" alink="#990000" vlink="#CC3333" class="unnamed1"> <span class="phrensite1"></span> <h2 align="center"><font color="#990000" face="Times New Roman, Times, serif" size="6"><font color="#990000" face="Times New Roman, Times, serif" size="6"><font color="#990000" face="Times New Roman, Times, serif" size="6"><font color="#990000"><a href="images.html"><font color="#990000"><img src="../images/_fowler_l.jpg" width="44" height="103" align="right" alt="Phrenological bust by LN Fowler" border="0" /></font></a></font></font><font color="#990000"><img src="/images/_fowler_r.jpg" width="46" height="102" align="left" alt="Phrenological bust by LN Fowler" border="0" /></font></font></font><span class="style1"><font color="#990000"><font color="#990000"><font color="#990000"><a href="http://www.historyofphrenology.org.uk">The History of Phrenology on the Web</a></font></font></font></span></h2> <p align="center"><strong><font color="#990000"><span class="style1">by <a href="http://darwin-online.org.uk/people/van_wyhe.html" target="_blank">John van Wyhe</a></span></font></strong></p> <div align="center" class="style1"> <table cellspacing="0" border="0" cellpadding="7" width="594"> <tr> <td width="16%" valign="top" height="29"> <div align="center"><font color="#990000"><a href="../overview.htm">Overview</a></font></div></td> <td width="17%" valign="top" height="29"> <div align="center"> <span style="COLOR: white"><a href="../organs.html">O</a></span><font color="#990000"><span style="COLOR: white"><a href="organs.html">rgans</a></span></font></div></td> <td width="14%" valign="top" height="29"> <div align="center"><font color="#990000"><a href="../texts.htm">Texts</a></font></div></td> <td width="14%" valign="top" height="29"> <div align="center"><font color="#990000"><a href="../images.html">Images</a></font></div></td> <td width="19%" valign="top" height="29"><div align="center"><font color="#990000"><span style="COLOR: white"><span style="COLOR: white"><a href="../individuals.htm">Individuals</a></span></span></font></div></td> <td width="20%" valign="top" height="29"> <div align="left"><font color="#990000"><span style="COLOR: white"><span style="COLOR: white"><a href="../biblio.htm">Bibliography</a></span></span></font></div></td> </tr> </table> <hr noshade="noshade" align="center" /> <!-- #BeginEditable "main body" --> <p align="center"><font color="#990000" size="4">George Combe's <i>A System of Phrenology</i>, 5th edn, 2 vols. 1853.</font></p> <p align="left"><b><font size="2">Vol. 1:</font></b> <font size="2"><a href="frontmatter.htm">[front matter]</a>, <a href="intro.htm">Intro</a>, </font><font size="2"><a href="intro.htm">N</a><a href="generalview.htm">ervous system</a>, <a href="principles.htm">Principles of Phrenology</a>, <a href="anatomy.htm">Anatomy of the brain</a>, <a href="division.htm">Division of the faculties</a> 1.<a href="amativeness.htm">Amativeness</a> 2.<a href="philoprogenitiveness.htm">Philoprogenitiveness</a> 3.<a href="concentrativeness.htm">Concentrativeness</a> 4.<a href="adhesiveness.htm">Adhesiveness</a> 5.<a href="combativeness.htm">Combativeness</a> 6.<a href="destructiveness.htm">Destructiveness</a>, <a href="alimentiveness.htm">Alimentiveness</a>, <a href="love_of_life.htm">Love of Life</a> 7.<a href="secretiveness.htm">Secretiveness</a> 8.<a href="acquisitiveness.htm">Acquisitiveness</a> 9.<a href="constructiveness.htm">Constructiveness</a> 10.<a href="self-esteem.htm">Self-Esteem</a> 11.<a href="approbation.htm">Love of Approbation</a> 12.<a href="cautiousness.htm">Cautiousness</a> 13.<a href="benevolence.htm">Benevolence</a> 14.<a href="veneration.htm">Veneration</a> 15.<a href="firmness.htm">Firmness</a> 16.<a href="conscientiousness.htm">Conscientiousness</a> 17.<a href="hope.htm">Hope</a> 18.<a href="wonder.htm">Wonder</a> 19.<a href="ideality.htm">Ideality</a> 20.<a href="wit.htm">Wit or Mirthfulness</a> 21.<a href="imitation.htm">Imitation</a>.</font><font size="2"><br /> </font><b><font size="2">Vol. 2:</font></b> <font size="2"><a href="frontmatter2.htm">[</a></font><font size="2"><a href="frontmatter2.htm">front matter]</a>, <a href="external_senses.htm">External senses</a>, 22.<a href="individuality.htm">Individuality</a> 23.<a href="form.htm">Form</a> 24.<a href="size.htm">Size</a> 25.<a href="weight.htm">Weight</a> 26.<a href="colouring.htm">Colouring</a> 27.<a href="locality.htm">Locality</a> 28.<a href="number.htm">Number</a> 29.<a href="order.htm">Order</a> 30.<a href="eventuality.htm">Eventuality</a> 31.<a href="time.htm">Time</a> 32.<a href="tune.htm">Tune</a> 33.<a href="language.htm">Language</a> 34.<a href="comparison.htm">Comparison</a>, <a href="general_observations.htm">General observations on the Perceptive Faculties</a>, 35.<a href="causality.htm">Causality</a>, <a href="modes_of_action.htm">Modes of actions of the faculties</a>, <a href="national_character.htm">National character &amp; development of brain</a>, <a href="statistical.htm">On the importance of including development of brain as an element in statistical inquiries</a>, <a href="statistical.htm">Into the manifestations of the animal, moral, and intellectual faculties of man</a>, <a href="statistical.htm">Statistics of Insanity</a>, <a href="statistical.htm">Statistics of Crime</a>, <a href="comparative.htm">Comparative phrenology</a>, <a href="mesmeric.htm">Mesmeric phrenology</a>, <a href="objections.htm">Objections to phrenology considered</a>, <a href="materialism.htm">Materialism</a>, <a href="materialism.htm">Effects of injuries of the brain</a>, <a href="conclusion.htm">Conclusion</a>, Appendices: <a href="appendix1.htm">No. I</a>, <a href="appendix2.htm">II</a>, <a href="appendix3-4.htm">III</a>, <a href="appendix3-4.htm">IV</a>, <a href="additional_appendix.htm">V</a>, [<a href="index.htm">Index</a>], [<a href="works.htm">Works of Combe</a>].</font></p> <hr /> <p align="center"><font face="Times New Roman, Times, serif">PRINCIPLES</font></p> <p align="center"><font size="2" face="Times New Roman, Times, serif">of</font></p> <h2 align="center"><font face="Times New Roman, Times, serif"> PHRENOLOGY. </font></h2> <p align="left"><font face="Times New Roman, Times, serif"> <font size="3">IN the Introduction, I have shewn that the brain is admitted by physiologists in general to be the organ of the mind ; but that two obstacles have impeded the discovery of the uses of its particular parts. In the first place, <i>dissection </i>alone does not reveal the vital functions of any organ : no person, by dissecting the optic nerve, could find out that its office is to minister to vision; or, by dissecting the tongue, could ascertain that it is the organ of taste. Anatomists, therefore, could not, by the mere practice of their art, discover the functions of the different portions of the brain. Secondly, the mind is unconscious of acting by means of organs ; and hence, the material instruments by means of which, in this life, it performs its operations and communicates with the external world, cannot be discovered by reflection on consciousness.</font></font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The phrenologist compares development of brain with manifestations of mental power, for the purpose of discovering the functions of the brain, and the organs of the mind. This course is adopted, in consequence of the accidental discovery made by Dr Gall, as already detailed, that certain mental powers are vigorously manifested when certain portions of the brain are large, and feebly when they are small. It is free from the objections attending the anato-</font></p> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">G</font></p> </dir></dir></dir></dir></dir></dir></dir></dir></dir></dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">98&#9;ON THE PRINCIPLES</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">mical and metaphysical modes of research, and is conformable to the principles of the inductive philosophy.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">No inquiry is instituted into the substance or essence of the mind, or into the question, Whether does the mind fashion the organs, or do the organs determine the constitution of the mind ? If dissection of organs does not reveal their functions, and if reflection on consciousness fails to disclose the nature of the mind's connection with matter, no means remain of arriving at philosophical conclusions on these points ;&quot; and speculative reasoning concerning them, although it may amuse the fancy, cannot instruct the understanding. Mr Stewart justly observes, that &quot; the metaphysical opinions -which we may happen to have formed concerning the <i>nature </i>either of body or of mind, and the efficient causes by which their phenomena are produced, have no necessary connection with our inquiries concerning the laws according to which the phenomena take place. . Whether, for example, the <i>cause </i>of gravitation be material or immaterial, is a point about which two Newtonians may differ, while they agree perfectly in their physical opinions. It is sufficient if both admit the general fact, that bodies tend to approach- each other, with a force varying with their mutual distance, according to a certain law. In like manner, in the study of the human mind, the conclusions to which we are led by a careful examination of the phenomena it exhibits, have no necessary connection with our opinions concerning its <i>nature </i>and <i>essence&quot; <sup>l</sup> </i>The object of Phrenology is to discover the faculties of the human mind, the organs by means of which they are manifested, and the influence of the organs on the manifestations. It does not enable us to predict actions.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">A mental organ is a material instrument, by means of which the mind in this life manifests a particular power. Dr Gall's discovery leads us to view the brain as a congeries of such organs, and, in the Introduction, reasons have been assigned for regarding this proposition as sufficiently </font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> <i>Elements, </i>vol. i. Introduction.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">OF THE SYSTEM.&#9;99</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">probable to justify an inquiry into the direct evidence by which it is supported.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Before entering on this subject, however, I may remark that physiologists have a great aversion to Dr Gall's method of investigation, because they conceive it to be particularly liable to error. There is the want, they say, of that precision which is so desirable in science. There is no measure of the size of an organ. It cannot be estimated in inches, nor by weight. Again, there is no standard by which to try the force of the manifestations. They therefore reject the whole method as empirical and unphilosophical, and incapable of leading to scientific truth.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">We at once admit that the two elements in our method of investigation are both in their own nature <i>estimative. </i>We cannot accurately measure the size of particular parts of the brain during life ; but we affirm, that if an observer possess an average natural endowment of the observing faculties, he may, by due practice, learn to <i>estimate </i>it with sufficient precision to lead him to positive conclusions. Again, we confess that we cannot measure the force of each manifestation of the faculties by ounces or inches, but we maintain, that, by proper instruction and the exercise of the understanding, we may <i>estimate </i>it also. Phrenology, in its evidence, rests on the same foundation as the practice of medicine. The existence of disease cannot in general be determined by weight or measure, and the characters of diseases can be judged of only by their appearances, or the symptoms which they present. The organs affected,-the degree to which they are affected,-and the extent to which medicines act on them, are all <i>estimated </i>by the exercise of observation and reflection on mere symptoms. In the practice of medicine-anatomy, physiology, and pathology, shed their lights to help the judgment in its estimates, but they do not reveal the theory of medicine <i>&agrave; priori, </i>nor do they render it a demonstrative science.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The same general laws of evidence must necessarily apply to the study of Phrenology. The mental manifesta-</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">100&#9;ON THE PRINCIPLES</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">tions are not ponderable or measurable, any more than the capacity for pain or pleasure, or the powers of hearing or sight, are so. We <i>estimate </i>the degree in which these susceptibilities and capacities arc possessed by different individuals, and regard our knowledge as substantial ; and we must of necessity learn to <i>estimate </i>the force of the mental manifestations by a similar exercise of observation and reflection, or remain for ever ignorant of mental science. Again, the differences between the forms of particular organs, and between their sizes when large and small, are so palpable that it is absurd to deny the possibility of distinguishing them in favourable cases ; and, in proving a science, we are not only entitled, but bound by the dictates of common sense, to select the simplest and the most striking cases, the <i>instantia ostentiva </i>of Bacon, as best calculated to bring the truth to light.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">It must therefore be by the exercise of observation and reflection, or by the practice of the method of <i>estimating, </i>that we shall discover the primitive faculties connected with particular parts of the brain, if we shall ever discover them ; and it will be only after these discoveries shall have been made, that anatomy, physiology, and pathology, will shed light on our path. Until we have followed this method, they are as little adapted by their own beams to reveal the functions of the different parts of the brain, as they are to unfold <i>&agrave; priori </i>the symptoms and best modes of treatment of diseases.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Those individuals, therefore, who object to the evidence on which Phrenology is founded and supported, appear to me not to understand the nature of the inquiry. In the phrenological books, there is as clear a specification of the localities and appearances of the organs, of the functions which they perform, and of the effects of their different degrees of development in point of size, as there is in treatises on the practice of physic of the organs affected, and the symptoms which constitute particular diseases. The authors of medical treatises do not record all the cases, by which</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">OF THE SYSTEM.&#9;101</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">the propositions which they announce were first ascertained, and may still be traced. They assume that the inquirer has qualified himself, by previous study, for understanding and appreciating what they describe, and they refer him to the sick-beds of the people for verification of their remarks. We teach our student how to observe, and refer him to the active theatre of the world, where he will find faculties manifested, and developments of organs exhibited, to an unlimited extent, and we bid him verify our observations there. We refer him to prisons and lunatic asylums, and to pathological cases reported by phrenologists, for evidence of excessive, of deficient, and of diseased, manifestations. The opponents, however, object to pathological cases reported by phrenologists, because, they say, they are interested in representing them in favour of their own views.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">We may truly say, in this science, that every man who is not for us, is against us ; and the objection might be urged, that we cannot trust to reports made by antiphrenologists, because they are interested in finding evidence .to justify their opposition. But I go farther, and maintain, that the most honest wow-phrenologist is incapable of reporting pathological cases calculated to establish the functions of the different parts of the brain. A non-phrenologist is a man who has not studied Phrenology, and who is ignorant of its details. Now, such a person does not know the primitive faculties of the mind, nor their modes of manifestation ; and he does not know whether different parts of the brain have or have not different functions. He cannot point to one portion of the convolutions, and say, this manifests such a power, and, when it is diseased, <i>this </i>power, and no other, will suffer. He cannot say that it is an organ at all. In short, persons ignorant of Phrenology, that is, of the functions, situations, and healthy manifestations of the mental organs, are no better qualified to report accurately pathological cases of these organs, with a view to the elucidation of their functions, than a person would be to report pathological cases of the abdomen, who knew only in general that</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">102&#9;ON THE PRINCIPLES</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">it contained the organs of digestion and assimilation, but without being aware that one part serves for chymification, another for chylification, another for the secretion of bile, a fourth for absorption, and so on. For these reasons, it is only phrenologists who are capable of reporting such cases, so as to give them a bearing on the subject. In the case of Mr N. (reported by Mr Craig in the Edinburgh Medical and Surgical Journal for October, and by me in the Phrenological Journal for December, 1836), Mr Craig, so far as can be &quot;discovered from his report, did not know that the function of a part of the posterior lobe of the brain, which he saw extensively injured, was to manifest Combativeness, and, in consequence, he did not mention whether Mr N.'s temper was or was not affected by the disease of that part. I, on the other hand, knowing the function of that part in health, saw the importance of investigating this point minutely, and ascertained that the manifestations were as morbid as the organ. Again, Mr Craig reported, that Mr N. spoke ten. and knew four more languages ; yet, although he had the brain in his hands, he did not report whether any particular part of it was large or small in concomitance with that great gift. Apparently he did not know, because he had not studied, where any convolution connected with that talent was to be met with. From previous study, I was aware that a certain convolution lying above each superorbitar plate was regarded as the organ of a faculty for languages, and, in consequence,'I earnestly observed its size, and was able to report that it was very large. I advert to this case, because it is fairly illustrative of my proposition, that a person who has not ascertained the situations of the different mental organs, and the manifestations which accompany them in a state of health, is not capable of reporting pathological cases of these organs with success. We should estimate at a very humble value pathological reports on the organs of the thorax, made by a person ignorant of the separate functions of the lungs, heart, and bloodvessels, however high his general talents</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">OF THE SYSTEM.&#9;103</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">might be ; and equally valueless and inconclusive will similar reports relative to the brain in all probability appear, when made by those who are ignorant of the uses of its different parts.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">I therefore respectfully maintain, not only that the principles of investigation adopted by phrenologists are sound, and adequate to attain the ends in view in employing them ; but that there is <i>no other </i>method by which the primitive faculties attached to particular portions of the brain can be discovered.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">For the purpose of comparing mental faculties with cerebral development, then, it is necessary to shew, <i>1st, </i>that the mental qualities of individuals can be discovered ; and, <i>2dly, </i>that the size of different parts of the brain can be estimated during life.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Let us consider, therefore, in the first place, whether it be possible <i>to discriminate mental dispositions and talents,-- </i>In regard to the Feelings, men familiar with human life and conduct have observed, that one individual is strongly addicted to covetousness,-another to cruelty,-another to benevolence,-another to pride,-another to vanity ; and they are accustomed to regard these dispositions as natural, uniform, and permanent. They have never believed that a man, by an effort of the will, can totally change his nature, or that the character is so little manifested, that a person may be prone to benevolence to-day, who yesterday was addicted to avarice ; that one who is now sinking in the lowest abasement of self-humiliation in his own eyes, may to-morrow become conceited, confident, and proud ; or that to-day an individual may be deaf to the voice of censure or of fame, who yesterday was tremblingly alive to every breath that was blown upon his character. Nay, they have even regarded these dispositions as independent of one another, and separable ; for they have often found that the possession of one was not accompanied by the presence of the</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">104&#9;ON THE PRINCIPLES</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">whole. Hence, in addressing any individual, they have been in the custom of modifying their conduct according to their previous knowledge of his dispositions or temper, obtained by observing his actions. To the covetous man they address one motive ; to the benevolent another ; to the proud a third ; and to the vain a fourth. When they wish to move such individuals to act, they speak to the first, <i>of his personal interest ; </i>to the second, <i>of the pleasure of doing good ; </i>to the third, <i>of the necessity of preserving his own dignity ; </i>and&quot; to the fourth, <i>of the great praise </i>that will attend the performance of the action recommended.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">As to intellectual endowments, a person who has heard, for the most fleeting moment, the bursts of melody which flow from the throat of Catalani, cannot be deceived as to the fact of her possessing a great endowment of the faculty of Tune ; he who has listened but for a few minutes to the splendid eloquence of Chalmers, can have no doubt that he is gifted with Ideality ; and he who has studied the writings of Dr Thomas Brown, cannot hesitate as to his having manifested profound discriminative and analytic talent. In surveying the wonderful performances of some individuals in mechanics, poetry, mathematics, painting, and sculpture, it is equally impossible to doubt the existence of mental powers, conferring capacities for excelling in these different branches of science and art. It is equally easy to find individuals in whom the same powers are as indubitably deficient. Hence, the difficulties of determining the existence of particular intellectual talents, and their degrees of strength, are not insurmountable ; especially if extreme cases be sought for-and these, as the <i>instantia ostentiva, </i>ought to be first resorted to. Men of observation have acted on these principles without hesitation, and without injury to themselves. They have not designed for the orchestra the individual whom they found incapable of distinguishing between a rude noise and a melodious sound, on the notion that &quot; a genius for <i>music&quot; </i>might be &quot; ac-</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">OF THE SYSTEM.&#9;105</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">quired by habits of study or of business.&quot; <i><sup>l</sup> </i>They do not place in difficult situations, requiring great penetration and much sagacity, individuals who cannot trace consequences beyond the stretch of three ideas ; nor do they conceive that a man who has no intellectual capacity to-day, may become a genius to-morrow, or ten years hence, by an effort of the will.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">They, no doubt, have observed, that the faculties are developed in succession ; that the child is not in possession of the powers of the full-grown man ; and that hence a boy may be dull at ten, who may turn out a genius at twenty years of age, when his powers are fully unfolded by time. But they do not imagine that <i>every </i>boy may be made a genius by &quot; habits of study or of business ;&quot; nor do they believe, that, after the faculties are fully developed, any individual may, if he chooses, become great in a department of philosophy or science for which he had previously no natural capacity. They have observed that cultivation strengthens powers in themselves vigorous ; but they have not found that education can render eminently energetic, dispositions or capacities which Nature has created feeble. They would laugh at any one who should attempt to convert an idiot into a profound philosopher. On the other hand, they have remarked, that, where Nature has bestowed a powerful disposition or capacity of a particular kind, it holds the predominant sway in the character during life, notwithstanding every effort to eradicate or subdue it. They have noticed, too, that where Nature has conferred, in an eminent degree, the faculties which constitute genius, the individual manifests his native superiority in spite of great obstacles arising from circumstances or situation. The lives of poets, painters, and artists, in every age, bear witness to the truth of this observation.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">An individual, it is true, may do particular actions, or even for a time follow lines of conduct, the same in exter-<sup>1</sup> Dugald Stewart.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">106&#9;ON THE PRINCIPLES OP THE SYSTEM.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">nal appearance, from, <i>different </i>internal motives. But few men can pass their whole lives in disguise, or acquire the art of <i>acting </i>in the business and enjoyments of life, so habitually and so skilfully, as not to allow their true characters to appear to those who are placed in a favourable situation for observing them : or, if there be persons who do possess this power of dissimulation, it forms the predominant feature in their mental constitution ; and, as will afterwards be shewn, it is indicated by a particular form of organization. But, farther, let it be observed, that it is only in so far as the <i>propensities </i>and <i>sentiments </i>of our nature are concerned, that the display of pretended qualities is possible, even in a single case. In regard to every act which depends on the knowing and reflecting faculties, this is absolutely impracticable. No man can either write logical discourses, or trace profoundly an abstract principle, who has <i>not </i>powerful reflecting faculties. No one can compose exquisite music, who has <i>not </i>the faculty of Tune strong ; or write exquisite poetry, who has <i>not </i>a powerful sentiment of Ideality. When, therefore, we perceive, even with the most transient glance, the performance of such acts, we have evidence, insuperable and irresistible, of the existence of the faculties which produce them.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">These opinions have been entertained by persons conversant with society, not in consequence of logical deduction or metaphysical investigations, but from the observation of plain facts presented to their understandings. Medical men are in a situation peculiarly favourable for studying even the most hidden traits of human character. The physician, as Dr Gall remarks, has daily opportunities of knowing the most secret affairs and most intimate relations of families ; and it is not easy for the man who is in the agonies of disease, or struggling with death, to throw a veil over his true character. Besides, with how many private matters are physicians confidentially made acquainted ! for who would not make a friend and adviser of the man to whose care he in-</font></p> <dir> <dir> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">GENERAL REMARKS ON THE BRAIN.&#9;107</font></p> </dir></dir></dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">trusts the safety of himself and his family? It is to such a friend, as to one who knows and can sympathize with the failings of humanity, that men unfold the secret recesses of their souls. Gall was himself a physician.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">For these reasons, I venture to conclude that the first point is established in favour of Phrenology-namely, that it is possible, by accurate, patient, and continued observation of actions, <i>to discover the true dispositions and capacities which individuals possess. </i>As this philosophy is founded on a comparison of the manifestations of these faculties with development of the brain, we now proceed to consider the second question-Whether it be possible, in general, <i>to discover the true form of the brain, </i>by observing the figure of the head ?</font></p> <dir> <dir> <dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">GENERAL REMARKS ON THE BRAIN.</font></p> </dir></dir></dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">The anatomy of the brain is minutely described by Drs Gall and Spurzheim, in their anatomical and physiological work.<sup>1</sup> It is not indispensably necessary, although highly advantageous, to become acquainted with it, in order to be a practical phrenologist. A brief description of the general appearance of the brain will suffice to convey an idea of it to the non-medical reader. The proper subjects for observation are healthy individuals not beyond the middle period of life.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">The brain, stript of its outward covering the <i>dura mater, </i>is represented in Figure 4. and Plates IV. and V. These figures (which are copied from Dr Spurzheim's plates), and the accompanying descriptions, are not intended for anatomical purposes ; their sole object is to convey some conception of the appearance of the brain to readers who have no opportunity of seeing it in nature.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">Figure 1. represents the upper surface of the brain, stript of membrane. The brain consists of two halves, generally</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> <i>Anatomie et Physiologie du Syst&egrave;me Nerveux, </i>&amp;c. torn. i. Also Spurzheim's <i>Anatomy of the Brain, </i>&amp;c. London, 1826.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">108 GENERAL REMARKS ON THE BRAIN.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">named hemispheres, which closely resemble each other. The skull, through the middle part of which a horizontal section is</font></p> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">fig. 4. upper surface of the brain. A</font></p> </dir></dir></dir></dir> <p align="left"><font face="Times New Roman, Times, serif" size="3"><img src="plate08.jpg" width="258" height="329" /></font></p> </dir></dir></dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">made, surrounds the brain. The front is at A ; and the line AB is the division between the two halves or hemispheres.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Plate IV. represents the base of the brain, as it appears when taken out of the skull ; the forehead being represented uppermost.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The brain is a large nervous web, folded up into the forms presented in the drawings. The waving lines represent the convolutions or folds. They vary in depth from half an inch to an inch, in the adult.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The hemispheres are formed, previously to birth, from before backwards, and from without inwards. At first, they consist only of a thin membranous layer of nervous matter ; and they increase in thickness and volume very gradually. At birth, the hemispheres are in general three inches and four lines in length, and two inches in breadth. They then present the same form as in the adult, and are covered with convolutions, separated from each other by <i>sulci, </i>furrows, or anfractuosities.</font></p> <dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">The brain exists before the skull is formed. In the foe-</font></p> </dir><dir> <dir> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">GENERAL REMARKS ONTHE BRAIN.&#9;109</font></p> </dir></dir></dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">tus, it is covered by three membranes, called the <i>pia mater, </i>the arachnoid coat, and the <i>dura mater ; </i>and outside of these by a cartilaginous membrane, destined to be changed into bone. In the seventh or eighth month after conception, points of ossification are formed in this membrane ; these, by the deposition of new osseous particles, extend themselves in the form of rays (like the spiculo of ice when water freezes), until solid bones are formed, the edges of which, dovetailing into each other, constitute the sutures afterwards described. (See Plate III.) In the formation of the skull, the deposition of the osseous particles on the cartilaginous membrane before mentioned, and the fact of this membrane being moulded on the brain, render it a matter of absolute necessity that the skull should be moulded on this organ. The ossification of the skull is not complete before the ninth year.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">The external or cineritious substance of the brain is arranged, as we have seen, in convolutions or folds. The convolutions appear intended for the purpose of increasing the superficial extent of the brain, without enlarging its absolute size ; an arrangement analogous to that employed in the eye of the eagle and falcon, in which the retina does not form a simple concave surface, as in man and quadrupeds, but is presented in folds to the rays of light ; whereby the intensity of vision is increased in proportion to the extent of nervous surface exposed to their influence. The rolling up of the substance of the brain in folds in a similar manner, strongly indicates that extent of surface is highly important in reference to its functions. In fishes there are no convolutions. In birds, the hemispheres of the brain are larger than in fishes; but they are still smooth, and present no convolutions. In the rat, mouse, marmot, beaver, and even in the rabbit, the upper surface of the hemispheres is as smooth as in birds. In rising in the scale of the mammalia,<sup>1</sup> we find convolutions well marked. They are present</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> <i>Solly on the Brain, </i>p. 88.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">110 GENERAL REMARKS ON THE BRAIN.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">in the sheep, cat, dog, and ape, and in all the higher classes of animals.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Professor Tiedemann, in his work on the Brains of Apes and of some other animals, has accurately delineated and described the progressive diminution and final disappearance of the folds of the brain in the mammalia, from the apes down to the rodentia ; and, according to Desmoulins,<sup>1 </sup>this progression corresponds exactly with the diminution of intelligence. The most striking difference exists between the apes of the old world and those of the new. Many of the former are capable of being trained and employed for useful purposes, while the latter are incapable of instruction, and scarcely exceed squirrels in the degree of their intelligence. This corresponds with the state of the convolutions. In some dogs, especially those employed in hunting, the convolutions are scarcely less numerous and deep than in the higher tribes of apes ; while in the less intelligent species, and in wolves, they exist in a much inferior degree of development. There is a great difference as to docility between dogs and cats ; and an equally striking difference is found in. the appearances presented by the number and depth of the convolutions of their brains-a difference so great, that Desmoulins estimates the convolutions of the dog to exceed by six or eight times those of the cat. The paucity of convolutions found in the cat prevails throughout the entire genus to which it belongs. That genus, Felis, which includes the cat, lion, tiger, panther, and other animals of a similar nature, is likewise remarkable for the <i>uniformity </i>observed in the number and arrangement of the convolutions in the different species ; and in no genus are the species more distinguished for similarity of disposition, for through none do the faculties of Secretiveness and Destructiveness prevail in so high a degree of strength.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">&quot; In man, above all other animals, are the convolutions numerous, and the <i>sulci </i>(or furrows) deep, and, consequently,</font></p> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">' <i>Anatomie ties Syst&egrave;mes Nerveux des Animaux Vert&eacute;br&eacute;s, </i>p 602,</font></p> </dir><dir> <dir> <dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">GENERAL REMARKS ON THE BRAIN. 111</font></p> </dir></dir></dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">the cineritious mass great, and its extension of surface far beyond that of all other creatures.&quot;<sup>1</sup></font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The opinion of Drs Gall and Spurzheim, that the convolutions are of great importance in reference to the power of manifesting the mental faculties, is entertained by physiologists in general.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">It was long since remarked by Soemmering, that, in the earlier months of human existence, there is yet no trace of that complicated and convoluted arrangement of the cerebral surface, which is so striking in the adult brain. According to this eminent anatomist, it is only about the sixth or seventh month of gestation that the convolutions begin to appear. From this period they go on increasing in number and size, with a decreasing rapidity, even to the age of puberty.<sup>2</sup> To this progressive growth of the convolutions we have a well-marked counterpart in the gradual development of the mental powers, from the state of almost absolute nullity in which they exist in the fotus during the greater part of its intra-uterine life, to the expanded mind of the adult.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">We have seen that physiologists admit that there is a diminution or increase of intelligence in the lower animals, in proportion to any subtraction from, or addition to, the number and depth of the convolutions of their brains. The old objection to Phrenology, that some animals with large brains have less intelligence than others which have small ones, might, even if the comparison of the brains of different species were strictly allowable, be sufficiently answered, not only by referring to the fact of the parts of the brain which are developed not being the same in both, but also by opposing to it the statement of Desmoulins and Magen-die,<sup>3</sup> that in numerous examinations of the brains of almost every genus of the mammalia, they found a nearly constant</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> Bell's <i>Anatomy, </i>7th edit. ii. 386.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>2</sup> See a notice of the observations of the Wenzels on this subject, in the <i>Phren. Journ. </i>x. 342.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>3</sup> <i>Anatomie des Syst&egrave;mes Nerveux- des Animux Vertebr&eacute;s, </i>p. 620.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">112&#9;GENERAL REMARKS ON THE BRAIN.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">relation between the extent of surface presented by the brain in each genus, and the amount of intelligence displayed by it. Where differences occur in one of these points, differences are stated to be usually found in the other, not only between different genera, but between different species of the same genus, and also (which is most to our purpose) between different individuals of the same species.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Differences of mental character are met with to a much greater extent, and with much greater frequency, among men, than among the individuals of any species of the lower animals. It is rare, for instance, to find one sheep differing much from its companions, or one cow from another, in intelligence and instincts. The brains of men vary with respect to the number and depth of their convolutions, in a far greater degree than those of any other species.<sup>1</sup> This fact affords a presumption in favour of the idea that varieties of disposition depend on varieties in the convolutions.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">It has been remarked, that, in most idiots, the number and depth of the convolutions are less than usual, on at least one side of the brain. In chronic insanity, too, the convolutions are sometimes diminished in depth, and are more or less separated from each other by the thickening and infiltration of the laminse of the <i>pia mater </i>occupying the furrows of the brain. In these cases, likewise, as well as in individuals of congenital imbecility, the thickness of the clneritious substance of the convolutions has been found greatly diminished ; while in acute mania, on the other hand, it has been found of the usual thickness, and highly injected with blood. In old age the convolutions shrink.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The greater part of the brain is destitute of sensibility ; it may be pierced or cut without the patient being aware, from any feeling of pain, that it is suffering injury. Sir Charles Bell mentions, that he &quot; had his finger deep in the anterior lobes of the brain, when the patient, being at the</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> Vicq d'Azyr, <i>M&eacute;m. de Paris, </i>1783, p. 512 ; cited by Meckel, <i>Anatomie, </i>&amp;c. vol. ii. p. 64C. See also Wenzel, <i>De penitiori Structura Cerebri, </i>p. 23 ; and Mayo's <i>Physioloyy.</i></font></p> <dir> <dir> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">GENERAL REMARKS ON THE BRAIN.&#9;113</font></p> </dir></dir></dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">same time acutely sensible, and capable of expressing himself, complained only of the integument.&quot; So far from thinking the parts of the brain which are insensible, to be inferior in function, Sir Charles Bell states that, as every part has its use, he should be led, even by this circumstance, to imagine that they have a higher office-namely, that they are more allied to intellectual operations. The wide difference of function between a part designed to receive such impressions as those belonging to the sense of feeling, and a part which is the seat of thought, is in accordance with the presence of sensibility in some parts of the brain, and its absence in others.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The brain receives an unusually large supply of blood, in comparison with the rest of the body. According to Haller, the quantity is one-fifth of the entire amount which leaves the heart ; Monro, however, estimates it at one-tenth, and other authorities at one-eighth. There are no valves in the large veins of the base of the brain and neck, and the brain may be gorged with blood by holding the head lower than the body ; or, after death, drained of it by the erect position.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Each side of the brain, and also the cerebellum, are supplied with separate arteries conveying the blood to them ; but the sinuses, or canals by means of which the blood is returned to the heart, are common to them all. The carotid artery on one side, may be tied in man, without injury to the cerebral functions. Even both carotid arteries may be tied, without serious consequences, if an interval of twelve days or upwards be allowed between the operations, to permit the distention of the other arteries.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The brain demands blood fully oxygenised. If it is not properly oxygenised, the mental functions are blunted.<sup>1</sup></font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">1 Giddiness in stooping may arise from two causes. If it is felt only when the head u down, there is pressure on the brain from too much blood If it is not felt then, but occurs on raising the head, it is caused by too rapid abstraction of blood from the head. There is then a deficiency of blood in tn6 brain.</font></p> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">H</font></p> </dir></dir></dir></dir></dir></dir></dir></dir></dir></dir></dir></dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">114&#9;GENERAL REMARKS ON THE BRAIN.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">At birth the weight of the brain is about 10 oz. Tiedemann mentions that &quot; the weight of the brain (including the cerebellum) in an adult male European varies between 3 lb. 2 oz. and 4 lb. 6 oz. Troy. The female brain is lighter than that of the male. It varies between 2 lb. 8 oz. and 3 lb. 11 oz. &quot; I never,&quot; says he, &quot; found a female brain that weighed 4 lb. The female brain weighs on an average from four to eight ounces less than that of the male ; and this difference is already perceptible in a new-born child.&quot; Sometimes the brain is much &quot;heavier. Cuvier's brain weighed 4 lb. 10 oz. 4 ½ dr.<sup>1</sup></font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Sir William Hamilton, in the appendix to Dr Monro's work on the brain, states the average weights of Scotch brains to be as follows :</font></p> <dir> <dir> <dir> <dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">Male, 3 lb. 8. oz. Troy. </font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Female, 3 lb. 4 oz. do.</font></p> </dir></dir></dir></dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">One male brain in 7, exceeds 4 Ib, : one female brain in 100, exceeds 4 lb.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Cruveilhier states the weights of the brain in three young subjects to have been- </font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Brain, 2 lb. 2 oz.-Cerebellum, 41/3 oz.-total, 2 lb. 6 1/3 oz.</font></p> <dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">... 2 lb. 8 oz.&#9;... 3 ½ oz. ... 2 lb. 11 ½ oz.</font></p> <h4 align="left"><font face="Times New Roman, Times, serif" size="3"> ... 2 lb. 5oz.&#9;... 5 oz. ... 2 1b. 10 oz. </font></h4> <p align="left"><font face="Times New Roman, Times, serif" size="3">Specific gravity 130.</font></p> </dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">The human brain grows from birth upwards, but authors dispute the age at which it attains to maturity. Soemmer-</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> The <i>post-mortem </i>examination of Cuvier's train took place on the 15th May 1832, in presence of MM. Orfila, Dum&eacute;ril, Dupuytren, Allard, Biett, Valenciennes, Laurillard, Rousseau, Andral neveu, and B&eacute;rard. It was ascertained that the superiority of size occurred almost exclusively in the cerebral lobes, particularly their anterior and superior parts ; the cerebellum, &amp;c., exhibiting no unusual development. It was stated by M. B&eacute;rard to Dr Foissac, the writer whom I follow, that none of the gentlemen present at the dissection remembered to have seen so complicated a brain, convolutions so numerous and compact, or such deep anfractuosities-&quot; un cerveau aussi pliss&eacute;, des circonvolutions aussi nombreuses et aussi press&eacute;es, des anfrac-tuosit&eacute;s si profondes.&quot;-<i>Journal de la Son&eacute;tt Phr&eacute;nologique de Paris, </i>tom, ii. No. v.</font></p> <dir> <dir> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">GENERAL REMARKS ON TUB BRAIN.&#9;115</font></p> </dir></dir></dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">ing affirms that it stops in its growth at three years of age, and the brothers Wenzel mention seven. Dr Vimont says between twenty-five and thirty ; and M. Parchappe of Paris, who published on the brain in 1836, agrees with Dr Gall in the opinion that it does not attain its full weight and size till forty. He gives the result of weighing about 250 brains. The Wenzels assigned seven years as the age of complete development, on the authority of two cases only. The reader will judge which authority is most to be relied on.<sup>1</sup> I am convinced from observations, that the brain goes on increasing up to 28 or 30 years of age in some individuals, and in the great majority of instances up to 22 or 23. I cannot confirm its spontaneous growth to 40, but I do not deny it. I only have not observed it.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The question has been much agitated among Phrenologists, Whether, after maturity of growth, individual organs increase by exercise, and diminish by inactivity. I shall consider this point under the section &quot; Effects of size in the organs,&quot; in &quot;Volume II.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">On the approach of old age, the brain, like other parts of the body, begins to diminish ; the convolutions lose their plumpness, and, as they are now shrivelled, flaccid, and less closely packed together than formerly, the anfractuosities or furrows between them become enlarged.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The cerebellum, or &quot; little brain&quot; (F F, Plates IV. and V.,) lies under the brain. It is connected with it by means of medullary fibres ; but its bulk is separated from it by a strong membrane called the tentorium.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">POPULAR OBSERVATIONS ON THE STRUCTURE OF THE</font> <font size="3" face="Times New Roman, Times, serif">BRAIN.</font></p> <dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">in the newly-born infant, all the organs of the body are</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3"><i>&nbsp;</i></font></p> </dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">1 See remarks on the doctrine of the Wenzels in the <i>Phrenological Journal, x. 342</i></font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">116&#9;GENERAL REMARKS ON THE BRAIN.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">immature. The brain is soft and pulpy, and unfit for performing mental operations. Its consistency, however, gradually increases, and its texture becomes more and more firm as the individual approaches to manhood.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The brain, as already remarked, is composed of gray and white nervous matter. In the cerebrum, or brain proper, the gray matter, which is also sometimes called cineritious, from the similarity of its hue to that of ashes, constitutes the superficial or external portion of the nervous mass, and covers the white matter as&quot; the bark of a tree covers the wood. For this reason it occasionally receives the name of the cortical substance, while the white matter, from its internal situation, is sometimes called the medullary substance. In fig. 5. and</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3"><img src="plate09.jpg" width="437" height="354" /></font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Plate VI., the arrangement of the two substances, distinguished by their different shading, is well seen.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">When a fresh brain is examined by the naked eye, little difference is seen between the two substances beyond their difference in colour ; but when a brain has been steeped for some time in alcohol, or in a solution of bi-chloride of mer-</font></p> <dir> <dir> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">GENERAL REMARKS ON TUB BRAIN.&#9;117</font></p> </dir></dir></dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">cury, its texture becomes much firmer, and the white matter then readily separates into fibrous cords. These are seen to proceed from the summit of the spinal cord, and after spreading in a fan-like manner, they lose themselves in the cortical expansion of the gray matter. This arrangement is seen in fig. 5. The gray matter, on the other hand, by the action of the chemical agent, becomes friable and granular, and shews no tendency to separate into layers. Microscopical examination of the two substances shews further that the white matter is composed of extremely fine tubules, analogous to, but finer than the tubules or fibres of the nerves, and that the gray matter consists of cells or minute vesicles lying in a plexus of extremely fine bloodvesssels. It is now almost universally admitted that the gray matter is the source of the nervous power, while the white matter is its conductor ; the different fibres of the latter acting like the separate wires of the electric telegraph. We formerly saw that the different powers of the spinal cord are associated with differences in the size and form of the cells of the anterior and posterior horns of the gray matter of the cord ; and there is reason to think that the different mental powers displayed by the cerebrum may depend, at least in some degree, on similar differences in the cells of the gray matter of the convolutions. The cells certainly vary in structure in different regions ; but as yet we have no observations to shew that particular mental powers are dependent on particular sizes or forms of cells. The study is one of peculiar difficulty, but the rapid progress which histology (or the science of minute structure) has of late years made, gives us reason to hope that by its means a new path may be opened to a knowledge of the variations of structure on which the differences in the mental powers depend. Should this hope be realised, histology may assist, but cannot supersede, Phrenology; for it is obvious that phrenological observation will still be necessary to determine the mental function performed by the particular cells, and to deduce from their number or development, the probable power</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">118 GENERAL REMARKS ON THE BRAIN.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">of their manifestations. It is undeniable, that no extent of knowledge of mere structure will enable us to predicate particular vital functions ; and hence it is vain to expect that investigations into the structure of the brain will ever reveal its functions without corresponding observations on mental action.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Drs Gall and Spurzheim attached much importance to the convolutions, and considered the depth, size, and number of them, to have a great effect on the intensity of the mental manifestations ; but it does not appear that they regarded the cineritious substance as exclusively the organ of the mind. &quot; Dr Gall and I,&quot; says Spurzheim, &quot; suppose that each nervous apparatus is composed of two peculiar substances, the pulpy and fibrous, and that both are necessary to produce an instrument adequate to perform a particular function.&quot;<sup>x</sup> And he is certainly right, for, granting that the gray matter is the special generator of mental power, still, mind could not be manifested without the aid of the conducting white matter, and could not, therefore, be said to exist.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">As already remarked, the gray matter is spread like a covering over the white substance, with which it is everywhere in intimate combination, dipping into the anfractuosities, and rising on the summit of the convolutions. In this way the layer of gray matter is much increased in extent, while at the same time, its points of contact with the white matter are greatly multiplied. In fig. 5, the radiated lines of the white matter are seen converging towards the superior extremity of the spinal cord, and it is through them that the gray matter of the cerebrum receives the impressions of the stimuli which had reached the spinal cord through the medium of the nerves. It is through them also that the brain transmits its mandates to the spinal centres for the production of voluntary motion. Thus the mental organs, with their apparatus of communication, extend from the surface of the brain to the medulla oblongata. Each organ has been</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> <i>Anatomy of the Brain, </i>p. 10.</font></p> <dir> <dir> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">GENERAL REMARKS ON THE BRAIN.&#9;119</font></p> </dir></dir></dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">likened to a cone, of which the apex lies in the medulla oblongata, and the base in the surface of the brain. I introduce this similitude, however, merely as a popular illustration, and not as a technical description of the appearance of the organs ; for they are not separable into definite figures, such as this comparison, if literally understood, would seem to imply. Besides, the structure of the cerebrum is far from being so simple as to permit of such a separation. A moment's reflection will convince any one that something more is necessary for harmonious mental action, than simply the connection of the various mental organs with the physical nervous system. To produce this result, not only must the two hemispheres of the cerebrum stand in intimate relationship to each other, but the different mental organs also must have the means of intercommunication. Accordingly we find that the white matter, or cerebral medulla, constitutes a most complicated apparatus of cross and longitudinal fibres, whereby every part of the brain is brought into intimate reciprocal connection.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Thus, the two sides or hemispheres of the brain are brought into communication by means of numerous fibres called commissures, running across from the one side to the other. The largest is called the <i>corpus callosum, </i>and it crosses below the lower edge of the falciform process of the <i>dura mater </i>(see fig. p. 125). There is a transverse nervous cord which crosses in the anterior lobe, called the <i>anterior commissure ; </i>besides several others. The posterior and anterior regions of the brain are also brought into communication by fibres extending from the front to the back. The <i>superior longitudinal commissure </i>lies, in each hemisphere, immediately above the <i>corpus callosum, </i>and touches the mesial line. A long convolution will be seen there, and by scraping off the cineritious matter in a prepared brain, longitudinal fibres will be perceived passing from the posterior to the anterior lobes.<sup>1 </sup>The <i>fornix </i>constitutes an inferior longitudinal commissure,</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> See Solly <i>On the Brain, </i>Plate x.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">120&#9;GENERAL REMARKS ON THE BRAIN.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3"> connecting the inferior portions of the anterior and posterior lobes. Sir Charles Bell observes, that &quot; whatever we observe on one side has a corresponding part on the other ; and an exact resemblance and symmetry is preserved in all the lateral divisions of the brain. And so, if we take the proof of anatomy, we must admit, that, as the nerves are double, and the organs of sense double, so is the brain double ; and every sensation conveyed to the brain is conveyed to the two lateral parts, and the operations performed must be done in both lateral portions at the same moment.&quot;<sup>1</sup> This statement of Sir Charles Bell is not rigidly correct. There is a general correspondence between the parts on the opposite sides of the brain, but not &quot; an exact symmetry&quot; in the strict sense of these words. The approximation to symmetry is about as great as between the bloodvessels in the right and left arms. In some individuals there are slight variations in the size and constitution of corresponding organs on the two sides of the body. The muscle named transversus perinei, in the peri-neal region of the abdomen, is sometimes much larger on one side than on the other. The muscle called pyramidalls abdominis is occasionally wanting on one side, sometimes on both sides. Two muscles of this kind have been seen on one side, and none on the other. The psoasparvus muscle, in the interior of the abdomen, is subject to the same irregularity, and these aberrations may not be discovered during life. The palmaris longus muscle, inserted in the palm of the hand, is frequently wanting. The plantaris muscle, running between the gastrocnemius and soleus muscles, which compose the calf of the leg, and which is inserted, tendinous, into the plantar fascia, is sometimes wanting. Mr Solly<sup>2</sup> men- </font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> <i>Anatomy, </i>ii. 381. An ingenious paper by Mr Hewett C. Watson, on the probable object of the duplicity of the brain, will be found in <i>The Phrenological Journal, </i>vol. ix. p. 608. See Mr Forster's conjectures, in his <i>Observations on the Influence of the Atmosphere on Health, &amp;c., </i>Section xiv. </font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>2</sup> <i>On the Brain, </i>p. 254.</font></p> <dir> <dir> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">GENERAL REMARKS ON THE BRAIN.&#9;121</font></p> </dir></dir></dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">tions that the posterior division of the auditory nerve, &quot; on crossing the posterior fissure of the cord or fourth ventricle, forms by its separation three or four white lines, which are usually very distinct. Meckel,<sup>1</sup> however, states that he has sometimes found the whole of these lines deficient, sometimes on one side and sometimes on both, and that Prochaska and Wenzel have observed them to differ on the two sides of the brain.&quot; When, therefore, I mention that slight differences occur between the organs on the two sides of the brain, it will be seen that the brain, in this respect, forms no exception to a general law of the animal economy.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">No lines of demarcation between the organs have yet been discovered in dissecting the brain, but this objection to the existence of separate organs is of no real weight, for we do not find that any such line divides the gray matter of the anterior horns of the spinal cord from that of the posterior horns. Yet the fact that the function of the matter of the anterior horns is to produce motion, and that of the posterior horns to produce sensation, is admitted by the best physiologists as indubitable. &quot; The circumstance,&quot; says Mr Solly, in speaking of the sensitive and motor columns of the cord, &quot; of there being no decided anatomical line of division between the two columns, is not of itself an argument against the correctness of this view (namely, that they perform different functions) ; for it is quite possible that perfect distinctness of parts, as regards their function, without any visible line of separation between them, may exist. . . . The presence of such gross and palpable divisions, it is true, would save us some trouble, in discovering the line of demarcation, but would not necessarily make it in any degree more efficient.&quot;<sup>2</sup> Many persons are too prone to doubt what cannot at once be made evident to their senses, and they have therefore difficulty in believing that a difference in structure which</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> <i>Anatomie, </i>tome ii. p. 614, n.</font></p> <dir> <dir> <dir> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>2</sup> On <i>the Brain, </i>p. 254.</font></p> </dir></dir></dir></dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">122 GENERAL REMARKS ON THE BRAIN.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">escapes the unassisted eye, should produce such remarkable differences in function. But the fact that peculiar powers are manifested by extremely minute cells, so small indeed as to require the aid of the microscope for the appreciation of their structure, will cease to be incredible when it is known that whole organisms, possessed of digestive and locomotive systems, exist, of which we are made cognisant only by the use of powerfully magnifying instruments.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The determination of the functions of the cells occurring in the nervous structures is surrounded by great difficulties, but (as we &quot;have seen in the case of the motor and sensitive cells) these have been partially overcome. For the purpose of determining them recourse was had to experiments on living animals. A certain portion of the nervous system was injured or destroyed, and the change which ensued in the vital functions of the animal was then noted. If it ceased to perceive pain on being subjected to injury, or had lost the power of motion, it was obvious that the portion of nervous matter interfered with, was connected, as the case might be, with the sensitive or motor functions. Here an effect was produced which is palpable to our senses ; but, in the case of the mental nervous system, we have no such means of visual observation at our disposal. Suppose that a part of the organ of Benevolence, of Veneration, of Causality, or of Wit. were removed by the knife, by what unmistakeable test shall we ascertain that any one of these faculties has been injured ? We can <i>see </i>that an animal does not shew symptoms of pain, or that it ceases to contract its muscles ; but we dare not cut out portions of a living man's brain to make experiments on his mental condition after their abstraction. Even accidental removal of portions of the brain rarely assist us in determining the special functions of the part injured, because the mental functions can be performed in a manner to allow of any justifiable conclusions being drawn from actions only when the organism is healthy and entire. We are driven back, therefore, upon Phrenology as the only method</font></p> <dir> <dir> <dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">GENERAL REMARKS ON THE BRAIN. 123</font></p> </dir></dir></dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">by which a knowledge of the association of certain mental powers with certain conditions of brain can be obtained.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Although, however, no formal lines of demarcation mark the limits of the different organs, the forms of these, as delineated in the bust, are not arbitrary. When any particular organ predominates in size over all those in contact with it, it gives a particular form to the part of the skull which covers it, and the forms thus evolved have been copied in the bust, and on the plates. No one natural head can shew the forms of all the organs distinctly, because they cannot all predominate in one head ; but if a sufficient number be appealed to, complete evidence will be obtained that the forms are not imaginary but natural. Firmness will shew its form in one skull (that of King Robert Bruce, for instance), Conscientiousness in another (Mrs H.J, Benevolence in a third (Jacob Jervis), and so forth.</font></p> <dir> <dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">OF THE INTEGUMENTS OF THE BRAIN.</font></p> </dir></dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">I have already remarked, that the brain is embraced in its whole peripheral extent by a very thin transparent membrane called the <i>pia mater ; </i>this sinks into the furrows, and is closely applied to the surface, of the gray matter, to which it is the means of conveying the blood. It is exceedingly vascular, and gives off from its internal surface innumerable capillary bloodvessels, which constitute the vascular net-work in which the nervous cells lie. Immediately above the <i>pia mater, </i>are two layers of a still thinner membrane, resembling in its tenuity a spider's web, and thence named the <i>tunica arachnoidea. </i>It covers the surface of the brain uniformly, without passing into its folds. A fluid secretion takes place' from the opposed surfaces of this membrane, by which they are lubricated and prevented from adhering to each other. The <i>dura mater </i>is a thin but strong opaque membrane, lining and strongly adhering to the inner surface of the</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">124&#9;GENERAL REMARKS ON THE BRAIN.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">skull. It embraces the outer surface of the brain above the membrane last mentioned. When in health, it does not possess sensibility, and has been pricked without causing pain. The brain, enclosed in these membranes, fills exactly the interior of the skull ; so that a cast, in plaster, of the interior of the skull, is a <i>facsimile </i>of the brain, covered by the <i>dura mater.</i></font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Between the two layers of the arachnoid membrane a small quantity of fluid generally exists, but in the state of health it never exceeds a line in thickness. Accordingly this fluid does not, in any degree that can be distinguished by the hand or eye, cause the form of the interior of the skull to differ from the form of the exterior of the brain. In cases of cerebral disease, however, and in old age, the brain occasionally undergoes diminution from absorption ; when the place of the absorbed matter may be occupied either by increased effusion from the arachnoid membrane, or by increased thickness of the walls of the skull, which also occasionally shrinks to accommodate itself to the brain when its size diminishes. The skull, then, is not an adamantine barrier confining the brain within specific boundaries ; but a strong yet changeable covering, shielding it, and accommodating itself to its size while in the progress of its growth.<sup>1 </sup>At birth it is small ; it increases as the brain increases, and alters its shape with every change of the cerebral form; it stops in development when the brain has attained its full size ; and, as we have just remarked, it is apt to diminish when this organ suffers diminution, through disease or old age. A process of absorption and deposition goes continually on in its substance ; so that, if the brain presses from within, the renovating particles arrange themselves according to this pressure, and thus the figure of the skull and that of the brain in general correspond. In cases of water in the head, the skull sometimes extends itself to an enormous size.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> On the admirable fitness of the skull to protect the brain, see <i>The Phrenological Journal, </i>viii. 332.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">125 OF THE SKULL. </font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The skull is composed of nine bones. (See Plate III. and description of it.) These are-two <i>frontal </i>bones E, which compose the forehead, and generally soon unite into one, though in some adults they continue double; two <i>parietal </i>bones D, forming the greater part of the upper and lateral regions of the skull ; two <i>temporal </i>B, around the ears; one <i>sphenoid A, iv-the </i>anterior part of the basilar region; one <i>occipital G, </i>in the back and under part of the skull, immediately above the neck ; and one <i>ethmoidal, </i>at the base behind the nose. The lines of junction of these bones are termed sutures SSS, and form, in most parts, a sort of dovetailing. The principal sutures are the <i>sagittal, </i>separating the two parietal bones at the middle of the top of the head ; the <i>coronal, </i>which divides the frontal from the parietal bones ; the <i>lambdoidal, </i>between the occipital bone and the two parietals, and deriving its name from its resemblance to the Greek letter lambda (a) ; the <i>frontal, </i>dividing the two frontal bones when they are not conjoined ; and the <i>temporal, </i>named also the <i>squamous </i>from its scaly appearance, dividing the temporal bones from the parietal, and to some extent from the sphenoid and occipital.</font></p> <div align="left"><font face="Times New Roman, Times, serif" size="3"><img src="plate10.jpg" width="166" height="141" align="left" hspace="2" vspace="3" /> </font> </div> <p align="left"><font face="Times New Roman, Times, serif" size="3">The annexed figure represents a skull with the two sides cut away, down nearly to the level of the eyebrow, leaving a narrow ridge in the middle of the top standing. AAA is a section of the skull, <i>\ </i>resembling an arch. It is here represented thicker than it is in nature, in order to shew the <i>diplo&euml;</i>. Most parts of the skull consist of two plates called the outer and inner tables, having between them a spongy substance, like cells in a marrow-bone, called the <i>diplo&euml;. </i>The substance hanging down from the arch of the skull, having delicate lines traced on it, like the sap-vessels in leaves, is the membrane which separates the two halves of the brain. It is a continuation of the <i>dura mater, </i>and is called the <i>falciform process, </i>from its resemblance to a scythe. It is well</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">126&#9;OF THE SKULL.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">supplied with bloodvessels ; and a large portion of the blood returning from the brain to the heart, goes up these vessels into a canal formed by the membrane all along the line of its attachment to the skull. The course of the blood through the canal is from the front backwards, and then downwards. The two hemispheres of the brain are completely separated, as far as this membrane is seen to extend downwards in the cut. At the lower edge of it, an open space appears ;-the commissure, or collection of fibres which unite the two sides, named the <i>'corpus callosum, </i>goes through that space. The cerebellum lies at B C, in a part of the skull not opened. The membrane, on reaching the point C, spreads out to the right and left, and runs forward, so as to separate the cerebellum from the brain ; the latter lying above, and the former below it. B is the mastoid process, or bone to which the sterno-mastoid muscle is attached. It lies immediately behind the opening of the ear, and is not connected with the brain.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">As the diplo&euml;, except in the parts to be mentioned, is almost equally thick, it follows that the two tables of the skull are nearly parallel to each other.<sup>1</sup> This is seen in the section represented in fig. 5, p. 116. The internal, indeed, bears some slight impressions of bloodvessels, glands, &amp;c., which do not appear externally ; but these are so small as not to interfere with phrenological observations. The departure from perfect parallelism, where it occurs, is limited to a line, one-tenth or one-eighth of an inch, according to the age and health of the individual. The difference in development between a large and a small organ of the propensities and some of the sentiments, amounts to an inch and upwards ; and to a quarter of an inch in the organs of intellect, which are naturally smaller than the others.<sup>2</sup></font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The squamous portion of the temporal bones is much thinner than the other parts of the skull. But as this is the case</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> See Dr Caldwell on the parallelism of the tables, <i>Phren. Jour. </i>ix. 222.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>2</sup> &quot; Jamais je u' ai pr&eacute;tendu distinguer des modifications peu prononc&eacute;es des formes du cr&acirc;ne, ou de l&eacute;g&egrave;res nuances du caract&egrave;re.''-<i>Gall, </i>iii. 41.</font></p> <dir> <dir> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">OF THE INTEGUMENTS OF THE BRAIN.&#9;127</font></p> </dir></dir></dir> <p align="left"><font face="Times New Roman, Times, serif" size="3">in all heads indiscriminately, it is not a source of error to the phrenologist. Every skull, moreover, is thick at the ridges of the frontal bone and the transverse ridge of the occipital (48, fig. 5, p. 116), and very thin at the super-orbitar plates of the frontal bone, forming the roof of the sockets of the eyes,-and also in the middle of the occipital fossae. Dr Gall states that sometimes the skulls of very stupid people are unusually thick ;* and Dr Vimont has frequently observed the same thing to occur in persons of an athletic constitution.<sup>2 </sup>In savages the skull is often thick.<sup>3</sup></font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The integuments which cover the skull on the outside, indisputably lie close upon its surface, and are so uniform in their thickness, as to exhibit, with sufficient accuracy, its true figure. The temples and occiput are the only parts where the integuments are thicker than at the others, and the phrenologist attends to this fact in making his observations.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Thus there is no obstacle in general to the discovery of the figure of the brain, by observations on the form of the skull or head.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">This doctrine has been frequently disputed by opponents of Phrenology ; but many anatomists have taught it. Cuvier states, that &quot; The brain moulds itself in the cavity of the skull, which <i>it fills exactly, </i>in such a manner that knowledge of the bony part gives us information at least of the <i>form of the exterior of the brain.&quot;* </i>Magendie, in his <i>Compendium</i></font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3"><i><sup>1</sup> </i>Tome iii. p. 43.&#9;2 Vol i. p. 285.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>3</sup> &quot; A comparison of the external and internal surfaces of the cranium establishes the fact, that there is a general correspondence of the two, as far as regards those parts which are in contact with the periphery of the brain. But, between the several divisions of that organ, there are developed on the inside of the skull very large ribs and processes which destroy the particular correspondence of the two surfaces. Nevertheless, this does not impair our ability to deduce the internal capacity of the cranium from an examination of its exterior ; since the diplo&euml; between the two plates in the spaces intermediate to these ribs, seldom varies more than one or two lines in its thickness.&quot; - <i>Cyclopodia of Anatomy and Physiology, </i>edited by Professor Todd ; Article <i>Cranium.</i></font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">* <i>Anatomie Comparative, </i>ii. 13.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">128 OF THE INTEGUMENTS OF THE BRAIN.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3"><i>of Physiology, </i>says, that &quot; the only way of estimating the <i>volume of the brain </i>in a living person, is to <i>measure the dimensions of the skull; </i>every other means, even that proposed by Camper, is uncertain.&quot;<sup>1</sup> Sir Charles Bell also observes, that &quot; the bones of the head are moulded to the brain, and the peculiar shapes of the bones of the head are determined by the original peculiarity in the shape of brain.&quot;<sup>2</sup> And Dr Gordon, in the 49th number of <i>The Edinburgh Review, </i>has the following words :-&quot; But we will acquiesce implicitly for the present in the proposition (familiar to physiologists long before the age of Gall and Spurzheim), that there is, in most instances, a general correspondence between the size of the cranium and the quantity of cerebrum ; that large heads usually contain large brains, and small heads small brains.&quot; (P. 246.)</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">There are, however, cases in which it is <i>not </i>possible to discover the form of the brain by examining the skull. These are instances of disease and old age. In disease, the skull may be enlarged or diminished in volume by other causes than changes of the brain ; and in old age, the inner table of the skull sometimes sinks, while the outer table preserves its original size, and an extraordinary thickness is produced : in such cases, the true development of the brain cannot be accurately inferred from the appearance of the head.<sup>8</sup> It is</font></p> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> Milligan's Translation, p. 104.</font></p> </dir> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>2</sup> Bell's <i>Anatomy, </i>ii. 390. Sir C. Bell adds in a foot-note, &quot; Certainly the skull is adapted to the form of the brain ; but there is a deeper question, which our craniologists have forgotten,- Is the brain constituted in shape with a reference to the future form of the head ?&quot; It is difficult to see the importance of this question. Not only is the skull, at every period before the decline of life, adapted to the form of the brain, but it increases in size when the brain enlarges, and decreases when the brain diminishes. The reader will find an answer to Sir Charles Bell's objections in <i>The Phrenological Journal, </i>viii. 333.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>3</sup> According to Dr Gall, the skulls of aged people are generally thicker, lighter, and more spongy, than those of young men and adults : but Dr Vimont thinks that farther observations are necessary to determine whether this is the most frequent appearance.-(Gall, iii. 50 ; Vimont, i. 288.) Some-</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">SUTURES.&#9;<sup>129</sup></font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">a common trick with the opponents of Phrenology to collect these thickened skulls, and to represent them as average specimens of healthy crania, under the middle period of life ; but this is pure deception, practised on that portion of the public which is unacquainted with anatomy.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">There are parts at the base of the brain, in the middle and posterior regions, the size of which cannot be discovered during life, and whose functions in consequence are still unknown. From analogy, and from some pathological facts, they are supposed to be the organs of the love of life, and of some other mental affections for which cerebral organs have not been discovered ; but demonstrative evidence to this effect being wanting, the conjecture is stated merely to incite to farther investigation.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">The sutures interrupt the absolute parallelism of the tables ; but their situation is known, and only one of them, the lambdoidal, where it passes over the organ of Concentrativeness, presents any difficulty to the student. In some individuals it occasions at that part a bony projection, which may be mistaken for a large development of Concentrativeness ; but the bone is generally sharp and angular, whereas the development presented by an organ when large is full and round. The sagittal and frontal sutures, which run longitudinally from the back part of the crown of the head forwards and downwards, sometimes so low as the top of the nose, occasionally present a narrow prominent ridge, which is sometimes mistaken for development of the organs of Benevolence, Veneration, Firmness, and Self-esteem. It may, however, be easily distinguished by its narrowness and</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">times, in extreme old age, portions of the outer table and diuloe are absorbed and not renewed, so that the skull becomes, in various parts, very thin and transparent. There is such a skull in the collection of the Phrenological Society, and Dr Gall possessed several specimens. (Gall, iii. 53; and <i>Phren. Jour. </i>vii. 28.) That the skull becomes thin in old age by absorption is maintained also in a work called <i>Anatomia Senilis, </i>published in 1799. According to Tenon, the skull loses two-fifths of its weight in old age. <i>(Memoirs of the French Institute </i>for the year 6.)</font></p> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">I</font></p> </dir></dir></dir></dir></dir></dir></dir></dir></dir></dir></dir></dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">130&#9;FRONTAL SINUS.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">isolation from the full broad swell of cerebral development. In anatomy, projecting bony points are called processes. The mastoid process of the temporal bone (B in figure, p. 125), which is a small knob immediately behind the ear, serving for the attachment of a muscle, is sometimes mistaken for the indication of large Combativeness. It is, however, merely a bony prominence, which is found in every head, and does not indicate development of brain at all. Another process, called by anatomists the spinous process of the transverse ridge of the occipital bone, requires to be known. Phrenologists generally name it shortly the occipital spine, and its situation is indicated by C in the figure, p. 125.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">There is one part of the skull where the external configuration does not always indicate exactly the size of the subjacent parts of the brain, and upon which objections have been raised. At the part of the frontal bone immediately above the top of the nose, a divergence from parallelism is sometimes produced by the existence of a small cavity called the <i>frontal sinus.</i></font></p> <div align="left"><font face="Times New Roman, Times, serif" size="3"><i><img src="plate11.jpg" width="96" height="138" align="left" hspace="2" vspace="3" /> </i> </font> </div> <p align="left"><font face="Times New Roman, Times, serif" size="3">The frontal sinus is the dark hole seen in the annexed cut above the nose. It does not in general appear before the age of twelve ; and as the organs over which it may subsequently be formed, are well developed and very active before that age, there is no obstacle to our comparing their size with the vigour of the mental manifestations, before the sinus exists. We are thus able to determine the functions of these organs with certainty. After puberty it is generally present. Beclard remarks that &quot; the frontal sinuses are not formed till after birth. Towards twelve years of age only the rudiments of them exist, and they appear only as cells a little larger than the others in the ethmoiclal bone. They go on increasing with age, and extend themselves, at the same time, in the frontal and orbitary portion of the bone, which sometimes they entirely</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">FRONTAL SINUS.&#9;131</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">cover.&quot;<sup>1</sup> Its size in one individual is shewn in the cut ; it is sometimes larger and sometimes smaller than that here represented. It is formed between the two tables of the bone, either by the external table swelling out a little without being followed by the internal, and presenting an appearance like that of a blister on a biscuit, or by the internal table sinking in without being followed by the external.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">It has been argued by some individuals, that the existence of a frontal sinus is an insuperable objection to Phrenology in general, because it throws so much uncertainty in the way of our observations as completely to destroy their value. Other opponents, however, more rationally confine their objection to those organs over which the sinus extends.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">The first objection is manifestly untenable. Even granting the sinus to be an insuperable obstacle in the way of ascertaining the development of the organs over which it is situated, it is plain that, in ordinary cases, it interferes with only a few, namely, Form, Size, Weight, Individuality, and Locality ; and that the whole external appearances of the other thirty or thirty-one organs are left as unaltered as if no frontal sinus existed. It would be quite as logical to speak of a snow-storm in Norway obstructing the highway from Edinburgh to London, as of a small sinus at the top of the nose concealing the development of Benevolence, Firmness, or Veneration, on the crown of the head.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">To enable the reader to form a correct estimate of the value of the objection as applicable to the individual organs particularly referred to, I offer the following observations. In the <i>first </i>place, below the age of twelve or fourteen, the sinus, if it exists at all, rarely extends so high as the base of the frontal lobe of the brain ; <i>secondly, </i>in adult age, it frequently occurs to the extent above admitted ;<sup>2</sup> and,</font></p> <dir> <p align="left"><font size="3" face="Times New Roman, Times, serif"><sup>1</sup> <i>Dictionnaire de M&eacute;decine, </i>ix. 504.</font></p> </dir> <p align="left"><font size="3" face="Times New Roman, Times, serif">2 This may seem at variance with a statement given in the first edition of this work, on the authority of a friend in Paris, who, in the course of many months' dissections, bad never found a frontal sinus except in old age</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">132&#9;FRONTAL SINUS.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3"><i>thirdly, </i>in old age. and in diseases such as idiocy and chronic insanity, it is often of very great extent, owing to the brain diminishing in size, and the inner table of the skull following it, while the outer remains stationary. The first cases present no objection, for in them the sinus does not exist so high as to interfere with the observation of the size of the organs ; the third are instances of disease, which are uniformly excluded in phrenological observations ; and thus our attention is limited solely to the cases forming the second class. In regard to them the objection is, that large development of brain, and large frontal sinus, present so nearly the same appearance that we cannot accurately distinguish them, and that therefore our observations must be inconclusive.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">To this the following answer is given. In the first place, we must distinguish between the possibility of <i>discovering the function </i>of an organ, and the possibility of applying this discovery practically in <i>all </i>cases, so as to be able, in every instance, to predicate the exact degree in which every particular mental power is present in each individual. As already mentioned, the sinus does not, in general, extend so high as the brain until after the age of twelve or fourteen, before which time Individuality is most conspicuously active in the mind. If, then, in children, in whom no sinus exists, that mental power is observed to be strong when the part of the head is large, and weak when it is small, we <i>ascertain the function, </i>whatever may subsequently embarrass us. If in after life the sinus conies to exist, this throws a certain impediment in the way of the practical application of our knowledge ; and accordingly, phrenologists admit a</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">and in disease. In sawing open the skull for anatomical purposes, the section is almost always made horizontally through the middle of the forehead, or over the organs of Tune, Time, and Eventuality ; in all the cases alluded to by the gentleman in Paris, this line was followed, and as the sinus rarely extends so high up, he could not, and did not, meet with it. On examining vertical sections, however, for the purpose of seeing the sinus, he has since frequently found it to the extent mentioned in the text.</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">FRONTAL SINUS.&#9;133</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">difficulty in ascertaining the development of the organs lying immediately-above the top of the nose, except in extreme instances, in which even the sinus itself forms but a fraction of the difference between great development and deficiency.-In the next place, the objection applies only to one set of cases. If there be a hollow or depression in the external surface of the skull at the situation of the organs in question, and the sinus be absent, then the organ must necessarily be deficient in proportion to the depression. If, with such an external appearance, the sinus be present (which is not generally the case, but which, for the sake of argument, I shall suppose), then it must be formed by the inner table receding more than the outer table : hence a greater deficiency of the organs will actually exist than what is externally indicated ; and, of course, the deficiency of mental power will be <i>at least equal </i>to that which is indicated by the exterior of the head. In cases of this kind, therefore, the sinus forms no objection. Thus the only instances in which it can occasion embarrassment are those where it causes a swelling outward of the parts of the skull in question, when there is no corresponding development of brain within. Now, if, in all cases in youth, when no sinus exists, and in all cases in mature age in which a depression is found, the mental power is ascertained to correspond with the external development ; and if, in certain cases in adult age, an external indication appears to which the mental power does not correspond, what conclusion ought to be drawn according to the rules of a correct logic ? Not that the functions of the parts are uncertain-because they have been ascertained in cases not liable to impediment or objection ; but only that, in the particular cases in mature age in which external development is large, and the corresponding power absent, <i>there must be a frontal sinus. </i>Finally, after practice in observing, it is in general possible to distinguish between external appearances produced by a frontal sinus, and those indicating a large development</font></p> <p align="left"><font size="3" face="Times New Roman, Times, serif">134&#9;ANATOMY OF THE BRAIN.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">of organs. In the former case, the elevations are usually more abrupt and ridgy ; and in the latter, they present a rounder swell, and follow the direction of the organs as delineated on the busts.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">If, then, men in general manifest their natural qualities in their actions ; and if, in healthy individuals, not beyond the middle period of life, the form of the brain may be discovered by observing the figure of the head ; it follows that the true faculties, and the true cerebral development, may be compared in living subjects : and on these grounds the proposition is established, that the phrenological mode of philosophising is competent to enable us to attain the results sought for.</font></p> <p align="left"><font face="Times New Roman, Times, serif" size="3">Before proceeding to the practical application of the principles of Phrenology, I subjoin a few remarks on the <i>anatomy </i>of the brain, principally taken from those which Dr Fossati has added to his French translation of my <i>Elements of Phrenology.</i></font></p> <hr /> <p align="left"><b><font size="2">Vol. 1:</font></b> <font size="2"><a href="frontmatter.htm">[front matter]</a>, <a href="intro.htm">Intro</a>, </font><font size="2"><a href="intro.htm">N</a><a href="generalview.htm">ervous system</a>, <a href="principles.htm">Principles of Phrenology</a>, <a href="anatomy.htm">Anatomy of the brain</a>, <a href="division.htm">Division of the faculties</a> 1.<a href="amativeness.htm">Amativeness</a> 2.<a href="philoprogenitiveness.htm">Philoprogenitiveness</a> 3.<a href="concentrativeness.htm">Concentrativeness</a> 4.<a href="adhesiveness.htm">Adhesiveness</a> 5.<a href="combativeness.htm">Combativeness</a> 6.<a href="destructiveness.htm">Destructiveness</a>, <a href="alimentiveness.htm">Alimentiveness</a>, <a href="love_of_life.htm">Love of Life</a> 7.<a href="secretiveness.htm">Secretiveness</a> 8.<a href="acquisitiveness.htm">Acquisitiveness</a> 9.<a href="constructiveness.htm">Constructiveness</a> 10.<a href="self-esteem.htm">Self-Esteem</a> 11.<a href="approbation.htm">Love of Approbation</a> 12.<a href="cautiousness.htm">Cautiousness</a> 13.<a href="benevolence.htm">Benevolence</a> 14.<a href="veneration.htm">Veneration</a> 15.<a href="firmness.htm">Firmness</a> 16.<a href="conscientiousness.htm">Conscientiousness</a> 17.<a href="hope.htm">Hope</a> 18.<a href="wonder.htm">Wonder</a> 19.<a href="ideality.htm">Ideality</a> 20.<a href="wit.htm">Wit or Mirthfulness</a> 21.<a href="imitation.htm">Imitation</a>.<br /> </font><b><font size="2">Vol. 2:</font></b> <font size="2"><a href="frontmatter2.htm">[</a></font><font size="2"><a href="frontmatter2.htm">front matter]</a>, <a href="external_senses.htm">External senses</a>, 22.<a href="individuality.htm">Individuality</a> 23.<a href="form.htm">Form</a> 24.<a href="size.htm">Size</a> 25.<a href="weight.htm">Weight</a> 26.<a href="colouring.htm">Colouring</a> 27.<a href="locality.htm">Locality</a> 28.<a href="number.htm">Number</a> 29.<a href="order.htm">Order</a> 30.<a href="eventuality.htm">Eventuality</a> 31.<a href="time.htm">Time</a> 32.<a href="tune.htm">Tune</a> 33.<a href="language.htm">Language</a> 34.<a href="comparison.htm">Comparison</a>, <a href="general_observations.htm">General observations on the Perceptive Faculties</a>, 35.<a href="causality.htm">Causality</a>, <a href="modes_of_action.htm">Modes of actions of the faculties</a>, <a href="national_character.htm">National character &amp; development of brain</a>, <a href="statistical.htm">On the importance of including development of brain as an element in statistical inquiries</a>, <a href="statistical.htm">Into the manifestations of the animal, moral, and intellectual faculties of man</a>, <a href="statistical.htm">Statistics of Insanity</a>, <a href="statistical.htm">Statistics of Crime</a>, <a href="comparative.htm">Comparative phrenology</a>, <a href="mesmeric.htm">Mesmeric phrenology</a>, <a href="objections.htm">Objections to phrenology considered</a>, <a href="materialism.htm">Materialism</a>, <a href="materialism.htm">Effects of injuries of the brain</a>, <a href="conclusion.htm">Conclusion</a>, Appendices: <a href="appendix1.htm">No. I</a>, <a href="appendix2.htm">II</a>, <a href="appendix3-4.htm">III</a>, <a href="appendix3-4.htm">IV</a>, <a href="additional_appendix.htm">V</a>, [<a href="index.htm">Index</a>], [<a href="works.htm">Works of Combe</a>].</font></p> <div align="left"><font color="#000000"></font></div> <p></p> <!-- #EndEditable --></div> <div align="left"></div><p align="center" class="style1"><font color="#000000"><a href="http://www.historyofphrenology.org.uk"><b> Back to home page</b></a></font></p> <p class="style1"><font color="#000000"><span class="style2"><i>© <a href="http://darwin-online.org.uk/people/van_wyhe.html" target="_blank">John van Wyhe</a> 1999-2011</i>. Materials on this website may not be reproduced without permission except for use in teaching or non-published presentations, papers/theses. </span></font></p> </body> <!-- #EndTemplate --></html>
History of Phrenology on the Web <!-- .phrensite1 { font-family: "Times New Roman", Times, serif; color: #000000; background: #000000} body,td,th { color: #000000; } body { background-color: #FFFFFF; } .style1 {font-family: Verdana, Arial, Helvetica, sans-serif} .style2 {font-size: 9px} --> ## [Phrenological bust by LN Fowler](images.html)Phrenological bust by LN Fowler[The History of Phrenology on the Web](http://www.historyofphrenology.org.uk) **by [John van Wyhe](http://darwin-online.org.uk/people/van_wyhe.html)** | | | | | | | | --- | --- | --- | --- | --- | --- | | [Overview](../overview.htm) | [O](../organs.html)[rgans](organs.html) | [Texts](../texts.htm) | [Images](../images.html) | [Individuals](../individuals.htm) | [Bibliography](../biblio.htm) | --- George Combe's *A System of Phrenology*, 5th edn, 2 vols. 1853. **Vol. 1:** [[front matter]](frontmatter.htm), [Intro](intro.htm), [N](intro.htm)[ervous system](generalview.htm), [Principles of Phrenology](principles.htm), [Anatomy of the brain](anatomy.htm), [Division of the faculties](division.htm) 1.[Amativeness](amativeness.htm) 2.[Philoprogenitiveness](philoprogenitiveness.htm) 3.[Concentrativeness](concentrativeness.htm) 4.[Adhesiveness](adhesiveness.htm) 5.[Combativeness](combativeness.htm) 6.[Destructiveness](destructiveness.htm), [Alimentiveness](alimentiveness.htm), [Love of Life](love_of_life.htm) 7.[Secretiveness](secretiveness.htm) 8.[Acquisitiveness](acquisitiveness.htm) 9.[Constructiveness](constructiveness.htm) 10.[Self-Esteem](self-esteem.htm) 11.[Love of Approbation](approbation.htm) 12.[Cautiousness](cautiousness.htm) 13.[Benevolence](benevolence.htm) 14.[Veneration](veneration.htm) 15.[Firmness](firmness.htm) 16.[Conscientiousness](conscientiousness.htm) 17.[Hope](hope.htm) 18.[Wonder](wonder.htm) 19.[Ideality](ideality.htm) 20.[Wit or Mirthfulness](wit.htm) 21.[Imitation](imitation.htm). **Vol. 2:** [[](frontmatter2.htm)[front matter]](frontmatter2.htm), [External senses](external_senses.htm), 22.[Individuality](individuality.htm) 23.[Form](form.htm) 24.[Size](size.htm) 25.[Weight](weight.htm) 26.[Colouring](colouring.htm) 27.[Locality](locality.htm) 28.[Number](number.htm) 29.[Order](order.htm) 30.[Eventuality](eventuality.htm) 31.[Time](time.htm) 32.[Tune](tune.htm) 33.[Language](language.htm) 34.[Comparison](comparison.htm), [General observations on the Perceptive Faculties](general_observations.htm), 35.[Causality](causality.htm), [Modes of actions of the faculties](modes_of_action.htm), [National character & development of brain](national_character.htm), [On the importance of including development of brain as an element in statistical inquiries](statistical.htm), [Into the manifestations of the animal, moral, and intellectual faculties of man](statistical.htm), [Statistics of Insanity](statistical.htm), [Statistics of Crime](statistical.htm), [Comparative phrenology](comparative.htm), [Mesmeric phrenology](mesmeric.htm), [Objections to phrenology considered](objections.htm), [Materialism](materialism.htm), [Effects of injuries of the brain](materialism.htm), [Conclusion](conclusion.htm), Appendices: [No. I](appendix1.htm), [II](appendix2.htm), [III](appendix3-4.htm), [IV](appendix3-4.htm), [V](additional_appendix.htm), [[Index](index.htm)], [[Works of Combe](works.htm)]. --- PRINCIPLES of ## PHRENOLOGY. IN the Introduction, I have shewn that the brain is admitted by physiologists in general to be the organ of the mind ; but that two obstacles have impeded the discovery of the uses of its particular parts. In the first place, *dissection* alone does not reveal the vital functions of any organ : no person, by dissecting the optic nerve, could find out that its office is to minister to vision; or, by dissecting the tongue, could ascertain that it is the organ of taste. Anatomists, therefore, could not, by the mere practice of their art, discover the functions of the different portions of the brain. Secondly, the mind is unconscious of acting by means of organs ; and hence, the material instruments by means of which, in this life, it performs its operations and communicates with the external world, cannot be discovered by reflection on consciousness. The phrenologist compares development of brain with manifestations of mental power, for the purpose of discovering the functions of the brain, and the organs of the mind. This course is adopted, in consequence of the accidental discovery made by Dr Gall, as already detailed, that certain mental powers are vigorously manifested when certain portions of the brain are large, and feebly when they are small. It is free from the objections attending the anato- G 98 ON THE PRINCIPLES mical and metaphysical modes of research, and is conformable to the principles of the inductive philosophy. No inquiry is instituted into the substance or essence of the mind, or into the question, Whether does the mind fashion the organs, or do the organs determine the constitution of the mind ? If dissection of organs does not reveal their functions, and if reflection on consciousness fails to disclose the nature of the mind's connection with matter, no means remain of arriving at philosophical conclusions on these points ;" and speculative reasoning concerning them, although it may amuse the fancy, cannot instruct the understanding. Mr Stewart justly observes, that " the metaphysical opinions -which we may happen to have formed concerning the *nature* either of body or of mind, and the efficient causes by which their phenomena are produced, have no necessary connection with our inquiries concerning the laws according to which the phenomena take place. . Whether, for example, the *cause* of gravitation be material or immaterial, is a point about which two Newtonians may differ, while they agree perfectly in their physical opinions. It is sufficient if both admit the general fact, that bodies tend to approach- each other, with a force varying with their mutual distance, according to a certain law. In like manner, in the study of the human mind, the conclusions to which we are led by a careful examination of the phenomena it exhibits, have no necessary connection with our opinions concerning its *nature* and *essence" l* The object of Phrenology is to discover the faculties of the human mind, the organs by means of which they are manifested, and the influence of the organs on the manifestations. It does not enable us to predict actions. A mental organ is a material instrument, by means of which the mind in this life manifests a particular power. Dr Gall's discovery leads us to view the brain as a congeries of such organs, and, in the Introduction, reasons have been assigned for regarding this proposition as sufficiently 1 *Elements,* vol. i. Introduction. OF THE SYSTEM. 99 probable to justify an inquiry into the direct evidence by which it is supported. Before entering on this subject, however, I may remark that physiologists have a great aversion to Dr Gall's method of investigation, because they conceive it to be particularly liable to error. There is the want, they say, of that precision which is so desirable in science. There is no measure of the size of an organ. It cannot be estimated in inches, nor by weight. Again, there is no standard by which to try the force of the manifestations. They therefore reject the whole method as empirical and unphilosophical, and incapable of leading to scientific truth. We at once admit that the two elements in our method of investigation are both in their own nature *estimative.* We cannot accurately measure the size of particular parts of the brain during life ; but we affirm, that if an observer possess an average natural endowment of the observing faculties, he may, by due practice, learn to *estimate* it with sufficient precision to lead him to positive conclusions. Again, we confess that we cannot measure the force of each manifestation of the faculties by ounces or inches, but we maintain, that, by proper instruction and the exercise of the understanding, we may *estimate* it also. Phrenology, in its evidence, rests on the same foundation as the practice of medicine. The existence of disease cannot in general be determined by weight or measure, and the characters of diseases can be judged of only by their appearances, or the symptoms which they present. The organs affected,-the degree to which they are affected,-and the extent to which medicines act on them, are all *estimated* by the exercise of observation and reflection on mere symptoms. In the practice of medicine-anatomy, physiology, and pathology, shed their lights to help the judgment in its estimates, but they do not reveal the theory of medicine *à priori,* nor do they render it a demonstrative science. The same general laws of evidence must necessarily apply to the study of Phrenology. The mental manifesta- 100 ON THE PRINCIPLES tions are not ponderable or measurable, any more than the capacity for pain or pleasure, or the powers of hearing or sight, are so. We *estimate* the degree in which these susceptibilities and capacities arc possessed by different individuals, and regard our knowledge as substantial ; and we must of necessity learn to *estimate* the force of the mental manifestations by a similar exercise of observation and reflection, or remain for ever ignorant of mental science. Again, the differences between the forms of particular organs, and between their sizes when large and small, are so palpable that it is absurd to deny the possibility of distinguishing them in favourable cases ; and, in proving a science, we are not only entitled, but bound by the dictates of common sense, to select the simplest and the most striking cases, the *instantia ostentiva* of Bacon, as best calculated to bring the truth to light. It must therefore be by the exercise of observation and reflection, or by the practice of the method of *estimating,* that we shall discover the primitive faculties connected with particular parts of the brain, if we shall ever discover them ; and it will be only after these discoveries shall have been made, that anatomy, physiology, and pathology, will shed light on our path. Until we have followed this method, they are as little adapted by their own beams to reveal the functions of the different parts of the brain, as they are to unfold *à priori* the symptoms and best modes of treatment of diseases. Those individuals, therefore, who object to the evidence on which Phrenology is founded and supported, appear to me not to understand the nature of the inquiry. In the phrenological books, there is as clear a specification of the localities and appearances of the organs, of the functions which they perform, and of the effects of their different degrees of development in point of size, as there is in treatises on the practice of physic of the organs affected, and the symptoms which constitute particular diseases. The authors of medical treatises do not record all the cases, by which OF THE SYSTEM. 101 the propositions which they announce were first ascertained, and may still be traced. They assume that the inquirer has qualified himself, by previous study, for understanding and appreciating what they describe, and they refer him to the sick-beds of the people for verification of their remarks. We teach our student how to observe, and refer him to the active theatre of the world, where he will find faculties manifested, and developments of organs exhibited, to an unlimited extent, and we bid him verify our observations there. We refer him to prisons and lunatic asylums, and to pathological cases reported by phrenologists, for evidence of excessive, of deficient, and of diseased, manifestations. The opponents, however, object to pathological cases reported by phrenologists, because, they say, they are interested in representing them in favour of their own views. We may truly say, in this science, that every man who is not for us, is against us ; and the objection might be urged, that we cannot trust to reports made by antiphrenologists, because they are interested in finding evidence .to justify their opposition. But I go farther, and maintain, that the most honest wow-phrenologist is incapable of reporting pathological cases calculated to establish the functions of the different parts of the brain. A non-phrenologist is a man who has not studied Phrenology, and who is ignorant of its details. Now, such a person does not know the primitive faculties of the mind, nor their modes of manifestation ; and he does not know whether different parts of the brain have or have not different functions. He cannot point to one portion of the convolutions, and say, this manifests such a power, and, when it is diseased, *this* power, and no other, will suffer. He cannot say that it is an organ at all. In short, persons ignorant of Phrenology, that is, of the functions, situations, and healthy manifestations of the mental organs, are no better qualified to report accurately pathological cases of these organs, with a view to the elucidation of their functions, than a person would be to report pathological cases of the abdomen, who knew only in general that 102 ON THE PRINCIPLES it contained the organs of digestion and assimilation, but without being aware that one part serves for chymification, another for chylification, another for the secretion of bile, a fourth for absorption, and so on. For these reasons, it is only phrenologists who are capable of reporting such cases, so as to give them a bearing on the subject. In the case of Mr N. (reported by Mr Craig in the Edinburgh Medical and Surgical Journal for October, and by me in the Phrenological Journal for December, 1836), Mr Craig, so far as can be "discovered from his report, did not know that the function of a part of the posterior lobe of the brain, which he saw extensively injured, was to manifest Combativeness, and, in consequence, he did not mention whether Mr N.'s temper was or was not affected by the disease of that part. I, on the other hand, knowing the function of that part in health, saw the importance of investigating this point minutely, and ascertained that the manifestations were as morbid as the organ. Again, Mr Craig reported, that Mr N. spoke ten. and knew four more languages ; yet, although he had the brain in his hands, he did not report whether any particular part of it was large or small in concomitance with that great gift. Apparently he did not know, because he had not studied, where any convolution connected with that talent was to be met with. From previous study, I was aware that a certain convolution lying above each superorbitar plate was regarded as the organ of a faculty for languages, and, in consequence,'I earnestly observed its size, and was able to report that it was very large. I advert to this case, because it is fairly illustrative of my proposition, that a person who has not ascertained the situations of the different mental organs, and the manifestations which accompany them in a state of health, is not capable of reporting pathological cases of these organs with success. We should estimate at a very humble value pathological reports on the organs of the thorax, made by a person ignorant of the separate functions of the lungs, heart, and bloodvessels, however high his general talents OF THE SYSTEM. 103 might be ; and equally valueless and inconclusive will similar reports relative to the brain in all probability appear, when made by those who are ignorant of the uses of its different parts. I therefore respectfully maintain, not only that the principles of investigation adopted by phrenologists are sound, and adequate to attain the ends in view in employing them ; but that there is *no other* method by which the primitive faculties attached to particular portions of the brain can be discovered. For the purpose of comparing mental faculties with cerebral development, then, it is necessary to shew, *1st,* that the mental qualities of individuals can be discovered ; and, *2dly,* that the size of different parts of the brain can be estimated during life. Let us consider, therefore, in the first place, whether it be possible *to discriminate mental dispositions and talents,--* In regard to the Feelings, men familiar with human life and conduct have observed, that one individual is strongly addicted to covetousness,-another to cruelty,-another to benevolence,-another to pride,-another to vanity ; and they are accustomed to regard these dispositions as natural, uniform, and permanent. They have never believed that a man, by an effort of the will, can totally change his nature, or that the character is so little manifested, that a person may be prone to benevolence to-day, who yesterday was addicted to avarice ; that one who is now sinking in the lowest abasement of self-humiliation in his own eyes, may to-morrow become conceited, confident, and proud ; or that to-day an individual may be deaf to the voice of censure or of fame, who yesterday was tremblingly alive to every breath that was blown upon his character. Nay, they have even regarded these dispositions as independent of one another, and separable ; for they have often found that the possession of one was not accompanied by the presence of the 104 ON THE PRINCIPLES whole. Hence, in addressing any individual, they have been in the custom of modifying their conduct according to their previous knowledge of his dispositions or temper, obtained by observing his actions. To the covetous man they address one motive ; to the benevolent another ; to the proud a third ; and to the vain a fourth. When they wish to move such individuals to act, they speak to the first, *of his personal interest ;* to the second, *of the pleasure of doing good ;* to the third, *of the necessity of preserving his own dignity ;* and" to the fourth, *of the great praise* that will attend the performance of the action recommended. As to intellectual endowments, a person who has heard, for the most fleeting moment, the bursts of melody which flow from the throat of Catalani, cannot be deceived as to the fact of her possessing a great endowment of the faculty of Tune ; he who has listened but for a few minutes to the splendid eloquence of Chalmers, can have no doubt that he is gifted with Ideality ; and he who has studied the writings of Dr Thomas Brown, cannot hesitate as to his having manifested profound discriminative and analytic talent. In surveying the wonderful performances of some individuals in mechanics, poetry, mathematics, painting, and sculpture, it is equally impossible to doubt the existence of mental powers, conferring capacities for excelling in these different branches of science and art. It is equally easy to find individuals in whom the same powers are as indubitably deficient. Hence, the difficulties of determining the existence of particular intellectual talents, and their degrees of strength, are not insurmountable ; especially if extreme cases be sought for-and these, as the *instantia ostentiva,* ought to be first resorted to. Men of observation have acted on these principles without hesitation, and without injury to themselves. They have not designed for the orchestra the individual whom they found incapable of distinguishing between a rude noise and a melodious sound, on the notion that " a genius for *music"* might be " ac- OF THE SYSTEM. 105 quired by habits of study or of business." *l* They do not place in difficult situations, requiring great penetration and much sagacity, individuals who cannot trace consequences beyond the stretch of three ideas ; nor do they conceive that a man who has no intellectual capacity to-day, may become a genius to-morrow, or ten years hence, by an effort of the will. They, no doubt, have observed, that the faculties are developed in succession ; that the child is not in possession of the powers of the full-grown man ; and that hence a boy may be dull at ten, who may turn out a genius at twenty years of age, when his powers are fully unfolded by time. But they do not imagine that *every* boy may be made a genius by " habits of study or of business ;" nor do they believe, that, after the faculties are fully developed, any individual may, if he chooses, become great in a department of philosophy or science for which he had previously no natural capacity. They have observed that cultivation strengthens powers in themselves vigorous ; but they have not found that education can render eminently energetic, dispositions or capacities which Nature has created feeble. They would laugh at any one who should attempt to convert an idiot into a profound philosopher. On the other hand, they have remarked, that, where Nature has bestowed a powerful disposition or capacity of a particular kind, it holds the predominant sway in the character during life, notwithstanding every effort to eradicate or subdue it. They have noticed, too, that where Nature has conferred, in an eminent degree, the faculties which constitute genius, the individual manifests his native superiority in spite of great obstacles arising from circumstances or situation. The lives of poets, painters, and artists, in every age, bear witness to the truth of this observation. An individual, it is true, may do particular actions, or even for a time follow lines of conduct, the same in exter-1 Dugald Stewart. 106 ON THE PRINCIPLES OP THE SYSTEM. nal appearance, from, *different* internal motives. But few men can pass their whole lives in disguise, or acquire the art of *acting* in the business and enjoyments of life, so habitually and so skilfully, as not to allow their true characters to appear to those who are placed in a favourable situation for observing them : or, if there be persons who do possess this power of dissimulation, it forms the predominant feature in their mental constitution ; and, as will afterwards be shewn, it is indicated by a particular form of organization. But, farther, let it be observed, that it is only in so far as the *propensities* and *sentiments* of our nature are concerned, that the display of pretended qualities is possible, even in a single case. In regard to every act which depends on the knowing and reflecting faculties, this is absolutely impracticable. No man can either write logical discourses, or trace profoundly an abstract principle, who has *not* powerful reflecting faculties. No one can compose exquisite music, who has *not* the faculty of Tune strong ; or write exquisite poetry, who has *not* a powerful sentiment of Ideality. When, therefore, we perceive, even with the most transient glance, the performance of such acts, we have evidence, insuperable and irresistible, of the existence of the faculties which produce them. These opinions have been entertained by persons conversant with society, not in consequence of logical deduction or metaphysical investigations, but from the observation of plain facts presented to their understandings. Medical men are in a situation peculiarly favourable for studying even the most hidden traits of human character. The physician, as Dr Gall remarks, has daily opportunities of knowing the most secret affairs and most intimate relations of families ; and it is not easy for the man who is in the agonies of disease, or struggling with death, to throw a veil over his true character. Besides, with how many private matters are physicians confidentially made acquainted ! for who would not make a friend and adviser of the man to whose care he in- GENERAL REMARKS ON THE BRAIN. 107 trusts the safety of himself and his family? It is to such a friend, as to one who knows and can sympathize with the failings of humanity, that men unfold the secret recesses of their souls. Gall was himself a physician. For these reasons, I venture to conclude that the first point is established in favour of Phrenology-namely, that it is possible, by accurate, patient, and continued observation of actions, *to discover the true dispositions and capacities which individuals possess.* As this philosophy is founded on a comparison of the manifestations of these faculties with development of the brain, we now proceed to consider the second question-Whether it be possible, in general, *to discover the true form of the brain,* by observing the figure of the head ? GENERAL REMARKS ON THE BRAIN. The anatomy of the brain is minutely described by Drs Gall and Spurzheim, in their anatomical and physiological work.1 It is not indispensably necessary, although highly advantageous, to become acquainted with it, in order to be a practical phrenologist. A brief description of the general appearance of the brain will suffice to convey an idea of it to the non-medical reader. The proper subjects for observation are healthy individuals not beyond the middle period of life. The brain, stript of its outward covering the *dura mater,* is represented in Figure 4. and Plates IV. and V. These figures (which are copied from Dr Spurzheim's plates), and the accompanying descriptions, are not intended for anatomical purposes ; their sole object is to convey some conception of the appearance of the brain to readers who have no opportunity of seeing it in nature. Figure 1. represents the upper surface of the brain, stript of membrane. The brain consists of two halves, generally 1 *Anatomie et Physiologie du Système Nerveux,* &c. torn. i. Also Spurzheim's *Anatomy of the Brain,* &c. London, 1826. 108 GENERAL REMARKS ON THE BRAIN. named hemispheres, which closely resemble each other. The skull, through the middle part of which a horizontal section is fig. 4. upper surface of the brain. A ![](plate08.jpg) made, surrounds the brain. The front is at A ; and the line AB is the division between the two halves or hemispheres. Plate IV. represents the base of the brain, as it appears when taken out of the skull ; the forehead being represented uppermost. The brain is a large nervous web, folded up into the forms presented in the drawings. The waving lines represent the convolutions or folds. They vary in depth from half an inch to an inch, in the adult. The hemispheres are formed, previously to birth, from before backwards, and from without inwards. At first, they consist only of a thin membranous layer of nervous matter ; and they increase in thickness and volume very gradually. At birth, the hemispheres are in general three inches and four lines in length, and two inches in breadth. They then present the same form as in the adult, and are covered with convolutions, separated from each other by *sulci,* furrows, or anfractuosities. The brain exists before the skull is formed. In the foe- GENERAL REMARKS ONTHE BRAIN. 109 tus, it is covered by three membranes, called the *pia mater,* the arachnoid coat, and the *dura mater ;* and outside of these by a cartilaginous membrane, destined to be changed into bone. In the seventh or eighth month after conception, points of ossification are formed in this membrane ; these, by the deposition of new osseous particles, extend themselves in the form of rays (like the spiculo of ice when water freezes), until solid bones are formed, the edges of which, dovetailing into each other, constitute the sutures afterwards described. (See Plate III.) In the formation of the skull, the deposition of the osseous particles on the cartilaginous membrane before mentioned, and the fact of this membrane being moulded on the brain, render it a matter of absolute necessity that the skull should be moulded on this organ. The ossification of the skull is not complete before the ninth year. The external or cineritious substance of the brain is arranged, as we have seen, in convolutions or folds. The convolutions appear intended for the purpose of increasing the superficial extent of the brain, without enlarging its absolute size ; an arrangement analogous to that employed in the eye of the eagle and falcon, in which the retina does not form a simple concave surface, as in man and quadrupeds, but is presented in folds to the rays of light ; whereby the intensity of vision is increased in proportion to the extent of nervous surface exposed to their influence. The rolling up of the substance of the brain in folds in a similar manner, strongly indicates that extent of surface is highly important in reference to its functions. In fishes there are no convolutions. In birds, the hemispheres of the brain are larger than in fishes; but they are still smooth, and present no convolutions. In the rat, mouse, marmot, beaver, and even in the rabbit, the upper surface of the hemispheres is as smooth as in birds. In rising in the scale of the mammalia,1 we find convolutions well marked. They are present 1 *Solly on the Brain,* p. 88. 110 GENERAL REMARKS ON THE BRAIN. in the sheep, cat, dog, and ape, and in all the higher classes of animals. Professor Tiedemann, in his work on the Brains of Apes and of some other animals, has accurately delineated and described the progressive diminution and final disappearance of the folds of the brain in the mammalia, from the apes down to the rodentia ; and, according to Desmoulins,1 this progression corresponds exactly with the diminution of intelligence. The most striking difference exists between the apes of the old world and those of the new. Many of the former are capable of being trained and employed for useful purposes, while the latter are incapable of instruction, and scarcely exceed squirrels in the degree of their intelligence. This corresponds with the state of the convolutions. In some dogs, especially those employed in hunting, the convolutions are scarcely less numerous and deep than in the higher tribes of apes ; while in the less intelligent species, and in wolves, they exist in a much inferior degree of development. There is a great difference as to docility between dogs and cats ; and an equally striking difference is found in. the appearances presented by the number and depth of the convolutions of their brains-a difference so great, that Desmoulins estimates the convolutions of the dog to exceed by six or eight times those of the cat. The paucity of convolutions found in the cat prevails throughout the entire genus to which it belongs. That genus, Felis, which includes the cat, lion, tiger, panther, and other animals of a similar nature, is likewise remarkable for the *uniformity* observed in the number and arrangement of the convolutions in the different species ; and in no genus are the species more distinguished for similarity of disposition, for through none do the faculties of Secretiveness and Destructiveness prevail in so high a degree of strength. " In man, above all other animals, are the convolutions numerous, and the *sulci* (or furrows) deep, and, consequently, ' *Anatomie ties Systèmes Nerveux des Animaux Vertébrés,* p 602, GENERAL REMARKS ON THE BRAIN. 111 the cineritious mass great, and its extension of surface far beyond that of all other creatures."1 The opinion of Drs Gall and Spurzheim, that the convolutions are of great importance in reference to the power of manifesting the mental faculties, is entertained by physiologists in general. It was long since remarked by Soemmering, that, in the earlier months of human existence, there is yet no trace of that complicated and convoluted arrangement of the cerebral surface, which is so striking in the adult brain. According to this eminent anatomist, it is only about the sixth or seventh month of gestation that the convolutions begin to appear. From this period they go on increasing in number and size, with a decreasing rapidity, even to the age of puberty.2 To this progressive growth of the convolutions we have a well-marked counterpart in the gradual development of the mental powers, from the state of almost absolute nullity in which they exist in the fotus during the greater part of its intra-uterine life, to the expanded mind of the adult. We have seen that physiologists admit that there is a diminution or increase of intelligence in the lower animals, in proportion to any subtraction from, or addition to, the number and depth of the convolutions of their brains. The old objection to Phrenology, that some animals with large brains have less intelligence than others which have small ones, might, even if the comparison of the brains of different species were strictly allowable, be sufficiently answered, not only by referring to the fact of the parts of the brain which are developed not being the same in both, but also by opposing to it the statement of Desmoulins and Magen-die,3 that in numerous examinations of the brains of almost every genus of the mammalia, they found a nearly constant 1 Bell's *Anatomy,* 7th edit. ii. 386. 2 See a notice of the observations of the Wenzels on this subject, in the *Phren. Journ.* x. 342. 3 *Anatomie des Systèmes Nerveux- des Animux Vertebrés,* p. 620. 112 GENERAL REMARKS ON THE BRAIN. relation between the extent of surface presented by the brain in each genus, and the amount of intelligence displayed by it. Where differences occur in one of these points, differences are stated to be usually found in the other, not only between different genera, but between different species of the same genus, and also (which is most to our purpose) between different individuals of the same species. Differences of mental character are met with to a much greater extent, and with much greater frequency, among men, than among the individuals of any species of the lower animals. It is rare, for instance, to find one sheep differing much from its companions, or one cow from another, in intelligence and instincts. The brains of men vary with respect to the number and depth of their convolutions, in a far greater degree than those of any other species.1 This fact affords a presumption in favour of the idea that varieties of disposition depend on varieties in the convolutions. It has been remarked, that, in most idiots, the number and depth of the convolutions are less than usual, on at least one side of the brain. In chronic insanity, too, the convolutions are sometimes diminished in depth, and are more or less separated from each other by the thickening and infiltration of the laminse of the *pia mater* occupying the furrows of the brain. In these cases, likewise, as well as in individuals of congenital imbecility, the thickness of the clneritious substance of the convolutions has been found greatly diminished ; while in acute mania, on the other hand, it has been found of the usual thickness, and highly injected with blood. In old age the convolutions shrink. The greater part of the brain is destitute of sensibility ; it may be pierced or cut without the patient being aware, from any feeling of pain, that it is suffering injury. Sir Charles Bell mentions, that he " had his finger deep in the anterior lobes of the brain, when the patient, being at the 1 Vicq d'Azyr, *Mém. de Paris,* 1783, p. 512 ; cited by Meckel, *Anatomie,* &c. vol. ii. p. 64C. See also Wenzel, *De penitiori Structura Cerebri,* p. 23 ; and Mayo's *Physioloyy.* GENERAL REMARKS ON THE BRAIN. 113 same time acutely sensible, and capable of expressing himself, complained only of the integument." So far from thinking the parts of the brain which are insensible, to be inferior in function, Sir Charles Bell states that, as every part has its use, he should be led, even by this circumstance, to imagine that they have a higher office-namely, that they are more allied to intellectual operations. The wide difference of function between a part designed to receive such impressions as those belonging to the sense of feeling, and a part which is the seat of thought, is in accordance with the presence of sensibility in some parts of the brain, and its absence in others. The brain receives an unusually large supply of blood, in comparison with the rest of the body. According to Haller, the quantity is one-fifth of the entire amount which leaves the heart ; Monro, however, estimates it at one-tenth, and other authorities at one-eighth. There are no valves in the large veins of the base of the brain and neck, and the brain may be gorged with blood by holding the head lower than the body ; or, after death, drained of it by the erect position. Each side of the brain, and also the cerebellum, are supplied with separate arteries conveying the blood to them ; but the sinuses, or canals by means of which the blood is returned to the heart, are common to them all. The carotid artery on one side, may be tied in man, without injury to the cerebral functions. Even both carotid arteries may be tied, without serious consequences, if an interval of twelve days or upwards be allowed between the operations, to permit the distention of the other arteries. The brain demands blood fully oxygenised. If it is not properly oxygenised, the mental functions are blunted.1 1 Giddiness in stooping may arise from two causes. If it is felt only when the head u down, there is pressure on the brain from too much blood If it is not felt then, but occurs on raising the head, it is caused by too rapid abstraction of blood from the head. There is then a deficiency of blood in tn6 brain. H 114 GENERAL REMARKS ON THE BRAIN. At birth the weight of the brain is about 10 oz. Tiedemann mentions that " the weight of the brain (including the cerebellum) in an adult male European varies between 3 lb. 2 oz. and 4 lb. 6 oz. Troy. The female brain is lighter than that of the male. It varies between 2 lb. 8 oz. and 3 lb. 11 oz. " I never," says he, " found a female brain that weighed 4 lb. The female brain weighs on an average from four to eight ounces less than that of the male ; and this difference is already perceptible in a new-born child." Sometimes the brain is much "heavier. Cuvier's brain weighed 4 lb. 10 oz. 4 ½ dr.1 Sir William Hamilton, in the appendix to Dr Monro's work on the brain, states the average weights of Scotch brains to be as follows : Male, 3 lb. 8. oz. Troy. Female, 3 lb. 4 oz. do. One male brain in 7, exceeds 4 Ib, : one female brain in 100, exceeds 4 lb. Cruveilhier states the weights of the brain in three young subjects to have been- Brain, 2 lb. 2 oz.-Cerebellum, 41/3 oz.-total, 2 lb. 6 1/3 oz. ... 2 lb. 8 oz. ... 3 ½ oz. ... 2 lb. 11 ½ oz. #### ... 2 lb. 5oz. ... 5 oz. ... 2 1b. 10 oz. Specific gravity 130. The human brain grows from birth upwards, but authors dispute the age at which it attains to maturity. Soemmer- 1 The *post-mortem* examination of Cuvier's train took place on the 15th May 1832, in presence of MM. Orfila, Duméril, Dupuytren, Allard, Biett, Valenciennes, Laurillard, Rousseau, Andral neveu, and Bérard. It was ascertained that the superiority of size occurred almost exclusively in the cerebral lobes, particularly their anterior and superior parts ; the cerebellum, &c., exhibiting no unusual development. It was stated by M. Bérard to Dr Foissac, the writer whom I follow, that none of the gentlemen present at the dissection remembered to have seen so complicated a brain, convolutions so numerous and compact, or such deep anfractuosities-" un cerveau aussi plissé, des circonvolutions aussi nombreuses et aussi pressées, des anfrac-tuosités si profondes."-*Journal de la Sonétt Phrénologique de Paris,* tom, ii. No. v. GENERAL REMARKS ON TUB BRAIN. 115 ing affirms that it stops in its growth at three years of age, and the brothers Wenzel mention seven. Dr Vimont says between twenty-five and thirty ; and M. Parchappe of Paris, who published on the brain in 1836, agrees with Dr Gall in the opinion that it does not attain its full weight and size till forty. He gives the result of weighing about 250 brains. The Wenzels assigned seven years as the age of complete development, on the authority of two cases only. The reader will judge which authority is most to be relied on.1 I am convinced from observations, that the brain goes on increasing up to 28 or 30 years of age in some individuals, and in the great majority of instances up to 22 or 23. I cannot confirm its spontaneous growth to 40, but I do not deny it. I only have not observed it. The question has been much agitated among Phrenologists, Whether, after maturity of growth, individual organs increase by exercise, and diminish by inactivity. I shall consider this point under the section " Effects of size in the organs," in "Volume II. On the approach of old age, the brain, like other parts of the body, begins to diminish ; the convolutions lose their plumpness, and, as they are now shrivelled, flaccid, and less closely packed together than formerly, the anfractuosities or furrows between them become enlarged. The cerebellum, or " little brain" (F F, Plates IV. and V.,) lies under the brain. It is connected with it by means of medullary fibres ; but its bulk is separated from it by a strong membrane called the tentorium. POPULAR OBSERVATIONS ON THE STRUCTURE OF THE BRAIN. in the newly-born infant, all the organs of the body are 1 See remarks on the doctrine of the Wenzels in the *Phrenological Journal, x. 342* 116 GENERAL REMARKS ON THE BRAIN. immature. The brain is soft and pulpy, and unfit for performing mental operations. Its consistency, however, gradually increases, and its texture becomes more and more firm as the individual approaches to manhood. The brain, as already remarked, is composed of gray and white nervous matter. In the cerebrum, or brain proper, the gray matter, which is also sometimes called cineritious, from the similarity of its hue to that of ashes, constitutes the superficial or external portion of the nervous mass, and covers the white matter as" the bark of a tree covers the wood. For this reason it occasionally receives the name of the cortical substance, while the white matter, from its internal situation, is sometimes called the medullary substance. In fig. 5. and ![](plate09.jpg) Plate VI., the arrangement of the two substances, distinguished by their different shading, is well seen. When a fresh brain is examined by the naked eye, little difference is seen between the two substances beyond their difference in colour ; but when a brain has been steeped for some time in alcohol, or in a solution of bi-chloride of mer- GENERAL REMARKS ON TUB BRAIN. 117 cury, its texture becomes much firmer, and the white matter then readily separates into fibrous cords. These are seen to proceed from the summit of the spinal cord, and after spreading in a fan-like manner, they lose themselves in the cortical expansion of the gray matter. This arrangement is seen in fig. 5. The gray matter, on the other hand, by the action of the chemical agent, becomes friable and granular, and shews no tendency to separate into layers. Microscopical examination of the two substances shews further that the white matter is composed of extremely fine tubules, analogous to, but finer than the tubules or fibres of the nerves, and that the gray matter consists of cells or minute vesicles lying in a plexus of extremely fine bloodvesssels. It is now almost universally admitted that the gray matter is the source of the nervous power, while the white matter is its conductor ; the different fibres of the latter acting like the separate wires of the electric telegraph. We formerly saw that the different powers of the spinal cord are associated with differences in the size and form of the cells of the anterior and posterior horns of the gray matter of the cord ; and there is reason to think that the different mental powers displayed by the cerebrum may depend, at least in some degree, on similar differences in the cells of the gray matter of the convolutions. The cells certainly vary in structure in different regions ; but as yet we have no observations to shew that particular mental powers are dependent on particular sizes or forms of cells. The study is one of peculiar difficulty, but the rapid progress which histology (or the science of minute structure) has of late years made, gives us reason to hope that by its means a new path may be opened to a knowledge of the variations of structure on which the differences in the mental powers depend. Should this hope be realised, histology may assist, but cannot supersede, Phrenology; for it is obvious that phrenological observation will still be necessary to determine the mental function performed by the particular cells, and to deduce from their number or development, the probable power 118 GENERAL REMARKS ON THE BRAIN. of their manifestations. It is undeniable, that no extent of knowledge of mere structure will enable us to predicate particular vital functions ; and hence it is vain to expect that investigations into the structure of the brain will ever reveal its functions without corresponding observations on mental action. Drs Gall and Spurzheim attached much importance to the convolutions, and considered the depth, size, and number of them, to have a great effect on the intensity of the mental manifestations ; but it does not appear that they regarded the cineritious substance as exclusively the organ of the mind. " Dr Gall and I," says Spurzheim, " suppose that each nervous apparatus is composed of two peculiar substances, the pulpy and fibrous, and that both are necessary to produce an instrument adequate to perform a particular function."x And he is certainly right, for, granting that the gray matter is the special generator of mental power, still, mind could not be manifested without the aid of the conducting white matter, and could not, therefore, be said to exist. As already remarked, the gray matter is spread like a covering over the white substance, with which it is everywhere in intimate combination, dipping into the anfractuosities, and rising on the summit of the convolutions. In this way the layer of gray matter is much increased in extent, while at the same time, its points of contact with the white matter are greatly multiplied. In fig. 5, the radiated lines of the white matter are seen converging towards the superior extremity of the spinal cord, and it is through them that the gray matter of the cerebrum receives the impressions of the stimuli which had reached the spinal cord through the medium of the nerves. It is through them also that the brain transmits its mandates to the spinal centres for the production of voluntary motion. Thus the mental organs, with their apparatus of communication, extend from the surface of the brain to the medulla oblongata. Each organ has been 1 *Anatomy of the Brain,* p. 10. GENERAL REMARKS ON THE BRAIN. 119 likened to a cone, of which the apex lies in the medulla oblongata, and the base in the surface of the brain. I introduce this similitude, however, merely as a popular illustration, and not as a technical description of the appearance of the organs ; for they are not separable into definite figures, such as this comparison, if literally understood, would seem to imply. Besides, the structure of the cerebrum is far from being so simple as to permit of such a separation. A moment's reflection will convince any one that something more is necessary for harmonious mental action, than simply the connection of the various mental organs with the physical nervous system. To produce this result, not only must the two hemispheres of the cerebrum stand in intimate relationship to each other, but the different mental organs also must have the means of intercommunication. Accordingly we find that the white matter, or cerebral medulla, constitutes a most complicated apparatus of cross and longitudinal fibres, whereby every part of the brain is brought into intimate reciprocal connection. Thus, the two sides or hemispheres of the brain are brought into communication by means of numerous fibres called commissures, running across from the one side to the other. The largest is called the *corpus callosum,* and it crosses below the lower edge of the falciform process of the *dura mater* (see fig. p. 125). There is a transverse nervous cord which crosses in the anterior lobe, called the *anterior commissure ;* besides several others. The posterior and anterior regions of the brain are also brought into communication by fibres extending from the front to the back. The *superior longitudinal commissure* lies, in each hemisphere, immediately above the *corpus callosum,* and touches the mesial line. A long convolution will be seen there, and by scraping off the cineritious matter in a prepared brain, longitudinal fibres will be perceived passing from the posterior to the anterior lobes.1 The *fornix* constitutes an inferior longitudinal commissure, 1 See Solly *On the Brain,* Plate x. 120 GENERAL REMARKS ON THE BRAIN. connecting the inferior portions of the anterior and posterior lobes. Sir Charles Bell observes, that " whatever we observe on one side has a corresponding part on the other ; and an exact resemblance and symmetry is preserved in all the lateral divisions of the brain. And so, if we take the proof of anatomy, we must admit, that, as the nerves are double, and the organs of sense double, so is the brain double ; and every sensation conveyed to the brain is conveyed to the two lateral parts, and the operations performed must be done in both lateral portions at the same moment."1 This statement of Sir Charles Bell is not rigidly correct. There is a general correspondence between the parts on the opposite sides of the brain, but not " an exact symmetry" in the strict sense of these words. The approximation to symmetry is about as great as between the bloodvessels in the right and left arms. In some individuals there are slight variations in the size and constitution of corresponding organs on the two sides of the body. The muscle named transversus perinei, in the peri-neal region of the abdomen, is sometimes much larger on one side than on the other. The muscle called pyramidalls abdominis is occasionally wanting on one side, sometimes on both sides. Two muscles of this kind have been seen on one side, and none on the other. The psoasparvus muscle, in the interior of the abdomen, is subject to the same irregularity, and these aberrations may not be discovered during life. The palmaris longus muscle, inserted in the palm of the hand, is frequently wanting. The plantaris muscle, running between the gastrocnemius and soleus muscles, which compose the calf of the leg, and which is inserted, tendinous, into the plantar fascia, is sometimes wanting. Mr Solly2 men- 1 *Anatomy,* ii. 381. An ingenious paper by Mr Hewett C. Watson, on the probable object of the duplicity of the brain, will be found in *The Phrenological Journal,* vol. ix. p. 608. See Mr Forster's conjectures, in his *Observations on the Influence of the Atmosphere on Health, &c.,* Section xiv. 2 *On the Brain,* p. 254. GENERAL REMARKS ON THE BRAIN. 121 tions that the posterior division of the auditory nerve, " on crossing the posterior fissure of the cord or fourth ventricle, forms by its separation three or four white lines, which are usually very distinct. Meckel,1 however, states that he has sometimes found the whole of these lines deficient, sometimes on one side and sometimes on both, and that Prochaska and Wenzel have observed them to differ on the two sides of the brain." When, therefore, I mention that slight differences occur between the organs on the two sides of the brain, it will be seen that the brain, in this respect, forms no exception to a general law of the animal economy. No lines of demarcation between the organs have yet been discovered in dissecting the brain, but this objection to the existence of separate organs is of no real weight, for we do not find that any such line divides the gray matter of the anterior horns of the spinal cord from that of the posterior horns. Yet the fact that the function of the matter of the anterior horns is to produce motion, and that of the posterior horns to produce sensation, is admitted by the best physiologists as indubitable. " The circumstance," says Mr Solly, in speaking of the sensitive and motor columns of the cord, " of there being no decided anatomical line of division between the two columns, is not of itself an argument against the correctness of this view (namely, that they perform different functions) ; for it is quite possible that perfect distinctness of parts, as regards their function, without any visible line of separation between them, may exist. . . . The presence of such gross and palpable divisions, it is true, would save us some trouble, in discovering the line of demarcation, but would not necessarily make it in any degree more efficient."2 Many persons are too prone to doubt what cannot at once be made evident to their senses, and they have therefore difficulty in believing that a difference in structure which 1 *Anatomie,* tome ii. p. 614, n. 2 On *the Brain,* p. 254. 122 GENERAL REMARKS ON THE BRAIN. escapes the unassisted eye, should produce such remarkable differences in function. But the fact that peculiar powers are manifested by extremely minute cells, so small indeed as to require the aid of the microscope for the appreciation of their structure, will cease to be incredible when it is known that whole organisms, possessed of digestive and locomotive systems, exist, of which we are made cognisant only by the use of powerfully magnifying instruments. The determination of the functions of the cells occurring in the nervous structures is surrounded by great difficulties, but (as we "have seen in the case of the motor and sensitive cells) these have been partially overcome. For the purpose of determining them recourse was had to experiments on living animals. A certain portion of the nervous system was injured or destroyed, and the change which ensued in the vital functions of the animal was then noted. If it ceased to perceive pain on being subjected to injury, or had lost the power of motion, it was obvious that the portion of nervous matter interfered with, was connected, as the case might be, with the sensitive or motor functions. Here an effect was produced which is palpable to our senses ; but, in the case of the mental nervous system, we have no such means of visual observation at our disposal. Suppose that a part of the organ of Benevolence, of Veneration, of Causality, or of Wit. were removed by the knife, by what unmistakeable test shall we ascertain that any one of these faculties has been injured ? We can *see* that an animal does not shew symptoms of pain, or that it ceases to contract its muscles ; but we dare not cut out portions of a living man's brain to make experiments on his mental condition after their abstraction. Even accidental removal of portions of the brain rarely assist us in determining the special functions of the part injured, because the mental functions can be performed in a manner to allow of any justifiable conclusions being drawn from actions only when the organism is healthy and entire. We are driven back, therefore, upon Phrenology as the only method GENERAL REMARKS ON THE BRAIN. 123 by which a knowledge of the association of certain mental powers with certain conditions of brain can be obtained. Although, however, no formal lines of demarcation mark the limits of the different organs, the forms of these, as delineated in the bust, are not arbitrary. When any particular organ predominates in size over all those in contact with it, it gives a particular form to the part of the skull which covers it, and the forms thus evolved have been copied in the bust, and on the plates. No one natural head can shew the forms of all the organs distinctly, because they cannot all predominate in one head ; but if a sufficient number be appealed to, complete evidence will be obtained that the forms are not imaginary but natural. Firmness will shew its form in one skull (that of King Robert Bruce, for instance), Conscientiousness in another (Mrs H.J, Benevolence in a third (Jacob Jervis), and so forth. OF THE INTEGUMENTS OF THE BRAIN. I have already remarked, that the brain is embraced in its whole peripheral extent by a very thin transparent membrane called the *pia mater ;* this sinks into the furrows, and is closely applied to the surface, of the gray matter, to which it is the means of conveying the blood. It is exceedingly vascular, and gives off from its internal surface innumerable capillary bloodvessels, which constitute the vascular net-work in which the nervous cells lie. Immediately above the *pia mater,* are two layers of a still thinner membrane, resembling in its tenuity a spider's web, and thence named the *tunica arachnoidea.* It covers the surface of the brain uniformly, without passing into its folds. A fluid secretion takes place' from the opposed surfaces of this membrane, by which they are lubricated and prevented from adhering to each other. The *dura mater* is a thin but strong opaque membrane, lining and strongly adhering to the inner surface of the 124 GENERAL REMARKS ON THE BRAIN. skull. It embraces the outer surface of the brain above the membrane last mentioned. When in health, it does not possess sensibility, and has been pricked without causing pain. The brain, enclosed in these membranes, fills exactly the interior of the skull ; so that a cast, in plaster, of the interior of the skull, is a *facsimile* of the brain, covered by the *dura mater.* Between the two layers of the arachnoid membrane a small quantity of fluid generally exists, but in the state of health it never exceeds a line in thickness. Accordingly this fluid does not, in any degree that can be distinguished by the hand or eye, cause the form of the interior of the skull to differ from the form of the exterior of the brain. In cases of cerebral disease, however, and in old age, the brain occasionally undergoes diminution from absorption ; when the place of the absorbed matter may be occupied either by increased effusion from the arachnoid membrane, or by increased thickness of the walls of the skull, which also occasionally shrinks to accommodate itself to the brain when its size diminishes. The skull, then, is not an adamantine barrier confining the brain within specific boundaries ; but a strong yet changeable covering, shielding it, and accommodating itself to its size while in the progress of its growth.1 At birth it is small ; it increases as the brain increases, and alters its shape with every change of the cerebral form; it stops in development when the brain has attained its full size ; and, as we have just remarked, it is apt to diminish when this organ suffers diminution, through disease or old age. A process of absorption and deposition goes continually on in its substance ; so that, if the brain presses from within, the renovating particles arrange themselves according to this pressure, and thus the figure of the skull and that of the brain in general correspond. In cases of water in the head, the skull sometimes extends itself to an enormous size. 1 On the admirable fitness of the skull to protect the brain, see *The Phrenological Journal,* viii. 332. 125 OF THE SKULL. The skull is composed of nine bones. (See Plate III. and description of it.) These are-two *frontal* bones E, which compose the forehead, and generally soon unite into one, though in some adults they continue double; two *parietal* bones D, forming the greater part of the upper and lateral regions of the skull ; two *temporal* B, around the ears; one *sphenoid A, iv-the* anterior part of the basilar region; one *occipital G,* in the back and under part of the skull, immediately above the neck ; and one *ethmoidal,* at the base behind the nose. The lines of junction of these bones are termed sutures SSS, and form, in most parts, a sort of dovetailing. The principal sutures are the *sagittal,* separating the two parietal bones at the middle of the top of the head ; the *coronal,* which divides the frontal from the parietal bones ; the *lambdoidal,* between the occipital bone and the two parietals, and deriving its name from its resemblance to the Greek letter lambda (a) ; the *frontal,* dividing the two frontal bones when they are not conjoined ; and the *temporal,* named also the *squamous* from its scaly appearance, dividing the temporal bones from the parietal, and to some extent from the sphenoid and occipital. ![](plate10.jpg) The annexed figure represents a skull with the two sides cut away, down nearly to the level of the eyebrow, leaving a narrow ridge in the middle of the top standing. AAA is a section of the skull, *\* resembling an arch. It is here represented thicker than it is in nature, in order to shew the *diploë*. Most parts of the skull consist of two plates called the outer and inner tables, having between them a spongy substance, like cells in a marrow-bone, called the *diploë.* The substance hanging down from the arch of the skull, having delicate lines traced on it, like the sap-vessels in leaves, is the membrane which separates the two halves of the brain. It is a continuation of the *dura mater,* and is called the *falciform process,* from its resemblance to a scythe. It is well 126 OF THE SKULL. supplied with bloodvessels ; and a large portion of the blood returning from the brain to the heart, goes up these vessels into a canal formed by the membrane all along the line of its attachment to the skull. The course of the blood through the canal is from the front backwards, and then downwards. The two hemispheres of the brain are completely separated, as far as this membrane is seen to extend downwards in the cut. At the lower edge of it, an open space appears ;-the commissure, or collection of fibres which unite the two sides, named the *'corpus callosum,* goes through that space. The cerebellum lies at B C, in a part of the skull not opened. The membrane, on reaching the point C, spreads out to the right and left, and runs forward, so as to separate the cerebellum from the brain ; the latter lying above, and the former below it. B is the mastoid process, or bone to which the sterno-mastoid muscle is attached. It lies immediately behind the opening of the ear, and is not connected with the brain. As the diploë, except in the parts to be mentioned, is almost equally thick, it follows that the two tables of the skull are nearly parallel to each other.1 This is seen in the section represented in fig. 5, p. 116. The internal, indeed, bears some slight impressions of bloodvessels, glands, &c., which do not appear externally ; but these are so small as not to interfere with phrenological observations. The departure from perfect parallelism, where it occurs, is limited to a line, one-tenth or one-eighth of an inch, according to the age and health of the individual. The difference in development between a large and a small organ of the propensities and some of the sentiments, amounts to an inch and upwards ; and to a quarter of an inch in the organs of intellect, which are naturally smaller than the others.2 The squamous portion of the temporal bones is much thinner than the other parts of the skull. But as this is the case 1 See Dr Caldwell on the parallelism of the tables, *Phren. Jour.* ix. 222. 2 " Jamais je u' ai prétendu distinguer des modifications peu prononcées des formes du crâne, ou de légères nuances du caractère.''-*Gall,* iii. 41. OF THE INTEGUMENTS OF THE BRAIN. 127 in all heads indiscriminately, it is not a source of error to the phrenologist. Every skull, moreover, is thick at the ridges of the frontal bone and the transverse ridge of the occipital (48, fig. 5, p. 116), and very thin at the super-orbitar plates of the frontal bone, forming the roof of the sockets of the eyes,-and also in the middle of the occipital fossae. Dr Gall states that sometimes the skulls of very stupid people are unusually thick ;\* and Dr Vimont has frequently observed the same thing to occur in persons of an athletic constitution.2 In savages the skull is often thick.3 The integuments which cover the skull on the outside, indisputably lie close upon its surface, and are so uniform in their thickness, as to exhibit, with sufficient accuracy, its true figure. The temples and occiput are the only parts where the integuments are thicker than at the others, and the phrenologist attends to this fact in making his observations. Thus there is no obstacle in general to the discovery of the figure of the brain, by observations on the form of the skull or head. This doctrine has been frequently disputed by opponents of Phrenology ; but many anatomists have taught it. Cuvier states, that " The brain moulds itself in the cavity of the skull, which *it fills exactly,* in such a manner that knowledge of the bony part gives us information at least of the *form of the exterior of the brain."\** Magendie, in his *Compendium* *1* Tome iii. p. 43. 2 Vol i. p. 285. 3 " A comparison of the external and internal surfaces of the cranium establishes the fact, that there is a general correspondence of the two, as far as regards those parts which are in contact with the periphery of the brain. But, between the several divisions of that organ, there are developed on the inside of the skull very large ribs and processes which destroy the particular correspondence of the two surfaces. Nevertheless, this does not impair our ability to deduce the internal capacity of the cranium from an examination of its exterior ; since the diploë between the two plates in the spaces intermediate to these ribs, seldom varies more than one or two lines in its thickness." - *Cyclopodia of Anatomy and Physiology,* edited by Professor Todd ; Article *Cranium.* \* *Anatomie Comparative,* ii. 13. 128 OF THE INTEGUMENTS OF THE BRAIN. *of Physiology,* says, that " the only way of estimating the *volume of the brain* in a living person, is to *measure the dimensions of the skull;* every other means, even that proposed by Camper, is uncertain."1 Sir Charles Bell also observes, that " the bones of the head are moulded to the brain, and the peculiar shapes of the bones of the head are determined by the original peculiarity in the shape of brain."2 And Dr Gordon, in the 49th number of *The Edinburgh Review,* has the following words :-" But we will acquiesce implicitly for the present in the proposition (familiar to physiologists long before the age of Gall and Spurzheim), that there is, in most instances, a general correspondence between the size of the cranium and the quantity of cerebrum ; that large heads usually contain large brains, and small heads small brains." (P. 246.) There are, however, cases in which it is *not* possible to discover the form of the brain by examining the skull. These are instances of disease and old age. In disease, the skull may be enlarged or diminished in volume by other causes than changes of the brain ; and in old age, the inner table of the skull sometimes sinks, while the outer table preserves its original size, and an extraordinary thickness is produced : in such cases, the true development of the brain cannot be accurately inferred from the appearance of the head.8 It is 1 Milligan's Translation, p. 104. 2 Bell's *Anatomy,* ii. 390. Sir C. Bell adds in a foot-note, " Certainly the skull is adapted to the form of the brain ; but there is a deeper question, which our craniologists have forgotten,- Is the brain constituted in shape with a reference to the future form of the head ?" It is difficult to see the importance of this question. Not only is the skull, at every period before the decline of life, adapted to the form of the brain, but it increases in size when the brain enlarges, and decreases when the brain diminishes. The reader will find an answer to Sir Charles Bell's objections in *The Phrenological Journal,* viii. 333. 3 According to Dr Gall, the skulls of aged people are generally thicker, lighter, and more spongy, than those of young men and adults : but Dr Vimont thinks that farther observations are necessary to determine whether this is the most frequent appearance.-(Gall, iii. 50 ; Vimont, i. 288.) Some- SUTURES. 129 a common trick with the opponents of Phrenology to collect these thickened skulls, and to represent them as average specimens of healthy crania, under the middle period of life ; but this is pure deception, practised on that portion of the public which is unacquainted with anatomy. There are parts at the base of the brain, in the middle and posterior regions, the size of which cannot be discovered during life, and whose functions in consequence are still unknown. From analogy, and from some pathological facts, they are supposed to be the organs of the love of life, and of some other mental affections for which cerebral organs have not been discovered ; but demonstrative evidence to this effect being wanting, the conjecture is stated merely to incite to farther investigation. The sutures interrupt the absolute parallelism of the tables ; but their situation is known, and only one of them, the lambdoidal, where it passes over the organ of Concentrativeness, presents any difficulty to the student. In some individuals it occasions at that part a bony projection, which may be mistaken for a large development of Concentrativeness ; but the bone is generally sharp and angular, whereas the development presented by an organ when large is full and round. The sagittal and frontal sutures, which run longitudinally from the back part of the crown of the head forwards and downwards, sometimes so low as the top of the nose, occasionally present a narrow prominent ridge, which is sometimes mistaken for development of the organs of Benevolence, Veneration, Firmness, and Self-esteem. It may, however, be easily distinguished by its narrowness and times, in extreme old age, portions of the outer table and diuloe are absorbed and not renewed, so that the skull becomes, in various parts, very thin and transparent. There is such a skull in the collection of the Phrenological Society, and Dr Gall possessed several specimens. (Gall, iii. 53; and *Phren. Jour.* vii. 28.) That the skull becomes thin in old age by absorption is maintained also in a work called *Anatomia Senilis,* published in 1799. According to Tenon, the skull loses two-fifths of its weight in old age. *(Memoirs of the French Institute* for the year 6.) I 130 FRONTAL SINUS. isolation from the full broad swell of cerebral development. In anatomy, projecting bony points are called processes. The mastoid process of the temporal bone (B in figure, p. 125), which is a small knob immediately behind the ear, serving for the attachment of a muscle, is sometimes mistaken for the indication of large Combativeness. It is, however, merely a bony prominence, which is found in every head, and does not indicate development of brain at all. Another process, called by anatomists the spinous process of the transverse ridge of the occipital bone, requires to be known. Phrenologists generally name it shortly the occipital spine, and its situation is indicated by C in the figure, p. 125. There is one part of the skull where the external configuration does not always indicate exactly the size of the subjacent parts of the brain, and upon which objections have been raised. At the part of the frontal bone immediately above the top of the nose, a divergence from parallelism is sometimes produced by the existence of a small cavity called the *frontal sinus.* *![](plate11.jpg)* The frontal sinus is the dark hole seen in the annexed cut above the nose. It does not in general appear before the age of twelve ; and as the organs over which it may subsequently be formed, are well developed and very active before that age, there is no obstacle to our comparing their size with the vigour of the mental manifestations, before the sinus exists. We are thus able to determine the functions of these organs with certainty. After puberty it is generally present. Beclard remarks that " the frontal sinuses are not formed till after birth. Towards twelve years of age only the rudiments of them exist, and they appear only as cells a little larger than the others in the ethmoiclal bone. They go on increasing with age, and extend themselves, at the same time, in the frontal and orbitary portion of the bone, which sometimes they entirely FRONTAL SINUS. 131 cover."1 Its size in one individual is shewn in the cut ; it is sometimes larger and sometimes smaller than that here represented. It is formed between the two tables of the bone, either by the external table swelling out a little without being followed by the internal, and presenting an appearance like that of a blister on a biscuit, or by the internal table sinking in without being followed by the external. It has been argued by some individuals, that the existence of a frontal sinus is an insuperable objection to Phrenology in general, because it throws so much uncertainty in the way of our observations as completely to destroy their value. Other opponents, however, more rationally confine their objection to those organs over which the sinus extends. The first objection is manifestly untenable. Even granting the sinus to be an insuperable obstacle in the way of ascertaining the development of the organs over which it is situated, it is plain that, in ordinary cases, it interferes with only a few, namely, Form, Size, Weight, Individuality, and Locality ; and that the whole external appearances of the other thirty or thirty-one organs are left as unaltered as if no frontal sinus existed. It would be quite as logical to speak of a snow-storm in Norway obstructing the highway from Edinburgh to London, as of a small sinus at the top of the nose concealing the development of Benevolence, Firmness, or Veneration, on the crown of the head. To enable the reader to form a correct estimate of the value of the objection as applicable to the individual organs particularly referred to, I offer the following observations. In the *first* place, below the age of twelve or fourteen, the sinus, if it exists at all, rarely extends so high as the base of the frontal lobe of the brain ; *secondly,* in adult age, it frequently occurs to the extent above admitted ;2 and, 1 *Dictionnaire de Médecine,* ix. 504. 2 This may seem at variance with a statement given in the first edition of this work, on the authority of a friend in Paris, who, in the course of many months' dissections, bad never found a frontal sinus except in old age 132 FRONTAL SINUS. *thirdly,* in old age. and in diseases such as idiocy and chronic insanity, it is often of very great extent, owing to the brain diminishing in size, and the inner table of the skull following it, while the outer remains stationary. The first cases present no objection, for in them the sinus does not exist so high as to interfere with the observation of the size of the organs ; the third are instances of disease, which are uniformly excluded in phrenological observations ; and thus our attention is limited solely to the cases forming the second class. In regard to them the objection is, that large development of brain, and large frontal sinus, present so nearly the same appearance that we cannot accurately distinguish them, and that therefore our observations must be inconclusive. To this the following answer is given. In the first place, we must distinguish between the possibility of *discovering the function* of an organ, and the possibility of applying this discovery practically in *all* cases, so as to be able, in every instance, to predicate the exact degree in which every particular mental power is present in each individual. As already mentioned, the sinus does not, in general, extend so high as the brain until after the age of twelve or fourteen, before which time Individuality is most conspicuously active in the mind. If, then, in children, in whom no sinus exists, that mental power is observed to be strong when the part of the head is large, and weak when it is small, we *ascertain the function,* whatever may subsequently embarrass us. If in after life the sinus conies to exist, this throws a certain impediment in the way of the practical application of our knowledge ; and accordingly, phrenologists admit a and in disease. In sawing open the skull for anatomical purposes, the section is almost always made horizontally through the middle of the forehead, or over the organs of Tune, Time, and Eventuality ; in all the cases alluded to by the gentleman in Paris, this line was followed, and as the sinus rarely extends so high up, he could not, and did not, meet with it. On examining vertical sections, however, for the purpose of seeing the sinus, he has since frequently found it to the extent mentioned in the text. FRONTAL SINUS. 133 difficulty in ascertaining the development of the organs lying immediately-above the top of the nose, except in extreme instances, in which even the sinus itself forms but a fraction of the difference between great development and deficiency.-In the next place, the objection applies only to one set of cases. If there be a hollow or depression in the external surface of the skull at the situation of the organs in question, and the sinus be absent, then the organ must necessarily be deficient in proportion to the depression. If, with such an external appearance, the sinus be present (which is not generally the case, but which, for the sake of argument, I shall suppose), then it must be formed by the inner table receding more than the outer table : hence a greater deficiency of the organs will actually exist than what is externally indicated ; and, of course, the deficiency of mental power will be *at least equal* to that which is indicated by the exterior of the head. In cases of this kind, therefore, the sinus forms no objection. Thus the only instances in which it can occasion embarrassment are those where it causes a swelling outward of the parts of the skull in question, when there is no corresponding development of brain within. Now, if, in all cases in youth, when no sinus exists, and in all cases in mature age in which a depression is found, the mental power is ascertained to correspond with the external development ; and if, in certain cases in adult age, an external indication appears to which the mental power does not correspond, what conclusion ought to be drawn according to the rules of a correct logic ? Not that the functions of the parts are uncertain-because they have been ascertained in cases not liable to impediment or objection ; but only that, in the particular cases in mature age in which external development is large, and the corresponding power absent, *there must be a frontal sinus.* Finally, after practice in observing, it is in general possible to distinguish between external appearances produced by a frontal sinus, and those indicating a large development 134 ANATOMY OF THE BRAIN. of organs. In the former case, the elevations are usually more abrupt and ridgy ; and in the latter, they present a rounder swell, and follow the direction of the organs as delineated on the busts. If, then, men in general manifest their natural qualities in their actions ; and if, in healthy individuals, not beyond the middle period of life, the form of the brain may be discovered by observing the figure of the head ; it follows that the true faculties, and the true cerebral development, may be compared in living subjects : and on these grounds the proposition is established, that the phrenological mode of philosophising is competent to enable us to attain the results sought for. Before proceeding to the practical application of the principles of Phrenology, I subjoin a few remarks on the *anatomy* of the brain, principally taken from those which Dr Fossati has added to his French translation of my *Elements of Phrenology.* --- **Vol. 1:** [[front matter]](frontmatter.htm), [Intro](intro.htm), [N](intro.htm)[ervous system](generalview.htm), [Principles of Phrenology](principles.htm), [Anatomy of the brain](anatomy.htm), [Division of the faculties](division.htm) 1.[Amativeness](amativeness.htm) 2.[Philoprogenitiveness](philoprogenitiveness.htm) 3.[Concentrativeness](concentrativeness.htm) 4.[Adhesiveness](adhesiveness.htm) 5.[Combativeness](combativeness.htm) 6.[Destructiveness](destructiveness.htm), [Alimentiveness](alimentiveness.htm), [Love of Life](love_of_life.htm) 7.[Secretiveness](secretiveness.htm) 8.[Acquisitiveness](acquisitiveness.htm) 9.[Constructiveness](constructiveness.htm) 10.[Self-Esteem](self-esteem.htm) 11.[Love of Approbation](approbation.htm) 12.[Cautiousness](cautiousness.htm) 13.[Benevolence](benevolence.htm) 14.[Veneration](veneration.htm) 15.[Firmness](firmness.htm) 16.[Conscientiousness](conscientiousness.htm) 17.[Hope](hope.htm) 18.[Wonder](wonder.htm) 19.[Ideality](ideality.htm) 20.[Wit or Mirthfulness](wit.htm) 21.[Imitation](imitation.htm). **Vol. 2:** [[](frontmatter2.htm)[front matter]](frontmatter2.htm), [External senses](external_senses.htm), 22.[Individuality](individuality.htm) 23.[Form](form.htm) 24.[Size](size.htm) 25.[Weight](weight.htm) 26.[Colouring](colouring.htm) 27.[Locality](locality.htm) 28.[Number](number.htm) 29.[Order](order.htm) 30.[Eventuality](eventuality.htm) 31.[Time](time.htm) 32.[Tune](tune.htm) 33.[Language](language.htm) 34.[Comparison](comparison.htm), [General observations on the Perceptive Faculties](general_observations.htm), 35.[Causality](causality.htm), [Modes of actions of the faculties](modes_of_action.htm), [National character & development of brain](national_character.htm), [On the importance of including development of brain as an element in statistical inquiries](statistical.htm), [Into the manifestations of the animal, moral, and intellectual faculties of man](statistical.htm), [Statistics of Insanity](statistical.htm), [Statistics of Crime](statistical.htm), [Comparative phrenology](comparative.htm), [Mesmeric phrenology](mesmeric.htm), [Objections to phrenology considered](objections.htm), [Materialism](materialism.htm), [Effects of injuries of the brain](materialism.htm), [Conclusion](conclusion.htm), Appendices: [No. I](appendix1.htm), [II](appendix2.htm), [III](appendix3-4.htm), [IV](appendix3-4.htm), [V](additional_appendix.htm), [[Index](index.htm)], [[Works of Combe](works.htm)]. [**Back to home page**](http://www.historyofphrenology.org.uk) *© [John van Wyhe](http://darwin-online.org.uk/people/van_wyhe.html) 1999-2011*. Materials on this website may not be reproduced without permission except for use in teaching or non-published presentations, papers/theses.
http://www.historyofphrenology.org.uk/system/principles.htm
<TITLE>ArtServe at the Australian National University: http://rubens.anu.edu.au</TITLE> <BODY BGCOLOR="#ffffff"> <p> <center> <A HREF="http://www.anu.edu.au"><IMG SRC="ANU.gif"></a> <p> <H3> Welcome to ArtServe: <p> Art & Architecture <BR>mainly from the Mediterranean Basin, <br>Japan, India & Cambodia</H3> <p> <center> <hr> </H2> <p> </center> <A HREF="http://en.wikipedia.org/wiki/Cairo"><IMG SRC="DSCN1359.JPG"></A> </center> <p> <p> <center> <hr> <table bgcolor="#FFCC00" width="50%" cellpadding=4 cellspacing=0> <tr> <td><b><small>Search ArtServe:</small></b></td> <td align="right"><small><b>Form:&nbsp;<b>simple</b>&nbsp; <a href="http://panoptic2.anu.edu.au/search/search.cgi?collection=art_and_marx&form=advanced">advanced</a></b></small></td> </tr> </table> <p> <form ACTION="http://search.anu.edu.au/search/search.cgi" METHOD="GET"> <input type="text" name="query" size="30" value="">&nbsp; <input type="submit" value="search"> <input type=hidden name="collection" value="anu_search"> <input type=hidden name="form" value="simple"> <input type=hidden name="num_ranks" value="10"> <input type=hidden name="scope" value="rubens.anu.edu.au,vandyck.anu.edu.au"> </form> </center> <p> <hr> <OL> <LI><B>Countries: the majority of items appear (roughly "catalogued") in <A HREF="htdocs/bycountry/australia/index1.html">australia</a>; <A HREF="raider4/austria/db/index1.html">austria</a>; <A HREF="htdocs/bycountry/california">california</a>; <A HREF="htdocs/bycountry/belgium">belgium</a>; <A HREF="htdocs/bycountry/cambodia/angkor">cambodia (angkor)</a>; <A HREF="htdocs/bycountry/cambodia2/">cambodia2</a>; <A HREF="htdocs/bycountry/croatia/">croatia</a>; <A HREF="htdocs/bycountry/denmark">denmark</a>; <A HREF="htdocs/bycountry/egypt">egypt</a>; <A HREF="htdocs/bycountry/england">england</a>; <A HREF="htdocs/bycountry/finland/helsinki">finland</a>; <A HREF="htdocs/bycountry/france/index1.html">france</a>; <A HREF="htdocs/bycountry/germany/index1.html">germany</a>; <A HREF="htdocs/bycountry/greece/">greece</a>; <A HREF="htdocs/bycountry/hongkong">hong kong</a>; <A HREF="htdocs/bycountry/hungary">hungary</a>; <A HREF="htdocs/bycountry/india/">india</a>; <A HREF="htdocs/bycountry/indonesia/borobudur/Moksha">Borobudur in VRML</a>; <A HREF="htdocs/bycountry/indonesia/borobudur/">Borobudur in still images</a>; <A HREF="htdocs/bycountry/italy/index1.html">italy</a> (but 16,000 images of Rome appear <A HREF="htdocs/bycountry/italy/rome/popolo">here</a>); <A HREF="htdocs/bycountry/sicily">sicily</a>; <A HREF="htdocs/bycountry/japan">japan</a>; <A HREF="htdocs/bycountry/korea/korea">korea</a>; <A HREF="htdocs/bycountry/latvia/riga">latvia</a>; <A HREF="htdocs/bycountry/norway/">norway</a>; <A HREF="htdocs/bycountry/portugal">portugal</a>, <A HREF="htdocs/bycountry/russia/">russia</a>; <A HREF="htdocs/bycountry/scotland">scotland</a>; <A HREF="htdocs/bycountry/spain">spain</a>; <A HREF="htdocs/bycountry/switzerland">switzerland</a>; <A HREF="raider4/syria/db">syria</a>; <A HREF="htdocs/bycountry/thailand/">thailand</a>; <A HREF="raider4/turkey/">turkey</a>; <A HREF="g2data/albums/turkey/">g2turkey</a>; <p> Since some of these indexes are getting very large, here are the bigger ones laid out in text format: use the browser's "search" function to find what you need: <A HREF="./lists/australia.html">australia</a>; <A HREF="./lists/austria.html">austria</a>; <A HREF="./lists/egypt.html">egypt</a>; <A HREF="./lists/england.html">england</a>; <A HREF="./lists/france.html">france</a>; <A HREF="./lists/germany.html">germany</a>; <A HREF="./lists/hungary.html">hungary</a>; <A HREF="./lists/indonesia.html">indonesia</a>; <A HREF="./lists/italy.html">italy</a>; <A HREF="./lists/sicily.html">sicily</a>; <A HREF="./lists/spain.html">spain</a>; <A HREF="./lists/syria.html">syria</a>; <A HREF="./lists/turkey.html">turkey</a>; <br> and for church art & architecture: <A HREF="./lists/austria_churches_and_cathedrals.html">austria: churches & cathedrals</a>; <A HREF="./lists/england_churches_and_cathedrals.html">england: churches & cathedrals</a> ; <A HREF="./lists/france_churches_and_cathedrals.html">france: churches & cathedrals</a>; <A HREF="./lists/germany_churches_and_cathedrals.html">germnay: churches & cathedrals</a>; <A HREF="./lists/italy_churches_and_cathedrals.html">italy: churches & cathedrals</a>; <A HREF="./lists/spain_churches_and_cathedrals.html">spain: churches & cathedrals</a>; <p> <LI> <B>Subject categories</b> (sometimes defective: more will eventually be added) from the above, and mostly from museums, include: <OL> <LI>arms & armour in <A HREF="htdocs/bycountry/subjectindex/arms.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/arms.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/arms.germany.html">germany</a>, <LI>ceramics in <A HREF="htdocs/bycountry/subjectindex/ceramics.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/ceramics.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/ceramics.germany.html">germany</a>, <LI>choirstalls in <A HREF="htdocs/bycountry/subjectindex/choirstalls.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/choirstalls.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/choirstall.spain.html">spain</a>, <LI>churches in <A HREF="htdocs/bycountry/subjectindex/church.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/church.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/church.germany.html">germany</a>, <A HREF="htdocs/bycountry/subjectindex/church.portugal.html">portugal</a>, <A HREF="htdocs/bycountry/subjectindex/church.spain.html">spain</a>, <A HREF="htdocs/bycountry/subjectindex/church.switzerland.html">switzerland</a>, <LI>clocks & watches in <A HREF="htdocs/bycountry/subjectindex/clocks.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/clocks.france.html">france</a>, <LI>cloisters in <A HREF="htdocs/bycountry/subjectindex/cloister.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/cloister.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/cloister.germany.html">germany</a>, <A HREF="htdocs/bycountry/subjectindex/cloister.portugal.html">portugal</a>, <A HREF="htdocs/bycountry/subjectindex/cloister.sicily.html">sicily</a>, <A HREF="htdocs/bycountry/subjectindex/cloister.spain.html">spain</a>, <A HREF="htdocs/bycountry/subjectindex/cloister.switzerland.html">switzerland</a>, <LI>coins in <A HREF="htdocs/bycountry/subjectindex/coins.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/coins.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/coin.portugal.html">portugal</a>, <LI>enamels in <A HREF="htdocs/bycountry/subjectindex/enamels.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/enamels.france.html">france</a>, <LI>funerary material in <A HREF="htdocs/bycountry/subjectindex/funerary.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/funerary.germany.html">germany</a>, <LI>glass (currently both stained and vessels) in <A HREF="htdocs/bycountry/subjectindex/glass.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/glass.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/glass.germany.html">germany</a>, <LI>hoards antique in <A HREF="htdocs/bycountry/subjectindex/hoards.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/hoards.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/hoards.germany.html">germany</a>, <LI>ivories in <A HREF="htdocs/bycountry/subjectindex/ivories.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/ivories.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/ivories.germany.html">germany</a>, <A HREF="htdocs/bycountry/subjectindex/ivories.portugal.html">portugal</a>, <LI>jewellery in <A HREF="htdocs/bycountry/subjectindex/jewellery.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/jewellery.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/jewellery.germany.html">germany</a>, <LI>metalwork in <A HREF="htdocs/bycountry/subjectindex/metalwork.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/metalwork.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/metalwork.germany.html">germany</a>, <A HREF="htdocs/bycountry/subjectindex/metalwork.switzerland.html">switzerland</a>, <LI>mosaic in <A HREF="htdocs/bycountry/subjectindex/mosaic.italy.html">italy</a>, <A HREF="htdocs/bycountry/subjectindex/mosaic.sicily.html">sicily</a>; <LI>museums in <A HREF="htdocs/bycountry/subjectindex/museum.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/museum.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/museum.germany.html">germany</a>, <A HREF="htdocs/bycountry/subjectindex/museum.portugal.html">portugal</a>, <A HREF="htdocs/bycountry/subjectindex/museum.sicily.html">sicily</a>, <A HREF="htdocs/bycountry/subjectindex/museum.spain.html">spain</a>, <LI>paintings in <A HREF="htdocs/bycountry/subjectindex/painting.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/painting.california.html">california</a>, <A HREF="htdocs/bycountry/subjectindex/painting.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/painting.germany.html">germany</a>, <LI>sculpture in <A HREF="htdocs/bycountry/subjectindex/sculpture.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/sculpture.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/sculpture.germany.html">germany</a>, <A HREF="htdocs/bycountry/subjectindex/sculpture.portugal.html">portugal</a>, <LI>textiles in <A HREF="htdocs/bycountry/subjectindex/textiles.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/textiles.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/textiles.germany.html">germany</a>, <A HREF="htdocs/bycountry/subjectindex/textiles.sicily.html">sicily</a>, <LI>tombs in <A HREF="htdocs/bycountry/subjectindex/tomb.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/tomb.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/tomb.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/tomb.germany.html">germany</a>, <A HREF="htdocs/bycountry/subjectindex/tomb.italy.html">italy</a>, <A HREF="htdocs/bycountry/subjectindex/tomb.sicily.html">sicily</a>, <A HREF="htdocs/bycountry/subjectindex/tomb.spain.html">spain</a>, <LI>treasuries from churches in <A HREF="htdocs/bycountry/subjectindex/treasury.england.html">england</a>, <A HREF="htdocs/bycountry/subjectindex/treasury.france.html">france</a>, <A HREF="htdocs/bycountry/subjectindex/treasury.germany.html">germany</a>, <A HREF="htdocs/bycountry/subjectindex/.html"></a>, <A HREF="htdocs/bycountry/subjectindex/.html"></a>, </OL><p> - and here are some site-wide indexes in text format (use your browser to locate what you need): <A HREF="./lists/altars.html">altars</a>; <A HREF="./lists/antique_hoards.html">antique hoards</a>; <A HREF="./lists/archaeological.html">archaeological</a>; <A HREF="./lists/archaeological_museums.html">archaeological museums</a>; <A HREF="./lists/arms_and_armour.html">arms and armour</a>; <A HREF="./lists/books.html">books and manuscripts</a>; <A HREF="./lists/byzantine.html">byzantine</a>; <A HREF="./lists/ceramics.html">ceramics</a>; <A HREF="./lists/chapels.html">chapels</a>; <A HREF="./lists/chateaux_hotels_palaces_and_villas.html">chateaux, hotels, palaces, villas</a> ; <A HREF="./lists/choirstalls.html">choirstalls</a>; <A HREF="./lists/church_and_other_treasuries.html">church and other treasure </a>; <A HREF="./lists/churches.html">churches</a>; <A HREF="./lists/cityscape.html">cityscape</a>; <A HREF="./lists/clocks_and_watches.html">clocks & watches</a> ; <A HREF="./lists/coins_and_medals.html">coins and medals</a>; <A HREF="./lists/columns_and_capitals.html">columns and capitals</a>; <A HREF="./lists/columns_capitals_cloisters.html">columns, capitals and cloisters</a>; <A HREF="./lists/enamels.html">enamels</a>; <A HREF="./lists/fonts.html">fonts</a> ; <A HREF="./lists/fortifications.html">fortifications</a>; <A HREF="./lists/fountains.html">fountains</a> ; <A HREF="./lists/funerary.html">funerary</a>; <A HREF="./lists/furniture_and_woodwork.html">furniture and woodwork</a>; <A HREF="./lists/glass.html">blass</a>; <A HREF="./lists/ivories.html">ivories</a>; <A HREF="./lists/japanese_scrolls.html">japanese scrolls</a>; <A HREF="./lists/jewellery.html">jewellery</a>; <A HREF="./lists/libraries.html">libraries</a>; <A HREF="./lists/metalwork.html">metalwork</a>; <A HREF="./lists/mausolea.html">mausolea</a>; <A HREF="./lists/military_and_naval_museums.html">military and naval museums </a>; <A HREF="./lists/minarets.html">minarets</a>; <A HREF="./lists/models.html">architectural models</a>; <A HREF="./lists/mosaics.html">mosaics</a>; <A HREF="./lists/mosques.html">mosques</a>; <A HREF="./lists/paintings.html">paintings</a>; <A HREF="./lists/panoramas.html">panoramas</a>; <A HREF="./lists/parks_and_gardens.html">parks and gardens</a>; <A HREF="./lists/projectiles.html">projectiles</a>; <A HREF="./lists/pulpits.html">pulpits</a>; <A HREF="./lists/reliquaries.html">reliquaries</a>; <A HREF="./lists/roman_sculpture.html">roman sculpture</a>; <A HREF="./lists/sculptures_statues_reliefs.html">sculptures: statues and reliefs</a>; <A HREF="./lists/spolia.html">spolia</a>; <A HREF="./lists/stereo_pairs.html">stereo pairs</a>; <A HREF="./lists/textiles.html">textiles</a>; <A HREF="./lists/walls_gates_fortresses.html">walls, gates and fortresses</a >; <p> <LI><b>Surveys:</b> <OL> <LI>Art History <A HREF="./htdocs/surveys/charlotte/byartist/">by artist</a>, <A HREF="./htdocs/surveys/charlotte/bycountry/">by country</a> or <A HREF="./htdocs/surveys/charlotte/bymedium/">by medium</a>; <LI>Western Art and architecture by <A HREF="./htdocs/laserdisk/artsurvey/bycountry/">country</a>, <A HREF="./htdocs/laserdisk/artsurvey/bysite/">site</a> or <A HREF="./htdocs/laserdisk/artsurvey/bytype/">type</a>; <LI>Mediterranean architecture (largely classical) <A HREF="./htdocs/surveys/mediterrarch/light_table/mediterrarch.html">by search</a>, or alphabetically <A HREF="./htdocs/surveys/mediterrarch/slides.xmosaic/bysite/">by site</a> or <A HREF="./htdocs/surveys/mediterrarch/slides.xmosaic/bycountry/">by country</a>; <LI><A HREF="./htdocs/laserdisk/classical/index.html">classical art & architecture</a>, <LI><A HREF="./htdocs/surveys/italren/renart/">Italian Renaissance art</a>; <LI><A HREF="./htdocs/surveys/italren/renarch/">Italian renaissance architecture</a>; <LI>All illustrations to the catalogue of The Great Exhibition (1851) <A HREF="./htdocs/bytype/prints/greatexhib/byexhibitor/">by exhibitor</a>, <A HREF="./htdocs/bytype/prints/greatexhib/bymedium/">medium</a>, and <A HREF="./htdocs/bytype/prints/greatexhib/bytype/">type</a>; </OL> <p> <LI><B>Prints:</b> <OL> <LI>prints <A HREF="./htdocs/surveys/prints/byartist/">by artist</a>, <A HREF="./htdocs/surveys/prints/bysubject/">by subject</a> or <A HREF="./htdocs/surveys/prints/bytechnique/">by technique</a>; <LI>Prints by or of <A HREF="./htdocs/bytype/prints/blake/">William Blake</a>, <A HREF="./htdocs/bytype/prints/brueghel/">Brueghel</a>, <A HREF="./htdocs/bytype/prints/flaxman.iliad/">Flaxman</a>, <A HREF="./htdocs/bytype/prints/greatexhib/">The Great Exhibition</a>, <A HREF="./htdocs/bytype/prints/italian.survey/">Italian printmakers</a>, <A HREF="./htdocs/bytype/prints/ornament/byartist">artist</a> or <A HREF="./htdocs/bytype/prints/ornament/bycountry">country</a>, <A HREF="./htdocs/bytype/prints/piranesi/">Piranesi</a>, <A HREF="./htdocs/bytype/prints/prout/">Samuel Prout</a>, <A HREF="./htdocs/bytype/prints/raimondi/">MA Raimondi</a>, <A HREF="./htdocs/bytype/prints/ww1/">Reemakers</a>; <A HREF="./htdocs/surveys/french.prints/">French prints</a>, <A HREF="./htdocs/bytype/prints/cartoons/">French 19thC cartoons</a>; <A HREF="./htdocs/bytype/prints/italian.survey/">Italian prints</a>; <A HREF="new/france/fontainebleau/">School of Fontainebleau</a>; </OL> <p> <LI><B>Museums and galleries</b> will be found throughout the <I>Countries</i> listings above; <p> <LI>Architecture: <OL> <LI><B>Buddhist:</b> <OL> <LI><A HREF="http://rubens.anu.edu.au/htdocs/bycountry/japan/index1.html">Japan</a>; </OL> <LI><B>Classical & Christian:</b> <OL> <A HREF="./htdocs/surveys/mediterrarch/slides.xmosaic/bysite/">by site</a> or <A HREF="./htdocs/surveys/mediterrarch/slides.xmosaic/bycountry/">by country</a>; <LI>Diocletian's "palace" at <A HREF="http://rubens.anu.edu.au/htdocs/bycountry/croatia/spalatro_palace_of_diocletian/">Split</a>; and prints of the site by <A HREF="http://rubens.anu.edu.au/htdocs/bycountry/croatia/adam_spalatro/">Robert Adam</a>; <LI> authors: <A HREF="./htdocs/bytype/arch.sources/desgodetz/index.html">Desgodetz</a>, <A HREF="./htdocs/bytype/arch.sources/philibert/">Philibert de l'Orme</a>, <A HREF="./htdocs/bytype/arch.sources/serlio/">Serlio (1537-51)</a>, <A HREF="./htdocs/bytype/arch.sources/schinkel/">Schinkel</a>, <A HREF="./htdocs/bytype/arch.sources/stuart.revett/">Stuart & Revett</a>, and <A HREF="./htdocs/bytype/arch.sources/vitruvius/">Cesariano's <I>Vitruvius</i></a>; <LI>sites: <A HREF="./htdocs/bytype/arch.sources/balbec/">Baalbec</a>, <A HREF="./htdocs/bytype/arch.sources/didyma/">Didyma</a>, <LI>Ebersolt's 1913 <A HREF="./new/turkey_ebersolt/eglises_de_constantinople">Les Eglises de Constantinople</a>; </OL> <p> <LI><B>Islamic:</b> <OL> <LI>Egypt: the Moslem architecture of <A HREF="http://rubens.anu.edu.au/cairo">Cairo</a>; <LI>Prof James A. Harrell: <A HREF="http://rubens.anu.edu.au/harrell/Survey_Intro.htm">Decorative Stones in the pre-Ottoman Islamic Buildings of Cairo</a> <LI>Prisse d'Avennes' plates of architecture in <A HREF="/raider4/islam/egypt/prisse_davennes">Cairo</a> (with a summary of his life <A HREF="new/islam/egypt/prisse_davennes/info">here</a>); <LI>Turkey: <A HREF="http://rubens.anu.edu.au/raider4/turkey/details1.html#ankara">Ankara</a>, <A HREF="http://rubens.anu.edu.au/raider4/turkey/details5.html#beyshehir">Beyshehir</a>, <A HREF="http://rubens.anu.edu.au/raider4/turkey/details6.html#bursa">Bursa</a>, <A HREF="http://rubens.anu.edu.au/raider4/turkey/details25.html#medrese">Istanbul</a>, <A HREF="http://rubens.anu.edu.au/raider4/turkey/details46.html#konya">Konya</a>; </OL> </OL> <p> <p> <LI>Some of my books and papers: <OL> <LI><A HREF="new/books_and_papers/classical_tradition_book/index.html">The Classical Tradition in Art</a>; <LI><A HREF="http://rubens.anu.edu.au/raider4/turkey/turkeybook/toc.html">The Greek and Roman Cities of Western Turkey</a>; <LI><A HREF="http://rubens.anu.edu.au/new/books_and_papers/spoleto.paper/introduction.html">Spolia in Fortifications: Turkey, Syria and North Africa</a>; <LI><A HREF="http://rubens/new/books_and_papers/survival.publish/">The Survival of Roman Antiquities in the Middle Ages</a>; </ol> <p> <LI><B>Mediaeval materials:</b> As well as in the <I>countries</i> listings above, see: <OL> <LI>A survey of <A HREF="htdocs/bytype/manuscripts">manuscripts</a>, and <A HREF="./htdocs/bytype/manuscripts/bamberg/">the Bamberg Apocalypse</a>; <LI>Textiles: <A HREF="./htdocs/bytype/textiles/bayeux/">The Bayeux Tapestry</a>; </OL> <p> <LI><B>Embellishments:</b> <A HREF="/htdocs/bytype/typefaces">typefaces</a>, <A HREF="/htdocs/laserdisk/0181/">frames and culs-de-lampe</a>, <p> <LI><B>Film:</B> Riefenstahl's <A HREF="./htdocs/bytype/film/riefenstahl/triumph">triumph of the will</a> and <A HREF="./htdocs/bytype/film/riefenstahl/olympiad">olympiad</a>; <p> <hr>
ArtServe at the Australian National University: http://rubens.anu.edu.au [![](ANU.gif)](http://www.anu.edu.au) ### Welcome to ArtServe: Art & Architecture mainly from the Mediterranean Basin, Japan, India & Cambodia --- [![](DSCN1359.JPG)](http://en.wikipedia.org/wiki/Cairo) --- | | | | --- | --- | | **Search ArtServe:** | **Form: **simple**  [advanced](http://panoptic2.anu.edu.au/search/search.cgi?collection=art_and_marx&form=advanced)** |   --- 1. **Countries: the majority of items appear (roughly "catalogued") in [australia](htdocs/bycountry/australia/index1.html); [austria](raider4/austria/db/index1.html); [california](htdocs/bycountry/california); [belgium](htdocs/bycountry/belgium); [cambodia (angkor)](htdocs/bycountry/cambodia/angkor); [cambodia2](htdocs/bycountry/cambodia2/); [croatia](htdocs/bycountry/croatia/); [denmark](htdocs/bycountry/denmark); [egypt](htdocs/bycountry/egypt); [england](htdocs/bycountry/england); [finland](htdocs/bycountry/finland/helsinki); [france](htdocs/bycountry/france/index1.html); [germany](htdocs/bycountry/germany/index1.html); [greece](htdocs/bycountry/greece/); [hong kong](htdocs/bycountry/hongkong); [hungary](htdocs/bycountry/hungary); [india](htdocs/bycountry/india/); [Borobudur in VRML](htdocs/bycountry/indonesia/borobudur/Moksha); [Borobudur in still images](htdocs/bycountry/indonesia/borobudur/); [italy](htdocs/bycountry/italy/index1.html) (but 16,000 images of Rome appear [here](htdocs/bycountry/italy/rome/popolo)); [sicily](htdocs/bycountry/sicily); [japan](htdocs/bycountry/japan); [korea](htdocs/bycountry/korea/korea); [latvia](htdocs/bycountry/latvia/riga); [norway](htdocs/bycountry/norway/); [portugal](htdocs/bycountry/portugal), [russia](htdocs/bycountry/russia/); [scotland](htdocs/bycountry/scotland); [spain](htdocs/bycountry/spain); [switzerland](htdocs/bycountry/switzerland); [syria](raider4/syria/db); [thailand](htdocs/bycountry/thailand/); [turkey](raider4/turkey/); [g2turkey](g2data/albums/turkey/); Since some of these indexes are getting very large, here are the bigger ones laid out in text format: use the browser's "search" function to find what you need: [australia](./lists/australia.html); [austria](./lists/austria.html); [egypt](./lists/egypt.html); [england](./lists/england.html); [france](./lists/france.html); [germany](./lists/germany.html); [hungary](./lists/hungary.html); [indonesia](./lists/indonesia.html); [italy](./lists/italy.html); [sicily](./lists/sicily.html); [spain](./lists/spain.html); [syria](./lists/syria.html); [turkey](./lists/turkey.html); and for church art & architecture: [austria: churches & cathedrals](./lists/austria_churches_and_cathedrals.html); [england: churches & cathedrals](./lists/england_churches_and_cathedrals.html) ; [france: churches & cathedrals](./lists/france_churches_and_cathedrals.html); [germnay: churches & cathedrals](./lists/germany_churches_and_cathedrals.html); [italy: churches & cathedrals](./lists/italy_churches_and_cathedrals.html); [spain: churches & cathedrals](./lists/spain_churches_and_cathedrals.html); - **Subject categories** (sometimes defective: more will eventually be added) from the above, and mostly from museums, include: 1. arms & armour in [england](htdocs/bycountry/subjectindex/arms.england.html), [france](htdocs/bycountry/subjectindex/arms.france.html), [germany](htdocs/bycountry/subjectindex/arms.germany.html), - ceramics in [england](htdocs/bycountry/subjectindex/ceramics.england.html), [france](htdocs/bycountry/subjectindex/ceramics.france.html), [germany](htdocs/bycountry/subjectindex/ceramics.germany.html), - choirstalls in [england](htdocs/bycountry/subjectindex/choirstalls.england.html), [france](htdocs/bycountry/subjectindex/choirstalls.france.html), [spain](htdocs/bycountry/subjectindex/choirstall.spain.html), - churches in [england](htdocs/bycountry/subjectindex/church.england.html), [france](htdocs/bycountry/subjectindex/church.france.html), [germany](htdocs/bycountry/subjectindex/church.germany.html), [portugal](htdocs/bycountry/subjectindex/church.portugal.html), [spain](htdocs/bycountry/subjectindex/church.spain.html), [switzerland](htdocs/bycountry/subjectindex/church.switzerland.html), - clocks & watches in [england](htdocs/bycountry/subjectindex/clocks.england.html), [france](htdocs/bycountry/subjectindex/clocks.france.html), - cloisters in [england](htdocs/bycountry/subjectindex/cloister.england.html), [france](htdocs/bycountry/subjectindex/cloister.france.html), [germany](htdocs/bycountry/subjectindex/cloister.germany.html), [portugal](htdocs/bycountry/subjectindex/cloister.portugal.html), [sicily](htdocs/bycountry/subjectindex/cloister.sicily.html), [spain](htdocs/bycountry/subjectindex/cloister.spain.html), [switzerland](htdocs/bycountry/subjectindex/cloister.switzerland.html), - coins in [england](htdocs/bycountry/subjectindex/coins.england.html), [france](htdocs/bycountry/subjectindex/coins.france.html), [portugal](htdocs/bycountry/subjectindex/coin.portugal.html), - enamels in [england](htdocs/bycountry/subjectindex/enamels.england.html), [france](htdocs/bycountry/subjectindex/enamels.france.html), - funerary material in [france](htdocs/bycountry/subjectindex/funerary.france.html), [germany](htdocs/bycountry/subjectindex/funerary.germany.html), - glass (currently both stained and vessels) in [england](htdocs/bycountry/subjectindex/glass.england.html), [france](htdocs/bycountry/subjectindex/glass.france.html), [germany](htdocs/bycountry/subjectindex/glass.germany.html), - hoards antique in [england](htdocs/bycountry/subjectindex/hoards.england.html), [france](htdocs/bycountry/subjectindex/hoards.france.html), [germany](htdocs/bycountry/subjectindex/hoards.germany.html), - ivories in [england](htdocs/bycountry/subjectindex/ivories.england.html), [france](htdocs/bycountry/subjectindex/ivories.france.html), [germany](htdocs/bycountry/subjectindex/ivories.germany.html), [portugal](htdocs/bycountry/subjectindex/ivories.portugal.html), - jewellery in [england](htdocs/bycountry/subjectindex/jewellery.england.html), [france](htdocs/bycountry/subjectindex/jewellery.france.html), [germany](htdocs/bycountry/subjectindex/jewellery.germany.html), - metalwork in [england](htdocs/bycountry/subjectindex/metalwork.england.html), [france](htdocs/bycountry/subjectindex/metalwork.france.html), [germany](htdocs/bycountry/subjectindex/metalwork.germany.html), [switzerland](htdocs/bycountry/subjectindex/metalwork.switzerland.html), - mosaic in [italy](htdocs/bycountry/subjectindex/mosaic.italy.html), [sicily](htdocs/bycountry/subjectindex/mosaic.sicily.html); - museums in [england](htdocs/bycountry/subjectindex/museum.england.html), [france](htdocs/bycountry/subjectindex/museum.france.html), [germany](htdocs/bycountry/subjectindex/museum.germany.html), [portugal](htdocs/bycountry/subjectindex/museum.portugal.html), [sicily](htdocs/bycountry/subjectindex/museum.sicily.html), [spain](htdocs/bycountry/subjectindex/museum.spain.html), - paintings in [england](htdocs/bycountry/subjectindex/painting.england.html), [california](htdocs/bycountry/subjectindex/painting.california.html), [france](htdocs/bycountry/subjectindex/painting.france.html), [germany](htdocs/bycountry/subjectindex/painting.germany.html), - sculpture in [england](htdocs/bycountry/subjectindex/sculpture.england.html), [france](htdocs/bycountry/subjectindex/sculpture.france.html), [germany](htdocs/bycountry/subjectindex/sculpture.germany.html), [portugal](htdocs/bycountry/subjectindex/sculpture.portugal.html), - textiles in [england](htdocs/bycountry/subjectindex/textiles.england.html), [france](htdocs/bycountry/subjectindex/textiles.france.html), [germany](htdocs/bycountry/subjectindex/textiles.germany.html), [sicily](htdocs/bycountry/subjectindex/textiles.sicily.html), - tombs in [england](htdocs/bycountry/subjectindex/tomb.england.html), [england](htdocs/bycountry/subjectindex/tomb.england.html), [france](htdocs/bycountry/subjectindex/tomb.france.html), [germany](htdocs/bycountry/subjectindex/tomb.germany.html), [italy](htdocs/bycountry/subjectindex/tomb.italy.html), [sicily](htdocs/bycountry/subjectindex/tomb.sicily.html), [spain](htdocs/bycountry/subjectindex/tomb.spain.html), - treasuries from churches in [england](htdocs/bycountry/subjectindex/treasury.england.html), [france](htdocs/bycountry/subjectindex/treasury.france.html), [germany](htdocs/bycountry/subjectindex/treasury.germany.html), , , - and here are some site-wide indexes in text format (use your browser to locate what you need): [altars](./lists/altars.html); [antique hoards](./lists/antique_hoards.html); [archaeological](./lists/archaeological.html); [archaeological museums](./lists/archaeological_museums.html); [arms and armour](./lists/arms_and_armour.html); [books and manuscripts](./lists/books.html); [byzantine](./lists/byzantine.html); [ceramics](./lists/ceramics.html); [chapels](./lists/chapels.html); [chateaux, hotels, palaces, villas](./lists/chateaux_hotels_palaces_and_villas.html) ; [choirstalls](./lists/choirstalls.html); [church and other treasure](./lists/church_and_other_treasuries.html) ; [churches](./lists/churches.html); [cityscape](./lists/cityscape.html); [clocks & watches](./lists/clocks_and_watches.html) ; [coins and medals](./lists/coins_and_medals.html); [columns and capitals](./lists/columns_and_capitals.html); [columns, capitals and cloisters](./lists/columns_capitals_cloisters.html); [enamels](./lists/enamels.html); [fonts](./lists/fonts.html) ; [fortifications](./lists/fortifications.html); [fountains](./lists/fountains.html) ; [funerary](./lists/funerary.html); [furniture and woodwork](./lists/furniture_and_woodwork.html); [blass](./lists/glass.html); [ivories](./lists/ivories.html); [japanese scrolls](./lists/japanese_scrolls.html); [jewellery](./lists/jewellery.html); [libraries](./lists/libraries.html); [metalwork](./lists/metalwork.html); [mausolea](./lists/mausolea.html); [military and naval museums](./lists/military_and_naval_museums.html); [minarets](./lists/minarets.html); [architectural models](./lists/models.html); [mosaics](./lists/mosaics.html); [mosques](./lists/mosques.html); [paintings](./lists/paintings.html); [panoramas](./lists/panoramas.html); [parks and gardens](./lists/parks_and_gardens.html); [projectiles](./lists/projectiles.html); [pulpits](./lists/pulpits.html); [reliquaries](./lists/reliquaries.html); [roman sculpture](./lists/roman_sculpture.html); [sculptures: statues and reliefs](./lists/sculptures_statues_reliefs.html); [spolia](./lists/spolia.html); [stereo pairs](./lists/stereo_pairs.html); [textiles](./lists/textiles.html); [walls, gates and fortresses](./lists/walls_gates_fortresses.html); - **Surveys:** 1. Art History [by artist](./htdocs/surveys/charlotte/byartist/), [by country](./htdocs/surveys/charlotte/bycountry/) or [by medium](./htdocs/surveys/charlotte/bymedium/); - Western Art and architecture by [country](./htdocs/laserdisk/artsurvey/bycountry/), [site](./htdocs/laserdisk/artsurvey/bysite/) or [type](./htdocs/laserdisk/artsurvey/bytype/); - Mediterranean architecture (largely classical) [by search](./htdocs/surveys/mediterrarch/light_table/mediterrarch.html), or alphabetically [by site](./htdocs/surveys/mediterrarch/slides.xmosaic/bysite/) or [by country](./htdocs/surveys/mediterrarch/slides.xmosaic/bycountry/); - [classical art & architecture](./htdocs/laserdisk/classical/index.html), - [Italian Renaissance art](./htdocs/surveys/italren/renart/); - [Italian renaissance architecture](./htdocs/surveys/italren/renarch/); - All illustrations to the catalogue of The Great Exhibition (1851) [by exhibitor](./htdocs/bytype/prints/greatexhib/byexhibitor/), [medium](./htdocs/bytype/prints/greatexhib/bymedium/), and [type](./htdocs/bytype/prints/greatexhib/bytype/); - **Prints:** 1. prints [by artist](./htdocs/surveys/prints/byartist/), [by subject](./htdocs/surveys/prints/bysubject/) or [by technique](./htdocs/surveys/prints/bytechnique/); - Prints by or of [William Blake](./htdocs/bytype/prints/blake/), [Brueghel](./htdocs/bytype/prints/brueghel/), [Flaxman](./htdocs/bytype/prints/flaxman.iliad/), [The Great Exhibition](./htdocs/bytype/prints/greatexhib/), [Italian printmakers](./htdocs/bytype/prints/italian.survey/), [artist](./htdocs/bytype/prints/ornament/byartist) or [country](./htdocs/bytype/prints/ornament/bycountry), [Piranesi](./htdocs/bytype/prints/piranesi/), [Samuel Prout](./htdocs/bytype/prints/prout/), [MA Raimondi](./htdocs/bytype/prints/raimondi/), [Reemakers](./htdocs/bytype/prints/ww1/); [French prints](./htdocs/surveys/french.prints/), [French 19thC cartoons](./htdocs/bytype/prints/cartoons/); [Italian prints](./htdocs/bytype/prints/italian.survey/); [School of Fontainebleau](new/france/fontainebleau/); - **Museums and galleries** will be found throughout the *Countries* listings above; - Architecture: 1. **Buddhist:** 1. [Japan](http://rubens.anu.edu.au/htdocs/bycountry/japan/index1.html);- **Classical & Christian:** [by site](./htdocs/surveys/mediterrarch/slides.xmosaic/bysite/) or [by country](./htdocs/surveys/mediterrarch/slides.xmosaic/bycountry/); 5. Diocletian's "palace" at [Split](http://rubens.anu.edu.au/htdocs/bycountry/croatia/spalatro_palace_of_diocletian/); and prints of the site by [Robert Adam](http://rubens.anu.edu.au/htdocs/bycountry/croatia/adam_spalatro/); - authors: [Desgodetz](./htdocs/bytype/arch.sources/desgodetz/index.html), [Philibert de l'Orme](./htdocs/bytype/arch.sources/philibert/), [Serlio (1537-51)](./htdocs/bytype/arch.sources/serlio/), [Schinkel](./htdocs/bytype/arch.sources/schinkel/), [Stuart & Revett](./htdocs/bytype/arch.sources/stuart.revett/), and [Cesariano's *Vitruvius*](./htdocs/bytype/arch.sources/vitruvius/); - sites: [Baalbec](./htdocs/bytype/arch.sources/balbec/), [Didyma](./htdocs/bytype/arch.sources/didyma/), - Ebersolt's 1913 [Les Eglises de Constantinople](./new/turkey_ebersolt/eglises_de_constantinople); - **Islamic:** 1. Egypt: the Moslem architecture of [Cairo](http://rubens.anu.edu.au/cairo); - Prof James A. Harrell: [Decorative Stones in the pre-Ottoman Islamic Buildings of Cairo](http://rubens.anu.edu.au/harrell/Survey_Intro.htm)- Prisse d'Avennes' plates of architecture in [Cairo](/raider4/islam/egypt/prisse_davennes) (with a summary of his life [here](new/islam/egypt/prisse_davennes/info)); - Turkey: [Ankara](http://rubens.anu.edu.au/raider4/turkey/details1.html#ankara), [Beyshehir](http://rubens.anu.edu.au/raider4/turkey/details5.html#beyshehir), [Bursa](http://rubens.anu.edu.au/raider4/turkey/details6.html#bursa), [Istanbul](http://rubens.anu.edu.au/raider4/turkey/details25.html#medrese), [Konya](http://rubens.anu.edu.au/raider4/turkey/details46.html#konya); - Some of my books and papers: 1. [The Classical Tradition in Art](new/books_and_papers/classical_tradition_book/index.html); - [The Greek and Roman Cities of Western Turkey](http://rubens.anu.edu.au/raider4/turkey/turkeybook/toc.html); - [Spolia in Fortifications: Turkey, Syria and North Africa](http://rubens.anu.edu.au/new/books_and_papers/spoleto.paper/introduction.html); - [The Survival of Roman Antiquities in the Middle Ages](http://rubens/new/books_and_papers/survival.publish/); - **Mediaeval materials:** As well as in the *countries* listings above, see: 1. A survey of [manuscripts](htdocs/bytype/manuscripts), and [the Bamberg Apocalypse](./htdocs/bytype/manuscripts/bamberg/); - Textiles: [The Bayeux Tapestry](./htdocs/bytype/textiles/bayeux/); - **Embellishments:** [typefaces](/htdocs/bytype/typefaces), [frames and culs-de-lampe](/htdocs/laserdisk/0181/), - **Film:** Riefenstahl's [triumph of the will](./htdocs/bytype/film/riefenstahl/triumph) and [olympiad](./htdocs/bytype/film/riefenstahl/olympiad); ---**
http://rubens.anu.edu.au/
<html> <HEAD> <TITLE>Clark's Garage Home Page</TITLE> <META NAME="keywords" CONTENT="porsche, Porsche, PORSCHE, porsche 944, Porsche 944, PORSCHE 944, porsche 944 turbo, Porsche 944 Turbo, 924, 928, Turbo"> <META NAME="description" CONTENT="The Porsche 944 Garage. For Porsche 944 and 944 Turbo owners. Also contains information for Porsche 924 and 928 owners."> </HEAD> <FRAMESET COLS="20%,80%"> <FRAME SRC="menu3.htm"> <FRAME SRC="home2.htm" name="window1"> </FRAMESET> </html>
Clark's Garage Home Page
http://www.clarks-garage.com/
<html><head> <TITLE>Star Trek: WWW</TITLE> <meta http-equiv="Keywords" content="star trek startrek Star Trek scifi science fiction, the next generation, tng, deep space nine, ds9, voyager, enterprise, first contact, generations, klingons, romulans, bajorans, cardassians, www"> <META NAME="description" CONTENT="The ULTIMATE resource for Star Trek info on the Internet. Every known Star Trek homepage is listed here, as well as Star Trek newsgroups and mailing-lists. The most comprehensive (and without doubt the most copied) Star Trek index-site of the Internet!"> <SCRIPT language="JavaScript"> <!-- //This is a test to determine the browser type var ok_browser = 1; bName = navigator.appName; bVer = parseInt(navigator.appVersion); ver = "n2" if (bName == "Netscape" && bVer >= 3) ver = "n3"; else if (bName == "Netscape" && bVer == 2) ver = "n2"; else if (bName == "Microsoft Internet Explorer" && bVer >= 4) ver = "e4"; if (ver == "n3" || ver == "e4") ok_browser = 0; else ok_browser = 1; if ( ok_browser == 0 ) { image1on = new Image(); image1on.src = "/enter-h.gif"; image1off = new Image(); image1off.src = "/enter.gif"; } function imageon(myname) { if ( ok_browser == 0 ) { imgOn = eval(myname + "on.src"); document[myname].src = imgOn; } } function imageoff(myname) { if ( ok_browser == 0 ) { imgOff = eval(myname + "off.src"); document[myname].src = imgOff; } } // --> </script> </head> <body bgcolor="#000000" text="#EBEBEB" link="#00FFFF" vlink="#FF0000"> <center> <img src="img/misc/titolo2.gif" width=582 height=102 alt="Star Trek: WWW" border=0> <br><br> <img src="img/misc/mother.gif" width=511 height=37 alt="The mother of all Star Trek sites" border=0> <br><br> <br> <img src="img/misc/online.gif" border=0 alt="Online since 1994" > <br><br> <script type="text/javascript"><!-- google_ad_client = "pub-1451525991010441"; /* 728x90, creato 22/02/10 */ google_ad_slot = "5844627025"; google_ad_width = 728; google_ad_height = 90; //--> </script> <script type="text/javascript" src="http://pagead2.googlesyndication.com/pagead/show_ads.js"> </script> <br> <img src="img/misc/pixel.gif" width=1 height=25> <br> <img src="img/misc/freccias.gif"><a href="index2.html" onMouseOver="imageon('image1');window.status='Enter Star Trek WWW here';return true" onMouseOut="imageoff('image1');window.status=''; return true"><IMG NAME="image1" src="enter.gif" width=67 height=24 alt="Enter Star Trek WWW here" border=0></A><img src="img/misc/frecciad.gif"> <br> <img src="img/misc/pixel.gif" width=1 height=10> <br> <font size=2 face="arial,helvetica" color="00FF00"> Last updated on earthdate <strong>200106.27</strong> </font> <br> <img src="img/misc/pixel.gif" width=1 height=15> <br> <table width=65%> <tr> <td align=middle valign=bottom> <font size=1 face="arial,helvetica"><strong> Copyright &#169; 1994-2005</font> <br> <img src="img/misc/pixel.gif" width=1 height=15> <br> <!--- <font size=1 face="arial,helvetica" color="#FFFFFF">Advertisement:</font><br> <a href="http://www.sagre.it"><img src="img/banners/sagre-300x250-nero.jpg" alt="Tutte le sagre d'Italia" border=0><br> Tutte le sagre d'Italia!</a> ---> </td> </tr></table> <br> <img src="img/misc/pixel.gif" width=1 height=15> <br> <table width=80% border=0><tr><td align=middle> <font size=1 face="arial,helvetica" color="808080"> <i>Star Trek</i>&#174; <i>Star Trek: The Next Generation</i>&#174; <i>Star Trek: Deep Space Nine</i>&#174; <i>Star Trek: Voyager</i>&#174; and <i>Enterprise</i>&#174; are registered trademarks of Paramount Pictures registered in the United States Patent and Trademark Office. No Infringement Intended.</font> </td></tr></table></center> </body> </html>
Star Trek: WWW <!-- //This is a test to determine the browser type var ok\_browser = 1; bName = navigator.appName; bVer = parseInt(navigator.appVersion); ver = "n2" if (bName == "Netscape" && bVer >= 3) ver = "n3"; else if (bName == "Netscape" && bVer == 2) ver = "n2"; else if (bName == "Microsoft Internet Explorer" && bVer >= 4) ver = "e4"; if (ver == "n3" || ver == "e4") ok\_browser = 0; else ok\_browser = 1; if ( ok\_browser == 0 ) { image1on = new Image(); image1on.src = "/enter-h.gif"; image1off = new Image(); image1off.src = "/enter.gif"; } function imageon(myname) { if ( ok\_browser == 0 ) { imgOn = eval(myname + "on.src"); document[myname].src = imgOn; } } function imageoff(myname) { if ( ok\_browser == 0 ) { imgOff = eval(myname + "off.src"); document[myname].src = imgOff; } } // --> ![Star Trek: WWW](img/misc/titolo2.gif) ![The mother of all Star Trek sites](img/misc/mother.gif) ![Online since 1994](img/misc/online.gif) <!-- google\_ad\_client = "pub-1451525991010441"; /\* 728x90, creato 22/02/10 \*/ google\_ad\_slot = "5844627025"; google\_ad\_width = 728; google\_ad\_height = 90; //--> ![](img/misc/pixel.gif) ![](img/misc/freccias.gif)[![Enter Star Trek WWW here](enter.gif)](index2.html)![](img/misc/frecciad.gif) ![](img/misc/pixel.gif) Last updated on earthdate **200106.27** ![](img/misc/pixel.gif) | | | --- | | **Copyright © 1994-2005** | ![](img/misc/pixel.gif) | | | --- | | *Star Trek*® *Star Trek: The Next Generation*® *Star Trek: Deep Space Nine*® *Star Trek: Voyager*® and *Enterprise*® are registered trademarks of Paramount Pictures registered in the United States Patent and Trademark Office. No Infringement Intended. |
http://www.stwww.com/
<html> <head> <title>Sister Wendy's American Collection | Selected Works | American Gothic</title> <!-- #bbinclude works_dummyjs.incl --> <script language="JavaScript"> <!-- //Dummy functions for Browsers that dont support linked "js" files function preload_worksnav() { return true; } function preload_workshome() { return true; } function on_nav(roll, feature) { return true; } function off_nav(roll, feature) { return true; } function reset_menu(roll, feature) { return true; } function on(feature) { return true; } function off(feature) { return true; } function pop(type, feature, x, y) { return true; } // --> </script> <!-- end bbinclude --> <script language="JavaScript" type="text/javascript" src="../js/works.js"></script> <link rel="stylesheet" type="text/css" href="../sisterwendy.css"> </head> <body background="images/background.gif" bgcolor="#ffffff" text="#000000" link="#003366" vlink="#666666" marginwidth=0 marginheight=0 topmargin=0 leftmargin=0 onLoad="preload_worksnav();"> <!-- navbar table --> <TABLE BORDER=0 CELLPADDING=0 CELLSPACING=0 BGCOLOR="#CCCCCC" width="759"> <TR> <TD><IMG SRC="images/spacer.gif" WIDTH="9" HEIGHT="1" BORDER="0" alt=""></TD> <TD><IMG SRC="images/spacer.gif" WIDTH="740" HEIGHT="1" BORDER="0" alt=""></TD> <TD><IMG SRC="images/spacer.gif" WIDTH="9" HEIGHT="1" BORDER="0" alt=""></TD> </TR> <TR> <TD><IMG SRC="images/spacer.gif" WIDTH="9" HEIGHT="36" BORDER="0" alt=""></TD> <TD WIDTH=740><!-- JAWS Header/Localization Delivery --> <script>var PBS_CHROME_CONFIG = {'api_key': '0087d141-33da-42a1-9e9f-797eb00e162e'};</script><script type="text/javascript" src="//d2ok2u3bz752mp.cloudfront.net/js/gc.js"></script> <!-- Google Tag Manager Delivery --> <!-- Ad Banners --> <!-- Google Tag Manager Delivery --> <script type="text/javascript"> GTMDataLayer = []; </script> <noscript><iframe src="//www.googletagmanager.com/ns.html?id=GTM-TWTDGH" height="0" width="0" style="display:none;visibility:hidden"></iframe></noscript> <script>(function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='//www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','GTMDataLayer','GTM-TWTDGH');</script> </TD> <TD><IMG SRC="images/spacer.gif" WIDTH="9" HEIGHT="36" BORDER="0" alt=""></TD> </TR> <TR> <TD COLSPAN=3><IMG SRC="images/spacer.gif" WIDTH="758" HEIGHT="1" BORDER="0" alt=""></TD> </TR> </TABLE> <!-- end navbar table --> <!-- header table --> <table cellpadding=0 cellspacing=0 border=0 width=759> <tr> <td colspan=2 bgcolor="#6699CC"><img src="images/spacer.gif" alt="" width=759 height=7 border=0><br> <img src="images/spacer.gif" alt="" width=283 height=15 border=0><a href="../works/index.html"><img src="../images/nav_works_on.gif" alt="Selected Works" width=80 height=15 border=0></a><img src="../images/nav_divider.gif" alt="|" width=20 height=15 border=0><a href="../meet/index.html"><img src="../images/nav_meet.gif" alt="Meet Sister Wendy" width=98 height=15 border=0></a><img src="../images/nav_divider.gif" alt="|" width=20 height=15 border=0><a href="../about/index.html"><img src="../images/nav_about.gif" alt="About the Series" width=88 height=15 border=0></a><img src="../images/nav_divider.gif" alt="|" width=20 height=15 border=0><a href="../museums/index.html"><img src="../images/nav_museums.gif" alt="The Museums" width=71 height=15 border=0></a><img src="../images/nav_divider.gif" alt="|" width=20 height=15 border=0><a href="../sitemap.html"><img src="../images/nav_sitemap.gif" alt="Site Map" width=46 height=15 border=0></a><img src="images/spacer.gif" alt="" width=13 height=15 border=0></td> </tr> <tr> <td colspan=2 bgcolor="#6699CC"><a href="../index.html"><img src="../images/nav_header.gif" alt="Sister Wendy's American Collection" width=378 height=65 border=0></a><img src="images/spacer.gif" alt="" width=381 height=65 border=0></td> </tr> <tr> <td><img src="images/nav_wendy.gif" alt="" width=83 height=83 border=0></td> <td bgcolor="#000033"><img src="images/nav_amcheader_works.gif" alt="Selected Works" width=676 height=22 border=0 usemap="#nav_amcheader_works"><br> <img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="ame.html" onMouseOver="on_nav('aic_ame', 'aic_ame');"><img name="aic_ame" src="images/nav_aic_ame_on.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="dru.html" onMouseOver="on_nav('aic_dru', 'aic_ame');" onMouseOut="off_nav('aic_dru', 'aic_ame');"><img name="aic_dru" src="images/nav_aic_dru.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="cit.html" onMouseOver="on_nav('aic_cit', 'aic_ame');" onMouseOut="off_nav('aic_cit', 'aic_ame');"><img name="aic_cit" src="images/nav_aic_cit.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="hou.html" onMouseOver="on_nav('cle_hou', 'aic_ame');" onMouseOut="off_nav('cle_hou', 'aic_ame');"><img name="cle_hou" src="images/nav_cle_hou.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="sta.html" onMouseOver="on_nav('cle_sta', 'aic_ame');" onMouseOut="off_nav('cle_sta', 'aic_ame');"><img name="cle_sta" src="images/nav_cle_sta.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="lem.html" onMouseOver="on_nav('cle_lem', 'aic_ame');" onMouseOut="off_nav('cle_lem', 'aic_ame');"><img name="cle_lem" src="images/nav_cle_lem.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="exi.html" onMouseOver="on_nav('kim_exi', 'aic_ame');" onMouseOut="off_nav('kim_exi', 'aic_ame');"><img name="kim_exi" src="images/nav_kim_exi.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="mai.html" onMouseOver="on_nav('kim_mai', 'aic_ame');" onMouseOut="off_nav('kim_mai', 'aic_ame');"><img name="kim_mai" src="images/nav_kim_mai.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="bod.html" onMouseOver="on_nav('kim_bod', 'aic_ame');" onMouseOut="off_nav('kim_bod', 'aic_ame');"><img name="kim_bod" src="images/nav_kim_bod.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="mot.html" onMouseOver="on_nav('lac_mot', 'aic_ame');" onMouseOut="off_nav('lac_mot', 'aic_ame');"><img name="lac_mot" src="images/nav_lac_mot.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="net.html" onMouseOver="on_nav('lac_net', 'aic_ame');" onMouseOut="off_nav('lac_net', 'aic_ame');"><img name="lac_net" src="images/nav_lac_net.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="oce.html" onMouseOver="on_nav('lac_oce', 'aic_ame');" onMouseOut="off_nav('lac_oce', 'aic_ame');"><img name="lac_oce" src="images/nav_lac_oce.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="bis.html" onMouseOver="on_nav('met_bis', 'aic_ame');" onMouseOut="off_nav('met_bis', 'aic_ame');"><img name="met_bis" src="images/nav_met_bis.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="roy.html" onMouseOver="on_nav('met_roy', 'aic_ame');" onMouseOut="off_nav('met_roy', 'aic_ame');"><img name="met_roy" src="images/nav_met_roy.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="tug.html" onMouseOver="on_nav('met_tug', 'aic_ame');" onMouseOut="off_nav('met_tug', 'aic_ame');"><img name="met_tug" src="images/nav_met_tug.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="dau.html" onMouseOver="on_nav('mfa_dau', 'aic_ame');" onMouseOut="off_nav('mfa_dau', 'aic_ame');"><img name="mfa_dau" src="images/nav_mfa_dau.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="pia.html" onMouseOver="on_nav('mfa_pia', 'aic_ame');" onMouseOut="off_nav('mfa_pia', 'aic_ame');"><img name="mfa_pia" src="images/nav_mfa_pia.gif" alt="" width=28 height=46 border=0></a><img src="images/spacer.gif" alt="" width=9 height=46 border=0><a href="mim.html" onMouseOver="on_nav('mfa_mim', 'aic_ame');" onMouseOut="off_nav('mfa_mim', 'aic_ame');"><img name="mfa_mim" src="images/nav_mfa_mim.gif" alt="" width=28 height=46 border=0></a><br> <img name="museum" src="images/nav_aic_ame_title.gif" alt="" width=676 height=15 border=0></td> </tr> </table> <!-- end header table --> <br><br> <!-- main table --> <table cellpadding=0 cellspacing=0 border=0 width=697> <tr> <td width=83><img src="images/spacer.gif" alt="" width=83 height=1 border=0></td> <td width=251 valign=top><img src="images/aic_ame.jpg" alt="" width=251 height=305 border=0><br> <img src="images/larger_jf.gif" alt="" width="251" height="47" border="0" usemap="#larger"><br> <img src="images/aic_ame_quote.gif" alt="" width=251 height=236 border=0> </td> <td width=17><img src="images/spacer.gif" alt="" width=17 height=1 border=0></td> <td width=346 valign=top><img src="images/aic_ame_title.gif" alt="American Gothic" width=346 height=31 border=0><br> <font face="verdana, arial, helvetica" class="sizeminus1" size="-1"><b>The Art Institute of Chicago</b><br> Grant Wood, American (1891-1942)<br> 1930<br> Oil on beaverboard<br> 29 1/4 x 24 5/8 in. (74.3 x 62.4 cm)<br> Friends of American Art Collection<br> Acquired in 1930</font><br><br> <font face="verdana, arial, helvetica" class="credit" size="1" color="#999999">Grant Wood, American, 1891-1942, <i>American Gothic,</i> 1930, oil on beaverboard, 74.3 x 62.4 cm, Friends of American Art Collection, All rights reserved by the Art Institute of Chicago and VAGA, New York, NY, 1930.934, digital file &copy; The Art Institute of Chicago. All Rights Reserved.</font><br><br> <img src="images/dottedline.gif" alt="" width=346 height=1 border=0><br><br> <font face="verdana, arial, helvetica">Regionalism in American painting developed at the beginning of the Great Depression in 1929. Exclusively Midwestern in origin, Regionalism portrayed American life as simple and rural, in direct contrast to the urban-based Realist paintings that had dominated the American art scene since the turn of the century. Unlike Realism, Regionalism left no room for social criticism.<br><br> So went the theory. In reality, this may not have always been so. Since first shown at the Art Institute of Chicago in 1930, Grant Wood's <i>American Gothic</i> has been fodder for speculation. In one camp were those who believed the painting was a celebration of "American" values; in the other were those who saw it as a satiric critique of the selfsame thing. The pair's dour expressions led many outside the Midwest to believe that Wood, a self-proclaimed Regionalist, was poking fun at rural life. Wood himself denied this in some interviews, but in others hinted that there were indeed some satiric elements present. (He wouldn't say which elements those were.)<br><br> Wood's subjects spurred much of the debate. Was the pair a farmer husband and wife, or a father and daughter? Many Iowa farmers' wives objected to what they perceived as a negative portrayal, writing letters of complaint to the artist. Wood later revealed that the models were his 30-year-old sister and their 62-year-old family dentist.<br><br> The subjects' motivations, even when considered as father and daughter, are unclear: The man may be a farmer holding a pitchfork, nothing more than a piece of farming equipment. Or he may not be a farmer at all, but a preacher, perhaps, jealously guarding his daughter from male suitors. Critics who interpret the woman as his daughter have often assumed that she was a spinster -- but just what kind of spinster is left to the imagination. Some see the stray curl at the nape of her neck as related to the snake plant in the background, each one symbolizing a sharp-tongued "old maid." Sister Wendy sees in the curl, however, a sign that she is not as repressed as her buttoned-up exterior might indicate.</font><br><br> <font face="verdana, arial, helvetica" class="sizeminus1" size="-1">Grant Wood's <i>American Gothic</i> has been part of the Art Institute of Chicago's Department of Modern and Contemporary Art since he debuted it there in 1930. The AIC's modern art collection is considered one of the best and most comprehensive in the world.</font></td> </tr> </table> <!-- end main table --> <br clear=all><br> <!-- #bbinclude "works_footer.incl" --> <table cellpadding=0 cellspacing=0 border=0 width=759> <tr> <td width=83><img src="images/spacer.gif" alt="" width=83 height=1 border=0></td> <td width=676><font face="Verdana, Arial, Helvetica" size="2" class="sizeminus1"><a href="ame.html">American Gothic</a> | <a href="dru.html">Ceremonial Drum</a> | <a href="cit.html">City Landscape</a> | <a href="hou.html">The Hours of Queen Isabella the Catholic<br> <a href="sta.html">Stag at Sharkey's</a> | <a href="lem.html">Still Life with Two Lemons</a> | <a href="exi.html">An Exiled Emperor on Okinoshima</a><br> <a href="mai.html">Maison Maria with a View of Ch&acirc;teau Noir</a> | <a href="bod.html">Standing Bodhisattva</a> | <a href="mot.html">Mother About to Wash Her Sleepy Child</a><br> <a href="net.html">Netsuke: Baku, Monster Who Eats Nightmares</a> | <a href="oce.html">Ocean Park Series #49</a> | <a href="bis.html">Bis Poles</a> | <a href="roy.html">Royal Statuary of Hatshepsut</a><br> <a href="tug.html">Tughra of Suleyman the Magnificent</a> | <a href="dau.html">The Daughters of Edward Darley Boit</a> | <a href="pia.html">Grand Piano</a> | <a href="mim.html">Mimbres Bowl</a></font></td> </tr> </table> <!-- end bbinclude --> <!-- #bbinclude "footer.incl" --> <table cellpadding=0 cellspacing=0 border=0 width=759> <tr> <td width=83><img src="images/spacer.gif" alt="" width=83 height=1 border=0></td> <td width=676><font face="Verdana, Arial, Helvetica" size="2" class="sizeminus1"><hr> <a href="/wgbh/sisterwendy/works/index.html">Selected Works</a> | <a href="/wgbh/sisterwendy/meet/index.html">Meet Sister Wendy</a> | <a href="/wgbh/sisterwendy/about/index.html">About the Series</a> | <a href="/wgbh/sisterwendy/museums/index.html">The Museums</a> | <a href="/wgbh/sisterwendy/sitemap.html">Site Map</a><br> <a href="http://main.wgbh.org/">WGBH</a> | <a href="http://www.pbs.org/">PBS</a> | <a href="/wgbh/sisterwendy/copyright.html">&copy;</a><br> </font></td> </tr> </table> <!-- end bbinclude --> <br><br> <map name="nav_amcheader_works"> <area shape="rect" coords="540, 2, 673, 22" href="index.html" alt="Selected Works Menu Page"> </map> <map name="larger"> <area shape="rect" coords="0, 0, 127, 26" href="#" alt="Larger version (JPG)" onClick="pop('large', 'ame', '536', '731'); return false;"> <area shape="rect" coords="129, 0, 251, 26" href="#" alt="Detail viewer (Flash)" onClick="pop('flash', 'ame', '489', '426'); return false;"> </map> </body> </html>
Sister Wendy's American Collection | Selected Works | American Gothic <!-- //Dummy functions for Browsers that dont support linked "js" files function preload\_worksnav() { return true; } function preload\_workshome() { return true; } function on\_nav(roll, feature) { return true; } function off\_nav(roll, feature) { return true; } function reset\_menu(roll, feature) { return true; } function on(feature) { return true; } function off(feature) { return true; } function pop(type, feature, x, y) { return true; } // --> | | | | | --- | --- | --- | | | | | | | var PBS\_CHROME\_CONFIG = {'api\_key': '0087d141-33da-42a1-9e9f-797eb00e162e'}; GTMDataLayer = []; (function(w,d,s,l,i){w[l]=w[l]||[];w[l].push({'gtm.start':new Date().getTime(),event:'gtm.js'});var f=d.getElementsByTagName(s)[0],j=d.createElement(s),dl=l!='dataLayer'?'&l='+l:'';j.async=true;j.src='//www.googletagmanager.com/gtm.js?id='+i+dl;f.parentNode.insertBefore(j,f);})(window,document,'script','GTMDataLayer','GTM-TWTDGH'); | | | | | | | --- | | [Selected Works](../works/index.html)|[Meet Sister Wendy](../meet/index.html)|[About the Series](../about/index.html)|[The Museums](../museums/index.html)|[Site Map](../sitemap.html) | | [Sister Wendy's American Collection](../index.html) | | | Selected Works | | | | | | | --- | --- | --- | --- | | | | | American Gothic **The Art Institute of Chicago** Grant Wood, American (1891-1942) 1930 Oil on beaverboard 29 1/4 x 24 5/8 in. (74.3 x 62.4 cm) Friends of American Art Collection Acquired in 1930 Grant Wood, American, 1891-1942, *American Gothic,* 1930, oil on beaverboard, 74.3 x 62.4 cm, Friends of American Art Collection, All rights reserved by the Art Institute of Chicago and VAGA, New York, NY, 1930.934, digital file © The Art Institute of Chicago. All Rights Reserved. Regionalism in American painting developed at the beginning of the Great Depression in 1929. Exclusively Midwestern in origin, Regionalism portrayed American life as simple and rural, in direct contrast to the urban-based Realist paintings that had dominated the American art scene since the turn of the century. Unlike Realism, Regionalism left no room for social criticism. So went the theory. In reality, this may not have always been so. Since first shown at the Art Institute of Chicago in 1930, Grant Wood's *American Gothic* has been fodder for speculation. In one camp were those who believed the painting was a celebration of "American" values; in the other were those who saw it as a satiric critique of the selfsame thing. The pair's dour expressions led many outside the Midwest to believe that Wood, a self-proclaimed Regionalist, was poking fun at rural life. Wood himself denied this in some interviews, but in others hinted that there were indeed some satiric elements present. (He wouldn't say which elements those were.) Wood's subjects spurred much of the debate. Was the pair a farmer husband and wife, or a father and daughter? Many Iowa farmers' wives objected to what they perceived as a negative portrayal, writing letters of complaint to the artist. Wood later revealed that the models were his 30-year-old sister and their 62-year-old family dentist. The subjects' motivations, even when considered as father and daughter, are unclear: The man may be a farmer holding a pitchfork, nothing more than a piece of farming equipment. Or he may not be a farmer at all, but a preacher, perhaps, jealously guarding his daughter from male suitors. Critics who interpret the woman as his daughter have often assumed that she was a spinster -- but just what kind of spinster is left to the imagination. Some see the stray curl at the nape of her neck as related to the snake plant in the background, each one symbolizing a sharp-tongued "old maid." Sister Wendy sees in the curl, however, a sign that she is not as repressed as her buttoned-up exterior might indicate. Grant Wood's *American Gothic* has been part of the Art Institute of Chicago's Department of Modern and Contemporary Art since he debuted it there in 1930. The AIC's modern art collection is considered one of the best and most comprehensive in the world. | | | | | --- | --- | | | [American Gothic](ame.html) | [Ceremonial Drum](dru.html) | [City Landscape](cit.html) | [The Hours of Queen Isabella the Catholic [Stag at Sharkey's](sta.html) | [Still Life with Two Lemons](lem.html) | [An Exiled Emperor on Okinoshima](exi.html) [Maison Maria with a View of Château Noir](mai.html) | [Standing Bodhisattva](bod.html) | [Mother About to Wash Her Sleepy Child](mot.html) [Netsuke: Baku, Monster Who Eats Nightmares](net.html) | [Ocean Park Series #49](oce.html) | [Bis Poles](bis.html) | [Royal Statuary of Hatshepsut](roy.html) [Tughra of Suleyman the Magnificent](tug.html) | [The Daughters of Edward Darley Boit](dau.html) | [Grand Piano](pia.html) | [Mimbres Bowl](mim.html)](hou.html) | | | | | --- | --- | | | --- [Selected Works](/wgbh/sisterwendy/works/index.html) | [Meet Sister Wendy](/wgbh/sisterwendy/meet/index.html) | [About the Series](/wgbh/sisterwendy/about/index.html) | [The Museums](/wgbh/sisterwendy/museums/index.html) | [Site Map](/wgbh/sisterwendy/sitemap.html) [WGBH](http://main.wgbh.org/) | [PBS](http://www.pbs.org/) | [©](/wgbh/sisterwendy/copyright.html) |
http://www.pbs.org/wgbh/sisterwendy/works/ame.html
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html> <head> <!-- Created by GNNpress/1.2 --> <title>The Gallery of Monster Toys</title> </head> <body style="color: rgb(255, 0, 0); background-color: rgb(0, 0, 0);" link="#ffff00" vlink="#00f200"> <h4> <p align="center"> <img src="1h_clas.gif" align="middle" border="0" height="72" width="72"><b>Monster Castle Productions</b>&nbsp;<img src="1h_clas.gif" align="middle" border="0" height="72" width="72"> </p> </h4> <h4> <p align="center"> <i>presents</i> </p> </h4> <p align="center"> <img alt="The Gallery of Monster Toys" src="gall.gif" border="0" height="327" width="458"></p> <p align="center"> </p> <p> </p> <h1 align="center"> <b>Introduction</b> </h1> <h4 align="justify"> The Gallery of Monster Toys is dedicated to preserving a disappearing facet of our popular culture. Vintage monster toys are typically overlooked by collectors, largely because they seem obsolete in today's world. The toys in this gallery are not, for the most part, "slick" or "hyper-detailed." They are humble and imperfect. They depict flawed, tortured creatures. These toys capture a time when horror was fun. A time when monsters seemed like "big brothers" to their young fans. I hope those who visit the Gallery will acquire an appreciation, not only for the toys pictured, but for all that they represent. This web site is for all those boys and girls&nbsp;who grew up watching Creature Features and Chiller Theaters, reading Famous Monsters of Filmland, and playing with these cherished toys...and for all those who wished they had. </h4> <p> </p> <p align="center"> <img alt="red bar" src="redbar.gif" border="0" height="11" width="593"></p> <p> </p> <h1 align="center"> <b><big>Contents</big></b> </h1> <p> </p> <p align="center"> <a href="http://thegalleryofmonstertoys.com/60swing/60smainpage.html"><img src="1960s.gif" border="0" height="115" width="312"></a></p> <p align="center"> <a href="http://thegalleryofmonstertoys.com/70swing/70smainpage.html"><img src="1970s.gif" border="0" height="112" width="312"></a></p> <p align="center"> <a href="http://thegalleryofmonstertoys.com/80swing/80smainpage.html"><img src="1980s.gif" border="0" height="112" width="312"></a></p> <p align="center"> <a href="http://thegalleryofmonstertoys.com/90swing/90smainpage.html"><img src="1990s.gif" border="0" height="112" width="312"></a></p> <p align="center"> </p> <h3> <p align="center"> <b><a href="http://thegalleryofmonstertoys.com/curator.html">A Word From The Curator</a></b> </p> </h3> <h3 align="center"> <b><a href="http://thegalleryofmonstertoys.com/mf2000.html">Monster Fan 2000</a></b> </h3> <h3> <p align="center"> <b><a href="http://thegalleryofmonstertoys.com/mnstrkds.html">The Monster Kids</a></b> </p> </h3> <h3 align="center"> <b><a href="http://thegalleryofmonstertoys.com/msc.html">Miscellaneous Goodies</a></b> </h3> <h3 align="center"> <b><a href="http://thegalleryofmonstertoys.com/ack.html">My Trip To The Ackermansion</a></b> </h3> <h3> <p align="center"> <b><a href="http://www.thegalleryofmonstertoys.com/zedocaixao/zedocaixao.html">Ze do Caixao Gallery</a></b> </p> </h3> <h3 align="center"> <b><a href="http://thegalleryofmonstertoys.com/faq.html">Frequently Asked Questions</a></b> </h3> <h3 align="center"> <b><a href="http://thegalleryofmonstertoys.com/links.html">Links To Other Websites</a></b> </h3> <br> <div style="text-align: center;"><a href="http://www.stateofhorror.com/"><img src="statesmall.gif" border="0" height="194" width="229"></a><br> </div> <br> <br> <div style="text-align: center;"><a href="http://www.stateofhorror.com/demonio.html"><img style="border: 0px solid ; width: 600px; height: 263px;" alt="Diary do Demonio" src="demonioicon.gif"></a></div> &nbsp; &nbsp; &nbsp; &nbsp; <p align="center"><img src="redbar.gif" border="0" height="11" width="640"> </p> <h2 align="left"> Credits: </h2> <p> This website was created by <a href="mailto:raycastile@aol.com">Raymond Castile</a>, a newspaper reporter in Missouri. He has written articles for <i>Action</i> <i>Figure</i> <i>News</i> <i>&amp;</i> <i>Toy</i> <i>Review</i> magazine and contributed photos and information to books by Tomart Publications and <i>Arts &amp; Antiques</i> magazine. He also produced the 1995 video documentary, <i>In Love With Toys</i>. </p> <p> Most of the toys pictured on this site are from the collection of Raymond Castile. Many additional toys were provided by Andrew Williams, David Villiard, Jon Prabel, Brian Heiler, Rob Bollt, Gary and Dee Knechtle, Sharon Cady, George A. Baker and other kind collectors. </p> <p> Want to see another creepy web site by Raymond Castile? Visit the <a href="http://www.stateofhorror.com">State of Horror</a> - if you dare! </p> <p> </p> <h4> <a href="http://www.digits.com">Web-Counter says:</a> </h4> <h3> <p align="left"> <img src="http://counter.digits.com/wc/-d/6/MonsterToyCounter" align="middle" border="0" height="20" hspace="4" width="60">Creatures have visited this site. </p> </h3> <hr style="width: 100%; height: 2px;"> <p align="left"></p> <p align="left"><a href="http://www.universalmonsterarmy.com"><img style="border: 0px solid ; width: 450px; height: 54px;" alt="Universal Monster Army banner" src="umabanner.gif"></a></p> <h6> <p align="left">Join the UMA, an online community of monster fans just like you!</p> </h6> <h6><a href="http://bobburns.mycottage.com/"><img src="kogar.gif" border="0"></a></h6> <h6>&nbsp;"This site has received the Bob Burns Kogar Award."</h6> <h6><a href="http://www.best.com/%7E4forry/foyer.shtml"><img src="forry.jpg" border="0" height="126" width="69"></a></h6> <h6>Picked by Forrest J. Ackerman as one of "Forry's (4e's) Faves."</h6> <br> <h6><a href="http://www.toymania.com/"><img src="ctsotw.gif" border="0" height="89" width="131"></a>Picked as the "Cool Toy Site of the Week" 4/28/96 by the Raving Toy Maniac. </h6> <p align="center"> <img alt="red bar" src="redbar.gif" border="0" height="11" width="593"></p> <p> </p> <h6> Copyright 1996 Monster Castle Productions, Inc. </h6> <h6> The Karloff Frankenstein is a trademark of Universal Studios and Karloff Enterprises. Frankenstein image included in NaviPress netbuilding software, which was originally used to build this site. </h6> <h6> Created by <a href="mailto:raycastile@aol.com">Raymond Castile</a>. </h6> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> <p> </p> </body> </html>
The Gallery of Monster Toys #### **Monster Castle Productions** #### *presents* ![The Gallery of Monster Toys](gall.gif) # **Introduction** #### The Gallery of Monster Toys is dedicated to preserving a disappearing facet of our popular culture. Vintage monster toys are typically overlooked by collectors, largely because they seem obsolete in today's world. The toys in this gallery are not, for the most part, "slick" or "hyper-detailed." They are humble and imperfect. They depict flawed, tortured creatures. These toys capture a time when horror was fun. A time when monsters seemed like "big brothers" to their young fans. I hope those who visit the Gallery will acquire an appreciation, not only for the toys pictured, but for all that they represent. This web site is for all those boys and girls who grew up watching Creature Features and Chiller Theaters, reading Famous Monsters of Filmland, and playing with these cherished toys...and for all those who wished they had. ![red bar](redbar.gif) # **Contents** [![](1960s.gif)](http://thegalleryofmonstertoys.com/60swing/60smainpage.html) [![](1970s.gif)](http://thegalleryofmonstertoys.com/70swing/70smainpage.html) [![](1980s.gif)](http://thegalleryofmonstertoys.com/80swing/80smainpage.html) [![](1990s.gif)](http://thegalleryofmonstertoys.com/90swing/90smainpage.html) ### **[A Word From The Curator](http://thegalleryofmonstertoys.com/curator.html)** ### **[Monster Fan 2000](http://thegalleryofmonstertoys.com/mf2000.html)** ### **[The Monster Kids](http://thegalleryofmonstertoys.com/mnstrkds.html)** ### **[Miscellaneous Goodies](http://thegalleryofmonstertoys.com/msc.html)** ### **[My Trip To The Ackermansion](http://thegalleryofmonstertoys.com/ack.html)** ### **[Ze do Caixao Gallery](http://www.thegalleryofmonstertoys.com/zedocaixao/zedocaixao.html)** ### **[Frequently Asked Questions](http://thegalleryofmonstertoys.com/faq.html)** ### **[Links To Other Websites](http://thegalleryofmonstertoys.com/links.html)** [![](statesmall.gif)](http://www.stateofhorror.com/) [![Diary do Demonio](demonioicon.gif)](http://www.stateofhorror.com/demonio.html)         ![](redbar.gif) ## Credits: This website was created by [Raymond Castile](mailto:raycastile@aol.com), a newspaper reporter in Missouri. He has written articles for *Action* *Figure* *News* *&* *Toy* *Review* magazine and contributed photos and information to books by Tomart Publications and *Arts & Antiques* magazine. He also produced the 1995 video documentary, *In Love With Toys*. Most of the toys pictured on this site are from the collection of Raymond Castile. Many additional toys were provided by Andrew Williams, David Villiard, Jon Prabel, Brian Heiler, Rob Bollt, Gary and Dee Knechtle, Sharon Cady, George A. Baker and other kind collectors. Want to see another creepy web site by Raymond Castile? Visit the [State of Horror](http://www.stateofhorror.com) - if you dare! #### [Web-Counter says:](http://www.digits.com) ### Creatures have visited this site. --- [![Universal Monster Army banner](umabanner.gif)](http://www.universalmonsterarmy.com) ###### Join the UMA, an online community of monster fans just like you! ###### ######  "This site has received the Bob Burns Kogar Award." ###### ###### Picked by Forrest J. Ackerman as one of "Forry's (4e's) Faves." ###### Picked as the "Cool Toy Site of the Week" 4/28/96 by the Raving Toy Maniac. ![red bar](redbar.gif) ###### Copyright 1996 Monster Castle Productions, Inc. ###### The Karloff Frankenstein is a trademark of Universal Studios and Karloff Enterprises. Frankenstein image included in NaviPress netbuilding software, which was originally used to build this site. ###### Created by [Raymond Castile](mailto:raycastile@aol.com).
http://thegalleryofmonstertoys.com/
<html> <head> <base href="http://www.oldskool.org/shrines/lbd/" /> <title>Life Before Demos</title></head> <body background="graphics/circuit.gif"> <center> <img alt="Life Before Demos" width="429" height="53" src="graphics/lbdtitle.gif"> <h2>(or, Hobbyist Programming in the 1980's)</h2> <h3>by Trixter</h3> </center> <p>This document recounts the early days of fun computer stuff on the IBM PC, so whenever I refer to "the computer" or a similar generic term, I'm talking about an IBM. If I mention the "Tandy sound chip", I'm referring to the sound chip that was present in both the IBM PC Jr. and the Tandy clones (it's the same chip).</p> <h2>Introduction</h2> <p>Many demosceners go through changes in life that affect them profoundly--changes that either bring them into or force them out of the demo scene. I find myself in the latter, which saddens me a bit, as I have not yet given back fully to the scene that has given me so much. I also welcome the change, as it is time for me to pass the baton onward to the newer generation of people who will redefine what demos are. I look forward to what tomorrow's enterprising youth with a love of computers can bring to the demo scene.</p> <p>But the new blood probably has no idea what was interesting before demos came around in 1990. Sure, everyone can download GR8 / Future Crew and have a laugh or two, but that's the tail end of what I call "the golden age of PC fun." How did <strong>anything</strong> become interesting or cool on the PC--a machine with no dedicated graphics or music hardware? What held our attention before demos came along?</p> <p>Good question. Well, this article will attempt to describe the changes in my life that brought me into the scene--what was interesting to me as I grew up with a PC, starting out in 1984 with a new 4.77 MHz processor and ending in 1990, the proper birth of the PC scene. It will be fascinating to some, and only mildly interesting to others, but it needs to be remembered in the sea of Pentium Pros, Windows 95, and accelerated hardware. Trust me, it used to be <strong>nothing</strong> like it is now. :-)</p> <p>Also, I will try to cover some of the more eclectic technical information unless I don't remember it clearly, so if you want more info on how something was done, email me and there's a good chance I can find it somewhere. Hope you can parse BASIC code. :-)</p> <p>So, if you've ever wondered what was interesting or "demo-like" on the PC before demos came around, this article will probably explain it. Let's journey backward, shall we?</p> <h2>The Wonderful World of Games</h2> <p>Let's start briefly with something that held my fascination long before demos existed (and probably what contributed to their birth): Games. It's not too surprising that the most impressive stuff on any home computer is a game. Games are, in fact, some of the hardest things in the world to program, and in the early days, nothing was more true.</p> <p>Think about it: You had to do many or all of the following: Accept input, display graphics (quickly), play sound effects, process artificial intelligence and other game elements, and do it all quickly enough so that the user didn't feel cheated out of a decent gaming experience. Of course, there was a multitude of problems in doing this on <a href="graphics/ibm_pc.gif">the original PC</a>:</p> <ul> <li>The CPU, an Intel 8088, was a 16-bit processor (8-bit bus) running at 4.77 MHz.</li> <li>The sound hardware was a <a href="sound/pc_beep.au">single-voice tone generator</a> with no volume control.</li> <li>The stock graphics hardware (CGA) was limited to 4 colors, and had an interlaced memory organization (not nice and linear like Mode 13h).</li> <li>The bus was so slow that video memory and port writes were time-consuming; simply reading the joystick port took up to 15% of the CPU's time.</li> </ul> <p>So it's obvious that a well-written game that was fast and fun to play was incredibly impressive, since things just simply <strong>weren't</strong> fast on the PC. I will mention games liberally in my musings. Just thought you'd like to know. ;-)</p> <h2>Teaching An Old PC New Tricks</h2> <p>How do you make a bland, boring "business" computer do something impressive? Good question. While newer (1984) versions of the PC (<a href="graphics/ibm_pcjr.jpg">IBM's PCjr</a>, and Radio Shack's clone, the Tandy 1000) had more sound and graphics capabilities, the <a href="graphics/ibm_pc.gif">older PC</a> did not, and that was what had the largest installed user base. So, you had a couple of areas to improve on: Sound, Graphics, and anything that would speed up the system. Since a program's first impression was usually how it looked, many chose to improve the CGA graphics.</p> <p>CGA (Computer Graphics Adapter) always struck me as finicky. The video memory layout was interlaced, which means that the first 8K was every even-numbered scanline and the last 8K was every odd-numbered scanline. Plus, there were 192 bytes unused at the end of both 8K sections, so that became annoying to skip as well. Finally, you had one of two fixed palettes of nasty, ugly colors (cyan, magenta, and white; or red, green, and yellow) to choose from. While some of <a href="graphics/spacer_3.gif">the best artists</a> could <a href="graphics/mach3_2.gif">deal with four colors</a> adequately, the crappy color set usually disgusted the user.</p> <p>Well, I quickly found out that by fiddling with the video registers, I could get an unadvertised (to my manuals, anyway) color palette that seemed to combine the two palettes. The resulting 4-color palette had black, white, cyan, and red--<strong>much</strong> nicer. I'm sure this palette was advertised somewhere because some game I had used it, which is what got me sending random bytes to the video ports in the first place.</p> <p>Sending random bytes to the video registers, by the way, was <strong>extremely</strong> dangerous! If I had known that then, I wouldn't have even tried at all; I was lucky I didn't break anything. The monitors back then (1987 and earlier) were fixed frequency monitors, and ran at low frequencies. If you told the video card to do something outside of those frequencies, you stood an excellent chance of damaging the monitor. A friend of mine was trying to get the rumored CGA 16-color mode to work (more on this later) and <strong>destroyed</strong> his Compaq's built-in monitor, a small monochrome monitor that emulated color with different shades of gray. He went to the nearest Compaq dealership to get it replaced, and when they refused to fix it, he answered with something like, "Well, I could demonstrate how easy it is to break the monitor to your customers by typing in a three-line BASIC program on, oh... this machine over here," and pointed to their top-of-the-line machine that some customers were huddled around. They quickly replaced his monitor to shut him up. :-)</p> <p>Let's face it: CGA was crap. The C64 blew it away in terms of speed, and even an Apple ][+ had more colors to choose from. Anything you could do above what it was normally used for, quickly or differently, was neat. So, a bit of experimentation exposed that you could change the background color, usually black, to one of the 16 text colors. This allowed for a quick flash (possibly for an explosion in a game), which was slightly impressive since <strong>nothing</strong> about CGA was quick. This trick was also commonly used to change the black background to blue, which made it easier to draw bright and colorful pictures if you didn't need the color black. This same technique could be used to change the foreground and background color of the monochrome graphics in CGA's 640x200 2-color mode. (Love that <a href="graphics/640x200.gif">640x200 2.6:1 aspect ratio</a>--NOT!) This wasn't useful for games, but was used to make black-and-white pictures look less... ugly.</p> <p>Other palette fun could be had by changing the border color, which was largely an overscan hack. It was cute to have the border change colors and not everything else. I didn't even <strong>know</strong> the border could be a different color for a while--nothing bothered to change it. Another cute hack was to write to the ports to change from 320x200x4 to 640x200x2 on the fly without erasing video memory. This way, you essentially faked a color-to-mono toggle switch.</p> <p>The only game I ever ran that used some of the above tricks to do some primitive copper effects was California Games (1987). Its video selection menu had the normal CGA 4-color mode, but it also had a mysterious CGA "more-color" mode. The "more-color" mode was only used in two places: The title screen and the hackeysack portion. Why? Because those screens had a clear horizontal division of a graphic on the top half of the screen and one on the bottom half. The "more-color" mode would switch palettes at a certain scanline to display one set of colors on the top graphic, and a different set of colors on the bottom. As you can imagine, this was unnervingly time-critical, and self-programming vertical-retrace interrupts took too long (hey, you needed all the speed you could get) on a 4.77MHz machine, so this trick only worked on the one machine that they could hard-code the values into: The original IBM with an original CGA. I always used to think that this mode didn't do anything until I brought it over to my friend's house and saw it work. It worked pretty well, oddly enough. Maybe I was just easy to impress. :-)</p> <p>Here's a bit of trivia: Checking for Vertical Retrace has been the same procedure since CGA on up--you simply monitor port 3dah. Until I discovered that port, I always wondered why delaying 13 or 14 ms before updating the screen made it nice and smooth, but that's because 1000 ms / 70 Hz (the screen refresh rate) is about 14.2 ms. ;-) Nobody ever bothered to monitor the vertical retrace port unless they were trying to avoid snow on CGA screens.</p> <p>Snow, you ask? What, you don't know about snow? CGA boards, for a reason I can't remember, displayed "snow" in text mode whenever you wrote to the screen memory directly (the BIOS writes avoided snow, but were <strong>terribly</strong> slow). Since I'm typing this article on a CGA PC right now (I'm not kidding--my word processor runs in 384k! ;-), I'll describe what it looks like: Every time video memory is touched, small horizontal white lines one character cell wide appear and disappear all over the screen. It can get really annoying after a while, so many people waited for vertical retrace before writing to the screen. This was much slower, but reduced snow a great deal, and was still faster than using the BIOS to output text.</p> <p><a href="mailto:ph@nocom.se">ph@nocom.se</a> had the following extra information to offer:</p> <blockquote> "If my memory serves me right, the snow on the CGA was because when the CPU and the video card both tried to access the one-ported video memory, the CPU would lock out the video cards access until the read was completed." </blockquote> <p><a href="mailto:cybertaco@aol.com">CyberTaco</a> clarified this a bit:</p> <blockquote> <p>"I believe you were wondering what causes CGA snow (wow, it's been a long time!)? It goes like this:</p> <p>"The ram in the standard IBM CGA card was what was called single-ported, meaning that it could not be written to and read from at the same time. If you were writing to the ram, it simply ignored read requests and you got a random result from it instead. Single-port ram was used because at the time both because it was cheaper than dual-port ram (can read and write at the same time, like we're all used to), and because IBM was (is?) staffed by a bunch of idiots. :-)</p> <p>"End result: When scrolling the screen up a line, every single piece of character memory has to be written to the memory area corresponding to one line above where it was. While this is happening (sloooooly), every time the physical picture-generating hardware goes to read the ram to figure out what dot to put where on the monitor, it keeps getting random results over and over because the ram is being written to during the scroll. The end result? Random dots all over the screen instead of text, resembling static, or.... snow. :-)"</p> </blockquote> <h2>Low Resolution equals More Color</h2> <p>16 colors in graphics mode with a stock CGA board? Believe it or not, there was not one but <strong>two</strong> legitimate ways to get more than 4 colors on a CGA card: An undocumented "low res" mode (which I'll talk about later), and CGA's Composite Color mode. Both had drawbacks, unfortunately:</p> <ul> <li>Since you only had 16K of video memory, your effective resolution went down to accommodate the extra colors--160x200 in Composite mode, and 160x100 in "lowres" mode.</li> <li>Not all PC's had a CGA card with a composite color jack on the back of their CGA card. The few PC owners that did have one most likely didn't know how to turn it on if it needed special activation before the program ran.</li> <li>Computer owners that had <strong>real</strong> monitors had little reason to keep a TV close to the computer to hook it up for the extra video mode provided by Composite Color.</li> </ul> <p>But many game companies wanted to have every edge they could over the competition, so many decided to use it. (Starflight from Electronic Arts was the first mainstream game I can remember (1986) that used it <strong>well</strong>.) The only drawback, with any sort of compatibility back then, was speed--if all your graphics were in 16 colors, then you had two problems on your hands: You either had to convert the 16-color pictures down to 4 on the fly, which was slow, or you had to provide both sets of converted pictures on the disk, which took up too much room and cost more money. (Remember that back in the first half of 1980, disks were still fairly expensive--I remember the best price I could get on a 360K floppy in 1984 was a dollar a disk.)</p> <p>Still, some companies saw the light and did it, and the result was colorful graphics on almost any system. Besides, you could use a lookup table to quickly plot the low-res sprites, because a word (two bytes) plotted 8 pixels in CGA or 4 pixels in EGA/Tandy (16 colors). (Plus, this gave Tandy/PCjr owners some extra speed because they had a native 160x200 mode, so they got more color without slowing down.) California Games from Epyx supported probably the most graphic options of any game in 1987 using this technique, including <a href="graphics/calg_cga.gif">CGA</a>, <a href="graphics/calg_ega.gif">EGA</a>, CGA "more-color" (see above copper trick), CGA Composite color, Hercules Mono, MCGA/VGA 16-color, and Tandy/PCjr. All the graphics and sprites (except for the font) were in 160x200. Mindscape also did the same thing with Bop'n'Wrestle, Uridium, and Bad Street Brawler (hi Lord Blix!).</p> <p>Many companies used the 160x200 trick even if they <strong>didn't</strong> have 16 colors to store, simply because the sprites took up half the space. All the "Maxx Out" games from Epyx like Rad Warrior used this even though the graphics were mostly 4 colors.</p> <p>Finally, some adventure game companies found a unique way to store over 200 or more full-screen pictures on a single 360K disk: Vectors. (By "Vectors", I'm referring to a series of points that define the beginning and end of a line, outline of a polygon, etc.) Regardless of how large or complex the picture was, you could usually fit a decent-looking scene into about 2K, because all you were storing were polygon outlines/definitions. A blue circle with a radius of 100 pixels located at (100,130) could take up over 10K as a raw sprite/bitmap, but it only took up enough bytes to describe "circle, at (100,130), radius 100, color blue" when you stored it as its vector definition. The previous example could take up as little as 7 bytes, if you did it haphazardly:</p> <p></p><table border="3"> <tr> <th>Data</th><th>Size</th> </tr> <tr> <td>Draw Element</td><td>byte</td> </tr> <tr> <td>X Coordinate</td><td>word</td> </tr> <tr> <td>Y Coordinate</td><td>word</td> </tr> <tr> <td>Radius</td><td>byte</td> </tr> <tr> <td>Fill Color/Pattern</td><td>byte</td> </tr> </table> <p>Come to think of it, I'm sure the game programmers were much more frugal than that; this was when games <strong>had</strong> to fit on a single 360K disk. The previous structure would've probably been optimized even further:</p> <p></p><table border="3"> <tr> <th>Data</th><th>Size</th><th>Comments</th> </tr> <tr> <td>Draw Element</td><td>first 3 bits of first byte</td><td>Holds 8 different types: Square, Circle, Line, Pixel, Fill Point, etc.</td> </tr> <tr> <td>Fill Color/Pattern</td><td>last 5 bits of first byte</td><td>Allows for 32 different colors or patterns</td> </tr> <tr> <td>X Coordinate</td><td>word</td><td>Must be a word, since the maximum (320) wouldn't fit in a byte (255)</td> </tr> <tr> <td>Y Coordinate</td><td>byte</td><td>Could be a byte, since the maximum (200) fits into a byte (255)</td> </tr> <tr> <td>Radius</td><td>byte</td><td></td> </tr> </table> <p>So, even though 7 of the 16 bits in the xcoordinate word are wasted and could be used for even more things, we're down to five bytes for the information required to draw a large circle on the screen. You can pack this down even further, which I'm sure they did, but I included the above merely as an example into the thought process involved.</p> <p>Another nice advantage to this system was that you could compose your pictures with 16 colors and let the drawing algorithm pick the closest color or dither pattern when it drew the vector objects on the screen at runtime. But, as with all computer programs, there was the classic speed vs. size tradeoff: <a href="video/transylv.avi">Drawing the polygons took a lot of time</a>, sometimes as much as six seconds for the picture to assemble, which looked sloppy. There were other drawbacks to this system as well; the artist was forced to use an uncommon vector-editing program, which usually had to be developed in-house, and the nature of the whole vector format procedure made it hard to produce pictures with a lot of fine detail. Still, Sierra used it in King's Quest I (1983), and the classic text/graphics adventure Transylvania (1983) from Polarware used it as well. (In fact, when Polarware was still called Penguin Software, they marketed a vector drawing package specifically built for making small graphics for games called The Graphics Magician.)</p> <h2><a name="lowcga">Graphics Forged From Text Mode</a></h2> <p>Ah, now the fun part: 16 color graphics on a standard CGA card. IBM actually announced this mode in January of 1982, when the second version of the IBM PC came out; it's mentioned in their technical documentation, but they evidently saw no need to provide any real documentation for it unless asked. I guess nobody asked. :-) By the time I finally figured out how to program the mode, it was 1990 and I had a VGA card, so I never had a chance to use it in anything. Some games did use it, though, including a good shareware shoot-'em'up called Round 42 and two commercial adventure games, one from Sir Tech (remember Wizardry?) and another from <a href="graphics/icon0.gif">Macrocom</a> called <a href="graphics/icon1.gif">ICON</a> (1984). Here's how you program the mode:</p> <p>The 160x100 "graphics" mode was actually a text mode. The video registers were changed so that normal 80x25 color text mode squeezed four times as many rows of text characters onto the screen to produce an 80x100 text screen with the bottom 75% of the text characters chopped off. Then, the screen was filled with ASCII 221, which is the left vertical bar. Each character on the screen was used for a pair of two horizontally adjacent pixels by adjusting the foreground and background color of that character. The "blink" option on the video board had to be turned off so that pixels didn't blink when the right-half pixels (which use the text background color) had a color value greater than 7. (Text characters normally blink if the background color is in the 8...15 range, but who uses blinking any more?)</p> <p>Okay, cute trick. You could make it work in today's world by modifing it for EGA and VGA boards as well; on VGA boards, the text character height is normally 16, so it would be changed to 4. EGA boards, however, normally use a text height of 14 pixels. There is no way to change the text height to exactly one quarter of 14 pixels, so a text height of 3 would have to be used, which is slightly too small, but that's what you get for using EGA after 1990. :-)</p> <p>Technical details: Blink is suppressed on CGA boards by setting bit 5 of port 3d8 hex to 0. On EGA and VGA cards, blink is suppressed by using subfunction 3h, function 10h of interrupt 10h and setting BL to 0. Trivia: The 160x100 mode uses 16000 bytes at b800:0000 hex to store 16000 4-bit pixels, which is twice the amount of memory that would be required in a normal graphics mode--so each even byte of video memory is <strong>wasted</strong> to store the ASCII character 221. Moving blocks of video memory around was both fast and annoying, since only the odd bytes (storing the text foreground and background colors) had to be modified.</p> <p>Well, that's enough about CGA's 16-color "graphics" mode. I was just so happy when I figured it out that just had to spew somewhere. :-) And <a href="examples/icondemo.exe">ICON</a>? They added even more depth by using the entire ASCII character set--or, at least, the top four scanlines of the entire ASCII character set. (The <a href="graphics/icon2.gif">bat's wings</a> were the top four scanlines of ASCII #2, which was the smiley!) Some of the results were fantastic, but that's <a href="graphics/icon4.gif">ANSI from hell</a> that I don't think anyone would want to ever attempt again.</p> <h2>If You Want Something Done, You Have To Do It Yourself</h2> <p>Demosceners are familiar with speeding up graphics with cute math and hardware tricks. But what do you do when the machine is simply too slow? Speed up your hardware. It sounds silly, but there were actually several ways to make the machine run faster--via software--by modifying certain bits of hardware. For example, the CPU spent time refreshing early DRAM so that the RAM wouldn't lose its contents. This refresh rate was adjustable and usually done way too often, so you could usually lower it a bit and gain more speed for your programs. Speed increases of 5% to 10% were not uncommon; I got a 15% increase by lowering the DRAM refresh rate gradually until the computer locked up. :-) I then used the last setting that didn't lock up the computer. Handy thing to have in your autoexec.bat, that. <a name="bootable"></a></p> <p>But probably the most common method that game programmers used to speed up the computer was to go for the guts and bypass the operating system in a <strong>big</strong> way--by creating self-booting programs. This solved several problems at the same time:</p> <ul> <li>Disk access and loading times were much faster. If you wanted data and knew where you put it, you seek directly to the track and load the entire track to somewhere in memory. If you were a real hotshot, you could trackload "manually" by not using the BIOS and instead using DMA. <strong>Very</strong> quick.</li> <li>You had more RAM. The operating system took up at least 32K of ram, which your program could have used. (Hey, PCs came with only 128K of RAM until around 1985, so you <strong>really</strong> needed to save RAM.) So, make your entire program fit into 64K and write a little 446-byte bootloader and you gain that RAM back.</li> <li>The machine was empty. There was no operating system to get in your way, so you could reprogram timers, write obscene self-modifying code, store data in unused portions of the BIOS (or vector table--ACK!), whatever you wanted to do. If the computer were a parking lot, it would be an empty parking lot--you could drive like a maniac for hours and not hit a thing.</li> </ul> <p>Of course, you had to be a damn fine coder to do this. Being merely proficient in assembler programming wasn't enough--remember all those friendly DOS services you use? Gone. So, you'd better be prepared to write your own mini-DOS when you needed one.</p> <p>Sometimes self-booting programs were mandatory; it was the only way to have any decent form of copy-protection. Stuff like that was really hard to crack. In fact, I don't think anyone in today's world would have the stomach to attempt it. Not only does the game <strong>boot</strong> (hel-LO!), but it then proceeds to stomp all over memory, usually obliterating the debugger. Your only chance is to dump the boot sector and attempt to disassemble it manually. (While the game programmers were tough back then, so were the crackers, so it got done somehow.) The most common programs that come to mind are the early Accolade and Electronic Arts games; Pinball Construction Set and Music Construction Set (forever classics), for example. Of course, the classic Wizardry did this as well, although it took them two tries to get it right: The first version of Wizardry was not very friendly to non-perfect-100% IBM compatibles, so the more you played the game, the less successful the disk reads were. Odd... The <a href="graphics/wizard2.gif">second version</a> played just fine, however. They even took the time to <a href="graphics/wizard1.gif">improve the graphics</a>.</p> <h2>Don't Copy That Floppy</h2> <p>Let's sidetrack for a minute or so on copy-protection schemes. Although they had nothing to do with graphics or sound explicitly, I still found them absolutely fascinating, since they were also very hardware-intensive.</p> <p><a name="copyprotection">Copy-protection</a>, for those too young to remember, was a method of doing something to the diskette the game came on that made writing a <strong>perfect</strong> duplicate impossible, which in turn prevented you from copying the disk and giving it to all your friends, robbing the software company of potential sales. A typical method of checking went something like this: When the game started, it checked to see if it was running on the original diskette by looking for a specific piece of data stored in an extra sector hidden in a specially formatted track. If it didn't find that data, it aborted. This way, you could only make the program run by running it off of its original diskette. (Nowadays, "copy-protection" is usually as simple as the program asking you to look up a word on a certain page in your software manual and type it in, or for CDROM games, checking to see if it is running on the CDROM device.)</p> <p>Copy-protection used to be included on <strong>everything</strong>, from games to business software, simply because software was extremely expensive back then, and a couple hundred copies of a program could actually make or break a software company (no, I'm not kidding). People just didn't buy software all the time because a typical game (for example) was $50. That's normal in 1996, but very expensive for 1984. (Think about it: $50 in 1984 is like $95 today due to inflation. I don't know about you, but I'm not willing to pay $95 for a computer game.)</p> <p>I wasn't any good at cracking back in 1984 (I barely knew general programming, let alone assembler), so I had to become good at figuring out the copy protection scheme instead if I wanted to duplicate the program. While many crackers learned DEBUG inside and out, I learned protection schemes and how to duplicate diskettes. Here's some of the more interesting methods that programmers used to prevent you from <a href="graphics/dctf.gif">copying that floppy</a> with DOS's standard DISKCOPY:</p> <ul> <li><strong>Simple trickery.</strong> Format a diskette as single-sided, but then store the secret copy-protection information on a track formatted on the <em>second</em> side. DISKCOPY would read the boot sector, determine that the disk was single-sided, and only bother copying the first side.</li> <li><strong>User stupidity.</strong> The program would simply try writing a dummy file to the disk. Since most commercial software came on write-protected disks, the write would fail, and the program would continue. But if you'd just made a copy, chances were high that you'd forget to write-protect the disk when you were finished, and the write would succeed, which then aborted the program.</li> <li><strong>Secret hardware information.</strong> Most disk drives could actually seek beyond track 40; usually to 41. Some software companies formatted that extra track (DISKCOPY didn't go that high) and stored secret info in it for the program to check.</li> <li><strong>Wacko disk formats.</strong> This is when you go slightly beyond the obvious, like formatting a normal 9-sector track with 10 or 11 sectors (or less, like 4 or 5), or by writing an incorrect track ID (track 20 says its track 30, etc.), or something similar. DISKCOPY didn't know how to handle stuff outside the norm like this, so you usually needed a special program like CopyIIPC or CopyWrite to analyze the diskette thoroughly, then attempt to duplicate the format. This was about 66% successful; the other 33% you had to do yourself, usually (I personally used the Ultra Utilities). Electronic Arts had one of the best schemes in the early 80's; I couldn't figure it out until about 1985. They formatted track 15 with over 90 sectors! :-D</li> <li><strong>Weak Bits.</strong> Some bits on the disk were recorded as halfway between 1 and 0, which made the disk difficult to copy. This wasn't used too often because it was unreliable, even on the original disk!</li> <li><strong>Damage.</strong> The most expensive method of copy protection was also the most effective: Physically damage the disk. Using a laser, it was possible to burn a small hole in the disk surface, and then all the program had to do was check to see if there was a read error in that particular sector, and if so, continue running the program. If you turned the disk surface manually by grabbing the inside ring, <strong>you could actually see a tiny hole in the disk surface!</strong></li> </ul> <p>If it was so easy (relatively speaking) to figure out these formats, then why didn't everybody just write bitcopy or nibbler programs to analyze the diskette and make perfect copies of everything (except the laser hole, of course)? It wasn't quite that easy: While the IBM floppy controller could <strong>read</strong> all of these formats, it did not have the ability to <strong>write</strong> all of them. A third-party company (usually the diskette duplication facility itself) specially prepared the diskettes using custom floppy controllers. To this day I don't know if the read-all-but-not-write-all phenomenon was a decision made on purpose by IBM's engineers or just a hardware glitch that software companies took advantage of. (Probably a hardware glitch.) Either way, I eventually broke down in 1987 and bought a Copy ][ PC Option Board, which went between the floppy drive and controller, allowing me to write those special formats. Trivia: To this day, there is only one diskette I have never been able to duplicate, even with the help of my Option Board: A Cops Copylock ][ demo diskette that I sent away for (Cops was a third-party copy-protection library you could purchase to copy-protect your own programs). I never found any programs that actually used Cops as the copy protection scheme, which was fortunate, since I couldn't copy it. :-(</p> <h2><a name="pcsound">Your Computer Is Too Damn Loud</a></h2> <p>Ah, music. Certainly one of the most interesting things done with computers today in the demoscene; in fact, at least twenty times more MOD/S3M/IT/XM music is being put out per year than demos, and that figure is steadily increasing. Until Sami came out with Scream Tracker in 1990, there was no native digital/multi-channel composition program. Heck, until 1986, there wasn't even any sound hardware you could hook up to your PC. Sure, the PCjr and Tandy had their own 3-voice sound chip built in, but I didn't have a Tandy or PCjr.</p> <p>That didn't stop me. :-) Or anyone else, for that matter. People did the best with what they had, with surprising results for the time and hardware. Ladies and Gentlemen, I present to you the evolution of composed/tracked personal computer music hardware and techniques, from the point of a fledgling demoscener (which means I'll conveniently ignore MIDI):</p> <dl> <dt>1981-1982</dt> <dd>The PC speaker, driven by a chip that could only produce a simple tone at a fixed volume, was the only thing that kept us company. If it weren't for BASICA, we'd live in silence. BASICA had a <a href="examples/ballgame.html">PLAY</a> statement that took real notes and octaves; you could bang out a melody relatively quickly, although <a href="sound/pc_single.au">it was loud and harsh</a>. You could fake a chord by <a href="examples/arpeggio.html">quickly alternating between different notes</a> at the same time (an arpeggio), but <a href="sound/pc_arpeggio.au">this sounded artificial and bubbly</a>. (If you didn't have a love for computer music, it would quickly drive you crazy.) Pianoman by Neil J. Rubenking was a music composition program that did this; you could compose each voice separately, and then combine them into an arpeggio. A gentler trick was to adjust the pitch up and down very finely, simulating vibrato. One voice, but at least it wasn't so harsh. <p></p></dd> <dt>1983</dt> <dd>The PCjr is released, and Tandy follows suit a year later with the Tandy 1000, which was a clone of the PCjr. One of the enhancements in the PCjr was the addition of a 3-voice sound chip that gave multiple channels, noise generation, tone envelopes, and volume control to the built-in speaker. <strong>Now</strong> we had something to play with. The BASICA that came with the PCjr and Tandy supported a 3-voice PLAY statement, which, if you played your cards right, could produce some <a href="sound/tandy_3voices.au">fairly nice sound</a>. One thing I discovered was that the Tandy chip had a hidden strength in <a href="sound/tandy_3voices_2.au">low chord layering</a>. <p></p></dd> <dt>1984</dt> <dd>Music Construction Set, programmed by Will Harvey, came out for the PC in 1984 from Electronic Arts. It had a real staff, with treble and bass clefs, and had a neato "construction set" motif--you could drag'n'drop notes onto the staff before "drag'n'drop" was a common catch phrase. Best of all, not only did it support the <a href="sound/mcs_tandy.au">native sound chip of the PCjr/Tandy</a>, but it could play <a href="sound/mcs_pc.au">four voices through the normal built-in speaker</a>! (Granted, it was difficult to discern between the voices, but it was possible to hear the overall chord you were going for.) You could even print out the staff on your printer, although it was one long staff down the side of the page, and not nicely formatted sheet music. :-) <p></p></dd> <dt>1986</dt> <dd>Mindscape publishes Bank Street Music Writer, the first program I ever bought that came with its own hardware if you didn't own a Tandy or PCjr. The "Mindscape Music Board" was a 6 voice sound card which turned out to be a sine or square wave generator with simple attack, sustain, and delay parameters. Not exactly FastTracker 2 envelopes, but it was a start. :-) Plus, it attempted to print out real sheet music, and you could follow your voices on-screen as they played. <a href="sound/mindscape_full_example.au">I went nuts with this board</a>, sometimes spending hours arranging <a href="sound/mindscape_consider.au">the tunes my school choir was practicing</a>. Although it was very good at producing solid chords (it <strong>was</strong> a tone generator, right?), it never took off, because the price was a bit high ($110) and it <strong>did</strong> sound a bit... "<a href="sound/mindscape_actual.au">plinky</a>". (Come to think of it, Music Construction Set for the Apple supported a similar board called the Mockingboard, but that never took off either.) <p></p></dd> <dd>I'm fairly certain that I saw the Covox Speech Thing around this time as well. The Speech Thing was a simple digital-to-analog converter that you could connect to your parallel port to hear digitized sound. It sold for about $70, even though the parts cost about $15--<strong>including</strong> the speaker. :-) <p></p></dd> <dt>1987</dt> <dd><a href="graphics/vis_com1.gif">Adlib</a>. :-) This famous board used a chip from Yamaha that produced Frequency-Modulated (FM) sound synthesis through 2 operators and a variety of parameters. You could utilize 9 melodic voices, or 6 melodic and 5 percussion. Armed with the odd <a href="graphics/vis_com2.gif">Visual Composer</a>, you could <a href="graphics/vis_com3.gif">compose on a piano roll</a> instead of a musical staff. It wasn't bad at all; in fact, it sounded pretty damn good. If programmed correctly, it could <a href="sound/adlib_layer.au">layer voices</a> well, produce decent <a href="sound/adlib_bass.au">bass</a>, and fairly <a href="sound/adlib_full.au">full sounds</a>. <em>I still believe that the Adlib was (and still is) underused by the majority of people who composed for it.</em> <p></p></dd> <dd>While I didn't purchase my Adlib until 1989, the board was actually selling in 1987, and games started supporting it in 1988. Taito's arcade conversions done by Banana Development supported it passably, but it wasn't until 1990 that I heard simply beautiful music through it from a game called Continuum from Infogramme. The game consisted of jumping from platform to platform to reach a certain object, but <a href="sound/continuum.au">the music was so good</a> that I booted it up just for the music. (It also supported the Tandy sound chip, but since the music was composed for the Adlib, it was nowhere near the same quality.) <p></p></dd> <dd>The great former C64 demogroup Vibrants also did some <strong>excellent</strong> music composed specifically for the Adlib board, but this wasn't until much later, in 1993, when <a href="sound/vibrants_game.au">they composed music for a few games</a>. Their composition program, Edlib, is still freely available. Ever hear <a href="sound/vibrants_techno.au">techno on an Adlib</a>? :-) (<a href="sound/vibrants_newage.au">Their true strength was jazz</a>, which is what they usually composed.) <p></p></dd> <dd>IBM Music Feature Card. This board was released from IBM in 1987 in an effort to draw MIDI musicians and game programmers over to the IBM. It cost about $250, and played 8 FM voices. The quality of the FM was much better than the Adlib, presumably since it used a 4-operator FM chip (also from Yamaha) instead of Adlib's 2-operator chip, and had over 100 built-in instrument parameters. It also had a MIDI port, of course. Trivia: You could put two of these boards in your PC at the same time to get a total of 16 simultaneous voices. <p></p></dd> <dt>1988</dt> <dd>Creative Music Systems (the name they had before they changed it to Creative Labs) came out with the Game Blaster around this time, and it offered 12 channels, with each channel producing either a single sine wave of a given frequency and magnitude (in stereo), or noise. The sound quality was obviously worse than the Adlib--the board simply couldn't do much of anything. You can still purchase CMS chips to put inside your Sound Blaster 1.x and 2.0, but it's really not worth it. The only game I know of that supported the CMS Game Blaster with decent music was was Times of Lore by Origin. <p></p></dd> <dd><strong>Digitized sound!</strong> Around this time, game companies had <strong>finally</strong> started to use digitized sound for music. (It had been used on the PC for sound effects as early as 1983, in Castle Wolfenstein/Beyond Castle Wolfenstein, and in 1987, in the PC version of Dark Castle.) While I had speculated that you could record bits of music and then rearrange them cleverly, a French game company called <a href="graphics/spacer_2.gif">Loriciels</a> beat me to it, with the excellent games <a href="graphics/mach3_1.gif">Mach 3</a> (1987) and <a href="graphics/spacer_1.gif">Space Racer</a> (1988) (they also did a then-popular Pong/Breakout/Arkanoid clone called PopCorn). These games had a really cool (for a PC at the time) <a href="sound/space_racer.au">musical intro</a> at the beginning, which was pieced together from small sound snippets that were arranged on the fly to form a longer piece of music. (You can think of this as a .MOD file with only one channel and all instruments/samples played at C#3.) And it played through the PC speaker! Coming from a PC that had a simple tone generator as a sound device, this just blew me away. Crazy Cars by Titus also had a <a href="sound/crazy_car_loop.au">snippet of digitized sound</a> at the beginning, but this was just a 64K sample that looped once. The same went for Wizball by Mindscape. (Wizball was a fabulous game, IMHO.) Finally, games like Bop'n'Wrestle used it for the counts and body-slamming noises. <p></p></dd> <dt>1989</dt> <dd>The Sound Blaster hits the scene, and game companies start supporting it. It's essentially an Adlib clone, but it has the ability to record and playback digitized sound, allowing for speech and decent sound effects. (This information was essentially provided for people who don't know what a Sound Blaster is. I probably shouldn't have even written this paragraph, since the (in)famous Sound Blaster doesn't need mentioning, but I've done it already, so... whatever. :-) <p></p></dd> <dt>1990</dt> <dd>True Mixing. While many remember TrakBlaster being the first program to play MOD files on the PC, a couple of people were mixing before then, most notably PSI / Future Crew. He had created and marketed Scream Tracker in 1990 as shareware, and it could mix and play up to four voices in real-time on an 8MHz (or faster) computer. The early versions of Scream Tracker supported a mode of operation similar to the old SoundTracker on Amiga--you could save the song data and instruments separately. This allowed you to compose over 20 songs and fit them on the same disk, because you use the same set of instruments with each song. EGA Megademo / SpacePigs did this--they had four different songs that used the same instruments, so the whole thing fit onto a single 360K disk.</dd> </dl> <h2>A Brief Early History of Demos</h2> <p>This has been covered many times before, so I won't rehash The Beginning Of Demos excessively; however, a few tangible examples would probably serve to help you picture the transition.</p> <p>Pirating games led to the birth of the demo scene. It's time everyone who is in deep denial about this fact comes out and accepts it. You can see this in the early loaders for pirated games; as early as 1988 you can see some demo-like effects in small loaders. <a href="examples/bspttl.com">The loader for Bad Street Brawler</a> is a perfect example of this: The screen starts as static; then, like a TV pirate intercepting a TV channel, the screen flickers with the title graphic, until finally the title graphic is fully displayed. The <a href="examples/header.html">entire program</a> was only <a href="examples/header.bin">128 bytes</a>, and was tacked onto the front of a CGA screen dump.</p> <p>This "loader mentality" took a while to grow, but it eventually did. Many early intros were simply one effect, but to be impressive, it had to be an effect never before seen on the PC. "Never before seen" meant one of two things, actually:</p> <ul> <li>The effect was an Amiga or C64 effect that was translated to the PC (common), or</li> <li>The effect was an entirely new effect (rare).</li> </ul> Many of the early Brain Slayer intros were good examples of the Amiga-effect-to-PC trend, and until .MOD playing on the PC became popular, most early intros had no sound at all. <h2>Rose-colored Glasses</h2> <p>Well, our look back has ended, and not a moment too soon, since I've taken up valuable time that you could've used to write the newest demos. All I ask is that the next time you take a look at the demos today that contain incredibly complex 3D objects, particle systems, and multi-channel digital music, or the next time you compose music with 64 digital channels in Inertia Tracker, you think about what it used to be like in the old days. Who knows... Maybe some of you will be as innovative as us old-timers needed to be in dealing with such limited, slow hardware.</p> <p>Then again, the driving force behind demos is that the hardware is only as limited as you think it is. ;-)</p> <h2>Epilogue</h2> <a name="olddemos"></a> <p>It just wouldn't be fair for me to end this article without a list of old demos that you should check out if you want to see the best of the best back in the old days (from 1990 to 1992). Keep in mind that these demos run at the full framerate on a 386 running at 16 MHz:</p> <p></p> <table border="3"> <tr> <th>Demo</th> <th>Group</th> <th>Video</th> <th>Sound Support</th> </tr> <tr> <td><a href="demos/cronolog.zip">Chronologia</a></td> <td>Cascada</td> <td>VGA</td> <td>Sound Blaster, Internal speaker, LPT DAC</td> </tr> <tr> <td><a href="demos/dragnet.zip">Dragnet</a></td> <td>DCE</td><td>VGA</td><td>Sound Blaster</td> </tr> <tr> <td><a href="demos/putrefac.zip">Putre Faction</a></td> <td>Skull</td><td>VGA</td><td>Sound Blaster</td> </tr> <tr> <td><a href="demos/unreal11.zip">Unreal vers. 1.1</a></td> <td>Future Crew</td><td>VGA</td><td>Sound Blaster, Gravis Ultrasound, LPT DAC</td> </tr> <tr> <td><a href="demos/vectdemo.zip">Vectdemo</a></td> <td>Ultraforce</td> <td>VGA</td> <td>Sound Blaster</td> </tr> <tr> <td><a href="demos/coldcut.zip">Coldcut</a></td> <td>Ultraforce</td><td>EGA</td><td>Sound Blaster</td> </tr> <tr> <td><a href="demos/megademo.zip">EGA Megademo</a></td> <td>SpacePigs</td><td>EGA</td><td>Internal speaker, LPT DAC</td> </tr> </table> <p>And, as always, if you're interested about demos in general, please feel free to free to check out <a href="http://www.hornet.org/ha/pages/pcdemos/">PC Demos Explained</a> or download the <a href="/demos/pc/">PC Demos FAQ list</a>. <hr> Written by Jim Leonard. Completed September 25th, 1996. Special thanks to Geoffrey Silverton for some low-level "lowres" information. <hr> <font size="-1"><em>This file was last modified on <!--#echo var="LAST_MODIFIED"-->.</em></font></p> </body> </html>
Life Before Demos ![Life Before Demos](graphics/lbdtitle.gif) ## (or, Hobbyist Programming in the 1980's) ### by Trixter This document recounts the early days of fun computer stuff on the IBM PC, so whenever I refer to "the computer" or a similar generic term, I'm talking about an IBM. If I mention the "Tandy sound chip", I'm referring to the sound chip that was present in both the IBM PC Jr. and the Tandy clones (it's the same chip). ## Introduction Many demosceners go through changes in life that affect them profoundly--changes that either bring them into or force them out of the demo scene. I find myself in the latter, which saddens me a bit, as I have not yet given back fully to the scene that has given me so much. I also welcome the change, as it is time for me to pass the baton onward to the newer generation of people who will redefine what demos are. I look forward to what tomorrow's enterprising youth with a love of computers can bring to the demo scene. But the new blood probably has no idea what was interesting before demos came around in 1990. Sure, everyone can download GR8 / Future Crew and have a laugh or two, but that's the tail end of what I call "the golden age of PC fun." How did **anything** become interesting or cool on the PC--a machine with no dedicated graphics or music hardware? What held our attention before demos came along? Good question. Well, this article will attempt to describe the changes in my life that brought me into the scene--what was interesting to me as I grew up with a PC, starting out in 1984 with a new 4.77 MHz processor and ending in 1990, the proper birth of the PC scene. It will be fascinating to some, and only mildly interesting to others, but it needs to be remembered in the sea of Pentium Pros, Windows 95, and accelerated hardware. Trust me, it used to be **nothing** like it is now. :-) Also, I will try to cover some of the more eclectic technical information unless I don't remember it clearly, so if you want more info on how something was done, email me and there's a good chance I can find it somewhere. Hope you can parse BASIC code. :-) So, if you've ever wondered what was interesting or "demo-like" on the PC before demos came around, this article will probably explain it. Let's journey backward, shall we? ## The Wonderful World of Games Let's start briefly with something that held my fascination long before demos existed (and probably what contributed to their birth): Games. It's not too surprising that the most impressive stuff on any home computer is a game. Games are, in fact, some of the hardest things in the world to program, and in the early days, nothing was more true. Think about it: You had to do many or all of the following: Accept input, display graphics (quickly), play sound effects, process artificial intelligence and other game elements, and do it all quickly enough so that the user didn't feel cheated out of a decent gaming experience. Of course, there was a multitude of problems in doing this on [the original PC](graphics/ibm_pc.gif): * The CPU, an Intel 8088, was a 16-bit processor (8-bit bus) running at 4.77 MHz. * The sound hardware was a [single-voice tone generator](sound/pc_beep.au) with no volume control. * The stock graphics hardware (CGA) was limited to 4 colors, and had an interlaced memory organization (not nice and linear like Mode 13h). * The bus was so slow that video memory and port writes were time-consuming; simply reading the joystick port took up to 15% of the CPU's time. So it's obvious that a well-written game that was fast and fun to play was incredibly impressive, since things just simply **weren't** fast on the PC. I will mention games liberally in my musings. Just thought you'd like to know. ;-) ## Teaching An Old PC New Tricks How do you make a bland, boring "business" computer do something impressive? Good question. While newer (1984) versions of the PC ([IBM's PCjr](graphics/ibm_pcjr.jpg), and Radio Shack's clone, the Tandy 1000) had more sound and graphics capabilities, the [older PC](graphics/ibm_pc.gif) did not, and that was what had the largest installed user base. So, you had a couple of areas to improve on: Sound, Graphics, and anything that would speed up the system. Since a program's first impression was usually how it looked, many chose to improve the CGA graphics. CGA (Computer Graphics Adapter) always struck me as finicky. The video memory layout was interlaced, which means that the first 8K was every even-numbered scanline and the last 8K was every odd-numbered scanline. Plus, there were 192 bytes unused at the end of both 8K sections, so that became annoying to skip as well. Finally, you had one of two fixed palettes of nasty, ugly colors (cyan, magenta, and white; or red, green, and yellow) to choose from. While some of [the best artists](graphics/spacer_3.gif) could [deal with four colors](graphics/mach3_2.gif) adequately, the crappy color set usually disgusted the user. Well, I quickly found out that by fiddling with the video registers, I could get an unadvertised (to my manuals, anyway) color palette that seemed to combine the two palettes. The resulting 4-color palette had black, white, cyan, and red--**much** nicer. I'm sure this palette was advertised somewhere because some game I had used it, which is what got me sending random bytes to the video ports in the first place. Sending random bytes to the video registers, by the way, was **extremely** dangerous! If I had known that then, I wouldn't have even tried at all; I was lucky I didn't break anything. The monitors back then (1987 and earlier) were fixed frequency monitors, and ran at low frequencies. If you told the video card to do something outside of those frequencies, you stood an excellent chance of damaging the monitor. A friend of mine was trying to get the rumored CGA 16-color mode to work (more on this later) and **destroyed** his Compaq's built-in monitor, a small monochrome monitor that emulated color with different shades of gray. He went to the nearest Compaq dealership to get it replaced, and when they refused to fix it, he answered with something like, "Well, I could demonstrate how easy it is to break the monitor to your customers by typing in a three-line BASIC program on, oh... this machine over here," and pointed to their top-of-the-line machine that some customers were huddled around. They quickly replaced his monitor to shut him up. :-) Let's face it: CGA was crap. The C64 blew it away in terms of speed, and even an Apple ][+ had more colors to choose from. Anything you could do above what it was normally used for, quickly or differently, was neat. So, a bit of experimentation exposed that you could change the background color, usually black, to one of the 16 text colors. This allowed for a quick flash (possibly for an explosion in a game), which was slightly impressive since **nothing** about CGA was quick. This trick was also commonly used to change the black background to blue, which made it easier to draw bright and colorful pictures if you didn't need the color black. This same technique could be used to change the foreground and background color of the monochrome graphics in CGA's 640x200 2-color mode. (Love that [640x200 2.6:1 aspect ratio](graphics/640x200.gif)--NOT!) This wasn't useful for games, but was used to make black-and-white pictures look less... ugly. Other palette fun could be had by changing the border color, which was largely an overscan hack. It was cute to have the border change colors and not everything else. I didn't even **know** the border could be a different color for a while--nothing bothered to change it. Another cute hack was to write to the ports to change from 320x200x4 to 640x200x2 on the fly without erasing video memory. This way, you essentially faked a color-to-mono toggle switch. The only game I ever ran that used some of the above tricks to do some primitive copper effects was California Games (1987). Its video selection menu had the normal CGA 4-color mode, but it also had a mysterious CGA "more-color" mode. The "more-color" mode was only used in two places: The title screen and the hackeysack portion. Why? Because those screens had a clear horizontal division of a graphic on the top half of the screen and one on the bottom half. The "more-color" mode would switch palettes at a certain scanline to display one set of colors on the top graphic, and a different set of colors on the bottom. As you can imagine, this was unnervingly time-critical, and self-programming vertical-retrace interrupts took too long (hey, you needed all the speed you could get) on a 4.77MHz machine, so this trick only worked on the one machine that they could hard-code the values into: The original IBM with an original CGA. I always used to think that this mode didn't do anything until I brought it over to my friend's house and saw it work. It worked pretty well, oddly enough. Maybe I was just easy to impress. :-) Here's a bit of trivia: Checking for Vertical Retrace has been the same procedure since CGA on up--you simply monitor port 3dah. Until I discovered that port, I always wondered why delaying 13 or 14 ms before updating the screen made it nice and smooth, but that's because 1000 ms / 70 Hz (the screen refresh rate) is about 14.2 ms. ;-) Nobody ever bothered to monitor the vertical retrace port unless they were trying to avoid snow on CGA screens. Snow, you ask? What, you don't know about snow? CGA boards, for a reason I can't remember, displayed "snow" in text mode whenever you wrote to the screen memory directly (the BIOS writes avoided snow, but were **terribly** slow). Since I'm typing this article on a CGA PC right now (I'm not kidding--my word processor runs in 384k! ;-), I'll describe what it looks like: Every time video memory is touched, small horizontal white lines one character cell wide appear and disappear all over the screen. It can get really annoying after a while, so many people waited for vertical retrace before writing to the screen. This was much slower, but reduced snow a great deal, and was still faster than using the BIOS to output text. [ph@nocom.se](mailto:ph@nocom.se) had the following extra information to offer: > > "If my memory serves me right, the snow on the CGA > was because when the CPU and the video card both tried to access the > one-ported video memory, the CPU would lock out the video cards access > until the read was completed." > [CyberTaco](mailto:cybertaco@aol.com) clarified this a bit: > > "I believe you were wondering what causes CGA snow (wow, > it's been a long time!)? It goes like this: > > > "The ram in the standard IBM CGA card was what was called > single-ported, meaning that it could not be written to and > read from at the same time. If you were writing to the ram, it > simply ignored read requests and you got a random result from > it instead. Single-port ram was used because at the time both > because it was cheaper than dual-port ram (can read and write > at the same time, like we're all used to), and because IBM was > (is?) staffed by a bunch of idiots. :-) > > > "End result: When scrolling the screen up a line, every > single piece of character memory has to be written to the memory > area corresponding to one line above where it was. While this is > happening (sloooooly), every time the physical picture-generating > hardware goes to read the ram to figure out what dot to put > where on the monitor, it keeps getting random results over and > over because the ram is being written to during the scroll. The > end result? Random dots all over the screen instead of text, > resembling static, or.... snow. :-)" > > > ## Low Resolution equals More Color 16 colors in graphics mode with a stock CGA board? Believe it or not, there was not one but **two** legitimate ways to get more than 4 colors on a CGA card: An undocumented "low res" mode (which I'll talk about later), and CGA's Composite Color mode. Both had drawbacks, unfortunately: * Since you only had 16K of video memory, your effective resolution went down to accommodate the extra colors--160x200 in Composite mode, and 160x100 in "lowres" mode. * Not all PC's had a CGA card with a composite color jack on the back of their CGA card. The few PC owners that did have one most likely didn't know how to turn it on if it needed special activation before the program ran. * Computer owners that had **real** monitors had little reason to keep a TV close to the computer to hook it up for the extra video mode provided by Composite Color. But many game companies wanted to have every edge they could over the competition, so many decided to use it. (Starflight from Electronic Arts was the first mainstream game I can remember (1986) that used it **well**.) The only drawback, with any sort of compatibility back then, was speed--if all your graphics were in 16 colors, then you had two problems on your hands: You either had to convert the 16-color pictures down to 4 on the fly, which was slow, or you had to provide both sets of converted pictures on the disk, which took up too much room and cost more money. (Remember that back in the first half of 1980, disks were still fairly expensive--I remember the best price I could get on a 360K floppy in 1984 was a dollar a disk.) Still, some companies saw the light and did it, and the result was colorful graphics on almost any system. Besides, you could use a lookup table to quickly plot the low-res sprites, because a word (two bytes) plotted 8 pixels in CGA or 4 pixels in EGA/Tandy (16 colors). (Plus, this gave Tandy/PCjr owners some extra speed because they had a native 160x200 mode, so they got more color without slowing down.) California Games from Epyx supported probably the most graphic options of any game in 1987 using this technique, including [CGA](graphics/calg_cga.gif), [EGA](graphics/calg_ega.gif), CGA "more-color" (see above copper trick), CGA Composite color, Hercules Mono, MCGA/VGA 16-color, and Tandy/PCjr. All the graphics and sprites (except for the font) were in 160x200. Mindscape also did the same thing with Bop'n'Wrestle, Uridium, and Bad Street Brawler (hi Lord Blix!). Many companies used the 160x200 trick even if they **didn't** have 16 colors to store, simply because the sprites took up half the space. All the "Maxx Out" games from Epyx like Rad Warrior used this even though the graphics were mostly 4 colors. Finally, some adventure game companies found a unique way to store over 200 or more full-screen pictures on a single 360K disk: Vectors. (By "Vectors", I'm referring to a series of points that define the beginning and end of a line, outline of a polygon, etc.) Regardless of how large or complex the picture was, you could usually fit a decent-looking scene into about 2K, because all you were storing were polygon outlines/definitions. A blue circle with a radius of 100 pixels located at (100,130) could take up over 10K as a raw sprite/bitmap, but it only took up enough bytes to describe "circle, at (100,130), radius 100, color blue" when you stored it as its vector definition. The previous example could take up as little as 7 bytes, if you did it haphazardly: | Data | Size | | --- | --- | | Draw Element | byte | | X Coordinate | word | | Y Coordinate | word | | Radius | byte | | Fill Color/Pattern | byte | Come to think of it, I'm sure the game programmers were much more frugal than that; this was when games **had** to fit on a single 360K disk. The previous structure would've probably been optimized even further: | Data | Size | Comments | | --- | --- | --- | | Draw Element | first 3 bits of first byte | Holds 8 different types: Square, Circle, Line, Pixel, Fill Point, etc. | | Fill Color/Pattern | last 5 bits of first byte | Allows for 32 different colors or patterns | | X Coordinate | word | Must be a word, since the maximum (320) wouldn't fit in a byte (255) | | Y Coordinate | byte | Could be a byte, since the maximum (200) fits into a byte (255) | | Radius | byte | | So, even though 7 of the 16 bits in the xcoordinate word are wasted and could be used for even more things, we're down to five bytes for the information required to draw a large circle on the screen. You can pack this down even further, which I'm sure they did, but I included the above merely as an example into the thought process involved. Another nice advantage to this system was that you could compose your pictures with 16 colors and let the drawing algorithm pick the closest color or dither pattern when it drew the vector objects on the screen at runtime. But, as with all computer programs, there was the classic speed vs. size tradeoff: [Drawing the polygons took a lot of time](video/transylv.avi), sometimes as much as six seconds for the picture to assemble, which looked sloppy. There were other drawbacks to this system as well; the artist was forced to use an uncommon vector-editing program, which usually had to be developed in-house, and the nature of the whole vector format procedure made it hard to produce pictures with a lot of fine detail. Still, Sierra used it in King's Quest I (1983), and the classic text/graphics adventure Transylvania (1983) from Polarware used it as well. (In fact, when Polarware was still called Penguin Software, they marketed a vector drawing package specifically built for making small graphics for games called The Graphics Magician.) ## Graphics Forged From Text Mode Ah, now the fun part: 16 color graphics on a standard CGA card. IBM actually announced this mode in January of 1982, when the second version of the IBM PC came out; it's mentioned in their technical documentation, but they evidently saw no need to provide any real documentation for it unless asked. I guess nobody asked. :-) By the time I finally figured out how to program the mode, it was 1990 and I had a VGA card, so I never had a chance to use it in anything. Some games did use it, though, including a good shareware shoot-'em'up called Round 42 and two commercial adventure games, one from Sir Tech (remember Wizardry?) and another from [Macrocom](graphics/icon0.gif) called [ICON](graphics/icon1.gif) (1984). Here's how you program the mode: The 160x100 "graphics" mode was actually a text mode. The video registers were changed so that normal 80x25 color text mode squeezed four times as many rows of text characters onto the screen to produce an 80x100 text screen with the bottom 75% of the text characters chopped off. Then, the screen was filled with ASCII 221, which is the left vertical bar. Each character on the screen was used for a pair of two horizontally adjacent pixels by adjusting the foreground and background color of that character. The "blink" option on the video board had to be turned off so that pixels didn't blink when the right-half pixels (which use the text background color) had a color value greater than 7. (Text characters normally blink if the background color is in the 8...15 range, but who uses blinking any more?) Okay, cute trick. You could make it work in today's world by modifing it for EGA and VGA boards as well; on VGA boards, the text character height is normally 16, so it would be changed to 4. EGA boards, however, normally use a text height of 14 pixels. There is no way to change the text height to exactly one quarter of 14 pixels, so a text height of 3 would have to be used, which is slightly too small, but that's what you get for using EGA after 1990. :-) Technical details: Blink is suppressed on CGA boards by setting bit 5 of port 3d8 hex to 0. On EGA and VGA cards, blink is suppressed by using subfunction 3h, function 10h of interrupt 10h and setting BL to 0. Trivia: The 160x100 mode uses 16000 bytes at b800:0000 hex to store 16000 4-bit pixels, which is twice the amount of memory that would be required in a normal graphics mode--so each even byte of video memory is **wasted** to store the ASCII character 221. Moving blocks of video memory around was both fast and annoying, since only the odd bytes (storing the text foreground and background colors) had to be modified. Well, that's enough about CGA's 16-color "graphics" mode. I was just so happy when I figured it out that just had to spew somewhere. :-) And [ICON](examples/icondemo.exe)? They added even more depth by using the entire ASCII character set--or, at least, the top four scanlines of the entire ASCII character set. (The [bat's wings](graphics/icon2.gif) were the top four scanlines of ASCII #2, which was the smiley!) Some of the results were fantastic, but that's [ANSI from hell](graphics/icon4.gif) that I don't think anyone would want to ever attempt again. ## If You Want Something Done, You Have To Do It Yourself Demosceners are familiar with speeding up graphics with cute math and hardware tricks. But what do you do when the machine is simply too slow? Speed up your hardware. It sounds silly, but there were actually several ways to make the machine run faster--via software--by modifying certain bits of hardware. For example, the CPU spent time refreshing early DRAM so that the RAM wouldn't lose its contents. This refresh rate was adjustable and usually done way too often, so you could usually lower it a bit and gain more speed for your programs. Speed increases of 5% to 10% were not uncommon; I got a 15% increase by lowering the DRAM refresh rate gradually until the computer locked up. :-) I then used the last setting that didn't lock up the computer. Handy thing to have in your autoexec.bat, that. But probably the most common method that game programmers used to speed up the computer was to go for the guts and bypass the operating system in a **big** way--by creating self-booting programs. This solved several problems at the same time: * Disk access and loading times were much faster. If you wanted data and knew where you put it, you seek directly to the track and load the entire track to somewhere in memory. If you were a real hotshot, you could trackload "manually" by not using the BIOS and instead using DMA. **Very** quick. * You had more RAM. The operating system took up at least 32K of ram, which your program could have used. (Hey, PCs came with only 128K of RAM until around 1985, so you **really** needed to save RAM.) So, make your entire program fit into 64K and write a little 446-byte bootloader and you gain that RAM back. * The machine was empty. There was no operating system to get in your way, so you could reprogram timers, write obscene self-modifying code, store data in unused portions of the BIOS (or vector table--ACK!), whatever you wanted to do. If the computer were a parking lot, it would be an empty parking lot--you could drive like a maniac for hours and not hit a thing. Of course, you had to be a damn fine coder to do this. Being merely proficient in assembler programming wasn't enough--remember all those friendly DOS services you use? Gone. So, you'd better be prepared to write your own mini-DOS when you needed one. Sometimes self-booting programs were mandatory; it was the only way to have any decent form of copy-protection. Stuff like that was really hard to crack. In fact, I don't think anyone in today's world would have the stomach to attempt it. Not only does the game **boot** (hel-LO!), but it then proceeds to stomp all over memory, usually obliterating the debugger. Your only chance is to dump the boot sector and attempt to disassemble it manually. (While the game programmers were tough back then, so were the crackers, so it got done somehow.) The most common programs that come to mind are the early Accolade and Electronic Arts games; Pinball Construction Set and Music Construction Set (forever classics), for example. Of course, the classic Wizardry did this as well, although it took them two tries to get it right: The first version of Wizardry was not very friendly to non-perfect-100% IBM compatibles, so the more you played the game, the less successful the disk reads were. Odd... The [second version](graphics/wizard2.gif) played just fine, however. They even took the time to [improve the graphics](graphics/wizard1.gif). ## Don't Copy That Floppy Let's sidetrack for a minute or so on copy-protection schemes. Although they had nothing to do with graphics or sound explicitly, I still found them absolutely fascinating, since they were also very hardware-intensive. Copy-protection, for those too young to remember, was a method of doing something to the diskette the game came on that made writing a **perfect** duplicate impossible, which in turn prevented you from copying the disk and giving it to all your friends, robbing the software company of potential sales. A typical method of checking went something like this: When the game started, it checked to see if it was running on the original diskette by looking for a specific piece of data stored in an extra sector hidden in a specially formatted track. If it didn't find that data, it aborted. This way, you could only make the program run by running it off of its original diskette. (Nowadays, "copy-protection" is usually as simple as the program asking you to look up a word on a certain page in your software manual and type it in, or for CDROM games, checking to see if it is running on the CDROM device.) Copy-protection used to be included on **everything**, from games to business software, simply because software was extremely expensive back then, and a couple hundred copies of a program could actually make or break a software company (no, I'm not kidding). People just didn't buy software all the time because a typical game (for example) was $50. That's normal in 1996, but very expensive for 1984. (Think about it: $50 in 1984 is like $95 today due to inflation. I don't know about you, but I'm not willing to pay $95 for a computer game.) I wasn't any good at cracking back in 1984 (I barely knew general programming, let alone assembler), so I had to become good at figuring out the copy protection scheme instead if I wanted to duplicate the program. While many crackers learned DEBUG inside and out, I learned protection schemes and how to duplicate diskettes. Here's some of the more interesting methods that programmers used to prevent you from [copying that floppy](graphics/dctf.gif) with DOS's standard DISKCOPY: * **Simple trickery.** Format a diskette as single-sided, but then store the secret copy-protection information on a track formatted on the *second* side. DISKCOPY would read the boot sector, determine that the disk was single-sided, and only bother copying the first side. * **User stupidity.** The program would simply try writing a dummy file to the disk. Since most commercial software came on write-protected disks, the write would fail, and the program would continue. But if you'd just made a copy, chances were high that you'd forget to write-protect the disk when you were finished, and the write would succeed, which then aborted the program. * **Secret hardware information.** Most disk drives could actually seek beyond track 40; usually to 41. Some software companies formatted that extra track (DISKCOPY didn't go that high) and stored secret info in it for the program to check. * **Wacko disk formats.** This is when you go slightly beyond the obvious, like formatting a normal 9-sector track with 10 or 11 sectors (or less, like 4 or 5), or by writing an incorrect track ID (track 20 says its track 30, etc.), or something similar. DISKCOPY didn't know how to handle stuff outside the norm like this, so you usually needed a special program like CopyIIPC or CopyWrite to analyze the diskette thoroughly, then attempt to duplicate the format. This was about 66% successful; the other 33% you had to do yourself, usually (I personally used the Ultra Utilities). Electronic Arts had one of the best schemes in the early 80's; I couldn't figure it out until about 1985. They formatted track 15 with over 90 sectors! :-D * **Weak Bits.** Some bits on the disk were recorded as halfway between 1 and 0, which made the disk difficult to copy. This wasn't used too often because it was unreliable, even on the original disk! * **Damage.** The most expensive method of copy protection was also the most effective: Physically damage the disk. Using a laser, it was possible to burn a small hole in the disk surface, and then all the program had to do was check to see if there was a read error in that particular sector, and if so, continue running the program. If you turned the disk surface manually by grabbing the inside ring, **you could actually see a tiny hole in the disk surface!** If it was so easy (relatively speaking) to figure out these formats, then why didn't everybody just write bitcopy or nibbler programs to analyze the diskette and make perfect copies of everything (except the laser hole, of course)? It wasn't quite that easy: While the IBM floppy controller could **read** all of these formats, it did not have the ability to **write** all of them. A third-party company (usually the diskette duplication facility itself) specially prepared the diskettes using custom floppy controllers. To this day I don't know if the read-all-but-not-write-all phenomenon was a decision made on purpose by IBM's engineers or just a hardware glitch that software companies took advantage of. (Probably a hardware glitch.) Either way, I eventually broke down in 1987 and bought a Copy ][ PC Option Board, which went between the floppy drive and controller, allowing me to write those special formats. Trivia: To this day, there is only one diskette I have never been able to duplicate, even with the help of my Option Board: A Cops Copylock ][ demo diskette that I sent away for (Cops was a third-party copy-protection library you could purchase to copy-protect your own programs). I never found any programs that actually used Cops as the copy protection scheme, which was fortunate, since I couldn't copy it. :-( ## Your Computer Is Too Damn Loud Ah, music. Certainly one of the most interesting things done with computers today in the demoscene; in fact, at least twenty times more MOD/S3M/IT/XM music is being put out per year than demos, and that figure is steadily increasing. Until Sami came out with Scream Tracker in 1990, there was no native digital/multi-channel composition program. Heck, until 1986, there wasn't even any sound hardware you could hook up to your PC. Sure, the PCjr and Tandy had their own 3-voice sound chip built in, but I didn't have a Tandy or PCjr. That didn't stop me. :-) Or anyone else, for that matter. People did the best with what they had, with surprising results for the time and hardware. Ladies and Gentlemen, I present to you the evolution of composed/tracked personal computer music hardware and techniques, from the point of a fledgling demoscener (which means I'll conveniently ignore MIDI): 1981-1982 The PC speaker, driven by a chip that could only produce a simple tone at a fixed volume, was the only thing that kept us company. If it weren't for BASICA, we'd live in silence. BASICA had a [PLAY](examples/ballgame.html) statement that took real notes and octaves; you could bang out a melody relatively quickly, although [it was loud and harsh](sound/pc_single.au). You could fake a chord by [quickly alternating between different notes](examples/arpeggio.html) at the same time (an arpeggio), but [this sounded artificial and bubbly](sound/pc_arpeggio.au). (If you didn't have a love for computer music, it would quickly drive you crazy.) Pianoman by Neil J. Rubenking was a music composition program that did this; you could compose each voice separately, and then combine them into an arpeggio. A gentler trick was to adjust the pitch up and down very finely, simulating vibrato. One voice, but at least it wasn't so harsh. 1983 The PCjr is released, and Tandy follows suit a year later with the Tandy 1000, which was a clone of the PCjr. One of the enhancements in the PCjr was the addition of a 3-voice sound chip that gave multiple channels, noise generation, tone envelopes, and volume control to the built-in speaker. **Now** we had something to play with. The BASICA that came with the PCjr and Tandy supported a 3-voice PLAY statement, which, if you played your cards right, could produce some [fairly nice sound](sound/tandy_3voices.au). One thing I discovered was that the Tandy chip had a hidden strength in [low chord layering](sound/tandy_3voices_2.au). 1984 Music Construction Set, programmed by Will Harvey, came out for the PC in 1984 from Electronic Arts. It had a real staff, with treble and bass clefs, and had a neato "construction set" motif--you could drag'n'drop notes onto the staff before "drag'n'drop" was a common catch phrase. Best of all, not only did it support the [native sound chip of the PCjr/Tandy](sound/mcs_tandy.au), but it could play [four voices through the normal built-in speaker](sound/mcs_pc.au)! (Granted, it was difficult to discern between the voices, but it was possible to hear the overall chord you were going for.) You could even print out the staff on your printer, although it was one long staff down the side of the page, and not nicely formatted sheet music. :-) 1986 Mindscape publishes Bank Street Music Writer, the first program I ever bought that came with its own hardware if you didn't own a Tandy or PCjr. The "Mindscape Music Board" was a 6 voice sound card which turned out to be a sine or square wave generator with simple attack, sustain, and delay parameters. Not exactly FastTracker 2 envelopes, but it was a start. :-) Plus, it attempted to print out real sheet music, and you could follow your voices on-screen as they played. [I went nuts with this board](sound/mindscape_full_example.au), sometimes spending hours arranging [the tunes my school choir was practicing](sound/mindscape_consider.au). Although it was very good at producing solid chords (it **was** a tone generator, right?), it never took off, because the price was a bit high ($110) and it **did** sound a bit... "[plinky](sound/mindscape_actual.au)". (Come to think of it, Music Construction Set for the Apple supported a similar board called the Mockingboard, but that never took off either.) I'm fairly certain that I saw the Covox Speech Thing around this time as well. The Speech Thing was a simple digital-to-analog converter that you could connect to your parallel port to hear digitized sound. It sold for about $70, even though the parts cost about $15--**including** the speaker. :-) 1987 [Adlib](graphics/vis_com1.gif). :-) This famous board used a chip from Yamaha that produced Frequency-Modulated (FM) sound synthesis through 2 operators and a variety of parameters. You could utilize 9 melodic voices, or 6 melodic and 5 percussion. Armed with the odd [Visual Composer](graphics/vis_com2.gif), you could [compose on a piano roll](graphics/vis_com3.gif) instead of a musical staff. It wasn't bad at all; in fact, it sounded pretty damn good. If programmed correctly, it could [layer voices](sound/adlib_layer.au) well, produce decent [bass](sound/adlib_bass.au), and fairly [full sounds](sound/adlib_full.au). *I still believe that the Adlib was (and still is) underused by the majority of people who composed for it.* While I didn't purchase my Adlib until 1989, the board was actually selling in 1987, and games started supporting it in 1988. Taito's arcade conversions done by Banana Development supported it passably, but it wasn't until 1990 that I heard simply beautiful music through it from a game called Continuum from Infogramme. The game consisted of jumping from platform to platform to reach a certain object, but [the music was so good](sound/continuum.au) that I booted it up just for the music. (It also supported the Tandy sound chip, but since the music was composed for the Adlib, it was nowhere near the same quality.) The great former C64 demogroup Vibrants also did some **excellent** music composed specifically for the Adlib board, but this wasn't until much later, in 1993, when [they composed music for a few games](sound/vibrants_game.au). Their composition program, Edlib, is still freely available. Ever hear [techno on an Adlib](sound/vibrants_techno.au)? :-) ([Their true strength was jazz](sound/vibrants_newage.au), which is what they usually composed.) IBM Music Feature Card. This board was released from IBM in 1987 in an effort to draw MIDI musicians and game programmers over to the IBM. It cost about $250, and played 8 FM voices. The quality of the FM was much better than the Adlib, presumably since it used a 4-operator FM chip (also from Yamaha) instead of Adlib's 2-operator chip, and had over 100 built-in instrument parameters. It also had a MIDI port, of course. Trivia: You could put two of these boards in your PC at the same time to get a total of 16 simultaneous voices. 1988 Creative Music Systems (the name they had before they changed it to Creative Labs) came out with the Game Blaster around this time, and it offered 12 channels, with each channel producing either a single sine wave of a given frequency and magnitude (in stereo), or noise. The sound quality was obviously worse than the Adlib--the board simply couldn't do much of anything. You can still purchase CMS chips to put inside your Sound Blaster 1.x and 2.0, but it's really not worth it. The only game I know of that supported the CMS Game Blaster with decent music was was Times of Lore by Origin. **Digitized sound!** Around this time, game companies had **finally** started to use digitized sound for music. (It had been used on the PC for sound effects as early as 1983, in Castle Wolfenstein/Beyond Castle Wolfenstein, and in 1987, in the PC version of Dark Castle.) While I had speculated that you could record bits of music and then rearrange them cleverly, a French game company called [Loriciels](graphics/spacer_2.gif) beat me to it, with the excellent games [Mach 3](graphics/mach3_1.gif) (1987) and [Space Racer](graphics/spacer_1.gif) (1988) (they also did a then-popular Pong/Breakout/Arkanoid clone called PopCorn). These games had a really cool (for a PC at the time) [musical intro](sound/space_racer.au) at the beginning, which was pieced together from small sound snippets that were arranged on the fly to form a longer piece of music. (You can think of this as a .MOD file with only one channel and all instruments/samples played at C#3.) And it played through the PC speaker! Coming from a PC that had a simple tone generator as a sound device, this just blew me away. Crazy Cars by Titus also had a [snippet of digitized sound](sound/crazy_car_loop.au) at the beginning, but this was just a 64K sample that looped once. The same went for Wizball by Mindscape. (Wizball was a fabulous game, IMHO.) Finally, games like Bop'n'Wrestle used it for the counts and body-slamming noises. 1989 The Sound Blaster hits the scene, and game companies start supporting it. It's essentially an Adlib clone, but it has the ability to record and playback digitized sound, allowing for speech and decent sound effects. (This information was essentially provided for people who don't know what a Sound Blaster is. I probably shouldn't have even written this paragraph, since the (in)famous Sound Blaster doesn't need mentioning, but I've done it already, so... whatever. :-) 1990 True Mixing. While many remember TrakBlaster being the first program to play MOD files on the PC, a couple of people were mixing before then, most notably PSI / Future Crew. He had created and marketed Scream Tracker in 1990 as shareware, and it could mix and play up to four voices in real-time on an 8MHz (or faster) computer. The early versions of Scream Tracker supported a mode of operation similar to the old SoundTracker on Amiga--you could save the song data and instruments separately. This allowed you to compose over 20 songs and fit them on the same disk, because you use the same set of instruments with each song. EGA Megademo / SpacePigs did this--they had four different songs that used the same instruments, so the whole thing fit onto a single 360K disk. ## A Brief Early History of Demos This has been covered many times before, so I won't rehash The Beginning Of Demos excessively; however, a few tangible examples would probably serve to help you picture the transition. Pirating games led to the birth of the demo scene. It's time everyone who is in deep denial about this fact comes out and accepts it. You can see this in the early loaders for pirated games; as early as 1988 you can see some demo-like effects in small loaders. [The loader for Bad Street Brawler](examples/bspttl.com) is a perfect example of this: The screen starts as static; then, like a TV pirate intercepting a TV channel, the screen flickers with the title graphic, until finally the title graphic is fully displayed. The [entire program](examples/header.html) was only [128 bytes](examples/header.bin), and was tacked onto the front of a CGA screen dump. This "loader mentality" took a while to grow, but it eventually did. Many early intros were simply one effect, but to be impressive, it had to be an effect never before seen on the PC. "Never before seen" meant one of two things, actually: * The effect was an Amiga or C64 effect that was translated to the PC (common), or * The effect was an entirely new effect (rare). Many of the early Brain Slayer intros were good examples of the Amiga-effect-to-PC trend, and until .MOD playing on the PC became popular, most early intros had no sound at all. ## Rose-colored Glasses Well, our look back has ended, and not a moment too soon, since I've taken up valuable time that you could've used to write the newest demos. All I ask is that the next time you take a look at the demos today that contain incredibly complex 3D objects, particle systems, and multi-channel digital music, or the next time you compose music with 64 digital channels in Inertia Tracker, you think about what it used to be like in the old days. Who knows... Maybe some of you will be as innovative as us old-timers needed to be in dealing with such limited, slow hardware. Then again, the driving force behind demos is that the hardware is only as limited as you think it is. ;-) ## Epilogue It just wouldn't be fair for me to end this article without a list of old demos that you should check out if you want to see the best of the best back in the old days (from 1990 to 1992). Keep in mind that these demos run at the full framerate on a 386 running at 16 MHz: | Demo | Group | Video | Sound Support | | --- | --- | --- | --- | | [Chronologia](demos/cronolog.zip) | Cascada | VGA | Sound Blaster, Internal speaker, LPT DAC | | [Dragnet](demos/dragnet.zip) | DCE | VGA | Sound Blaster | | [Putre Faction](demos/putrefac.zip) | Skull | VGA | Sound Blaster | | [Unreal vers. 1.1](demos/unreal11.zip) | Future Crew | VGA | Sound Blaster, Gravis Ultrasound, LPT DAC | | [Vectdemo](demos/vectdemo.zip) | Ultraforce | VGA | Sound Blaster | | [Coldcut](demos/coldcut.zip) | Ultraforce | EGA | Sound Blaster | | [EGA Megademo](demos/megademo.zip) | SpacePigs | EGA | Internal speaker, LPT DAC | And, as always, if you're interested about demos in general, please feel free to free to check out [PC Demos Explained](http://www.hornet.org/ha/pages/pcdemos/) or download the [PC Demos FAQ list](/demos/pc/). --- Written by Jim Leonard. Completed September 25th, 1996. Special thanks to Geoffrey Silverton for some low-level "lowres" information. --- *This file was last modified on .*
http://www.oldskool.org/shrines/lbd
<html> <head> <title>The Official Dopefish Home Page</title> </head> <body background="images/wellwish.gif" BGCOLOR="#0c4020" TEXT="#F0F0F0" LINK="#FFFF00" VLINK="#FFFFFF" ALINK="#22AA22" onLoad="init()"> <!-- Start bouncing image --> <div id="img" style="position:absolute;"> <img src="images/swimfish2.gif" onMouseDown="pauseResume();" width="92" height="69"> </div> <SCRIPT LANGUAGE="JavaScript"> // By Justin Arruda (JArruda@mindspring.com) // Courtesy of SimplytheBest.net (http://simplythebest.net/info/dhtml_scripts.html) <!-- Begin var step = 3; var delay = 50; var height = 0; var Hoffset = 0; var Woffset = 0; var yon = 0; var xon = 0; var pause = true; var interval; var name = navigator.appName; if(name == "Microsoft Internet Explorer") name = true; else name = false; var xPos = 20; if(name) var yPos = document.body.clientHeight; else var yPos = window.innerHeight; function changePos() { if(name) { width = document.body.clientWidth; height = document.body.clientHeight; Hoffset = img.offsetHeight; Woffset = img.offsetWidth; img.style.left = xPos + document.body.scrollLeft; img.style.top = yPos + document.body.scrollTop; } else { height = window.innerHeight; width = window.innerWidth; Hoffset = document.img.clip.height; Woffset = document.img.clip.width; document.img.pageY = yPos + window.pageYOffset; document.img.pageX = xPos + window.pageXOffset; } if (yon) { yPos = yPos + step; } else { yPos = yPos - step; } if (yPos < 0) { yon = 1; yPos = 0; } if (yPos >= (height - Hoffset)) { yon = 0; yPos = (height - Hoffset); } if (xon) { xPos = xPos + step; } else { xPos = xPos - step; } if (xPos < 0) { xon = 1; xPos = 0; } if (xPos >= (width - Woffset)) { xon = 0; xPos = (width - Woffset); } } function start() { if(name) img.visibility = "visible"; else document.img.visibility = "visible"; interval = setInterval('changePos()',delay); } function pauseResume() { if(pause) { clearInterval(interval); pause = false; } else { interval = setInterval('changePos()',delay); pause = true; } } start(); // End --> </script> <!-- End bouncing image --> <img alt="Dopefish" align="left" src="images/burpfish.gif" WIDTH="86" HEIGHT="75"> <img align="right" alt="Dopefish" src="images/swimfish.gif" width="92" height="68"> <div align="center"> <table border="6" cellpadding="0" cellspacing="0" style="border-collapse: collapse" width="20%" id="table2"> <tr> <td> <img border="0" src="images/piscesswimeatus.jpg" width="385" height="178"></td> </tr> </table> <p></div> <p align="center"><strong><big><big><font face="Comic Sans MS,Verdana,Arial">The Well of Wishes @ dopefish.com <br> The Official Dopefish Home Page</font></big></big></strong></p> <p align="center"> <strong> <font face="Trebuchet MS,Arial"><font size="4">The history of the Dopefish by </font> <a href="mailto:joes@3drealms.com"><font size="4">Joe Siegler</font></a><br> </font> <font face="Arial"><font size="1">with help from <a href="mailto:ljfnord@yahoo.com">Lee Jackson</a> &amp; Sam Stoddard's </font> <a href="http://www.rinkworks.com/apogee/" target="_top"><font size="1">Apogee FAQ</font></a></font></strong></p> <p align="center"><small><strong><font face="Verdana,Arial" color="#FFFFFF">[ <a href="links.html">Dopefish Fan Pages</a> | <a href="fishhelp.html">Well Wishers</a> ]</font></strong></small></p> <p align="center"><a href="fishinfo.html"> <img border="0" src="images/dopechurch.jpg" width="490" height="490"></a><font size="-1" face="Trebuchet MS,Verdana,Arial"></p> <hr> <div align="right"> <table border="0" cellpadding="0" cellspacing="0" style="border-collapse: collapse" width="100" id="AutoNumber1" align="right"> <tr> <td width="100%"> <font size="-1" face="Trebuchet MS,Verdana,Arial"> <img alt="Tom Hall" src="images/coolhall.gif" BORDER="0" width="170" height="212"></font></td> </tr> </font> <font size="2" face="Trebuchet MS,Arial"> <tr> <td width="100%"> <p align="center"><b><a href="http://www.tomtomtom.com">Visit Tom's Home Page!</a></b></td> </tr> </table> </div> </font> <p><strong><big><big><font face="Comic Sans MS,Verdana,Arial">About Dopefish</font></big></big></strong></p> <p><small><font face="Trebuchet MS,Arial"><font color="yellow"><b>What is Dopefish?</b></font> Dopefish was one of the characters that appeared in Commander Keen, Episode IV back in 1991. That's it. All the rest of this &quot;Dopefish mania&quot; came later. You can read about it here at dopefish.com, the definitive source of info on everyone's favourite fish!</font></small></p> <p><i><span style="font-size:12.0pt;mso-bidi-font-size:10.0pt"><font face="Trebuchet MS,Arial" size="2"> <img border="0" src="images/xmasfish.gif" align="left" width="79" height="85"></font></span></i><font face="Trebuchet MS,Arial"><small><font color="yellow"><b>Dopefish is the product</b></font> </small></font><font face="Trebuchet MS,Arial" size="2"> of the fertile mind of Tom Hall. It was one of 24 drawings he did of ideas for characters for Commander Keen: Goodbye, Galaxy! while part of id Software. Dopefish was one of the characters from these drawings that made the cut. According to Tom, &quot;I just drew this stupid little fish,&quot; and the rest is history. Want to see Tom's original sketches for Dopefish he did in late 1990? <a href="images/dopefishoriginal.jpg">Click Here!</a></font></p> <p><small><font face="Trebuchet MS,Arial">It was pointed out to me recently that the Dopefish can predict the future.&nbsp; How?&nbsp;&nbsp; Well, the original Dopefish sketch referenced above was drawn back in 1990.&nbsp; Dopefish theologists point out that when the Dopefish was called into being by Tom, it made Tom have a foreshadowing of a future id release, Quake.&nbsp; You want proof?&nbsp; <a href="images/qfuture.jpg" target="_blank">Look at this cutout</a> from the picture.&nbsp; See the Quake logo there? &nbsp;&nbsp; Makes you think, doesn't it?&nbsp; Especially when Tom was no longer with id Software when they began work on Quake.</font></small></p> <p><font face="Trebuchet MS,Arial"><small> <img align="left" alt="Keen4 Credit Screen" src="images/fishcredit.gif" BORDER="0" width="297" height="88"><font color="yellow"><b>Dopefish is described</b></font> in the cast of characters for Secret of the Oracle as the second dumbest creature inthe universe. His thought patterns go, &quot;swim swim hungry, swim swim hungry.&quot; Dopefish &quot;will eat anything alive and moving near them, though they prefer heroes.&quot; (What's the most dumbest creature in the universe? Why, of course, the Ravenous Bugblatter Beast of Traal. It's so stupid that it thinks if you can't see it, it can't see you. One way to avoid the BugBlatter Beast is to throw a towel over your head.) Dopefish was &quot;adopted&quot; by the Tech Support staff at Apogee soon after I came on board. Then Steve Quarrella came onboard and it balooned from there. Dopefish was my favorite character, and Steve was the resident Keen expert -- Lee provided a few vocal effects and some art. We got hold of some screen capture software and went to town.</small></font></p> <p><font face="Trebuchet MS,Arial" style="font-size: smaller"> <img border="0" src="images/girlfish.gif" width="87" height="80" align="right"></font><font face="Trebuchet MS,Arial"><small><font color="yellow"><b>Dopefish reproduction?!?</b></font>&nbsp; </small></font> <font face="Trebuchet MS,Arial" style="font-size: smaller">One thing that's never really been covered before is how Dopefish reproduce.&nbsp; I got a letter from a guy who did not include his name, but did give me the nickname &quot;Altruismisdead&quot;.&nbsp; In it he asks this (food for thought)..</font><font face="Trebuchet MS,Arial" size="2"><i>&nbsp; </i></font></p> <blockquote> <p><font face="Trebuchet MS,Arial" size="2"><i>I was curious as to how the dope fish mates? With its thought patterns just being &quot;swim swim hungry, swim swim hungry&quot; it seems like it doesn't have any time for procreation. And if it does ever mate, how come we have never seen a &quot;female&quot; Dopefish? I have devised a sketch composite of what I believe may be a female Dopefish. Please correct me if I am wrong. </i>&nbsp; </font></p> </blockquote> <p><font face="Trebuchet MS,Arial" size="2">Well, Altruis has some interesting theories, but this female Dopefish looks like she's going through PMS or something.</font></p> <hr noshade color="#FFFFFF" width="75%"> <p align="center"><a href="fishinfo.html"> <img border="0" src="images/sinefish.png" width="800" height="479" alt="Click the fish, please."></a></p> <p><strong><big><big><font face="Comic Sans MS,Verdana,Arial">Dopefish in Games</font></big></big></strong></p> <p><small><font face="Trebuchet MS,Arial"><font color="yellow"><b> <img border="0" src="images/keen41.jpg" width="320" height="200" align="left" alt="Dopefish in Commander Keen">To date</b></font><font COLOR="#FFFF00"><strong>, Dopefish has been involved in three Apogee games</strong></font>: Commander Keen: Goodbye, Galaxy! (as a character), Wacky Wheels (making a secret cameo appearance - See picture below), and Rise of the Triad (as a command line parameter and a secret message).&nbsp; Beyond the appearance of Dopefish in Commander Keen, most everything else Dopefish has appeared in has been a cameo.&nbsp; As I loved Dopefish, when I started working at Apogee, I was always talking about sticking Dopefish in our other games as a gag.&nbsp; As time has gone on and folks who used to work here, and folks who are friends of mine have gone on to other companies, the &quot;joke&quot; of using Dopefish as a gag cameo character has lived on.&nbsp; This section details appearances of the Dopefish in known games and addons.&nbsp; Some are user created, some are actual industry creations.</font></small></p> <p><small><font face="Trebuchet MS,Arial"> <font color="yellow"><b>Commander Keen</b></font>&nbsp; This one doesn't require much explanation, as it's the only &quot;legitimate character use&quot; of Dopefish.&nbsp; If you play Keen 4, you'll find this one.&nbsp; :)&nbsp;&nbsp; Basically, just play the game, and get to the level &quot;The Well of Wishes&quot;.&nbsp; Keen will be underwater, and his job is to avoid several Dopefi in that level, and make it to the end.&nbsp; That's pretty much it.&nbsp;&nbsp; Dopefish really doesn't do anything in the game other than swim, and try and eat you.&nbsp; But the Burping RULES!&nbsp; :)&nbsp;&nbsp; Dopefish could be hard though as this quote by Keen fan Averos goes in <a href="http://slashdot.org/articles/03/03/16/1718207.shtml?tid=127">a story about Keen on Slashdot</a> in 1993..&nbsp; <i>&quot;</i></font></small><i><font face="Trebuchet MS,Arial" size="2">God, I hated that Dopefish. Probably the single most terrible creature in the Commander Keen universe, bar none. Not even the Vorticons had anything on this green aquatic moron. My very dreams were haunted by that fish as I paddled in vain to keep ahead of that buck-toothed mouth. I lost more lives on that damn overgrown fscking tuna than anywhere else in the game. *Shudder*. &quot;</font></i></p> <p><small><font face="Trebuchet MS,Arial"> <img align="right" alt="Dopefish in Wacky Wheels" src="images/wackyfish.gif" BORDER="0" width="320" height="200"></font></small><b><font face="Trebuchet MS,Arial" style="font-size: smaller" color="#FFFF00">Wacky</font></b><small><font face="Trebuchet MS,Arial"><font color="yellow"><b> Fish?</b></font>&nbsp; Back when we were working on Wacky Wheels, I was talking with Andy Edwardson about Dopefish, and he thought it was a funny gag.&nbsp; So he programmed in a cameo for Dopefish in Wacky Wheels.&nbsp; It's pretty obscure, and neither of us could figure out why anyone would find this legitimately, but here's how to get Dopefish in Wacky Wheels.&nbsp; When a race starts, you need to hold down the brake, and spin your animal in a circle to the right two complete turns (keep spinning and braking).&nbsp; The Dopefish will then appear.&nbsp; Don't let your animal disappear off the screen, or the gag won't work right.&nbsp;&nbsp; Someone (We have no idea who did this) took the time to capture a whole lot of frames from Dopefish's appearance in Wacky Wheels, and turn them into an animated GIF file. If you'd like to see that, <a href="images/wackyani.gif">click here</a>. (The image is about 690k, it can take a long time on a slow modem). </font></small></p> <p><small><font face="Trebuchet MS,Arial"> <img align="left" alt="Siegler" src="images/joefish2.gif" BORDER="0" width="78" height="90"><a name="rottfish0"></a><font color="yellow"><b>ROTT Fish?</b></font> In addition to what's mentioned in the last paragraph for ROTT, the first level in the <a href="stuff/rott_rej.zip">rejected ROTT level set</a> is called &quot;Use the Fish.&quot; If you load this level up, use the map cheat, and look at the map, you'll see that the entire level is essentially the Dopefish -- you're playing inside. The title &quot;Use the Fish&quot; comes from the fax that Jay Wilbur (then of id Software) sent Apogee when he granted us permission to use the Dopefish as a cameo character. If you want to see a picture of what Dopefish looked like in Ted, (Apogee's ROTT Level editor) as designed by Joe Selinske, <a href="images/dopemap.gif">click here</a>. In the registered version of Rise of the Triad, there was a level I did called <i>Eight Ways to Hell</i>.&nbsp; In it a little over halfway through the level, are a group of walls in a hidden area that are shaped very strangely. When you're playing the game, you won't notice it, but if you look at this section of the game in the automap, the walls are shown to be in Galactic Alphabet, which is an alphabet that Tom Hall had created for the Commander Keen games. These walls spell out the message &quot;Dopefish Lives&quot;. There is a screen capture of this section of the map below this paragraph, should you care to translate it for yourself. :)&nbsp; (You can see this image below) Yet another <img align="left" alt="Siegler" src="images/joefish1.gif" WIDTH="73" HEIGHT="93" BORDER="0"> incarnation of the Dopefish in ROTT is only in version 1.3 of the game -- when you complete it, there's a picture of a bucked tooth version of my character (Heinrich Krist - teeth compliments of artist Stephen Hornback) with a Dopefish pillow (again, made by Lee Jackson's wife Brenda) in my lap.&nbsp; Also, in Feburary of 1998, I released what is probably the final patch of any kind for Rise of the Triad, the long-awaited &quot;ROTT Dopefish&quot; patch.&nbsp;&nbsp; What this patch does is add Chuck Jones' rendered Dopefish into v1.3 of Rise of the Triad.&nbsp; If you'd like to download this, <a href="stuff/dfrottcd.zip">click here</a>.&nbsp;&nbsp; Please note that this is not an official Apogee patch, it's released strictly as a gag by myself; don't ask Apogee about this.</font></small></p> <p><small><a href="images/dlives.gif"><font face="Trebuchet MS,Arial"> <img align="right" src="images/dlivest.jpg" alt="ROTT Secret Message" border="0" width="317" height="43"></font></a><font face="Trebuchet MS,Arial">In addition, I've had several messages from people asking me about this possible Dopefish cameo in Rise of the Triad.&nbsp; A user writes.. &quot;<em>When you're playing a Multi-player game in ROTT, you can see your mugshot up in one of the corners, which is next to your score. If you kill yourself, say by standing next to and facing a wall and firing an explosive weapon, you die (duh), but in addition to dying, your mugshot gets bucktoothed. If you still aren't sure what I'm referring to, just go into a multiplayer game, kill yourself and look around. So, is this a dopefish reference?&quot;</em>. &nbsp; The answer is no, it is not.&nbsp;&nbsp; I asked Tom Hall about this, and this is what he said.. &quot;That is not an intentional dopefish reference, but made by Dopefish's dad, so I guess you can see my themes recurring...or my material running dry. ;^) &nbsp; One of the five [ROTT characters] goes bucktoothed when their kills go negative.&quot;</font></small></p> <p><font face="Trebuchet MS,Arial"><small> <img align="left" src="images/fishlive.jpg" alt="Dopefish gag in Duke Nukem 3D" width="320" height="200"><font color="yellow"><b>Duke Fish?</b></font> One planned cameo appearance of Dopefish that will not come to the light of day was one planned for Duke Nukem 3D (more precisely it was ordered removed by George Broussard). Early in development, there was a shark as a character in Duke3D that would appear when Duke was underwater. What was to happen was that when you'd start the game with a DOPEFISH command line parameter, the sharks were to be replaced with Dopefish. However, the sharks got cut from the game, and alas, the Dopefish appearance in Duke Nukem 3D went with it. (At the last second before the game was released, the sharks were reinstated to the game, but Dopefish was not.) However, the work done for this does survive. Later on this page, Dopefish music is talked about, and a song written for Dopefish's appearance is downloadable from there. Also, Chuck Jones, the 3D modeler for Duke Nukem 3D created an animaton file for Duke, and if you want to see what Dopefish would have looked like in Duke3D, you can <a href="stuff/dopeanm.zip">download this file</a>. Also, around the same time, Chuck created a much larger FLI file of his first attempt at a 3D rendered Dopefish just spinning in place. If you want that, you can <a href="stuff/dopefli.zip">download this file</a>. The released version of Duke Nukem 3D did have one single Dopefish reference, that being this picture you see to your left.&nbsp; It's a hidden message deep in Level 5 (The Abyss) of the shareware episode of Duke Nukem 3D. In June of 1996, Dopefish has been put pack into Duke 3D! Well, not by 3D Realms, but someone by the name of Roland made a file that you can use in the registered version of Duke3D that will turn the drones (the flying things) into Dopefish! It's pretty funny! Want it? <a href="stuff/dron2dop.zip">Click here</a>.</small></font></p> <p><small><font face="Trebuchet MS,Arial"> <img align="right" src="images/quake2.jpg" alt="Quake Picture" width="320" height="200"><font color="yellow"><b>Shadow Warrior Fish?</b></font> No, Dopefish didn't make an appearance in 3D Realms' Shadow Warrior game, but there is a connection! During the production of the game, the hero of Shadow Warrior (Lo Wang) was interviewed, and in the interview he was asked about Dopefish. Here is what Lo Wang had to say about Dopefish: [ <a href="stuff/lofish.wav">34k .wav file</a> ]</font></small></p> <p><small><font face="Trebuchet MS,Arial"><font color="yellow"><b>Quake fish?</b></font> Dopefish cameos in games has come full circle(sort of). With id Software's 1996 release of Quake, Dopefish makes yet another appearance!&nbsp; Dopefish appears in the registered version of Quake. There is a &quot;hint&quot; of Dopefish's appearance in the shareware episode, however. If you take the path that leads to the Nightmare difficulty level selection, and shoot the square on the wall at the end of the stairwell, you'll get a cryptic message that says &quot;The Well of Wishes awaits in the Crypt of Decay&quot;. In the Crypt of Decay (Episode 2 Level 3 of Quake), towards the end of the level you'll come across a pathway that has lots of nails being shot out a few directions. That hallways leads to a big open area (see picture to right). If you go into the corridor that is shown in the picture to the right, and turn around, you will see a <i>very thin</i> walkway that leads to the area marked &quot;In Here&quot; in the picture. If you follow this pathway and jump into the &quot;In Here&quot; archway, you'll be led to the Dopefish (see other picture below).</font></small></p> <p><small><font face="Trebuchet MS,Arial"> <img align="right" src="images/quakefish.jpg" alt="Dopefish in Quake" width="320" height="200">In the summer of 1998, I was alerted to the existance of a Dopefish trading card.&nbsp; It's actually part of a set of Quake based trading cards, of which Dopefish has a card.&nbsp; I've never physically seen these cards (has anyone?), and I don't know if they're an official id Software product or not, but if you want to check 'em out, <a href="http://personal.netwrx.net/jfuture/chapters/dtc_ser1.html">go here</a>.</font></small></p> <p><small><font face="Trebuchet MS,Arial"><a href="images/q2fish.jpg"> <img src="images/q2fisht.gif" align="left" border="0" alt="Quake II - Is Dopefish Dead?" width="120" height="90"></a><font color="yellow"><b>The Death of the Dopefish in Quake II?</b></font> I think not, although someone over at id Software might think so. :) Remember what id did to Commander Keen in Doom (had several dead Keens hanging dead in a secret room in Level 32)? Well, they're at it again. In Quake II, Dopefish makes an &quot;appearance&quot;. In the &quot;Cooling Facility&quot; level of Quake II, Dopefish is in there. But, in similar form to Keen's apperance in Doom, Dopefish appears to be dead. Is Dopefish really dead? You can judge for yourself by finding him in this level. After you the reactor is destroyed, come back to this level before going to the Big Gun. Go all the way to the outdoor pools near the end. In one of the pools a new door has opened leading to a new area with a large post, which of course has a crack in it. Meet our weird friend inside. If you have Quake II, you can <a href="stuff/q2_save1.zip">download this save game file</a> to make it more easy on yourself to see it. :)&nbsp; (I've been sent <a href="stuff/q2_320_save1.zip">an additional save game</a> that works with Quake II v3.20)&nbsp;&nbsp; Also in January of 1998, some proof turned up that Dopefish did not die in Quake II.&nbsp;Want to see the proof?&nbsp;&nbsp; <a href="images/dopefish_refill.jpg">Click here</a> (picture by <a href="http://www.midwinter.de/qart/art05.html">Carsten Witte</a>)&nbsp; Thanks to Brandon Fish (no relation to Dope) for the pictures of Dopefish in Quake II, as well as the description for how to find him. Slightly more detailed info on this is available </font><a href="http://www.stomped.com/content/q2guide/cool1.html"><font face="Trebuchet MS,Arial">here</font></a><font face="Trebuchet MS,Arial">. </font></small></p> <p><font color="#FFFF80" face="Trebuchet MS,Arial"><strong><small><a href="images/q3fish.jpg"> <img border="0" src="images/q3fish_small.jpg" alt="Quake III Dopefish - Although I don't think so" align="left" width="100" height="75"></a>Quake Fish Again</small></strong></font><font face="Trebuchet MS,Arial"><small><font color="#FFFF80"><strong>?</strong></font>&nbsp; I've gotten numerous emails about the &quot;appearance&quot; of Dopefish in Quake III.&nbsp; Personally, I do not believe that it is a Dopefish.&nbsp; I'm of the thinking that just because a fish is green, it doesn't automatically mean it's supposed to be Dopefish.&nbsp; Two inquiries to id Software about this were not replied to.&nbsp; Until I hear otherwise, I don't personally believe that it's Dopefish in Quake III.&nbsp; It could be, but my gut feeling says it's not.&nbsp; If I'm proven wrong otherwise by id Software, I'll change this.</small></font></p> <p><font face="Trebuchet MS,Arial"><small><i>Update 6/22/00: </i>I got an email from John Romero telling me that he had spoken with id Software, and they intend it to be a Dopefish.&nbsp; Quite frankly, I'm disappointed by that.&nbsp; The thing doesn't even look like Dopefish, the features aren't the same at all - if there's going to be a Dopefish cameo in a game, it should at least look like the thing!</small></font></p> <p><small><font face="Trebuchet MS,Arial"><a href="images/jazz2.jpg"> <img border="0" src="images/jazz2t.jpg" align="right" alt="Dopefish reference in Jazz Jackrabbit II" width="320" height="200"></a><font color="#FFFF80"><strong>Jazz Fish?</strong></font> In late spring of 1998 Epic released Jazz Jackrabbit 2.&nbsp; There is a Dopefish reference in Jazz Jackrabbit II by Epic Megagames.&nbsp; At some point in the game, you will see the message &quot;Spaz ate the Dopefish&quot;.&nbsp; If you click on the thumbnail to your right here, you will see the message.&nbsp; Here's how to get it in the game (thanks to <a href="mailto:nickandphil@csi.com">Nicholas Killewald</a> for the details):</font></small></p> <ol> <li><small><font face="Trebuchet MS,Arial">Work your way to "A Diamondus Forever" as either character, any difficulty.</font></small></li> <li><font face="Trebuchet MS,Arial"><small>From the start of the level, work your way to the point where there are blocks with the blue bouncy bullet symbol on them (Two spheres together, you'll know it if you play the game).</small></font></li> <li><font face="Trebuchet MS,Arial"><small>Keep going through that path, through a couple springs, to the tall tree. Shoot it and walk over it.</small></font></li> <li><font face="Trebuchet MS,Arial"><small>Next, you should see two blocks with stars on 'em, tucked up at the top of a passage. Shoot 'em and get up there.</small></font></li> <li><font face="Trebuchet MS,Arial"><small>See the passage directly below? There's a fall-through-the-floor to it.</small></font></li> <li><font face="Trebuchet MS,Arial"><small>Go to the springs on the right. Make sure you hold left when you spring after you go through the ceiling, else you'll shoot past the crate you need to smash. Might take you a couple tries.</small></font></li> <li><font face="Trebuchet MS,Arial"><small>Smash the metal crate.</small></font></li> <li><font face="Trebuchet MS,Arial"><small>Now, hit the blue spring below you and shoot up through the small log above you. (Translation: hit the spring and shoot straight up)</small></font></li> <li><font face="Trebuchet MS,Arial"><small>Those three green-and-blue blocks you see will lead you up to another platform. Go to the left, kill a turtle, and find the sign.</small></font></li> </ol> <p><font face="Trebuchet MS,Arial"><small>It's actually easier than it sounds. Just remember to take the high road.&nbsp;</small></font></p> <p><font face="Trebuchet MS,Arial"><small>There's actually a &quot;sort of&quot; Dopefish appearance in Jazz Jackrabbit 2.&nbsp; If you start the game in easy mode, you see <a href="images/spazfish.jpg">this picture</a>.&nbsp; It's not quite Dopefish, but it kinda looks like 'em.&nbsp; :)</small></font></p> <p><font color="#FFFF80" face="Trebuchet MS,Arial"><strong><small><a href="images/d3_dopefish.jpg"> <img border="0" src="images/d3_dopefisht.jpg" align="right" width="160" height="120" alt="Dopefish gag in Descent"></a>Descent</small></strong></font><font face="Trebuchet MS,Arial"><small><font color="#FFFF80"><strong> Fish?</strong></font>&nbsp; In June of 1999, we were told of an appearance of Dopefish in Descent 3.&nbsp; Before the game was released, the folks who made the game were running a &quot;contest&quot; where you could send in a picture and a character name, and they'd put it in there as a default character in the game.&nbsp; Well, the guy above who did the Dopefish Halloween costume above sent in the picture of himself in the halloween garb, and the Descent folks put it in the game!&nbsp; Here's some details from mscooper about how to get Dopefish in the game:&nbsp; &quot;<i>Make a pilot called "Dopefish" and you can choose a pilot picture, which automatically comes up as me in my dopefish Halloween getup.</i>&quot;</small></font></p> <p><font color="#FFFF80" face="Trebuchet MS,Arial"><strong><small><a href="images/trodopefish.jpg"> <img border="0" src="images/trodopefish_small.jpg" alt="Dopefish gag in Battlezone" align="left" width="100" height="75"></a>Battle</small></strong></font><font face="Trebuchet MS,Arial"><small><font color="#FFFF80"><strong> Fish?</strong></font>&nbsp; In 1999, we were informed by Robert E. Wareing about an appearance of Dopefish in the game Battlezone.&nbsp; Well, it's &quot;The Red Odyssey&quot; add-on for Battlezone.&nbsp;&nbsp; Click on the small thumbnail to your left and you'll see what shows up in the game.&nbsp; :)&nbsp; Robert tells us how to get it...&nbsp;</small></font></p> <p><font face="Trebuchet MS,Arial"><small>You type DOPEFISH in at any success screen in Red Odyssey, and a little picture of him pops up with a small bio of his history.&nbsp; There's also a Duke Nukem reference in the game, too.&nbsp; At the end of The Red Odyssey, they decide to Nuke the emeny, so this big ass Nuke comes screaming across the landscape, slowing rotating as it hurls towards impact - and on it's side it's name is <a href="images/dukenuke.jpg">painted as Duke</a>.&nbsp; Get it?&nbsp; We nuke'd 'em with a nuke named Duke&quot;.</small></font></p> <p><font color="#FFFF80" face="Trebuchet MS,Arial"><strong><small>Dopefish in Kingpin</small></strong></font><font face="Trebuchet MS,Arial"><small><font color="#FFFF80"><strong>?</strong></font>&nbsp; I had a skin screenshot submitted to me by someone from the game Kingpin.&nbsp; Unfortunately, I don't have any info on how to download this or how to make it appear in the game.&nbsp; If you do, please let me know.&nbsp;&nbsp; If you want to see what it looks like, you can <a href="images/burpfishskin.jpg">click here for a shot</a>.</small></font></p> <p><font color="#FFFF80" face="Trebuchet MS,Arial"><strong><small>Dopefish in Daikatana!</small></strong></font><font face="Trebuchet MS,Arial"><small>&nbsp; Once again, I've gotten some cool stuff from John Romero about an appearance of Dopefish in one of his games.&nbsp; A couple of years ago, he was cool enough to send me some info about Dopefish in Quake.&nbsp; Recently, his long awaited Daikatana was released - and John sent over some screenshots and detailed information on how to get to all of them.&nbsp;&nbsp;</small></font></p> <blockquote> <p><font color="#FFFF80" face="Trebuchet MS,Arial"><strong><small> <img border="0" src="images/daikatana/daikatana.jpg" align="right" alt="Dopefish from Daikatana" width="275" height="199"></small></strong></font><font face="Arial" size="2">OK Joe, here's your Dopefish info:&nbsp; The Dopefish is hidden in four places in Daikatana, one location per episode. Here's the list of places:</font></p> <p><font face="Arial" size="2">E1: In the Sewer System, part 2, there's a secret area that contains the Shotcycler-6 and a bunch of Sludge Minions. In the screenshot (<a href="images/daikatana/dopefish_e1_1.jpg">dopefish_e1_1.jpg</a>) you can see one of the four corner lights in the room. Shoot each one until they descend into the floor. When all four have been shot, you'll hear a strange sound and at the bottom of the pool in the center of the room, a grating will slide open and reveal the first Dopefish's lair (<a href="images/daikatana/dopefish_e1_2.jpg">dopefish_e1_2.jpg</a>).</font></p> <p><font face="Arial" size="2">E2: In the Acropolis, part 1, the first major structure that you enter will have a huge water fountain in it (<a href="images/daikatana/dopefish_e2_1.jpg">dopefish_e2_1.jpg</a>). Jump into the water in the fountain, find the open spot and swim into it. You have to break the wall under here (<a href="images/daikatana/dopefish_e2_2.jpg">dopefish_e2_2.jpg</a>) to gain access to the second Dopefish's lair (<a href="images/daikatana/dopefish_e2_3.jpg">dopefish_e2_3.jpg</a>).</font></p> <p><font face="Arial" size="2">E3: In the Plague Village, part 1, near the very end of the level is a final bridge that you must cross (<a href="images/daikatana/dopefish_e3_1.jpg">dopefish_e3_1.jpg</a>). Under this bridge is a boarded-up well (<a href="images/daikatana/dopefish_e3_2.jpg">dopefish_e3_2.jpg</a>) -- break off the wood and swim down into the well, moving around the protruding rocks the whole way until you find the third Dopefish's lair (<a href="images/daikatana/dopefish_e3_3.jpg">dopefish_e3_3.jpg</a>).</font></p> <p><font face="Arial" size="2">E4: In the Tower of Crime, part 2, there's an elevator shaft that has a little secret under the water at the bottom. You need to climb the ladder in the shaft and go all the way down to the floor where your feet will be barely covered in water and you cannot duck under it to see where the secret is located... you must simply shoot at the ground until it breaks out from under you (<a href="images/daikatana/dopefish_e4_1.jpg">dopefish_e4_1.jpg</a>). When you go down into the new opening, you'll find a Vitality powerup (<a href="images/daikatana/dopefish_e4_2.jpg">dopefish_e4_2.jpg</a>). To the right of the Vitality is a wall that is breakable and behind that wall is the fourth and final Dopefish's lair (<a href="images/daikatana/dopefish_e4_3.jpg">dopefish_e4_3.jpg</a>).</font></p> <p><font face="Arial" size="2">In each Dopefish's lair there's a Manaskull invulnerability artifact -- it will allow you to either look at the Dopefish for a while, or allow you to try to completely destroy the Dopefish, which takes a LOT or work to do.</font></p> </blockquote> <p> <img border="0" src="images/anox_babydf.jpg" align="right" alt="Baby Dopefish in Anachronox" width="245" height="325"><font face="Arial" size="2">A special thanks goes out to John Romero for getting this information together and over to me.&nbsp; :)&nbsp;</font></p> <p><font face="Trebuchet MS,Arial" size="2"><font color="#FFFF00"><b> Anachronofish!</b></font> - Well, as Tom Hall's Anachonox is about to hit the shelves, speculation has run rampant that Dopefish would make an appearance in the game.&nbsp; I can now announce that not only is there a Dopefish - there are three baby Dopefish in the game as cameo characters.&nbsp; Yours truly has done the voice for the Dopefish again.&nbsp; :)</font></p> <p><font face="Trebuchet MS,Arial" size="2">After Anachronox was released, Tom sent me some info on the various appearances of Dopefish in Anachronox.&nbsp; Here's the info he sent me:</font></p> <p><font face="Trebuchet MS,Arial" size="2">Here you go!<br> <br> 1. In Rho's lab, in a tank to the side. (MAP LABBUILDING)<br> <br> 2. In Moon Burger on Hephaestus, occasionally jumping out of the ball pit. (MAP MBURGER)<br> <br> 3. In the Krapton Ship, in a tank in the room with the Orange Roughy monsters. (MAP KRAPTONMAZE)</font></p> <p><font face="Trebuchet MS,Arial" size="2">Tom also sent along several screen shots of Dopefish's appearances in the game.&nbsp;&nbsp; Here they are - you can click on any of them to have a larger version open up in another window:</font></p> <table border="0" cellpadding="2" cellspacing="0" style="border-collapse: collapse" width="100%" id="table3"> <tr> <td width="20%" align="center"> <a target="_blank" href="images/anachronox/kraptonmaze1.jpg"> <img border="1" src="images/anachronox/kraptonmaze1_small.jpg" xthumbnail-orig-image="images/anachronox/kraptonmaze1.jpg" width="100" height="75"></a></td> <td width="20%" align="center"> <a target="_blank" href="images/anachronox/kraptonmaze2.jpg"> <img border="1" src="images/anachronox/kraptonmaze2_small.jpg" xthumbnail-orig-image="images/anachronox/kraptonmaze2.jpg" width="100" height="75"></a></td> <td width="20%" align="center"> <a target="_blank" href="images/anachronox/labbuilding1.jpg"> <img border="1" src="images/anachronox/labbuilding1_small.jpg" xthumbnail-orig-image="images/anachronox/labbuilding1.jpg" width="100" height="75"></a></td> <td width="20%" align="center"> <a target="_blank" href="images/anachronox/labbuilding2.jpg"> <img border="1" src="images/anachronox/labbuilding2_small.jpg" xthumbnail-orig-image="images/anachronox/labbuilding2.jpg" width="100" height="75"></a></td> <td width="20%" align="center"> <a target="_blank" href="images/anachronox/labbuilding3.jpg"> <img border="1" src="images/anachronox/labbuilding3_small.jpg" xthumbnail-orig-image="images/anachronox/labbuilding3.jpg" width="100" height="75"></a></td> </tr> <tr> <td width="20%" align="center"><font face="Trebuchet MS,Arial" size="2"> Krapton Maze 1<br> &nbsp;</font></td> <td width="20%" align="center"><font face="Trebuchet MS,Arial" size="2"> Krapton Maze 2<br> &nbsp;</font></td> <td width="20%" align="center"><font face="Trebuchet MS,Arial" size="2">Lab Building 1<br> &nbsp;</font></td> <td width="20%" align="center"><font face="Trebuchet MS,Arial" size="2">Lab Building 2<br> &nbsp;</font></td> <td width="20%" align="center"><font face="Trebuchet MS,Arial" size="2">Lab Building 3<br> &nbsp;</font></td> </tr> <tr> <td width="20%" align="center"> <a target="_blank" href="images/anachronox/labbuilding4.jpg"> <img border="1" src="images/anachronox/labbuilding4_small.jpg" xthumbnail-orig-image="images/anachronox/labbuilding4.jpg" width="100" height="75"></a></td> <td width="20%" align="center"> <a target="_blank" href="images/anachronox/mburger1.jpg"> <img border="1" src="images/anachronox/mburger1_small.jpg" xthumbnail-orig-image="images/anachronox/mburger1.jpg" width="100" height="75"></a></td> <td width="20%" align="center"> <a target="_blank" href="images/anachronox/mburger2.jpg"> <img border="1" src="images/anachronox/mburger2_small.jpg" xthumbnail-orig-image="images/anachronox/mburger2.jpg" width="100" height="75"></a></td> <td width="20%" align="center"> <a target="_blank" href="images/anachronox/mburger3.jpg"> <img border="1" src="images/anachronox/mburger3_small.jpg" xthumbnail-orig-image="images/anachronox/mburger3.jpg" width="100" height="75"></a></td> <td width="20%" align="center">&nbsp;</td> </tr> <tr> <td width="20%" align="center"><font face="Trebuchet MS,Arial" size="2">Lab Building 4</font></td> <td width="20%" align="center"><font face="Trebuchet MS,Arial" size="2">Moon Burger 1</font></td> <td width="20%" align="center"><font face="Trebuchet MS,Arial" size="2">Moon Burger 2</font></td> <td width="20%" align="center"><font face="Trebuchet MS,Arial" size="2">Moon Burger 3</font></td> <td width="20%" align="center">&nbsp;</td> </tr> </table> <p><font face="Trebuchet MS,Arial" size="2">Special thanks to Tom Hall for sending me over this information on Anachronox.</font></p> <p><font color="#FFFF00" face="Trebuchet MS,Arial" size="2"><b> <img border="0" src="images/dopegbajump.jpg" width="160" height="144" align="left" alt="Dopefish in Keen Gameboy Color"><img border="0" src="images/keengb.jpg" align="right" alt="Dopefish in Keen Gameboy Color" width="246" height="193"></b></font><font face="Trebuchet MS,Arial" size="2"><font color="#FFFF00"><b>Keen &amp; Dopefish return!</b></font> - Sort of.&nbsp; In 2001, id licensed someone else (David Palmer productions) to make a new Keen game for the Gameboy Color.&nbsp; Tom Hall wasn't involved, so my personal expectations were pretty low for the game.&nbsp; I played the game a little bit, but quite frankly, it's crap.&nbsp; That's not surprising, since Tom wasn't involved.&nbsp; Plus it's insaneo hard.&nbsp; Even if I liked it for Tom not being involved, it's almost unplayable.&nbsp; Dopefish does make a cameo in the game.&nbsp;&nbsp; He's not a full fledged character as such, just kind of the level of usage he had in Keen 4.&nbsp;&nbsp; First, some dopefish art is on a wall in the game.&nbsp; Check out the screen captures here from the Gameboy Color Keen game for shots of the Dopefish appearances.</font></p> <p><font face="Trebuchet MS,Arial" size="2">Later on in the game, the Dopefish does make an appearance as a game character.&nbsp; He's jumping in and out of the water, and you have to jump over him to progress in the level.&nbsp; You don't actually get eaten, but if you're touched by the Dopefish, you will die.</font></p> <p><font face="Trebuchet MS,Arial" size="2"><font color="#FFFF00"><b> <a href="images/mpdopefish.jpg" target="_blank"> <img border="1" src="images/mpdopefish320.jpg" align="left" alt="Dopefish cameo in Max Payne" width="320" height="240"></a>Max Dopefish</b></font> - The plan to get Dopefish into as many games as possible continues with the apperance of Dopefish in Max Payne.&nbsp;&nbsp; It started about 5 weeks before the game went gold - I was contacted by Petri of Remedy asking if any &quot;hi res art existed for Dopefish&quot;.&nbsp; I chuckled, and said no, of course it didn't - the only art was the 10 year old EGA art, as well as anything you might see on dopefish.com.&nbsp; He ended up whipping up some art on his own, and that art has been on dopefish.com ever since - although no one has said anything about it during the time it was here and Max Payne was not out.&nbsp; If you want to see that art, <a href="images/dopefish512x512.JPG">click here</a>.</font></p> <p><font face="Trebuchet MS,Arial" size="2"> <img border="0" src="images/hdb.gif" align="right" alt="Dopefish cameo in Hyperspace Delivery Boy" width="240" height="320">Anyway, check out this screen capture above from Max Payne - you can click on the thumbnail for a larger version.&nbsp; The hidden room happens in Chapter 1 Level 7.&nbsp; It's the one where you're chasing Gognitti over the rooftops.&nbsp; When you get to the point where Gognitti tries to go through a door, and it's locked, there's an area where you can go into battle at the bottom of the stairs.&nbsp; Don't go down there, turn around, and head back towards the basketball court.&nbsp; From there you can jump down to this secret area (behind a fence).&nbsp; However, if you're too lazy to do the work yourself, you can <a href="stuff/maxfishsave.zip">download this save game</a> and use it.&nbsp; :)</font></p> <p><font face="Trebuchet MS,Arial" size="2">In Jan of 2004, we were sent <a href="images/jeffstein.jpg">this file</a> from Jeff Stein.&nbsp; It's an update of the Dopefish art in Max Payne, Jeff wanted to share, so here it is. :)</font></p> <p><font face="Trebuchet MS,Arial" size="2"><font color="#FFFF00"><b> Hyperspace Delivery Fish</b></font> - The spread of Dopefish cameos to more games continues unabated into 2002.&nbsp; Late in December of 2001, Tom Hall &amp; John Romero's new company, <a href="http://www.monkeystone.com">Monkeystone Games</a> released their first game, &quot;<a href="http://www.monkeystone.com/products/hdb/">Hyperspace Delivery Boy</a>&quot;.</font></p> <p><font face="Trebuchet MS,Arial" size="2">In this game, another Dopefish cameo makes it's appearance - see the graphic to your right.&nbsp; As I don't have a Pocket PC (which is what this game is available for), I can't tell you first hand how to see this, but I did ask Tom Hall how to get to the Dopefish in Hyperspace Delivery Boy, and he told me...&nbsp; &quot;</font><font face="Arial" size="2">You must collect at least 21 Monkeystones to get access to that area.&quot;&nbsp;&nbsp; Hope that's useful information for those of you who have the game!&nbsp; Later in 2002, a version of this game was released for the PC as well, and yours truly provided a voice for the &quot;Worker Siegler&quot; character saying &quot;It is the Dopefish - behold!&quot;&nbsp; :)</font></p> <p><font face="Trebuchet MS,Arial" size="2"> <img border="0" src="images/wolf3d03.jpg" width="320" height="200" align="left" alt="Dopefish user mod for Wolfenstein 3D"><font color="#FFFF00"><b>Wolfenstein Fish</b></font> - In September of 2002, I was sent <a href="images/returnwolf.jpg">a screenshot</a> which the sender (whose name and email I have since lost) says is from the recent game &quot;Return to Castle Wolfenstein&quot;.&nbsp; It shows a stairwell which has &quot;Dopefish&quot; in grating at the top.&nbsp; The Dopefish itself doesn't appear there, but these words do.&nbsp; Can someone get back to me with info on how to find this in the game?&nbsp; Thanks.&nbsp; I was also told that this was part of a user map, and not actually part of the main game - I can't confirm that.</font></p> <p><font face="Trebuchet MS,Arial" size="2"> <img border="0" src="images/hitman2a.jpg" width="101" height="115" align="right" alt="Dopefish cameo in Hitman 2">I also have a file that you can use if you have the registered 6 episode version of the original Wolfenstein 3D.&nbsp; This modification comes from Steven Pappas, and it changes Episode 1 Level 10 (the secret level) to be &quot;The Well of Wishes&quot;.&nbsp; Some of the characters are replaced with a Dopefish (which appears to be a boss character transplant, as it's rather lethal).&nbsp; You can <a href="stuff/dopewolf.zip">download the file here</a> - unpack to your registered Wolf3D directory and enjoy.&nbsp;&nbsp; You can also check out a screen capture of this modification on this page, and a few others <a href="images/wolf3d04.jpg">here</a>, <a href="images/wolf3d05.jpg">here</a>, <a href="images/wolf3d07.jpg">here</a>, &amp; <a href="images/wolf3d13.jpg">here</a>.</font></p> <p><font face="Trebuchet MS,Arial" size="2"><font color="#FFFF00"><b> Hitman 2 Fish</b></font> - During my layoff of 2003, I was notified (by several people) that a Dopefish appearance happened in Hitman 2.&nbsp;&nbsp; In the level &quot;Jacuzzi Job&quot;, Dopefish appears as a fish bobbing up and down (kinda like a bobblehead) on a desk in a room where your target is.&nbsp; I was sent many shots of this appearance.&nbsp; Other than the one shown here, you can click on a few more for various looks of the Hitman 2 Dopefish appearance.<br> [ <a href="images/hitman2-1.jpg">Link</a> | <a href="images/hitman2-2.jpg">Link</a> | <a href="images/hitman2-3.jpg">Link</a> | <a href="images/hitman2-4.jpg">Link</a> | <a href="images/hitman2-5.jpg">Link</a> | <a href="images/hitman2-6.jpg">Link</a> | <a href="images/hitman2-7.jpg">Link</a> ]</font></p> <p><font face="Trebuchet MS,Arial" size="2"><font color="#FFFF00"><b> N-Fish</b></font> - Shortly before Tom Hall &amp; John Romero moved to San Diego in 2003 to go work for Midway, they released the game Red Faction on the N-Gage through their company Monkeystone that has Dopefish in it.&nbsp;&nbsp; John showed it to me while they were working on it, and he told me he was going to get some screenshots of it, and some info on how to find the Dopefish in the game.&nbsp; Once I get that info from Romero, I'll post it here.</font></p> <hr noshade color="#FFFFFF" width="75%"> <p><strong><big><big><font face="Comic Sans MS,Verdana,Arial">Dopefish Music</font></big></big></strong></p> <p><small><a href="lyrics.html"><font face="Trebuchet MS,Arial"> <img src="images/prince2t.jpg" alt="Click here for info on the Dopefish Theme Lyrics!" align="left" border="0" width="161" height="119"></font></a><font face="Trebuchet MS,Arial"><font color="yellow"><b>Dopefish music</b></font> has been ongoing for a few years now. The original music was done by Bobby Prince sometime in 1990, and is called &quot;Eat Your Veggies&quot;. As Bobby tells it, this song was originally intended for the Softdisk title, <i>Keen Dreams</i>, but since Softdisk insisted that the game fit on a 360k disk, music had to be left out. However, the song survived, and was used in Commander Keen IV: Secret of the Oracle. The music itself appears in more than one level, but to Keen (and Dopefish) purists, the song has been dubbed &quot;Dopefish Level Music&quot;. If you'd like to download a MIDI file created by Bobby Prince in 1993 of this music, <a href="stuff/veggies.zip">click here</a>. Also in there was a joke we did sometime in 1994, where we turned the MIDI file around backwards. :) The universe notwithstanding, Dopefish music continued unabated.&nbsp; In 1994, Lee Jackson composed a very silly song called <a href="stuff/fishpolk.zip">Fish Polka</a>. This song only appears in the level warp cheat mode of Rise of the Triad. And, in 1995, Lee Jackson took Bobby's original veggies song, and made it a bit more sinister. This version of the song was originally intended for Dopefish's aborted cameo in Duke Nukem 3D. That one is called &quot;DopeJaws&quot;, and it can be <a href="stuff/dopejaws.zip">downloaded here</a>. In the last paragraph, a Quake Clan for Dopefish was mentioned. These folks created their own variant of the Dopefish song called &quot;Kill Your Veggies&quot;.&nbsp; You can download that <a href="stuff/clanmus.zip">here</a>. &nbsp; In this zip file there is another variant of the theme that I'm at a loss to explain the origin of.</font></small></p> <p><small><font face="Trebuchet MS,Arial">In early 1998, Dopefish music has come alive!&nbsp; I was sent a new version of the Dopefish theme called &quot;Swing Your Veggies&quot;.&nbsp; This is an <strong><em>it v2.14</em></strong> file, and can only be played with something like <a href="http://www.castlex.com/modplug/plugin.html" target="_top">ModPlug</a> or <a href="http://www.noisemusic.org/it">Impulse Tracker</a>.&nbsp; Swing your Veggies can be downloaded <a href="stuff/swingveg.zip">here</a>, and was created by <a href="mailto:davecave@rocketmail.com">Dave Hilling</a>.&nbsp; If you stick Swing Your Veggies on a repeating loop in your player, it sounds really cool! &nbsp; Who knows where the future will take Dopefish in the realm of music? Thanks to Bobby Prince &amp; Lee Jackson for granting their permission to allow these songs to be on this web page. Bobby Prince has a web page with samples of lots of his music, and it can be reached at <a href="http://www.bpmusic.com" target="_top">http://www.bpmusic.com</a>. </font></small></p> <p><small><font face="Trebuchet MS,Arial"><font color="yellow"><b>Speaking of Bobby Prince..</b></font> If you click on the picture of Bobby above, you'll be taken to a page about the <strong>lyrics to the Dopefish Theme Song</strong> (which is actually called <em>Eat your Veggies</em>.&nbsp; As of July 1998, you can also download a video of Bobby singing the lyrics!</font></small></p> <hr noshade color="#FFFFFF" width="75%"> <p><strong><big><big><font face="Comic Sans MS,Verdana,Arial">Dopefish &quot;Merchandise&quot; &amp; Fan Items</font></big></big></strong></p> <p align="center"><font face="Trebuchet MS,Arial"> <font COLOR="#FFFF00"><b>Please note that the Dopefish merchandise mentioned is not, and was not ever, for sale to the general public.</b> <br> </font><font size="2">They were all strictly in-house gags, so please don't ask us how to get any of these items, you can't. However, if you're a Dopefish fan yourself, and have created some goofy Dopefish items yourself, <a href="mailto:joes@3drealms.com">I would like to hear about them</a>.</font></font></p> <p><font face="Trebuchet MS,Arial"><small> <img align="right" alt="Dopefish ANSI" src="images/dopeansi.gif" BORDER="0" width="355" height="184"><font color="yellow"><b>The Dopefish &quot;product line&quot;</b></font> started with an ANSI screen which Lee and myself did -- I converted a screen capture to raw ANSI, and Lee cleaned it up and made it presentable. You used to be able to see the results by logging into Software Creations and typing DOPEFISH (or just DO for short) at the menu prompt. Of course, Software Creations doesn't exist anymore - If you want to download a file containing this ANSI, as well as a CGA ANSI of Dopefish, and 6 ASCII representatons of Dopefish (one is at the bottom of this page), click <a href="stuff/dopeascii.zip">here</a>.&nbsp; (In Feb of 1999, we were sent some more ASCII dopefi by <a href="mailto:retodon8@hotmail.com">Sander Romeijn</a>.&nbsp; If you want to see them, <a href="stuff/dopeascii2.txt">click here</a>.&nbsp;&nbsp; And in Feb of 2004, I got a new ASCII contribution from Christian Jensen - it has a dopefish and the Standard Galactic Alphabet.&nbsp; You can check out that ASCII <a href="stuff/dopeascii3.txt">here</a>.) </small></font></p> <p><font face="Trebuchet MS,Arial"><small> After this, we convinced Jay Wilbur (formerly of id Software) to have some Dopefish polo shirts made from an EPS file of the front facing burping Dopefish (a.k.a. &quot;Burpfish&quot;). When Christmas rolled around, Lee's wife decided we needed to bring Dopefish into the real world, so she made 20 or so stuffed Dopefish dolls (mostly side view, with a couple of Burpfish for good measure). These were done in both EGA (green) and CGA (purple) versions and were given out at the Apogee Christmas party that year. When Jay Wilbur heard of this, his first thought was that we needed to get a life. On Christmas 1993, Brenda Jackson (Lee's wife) took a printed enlargement of a screen capture and did a pixel-for-pixel-accurate needlepoint tree ornaments, and I had coffee cups made (out of my own pocket) with a Burpfish on them. Below the Burpfish on the mugs is the caption, &quot;Eat Your Veggies!&quot;, which is the title of the music for the level that Dopefish appears in, composed by Bobby Prince. Brenda also made a mobile of Dopefish for Christmas 1994, but due to extreme delays in getting it done, it was never delivered until July 1995. You can see a picture of one of the Xmas tree ornaments <a href="images/flash.jpg" target="_blank">here</a>. &nbsp; This is a picture of my (now late) cat Flash trying to knock the ornament off my 1997 Xmas Tree.</small></font></p> <p><small><font face="Trebuchet MS,Arial"> <img alt="Dopefish Mug" align="left" src="images/dopemug.gif" width="117" height="108"><font color="yellow"><b>Not much happened</b></font> with Dopefish development until early 1996. In early 1996, some of the Apogee staff had some more items made up in the Dopefish product line. Only one of these exist, but now we have a Dopefish Baseball Cap, a T-Shirt, as well as a mouse pad, &amp; a soda can cooler. The Baseball Cap and the T-Shirt have the Keen IV Credit Screen emblazened on them. Hopefully, we'll get some pictures of these items online shortly. In June of 1996, <a href="mailto:aviens@geocities.com">Andre Viens</a> at Software Creations released his Dopefish Screen Saver for Windows. This is a freeware product that <a href="stuff/dopev110.zip">you can download</a>. It's freeware, so if you're into Dopefish, and run Windows or Win95, then you should get this!&nbsp; Andre sent us an update in Feb of 2004 not of his screen saver, but of his new cel phone - he said we had to see a picture of it, and <a href="images/vienscel.jpg">so do you</a>.&nbsp; :)</font></small></p> <p><small><a href="images/dopetoon.jpg"><font face="Trebuchet MS,Arial"> <img align="right" src="images/dopetoont.jpg" border="0" alt="Dopefish Cartoon" width="219" height="156"></font></a><font face="Trebuchet MS,Arial"><font color="yellow"><b>Other Dopefish items</b></font> in the product line that have appeared over time include a <a href="stuff/DopefishTheme.zip">Windows95 Dopefish Theme</a> (by Ben Slinger), (if you are going to use the Win95 Dopefish Theme, make sure to read the readme.1st file inside the zip file <b><i>before</i></b> attempting to install it) a <a href="stuff/dopeicon.zip">Windows Icon</a>, an OS/2 Icon, an <a href="stuff/dope_os2.zip">OS/2 Warp Startup Logo</a>, an <a href="stuff/webxfish.zip">OS/2 Warp Web Explorer Animation File</a>, and a <a href="stuff/burpani.zip">Win95 Animated Burpfish Icon</a>. There's also a <a href="stuff/windope.zip">MS Windows BMP</a> that Tom Hall put together that, when tiled, looks great as a Windows background. More recently, a newer version of the Windows Background was created by a Dopefish fan. This new version has a color resolution of 16.7 million colours! To download the 16.7 million colour version, <a href="stuff/dope16m.zip">click here</a>.&nbsp; (In the summer of 1999, we were sent a second 16.7 million colour version which you can <a href="stuff/dope16m2.zip">get here</a>).&nbsp; And to top it off in Feb 2004, we have yet <a href="stuff/windope2.zip">another variant</a> of the Windows background image.&nbsp; :)&nbsp; Shawn Swift also created a really <a href="images/scs-dopefish.bmp">cool Windows background image</a> with a &quot;Dopefish Lives&quot; theme, and Rene Rijkhof created <a href="images/renedijkhof.jpg">this Windows background image</a>. Rene also has a rather large self extracting <a href="stuff/renedijkhof.exe"> Photoshop file</a> of his background image if you want that (it's about 4.5Mb)&nbsp; Terry Herrin (one of the old Software Creations Chat Regulars) created an .flc animation file of Joe Siegler morphing into Dopefish. To check that out, <a href="stuff/dmorph.zip">click here</a>. Also, I have a full-page Dopefish that will occasionally mysteriously show up in someone else's fax machine. Dopefish has also appeared in countless taglines, Internet signature files (described by Tom Hall as &quot;Pisces Swimeatus&quot;), and even in a reinterpretation of the birth of the universe, where the Big Bang is replaced by the Big Burp.&nbsp; Steve even holds the title, granted via a mail-order ordainment service, as &quot;Pope of the Church of the Dopey Fish.&quot; The title is legally recognized, by Texas state law. Check it out with the State of Texas if you don't believe it!&nbsp; Steve also owns the Internet domain name <a href="http://www.dopefish.org">http://www.dopefish.org</a>, but as of yet hasn't actually done anything with it.&nbsp; The FarSide cartoon above was given to me on November 2, 1995 by Matt Long of Software Creations. This cartoon originally said Pirahna where it says Dopefish.</small></font></p> <p><font face="Trebuchet MS,Arial"><small> <img align="right" src="images/fish7.gif" alt="Dopefish" width="95" height="84"><font color="yellow"><b>VRML Fish!</b></font> Back in 1995, a programmer by the name of Billy Zelznack was working with me at Apogee/3D Realms (he is now at Rebel Boat Rockers). Billy &amp; I had started work on a VRML version of Dopefish. It was never completed (which is why it was never released here for awhile). However, in April of 1997, I decided to release it as is. If you want to see Dopefish in VRML, <a href="stuff/dopefish.wrl" target="_blank">click here</a>. Please note however, that this was not completed, and Dopefish doesn't look quite right, plus he's only one colour, and it's the wrong one at that. :) Perhaps one day I'll get around to finishing it.&nbsp;&nbsp; </small><small><b>UPDATE</b> - In January of 1998, I was sent a second VRML Dopefish image by <a href="mailto:jamesseventynine@hotmail.com">James Thomas</a>.&nbsp; <a href="stuff/dopefish2.wrl">Check it out</a>.</small></font></p> <p><a href="http://www.newgrounds.com/portal/view/130073"> <img border="0" src="images/sshflash.jpg" width="375" height="162" align="right" alt="Tom Hall - Let there be Dopefish!"></a><font face="Trebuchet MS,Arial"><small><font color="yellow"><b>Flash Fish!</b></font> In April of 2003, a noted Keen aficionado Sluggy created a really cool Dopefish Flash animation called &quot;Dopefission&quot; - using lots of graphics from this site.&nbsp; It was sort of inspired by the &quot;All Your Base&quot; craze.&nbsp;&nbsp; <a href="http://www.newgrounds.com/portal/view/130073">You can view it online here</a>, or you can download the flash animation file by <a href="stuff/dopefission.zip">clicking here</a>.&nbsp; It's quite awesome.&nbsp; It takes some time to load, so be patient - but it's worth it!&nbsp;&nbsp; It's quite silly, but is most definitely worth the time to watch.</small></font></p> <p><font face="Trebuchet MS,Arial" style="font-size: smaller">We also got another Dopefish flash animation submission.&nbsp; This time from Deacon Ross, who tells us that he had to create a flash animation as part of a school class lesson.&nbsp; He created this Dopefish fishbowl animation.&nbsp; <a href="stuff/deaconross.swf">Check it out here</a>.&nbsp; In addition, we got <a href="stuff/dopefla.zip">this file</a> from Sam Hardy.&nbsp; It's a program that you can load into the Flash editor (not the plugin, but the program that creates Flash files) and mess around with the Dopefish.&nbsp; :)</font></p> <p><small><font face="Trebuchet MS,Arial"> <img align="left" src="images/sidewalkfish.jpg" alt="Dopefish Graffiti on Sidewalk" width="370" height="258"><font color="yellow"><b>Dopefish Grafitti</b></font> - In December of 1996, I received a letter from <a href="mailto:Steven.Paradise@m.cc.utah.edu">Steven Paradise</a>.&nbsp; Steven was living on a US Army Base on Kwajalein, Republic of the Marshall Islands and was going to <a href="http://www.aloha.net/~spartan/" target="_top">Kwajalein High School</a> there. Their school has a tradition where Seniors spraypaint something on the street, and guess what Steven painted? That's right. Dopefish! Dopefish has now spread to street grafitti! The picture to the left was taken shortly before the principal of the school (Dr. Sebanc) decided that he didn't like the word &quot;dope&quot;, and had the word painted over. &nbsp; However, after Dr. Sebanc had &quot;DOPE&quot; painted over, Steven made a little fix.&nbsp; He painted &quot;D8RE&quot;, which reads &quot;DoPE&quot; if you cover half of the 8 and the leg of the R.&nbsp;&nbsp; A sad finale to this story, though...&nbsp; Steven wrote me in March of 1998 and informed me that the Dopefish grafitti is no longer on the street.&nbsp; The painting ritual there is an annual event, and (in Steven's words) &quot;<em>my Fish's time on the street ran out in October 1997</em>&quot;.</font></small></p> <p> <img border="0" src="images/timlewis.gif" alt="Image by Tim Lewis &lt;luther2001@hotmail.com&gt;" align="right" width="95" height="79"><font face="Trebuchet MS,Arial"><small><font color="yellow"><b>More Dopefish Items</b></font> started popping up late in 1997.&nbsp; There seems to be some big spike in the fascination with Dopefish in late 1997, I'm not quite sure why.&nbsp; The first that I saw was the rendered Dopefish that appears on the intro page to this site.&nbsp; It was done by some cool artists over at Slipgate.&nbsp; They won't tell me who actually did it, though.&nbsp;&nbsp; November 12th saw a hack of Netscape v3 (doesn't work on Netscape 4 - I already tried) in the form of the &quot;<a href="stuff/dopens3.zip">Dopefish Throbber</a>&quot; by Chris Geroux.&nbsp; This will replace the pulsing &quot;N&quot; in the Netscape network activity window with a Dopefish! &nbsp;&nbsp; In January of 1998, I was sent an Email by someone calling himself &quot;<a href="mailto:y6u8i9@geocities.com">Brain</a>&quot;. &nbsp; It contained two icons and a cursor file for Windows95.&nbsp; You can get these files <a href="stuff/brainico.zip">here</a>. February of 1998 saw Benjamin Orth release his &quot;Pac-Fish&quot; image.&nbsp; It's a Pac-Man themed Dopefish image.&nbsp; <a href="images/pacfish.gif">Check it out</a>, it's pretty funny! Also, in March 1998, Joe Siegler put <a href="images/hpfish.jpg">this picture</a> online.&nbsp; It's a picture sent to him some time ago by former Apogee Beta Tester Eric Baker.&nbsp; This is Eric's TI Calculator, with a Dopefish drawn on it!&nbsp; The actual date of when this was done has now been lost, since Joe Siegler took so long in getting this online.&nbsp; :)&nbsp; In June of 1998, I was sent a program called &quot;Dopefish Tank&quot; by <a href="mailto:ciclid@geocities.com">Michael Dzicek</a>. &nbsp; He says this about it.. &quot;It is a little tank with a Dopefish swimming in it.&quot;&nbsp;&nbsp; If you want to check this out, you can download it <a href="stuff/dopetank.zip">here</a>. &nbsp; (NOTE: When I put this online, I had not tested it to see if it had any problems - if this notice is here when you're reading this, I still haven't checked it).</small></font></p> <p><font color="yellow" face="Trebuchet MS,Arial"><b><small>Even more items!&nbsp; </small></b></font><font face="Trebuchet MS,Arial"><small>Later in 1998, we were sent pictures of a &quot;Stuffed Dopefish&quot;.&nbsp; These were from <a href="mailto:cgeroux@age.net">Christian Geroux</a>.&nbsp; There's a total of three pictures.&nbsp; Christian says &quot;Got a few jpg's of a stuffed Dopefish my sister made for me.&quot;&nbsp; Click here to see the various pictures: [ <a href="images/stuffed1.jpg">Stuffed 1</a> | <a href="images/stuffed2.jpg">Stuffed 2</a> | <a href="images/stuffed3.jpg">Stuffed 3</a> ].&nbsp;&nbsp; In the summer of 1999, we were sent a Dopefish Windows font by someone named Justin.&nbsp; I've not actually installed <a href="stuff/dopefont.zip">this font</a> on my machine, so I don't vouch for whether it works or not.</small></font></p> <p><font color="yellow" face="Trebuchet MS,Arial"><b><small> <img border="0" src="images/dopesculp.jpg" align="right" width="168" height="154">Dopefish in 2000!&nbsp; </small></b></font><font face="Trebuchet MS,Arial"><small>Well, there's no new Dopefish as a game, or anything like that, but I had quite a pile of user submissions that I haven't done anythiung with, and since they haven't been posted to dopefish.com until June of 2000, I'm counting them as &quot;2000 Items&quot;.&nbsp;&nbsp; Anyway, first up is a Dopefish sculpture (seen to your right).&nbsp; It was sent in by Bryce Emmett - he says that his little sister made it for him in a school class.&nbsp; I can just imagine what that teacher was thinking.&nbsp;&nbsp;</small></font></p> <p><font face="Trebuchet MS,Arial"><small>Bryce also sent us this picture of <a href="images/dopeshirt.jpg">a Dopefish shirt</a> he made.&nbsp;&nbsp; It's quite cool - wish I had one.&nbsp; You can also download this user art from Nathan Davis called &quot;The Dopefish Lives&quot;.&nbsp; It's some nice hand drawn custom art.&nbsp; <a href="images/thedopefishlives.jpg">Check it out</a>.</small></font></p> <p><font face="Trebuchet MS,Arial"><small>Also, in a slight update to the Dopefish Throbber for Netscape 3 above, we have this file from Rob Kuebler.&nbsp; It's an updated Dopefish Throbber for Netscape 6 PR1.&nbsp; If you have the new Netscape, <a href="stuff/dft-ns6.zip">check this out</a>.&nbsp; There is a readme inside the zip archive which tells you what to do - this is not guaranteed to work on any version of Netscape other than v6PR1.&nbsp; Cool!</small></font></p> <p><font color="yellow" face="Trebuchet MS,Arial"><b><small>Dopefish discovers alien life!&nbsp; </small></b></font><font face="Trebuchet MS,Arial"><small>Well, not really, but it's a possibility.&nbsp; If you're familiar with the <a href="http://setiathome.ssl.berkeley.edu/">SETI@Home project</a>, it's where the SETI group (Search for Extra Terrestrial Intelligence) folks let you download data packets from the huge satellites that listen for such things, and process it yourself.&nbsp;&nbsp; Anyway, in addition to doing it on your own, you can join groups of folks who share your same fascination.&nbsp; That's right - there's a Dopefish group on SETI@Home.&nbsp; What's really interesting is that I have the nickname &quot;Dopefish&quot;, and by some freak I happen to discover a real transmission, the headline </small><small><i>Dopefish discovers alien life</i> will come true!&nbsp;&nbsp; <a href="http://setiathome.ssl.berkeley.edu/cgi-bin/cgi?cmd=team_lookup&amp;name=dopefish">Click here</a> to check out the Dopefish SETI group!&nbsp; If you're doing SETI@Home and don't belong to a group, how about joining the Dopefish group?&nbsp; Not doing SETI@Home?&nbsp; You can download the software for free.&nbsp;&nbsp;</small></font></p> <p><font face="Trebuchet MS,Arial"><font color="yellow"><b><small> <img border="0" src="images/dopeamp.gif" align="left" width="175" height="73">DopeAMP!</small></b></font> <small> The net's most popular MP3 (and other) player is Winamp.&nbsp; A submission came in from Elizabeth Walsh, and it's a skin plugin for Winamp.&nbsp; A shot of it can be seen to your left - the program itself is free, as is this download!&nbsp;&nbsp; You can <a href="stuff/dopeamp.zip">grab the skin here</a>, and if you don't have Winamp (why not?) - you can get that for free too by visiting the <a href="http://www.winamp.com">Winamp Home Page</a>.&nbsp; There's instructions inside the zip file you download for the skin on how to install it (this skin was originally created for WInamp 2).&nbsp; While putting together this entry about DopeAMP - I discovered that I already had a Dopefish Winamp skin that was sent to me by Chris Ivarson.&nbsp; His DopeAMP skin has <a href="images/dopeamp2.gif">a different look</a> than the one above - his is mostly black with some Dopefish overtones.&nbsp; You can <a href="stuff/dopeamp11.zip">download that one here</a>, too!</small></font></p> <p><img border="0" src="images/burb.gif" align="right" width="120" height="95"><font face="Trebuchet MS,Arial"><small><font color="yellow"><b>Dopefish: The Game!</b></font> It's been discussed, but it's never happened until now. In April 1997, Apogee was sent a program from <a href="mailto:cgeroux@age.net">Chris Geroux</a> called &quot;<b>Dopefish Lives!</b>&quot;. It's a short Windows game (using the Klik &amp; Play Game Creation System) that lets you play <i>as</i> the Dopefish, and your goal is to swim around and eat schoolfish while avoiding being hit by mines and being shot at. Featuring music and art from this page as well as from Commander Keen Episode IV, this <b>freeware</b> game can be downloaded <a href="stuff/dfshgame.zip">here</a>! The file is about 373k zipped. In the summer of 1997, Chris did a sequel game called <b>Dopefish Forever!</b> It's got more options, and is also freeware. If you'd like that, you can download it <a href="stuff/dope4evr.zip">here</a>. If you'd like to check out Chris' page, <a href="http://www.geocities.com/Area51/Vault/5837/index.html">go here</a>.</small></font></p> <p><a href="images/slidergame.jpg"> <img border="0" src="images/slidergame_small.jpg" xthumbnail-orig-image="images/slidergame.jpg" align="left"></a><font face="Trebuchet MS,Arial" style="font-size: smaller">I was also made aware of a web based tile game where you can shuffle around the pieces to unscramble a puzzle (I believe they're called slider games).&nbsp; You can check that game out <a href="http://www.js-games.de/en/games/slider/lx/play.html">here</a>.</font></p> <p><font face="Trebuchet MS,Arial"><font color="yellow"><small><b>Fishagotchi!</b></small></font><small> <a href="mailto:Diogo@voicenet.com">Jared Diogo</a> sent in this email.&nbsp; Check it out: &quot;I recently got a Tamagotchi simulator for my computer off the Internet. The webpage I got it from had some "plugins" for the Simulator, which would change some things like turning it Japanese (I really think so :) ) or changing characters. Unfortunately, none of them really seemed that appealing to me, so I made my own. So I thought, "What better to have as a Tamagotchi than a Dopefish?" I just took one of the other plugins, copied it, and changed it so it turns the Secret Character into Dopefish.&quot;&nbsp; If you want to download this, you can do so <a href="stuff/fishagotchi.zip">here</a>.</small></font></p> <p><small><font face="Trebuchet MS,Arial"><a href="images/bsf_dopefish.jpg"> <img src="images/bsf_dopefisht.jpg" align="right" border="0" width="223" height="52"></a><font color="yellow"><b>Ich Bin Ein Dopefish?</b></font> In November of 1997, a German Magazine called &quot;Bravo Screen Fun&quot; Printed some dopefish! The article (in german, on Page 68 of the magazine) has some Dopefish, and a link to Andre Viens' Dopefish Screen Saver. If anyone has a copy of this magazine, and can read German, and would be willing to translate it, please <a href="mailto:joes@3drealms.com">contact myself</a> or <a href="mailto:aviens@geocities.com">Andre Viens</a> about it. Thanks. If you'd like to read a little more about this, go <a href="http://www.geocities.com/SiliconValley/Pines/2407/bsf_dope.htm">here</a>.</font></small></p> <p><small><a href="images/fishplate.jpg" target="_top"><font face="Trebuchet MS,Arial"> <img src="images/plate.jpg" align="right" border="0" width="145" height="83"></font></a><font face="Trebuchet MS,Arial"><font color="yellow"><b>Mobile Dopefish </b></font>- On March 23, 1998, my newer car (a 1996 <em>GREEN</em> Chevy Cavalier) got a new personalized license plate from the state of Texas.&nbsp; I had put that off for a long time, mainly because the state of Texas charges a <strong>lot</strong> of money for this.&nbsp; However, I finally went for it in February of 1998.&nbsp; I mailed in the form and waited.&nbsp; On Monday March 23rd, I went over to the DMV here, and waited in line (ughh) and finally got my plate.&nbsp; It reads <strong>DFISH</strong>, with a small State of Texas inbetween the D and the F.&nbsp; Unfortunately, the state of Texas only allows for 6 letters on a plate, so I couldn't spell Dopefish.&nbsp; I considered going with DOPFSH, but went with what you see here.&nbsp; Click on the license plate picture for a much larger picture of my entire car with the plate.&nbsp;&nbsp; The green car really fits the license plate.&nbsp; However, on March 21st, 2001, the Fish mobile was no more.&nbsp; I decided that I didn't want to pay the state of Texas an extra $40 a year just to have that plate, so I surrendered the plate and got a conventional state of Texas license plate.&nbsp; I still have one of the plates on my desk as a memory, however (TX has plates on both the front and back of the car - I just turned in one of them).</font></small></p> <p><small><font face="Trebuchet MS,Arial">That wasn't the first of my cars to be &quot;Dopefishized&quot;.&nbsp; Back in early 1995, shortly after the release of Rise of the Triad, I was driving a 1989 Blue Chrysler LeBaron. I had a propensity for letting it get rather dirty, and the dust and general dirt level on the outside of the car was rather alot. Anyway, Chuck Jones, one of our artists at the time, decided to draw in the dirt on my car with his finger. What did he draw? Dopefish, of course.&nbsp; There are two images on this site that show the &quot;work&quot; Chuck did on my old car.&nbsp; <a href="images/car1.gif">Click here</a> to see the first image, and <a href="images/car2.gif">click here</a> to see the second.</font></small></p> <p><a href="images/hween1.jpg"> <img src="images/hween1t.jpg" alt="hween1.jpg (10143 bytes)" border="0" align="left" width="100" height="81"></a><a href="images/hween2.jpg"><img src="images/hween2t.jpg" alt="hween2.jpg (7158 bytes)" border="0" align="right" width="100" height="89"></a><font face="Trebuchet MS,Arial"><small><font color="yellow"><b>Dopefish invades Halloween!</b></font> On November 16, 1998, I got an Email from a user with the handle of <a href="mailto:mscooper@flash.net">mscooper</a> informing me that he had gone out as Dopefish for Halloween 1998.&nbsp; This is another first in the world of Dopefish lore. &nbsp; A dopefish halloween costume. It's rather funny - I showed them around to a few people here at 3D Realms, and they got a big laugh.&nbsp; We hope you do too - click on either of them for a larger image.&nbsp; This picture also made it into Descent 3 (see below).</small></font></p> <p><font color="yellow" face="Trebuchet MS,Arial"><b><small><a href="images/tinytoons.jpg"> <img border="0" src="images/tinytoonst.jpg" align="right" width="160" height="120"></a>Steven Spielberg &amp; Dopefish!</small></b></font><font face="Trebuchet MS,Arial"><small> What?&nbsp; I've got to be making this up, eh?&nbsp; Well, a report came in that Dopefish made a cameo appearance on &quot;<b>Tiny Toons Adventures</b>&quot;, which is produced by Steven Spielberg.&nbsp; The screenshot is of a device that measures Dizzy Devil's intelligence, which apparently is in-between that of the Dopefish &amp; a chicken wing.&nbsp; Thanks to <a href="mailto:sswift@earthlink.net">Shawn Swift</a> for the picture!</small></font></p> <p><font color="yellow" face="Trebuchet MS,Arial"><b><small>'The Dopefish before Christmas!</small></b></font><font face="Trebuchet MS,Arial"><small> What's this?&nbsp; One of the more unique submissions I've ever gotten is <a href="stuff/night_before_dopefish.zip">this poem</a> (in Word 97 format) from Caleb Child.&nbsp; The poem is very cool - and starts off like this:</small></font></p> <p align="center"><font size="2" face="Trebuchet MS">T&#65533;was the night before Christmas, and all through the house,<span style="mso-bidi-font-size:10.0pt"><br> Not a creature was stirring, but me and my mouse;<br> I was by my computer surfing with care,<br> Type &#65533;dopefish-dot-com,&#65533; and soon I&#65533;d be there.<br> My family was sleeping, all warm in their beds,<br> Whilst I had insomnia inside my head.<br> And so now the Internet did feature</span><br> This incredibly stupid dumb creature!</font></p> <p><small> <font face="Trebuchet MS,Arial"> <img border="0" src="images/dopefishpillowcrop2.jpg" width="175" height="127" align="left"></font></small><b><font face="Trebuchet MS,Arial" style="font-size: smaller" color="#FFFF00">More in 2004!</font></b><small><font color="yellow" face="Trebuchet MS,Arial"><b>&nbsp; </b></font> <font face="Trebuchet MS,Arial">As I do this update, I haven't updated in ages (16 months).&nbsp; Over the time since the last update, I've collected many submissions that folks have sent me, I'm going to chronicle some of them here (yeah, I know most of these weren't actually submitted in 2004).&nbsp;&nbsp; First off is a pillow image that was sent to me by Alexander Johnson.&nbsp; Alexander had this to say about the pillow, &quot;my father's girlfriend made this dopefish pillow for christmas! Sadly my father is breaking up with her, but we will keep this sacred pillow as a memory of her, and maybe it will become a family heirloom.&quot;&nbsp; <a href="images/dopefishpillow.jpg">Click here</a> to see more of Alexander's Dopefish pillow.</font></small></p> <p><font face="Trebuchet MS,Arial" style="font-size: smaller"> <img border="0" src="images/hair2a.jpg" width="240" height="180" align="right">There was a new clothing item, too.&nbsp; We got a picture of <a href="images/archangonshirt.jpg">this shirt</a> from Archagon.&nbsp; Also in the clothing related item section, we have <a href="stuff/vectorfish.zip">this vector file image</a> of Dopefish from Yossa.&nbsp; This is a good file to use if you want to make your own clothing or hats, or something like that.&nbsp; <a href="images/vectorfish.png"> Here's what the vector fish looks like</a>.</font></p> <p><font face="Trebuchet MS,Arial" style="font-size: smaller">This next one doesn't really count as clothing, but it's close.&nbsp; In the spring of 2003, Dopefish fan Jaap Laan went to a LAN party in Holland, and he said he wanted to look really cool, so he had his hairdresser doctor up his hair to have a Dopefish in it!&nbsp; Check out the picture to your right or these other pictures of him [ <a href="images/hair1.jpg">link</a> | <a href="images/hair2.jpg">link</a> | <a href="images/hair3.jpg">link</a> ].</font></p> <p><font face="Trebuchet MS,Arial" style="font-size: smaller"> <img border="0" src="images/milkshape2.gif" width="125" height="105" align="left">We got a program from Klaus Breuer which he describes as &quot;a Dopefish Easter Egg&quot;.&nbsp; Seems that Klaus works for a banking company and worked in a Dopefish cameo into his software.&nbsp; I don't know what the software is, and he didn't tell me (probably so that it can't be found out), but he did extract the Dopefish cameo into it's own program which you can <a href="stuff/klausbreuer.zip">download here</a> (complete with Delphi source code!).</font></p> <p><font face="Trebuchet MS,Arial" style="font-size: smaller"> There were several more things.&nbsp; We also received <a href="http://www.cc.jyu.fi/~juhtolv/configs/galeon/spinners/">three &quot;spinners&quot;</a> for the web browser Galeon, another <a href="stuff/gulpfishy.zip"> animated cursor</a> file by Alex Hartz, <a href="images/counterstrike1.jpg">a spray paint</a> of Dopefish in Counter Strike, a <a href="stuff/milkshape.zip">Milkshape Dopefish Model</a>, a <a href="http://www.pocketthemes.com/download.php?query=DOPEFISH&op=search"> PocketPC Dopefish theme</a>, A Windows background picture by &quot;Speed Racer&quot; both for <a href="images/speedracer1.jpg">regular size screens</a>, and one designed for <a href="images/speedracer2.jpg">dual monitor computers</a>, more <a href="images/owenkinton.jpg">fan art</a> (by Owen Kinton), an <a href="http://www.picgames.com/perl/preview?104371382015916">AOL Instant Messenger Theme</a>, more <a href="images/clivetrower.gif">fan art</a> (Clive Trower), Nokia Cel Phone <a href="stuff/nokiafiles.zip">Dopefish Logos</a> (Ewan MacDougall), more <a href="images/alexhartz.png">fan art</a> (Alex Hartz), and <a href="images/manuellorenz.jpg">fan art</a> for Worldcraft (Manuel Lorenz).</font></p> <p><a href="images/zim_dopefish1.jpg"> <img border="1" src="images/zim_dopefish1_small.jpg" xthumbnail-orig-image="images/zim_dopefish1.jpg" align="left"></a> <a href="images/zim_dopefish2.jpg"> <img border="1" src="images/zim_dopefish2_small.jpg" xthumbnail-orig-image="images/zim_dopefish2.jpg" align="left"></a></p> <p><font face="Trebuchet MS,Arial" style="font-size: smaller">We also were sent these two screen captures from an episode of the TV series &quot;Invader Zim&quot;.&nbsp; Apparently, in the first season was an episode titled &quot;Bad Bad, Rubber Piggy&quot;.&nbsp; There is a fish in the episode on a rampage eating everything in sight while wearing a bear suit.&nbsp; If anyone from the Invader Zim production reads this, and can confirm this cameo, let me know.&nbsp;&nbsp; Thanks.&nbsp;&nbsp; :)</font></p> <p>&nbsp;</p> <p>&nbsp;</p> <a name="2012"></a> <p><strong><big><big><font face="Comic Sans MS,Verdana,Arial">Dopefish 2012</font></big></big></strong></p> <p><font face="Trebuchet MS,Arial" style="font-size: smaller">Bet you never thought you'd see another update to this, eh?&nbsp; I never thought I'd be using MS Frontpage to edit a page in 2012, either!&nbsp; :) Anyway, In the summer of 2012, I was sent an email from Tom Hall, saying that Dopefish had made an appearance in his newest game, a Google+ specific title called '<a target="_blank" href="https://plus.google.com/117278004989557904568">Pettington Park</a>&quot;.&nbsp;&nbsp; He enclosed a picture of it:</font></p> <p><img border="0" src="images/pettingtonpark.png" width="301" height="132"></p> <p><font face="Trebuchet MS,Arial" style="font-size: smaller">I wrote Tom back and asked him how this appeared in the game, and he told me this:</font></p> <blockquote> <p><i><font face="Trebuchet MS,Arial" size="2">When you play the game, which is a weekly competition between cats and dogs (really, cat persons vs. dog persons), you shake/hammer/chop various items in the game to get resources. Occasionally collection items drop out too. Some collections are only completable by a Gift from a Friend, from the Free Gifts interface.<br> <br> The Plastic Dopeyfish is one of these.</font></i></p> </blockquote> <p><font face="Trebuchet MS" size="2">A new Dopefish reference in 2012.&nbsp; Told ya &quot;Dopefish Lives!&quot;</font></p> <hr noshade color="#FFFFFF" width="75%"> <p><strong><big><big><font face="Comic Sans MS,Verdana,Arial">Summing up Dopefish</font></big></big></strong></p> <p><small><font face="Trebuchet MS,Arial"><font color="yellow"><b>Why Dopefish</b></font>? Well, he swims, he eats, and he burps. What more can you ask for? We think that the latter reason is why I like him so much.&nbsp; I'm known for a few wall rattlers and personally did the voice of Dopefish in Wacky Wheels and Rise of the Triad.&nbsp; I really practiced for it, too. Sitting at my computer at four in the morning with a two liter bottle of Diet Coke, I ran through take after take, hurting myself a couple times in the process, until I came up with just the right length and resonance. Click <a href="stuff/siegler_burp.zip">here</a> to download an archive of the recording session mentioned here. Watch out for the <i>blooper.wav</i> contained within. That's the one where I hurt himself! </font></small></p> <p align="center"><font face="Trebuchet MS,Arial"><small>Even though he Dopefish legally belongs to id Software, he is a welcome adopted member of the Apogee family.</small><br> <small>If there are ever any new Keen games, you can wager a goodly amount that the Dopefish will be in it.</small></font></p> <div align="center"> <table border="5" width="125" height="103" bgcolor="#000000" style="border-collapse: collapse" cellpadding="0" cellspacing="0" id="table1"> <tr> <td bgcolor="#000000"><p align="center"> <img src="images/render198.jpg" border="0" width="109" height="87"></td> </tr> </table> </div> <p align="center"><font size="-1" face="Trebuchet MS,Verdana,Arial"> <img alt="Horizontal Line" src="images/byline.gif" width="585" height="3"><br> </font><i><font size="-1" color="yellow" face="Trebuchet MS,Verdana,Arial"><br> </font><font face="Comic Sans MS" size="6" color="#FFFF00">To Be Continued.........</font></i></p> <div align="center"><center> <pre><b>WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW..;;;;;.WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW.;;;;;;;WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW;;;;;;;;;WWWWWWWWWWWWWWWWWWWWWW..WWWWWWWWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWWWWWWWW.;;;;;;;;.WWWWWWWWWWWWWWWWWWWWWWW..;;.WWWWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWW...;;;.......;;..WWWWWWWWWWWWWWWWWWWWWWWW.;;..WWWWWWWWW WWWWWWWWWWWWWWWWWWW...;;;;;;;;;;;;;;;;;;;;;;..WWWWWWWWWWWWWWWWWWWW.;;;.WWWWWWWW WWWWWWWWWWWWWWWWW.;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWWWWWWWWWWWWWWW.;;;;..WWWWWW WWWWWWWWWWWWWW;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;.WWWWWWWWWWWWWW.;;;;;..WWWWW WWWWWWWWWWWW.;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;.WWWWWWWWWWWW.;;;;;;..WWWW WWWWWWWWWW....;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;.WWWWWWWWWW.;;;;;;;;..WWW WWWWWWWW.WWW..WWWWV..;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;+..WWWWWWW.;;;;;;;;;..WWW WWWWWW.WWWWWWWWWWWWWWWW;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWW.;;;;;;;;;;;..WWW WWWWW.VW......WWWWWWWWW.;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;....;;;;;;;;;;;..WWWW WWWWW.WW......WWWWWWWWWW.;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWWW WWWWW..WWW.....WWWWWWWWV.;;;;;;...;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWWWWWW WWWWW.;.W.WWWWWWWWWWWWW.;;;;;;;;..;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;.WWWWWWWW WWWWW...;.VW..WWWWWWWW.;..;;;;;;..;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWWWW WWWWWW......;;;......;;;;;;..;;;..;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWWW WWWWWW.WW.VV...............;;;;;..;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWW WWWWWW.WW.WWWWV.;;;;;;.;....;;;...;;;;;;;;;;;;;;;;;;;;;;;;....;;;;;;;;;;;..WWWW WWWWWW.WW.WWWWV....;;;;;;;..;;;..;;;;;;;;;;;;;;;;;;;;;;;..WWWW..;;;;;;;;;..WWWW WWWWWW.WW.WWWWV.;;;;;;.;;;;.;;;;;;;;;;;;;;;;;;;;;..;;....WWWWWW..;;;;;;;;..WWWW WWWWWW.WW.WWWWV.....;;;;;;;;;;;;;;;;;;;;;;;;;.;;;;....WWWWWWWWWWW.;;;;;;..WWWWW WWWWWW.WW.WWWWV.;;;;;;;;;;;;;;;;;;;;;;;;;;;;;.;;.....WWWWWWWWWWWW.;;;;;;..WWWWW WWWWWW....WWWWV..;;;;;;;.;;;;;;;;;;;;;;;;;;;;......WWWWWWWWWWWWWW.;;;;;..WWWWWW WWWWWWWWWW...WV.WW......+;;;;;;;;;;;;;;;;;;;;;...WWWWWWWWWWWWWWW.;;;;;;.WWWWWWW WWWWWWWWWWWWWWWWWWWWWWWW..;;;;;;;;;;;;;;;;;...WWWWWWWWWWWWWWWWWW.;;;..WWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWWWWW..;;;;;;;;;...WWWWWWWWWWWWWWWWWWWWWW.;;.WWWWWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW</b> </pre> </center></div><div align="center"><center> <table border="5" cellpadding="3" cellspacing="3" width="500"> <tr> <th><font size="2"><a href="http://www.cygnusloop.com/dopefishring/" target="_top"> <img src="images/fish4.gif" align="left" border="0" width="83" height="67"></a><a href="http://www.webring.org/cgi-bin/webring?ring=dopefish&amp;id=2&amp;next" target="_top"><img src="images/fish3.gif" align="right" border="0" width="83" height="67"></a>This <a href="http://www.cygnusloop.com/dopefishring/" target="_top">Dopefish ring</a> site is owned by<br> <a href="mailto:joes@3drealms.com"><font size="2">Joe Siegler</font></a>. <br> <br> <font size="2">want to join the <a target="_top" href="http://www.cygnusloop.com/dopefish/">dopefish ring</a>?</font> </font></th> </tr> <tr> <th><font size="3">[<a href="http://www.webring.org/cgi-bin/webring?ring=dopefish&amp;id=2&amp;sprev" target="_top">skip prev</a>] [<a href="http://www.webring.org/cgi-bin/webring?ring=dopefish&amp;id=2&amp;prev" target="_top">prev</a>] [<a href="http://www.webring.org/cgi-bin/webring?ring=dopefish&amp;id=2&amp;next" target="_top">next</a>] [<a href="http://www.webring.org/cgi-bin/webring?ring=dopefish&amp;id=2&amp;skip" target="_top">skip next</a>] [<a href="http://www.webring.org/cgi-bin/webring?random&amp;ring=dopefish" target="_top">random</a>] [<a href="http://www.webring.org/cgi-bin/webring?ring=dopefish&amp;id=2&amp;next5" target="_top">next 5</a>] [<a href="http://www.webring.org/cgi-bin/webring?ring=dopefish&amp;list" target="_top">list sites</a>] </font></th> </tr> </table> </center></div> <p align="center"><img src="images/fishnow2.gif" border="0" alt="Dopefish NOW!" width="88" height="31"></p> <p align="center"><img border="0" src="images/tom_pool.jpg" width="336" height="270"></p> <p class="MsoNormal" align="center"><font face="Arial" color="navy" size="2"> <span style="font-size: 10pt; color: #FFFF00; font-family: Arial; font-weight: 700"> &#65533;Will the <span class="SpellE">Dopefish</span> return?&nbsp; Only Tom knows for sure&#65533; and I wouldn&#65533;t lose all hope&#65533;&#65533;</span></font></p> <p class="MsoNormal" align="center"> <img border="0" src="images/dfdnf.gif" width="300" height="226"></p> </body> </html>
The Official Dopefish Home Page ![](images/swimfish2.gif) // By Justin Arruda (JArruda@mindspring.com) // Courtesy of SimplytheBest.net (http://simplythebest.net/info/dhtml\_scripts.html) <!-- Begin var step = 3; var delay = 50; var height = 0; var Hoffset = 0; var Woffset = 0; var yon = 0; var xon = 0; var pause = true; var interval; var name = navigator.appName; if(name == "Microsoft Internet Explorer") name = true; else name = false; var xPos = 20; if(name) var yPos = document.body.clientHeight; else var yPos = window.innerHeight; function changePos() { if(name) { width = document.body.clientWidth; height = document.body.clientHeight; Hoffset = img.offsetHeight; Woffset = img.offsetWidth; img.style.left = xPos + document.body.scrollLeft; img.style.top = yPos + document.body.scrollTop; } else { height = window.innerHeight; width = window.innerWidth; Hoffset = document.img.clip.height; Woffset = document.img.clip.width; document.img.pageY = yPos + window.pageYOffset; document.img.pageX = xPos + window.pageXOffset; } if (yon) { yPos = yPos + step; } else { yPos = yPos - step; } if (yPos < 0) { yon = 1; yPos = 0; } if (yPos >= (height - Hoffset)) { yon = 0; yPos = (height - Hoffset); } if (xon) { xPos = xPos + step; } else { xPos = xPos - step; } if (xPos < 0) { xon = 1; xPos = 0; } if (xPos >= (width - Woffset)) { xon = 0; xPos = (width - Woffset); } } function start() { if(name) img.visibility = "visible"; else document.img.visibility = "visible"; interval = setInterval('changePos()',delay); } function pauseResume() { if(pause) { clearInterval(interval); pause = false; } else { interval = setInterval('changePos()',delay); pause = true; } } start(); // End --> ![Dopefish](images/burpfish.gif) ![Dopefish](images/swimfish.gif) | | | --- | | | **The Well of Wishes @ dopefish.com The Official Dopefish Home Page** **The history of the Dopefish by [Joe Siegler](mailto:joes@3drealms.com) with help from [Lee Jackson](mailto:ljfnord@yahoo.com) & Sam Stoddard's [Apogee FAQ](http://www.rinkworks.com/apogee/)** **[ [Dopefish Fan Pages](links.html) | [Well Wishers](fishhelp.html) ]** [![](images/dopechurch.jpg)](fishinfo.html) --- | | | --- | | Tom Hall | | **[Visit Tom's Home Page!](http://www.tomtomtom.com)** | **About Dopefish** **What is Dopefish?** Dopefish was one of the characters that appeared in Commander Keen, Episode IV back in 1991. That's it. All the rest of this "Dopefish mania" came later. You can read about it here at dopefish.com, the definitive source of info on everyone's favourite fish! *![](images/xmasfish.gif)***Dopefish is the product** of the fertile mind of Tom Hall. It was one of 24 drawings he did of ideas for characters for Commander Keen: Goodbye, Galaxy! while part of id Software. Dopefish was one of the characters from these drawings that made the cut. According to Tom, "I just drew this stupid little fish," and the rest is history. Want to see Tom's original sketches for Dopefish he did in late 1990? [Click Here!](images/dopefishoriginal.jpg) It was pointed out to me recently that the Dopefish can predict the future.  How?   Well, the original Dopefish sketch referenced above was drawn back in 1990.  Dopefish theologists point out that when the Dopefish was called into being by Tom, it made Tom have a foreshadowing of a future id release, Quake.  You want proof?  [Look at this cutout](images/qfuture.jpg) from the picture.  See the Quake logo there?    Makes you think, doesn't it?  Especially when Tom was no longer with id Software when they began work on Quake. ![Keen4 Credit Screen](images/fishcredit.gif)**Dopefish is described** in the cast of characters for Secret of the Oracle as the second dumbest creature inthe universe. His thought patterns go, "swim swim hungry, swim swim hungry." Dopefish "will eat anything alive and moving near them, though they prefer heroes." (What's the most dumbest creature in the universe? Why, of course, the Ravenous Bugblatter Beast of Traal. It's so stupid that it thinks if you can't see it, it can't see you. One way to avoid the BugBlatter Beast is to throw a towel over your head.) Dopefish was "adopted" by the Tech Support staff at Apogee soon after I came on board. Then Steve Quarrella came onboard and it balooned from there. Dopefish was my favorite character, and Steve was the resident Keen expert -- Lee provided a few vocal effects and some art. We got hold of some screen capture software and went to town. ![](images/girlfish.gif)**Dopefish reproduction?!?**  One thing that's never really been covered before is how Dopefish reproduce.  I got a letter from a guy who did not include his name, but did give me the nickname "Altruismisdead".  In it he asks this (food for thought).. > > *I was curious as to how the > dope fish mates? With its thought patterns just being "swim swim hungry, swim > swim hungry" it seems like it doesn't have any time for procreation. And if it > does ever mate, how come we have never seen a "female" Dopefish? I have > devised a sketch composite of what I believe may be a female Dopefish. Please > correct me if I am wrong.*   > > > Well, Altruis has some interesting theories, but this female Dopefish looks like she's going through PMS or something. --- [![Click the fish, please.](images/sinefish.png)](fishinfo.html) **Dopefish in Games** **![Dopefish in Commander Keen](images/keen41.jpg)To date****, Dopefish has been involved in three Apogee games**: Commander Keen: Goodbye, Galaxy! (as a character), Wacky Wheels (making a secret cameo appearance - See picture below), and Rise of the Triad (as a command line parameter and a secret message).  Beyond the appearance of Dopefish in Commander Keen, most everything else Dopefish has appeared in has been a cameo.  As I loved Dopefish, when I started working at Apogee, I was always talking about sticking Dopefish in our other games as a gag.  As time has gone on and folks who used to work here, and folks who are friends of mine have gone on to other companies, the "joke" of using Dopefish as a gag cameo character has lived on.  This section details appearances of the Dopefish in known games and addons.  Some are user created, some are actual industry creations. **Commander Keen**  This one doesn't require much explanation, as it's the only "legitimate character use" of Dopefish.  If you play Keen 4, you'll find this one.  :)   Basically, just play the game, and get to the level "The Well of Wishes".  Keen will be underwater, and his job is to avoid several Dopefi in that level, and make it to the end.  That's pretty much it.   Dopefish really doesn't do anything in the game other than swim, and try and eat you.  But the Burping RULES!  :)   Dopefish could be hard though as this quote by Keen fan Averos goes in [a story about Keen on Slashdot](http://slashdot.org/articles/03/03/16/1718207.shtml?tid=127) in 1993..  *"**God, I hated that Dopefish. Probably the single most terrible creature in the Commander Keen universe, bar none. Not even the Vorticons had anything on this green aquatic moron. My very dreams were haunted by that fish as I paddled in vain to keep ahead of that buck-toothed mouth. I lost more lives on that damn overgrown fscking tuna than anywhere else in the game. \*Shudder\*. "* ![Dopefish in Wacky Wheels](images/wackyfish.gif)**Wacky** **Fish?**  Back when we were working on Wacky Wheels, I was talking with Andy Edwardson about Dopefish, and he thought it was a funny gag.  So he programmed in a cameo for Dopefish in Wacky Wheels.  It's pretty obscure, and neither of us could figure out why anyone would find this legitimately, but here's how to get Dopefish in Wacky Wheels.  When a race starts, you need to hold down the brake, and spin your animal in a circle to the right two complete turns (keep spinning and braking).  The Dopefish will then appear.  Don't let your animal disappear off the screen, or the gag won't work right.   Someone (We have no idea who did this) took the time to capture a whole lot of frames from Dopefish's appearance in Wacky Wheels, and turn them into an animated GIF file. If you'd like to see that, [click here](images/wackyani.gif). (The image is about 690k, it can take a long time on a slow modem). ![Siegler](images/joefish2.gif)**ROTT Fish?** In addition to what's mentioned in the last paragraph for ROTT, the first level in the [rejected ROTT level set](stuff/rott_rej.zip) is called "Use the Fish." If you load this level up, use the map cheat, and look at the map, you'll see that the entire level is essentially the Dopefish -- you're playing inside. The title "Use the Fish" comes from the fax that Jay Wilbur (then of id Software) sent Apogee when he granted us permission to use the Dopefish as a cameo character. If you want to see a picture of what Dopefish looked like in Ted, (Apogee's ROTT Level editor) as designed by Joe Selinske, [click here](images/dopemap.gif). In the registered version of Rise of the Triad, there was a level I did called *Eight Ways to Hell*.  In it a little over halfway through the level, are a group of walls in a hidden area that are shaped very strangely. When you're playing the game, you won't notice it, but if you look at this section of the game in the automap, the walls are shown to be in Galactic Alphabet, which is an alphabet that Tom Hall had created for the Commander Keen games. These walls spell out the message "Dopefish Lives". There is a screen capture of this section of the map below this paragraph, should you care to translate it for yourself. :)  (You can see this image below) Yet another ![Siegler](images/joefish1.gif) incarnation of the Dopefish in ROTT is only in version 1.3 of the game -- when you complete it, there's a picture of a bucked tooth version of my character (Heinrich Krist - teeth compliments of artist Stephen Hornback) with a Dopefish pillow (again, made by Lee Jackson's wife Brenda) in my lap.  Also, in Feburary of 1998, I released what is probably the final patch of any kind for Rise of the Triad, the long-awaited "ROTT Dopefish" patch.   What this patch does is add Chuck Jones' rendered Dopefish into v1.3 of Rise of the Triad.  If you'd like to download this, [click here](stuff/dfrottcd.zip).   Please note that this is not an official Apogee patch, it's released strictly as a gag by myself; don't ask Apogee about this. [![ROTT Secret Message](images/dlivest.jpg)](images/dlives.gif)In addition, I've had several messages from people asking me about this possible Dopefish cameo in Rise of the Triad.  A user writes.. "*When you're playing a Multi-player game in ROTT, you can see your mugshot up in one of the corners, which is next to your score. If you kill yourself, say by standing next to and facing a wall and firing an explosive weapon, you die (duh), but in addition to dying, your mugshot gets bucktoothed. If you still aren't sure what I'm referring to, just go into a multiplayer game, kill yourself and look around. So, is this a dopefish reference?"*.   The answer is no, it is not.   I asked Tom Hall about this, and this is what he said.. "That is not an intentional dopefish reference, but made by Dopefish's dad, so I guess you can see my themes recurring...or my material running dry. ;^)   One of the five [ROTT characters] goes bucktoothed when their kills go negative." ![Dopefish gag in Duke Nukem 3D](images/fishlive.jpg)**Duke Fish?** One planned cameo appearance of Dopefish that will not come to the light of day was one planned for Duke Nukem 3D (more precisely it was ordered removed by George Broussard). Early in development, there was a shark as a character in Duke3D that would appear when Duke was underwater. What was to happen was that when you'd start the game with a DOPEFISH command line parameter, the sharks were to be replaced with Dopefish. However, the sharks got cut from the game, and alas, the Dopefish appearance in Duke Nukem 3D went with it. (At the last second before the game was released, the sharks were reinstated to the game, but Dopefish was not.) However, the work done for this does survive. Later on this page, Dopefish music is talked about, and a song written for Dopefish's appearance is downloadable from there. Also, Chuck Jones, the 3D modeler for Duke Nukem 3D created an animaton file for Duke, and if you want to see what Dopefish would have looked like in Duke3D, you can [download this file](stuff/dopeanm.zip). Also, around the same time, Chuck created a much larger FLI file of his first attempt at a 3D rendered Dopefish just spinning in place. If you want that, you can [download this file](stuff/dopefli.zip). The released version of Duke Nukem 3D did have one single Dopefish reference, that being this picture you see to your left.  It's a hidden message deep in Level 5 (The Abyss) of the shareware episode of Duke Nukem 3D. In June of 1996, Dopefish has been put pack into Duke 3D! Well, not by 3D Realms, but someone by the name of Roland made a file that you can use in the registered version of Duke3D that will turn the drones (the flying things) into Dopefish! It's pretty funny! Want it? [Click here](stuff/dron2dop.zip). ![Quake Picture](images/quake2.jpg)**Shadow Warrior Fish?** No, Dopefish didn't make an appearance in 3D Realms' Shadow Warrior game, but there is a connection! During the production of the game, the hero of Shadow Warrior (Lo Wang) was interviewed, and in the interview he was asked about Dopefish. Here is what Lo Wang had to say about Dopefish: [ [34k .wav file](stuff/lofish.wav) ] **Quake fish?** Dopefish cameos in games has come full circle(sort of). With id Software's 1996 release of Quake, Dopefish makes yet another appearance!  Dopefish appears in the registered version of Quake. There is a "hint" of Dopefish's appearance in the shareware episode, however. If you take the path that leads to the Nightmare difficulty level selection, and shoot the square on the wall at the end of the stairwell, you'll get a cryptic message that says "The Well of Wishes awaits in the Crypt of Decay". In the Crypt of Decay (Episode 2 Level 3 of Quake), towards the end of the level you'll come across a pathway that has lots of nails being shot out a few directions. That hallways leads to a big open area (see picture to right). If you go into the corridor that is shown in the picture to the right, and turn around, you will see a *very thin* walkway that leads to the area marked "In Here" in the picture. If you follow this pathway and jump into the "In Here" archway, you'll be led to the Dopefish (see other picture below). ![Dopefish in Quake](images/quakefish.jpg)In the summer of 1998, I was alerted to the existance of a Dopefish trading card.  It's actually part of a set of Quake based trading cards, of which Dopefish has a card.  I've never physically seen these cards (has anyone?), and I don't know if they're an official id Software product or not, but if you want to check 'em out, [go here](http://personal.netwrx.net/jfuture/chapters/dtc_ser1.html). [![Quake II - Is Dopefish Dead?](images/q2fisht.gif)](images/q2fish.jpg)**The Death of the Dopefish in Quake II?** I think not, although someone over at id Software might think so. :) Remember what id did to Commander Keen in Doom (had several dead Keens hanging dead in a secret room in Level 32)? Well, they're at it again. In Quake II, Dopefish makes an "appearance". In the "Cooling Facility" level of Quake II, Dopefish is in there. But, in similar form to Keen's apperance in Doom, Dopefish appears to be dead. Is Dopefish really dead? You can judge for yourself by finding him in this level. After you the reactor is destroyed, come back to this level before going to the Big Gun. Go all the way to the outdoor pools near the end. In one of the pools a new door has opened leading to a new area with a large post, which of course has a crack in it. Meet our weird friend inside. If you have Quake II, you can [download this save game file](stuff/q2_save1.zip) to make it more easy on yourself to see it. :)  (I've been sent [an additional save game](stuff/q2_320_save1.zip) that works with Quake II v3.20)   Also in January of 1998, some proof turned up that Dopefish did not die in Quake II. Want to see the proof?   [Click here](images/dopefish_refill.jpg) (picture by [Carsten Witte](http://www.midwinter.de/qart/art05.html))  Thanks to Brandon Fish (no relation to Dope) for the pictures of Dopefish in Quake II, as well as the description for how to find him. Slightly more detailed info on this is available [here](http://www.stomped.com/content/q2guide/cool1.html). **[![Quake III Dopefish - Although I don't think so](images/q3fish_small.jpg)](images/q3fish.jpg)Quake Fish Again****?**  I've gotten numerous emails about the "appearance" of Dopefish in Quake III.  Personally, I do not believe that it is a Dopefish.  I'm of the thinking that just because a fish is green, it doesn't automatically mean it's supposed to be Dopefish.  Two inquiries to id Software about this were not replied to.  Until I hear otherwise, I don't personally believe that it's Dopefish in Quake III.  It could be, but my gut feeling says it's not.  If I'm proven wrong otherwise by id Software, I'll change this. *Update 6/22/00:* I got an email from John Romero telling me that he had spoken with id Software, and they intend it to be a Dopefish.  Quite frankly, I'm disappointed by that.  The thing doesn't even look like Dopefish, the features aren't the same at all - if there's going to be a Dopefish cameo in a game, it should at least look like the thing! [![Dopefish reference in Jazz Jackrabbit II](images/jazz2t.jpg)](images/jazz2.jpg)**Jazz Fish?** In late spring of 1998 Epic released Jazz Jackrabbit 2.  There is a Dopefish reference in Jazz Jackrabbit II by Epic Megagames.  At some point in the game, you will see the message "Spaz ate the Dopefish".  If you click on the thumbnail to your right here, you will see the message.  Here's how to get it in the game (thanks to [Nicholas Killewald](mailto:nickandphil@csi.com) for the details): 1. Work your way to "A Diamondus Forever" as either character, any difficulty. 2. From the start of the level, work your way to the point where there are blocks with the blue bouncy bullet symbol on them (Two spheres together, you'll know it if you play the game). 3. Keep going through that path, through a couple springs, to the tall tree. Shoot it and walk over it. 4. Next, you should see two blocks with stars on 'em, tucked up at the top of a passage. Shoot 'em and get up there. 5. See the passage directly below? There's a fall-through-the-floor to it. 6. Go to the springs on the right. Make sure you hold left when you spring after you go through the ceiling, else you'll shoot past the crate you need to smash. Might take you a couple tries. 7. Smash the metal crate. 8. Now, hit the blue spring below you and shoot up through the small log above you. (Translation: hit the spring and shoot straight up) 9. Those three green-and-blue blocks you see will lead you up to another platform. Go to the left, kill a turtle, and find the sign. It's actually easier than it sounds. Just remember to take the high road.  There's actually a "sort of" Dopefish appearance in Jazz Jackrabbit 2.  If you start the game in easy mode, you see [this picture](images/spazfish.jpg).  It's not quite Dopefish, but it kinda looks like 'em.  :) **[![Dopefish gag in Descent](images/d3_dopefisht.jpg)](images/d3_dopefish.jpg)Descent****Fish?**  In June of 1999, we were told of an appearance of Dopefish in Descent 3.  Before the game was released, the folks who made the game were running a "contest" where you could send in a picture and a character name, and they'd put it in there as a default character in the game.  Well, the guy above who did the Dopefish Halloween costume above sent in the picture of himself in the halloween garb, and the Descent folks put it in the game!  Here's some details from mscooper about how to get Dopefish in the game:  "*Make a pilot called "Dopefish" and you can choose a pilot picture, which automatically comes up as me in my dopefish Halloween getup.*" **[![Dopefish gag in Battlezone](images/trodopefish_small.jpg)](images/trodopefish.jpg)Battle****Fish?**  In 1999, we were informed by Robert E. Wareing about an appearance of Dopefish in the game Battlezone.  Well, it's "The Red Odyssey" add-on for Battlezone.   Click on the small thumbnail to your left and you'll see what shows up in the game.  :)  Robert tells us how to get it...  You type DOPEFISH in at any success screen in Red Odyssey, and a little picture of him pops up with a small bio of his history.  There's also a Duke Nukem reference in the game, too.  At the end of The Red Odyssey, they decide to Nuke the emeny, so this big ass Nuke comes screaming across the landscape, slowing rotating as it hurls towards impact - and on it's side it's name is [painted as Duke](images/dukenuke.jpg).  Get it?  We nuke'd 'em with a nuke named Duke". **Dopefish in Kingpin****?**  I had a skin screenshot submitted to me by someone from the game Kingpin.  Unfortunately, I don't have any info on how to download this or how to make it appear in the game.  If you do, please let me know.   If you want to see what it looks like, you can [click here for a shot](images/burpfishskin.jpg). **Dopefish in Daikatana!**  Once again, I've gotten some cool stuff from John Romero about an appearance of Dopefish in one of his games.  A couple of years ago, he was cool enough to send me some info about Dopefish in Quake.  Recently, his long awaited Daikatana was released - and John sent over some screenshots and detailed information on how to get to all of them.   > > **![Dopefish from Daikatana](images/daikatana/daikatana.jpg)**OK Joe, here's your Dopefish info:  The > Dopefish is hidden in four places in Daikatana, one location per episode. > Here's the list of places: > > > E1: In the Sewer System, part 2, there's a > secret area that contains the Shotcycler-6 and a bunch of Sludge Minions. In > the screenshot ([dopefish\_e1\_1.jpg](images/daikatana/dopefish_e1_1.jpg)) > you can see one of the four corner lights in the room. Shoot each one until > they descend into the floor. When all four have been shot, you'll hear a > strange sound and at the bottom of the pool in the center of the room, a > grating will slide open and reveal the first Dopefish's lair ([dopefish\_e1\_2.jpg](images/daikatana/dopefish_e1_2.jpg)). > > > E2: In the Acropolis, part 1, the first major > structure that you enter will have a huge water fountain in it ([dopefish\_e2\_1.jpg](images/daikatana/dopefish_e2_1.jpg)). > Jump into the water in the fountain, find the open spot and swim into it. You > have to break the wall under here ([dopefish\_e2\_2.jpg](images/daikatana/dopefish_e2_2.jpg)) > to gain access to the second Dopefish's lair ([dopefish\_e2\_3.jpg](images/daikatana/dopefish_e2_3.jpg)). > > > E3: In the Plague Village, part 1, near the > very end of the level is a final bridge that you must cross ([dopefish\_e3\_1.jpg](images/daikatana/dopefish_e3_1.jpg)). > Under this bridge is a boarded-up well ([dopefish\_e3\_2.jpg](images/daikatana/dopefish_e3_2.jpg)) > -- break off the wood and swim down into the well, moving around the > protruding rocks the whole way until you find the third Dopefish's lair ([dopefish\_e3\_3.jpg](images/daikatana/dopefish_e3_3.jpg)). > > > E4: In the Tower of Crime, part 2, there's an > elevator shaft that has a little secret under the water at the bottom. You > need to climb the ladder in the shaft and go all the way down to the floor > where your feet will be barely covered in water and you cannot duck under it > to see where the secret is located... you must simply shoot at the ground > until it breaks out from under you ([dopefish\_e4\_1.jpg](images/daikatana/dopefish_e4_1.jpg)). > When you go down into the new opening, you'll find a Vitality powerup ([dopefish\_e4\_2.jpg](images/daikatana/dopefish_e4_2.jpg)). > To the right of the Vitality is a wall that is breakable and behind that wall > is the fourth and final Dopefish's lair ([dopefish\_e4\_3.jpg](images/daikatana/dopefish_e4_3.jpg)). > > > In each Dopefish's lair there's a Manaskull > invulnerability artifact -- it will allow you to either look at the Dopefish > for a while, or allow you to try to completely destroy the Dopefish, which > takes a LOT or work to do. > > > ![Baby Dopefish in Anachronox](images/anox_babydf.jpg)A special thanks goes out to John Romero for getting this information together and over to me.  :)  **Anachronofish!** - Well, as Tom Hall's Anachonox is about to hit the shelves, speculation has run rampant that Dopefish would make an appearance in the game.  I can now announce that not only is there a Dopefish - there are three baby Dopefish in the game as cameo characters.  Yours truly has done the voice for the Dopefish again.  :) After Anachronox was released, Tom sent me some info on the various appearances of Dopefish in Anachronox.  Here's the info he sent me: Here you go! 1. In Rho's lab, in a tank to the side. (MAP LABBUILDING) 2. In Moon Burger on Hephaestus, occasionally jumping out of the ball pit. (MAP MBURGER) 3. In the Krapton Ship, in a tank in the room with the Orange Roughy monsters. (MAP KRAPTONMAZE) Tom also sent along several screen shots of Dopefish's appearances in the game.   Here they are - you can click on any of them to have a larger version open up in another window: | | | | | | | --- | --- | --- | --- | --- | | | | | | | | Krapton Maze 1   | Krapton Maze 2   | Lab Building 1   | Lab Building 2   | Lab Building 3   | | | | | | | | Lab Building 4 | Moon Burger 1 | Moon Burger 2 | Moon Burger 3 | | Special thanks to Tom Hall for sending me over this information on Anachronox. **![Dopefish in Keen Gameboy Color](images/dopegbajump.jpg)![Dopefish in Keen Gameboy Color](images/keengb.jpg)****Keen & Dopefish return!** - Sort of.  In 2001, id licensed someone else (David Palmer productions) to make a new Keen game for the Gameboy Color.  Tom Hall wasn't involved, so my personal expectations were pretty low for the game.  I played the game a little bit, but quite frankly, it's crap.  That's not surprising, since Tom wasn't involved.  Plus it's insaneo hard.  Even if I liked it for Tom not being involved, it's almost unplayable.  Dopefish does make a cameo in the game.   He's not a full fledged character as such, just kind of the level of usage he had in Keen 4.   First, some dopefish art is on a wall in the game.  Check out the screen captures here from the Gameboy Color Keen game for shots of the Dopefish appearances. Later on in the game, the Dopefish does make an appearance as a game character.  He's jumping in and out of the water, and you have to jump over him to progress in the level.  You don't actually get eaten, but if you're touched by the Dopefish, you will die. **[![Dopefish cameo in Max Payne](images/mpdopefish320.jpg)](images/mpdopefish.jpg)Max Dopefish** - The plan to get Dopefish into as many games as possible continues with the apperance of Dopefish in Max Payne.   It started about 5 weeks before the game went gold - I was contacted by Petri of Remedy asking if any "hi res art existed for Dopefish".  I chuckled, and said no, of course it didn't - the only art was the 10 year old EGA art, as well as anything you might see on dopefish.com.  He ended up whipping up some art on his own, and that art has been on dopefish.com ever since - although no one has said anything about it during the time it was here and Max Payne was not out.  If you want to see that art, [click here](images/dopefish512x512.JPG). ![Dopefish cameo in Hyperspace Delivery Boy](images/hdb.gif)Anyway, check out this screen capture above from Max Payne - you can click on the thumbnail for a larger version.  The hidden room happens in Chapter 1 Level 7.  It's the one where you're chasing Gognitti over the rooftops.  When you get to the point where Gognitti tries to go through a door, and it's locked, there's an area where you can go into battle at the bottom of the stairs.  Don't go down there, turn around, and head back towards the basketball court.  From there you can jump down to this secret area (behind a fence).  However, if you're too lazy to do the work yourself, you can [download this save game](stuff/maxfishsave.zip) and use it.  :) In Jan of 2004, we were sent [this file](images/jeffstein.jpg) from Jeff Stein.  It's an update of the Dopefish art in Max Payne, Jeff wanted to share, so here it is. :) **Hyperspace Delivery Fish** - The spread of Dopefish cameos to more games continues unabated into 2002.  Late in December of 2001, Tom Hall & John Romero's new company, [Monkeystone Games](http://www.monkeystone.com) released their first game, "[Hyperspace Delivery Boy](http://www.monkeystone.com/products/hdb/)". In this game, another Dopefish cameo makes it's appearance - see the graphic to your right.  As I don't have a Pocket PC (which is what this game is available for), I can't tell you first hand how to see this, but I did ask Tom Hall how to get to the Dopefish in Hyperspace Delivery Boy, and he told me...  "You must collect at least 21 Monkeystones to get access to that area."   Hope that's useful information for those of you who have the game!  Later in 2002, a version of this game was released for the PC as well, and yours truly provided a voice for the "Worker Siegler" character saying "It is the Dopefish - behold!"  :) ![Dopefish user mod for Wolfenstein 3D](images/wolf3d03.jpg)**Wolfenstein Fish** - In September of 2002, I was sent [a screenshot](images/returnwolf.jpg) which the sender (whose name and email I have since lost) says is from the recent game "Return to Castle Wolfenstein".  It shows a stairwell which has "Dopefish" in grating at the top.  The Dopefish itself doesn't appear there, but these words do.  Can someone get back to me with info on how to find this in the game?  Thanks.  I was also told that this was part of a user map, and not actually part of the main game - I can't confirm that. ![Dopefish cameo in Hitman 2](images/hitman2a.jpg)I also have a file that you can use if you have the registered 6 episode version of the original Wolfenstein 3D.  This modification comes from Steven Pappas, and it changes Episode 1 Level 10 (the secret level) to be "The Well of Wishes".  Some of the characters are replaced with a Dopefish (which appears to be a boss character transplant, as it's rather lethal).  You can [download the file here](stuff/dopewolf.zip) - unpack to your registered Wolf3D directory and enjoy.   You can also check out a screen capture of this modification on this page, and a few others [here](images/wolf3d04.jpg), [here](images/wolf3d05.jpg), [here](images/wolf3d07.jpg), & [here](images/wolf3d13.jpg). **Hitman 2 Fish** - During my layoff of 2003, I was notified (by several people) that a Dopefish appearance happened in Hitman 2.   In the level "Jacuzzi Job", Dopefish appears as a fish bobbing up and down (kinda like a bobblehead) on a desk in a room where your target is.  I was sent many shots of this appearance.  Other than the one shown here, you can click on a few more for various looks of the Hitman 2 Dopefish appearance. [ [Link](images/hitman2-1.jpg) | [Link](images/hitman2-2.jpg) | [Link](images/hitman2-3.jpg) | [Link](images/hitman2-4.jpg) | [Link](images/hitman2-5.jpg) | [Link](images/hitman2-6.jpg) | [Link](images/hitman2-7.jpg) ] **N-Fish** - Shortly before Tom Hall & John Romero moved to San Diego in 2003 to go work for Midway, they released the game Red Faction on the N-Gage through their company Monkeystone that has Dopefish in it.   John showed it to me while they were working on it, and he told me he was going to get some screenshots of it, and some info on how to find the Dopefish in the game.  Once I get that info from Romero, I'll post it here. --- **Dopefish Music** [![Click here for info on the Dopefish Theme Lyrics!](images/prince2t.jpg)](lyrics.html)**Dopefish music** has been ongoing for a few years now. The original music was done by Bobby Prince sometime in 1990, and is called "Eat Your Veggies". As Bobby tells it, this song was originally intended for the Softdisk title, *Keen Dreams*, but since Softdisk insisted that the game fit on a 360k disk, music had to be left out. However, the song survived, and was used in Commander Keen IV: Secret of the Oracle. The music itself appears in more than one level, but to Keen (and Dopefish) purists, the song has been dubbed "Dopefish Level Music". If you'd like to download a MIDI file created by Bobby Prince in 1993 of this music, [click here](stuff/veggies.zip). Also in there was a joke we did sometime in 1994, where we turned the MIDI file around backwards. :) The universe notwithstanding, Dopefish music continued unabated.  In 1994, Lee Jackson composed a very silly song called [Fish Polka](stuff/fishpolk.zip). This song only appears in the level warp cheat mode of Rise of the Triad. And, in 1995, Lee Jackson took Bobby's original veggies song, and made it a bit more sinister. This version of the song was originally intended for Dopefish's aborted cameo in Duke Nukem 3D. That one is called "DopeJaws", and it can be [downloaded here](stuff/dopejaws.zip). In the last paragraph, a Quake Clan for Dopefish was mentioned. These folks created their own variant of the Dopefish song called "Kill Your Veggies".  You can download that [here](stuff/clanmus.zip).   In this zip file there is another variant of the theme that I'm at a loss to explain the origin of. In early 1998, Dopefish music has come alive!  I was sent a new version of the Dopefish theme called "Swing Your Veggies".  This is an ***it v2.14*** file, and can only be played with something like [ModPlug](http://www.castlex.com/modplug/plugin.html) or [Impulse Tracker](http://www.noisemusic.org/it).  Swing your Veggies can be downloaded [here](stuff/swingveg.zip), and was created by [Dave Hilling](mailto:davecave@rocketmail.com).  If you stick Swing Your Veggies on a repeating loop in your player, it sounds really cool!   Who knows where the future will take Dopefish in the realm of music? Thanks to Bobby Prince & Lee Jackson for granting their permission to allow these songs to be on this web page. Bobby Prince has a web page with samples of lots of his music, and it can be reached at <http://www.bpmusic.com>. **Speaking of Bobby Prince..** If you click on the picture of Bobby above, you'll be taken to a page about the **lyrics to the Dopefish Theme Song** (which is actually called *Eat your Veggies*.  As of July 1998, you can also download a video of Bobby singing the lyrics! --- **Dopefish "Merchandise" & Fan Items** **Please note that the Dopefish merchandise mentioned is not, and was not ever, for sale to the general public.** They were all strictly in-house gags, so please don't ask us how to get any of these items, you can't. However, if you're a Dopefish fan yourself, and have created some goofy Dopefish items yourself, [I would like to hear about them](mailto:joes@3drealms.com). ![Dopefish ANSI](images/dopeansi.gif)**The Dopefish "product line"** started with an ANSI screen which Lee and myself did -- I converted a screen capture to raw ANSI, and Lee cleaned it up and made it presentable. You used to be able to see the results by logging into Software Creations and typing DOPEFISH (or just DO for short) at the menu prompt. Of course, Software Creations doesn't exist anymore - If you want to download a file containing this ANSI, as well as a CGA ANSI of Dopefish, and 6 ASCII representatons of Dopefish (one is at the bottom of this page), click [here](stuff/dopeascii.zip).  (In Feb of 1999, we were sent some more ASCII dopefi by [Sander Romeijn](mailto:retodon8@hotmail.com).  If you want to see them, [click here](stuff/dopeascii2.txt).   And in Feb of 2004, I got a new ASCII contribution from Christian Jensen - it has a dopefish and the Standard Galactic Alphabet.  You can check out that ASCII [here](stuff/dopeascii3.txt).) After this, we convinced Jay Wilbur (formerly of id Software) to have some Dopefish polo shirts made from an EPS file of the front facing burping Dopefish (a.k.a. "Burpfish"). When Christmas rolled around, Lee's wife decided we needed to bring Dopefish into the real world, so she made 20 or so stuffed Dopefish dolls (mostly side view, with a couple of Burpfish for good measure). These were done in both EGA (green) and CGA (purple) versions and were given out at the Apogee Christmas party that year. When Jay Wilbur heard of this, his first thought was that we needed to get a life. On Christmas 1993, Brenda Jackson (Lee's wife) took a printed enlargement of a screen capture and did a pixel-for-pixel-accurate needlepoint tree ornaments, and I had coffee cups made (out of my own pocket) with a Burpfish on them. Below the Burpfish on the mugs is the caption, "Eat Your Veggies!", which is the title of the music for the level that Dopefish appears in, composed by Bobby Prince. Brenda also made a mobile of Dopefish for Christmas 1994, but due to extreme delays in getting it done, it was never delivered until July 1995. You can see a picture of one of the Xmas tree ornaments [here](images/flash.jpg).   This is a picture of my (now late) cat Flash trying to knock the ornament off my 1997 Xmas Tree. ![Dopefish Mug](images/dopemug.gif)**Not much happened** with Dopefish development until early 1996. In early 1996, some of the Apogee staff had some more items made up in the Dopefish product line. Only one of these exist, but now we have a Dopefish Baseball Cap, a T-Shirt, as well as a mouse pad, & a soda can cooler. The Baseball Cap and the T-Shirt have the Keen IV Credit Screen emblazened on them. Hopefully, we'll get some pictures of these items online shortly. In June of 1996, [Andre Viens](mailto:aviens@geocities.com) at Software Creations released his Dopefish Screen Saver for Windows. This is a freeware product that [you can download](stuff/dopev110.zip). It's freeware, so if you're into Dopefish, and run Windows or Win95, then you should get this!  Andre sent us an update in Feb of 2004 not of his screen saver, but of his new cel phone - he said we had to see a picture of it, and [so do you](images/vienscel.jpg).  :) [![Dopefish Cartoon](images/dopetoont.jpg)](images/dopetoon.jpg)**Other Dopefish items** in the product line that have appeared over time include a [Windows95 Dopefish Theme](stuff/DopefishTheme.zip) (by Ben Slinger), (if you are going to use the Win95 Dopefish Theme, make sure to read the readme.1st file inside the zip file ***before*** attempting to install it) a [Windows Icon](stuff/dopeicon.zip), an OS/2 Icon, an [OS/2 Warp Startup Logo](stuff/dope_os2.zip), an [OS/2 Warp Web Explorer Animation File](stuff/webxfish.zip), and a [Win95 Animated Burpfish Icon](stuff/burpani.zip). There's also a [MS Windows BMP](stuff/windope.zip) that Tom Hall put together that, when tiled, looks great as a Windows background. More recently, a newer version of the Windows Background was created by a Dopefish fan. This new version has a color resolution of 16.7 million colours! To download the 16.7 million colour version, [click here](stuff/dope16m.zip).  (In the summer of 1999, we were sent a second 16.7 million colour version which you can [get here](stuff/dope16m2.zip)).  And to top it off in Feb 2004, we have yet [another variant](stuff/windope2.zip) of the Windows background image.  :)  Shawn Swift also created a really [cool Windows background image](images/scs-dopefish.bmp) with a "Dopefish Lives" theme, and Rene Rijkhof created [this Windows background image](images/renedijkhof.jpg). Rene also has a rather large self extracting [Photoshop file](stuff/renedijkhof.exe) of his background image if you want that (it's about 4.5Mb)  Terry Herrin (one of the old Software Creations Chat Regulars) created an .flc animation file of Joe Siegler morphing into Dopefish. To check that out, [click here](stuff/dmorph.zip). Also, I have a full-page Dopefish that will occasionally mysteriously show up in someone else's fax machine. Dopefish has also appeared in countless taglines, Internet signature files (described by Tom Hall as "Pisces Swimeatus"), and even in a reinterpretation of the birth of the universe, where the Big Bang is replaced by the Big Burp.  Steve even holds the title, granted via a mail-order ordainment service, as "Pope of the Church of the Dopey Fish." The title is legally recognized, by Texas state law. Check it out with the State of Texas if you don't believe it!  Steve also owns the Internet domain name <http://www.dopefish.org>, but as of yet hasn't actually done anything with it.  The FarSide cartoon above was given to me on November 2, 1995 by Matt Long of Software Creations. This cartoon originally said Pirahna where it says Dopefish. ![Dopefish](images/fish7.gif)**VRML Fish!** Back in 1995, a programmer by the name of Billy Zelznack was working with me at Apogee/3D Realms (he is now at Rebel Boat Rockers). Billy & I had started work on a VRML version of Dopefish. It was never completed (which is why it was never released here for awhile). However, in April of 1997, I decided to release it as is. If you want to see Dopefish in VRML, [click here](stuff/dopefish.wrl). Please note however, that this was not completed, and Dopefish doesn't look quite right, plus he's only one colour, and it's the wrong one at that. :) Perhaps one day I'll get around to finishing it.   **UPDATE** - In January of 1998, I was sent a second VRML Dopefish image by [James Thomas](mailto:jamesseventynine@hotmail.com).  [Check it out](stuff/dopefish2.wrl). [![Tom Hall - Let there be Dopefish!](images/sshflash.jpg)](http://www.newgrounds.com/portal/view/130073)**Flash Fish!** In April of 2003, a noted Keen aficionado Sluggy created a really cool Dopefish Flash animation called "Dopefission" - using lots of graphics from this site.  It was sort of inspired by the "All Your Base" craze.   [You can view it online here](http://www.newgrounds.com/portal/view/130073), or you can download the flash animation file by [clicking here](stuff/dopefission.zip).  It's quite awesome.  It takes some time to load, so be patient - but it's worth it!   It's quite silly, but is most definitely worth the time to watch. We also got another Dopefish flash animation submission.  This time from Deacon Ross, who tells us that he had to create a flash animation as part of a school class lesson.  He created this Dopefish fishbowl animation.  [Check it out here](stuff/deaconross.swf).  In addition, we got [this file](stuff/dopefla.zip) from Sam Hardy.  It's a program that you can load into the Flash editor (not the plugin, but the program that creates Flash files) and mess around with the Dopefish.  :) ![Dopefish Graffiti on Sidewalk](images/sidewalkfish.jpg)**Dopefish Grafitti** - In December of 1996, I received a letter from [Steven Paradise](mailto:Steven.Paradise@m.cc.utah.edu).  Steven was living on a US Army Base on Kwajalein, Republic of the Marshall Islands and was going to [Kwajalein High School](http://www.aloha.net/~spartan/) there. Their school has a tradition where Seniors spraypaint something on the street, and guess what Steven painted? That's right. Dopefish! Dopefish has now spread to street grafitti! The picture to the left was taken shortly before the principal of the school (Dr. Sebanc) decided that he didn't like the word "dope", and had the word painted over.   However, after Dr. Sebanc had "DOPE" painted over, Steven made a little fix.  He painted "D8RE", which reads "DoPE" if you cover half of the 8 and the leg of the R.   A sad finale to this story, though...  Steven wrote me in March of 1998 and informed me that the Dopefish grafitti is no longer on the street.  The painting ritual there is an annual event, and (in Steven's words) "*my Fish's time on the street ran out in October 1997*". ![Image by Tim Lewis <luther2001@hotmail.com>](images/timlewis.gif)**More Dopefish Items** started popping up late in 1997.  There seems to be some big spike in the fascination with Dopefish in late 1997, I'm not quite sure why.  The first that I saw was the rendered Dopefish that appears on the intro page to this site.  It was done by some cool artists over at Slipgate.  They won't tell me who actually did it, though.   November 12th saw a hack of Netscape v3 (doesn't work on Netscape 4 - I already tried) in the form of the "[Dopefish Throbber](stuff/dopens3.zip)" by Chris Geroux.  This will replace the pulsing "N" in the Netscape network activity window with a Dopefish!    In January of 1998, I was sent an Email by someone calling himself "[Brain](mailto:y6u8i9@geocities.com)".   It contained two icons and a cursor file for Windows95.  You can get these files [here](stuff/brainico.zip). February of 1998 saw Benjamin Orth release his "Pac-Fish" image.  It's a Pac-Man themed Dopefish image.  [Check it out](images/pacfish.gif), it's pretty funny! Also, in March 1998, Joe Siegler put [this picture](images/hpfish.jpg) online.  It's a picture sent to him some time ago by former Apogee Beta Tester Eric Baker.  This is Eric's TI Calculator, with a Dopefish drawn on it!  The actual date of when this was done has now been lost, since Joe Siegler took so long in getting this online.  :)  In June of 1998, I was sent a program called "Dopefish Tank" by [Michael Dzicek](mailto:ciclid@geocities.com).   He says this about it.. "It is a little tank with a Dopefish swimming in it."   If you want to check this out, you can download it [here](stuff/dopetank.zip).   (NOTE: When I put this online, I had not tested it to see if it had any problems - if this notice is here when you're reading this, I still haven't checked it). **Even more items!** Later in 1998, we were sent pictures of a "Stuffed Dopefish".  These were from [Christian Geroux](mailto:cgeroux@age.net).  There's a total of three pictures.  Christian says "Got a few jpg's of a stuffed Dopefish my sister made for me."  Click here to see the various pictures: [ [Stuffed 1](images/stuffed1.jpg) | [Stuffed 2](images/stuffed2.jpg) | [Stuffed 3](images/stuffed3.jpg) ].   In the summer of 1999, we were sent a Dopefish Windows font by someone named Justin.  I've not actually installed [this font](stuff/dopefont.zip) on my machine, so I don't vouch for whether it works or not. **![](images/dopesculp.jpg)Dopefish in 2000!** Well, there's no new Dopefish as a game, or anything like that, but I had quite a pile of user submissions that I haven't done anythiung with, and since they haven't been posted to dopefish.com until June of 2000, I'm counting them as "2000 Items".   Anyway, first up is a Dopefish sculpture (seen to your right).  It was sent in by Bryce Emmett - he says that his little sister made it for him in a school class.  I can just imagine what that teacher was thinking.   Bryce also sent us this picture of [a Dopefish shirt](images/dopeshirt.jpg) he made.   It's quite cool - wish I had one.  You can also download this user art from Nathan Davis called "The Dopefish Lives".  It's some nice hand drawn custom art.  [Check it out](images/thedopefishlives.jpg). Also, in a slight update to the Dopefish Throbber for Netscape 3 above, we have this file from Rob Kuebler.  It's an updated Dopefish Throbber for Netscape 6 PR1.  If you have the new Netscape, [check this out](stuff/dft-ns6.zip).  There is a readme inside the zip archive which tells you what to do - this is not guaranteed to work on any version of Netscape other than v6PR1.  Cool! **Dopefish discovers alien life!** Well, not really, but it's a possibility.  If you're familiar with the [SETI@Home project](http://setiathome.ssl.berkeley.edu/), it's where the SETI group (Search for Extra Terrestrial Intelligence) folks let you download data packets from the huge satellites that listen for such things, and process it yourself.   Anyway, in addition to doing it on your own, you can join groups of folks who share your same fascination.  That's right - there's a Dopefish group on SETI@Home.  What's really interesting is that I have the nickname "Dopefish", and by some freak I happen to discover a real transmission, the headline *Dopefish discovers alien life* will come true!   [Click here](http://setiathome.ssl.berkeley.edu/cgi-bin/cgi?cmd=team_lookup&name=dopefish) to check out the Dopefish SETI group!  If you're doing SETI@Home and don't belong to a group, how about joining the Dopefish group?  Not doing SETI@Home?  You can download the software for free.   **![](images/dopeamp.gif)DopeAMP!** The net's most popular MP3 (and other) player is Winamp.  A submission came in from Elizabeth Walsh, and it's a skin plugin for Winamp.  A shot of it can be seen to your left - the program itself is free, as is this download!   You can [grab the skin here](stuff/dopeamp.zip), and if you don't have Winamp (why not?) - you can get that for free too by visiting the [Winamp Home Page](http://www.winamp.com).  There's instructions inside the zip file you download for the skin on how to install it (this skin was originally created for WInamp 2).  While putting together this entry about DopeAMP - I discovered that I already had a Dopefish Winamp skin that was sent to me by Chris Ivarson.  His DopeAMP skin has [a different look](images/dopeamp2.gif) than the one above - his is mostly black with some Dopefish overtones.  You can [download that one here](stuff/dopeamp11.zip), too! ![](images/burb.gif)**Dopefish: The Game!** It's been discussed, but it's never happened until now. In April 1997, Apogee was sent a program from [Chris Geroux](mailto:cgeroux@age.net) called "**Dopefish Lives!**". It's a short Windows game (using the Klik & Play Game Creation System) that lets you play *as* the Dopefish, and your goal is to swim around and eat schoolfish while avoiding being hit by mines and being shot at. Featuring music and art from this page as well as from Commander Keen Episode IV, this **freeware** game can be downloaded [here](stuff/dfshgame.zip)! The file is about 373k zipped. In the summer of 1997, Chris did a sequel game called **Dopefish Forever!** It's got more options, and is also freeware. If you'd like that, you can download it [here](stuff/dope4evr.zip). If you'd like to check out Chris' page, [go here](http://www.geocities.com/Area51/Vault/5837/index.html). [![](images/slidergame_small.jpg)](images/slidergame.jpg)I was also made aware of a web based tile game where you can shuffle around the pieces to unscramble a puzzle (I believe they're called slider games).  You can check that game out [here](http://www.js-games.de/en/games/slider/lx/play.html). **Fishagotchi!** [Jared Diogo](mailto:Diogo@voicenet.com) sent in this email.  Check it out: "I recently got a Tamagotchi simulator for my computer off the Internet. The webpage I got it from had some "plugins" for the Simulator, which would change some things like turning it Japanese (I really think so :) ) or changing characters. Unfortunately, none of them really seemed that appealing to me, so I made my own. So I thought, "What better to have as a Tamagotchi than a Dopefish?" I just took one of the other plugins, copied it, and changed it so it turns the Secret Character into Dopefish."  If you want to download this, you can do so [here](stuff/fishagotchi.zip). [![](images/bsf_dopefisht.jpg)](images/bsf_dopefish.jpg)**Ich Bin Ein Dopefish?** In November of 1997, a German Magazine called "Bravo Screen Fun" Printed some dopefish! The article (in german, on Page 68 of the magazine) has some Dopefish, and a link to Andre Viens' Dopefish Screen Saver. If anyone has a copy of this magazine, and can read German, and would be willing to translate it, please [contact myself](mailto:joes@3drealms.com) or [Andre Viens](mailto:aviens@geocities.com) about it. Thanks. If you'd like to read a little more about this, go [here](http://www.geocities.com/SiliconValley/Pines/2407/bsf_dope.htm). [![](images/plate.jpg)](images/fishplate.jpg)**Mobile Dopefish** - On March 23, 1998, my newer car (a 1996 *GREEN* Chevy Cavalier) got a new personalized license plate from the state of Texas.  I had put that off for a long time, mainly because the state of Texas charges a **lot** of money for this.  However, I finally went for it in February of 1998.  I mailed in the form and waited.  On Monday March 23rd, I went over to the DMV here, and waited in line (ughh) and finally got my plate.  It reads **DFISH**, with a small State of Texas inbetween the D and the F.  Unfortunately, the state of Texas only allows for 6 letters on a plate, so I couldn't spell Dopefish.  I considered going with DOPFSH, but went with what you see here.  Click on the license plate picture for a much larger picture of my entire car with the plate.   The green car really fits the license plate.  However, on March 21st, 2001, the Fish mobile was no more.  I decided that I didn't want to pay the state of Texas an extra $40 a year just to have that plate, so I surrendered the plate and got a conventional state of Texas license plate.  I still have one of the plates on my desk as a memory, however (TX has plates on both the front and back of the car - I just turned in one of them). That wasn't the first of my cars to be "Dopefishized".  Back in early 1995, shortly after the release of Rise of the Triad, I was driving a 1989 Blue Chrysler LeBaron. I had a propensity for letting it get rather dirty, and the dust and general dirt level on the outside of the car was rather alot. Anyway, Chuck Jones, one of our artists at the time, decided to draw in the dirt on my car with his finger. What did he draw? Dopefish, of course.  There are two images on this site that show the "work" Chuck did on my old car.  [Click here](images/car1.gif) to see the first image, and [click here](images/car2.gif) to see the second. [![hween1.jpg (10143 bytes)](images/hween1t.jpg)](images/hween1.jpg)[![hween2.jpg (7158 bytes)](images/hween2t.jpg)](images/hween2.jpg)**Dopefish invades Halloween!** On November 16, 1998, I got an Email from a user with the handle of [mscooper](mailto:mscooper@flash.net) informing me that he had gone out as Dopefish for Halloween 1998.  This is another first in the world of Dopefish lore.   A dopefish halloween costume. It's rather funny - I showed them around to a few people here at 3D Realms, and they got a big laugh.  We hope you do too - click on either of them for a larger image.  This picture also made it into Descent 3 (see below). **[![](images/tinytoonst.jpg)](images/tinytoons.jpg)Steven Spielberg & Dopefish!** What?  I've got to be making this up, eh?  Well, a report came in that Dopefish made a cameo appearance on "**Tiny Toons Adventures**", which is produced by Steven Spielberg.  The screenshot is of a device that measures Dizzy Devil's intelligence, which apparently is in-between that of the Dopefish & a chicken wing.  Thanks to [Shawn Swift](mailto:sswift@earthlink.net) for the picture! **'The Dopefish before Christmas!** What's this?  One of the more unique submissions I've ever gotten is [this poem](stuff/night_before_dopefish.zip) (in Word 97 format) from Caleb Child.  The poem is very cool - and starts off like this: T�was the night before Christmas, and all through the house, Not a creature was stirring, but me and my mouse; I was by my computer surfing with care, Type �dopefish-dot-com,� and soon I�d be there. My family was sleeping, all warm in their beds, Whilst I had insomnia inside my head. And so now the Internet did feature This incredibly stupid dumb creature! ![](images/dopefishpillowcrop2.jpg)**More in 2004!** As I do this update, I haven't updated in ages (16 months).  Over the time since the last update, I've collected many submissions that folks have sent me, I'm going to chronicle some of them here (yeah, I know most of these weren't actually submitted in 2004).   First off is a pillow image that was sent to me by Alexander Johnson.  Alexander had this to say about the pillow, "my father's girlfriend made this dopefish pillow for christmas! Sadly my father is breaking up with her, but we will keep this sacred pillow as a memory of her, and maybe it will become a family heirloom."  [Click here](images/dopefishpillow.jpg) to see more of Alexander's Dopefish pillow. ![](images/hair2a.jpg)There was a new clothing item, too.  We got a picture of [this shirt](images/archangonshirt.jpg) from Archagon.  Also in the clothing related item section, we have [this vector file image](stuff/vectorfish.zip) of Dopefish from Yossa.  This is a good file to use if you want to make your own clothing or hats, or something like that.  [Here's what the vector fish looks like](images/vectorfish.png). This next one doesn't really count as clothing, but it's close.  In the spring of 2003, Dopefish fan Jaap Laan went to a LAN party in Holland, and he said he wanted to look really cool, so he had his hairdresser doctor up his hair to have a Dopefish in it!  Check out the picture to your right or these other pictures of him [ [link](images/hair1.jpg) | [link](images/hair2.jpg) | [link](images/hair3.jpg) ]. ![](images/milkshape2.gif)We got a program from Klaus Breuer which he describes as "a Dopefish Easter Egg".  Seems that Klaus works for a banking company and worked in a Dopefish cameo into his software.  I don't know what the software is, and he didn't tell me (probably so that it can't be found out), but he did extract the Dopefish cameo into it's own program which you can [download here](stuff/klausbreuer.zip) (complete with Delphi source code!). There were several more things.  We also received [three "spinners"](http://www.cc.jyu.fi/~juhtolv/configs/galeon/spinners/) for the web browser Galeon, another [animated cursor](stuff/gulpfishy.zip) file by Alex Hartz, [a spray paint](images/counterstrike1.jpg) of Dopefish in Counter Strike, a [Milkshape Dopefish Model](stuff/milkshape.zip), a [PocketPC Dopefish theme](http://www.pocketthemes.com/download.php?query=DOPEFISH&op=search), A Windows background picture by "Speed Racer" both for [regular size screens](images/speedracer1.jpg), and one designed for [dual monitor computers](images/speedracer2.jpg), more [fan art](images/owenkinton.jpg) (by Owen Kinton), an [AOL Instant Messenger Theme](http://www.picgames.com/perl/preview?104371382015916), more [fan art](images/clivetrower.gif) (Clive Trower), Nokia Cel Phone [Dopefish Logos](stuff/nokiafiles.zip) (Ewan MacDougall), more [fan art](images/alexhartz.png) (Alex Hartz), and [fan art](images/manuellorenz.jpg) for Worldcraft (Manuel Lorenz). [![](images/zim_dopefish1_small.jpg)](images/zim_dopefish1.jpg) [![](images/zim_dopefish2_small.jpg)](images/zim_dopefish2.jpg) We also were sent these two screen captures from an episode of the TV series "Invader Zim".  Apparently, in the first season was an episode titled "Bad Bad, Rubber Piggy".  There is a fish in the episode on a rampage eating everything in sight while wearing a bear suit.  If anyone from the Invader Zim production reads this, and can confirm this cameo, let me know.   Thanks.   :)     **Dopefish 2012** Bet you never thought you'd see another update to this, eh?  I never thought I'd be using MS Frontpage to edit a page in 2012, either!  :) Anyway, In the summer of 2012, I was sent an email from Tom Hall, saying that Dopefish had made an appearance in his newest game, a Google+ specific title called '[Pettington Park](https://plus.google.com/117278004989557904568)".   He enclosed a picture of it: ![](images/pettingtonpark.png) I wrote Tom back and asked him how this appeared in the game, and he told me this: > > *When you play the game, which > is a weekly competition between cats and dogs (really, cat persons vs. dog > persons), you shake/hammer/chop various items in the game to get resources. > Occasionally collection items drop out too. Some collections are only > completable by a Gift from a Friend, from the Free Gifts interface. > > > > The Plastic Dopeyfish is one of these.* > > > A new Dopefish reference in 2012.  Told ya "Dopefish Lives!" --- **Summing up Dopefish** **Why Dopefish**? Well, he swims, he eats, and he burps. What more can you ask for? We think that the latter reason is why I like him so much.  I'm known for a few wall rattlers and personally did the voice of Dopefish in Wacky Wheels and Rise of the Triad.  I really practiced for it, too. Sitting at my computer at four in the morning with a two liter bottle of Diet Coke, I ran through take after take, hurting myself a couple times in the process, until I came up with just the right length and resonance. Click [here](stuff/siegler_burp.zip) to download an archive of the recording session mentioned here. Watch out for the *blooper.wav* contained within. That's the one where I hurt himself! Even though he Dopefish legally belongs to id Software, he is a welcome adopted member of the Apogee family. If there are ever any new Keen games, you can wager a goodly amount that the Dopefish will be in it. | | | --- | | | ![Horizontal Line](images/byline.gif) *To Be Continued.........* ``` **WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW..;;;;;.WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW.;;;;;;;WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW;;;;;;;;;WWWWWWWWWWWWWWWWWWWWWW..WWWWWWWWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWWWWWWWW.;;;;;;;;.WWWWWWWWWWWWWWWWWWWWWWW..;;.WWWWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWW...;;;.......;;..WWWWWWWWWWWWWWWWWWWWWWWW.;;..WWWWWWWWW WWWWWWWWWWWWWWWWWWW...;;;;;;;;;;;;;;;;;;;;;;..WWWWWWWWWWWWWWWWWWWW.;;;.WWWWWWWW WWWWWWWWWWWWWWWWW.;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWWWWWWWWWWWWWWW.;;;;..WWWWWW WWWWWWWWWWWWWW;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;.WWWWWWWWWWWWWW.;;;;;..WWWWW WWWWWWWWWWWW.;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;.WWWWWWWWWWWW.;;;;;;..WWWW WWWWWWWWWW....;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;.WWWWWWWWWW.;;;;;;;;..WWW WWWWWWWW.WWW..WWWWV..;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;+..WWWWWWW.;;;;;;;;;..WWW WWWWWW.WWWWWWWWWWWWWWWW;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWW.;;;;;;;;;;;..WWW WWWWW.VW......WWWWWWWWW.;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;....;;;;;;;;;;;..WWWW WWWWW.WW......WWWWWWWWWW.;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWWW WWWWW..WWW.....WWWWWWWWV.;;;;;;...;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWWWWWW WWWWW.;.W.WWWWWWWWWWWWW.;;;;;;;;..;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;.WWWWWWWW WWWWW...;.VW..WWWWWWWW.;..;;;;;;..;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWWWW WWWWWW......;;;......;;;;;;..;;;..;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWWW WWWWWW.WW.VV...............;;;;;..;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;..WWWW WWWWWW.WW.WWWWV.;;;;;;.;....;;;...;;;;;;;;;;;;;;;;;;;;;;;;....;;;;;;;;;;;..WWWW WWWWWW.WW.WWWWV....;;;;;;;..;;;..;;;;;;;;;;;;;;;;;;;;;;;..WWWW..;;;;;;;;;..WWWW WWWWWW.WW.WWWWV.;;;;;;.;;;;.;;;;;;;;;;;;;;;;;;;;;..;;....WWWWWW..;;;;;;;;..WWWW WWWWWW.WW.WWWWV.....;;;;;;;;;;;;;;;;;;;;;;;;;.;;;;....WWWWWWWWWWW.;;;;;;..WWWWW WWWWWW.WW.WWWWV.;;;;;;;;;;;;;;;;;;;;;;;;;;;;;.;;.....WWWWWWWWWWWW.;;;;;;..WWWWW WWWWWW....WWWWV..;;;;;;;.;;;;;;;;;;;;;;;;;;;;......WWWWWWWWWWWWWW.;;;;;..WWWWWW WWWWWWWWWW...WV.WW......+;;;;;;;;;;;;;;;;;;;;;...WWWWWWWWWWWWWWW.;;;;;;.WWWWWWW WWWWWWWWWWWWWWWWWWWWWWWW..;;;;;;;;;;;;;;;;;...WWWWWWWWWWWWWWWWWW.;;;..WWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWWWWW..;;;;;;;;;...WWWWWWWWWWWWWWWWWWWWWW.;;.WWWWWWWWWWWW WWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWW** ``` | This [Dopefish ring](http://www.cygnusloop.com/dopefishring/) site is owned by [Joe Siegler](mailto:joes@3drealms.com). want to join the [dopefish ring](http://www.cygnusloop.com/dopefish/)? | | --- | | [[skip prev](http://www.webring.org/cgi-bin/webring?ring=dopefish&id=2&sprev)] [[prev](http://www.webring.org/cgi-bin/webring?ring=dopefish&id=2&prev)] [[next](http://www.webring.org/cgi-bin/webring?ring=dopefish&id=2&next)] [[skip next](http://www.webring.org/cgi-bin/webring?ring=dopefish&id=2&skip)] [[random](http://www.webring.org/cgi-bin/webring?random&ring=dopefish)] [[next 5](http://www.webring.org/cgi-bin/webring?ring=dopefish&id=2&next5)] [[list sites](http://www.webring.org/cgi-bin/webring?ring=dopefish&list)] | ![Dopefish NOW!](images/fishnow2.gif) ![](images/tom_pool.jpg) �Will the Dopefish return?  Only Tom knows for sure� and I wouldn�t lose all hope�� ![](images/dfdnf.gif)
https://www.dopefish.com/fishinfo.html
<!DOCTYPE HTML PUBLIC "-//IETF//DTD HTML//EN"> <HTML> <HEAD> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> <TITLE>Lightner Home Page</TITLE> <STYLE TYPE="text/css"> <!-- BODY { background-image: url('images/ScrippsPierLaJolla.jpg'); background-repeat: no-repeat; background-position: top center; background-attachment:fixed; background-color:#404040"; } TD, TH, P, I, EM { font-size: 9pt; font-family: serif, "MS Serif", "Times New Roman"; } SMALL { font-size: 75%; font-family: serif, "MS Serif", "Times New Roman"; } .text { font-family: courier } H1 { font-size: 18pt } H2 { font-size: 14pt } H3 { font-size: 11pt } H4 { font-size: 9pt } .cmds, SELECT { font-size: 9pt; } --> </STYLE> </HEAD> <body bgcolor="#404040"> <center> <table border=0 width=800 bgcolor=white> <tr> <td width=32>&nbsp;</td> <td text="#000000" align="left" valign="top"> <table border=0> <tr valign=center> <td> <IMG SRC="images/blub92.gif" width=92 height=92> </td> <td width=550 align=center valign=bottom> <H1>Lightner Home Page</H1> </td> </tr> <tr><td>&nbsp;</td></tr> </table> This home page is hosted by a <a HREF="http://www.Linux.org/">Linux-based</A> <A HREF="http://www.intel.com/">Intel</A> Pentium-III PC located in La Jolla, California using an <A HREF="http://www.apache.org/">Apache Web server</A>. Internet access is via a cable modem, courtesy of San Diego's <A HREF="http://www.san.rr.com">Southwest Cable</A>, a Time-Warner company. (Yes...we pay extra for this priviledge!) <!-- <a href="networkcar/"><img src="images/NetworkcarLogo.gif" width=32 height=32 align=right alt="Networkcar"></a> --> <a href="2009/"><img src="2009/images/LLight2009.gif" width=32 height=48 align=right alt="Christmas 2009"></a> <a href="photos/2003/030500/Monterey/PtLobos.html"><img src="images/PtLobos2003.jpg" width=64 height=48 align=right alt="LJHS Pt. Lobos Panorama"></a> <a href="photos/2003/030500/Monterey/collage.html"><img src="images/Monterey2003.jpg" width=64 height=48 align=right alt="LJHS Monterey Trip Photos"></a> <a href="/cgi-bin/quake.cgi"><img src="images/eye3.gif" width=64 height=48 align=right alt="Click to find Bruce's Suburban"></a> <UL> <LI><A HREF="lightner/index.html">Lightner Family Home Page</A> <LI><A HREF="lightner/bruce.html">Bruce's Home Page</A> <LI><A HREF="/cgi-bin/vmail.cgi">Check voice mail</A> (private) <LI><A HREF="/cgi-bin/phones.cgi">Search phone list</A> (private) <LI><A HREF="http://192.245.227.105/cgi-bin/sonycd">Control Sony 200-disc CD changer</A> (private) [<A HREF="/cgi-bin/sonycd">sample</A>] <LI><A HREF="download/">Download directory</A> <LI><A HREF="bookmark/bookmark.htm">Bookmarks (private)</A> <A HREF="/cgi-bin/rejects.cgi?tail=1000">.</A> <A HREF="/cgi-bin/scans.cgi">.</A> <LI><A HREF="http://www.lightner.net:14501/">APRSD server status</A> </UL> Freeware offered (and sometimes authored) by the Webmaster: <UL> <LI><A HREF="httpget/">HTTPGET software</A> (command line WWW page retrieval for Windows 95/NT, Linux, Unix) <LI><A HREF="lightner/bruce/httpd/w95httpd.html">Tiny Cheap Freeware Perl HTTP Daemon (httpd)</A> (Windows 95/98/ME/NT/XP) <LI><A HREF="lightner/bruce/photopc/">Windows/MS-DOS digital camera software</A> (Epson PhotoPC, Olympus, Agfa, Nikon cameras) </UL> Other Web pages brought to you by this page's Webmaster (now or in the recent past): <UL> <LI><A HREF="ybdb/index.html">Y.B.D.B. Web Site</A> (private San Diego off-road club) <LI><A HREF="http://www.manxclub.com/">Manx Club Web Site</A> (street-legal, fiber-glass dune buggy club) [<A HREF="manxclub/index.html">local mirror (as of 2000)</A>] <LI><a href="http://www.picoweb.net">PicoWeb Web Site</A> (PicoWeb<sup><small>TM</small></sup> may be the World's Smallest and Cheapest Stand-Alone Web Server) <LI><A HREF="http://lajollaguide.com/ljsa/">La Jolla Shores Association Web Site</A> (Community planning organization) [<A HREF="ljsa/index.html">local mirror (obsolete)</A>] <!--<LI><A HREF="http://home.san.rr.com/lightner/">Lightner Family Road Runner Home Page</A> (inactive)--> <LI><A HREF="/exMFT/">Ex-Metaflow Employee Home Page</A> <LI><A HREF="http://www.lajollatowncouncil.org/">La Jolla Town Council Web Site</A> (Community planning organization) [<A HREF="ljtc/old/">local mirror (obsolete)</A>] <LI><A HREF="http://www.flawed.info/">Flawed.Info Home Page</A> (tongue-in-cheek domain) <LI><A HREF="http://www.trlu.org/">Taxpayers for Responsible Land Use</A> (Community service organization) <LI><A HREF="http://www.papafernandez.com/">PapaFernandez.com</A> (Baja travel site) <IMG SRC="images/new.gif" ALIGN="TOP" width=31 height=12> <!-- <LI><A HREF="http://www.thewaybackmachine.net/">TheWaybackMachine.Net</A> (Personal WWW archive site) --> <LI><A HREF="http://www.nopaidparking.org/">NoPaidParking.org</A> (La Jolla Group Opposed to Paid On-Street Parking) <LI><A HREF="http://www.sherrilightner.org/">SherriLightner.org</A> (San Diego City Council campaign site) <IMG SRC="images/new.gif" ALIGN="TOP" width=31 height=12> <LI><A HREF="http://en.wikipedia.org/wiki/Sherri_lightner">Sherri Lightner</A> (Wikipedia page) <IMG SRC="images/new.gif" ALIGN="TOP" width=31 height=12> </UL> <P>Send mail to the Lightners at <A HREF="mailto:lightner@lightner.net">lightner@lightner.net</A>. If you want to send "secret stuff", use this <A HREF="lightner/bruce/pgp.html">PGP public key</A>. And, if you think that your email might be blocked by our SPAM filters, the try using <a href="/cgi-bin/spam.cgi">this form</a> to send us email. <HR> <div><i><small> All photos and text copyright &#169;1995-2009 by Bruce Lightner. All rights reserved. All opinions expressed here are solely those of the author, <A HREF="lightner/bruce.html">Bruce D. Lightner</A>, and <em>not </em> those of his employer. <A HREF="disclaim.html">Click here</A> to view full disclaimer text. If you are having trouble sending email to anyone at "lightner.net" then try <a href="http://www.lightner.net/cgi-bin/spam.cgi">this page</a>. </small> <P><small> Last updated Sat Dec 4 11:17:08 PST 2010 </small> </P></I> </div> <CENTER> <div> <A HREF="lightner/index.html">Lightner Family Home Page</A><br> </div> <p> <A HREF="lightner/index.html"> <IMG BORDER=1 SRC="lightner/images/home.gif" ALT="Home" width=70 height=36></A><BR> </CENTER> <!-- <center> <a href="Banner6.jpg"><img src="Banner6.jpg" height=32></a><br> <a href="Banner6.pdf">PDF Version</a><br> </center> --> </center> </td> <td width=32>&nbsp;</td> <tr> <td>&nbsp;</td></tr> </tr> </table> </body> </html>
Lightner Home Page <!-- BODY { background-image: url('images/ScrippsPierLaJolla.jpg'); background-repeat: no-repeat; background-position: top center; background-attachment:fixed; background-color:#404040"; } TD, TH, P, I, EM { font-size: 9pt; font-family: serif, "MS Serif", "Times New Roman"; } SMALL { font-size: 75%; font-family: serif, "MS Serif", "Times New Roman"; } .text { font-family: courier } H1 { font-size: 18pt } H2 { font-size: 14pt } H3 { font-size: 11pt } H4 { font-size: 9pt } .cmds, SELECT { font-size: 9pt; } --> | | | | | | | --- | --- | --- | --- | --- | | | | | | | --- | --- | | | Lightner Home Page | | | This home page is hosted by a [Linux-based](http://www.Linux.org/) [Intel](http://www.intel.com/) Pentium-III PC located in La Jolla, California using an [Apache Web server](http://www.apache.org/). Internet access is via a cable modem, courtesy of San Diego's [Southwest Cable](http://www.san.rr.com), a Time-Warner company. (Yes...we pay extra for this priviledge!) [Christmas 2009](2009/) [LJHS Pt. Lobos Panorama](photos/2003/030500/Monterey/PtLobos.html) [LJHS Monterey Trip Photos](photos/2003/030500/Monterey/collage.html) [Click to find Bruce's Suburban](/cgi-bin/quake.cgi)* [Lightner Family Home Page](lightner/index.html)* [Bruce's Home Page](lightner/bruce.html)* [Check voice mail](/cgi-bin/vmail.cgi) (private) * [Search phone list](/cgi-bin/phones.cgi) (private) * [Control Sony 200-disc CD changer](http://192.245.227.105/cgi-bin/sonycd) (private) [[sample](/cgi-bin/sonycd)] * [Download directory](download/)* [Bookmarks (private)](bookmark/bookmark.htm) [.](/cgi-bin/rejects.cgi?tail=1000) [.](/cgi-bin/scans.cgi)* [APRSD server status](http://www.lightner.net:14501/) Freeware offered (and sometimes authored) by the Webmaster: * [HTTPGET software](httpget/) (command line WWW page retrieval for Windows 95/NT, Linux, Unix) * [Tiny Cheap Freeware Perl HTTP Daemon (httpd)](lightner/bruce/httpd/w95httpd.html) (Windows 95/98/ME/NT/XP) * [Windows/MS-DOS digital camera software](lightner/bruce/photopc/) (Epson PhotoPC, Olympus, Agfa, Nikon cameras) Other Web pages brought to you by this page's Webmaster (now or in the recent past): * [Y.B.D.B. Web Site](ybdb/index.html) (private San Diego off-road club) * [Manx Club Web Site](http://www.manxclub.com/) (street-legal, fiber-glass dune buggy club) [[local mirror (as of 2000)](manxclub/index.html)] * [PicoWeb Web Site](http://www.picoweb.net) (PicoWebTM may be the World's Smallest and Cheapest Stand-Alone Web Server) * [La Jolla Shores Association Web Site](http://lajollaguide.com/ljsa/) (Community planning organization) [[local mirror (obsolete)](ljsa/index.html)] * [Ex-Metaflow Employee Home Page](/exMFT/)* [La Jolla Town Council Web Site](http://www.lajollatowncouncil.org/) (Community planning organization) [[local mirror (obsolete)](ljtc/old/)] * [Flawed.Info Home Page](http://www.flawed.info/) (tongue-in-cheek domain) * [Taxpayers for Responsible Land Use](http://www.trlu.org/) (Community service organization) * [PapaFernandez.com](http://www.papafernandez.com/) (Baja travel site) * [NoPaidParking.org](http://www.nopaidparking.org/) (La Jolla Group Opposed to Paid On-Street Parking) * [SherriLightner.org](http://www.sherrilightner.org/) (San Diego City Council campaign site) * [Sherri Lightner](http://en.wikipedia.org/wiki/Sherri_lightner) (Wikipedia page) Send mail to the Lightners at [lightner@lightner.net](mailto:lightner@lightner.net). If you want to send "secret stuff", use this [PGP public key](lightner/bruce/pgp.html). And, if you think that your email might be blocked by our SPAM filters, the try using [this form](/cgi-bin/spam.cgi) to send us email. --- *All photos and text copyright ©1995-2009 by Bruce Lightner. All rights reserved. All opinions expressed here are solely those of the author, [Bruce D. Lightner](lightner/bruce.html), and *not* those of his employer. [Click here](disclaim.html) to view full disclaimer text. If you are having trouble sending email to anyone at "lightner.net" then try [this page](http://www.lightner.net/cgi-bin/spam.cgi). Last updated Sat Dec 4 11:17:08 PST 2010* [Lightner Family Home Page](lightner/index.html) [Home](lightner/index.html) | | | |
http://lightner.net/
<!DOCTYPE HTML> <html lang="en"> <head> <meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> <title>Christopher Johnson's ASCII Art Collection</title> <link href="css/chris2008.css" rel="stylesheet" type="text/css" /> <link href='https://fonts.googleapis.com/css?family=Droid+Sans+Mono' rel='stylesheet' type='text/css' /> <link href='https://fonts.googleapis.com/css?family=Cantarell' rel='stylesheet' type='text/css' /> <link href='https://fonts.googleapis.com/css?family=Vollkorn' rel='stylesheet' type='text/css' /> <link rel="StyleSheet" href="dtree.css" type="text/css" /> <script src="scripts/styley.js"></script> <!-- This is the floating button that toggles dark on light vs. light on dark. --> <script> function toggle1(e) { //Checking if select field is enabled if (document.getElementById("btn").value=="Dark on Light") { //Changing the select field state to disabled and changing the value of button to enable document.getElementById("btn").value="Light on Dark" setStyleById("art1","background","#FFFFFF"); setStyleById("art1","color","#000000"); return } //Checking if select field is disabled if (document.getElementById("btn").value=="Light on Dark") { //Changing the select field state to enabled and changing the value of button to disable document.getElementById("btn").value="Dark on Light" setStyleById("art1","background","#2A4767"); setStyleById("art1","color","#FFFFFF"); return } } </script> <script src="dtree.js"> </script> <style> <!-- /* Hide content from old browsers */ #art1 { color: #000000; border: 1px solid #345678; background: #FFFFFF; margin: 15px 0; padding: 8px; } /* end hiding content from old browsers */ --> </style> </head> <body><!-- Global site tag (gtag.js) - Google Analytics --> <script async src="https://www.googletagmanager.com/gtag/js?id=UA-97741-3"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'UA-97741-3'); </script> <div class="masterstyle"> <div class="asciimenu"> <form action="https://www.paypal.com/cgi-bin/webscr" method="post" target="_top"> <input type="hidden" name="cmd" value="_s-xclick" /> <input type="hidden" name="hosted_button_id" value="Y5TZYX8WM7K4N" /> <input type="image" src="https://www.paypalobjects.com/en_US/i/btn/btn_donate_LG.gif" border="0" name="submit" title="PayPal - The safer, easier way to pay online!" alt="Donate with PayPal button" /> <img alt="" border="0" src="https://www.paypal.com/en_US/i/scr/pixel.gif" width="1" height="1" /> </form> <br /> <div class="asciiartleftheader"> About ASCII Art </div> <div class="asciiartleftlink"> <ul> <li><a href="index.php">Home Page</a></li> <li><a href="index.php?page=recent-updates">Recent Updates</a></li> <li><a href="index.php?page=what-is-ascii-art">What is ASCII Art?</a></li> <li><a href="index.php?page=how-to-display">How to display</a></li> <li><a href="index.php?page=legal-ascii-characters">Legal ASCII Characters</a></li> </ul> </div> <div class="asciiartleftheader"> The collection </div> <div class="asciiartleftlink"> <p> <script async src="https://cse.google.com/cse.js?cx=016041580727639041726:pd5x_bmm4gw"></script> <div class="gcse-searchbox-only" data-resultsUrl="https://asciiart.website/index.php?page=search-results"></div> </p> <ul><li> <div class="dtree"> <p><a href="javascript: d.openAll();">open all</a> | <a href="javascript: d.closeAll();">close all</a></p> <script> <!-- d = new dTree('d'); d.config.target="_self"; d.config.folderLinks =false; d.config.useSelection =true; d.config.useCookies =true; d.config.useLines=true; d.config.useIcons=true; d.config.useStatusText=true; d.config.closeSameLevel=false; d.config.inOrder =true; d.add(0,-1,'Categories','','','','',''); d.add(1, 0,'animals','index.php?art=','','_self'); d.add(2, 1,'aardvarks','index.php?art=animals/aardvarks','','_self'); d.add(3, 1,'amoeba','index.php?art=animals/amoeba','','_self'); d.add(4, 1,'bats','index.php?art=animals/bats','','_self'); d.add(5, 1,'bears (teddybears)','index.php?art=animals/bears (teddybears)','','_self'); d.add(6, 1,'bears','index.php?art=animals/bears','','_self'); d.add(7, 1,'beavers','index.php?art=animals/beavers','','_self'); d.add(8, 1,'birds (land)','index.php?art=animals/birds (land)','','_self'); d.add(9, 1,'birds (water)','index.php?art=animals/birds (water)','','_self'); d.add(10, 1,'bison','index.php?art=animals/bison','','_self'); d.add(11, 1,'camels','index.php?art=animals/camels','','_self'); d.add(12, 1,'cats','index.php?art=animals/cats','','_self'); d.add(13, 1,'cows','index.php?art=animals/cows','','_self'); d.add(14, 1,'deer','index.php?art=animals/deer','','_self'); d.add(15, 1,'dogs','index.php?art=animals/dogs','','_self'); d.add(16, 1,'dolphins','index.php?art=animals/dolphins','','_self'); d.add(17, 1,'elephants','index.php?art=animals/elephants','','_self'); d.add(18, 1,'fish','index.php?art=animals/fish','','_self'); d.add(19, 1,'frogs','index.php?art=animals/frogs','','_self'); d.add(20, 1,'gorillas','index.php?art=animals/gorillas','','_self'); d.add(21, 1,'horses','index.php?art=animals/horses','','_self'); d.add(22, 1,'insects','index.php?art=','','_self'); d.add(23, 22,'ants','index.php?art=animals/insects/ants','','_self'); d.add(24, 22,'bees','index.php?art=animals/insects/bees','','_self'); d.add(25, 22,'beetles','index.php?art=animals/insects/beetles','','_self'); d.add(26, 22,'butterflies','index.php?art=animals/insects/butterflies','','_self'); d.add(27, 22,'cockroaches','index.php?art=animals/insects/cockroaches','','_self'); d.add(28, 22,'other','index.php?art=animals/insects/other','','_self'); d.add(29, 1,'moose','index.php?art=animals/moose','','_self'); d.add(30, 1,'other (land)','index.php?art=animals/other (land)','','_self'); d.add(31, 1,'other (water)','index.php?art=animals/other (water)','','_self'); d.add(32, 1,'pigs','index.php?art=animals/pigs','','_self'); d.add(33, 1,'rabbits','index.php?art=animals/rabbits','','_self'); d.add(34, 1,'reptiles','index.php?art=','','_self'); d.add(35, 34,'aligators','index.php?art=animals/reptiles/aligators','','_self'); d.add(36, 34,'dinosaurs','index.php?art=animals/reptiles/dinosaurs','','_self'); d.add(37, 34,'lizards','index.php?art=animals/reptiles/lizards','','_self'); d.add(38, 34,'snakes','index.php?art=animals/reptiles/snakes','','_self'); d.add(39, 34,'turtles','index.php?art=animals/reptiles/turtles','','_self'); d.add(40, 1,'rhinoceros','index.php?art=animals/rhinoceros','','_self'); d.add(41, 1,'rodents','index.php?art=','','_self'); d.add(42, 41,'mice','index.php?art=animals/rodents/mice','','_self'); d.add(43, 41,'other','index.php?art=animals/rodents/other','','_self'); d.add(44, 1,'scorpions','index.php?art=animals/scorpions','','_self'); d.add(45, 1,'spiders','index.php?art=animals/spiders','','_self'); d.add(46, 1,'wolves','index.php?art=animals/wolves','','_self'); d.add(47, 0,'anime and manga','index.php?art=','','_self'); d.add(48, 47,'3x3 eyes','index.php?art=anime and manga/3x3 eyes','','_self'); d.add(49, 47,'akira','index.php?art=anime and manga/akira','','_self'); d.add(50, 47,'astro boy','index.php?art=anime and manga/astro boy','','_self'); d.add(51, 47,'dirty pair','index.php?art=anime and manga/dirty pair','','_self'); d.add(52, 47,'dragon ball','index.php?art=anime and manga/dragon ball','','_self'); d.add(53, 47,'futaba-kun change','index.php?art=anime and manga/futaba-kun change','','_self'); d.add(54, 47,'gall force','index.php?art=anime and manga/gall force','','_self'); d.add(55, 47,'kimagure orange road','index.php?art=anime and manga/kimagure orange road','','_self'); d.add(56, 47,'made in abyss','index.php?art=anime and manga/made in abyss','','_self'); d.add(57, 47,'maison ikkoku','index.php?art=anime and manga/maison ikkoku','','_self'); d.add(58, 47,'moldiver','index.php?art=anime and manga/moldiver','','_self'); d.add(59, 47,'my neighbor totoro','index.php?art=anime and manga/my neighbor totoro','','_self'); d.add(60, 47,'neon genesis evangelion','index.php?art=anime and manga/neon genesis evangelion','','_self'); d.add(61, 47,'otaku no video','index.php?art=anime and manga/otaku no video','','_self'); d.add(62, 47,'other','index.php?art=anime and manga/other','','_self'); d.add(63, 47,'outlanders','index.php?art=anime and manga/outlanders','','_self'); d.add(64, 47,'project a-ko','index.php?art=anime and manga/project a-ko','','_self'); d.add(65, 47,'ranma saotome','index.php?art=anime and manga/ranma saotome','','_self'); d.add(66, 47,'sailor moon','index.php?art=anime and manga/sailor moon','','_self'); d.add(67, 47,'tenchi muyou','index.php?art=anime and manga/tenchi muyou','','_self'); d.add(68, 47,'urusei yatsura','index.php?art=anime and manga/urusei yatsura','','_self'); d.add(69, 47,'vampire princess miyu','index.php?art=anime and manga/vampire princess miyu','','_self'); d.add(70, 0,'art and design','index.php?art=','','_self'); d.add(71, 70,'banksy','index.php?art=art and design/banksy','','_self'); d.add(72, 70,'borders','index.php?art=art and design/borders','','_self'); d.add(73, 70,'egyptian','index.php?art=art and design/egyptian','','_self'); d.add(74, 70,'escher','index.php?art=art and design/escher','','_self'); d.add(75, 70,'famous paintings','index.php?art=art and design/famous paintings','','_self'); d.add(76, 70,'mona lisa','index.php?art=art and design/mona lisa','','_self'); d.add(77, 70,'other','index.php?art=art and design/other','','_self'); d.add(78, 70,'patterns','index.php?art=art and design/patterns','','_self'); d.add(79, 70,'signatures','index.php?art=art and design/signatures','','_self'); d.add(80, 70,'stereograms','index.php?art=art and design/stereograms','','_self'); d.add(81, 0,'books','index.php?art=','','_self'); d.add(82, 81,'alice in wonderland','index.php?art=books/alice in wonderland','','_self'); d.add(83, 81,'dr seuss','index.php?art=books/dr seuss','','_self'); d.add(84, 81,'harry potter','index.php?art=books/harry potter','','_self'); d.add(85, 81,'lord of the rings','index.php?art=books/lord of the rings','','_self'); d.add(86, 81,'paddington bear','index.php?art=books/paddington bear','','_self'); d.add(87, 81,'winnie the pooh','index.php?art=books/winnie the pooh','','_self'); d.add(88, 0,'cartoons','index.php?art=','','_self'); d.add(89, 88,'animaniacs','index.php?art=cartoons/animaniacs','','_self'); d.add(90, 88,'beavis and Butt-head','index.php?art=cartoons/beavis and Butt-head','','_self'); d.add(91, 88,'betty boop','index.php?art=cartoons/betty boop','','_self'); d.add(92, 88,'cartoon planet','index.php?art=cartoons/cartoon planet','','_self'); d.add(93, 88,'casper','index.php?art=cartoons/casper','','_self'); d.add(94, 88,'felix the cat','index.php?art=cartoons/felix the cat','','_self'); d.add(95, 88,'flintstones','index.php?art=cartoons/flintstones','','_self'); d.add(96, 88,'inspector gadget','index.php?art=cartoons/inspector gadget','','_self'); d.add(97, 88,'mickey mouse','index.php?art=cartoons/mickey mouse','','_self'); d.add(98, 88,'pink panther','index.php?art=cartoons/pink panther','','_self'); d.add(99, 88,'ren and stimpy','index.php?art=cartoons/ren and stimpy','','_self'); d.add(100, 88,'rocky and bullwinkle','index.php?art=cartoons/rocky and bullwinkle','','_self'); d.add(101, 88,'roger rabbit','index.php?art=cartoons/roger rabbit','','_self'); d.add(102, 88,'simpsons','index.php?art=cartoons/simpsons','','_self'); d.add(103, 88,'smurfs','index.php?art=cartoons/smurfs','','_self'); d.add(104, 88,'south park','index.php?art=cartoons/south park','','_self'); d.add(105, 88,'spongebob squarepants','index.php?art=cartoons/spongebob squarepants','','_self'); d.add(106, 88,'tiny toon adventures','index.php?art=cartoons/tiny toon adventures','','_self'); d.add(107, 88,'two stupid dogs','index.php?art=cartoons/two stupid dogs','','_self'); d.add(108, 88,'warner bros','index.php?art=cartoons/warner bros','','_self'); d.add(109, 0,'comics','index.php?art=','','_self'); d.add(110, 109,'alfred e neuman','index.php?art=comics/alfred e neuman','','_self'); d.add(111, 109,'archie','index.php?art=comics/archie','','_self'); d.add(112, 109,'asterix','index.php?art=comics/asterix','','_self'); d.add(113, 109,'batman','index.php?art=comics/batman','','_self'); d.add(114, 109,'bloom county','index.php?art=comics/bloom county','','_self'); d.add(115, 109,'calvin and hobbes','index.php?art=comics/calvin and hobbes','','_self'); d.add(116, 109,'captain america','index.php?art=comics/captain america','','_self'); d.add(117, 109,'dilbert','index.php?art=comics/dilbert','','_self'); d.add(118, 109,'garfield','index.php?art=comics/garfield','','_self'); d.add(119, 109,'life in hell','index.php?art=comics/life in hell','','_self'); d.add(120, 109,'mafalda','index.php?art=comics/mafalda','','_self'); d.add(121, 109,'peanuts','index.php?art=comics/peanuts','','_self'); d.add(122, 109,'spiderman','index.php?art=comics/spiderman','','_self'); d.add(123, 109,'superman','index.php?art=comics/superman','','_self'); d.add(124, 0,'creatures','index.php?art=','','_self'); d.add(125, 124,'aliens','index.php?art=creatures/aliens','','_self'); d.add(126, 124,'angels','index.php?art=creatures/angels','','_self'); d.add(127, 124,'centuars','index.php?art=creatures/centuars','','_self'); d.add(128, 124,'devils','index.php?art=creatures/devils','','_self'); d.add(129, 124,'dragons','index.php?art=creatures/dragons','','_self'); d.add(130, 124,'fairies','index.php?art=creatures/fairies','','_self'); d.add(131, 124,'fantasy','index.php?art=creatures/fantasy','','_self'); d.add(132, 124,'grim reapers','index.php?art=creatures/grim reapers','','_self'); d.add(133, 124,'mermaids','index.php?art=creatures/mermaids','','_self'); d.add(134, 124,'monsters','index.php?art=creatures/monsters','','_self'); d.add(135, 124,'mythology','index.php?art=creatures/mythology','','_self'); d.add(136, 124,'unicorns','index.php?art=creatures/unicorns','','_self'); d.add(137, 0,'events','index.php?art=','','_self'); d.add(138, 137,'birthday','index.php?art=events/birthday','','_self'); d.add(139, 137,'graduation','index.php?art=events/graduation','','_self'); d.add(140, 137,'wedding','index.php?art=events/wedding','','_self'); d.add(141, 0,'food and drink','index.php?art=','','_self'); d.add(142, 141,'apples','index.php?art=food and drink/apples','','_self'); d.add(143, 141,'beer','index.php?art=food and drink/beer','','_self'); d.add(144, 141,'chocolate','index.php?art=food and drink/chocolate','','_self'); d.add(145, 141,'ice cream','index.php?art=food and drink/ice cream','','_self'); d.add(146, 141,'other','index.php?art=food and drink/other','','_self'); d.add(147, 0,'holiday','index.php?art=','','_self'); d.add(148, 147,'4th of july','index.php?art=holiday/4th of july','','_self'); d.add(149, 147,'christmas','index.php?art=','','_self'); d.add(150, 149,'other','index.php?art=holiday/christmas/other','','_self'); d.add(151, 149,'religious','index.php?art=holiday/christmas/religious','','_self'); d.add(152, 149,'santa','index.php?art=holiday/christmas/santa','','_self'); d.add(153, 149,'snowman','index.php?art=holiday/christmas/snowman','','_self'); d.add(154, 149,'trees','index.php?art=holiday/christmas/trees','','_self'); d.add(155, 147,'easter','index.php?art=holiday/easter','','_self'); d.add(156, 147,'fathers day','index.php?art=holiday/fathers day','','_self'); d.add(157, 147,'halloween','index.php?art=holiday/halloween','','_self'); d.add(158, 147,'hanukkah','index.php?art=holiday/hanukkah','','_self'); d.add(159, 147,'mothers day','index.php?art=holiday/mothers day','','_self'); d.add(160, 147,'new year','index.php?art=holiday/new year','','_self'); d.add(161, 147,'thanksgiving','index.php?art=holiday/thanksgiving','','_self'); d.add(162, 147,'valentine','index.php?art=holiday/valentine','','_self'); d.add(163, 0,'logos and insignias','index.php?art=','','_self'); d.add(164, 163,'amnesty international','index.php?art=logos and insignias/amnesty international','','_self'); d.add(165, 163,'bauhaus','index.php?art=logos and insignias/bauhaus','','_self'); d.add(166, 163,'caduceus','index.php?art=logos and insignias/caduceus','','_self'); d.add(167, 163,'coca-cola','index.php?art=logos and insignias/coca-cola','','_self'); d.add(168, 163,'drama masks','index.php?art=logos and insignias/drama masks','','_self'); d.add(169, 163,'fonts','index.php?art=logos and insignias/fonts','','_self'); d.add(170, 163,'hello kitty','index.php?art=logos and insignias/hello kitty','','_self'); d.add(171, 163,'j r dobbs','index.php?art=logos and insignias/j r dobbs','','_self'); d.add(172, 163,'jolly roger','index.php?art=logos and insignias/jolly roger','','_self'); d.add(173, 163,'kool-aid','index.php?art=logos and insignias/kool-aid','','_self'); d.add(174, 163,'linux','index.php?art=logos and insignias/linux','','_self'); d.add(175, 163,'no bs','index.php?art=logos and insignias/no bs','','_self'); d.add(176, 163,'no smoking','index.php?art=logos and insignias/no smoking','','_self'); d.add(177, 163,'peace','index.php?art=logos and insignias/peace','','_self'); d.add(178, 163,'pillsbury doughboy','index.php?art=logos and insignias/pillsbury doughboy','','_self'); d.add(179, 163,'playboy','index.php?art=logos and insignias/playboy','','_self'); d.add(180, 163,'recycle','index.php?art=logos and insignias/recycle','','_self'); d.add(181, 163,'red dog beer','index.php?art=logos and insignias/red dog beer','','_self'); d.add(182, 163,'smiley','index.php?art=logos and insignias/smiley','','_self'); d.add(183, 163,'sun microsystems','index.php?art=logos and insignias/sun microsystems','','_self'); d.add(184, 163,'television','index.php?art=logos and insignias/television','','_self'); d.add(185, 163,'walt jabsco','index.php?art=logos and insignias/walt jabsco','','_self'); d.add(186, 163,'yin and yang','index.php?art=logos and insignias/yin and yang','','_self'); d.add(187, 0,'movies','index.php?art=','','_self'); d.add(188, 187,'aladdin','index.php?art=movies/aladdin','','_self'); d.add(189, 187,'bambi','index.php?art=movies/bambi','','_self'); d.add(190, 187,'beauty and the beast','index.php?art=movies/beauty and the beast','','_self'); d.add(191, 187,'galaxy quest','index.php?art=movies/galaxy quest','','_self'); d.add(192, 187,'ghostbusters','index.php?art=movies/ghostbusters','','_self'); d.add(193, 187,'ice age','index.php?art=movies/ice age','','_self'); d.add(194, 187,'james bond','index.php?art=movies/james bond','','_self'); d.add(195, 187,'lion king','index.php?art=movies/lion king','','_self'); d.add(196, 187,'little mermaid','index.php?art=movies/little mermaid','','_self'); d.add(197, 187,'pinocchio','index.php?art=movies/pinocchio','','_self'); d.add(198, 187,'resident evil','index.php?art=movies/resident evil','','_self'); d.add(199, 187,'shrek','index.php?art=movies/shrek','','_self'); d.add(200, 187,'snow white','index.php?art=movies/snow white','','_self'); d.add(201, 187,'star wars','index.php?art=movies/star wars','','_self'); d.add(202, 187,'tinkerbell','index.php?art=movies/tinkerbell','','_self'); d.add(203, 187,'toy story','index.php?art=movies/toy story','','_self'); d.add(204, 187,'wallace and gromit','index.php?art=movies/wallace and gromit','','_self'); d.add(205, 187,'young frankenstein','index.php?art=movies/young frankenstein','','_self'); d.add(206, 0,'music','index.php?art=','','_self'); d.add(207, 206,'band logos','index.php?art=','','_self'); d.add(208, 207,'metallica','index.php?art=music/band logos/metallica','','_self'); d.add(209, 207,'other','index.php?art=music/band logos/other','','_self'); d.add(210, 207,'pink floyd','index.php?art=music/band logos/pink floyd','','_self'); d.add(211, 206,'musical instruments','index.php?art=music/musical instruments','','_self'); d.add(212, 206,'musical notation','index.php?art=music/musical notation','','_self'); d.add(213, 206,'musicians','index.php?art=','','_self'); d.add(214, 213,'alice cooper','index.php?art=music/musicians/alice cooper','','_self'); d.add(215, 213,'beatles','index.php?art=music/musicians/beatles','','_self'); d.add(216, 213,'elvis presley','index.php?art=music/musicians/elvis presley','','_self'); d.add(217, 213,'frank zappa','index.php?art=music/musicians/frank zappa','','_self'); d.add(218, 213,'marilyn manson','index.php?art=music/musicians/marilyn manson','','_self'); d.add(219, 213,'snoop dogg','index.php?art=music/musicians/snoop dogg','','_self'); d.add(220, 213,'spice girls','index.php?art=music/musicians/spice girls','','_self'); d.add(221, 206,'pianos','index.php?art=music/pianos','','_self'); d.add(222, 0,'nature','index.php?art=','','_self'); d.add(223, 222,'astronomy','index.php?art=nature/astronomy','','_self'); d.add(224, 222,'beach','index.php?art=nature/beach','','_self'); d.add(225, 222,'islands','index.php?art=nature/islands','','_self'); d.add(226, 222,'mountains','index.php?art=nature/mountains','','_self'); d.add(227, 222,'other','index.php?art=nature/other','','_self'); d.add(228, 222,'sunset','index.php?art=nature/sunset','','_self'); d.add(229, 222,'tornado','index.php?art=nature/tornado','','_self'); d.add(230, 0,'objects','index.php?art=','','_self'); d.add(231, 230,'abacus','index.php?art=objects/abacus','','_self'); d.add(232, 230,'anchors','index.php?art=objects/anchors','','_self'); d.add(233, 230,'antennas','index.php?art=objects/antennas','','_self'); d.add(234, 230,'arrows','index.php?art=objects/arrows','','_self'); d.add(235, 230,'audio equipment','index.php?art=objects/audio equipment','','_self'); d.add(236, 230,'awards','index.php?art=objects/awards','','_self'); d.add(237, 230,'axes','index.php?art=objects/axes','','_self'); d.add(238, 230,'badges','index.php?art=objects/badges','','_self'); d.add(239, 230,'balloons','index.php?art=objects/balloons','','_self'); d.add(240, 230,'bikinis','index.php?art=objects/bikinis','','_self'); d.add(241, 230,'blender','index.php?art=objects/blender','','_self'); d.add(242, 230,'bones','index.php?art=objects/bones','','_self'); d.add(243, 230,'books','index.php?art=objects/books','','_self'); d.add(244, 230,'bottles','index.php?art=objects/bottles','','_self'); d.add(245, 230,'boxes','index.php?art=objects/boxes','','_self'); d.add(246, 230,'bridges','index.php?art=objects/bridges','','_self'); d.add(247, 230,'brooms','index.php?art=objects/brooms','','_self'); d.add(248, 230,'buckets','index.php?art=objects/buckets','','_self'); d.add(249, 230,'buildings','index.php?art=objects/buildings','','_self'); d.add(250, 230,'calculators','index.php?art=objects/calculators','','_self'); d.add(251, 230,'cameras','index.php?art=objects/cameras','','_self'); d.add(252, 230,'candles','index.php?art=objects/candles','','_self'); d.add(253, 230,'castles','index.php?art=objects/castles','','_self'); d.add(254, 230,'chains','index.php?art=objects/chains','','_self'); d.add(255, 230,'cigarettes','index.php?art=objects/cigarettes','','_self'); d.add(256, 230,'clocks','index.php?art=objects/clocks','','_self'); d.add(257, 230,'clothing','index.php?art=objects/clothing','','_self'); d.add(258, 230,'computers','index.php?art=objects/computers','','_self'); d.add(259, 230,'diamonds','index.php?art=objects/diamonds','','_self'); d.add(260, 230,'dice','index.php?art=objects/dice','','_self'); d.add(261, 230,'electronics','index.php?art=objects/electronics','','_self'); d.add(262, 230,'explosives','index.php?art=objects/explosives','','_self'); d.add(263, 230,'feathers','index.php?art=objects/feathers','','_self'); d.add(264, 230,'fences','index.php?art=objects/fences','','_self'); d.add(265, 230,'fire extinguishers','index.php?art=objects/fire extinguishers','','_self'); d.add(266, 230,'flags','index.php?art=objects/flags','','_self'); d.add(267, 230,'footwear','index.php?art=objects/footwear','','_self'); d.add(268, 230,'furniture','index.php?art=','','_self'); d.add(269, 268,'beds','index.php?art=objects/furniture/beds','','_self'); d.add(270, 268,'benches','index.php?art=objects/furniture/benches','','_self'); d.add(271, 268,'chairs','index.php?art=objects/furniture/chairs','','_self'); d.add(272, 268,'office','index.php?art=objects/furniture/office','','_self'); d.add(273, 268,'sofas','index.php?art=objects/furniture/sofas','','_self'); d.add(274, 230,'guns','index.php?art=objects/guns','','_self'); d.add(275, 230,'handcuffs','index.php?art=objects/handcuffs','','_self'); d.add(276, 230,'ice cube trays','index.php?art=objects/ice cube trays','','_self'); d.add(277, 230,'keys','index.php?art=objects/keys','','_self'); d.add(278, 230,'knives','index.php?art=objects/knives','','_self'); d.add(279, 230,'light bulbs','index.php?art=objects/light bulbs','','_self'); d.add(280, 230,'magnifying glass','index.php?art=objects/magnifying glass','','_self'); d.add(281, 230,'medical','index.php?art=objects/medical','','_self'); d.add(282, 230,'money','index.php?art=objects/money','','_self'); d.add(283, 230,'noose','index.php?art=objects/noose','','_self'); d.add(284, 230,'optical illusions','index.php?art=objects/optical illusions','','_self'); d.add(285, 230,'pacifiers','index.php?art=objects/pacifiers','','_self'); d.add(286, 230,'paints','index.php?art=objects/paints','','_self'); d.add(287, 230,'playing cards','index.php?art=objects/playing cards','','_self'); d.add(288, 230,'scales','index.php?art=objects/scales','','_self'); d.add(289, 230,'signs','index.php?art=objects/signs','','_self'); d.add(290, 230,'slinky','index.php?art=objects/slinky','','_self'); d.add(291, 230,'swords','index.php?art=objects/swords','','_self'); d.add(292, 230,'televisions','index.php?art=objects/televisions','','_self'); d.add(293, 230,'tissue','index.php?art=objects/tissue','','_self'); d.add(294, 230,'tools','index.php?art=objects/tools','','_self'); d.add(295, 230,'typewriter','index.php?art=objects/typewriter','','_self'); d.add(296, 230,'umbrella','index.php?art=objects/umbrella','','_self'); d.add(297, 230,'vases','index.php?art=objects/vases','','_self'); d.add(298, 230,'watches','index.php?art=objects/watches','','_self'); d.add(299, 0,'people','index.php?art=','','_self'); d.add(300, 299,'babies','index.php?art=people/babies','','_self'); d.add(301, 299,'bathing','index.php?art=people/bathing','','_self'); d.add(302, 299,'beach','index.php?art=people/beach','','_self'); d.add(303, 299,'body parts','index.php?art=','','_self'); d.add(304, 303,'brains','index.php?art=people/body parts/brains','','_self'); d.add(305, 303,'buttocks','index.php?art=people/body parts/buttocks','','_self'); d.add(306, 303,'eyes','index.php?art=people/body parts/eyes','','_self'); d.add(307, 303,'feet','index.php?art=people/body parts/feet','','_self'); d.add(308, 303,'hand gestures','index.php?art=people/body parts/hand gestures','','_self'); d.add(309, 303,'lips','index.php?art=people/body parts/lips','','_self'); d.add(310, 299,'chris johnson','index.php?art=people/chris johnson','','_self'); d.add(311, 299,'faces','index.php?art=people/faces','','_self'); d.add(312, 299,'famous','index.php?art=','','_self'); d.add(313, 312,'John Cleese','index.php?art=people/famous/John Cleese','','_self'); d.add(314, 312,'al capone','index.php?art=people/famous/al capone','','_self'); d.add(315, 312,'al pacino','index.php?art=people/famous/al pacino','','_self'); d.add(316, 312,'albert einstein','index.php?art=people/famous/albert einstein','','_self'); d.add(317, 312,'barack obama','index.php?art=people/famous/barack obama','','_self'); d.add(318, 312,'bill clinton','index.php?art=people/famous/bill clinton','','_self'); d.add(319, 312,'cher','index.php?art=people/famous/cher','','_self'); d.add(320, 312,'cindy crawford','index.php?art=people/famous/cindy crawford','','_self'); d.add(321, 312,'marylin monroe','index.php?art=people/famous/marylin monroe','','_self'); d.add(322, 312,'michelle pfeiffer','index.php?art=people/famous/michelle pfeiffer','','_self'); d.add(323, 312,'princess diana','index.php?art=people/famous/princess diana','','_self'); d.add(324, 312,'sarah michelle gellar','index.php?art=people/famous/sarah michelle gellar','','_self'); d.add(325, 299,'naked ladies','index.php?art=people/naked ladies','','_self'); d.add(326, 299,'native americans','index.php?art=people/native americans','','_self'); d.add(327, 299,'occupations','index.php?art=','','_self'); d.add(328, 327,'artists','index.php?art=people/occupations/artists','','_self'); d.add(329, 327,'ascii artists','index.php?art=people/occupations/ascii artists','','_self'); d.add(330, 327,'astronauts','index.php?art=people/occupations/astronauts','','_self'); d.add(331, 327,'bodybuilders','index.php?art=people/occupations/bodybuilders','','_self'); d.add(332, 327,'builders','index.php?art=people/occupations/builders','','_self'); d.add(333, 327,'butchers','index.php?art=people/occupations/butchers','','_self'); d.add(334, 327,'clowns','index.php?art=people/occupations/clowns','','_self'); d.add(335, 327,'dentists','index.php?art=people/occupations/dentists','','_self'); d.add(336, 327,'disc jockeys','index.php?art=people/occupations/disc jockeys','','_self'); d.add(337, 327,'hair stylists','index.php?art=people/occupations/hair stylists','','_self'); d.add(338, 327,'knights','index.php?art=people/occupations/knights','','_self'); d.add(339, 327,'shepherds','index.php?art=people/occupations/shepherds','','_self'); d.add(340, 327,'wizards','index.php?art=people/occupations/wizards','','_self'); d.add(341, 299,'other','index.php?art=people/other','','_self'); d.add(342, 299,'skeletons','index.php?art=people/skeletons','','_self'); d.add(343, 299,'tribal people','index.php?art=people/tribal people','','_self'); d.add(344, 299,'vikings','index.php?art=people/vikings','','_self'); d.add(345, 0,'places','index.php?art=','','_self'); d.add(346, 345,'alcatraz','index.php?art=places/alcatraz','','_self'); d.add(347, 345,'eiffel tower','index.php?art=places/eiffel tower','','_self'); d.add(348, 345,'maps','index.php?art=places/maps','','_self'); d.add(349, 345,'statue of liberty','index.php?art=places/statue of liberty','','_self'); d.add(350, 345,'stonehenge','index.php?art=places/stonehenge','','_self'); d.add(351, 345,'washington space needle','index.php?art=places/washington space needle','','_self'); d.add(352, 0,'plants','index.php?art=','','_self'); d.add(353, 352,'bonsai trees','index.php?art=plants/bonsai trees','','_self'); d.add(354, 352,'cactus','index.php?art=plants/cactus','','_self'); d.add(355, 352,'dandelions','index.php?art=plants/dandelions','','_self'); d.add(356, 352,'flowers','index.php?art=plants/flowers','','_self'); d.add(357, 352,'marijuana','index.php?art=plants/marijuana','','_self'); d.add(358, 352,'trees','index.php?art=plants/trees','','_self'); d.add(359, 0,'religion','index.php?art=','','_self'); d.add(360, 359,'astrology','index.php?art=religion/astrology','','_self'); d.add(361, 359,'buddhism','index.php?art=religion/buddhism','','_self'); d.add(362, 359,'christianity','index.php?art=religion/christianity','','_self'); d.add(363, 359,'judaism','index.php?art=religion/judaism','','_self'); d.add(364, 0,'sports and activities','index.php?art=','','_self'); d.add(365, 364,'archery','index.php?art=sports and activities/archery','','_self'); d.add(366, 364,'baseball','index.php?art=sports and activities/baseball','','_self'); d.add(367, 364,'basketball','index.php?art=sports and activities/basketball','','_self'); d.add(368, 364,'billiards','index.php?art=sports and activities/billiards','','_self'); d.add(369, 364,'bowling','index.php?art=sports and activities/bowling','','_self'); d.add(370, 364,'boxing','index.php?art=sports and activities/boxing','','_self'); d.add(371, 364,'camping','index.php?art=sports and activities/camping','','_self'); d.add(372, 364,'dancing','index.php?art=sports and activities/dancing','','_self'); d.add(373, 364,'darts','index.php?art=sports and activities/darts','','_self'); d.add(374, 364,'fencing','index.php?art=sports and activities/fencing','','_self'); d.add(375, 364,'fishing','index.php?art=sports and activities/fishing','','_self'); d.add(376, 364,'football','index.php?art=sports and activities/football','','_self'); d.add(377, 364,'hockey','index.php?art=sports and activities/hockey','','_self'); d.add(378, 364,'other','index.php?art=sports and activities/other','','_self'); d.add(379, 364,'parachuting','index.php?art=sports and activities/parachuting','','_self'); d.add(380, 364,'rodeo','index.php?art=sports and activities/rodeo','','_self'); d.add(381, 364,'scuba','index.php?art=sports and activities/scuba','','_self'); d.add(382, 364,'skiing','index.php?art=sports and activities/skiing','','_self'); d.add(383, 364,'soccer','index.php?art=sports and activities/soccer','','_self'); d.add(384, 364,'surfing','index.php?art=sports and activities/surfing','','_self'); d.add(385, 0,'television','index.php?art=','','_self'); d.add(386, 385,'barney','index.php?art=television/barney','','_self'); d.add(387, 385,'bear in the big blue house','index.php?art=television/bear in the big blue house','','_self'); d.add(388, 385,'futurama','index.php?art=television/futurama','','_self'); d.add(389, 385,'gumby and pokey','index.php?art=television/gumby and pokey','','_self'); d.add(390, 385,'muppets','index.php?art=television/muppets','','_self'); d.add(391, 385,'sesame street','index.php?art=television/sesame street','','_self'); d.add(392, 385,'star trek','index.php?art=television/star trek','','_self'); d.add(393, 385,'the office','index.php?art=television/the office','','_self'); d.add(394, 385,'x-files','index.php?art=television/x-files','','_self'); d.add(395, 0,'transportation','index.php?art=','','_self'); d.add(396, 395,'airplanes','index.php?art=transportation/airplanes','','_self'); d.add(397, 395,'bicycles','index.php?art=transportation/bicycles','','_self'); d.add(398, 395,'busses','index.php?art=transportation/busses','','_self'); d.add(399, 395,'cars','index.php?art=transportation/cars','','_self'); d.add(400, 395,'motorcycles','index.php?art=transportation/motorcycles','','_self'); d.add(401, 395,'nautical','index.php?art=transportation/nautical','','_self'); d.add(402, 395,'other','index.php?art=transportation/other','','_self'); d.add(403, 395,'space ships','index.php?art=transportation/space ships','','_self'); d.add(404, 395,'trains','index.php?art=transportation/trains','','_self'); d.add(405, 395,'trucks','index.php?art=transportation/trucks','','_self'); d.add(406, 0,'video games','index.php?art=','','_self'); d.add(407, 406,'atomic bomberman','index.php?art=video games/atomic bomberman','','_self'); d.add(408, 406,'joust','index.php?art=video games/joust','','_self'); d.add(409, 406,'max payne','index.php?art=video games/max payne','','_self'); d.add(410, 406,'mortal kombat','index.php?art=video games/mortal kombat','','_self'); d.add(411, 406,'other','index.php?art=video games/other','','_self'); d.add(412, 406,'pac man','index.php?art=video games/pac man','','_self'); d.add(413, 406,'pokemon','index.php?art=video games/pokemon','','_self'); d.add(414, 406,'samurai shodown','index.php?art=video games/samurai shodown','','_self'); d.add(415, 406,'the operative no one lives forever','index.php?art=video games/the operative no one lives forever','','_self'); d.add(416, 406,'the sims','index.php?art=video games/the sims','','_self'); d.add(417, 406,'tomb raider','index.php?art=video games/tomb raider','','_self'); document.write(d); //--> </script> </div> </li> </ul> <div class="asciiartleftheader"> Tutorials </div> <div class="asciiartleftlink"> <ul> <li><a href="index.php?page=faq">FAQ</a></li> <li><a href="index.php?page=rowan-crawford">Rowan Crawford</a></li> <li><a href="index.php?page=daniel-au">Daniel Au</a></li> <li><a href="index.php?page=scarecrow">Scarecrow</a></li> <li><a href="index.php?page=popular-mechanics">Popular Mechanics</a></li> <li><a href="joan/www.geocities.com/SoHo/7373/howto.html" target="_blank">Joan Stark</a></li> </ul> </div> <div class="asciiartleftheader"> ASCII Art Tools </div> <div class="asciiartleftlink"> <ul> <li><a href="http://asciiart.club/" target="_blank">ASCII Art Generator</a></li> <li><a href="http://www.patorjk.com/software/taag/" target="_blank">Figlet</a></li> <li><a href="http://www.jave.de/" target="_blank">JavE</a></li> </ul> </div> </div> </div> <div class="asciirightmain"> <div class="artdescription"> Welcome! </div> <div class="asciipages"> <pre> ___ _ _ _ _ __ _ _ / __\ |__ _ __(_)___| |_ ___ _ __ | |__ ___ _ __ \ \ ___ | |__ _ __ ___ ___ _ __( )___ / / | '_ \| '__| / __| __|/ _ \| '_ \| '_ \ / _ \ '__| \ \/ _ \| '_ \| '_ \/ __|/ _ \| '_ \// __| / /___| | | | | | \__ \ |_| (_) | |_) | | | | __/ | /\_/ / (_) | | | | | | \__ \ (_) | | | |\__ \ \____/|_| |_|_| |_|___/\__|\___/| .__/|_| |_|\___|_| \___/ \___/|_| |_|_| |_|___/\___/|_| |_||___/ |_| _ __ ___ _____ _____ _ _ ___ _ _ _ _ /_\ / _\ / __\ \_ \\_ \ /_\ _ __| |_ / __\ ___ | | | ___ ___| |_(_) ___ _ __ //_\\ \ \ / / / /\/ / /\/ //_\\| '__| __| / / / _ \| | |/ _ \/ __| __| |/ _ \| '_ \ / _ \_\ | /___/\/ /_/\/ /_ / _ \ | | |_ / /___| (_) | | | __/ (__| |_| | (_) | | | | \_/ \_/\__|____/\____/\____/ \_/ \_/_| \__| \____/ \___/|_|_|\___|\___|\__|_|\___/|_| |_| </pre> <script type="text/javascript"><!-- google_ad_client = "pub-4074990861294766"; /* with art */ google_ad_slot = "5103038622"; google_ad_width = 468; google_ad_height = 60; //--> </script> <script type="text/javascript" src="http://pagead2.googlesyndication.com/pagead/show_ads.js"> </script> <hr /> To explore and enjoy the many ASCII art pictures on this site, just pick an Art Category from the menu on the left. The search box works great too! <br /> <br /> The 10 Most recently updated files: (<a href="index.php?page=recent-updates">The rest can be found here.</a>) <ul> <li>2022-04-18 09:05:56 <a href="index.php?art=cartoons/warner bros">cartoons/warner bros</a></li><li>2020-05-20 09:00:52 <a href="index.php?art=people/body parts/hand gestures">people/body parts/hand gestures</a></li><li>2020-05-20 09:00:51 <a href="index.php?art=television/the office">television/the office</a></li><li>2020-05-17 18:19:27 <a href="index.php?art=creatures/dragons">creatures/dragons</a></li><li>2020-05-17 18:14:47 <a href="index.php?art=objects/clothing">objects/clothing</a></li><li>2020-05-17 18:11:48 <a href="index.php?art=people/occupations/hair stylists">people/occupations/hair stylists</a></li><li>2020-05-17 17:35:07 <a href="index.php?art=objects/typewriter">objects/typewriter</a></li><li>2020-05-17 17:33:22 <a href="index.php?art=objects/buildings">objects/buildings</a></li><li>2020-05-17 17:32:28 <a href="index.php?art=people/other">people/other</a></li><li>2020-05-17 17:29:48 <a href="index.php?art=objects/ice cube trays">objects/ice cube trays</a></li> </ul> Christopher Johnson's ASCII Art Collection was revealed to the Internet in November of 1994, back when Netscape 1.0 was &quot;soooo much better than Mosaic&quot; and Internet Explorer didn't exist yet. Can you believe it? 29 years later, and and this site is still here! From 1995 to 2018, this ascii art collection was hosted under the <a href="http://chris.com/">chris.com</a> domain. I still own that domain name, but leased it to a company for a couple years. That lease has ended, but I think it's better for the collection to remain here at its new home. <br /> <br /> Important note: I am not an ASCII artist. I did not create these pictures. I collected them and am donating my server to preserve them and make them available to the world. This is my entire collection of ASCII artwork! If you want something I don't have here, I would suggest visiting the <a href="http://groups.google.com/group/alt.ascii-art/topics" target="_top">ASCII Art Newsgroup on Google</a>.</div> </div> </div> </body> </html>
Christopher Johnson's ASCII Art Collection function toggle1(e) { //Checking if select field is enabled if (document.getElementById("btn").value=="Dark on Light") { //Changing the select field state to disabled and changing the value of button to enable document.getElementById("btn").value="Light on Dark" setStyleById("art1","background","#FFFFFF"); setStyleById("art1","color","#000000"); return } //Checking if select field is disabled if (document.getElementById("btn").value=="Light on Dark") { //Changing the select field state to enabled and changing the value of button to disable document.getElementById("btn").value="Dark on Light" setStyleById("art1","background","#2A4767"); setStyleById("art1","color","#FFFFFF"); return } } <!-- /\* Hide content from old browsers \*/ #art1 { color: #000000; border: 1px solid #345678; background: #FFFFFF; margin: 15px 0; padding: 8px; } /\* end hiding content from old browsers \*/ --> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'UA-97741-3'); ![](https://www.paypal.com/en_US/i/scr/pixel.gif) About ASCII Art * [Home Page](index.php) * [Recent Updates](index.php?page=recent-updates) * [What is ASCII Art?](index.php?page=what-is-ascii-art) * [How to display](index.php?page=how-to-display) * [Legal ASCII Characters](index.php?page=legal-ascii-characters) The collection * [open all](javascript: d.openAll();) | [close all](javascript: d.closeAll();) <!-- d = new dTree('d'); d.config.target="\_self"; d.config.folderLinks =false; d.config.useSelection =true; d.config.useCookies =true; d.config.useLines=true; d.config.useIcons=true; d.config.useStatusText=true; d.config.closeSameLevel=false; d.config.inOrder =true; d.add(0,-1,'Categories','','','','',''); d.add(1, 0,'animals','index.php?art=','','\_self'); d.add(2, 1,'aardvarks','index.php?art=animals/aardvarks','','\_self'); d.add(3, 1,'amoeba','index.php?art=animals/amoeba','','\_self'); d.add(4, 1,'bats','index.php?art=animals/bats','','\_self'); d.add(5, 1,'bears (teddybears)','index.php?art=animals/bears (teddybears)','','\_self'); d.add(6, 1,'bears','index.php?art=animals/bears','','\_self'); d.add(7, 1,'beavers','index.php?art=animals/beavers','','\_self'); d.add(8, 1,'birds (land)','index.php?art=animals/birds (land)','','\_self'); d.add(9, 1,'birds (water)','index.php?art=animals/birds (water)','','\_self'); d.add(10, 1,'bison','index.php?art=animals/bison','','\_self'); d.add(11, 1,'camels','index.php?art=animals/camels','','\_self'); d.add(12, 1,'cats','index.php?art=animals/cats','','\_self'); d.add(13, 1,'cows','index.php?art=animals/cows','','\_self'); d.add(14, 1,'deer','index.php?art=animals/deer','','\_self'); d.add(15, 1,'dogs','index.php?art=animals/dogs','','\_self'); d.add(16, 1,'dolphins','index.php?art=animals/dolphins','','\_self'); d.add(17, 1,'elephants','index.php?art=animals/elephants','','\_self'); d.add(18, 1,'fish','index.php?art=animals/fish','','\_self'); d.add(19, 1,'frogs','index.php?art=animals/frogs','','\_self'); d.add(20, 1,'gorillas','index.php?art=animals/gorillas','','\_self'); d.add(21, 1,'horses','index.php?art=animals/horses','','\_self'); d.add(22, 1,'insects','index.php?art=','','\_self'); d.add(23, 22,'ants','index.php?art=animals/insects/ants','','\_self'); d.add(24, 22,'bees','index.php?art=animals/insects/bees','','\_self'); d.add(25, 22,'beetles','index.php?art=animals/insects/beetles','','\_self'); d.add(26, 22,'butterflies','index.php?art=animals/insects/butterflies','','\_self'); d.add(27, 22,'cockroaches','index.php?art=animals/insects/cockroaches','','\_self'); d.add(28, 22,'other','index.php?art=animals/insects/other','','\_self'); d.add(29, 1,'moose','index.php?art=animals/moose','','\_self'); d.add(30, 1,'other (land)','index.php?art=animals/other (land)','','\_self'); d.add(31, 1,'other (water)','index.php?art=animals/other (water)','','\_self'); d.add(32, 1,'pigs','index.php?art=animals/pigs','','\_self'); d.add(33, 1,'rabbits','index.php?art=animals/rabbits','','\_self'); d.add(34, 1,'reptiles','index.php?art=','','\_self'); d.add(35, 34,'aligators','index.php?art=animals/reptiles/aligators','','\_self'); d.add(36, 34,'dinosaurs','index.php?art=animals/reptiles/dinosaurs','','\_self'); d.add(37, 34,'lizards','index.php?art=animals/reptiles/lizards','','\_self'); d.add(38, 34,'snakes','index.php?art=animals/reptiles/snakes','','\_self'); d.add(39, 34,'turtles','index.php?art=animals/reptiles/turtles','','\_self'); d.add(40, 1,'rhinoceros','index.php?art=animals/rhinoceros','','\_self'); d.add(41, 1,'rodents','index.php?art=','','\_self'); d.add(42, 41,'mice','index.php?art=animals/rodents/mice','','\_self'); d.add(43, 41,'other','index.php?art=animals/rodents/other','','\_self'); d.add(44, 1,'scorpions','index.php?art=animals/scorpions','','\_self'); d.add(45, 1,'spiders','index.php?art=animals/spiders','','\_self'); d.add(46, 1,'wolves','index.php?art=animals/wolves','','\_self'); d.add(47, 0,'anime and manga','index.php?art=','','\_self'); d.add(48, 47,'3x3 eyes','index.php?art=anime and manga/3x3 eyes','','\_self'); d.add(49, 47,'akira','index.php?art=anime and manga/akira','','\_self'); d.add(50, 47,'astro boy','index.php?art=anime and manga/astro boy','','\_self'); d.add(51, 47,'dirty pair','index.php?art=anime and manga/dirty pair','','\_self'); d.add(52, 47,'dragon ball','index.php?art=anime and manga/dragon ball','','\_self'); d.add(53, 47,'futaba-kun change','index.php?art=anime and manga/futaba-kun change','','\_self'); d.add(54, 47,'gall force','index.php?art=anime and manga/gall force','','\_self'); d.add(55, 47,'kimagure orange road','index.php?art=anime and manga/kimagure orange road','','\_self'); d.add(56, 47,'made in abyss','index.php?art=anime and manga/made in abyss','','\_self'); d.add(57, 47,'maison ikkoku','index.php?art=anime and manga/maison ikkoku','','\_self'); d.add(58, 47,'moldiver','index.php?art=anime and manga/moldiver','','\_self'); d.add(59, 47,'my neighbor totoro','index.php?art=anime and manga/my neighbor totoro','','\_self'); d.add(60, 47,'neon genesis evangelion','index.php?art=anime and manga/neon genesis evangelion','','\_self'); d.add(61, 47,'otaku no video','index.php?art=anime and manga/otaku no video','','\_self'); d.add(62, 47,'other','index.php?art=anime and manga/other','','\_self'); d.add(63, 47,'outlanders','index.php?art=anime and manga/outlanders','','\_self'); d.add(64, 47,'project a-ko','index.php?art=anime and manga/project a-ko','','\_self'); d.add(65, 47,'ranma saotome','index.php?art=anime and manga/ranma saotome','','\_self'); d.add(66, 47,'sailor moon','index.php?art=anime and manga/sailor moon','','\_self'); d.add(67, 47,'tenchi muyou','index.php?art=anime and manga/tenchi muyou','','\_self'); d.add(68, 47,'urusei yatsura','index.php?art=anime and manga/urusei yatsura','','\_self'); d.add(69, 47,'vampire princess miyu','index.php?art=anime and manga/vampire princess miyu','','\_self'); d.add(70, 0,'art and design','index.php?art=','','\_self'); d.add(71, 70,'banksy','index.php?art=art and design/banksy','','\_self'); d.add(72, 70,'borders','index.php?art=art and design/borders','','\_self'); d.add(73, 70,'egyptian','index.php?art=art and design/egyptian','','\_self'); d.add(74, 70,'escher','index.php?art=art and design/escher','','\_self'); d.add(75, 70,'famous paintings','index.php?art=art and design/famous paintings','','\_self'); d.add(76, 70,'mona lisa','index.php?art=art and design/mona lisa','','\_self'); d.add(77, 70,'other','index.php?art=art and design/other','','\_self'); d.add(78, 70,'patterns','index.php?art=art and design/patterns','','\_self'); d.add(79, 70,'signatures','index.php?art=art and design/signatures','','\_self'); d.add(80, 70,'stereograms','index.php?art=art and design/stereograms','','\_self'); d.add(81, 0,'books','index.php?art=','','\_self'); d.add(82, 81,'alice in wonderland','index.php?art=books/alice in wonderland','','\_self'); d.add(83, 81,'dr seuss','index.php?art=books/dr seuss','','\_self'); d.add(84, 81,'harry potter','index.php?art=books/harry potter','','\_self'); d.add(85, 81,'lord of the rings','index.php?art=books/lord of the rings','','\_self'); d.add(86, 81,'paddington bear','index.php?art=books/paddington bear','','\_self'); d.add(87, 81,'winnie the pooh','index.php?art=books/winnie the pooh','','\_self'); d.add(88, 0,'cartoons','index.php?art=','','\_self'); d.add(89, 88,'animaniacs','index.php?art=cartoons/animaniacs','','\_self'); d.add(90, 88,'beavis and Butt-head','index.php?art=cartoons/beavis and Butt-head','','\_self'); d.add(91, 88,'betty boop','index.php?art=cartoons/betty boop','','\_self'); d.add(92, 88,'cartoon planet','index.php?art=cartoons/cartoon planet','','\_self'); d.add(93, 88,'casper','index.php?art=cartoons/casper','','\_self'); d.add(94, 88,'felix the cat','index.php?art=cartoons/felix the cat','','\_self'); d.add(95, 88,'flintstones','index.php?art=cartoons/flintstones','','\_self'); d.add(96, 88,'inspector gadget','index.php?art=cartoons/inspector gadget','','\_self'); d.add(97, 88,'mickey mouse','index.php?art=cartoons/mickey mouse','','\_self'); d.add(98, 88,'pink panther','index.php?art=cartoons/pink panther','','\_self'); d.add(99, 88,'ren and stimpy','index.php?art=cartoons/ren and stimpy','','\_self'); d.add(100, 88,'rocky and bullwinkle','index.php?art=cartoons/rocky and bullwinkle','','\_self'); d.add(101, 88,'roger rabbit','index.php?art=cartoons/roger rabbit','','\_self'); d.add(102, 88,'simpsons','index.php?art=cartoons/simpsons','','\_self'); d.add(103, 88,'smurfs','index.php?art=cartoons/smurfs','','\_self'); d.add(104, 88,'south park','index.php?art=cartoons/south park','','\_self'); d.add(105, 88,'spongebob squarepants','index.php?art=cartoons/spongebob squarepants','','\_self'); d.add(106, 88,'tiny toon adventures','index.php?art=cartoons/tiny toon adventures','','\_self'); d.add(107, 88,'two stupid dogs','index.php?art=cartoons/two stupid dogs','','\_self'); d.add(108, 88,'warner bros','index.php?art=cartoons/warner bros','','\_self'); d.add(109, 0,'comics','index.php?art=','','\_self'); d.add(110, 109,'alfred e neuman','index.php?art=comics/alfred e neuman','','\_self'); d.add(111, 109,'archie','index.php?art=comics/archie','','\_self'); d.add(112, 109,'asterix','index.php?art=comics/asterix','','\_self'); d.add(113, 109,'batman','index.php?art=comics/batman','','\_self'); d.add(114, 109,'bloom county','index.php?art=comics/bloom county','','\_self'); d.add(115, 109,'calvin and hobbes','index.php?art=comics/calvin and hobbes','','\_self'); d.add(116, 109,'captain america','index.php?art=comics/captain america','','\_self'); d.add(117, 109,'dilbert','index.php?art=comics/dilbert','','\_self'); d.add(118, 109,'garfield','index.php?art=comics/garfield','','\_self'); d.add(119, 109,'life in hell','index.php?art=comics/life in hell','','\_self'); d.add(120, 109,'mafalda','index.php?art=comics/mafalda','','\_self'); d.add(121, 109,'peanuts','index.php?art=comics/peanuts','','\_self'); d.add(122, 109,'spiderman','index.php?art=comics/spiderman','','\_self'); d.add(123, 109,'superman','index.php?art=comics/superman','','\_self'); d.add(124, 0,'creatures','index.php?art=','','\_self'); d.add(125, 124,'aliens','index.php?art=creatures/aliens','','\_self'); d.add(126, 124,'angels','index.php?art=creatures/angels','','\_self'); d.add(127, 124,'centuars','index.php?art=creatures/centuars','','\_self'); d.add(128, 124,'devils','index.php?art=creatures/devils','','\_self'); d.add(129, 124,'dragons','index.php?art=creatures/dragons','','\_self'); d.add(130, 124,'fairies','index.php?art=creatures/fairies','','\_self'); d.add(131, 124,'fantasy','index.php?art=creatures/fantasy','','\_self'); d.add(132, 124,'grim reapers','index.php?art=creatures/grim reapers','','\_self'); d.add(133, 124,'mermaids','index.php?art=creatures/mermaids','','\_self'); d.add(134, 124,'monsters','index.php?art=creatures/monsters','','\_self'); d.add(135, 124,'mythology','index.php?art=creatures/mythology','','\_self'); d.add(136, 124,'unicorns','index.php?art=creatures/unicorns','','\_self'); d.add(137, 0,'events','index.php?art=','','\_self'); d.add(138, 137,'birthday','index.php?art=events/birthday','','\_self'); d.add(139, 137,'graduation','index.php?art=events/graduation','','\_self'); d.add(140, 137,'wedding','index.php?art=events/wedding','','\_self'); d.add(141, 0,'food and drink','index.php?art=','','\_self'); d.add(142, 141,'apples','index.php?art=food and drink/apples','','\_self'); d.add(143, 141,'beer','index.php?art=food and drink/beer','','\_self'); d.add(144, 141,'chocolate','index.php?art=food and drink/chocolate','','\_self'); d.add(145, 141,'ice cream','index.php?art=food and drink/ice cream','','\_self'); d.add(146, 141,'other','index.php?art=food and drink/other','','\_self'); d.add(147, 0,'holiday','index.php?art=','','\_self'); d.add(148, 147,'4th of july','index.php?art=holiday/4th of july','','\_self'); d.add(149, 147,'christmas','index.php?art=','','\_self'); d.add(150, 149,'other','index.php?art=holiday/christmas/other','','\_self'); d.add(151, 149,'religious','index.php?art=holiday/christmas/religious','','\_self'); d.add(152, 149,'santa','index.php?art=holiday/christmas/santa','','\_self'); d.add(153, 149,'snowman','index.php?art=holiday/christmas/snowman','','\_self'); d.add(154, 149,'trees','index.php?art=holiday/christmas/trees','','\_self'); d.add(155, 147,'easter','index.php?art=holiday/easter','','\_self'); d.add(156, 147,'fathers day','index.php?art=holiday/fathers day','','\_self'); d.add(157, 147,'halloween','index.php?art=holiday/halloween','','\_self'); d.add(158, 147,'hanukkah','index.php?art=holiday/hanukkah','','\_self'); d.add(159, 147,'mothers day','index.php?art=holiday/mothers day','','\_self'); d.add(160, 147,'new year','index.php?art=holiday/new year','','\_self'); d.add(161, 147,'thanksgiving','index.php?art=holiday/thanksgiving','','\_self'); d.add(162, 147,'valentine','index.php?art=holiday/valentine','','\_self'); d.add(163, 0,'logos and insignias','index.php?art=','','\_self'); d.add(164, 163,'amnesty international','index.php?art=logos and insignias/amnesty international','','\_self'); d.add(165, 163,'bauhaus','index.php?art=logos and insignias/bauhaus','','\_self'); d.add(166, 163,'caduceus','index.php?art=logos and insignias/caduceus','','\_self'); d.add(167, 163,'coca-cola','index.php?art=logos and insignias/coca-cola','','\_self'); d.add(168, 163,'drama masks','index.php?art=logos and insignias/drama masks','','\_self'); d.add(169, 163,'fonts','index.php?art=logos and insignias/fonts','','\_self'); d.add(170, 163,'hello kitty','index.php?art=logos and insignias/hello kitty','','\_self'); d.add(171, 163,'j r dobbs','index.php?art=logos and insignias/j r dobbs','','\_self'); d.add(172, 163,'jolly roger','index.php?art=logos and insignias/jolly roger','','\_self'); d.add(173, 163,'kool-aid','index.php?art=logos and insignias/kool-aid','','\_self'); d.add(174, 163,'linux','index.php?art=logos and insignias/linux','','\_self'); d.add(175, 163,'no bs','index.php?art=logos and insignias/no bs','','\_self'); d.add(176, 163,'no smoking','index.php?art=logos and insignias/no smoking','','\_self'); d.add(177, 163,'peace','index.php?art=logos and insignias/peace','','\_self'); d.add(178, 163,'pillsbury doughboy','index.php?art=logos and insignias/pillsbury doughboy','','\_self'); d.add(179, 163,'playboy','index.php?art=logos and insignias/playboy','','\_self'); d.add(180, 163,'recycle','index.php?art=logos and insignias/recycle','','\_self'); d.add(181, 163,'red dog beer','index.php?art=logos and insignias/red dog beer','','\_self'); d.add(182, 163,'smiley','index.php?art=logos and insignias/smiley','','\_self'); d.add(183, 163,'sun microsystems','index.php?art=logos and insignias/sun microsystems','','\_self'); d.add(184, 163,'television','index.php?art=logos and insignias/television','','\_self'); d.add(185, 163,'walt jabsco','index.php?art=logos and insignias/walt jabsco','','\_self'); d.add(186, 163,'yin and yang','index.php?art=logos and insignias/yin and yang','','\_self'); d.add(187, 0,'movies','index.php?art=','','\_self'); d.add(188, 187,'aladdin','index.php?art=movies/aladdin','','\_self'); d.add(189, 187,'bambi','index.php?art=movies/bambi','','\_self'); d.add(190, 187,'beauty and the beast','index.php?art=movies/beauty and the beast','','\_self'); d.add(191, 187,'galaxy quest','index.php?art=movies/galaxy quest','','\_self'); d.add(192, 187,'ghostbusters','index.php?art=movies/ghostbusters','','\_self'); d.add(193, 187,'ice age','index.php?art=movies/ice age','','\_self'); d.add(194, 187,'james bond','index.php?art=movies/james bond','','\_self'); d.add(195, 187,'lion king','index.php?art=movies/lion king','','\_self'); d.add(196, 187,'little mermaid','index.php?art=movies/little mermaid','','\_self'); d.add(197, 187,'pinocchio','index.php?art=movies/pinocchio','','\_self'); d.add(198, 187,'resident evil','index.php?art=movies/resident evil','','\_self'); d.add(199, 187,'shrek','index.php?art=movies/shrek','','\_self'); d.add(200, 187,'snow white','index.php?art=movies/snow white','','\_self'); d.add(201, 187,'star wars','index.php?art=movies/star wars','','\_self'); d.add(202, 187,'tinkerbell','index.php?art=movies/tinkerbell','','\_self'); d.add(203, 187,'toy story','index.php?art=movies/toy story','','\_self'); d.add(204, 187,'wallace and gromit','index.php?art=movies/wallace and gromit','','\_self'); d.add(205, 187,'young frankenstein','index.php?art=movies/young frankenstein','','\_self'); d.add(206, 0,'music','index.php?art=','','\_self'); d.add(207, 206,'band logos','index.php?art=','','\_self'); d.add(208, 207,'metallica','index.php?art=music/band logos/metallica','','\_self'); d.add(209, 207,'other','index.php?art=music/band logos/other','','\_self'); d.add(210, 207,'pink floyd','index.php?art=music/band logos/pink floyd','','\_self'); d.add(211, 206,'musical instruments','index.php?art=music/musical instruments','','\_self'); d.add(212, 206,'musical notation','index.php?art=music/musical notation','','\_self'); d.add(213, 206,'musicians','index.php?art=','','\_self'); d.add(214, 213,'alice cooper','index.php?art=music/musicians/alice cooper','','\_self'); d.add(215, 213,'beatles','index.php?art=music/musicians/beatles','','\_self'); d.add(216, 213,'elvis presley','index.php?art=music/musicians/elvis presley','','\_self'); d.add(217, 213,'frank zappa','index.php?art=music/musicians/frank zappa','','\_self'); d.add(218, 213,'marilyn manson','index.php?art=music/musicians/marilyn manson','','\_self'); d.add(219, 213,'snoop dogg','index.php?art=music/musicians/snoop dogg','','\_self'); d.add(220, 213,'spice girls','index.php?art=music/musicians/spice girls','','\_self'); d.add(221, 206,'pianos','index.php?art=music/pianos','','\_self'); d.add(222, 0,'nature','index.php?art=','','\_self'); d.add(223, 222,'astronomy','index.php?art=nature/astronomy','','\_self'); d.add(224, 222,'beach','index.php?art=nature/beach','','\_self'); d.add(225, 222,'islands','index.php?art=nature/islands','','\_self'); d.add(226, 222,'mountains','index.php?art=nature/mountains','','\_self'); d.add(227, 222,'other','index.php?art=nature/other','','\_self'); d.add(228, 222,'sunset','index.php?art=nature/sunset','','\_self'); d.add(229, 222,'tornado','index.php?art=nature/tornado','','\_self'); d.add(230, 0,'objects','index.php?art=','','\_self'); d.add(231, 230,'abacus','index.php?art=objects/abacus','','\_self'); d.add(232, 230,'anchors','index.php?art=objects/anchors','','\_self'); d.add(233, 230,'antennas','index.php?art=objects/antennas','','\_self'); d.add(234, 230,'arrows','index.php?art=objects/arrows','','\_self'); d.add(235, 230,'audio equipment','index.php?art=objects/audio equipment','','\_self'); d.add(236, 230,'awards','index.php?art=objects/awards','','\_self'); d.add(237, 230,'axes','index.php?art=objects/axes','','\_self'); d.add(238, 230,'badges','index.php?art=objects/badges','','\_self'); d.add(239, 230,'balloons','index.php?art=objects/balloons','','\_self'); d.add(240, 230,'bikinis','index.php?art=objects/bikinis','','\_self'); d.add(241, 230,'blender','index.php?art=objects/blender','','\_self'); d.add(242, 230,'bones','index.php?art=objects/bones','','\_self'); d.add(243, 230,'books','index.php?art=objects/books','','\_self'); d.add(244, 230,'bottles','index.php?art=objects/bottles','','\_self'); d.add(245, 230,'boxes','index.php?art=objects/boxes','','\_self'); d.add(246, 230,'bridges','index.php?art=objects/bridges','','\_self'); d.add(247, 230,'brooms','index.php?art=objects/brooms','','\_self'); d.add(248, 230,'buckets','index.php?art=objects/buckets','','\_self'); d.add(249, 230,'buildings','index.php?art=objects/buildings','','\_self'); d.add(250, 230,'calculators','index.php?art=objects/calculators','','\_self'); d.add(251, 230,'cameras','index.php?art=objects/cameras','','\_self'); d.add(252, 230,'candles','index.php?art=objects/candles','','\_self'); d.add(253, 230,'castles','index.php?art=objects/castles','','\_self'); d.add(254, 230,'chains','index.php?art=objects/chains','','\_self'); d.add(255, 230,'cigarettes','index.php?art=objects/cigarettes','','\_self'); d.add(256, 230,'clocks','index.php?art=objects/clocks','','\_self'); d.add(257, 230,'clothing','index.php?art=objects/clothing','','\_self'); d.add(258, 230,'computers','index.php?art=objects/computers','','\_self'); d.add(259, 230,'diamonds','index.php?art=objects/diamonds','','\_self'); d.add(260, 230,'dice','index.php?art=objects/dice','','\_self'); d.add(261, 230,'electronics','index.php?art=objects/electronics','','\_self'); d.add(262, 230,'explosives','index.php?art=objects/explosives','','\_self'); d.add(263, 230,'feathers','index.php?art=objects/feathers','','\_self'); d.add(264, 230,'fences','index.php?art=objects/fences','','\_self'); d.add(265, 230,'fire extinguishers','index.php?art=objects/fire extinguishers','','\_self'); d.add(266, 230,'flags','index.php?art=objects/flags','','\_self'); d.add(267, 230,'footwear','index.php?art=objects/footwear','','\_self'); d.add(268, 230,'furniture','index.php?art=','','\_self'); d.add(269, 268,'beds','index.php?art=objects/furniture/beds','','\_self'); d.add(270, 268,'benches','index.php?art=objects/furniture/benches','','\_self'); d.add(271, 268,'chairs','index.php?art=objects/furniture/chairs','','\_self'); d.add(272, 268,'office','index.php?art=objects/furniture/office','','\_self'); d.add(273, 268,'sofas','index.php?art=objects/furniture/sofas','','\_self'); d.add(274, 230,'guns','index.php?art=objects/guns','','\_self'); d.add(275, 230,'handcuffs','index.php?art=objects/handcuffs','','\_self'); d.add(276, 230,'ice cube trays','index.php?art=objects/ice cube trays','','\_self'); d.add(277, 230,'keys','index.php?art=objects/keys','','\_self'); d.add(278, 230,'knives','index.php?art=objects/knives','','\_self'); d.add(279, 230,'light bulbs','index.php?art=objects/light bulbs','','\_self'); d.add(280, 230,'magnifying glass','index.php?art=objects/magnifying glass','','\_self'); d.add(281, 230,'medical','index.php?art=objects/medical','','\_self'); d.add(282, 230,'money','index.php?art=objects/money','','\_self'); d.add(283, 230,'noose','index.php?art=objects/noose','','\_self'); d.add(284, 230,'optical illusions','index.php?art=objects/optical illusions','','\_self'); d.add(285, 230,'pacifiers','index.php?art=objects/pacifiers','','\_self'); d.add(286, 230,'paints','index.php?art=objects/paints','','\_self'); d.add(287, 230,'playing cards','index.php?art=objects/playing cards','','\_self'); d.add(288, 230,'scales','index.php?art=objects/scales','','\_self'); d.add(289, 230,'signs','index.php?art=objects/signs','','\_self'); d.add(290, 230,'slinky','index.php?art=objects/slinky','','\_self'); d.add(291, 230,'swords','index.php?art=objects/swords','','\_self'); d.add(292, 230,'televisions','index.php?art=objects/televisions','','\_self'); d.add(293, 230,'tissue','index.php?art=objects/tissue','','\_self'); d.add(294, 230,'tools','index.php?art=objects/tools','','\_self'); d.add(295, 230,'typewriter','index.php?art=objects/typewriter','','\_self'); d.add(296, 230,'umbrella','index.php?art=objects/umbrella','','\_self'); d.add(297, 230,'vases','index.php?art=objects/vases','','\_self'); d.add(298, 230,'watches','index.php?art=objects/watches','','\_self'); d.add(299, 0,'people','index.php?art=','','\_self'); d.add(300, 299,'babies','index.php?art=people/babies','','\_self'); d.add(301, 299,'bathing','index.php?art=people/bathing','','\_self'); d.add(302, 299,'beach','index.php?art=people/beach','','\_self'); d.add(303, 299,'body parts','index.php?art=','','\_self'); d.add(304, 303,'brains','index.php?art=people/body parts/brains','','\_self'); d.add(305, 303,'buttocks','index.php?art=people/body parts/buttocks','','\_self'); d.add(306, 303,'eyes','index.php?art=people/body parts/eyes','','\_self'); d.add(307, 303,'feet','index.php?art=people/body parts/feet','','\_self'); d.add(308, 303,'hand gestures','index.php?art=people/body parts/hand gestures','','\_self'); d.add(309, 303,'lips','index.php?art=people/body parts/lips','','\_self'); d.add(310, 299,'chris johnson','index.php?art=people/chris johnson','','\_self'); d.add(311, 299,'faces','index.php?art=people/faces','','\_self'); d.add(312, 299,'famous','index.php?art=','','\_self'); d.add(313, 312,'John Cleese','index.php?art=people/famous/John Cleese','','\_self'); d.add(314, 312,'al capone','index.php?art=people/famous/al capone','','\_self'); d.add(315, 312,'al pacino','index.php?art=people/famous/al pacino','','\_self'); d.add(316, 312,'albert einstein','index.php?art=people/famous/albert einstein','','\_self'); d.add(317, 312,'barack obama','index.php?art=people/famous/barack obama','','\_self'); d.add(318, 312,'bill clinton','index.php?art=people/famous/bill clinton','','\_self'); d.add(319, 312,'cher','index.php?art=people/famous/cher','','\_self'); d.add(320, 312,'cindy crawford','index.php?art=people/famous/cindy crawford','','\_self'); d.add(321, 312,'marylin monroe','index.php?art=people/famous/marylin monroe','','\_self'); d.add(322, 312,'michelle pfeiffer','index.php?art=people/famous/michelle pfeiffer','','\_self'); d.add(323, 312,'princess diana','index.php?art=people/famous/princess diana','','\_self'); d.add(324, 312,'sarah michelle gellar','index.php?art=people/famous/sarah michelle gellar','','\_self'); d.add(325, 299,'naked ladies','index.php?art=people/naked ladies','','\_self'); d.add(326, 299,'native americans','index.php?art=people/native americans','','\_self'); d.add(327, 299,'occupations','index.php?art=','','\_self'); d.add(328, 327,'artists','index.php?art=people/occupations/artists','','\_self'); d.add(329, 327,'ascii artists','index.php?art=people/occupations/ascii artists','','\_self'); d.add(330, 327,'astronauts','index.php?art=people/occupations/astronauts','','\_self'); d.add(331, 327,'bodybuilders','index.php?art=people/occupations/bodybuilders','','\_self'); d.add(332, 327,'builders','index.php?art=people/occupations/builders','','\_self'); d.add(333, 327,'butchers','index.php?art=people/occupations/butchers','','\_self'); d.add(334, 327,'clowns','index.php?art=people/occupations/clowns','','\_self'); d.add(335, 327,'dentists','index.php?art=people/occupations/dentists','','\_self'); d.add(336, 327,'disc jockeys','index.php?art=people/occupations/disc jockeys','','\_self'); d.add(337, 327,'hair stylists','index.php?art=people/occupations/hair stylists','','\_self'); d.add(338, 327,'knights','index.php?art=people/occupations/knights','','\_self'); d.add(339, 327,'shepherds','index.php?art=people/occupations/shepherds','','\_self'); d.add(340, 327,'wizards','index.php?art=people/occupations/wizards','','\_self'); d.add(341, 299,'other','index.php?art=people/other','','\_self'); d.add(342, 299,'skeletons','index.php?art=people/skeletons','','\_self'); d.add(343, 299,'tribal people','index.php?art=people/tribal people','','\_self'); d.add(344, 299,'vikings','index.php?art=people/vikings','','\_self'); d.add(345, 0,'places','index.php?art=','','\_self'); d.add(346, 345,'alcatraz','index.php?art=places/alcatraz','','\_self'); d.add(347, 345,'eiffel tower','index.php?art=places/eiffel tower','','\_self'); d.add(348, 345,'maps','index.php?art=places/maps','','\_self'); d.add(349, 345,'statue of liberty','index.php?art=places/statue of liberty','','\_self'); d.add(350, 345,'stonehenge','index.php?art=places/stonehenge','','\_self'); d.add(351, 345,'washington space needle','index.php?art=places/washington space needle','','\_self'); d.add(352, 0,'plants','index.php?art=','','\_self'); d.add(353, 352,'bonsai trees','index.php?art=plants/bonsai trees','','\_self'); d.add(354, 352,'cactus','index.php?art=plants/cactus','','\_self'); d.add(355, 352,'dandelions','index.php?art=plants/dandelions','','\_self'); d.add(356, 352,'flowers','index.php?art=plants/flowers','','\_self'); d.add(357, 352,'marijuana','index.php?art=plants/marijuana','','\_self'); d.add(358, 352,'trees','index.php?art=plants/trees','','\_self'); d.add(359, 0,'religion','index.php?art=','','\_self'); d.add(360, 359,'astrology','index.php?art=religion/astrology','','\_self'); d.add(361, 359,'buddhism','index.php?art=religion/buddhism','','\_self'); d.add(362, 359,'christianity','index.php?art=religion/christianity','','\_self'); d.add(363, 359,'judaism','index.php?art=religion/judaism','','\_self'); d.add(364, 0,'sports and activities','index.php?art=','','\_self'); d.add(365, 364,'archery','index.php?art=sports and activities/archery','','\_self'); d.add(366, 364,'baseball','index.php?art=sports and activities/baseball','','\_self'); d.add(367, 364,'basketball','index.php?art=sports and activities/basketball','','\_self'); d.add(368, 364,'billiards','index.php?art=sports and activities/billiards','','\_self'); d.add(369, 364,'bowling','index.php?art=sports and activities/bowling','','\_self'); d.add(370, 364,'boxing','index.php?art=sports and activities/boxing','','\_self'); d.add(371, 364,'camping','index.php?art=sports and activities/camping','','\_self'); d.add(372, 364,'dancing','index.php?art=sports and activities/dancing','','\_self'); d.add(373, 364,'darts','index.php?art=sports and activities/darts','','\_self'); d.add(374, 364,'fencing','index.php?art=sports and activities/fencing','','\_self'); d.add(375, 364,'fishing','index.php?art=sports and activities/fishing','','\_self'); d.add(376, 364,'football','index.php?art=sports and activities/football','','\_self'); d.add(377, 364,'hockey','index.php?art=sports and activities/hockey','','\_self'); d.add(378, 364,'other','index.php?art=sports and activities/other','','\_self'); d.add(379, 364,'parachuting','index.php?art=sports and activities/parachuting','','\_self'); d.add(380, 364,'rodeo','index.php?art=sports and activities/rodeo','','\_self'); d.add(381, 364,'scuba','index.php?art=sports and activities/scuba','','\_self'); d.add(382, 364,'skiing','index.php?art=sports and activities/skiing','','\_self'); d.add(383, 364,'soccer','index.php?art=sports and activities/soccer','','\_self'); d.add(384, 364,'surfing','index.php?art=sports and activities/surfing','','\_self'); d.add(385, 0,'television','index.php?art=','','\_self'); d.add(386, 385,'barney','index.php?art=television/barney','','\_self'); d.add(387, 385,'bear in the big blue house','index.php?art=television/bear in the big blue house','','\_self'); d.add(388, 385,'futurama','index.php?art=television/futurama','','\_self'); d.add(389, 385,'gumby and pokey','index.php?art=television/gumby and pokey','','\_self'); d.add(390, 385,'muppets','index.php?art=television/muppets','','\_self'); d.add(391, 385,'sesame street','index.php?art=television/sesame street','','\_self'); d.add(392, 385,'star trek','index.php?art=television/star trek','','\_self'); d.add(393, 385,'the office','index.php?art=television/the office','','\_self'); d.add(394, 385,'x-files','index.php?art=television/x-files','','\_self'); d.add(395, 0,'transportation','index.php?art=','','\_self'); d.add(396, 395,'airplanes','index.php?art=transportation/airplanes','','\_self'); d.add(397, 395,'bicycles','index.php?art=transportation/bicycles','','\_self'); d.add(398, 395,'busses','index.php?art=transportation/busses','','\_self'); d.add(399, 395,'cars','index.php?art=transportation/cars','','\_self'); d.add(400, 395,'motorcycles','index.php?art=transportation/motorcycles','','\_self'); d.add(401, 395,'nautical','index.php?art=transportation/nautical','','\_self'); d.add(402, 395,'other','index.php?art=transportation/other','','\_self'); d.add(403, 395,'space ships','index.php?art=transportation/space ships','','\_self'); d.add(404, 395,'trains','index.php?art=transportation/trains','','\_self'); d.add(405, 395,'trucks','index.php?art=transportation/trucks','','\_self'); d.add(406, 0,'video games','index.php?art=','','\_self'); d.add(407, 406,'atomic bomberman','index.php?art=video games/atomic bomberman','','\_self'); d.add(408, 406,'joust','index.php?art=video games/joust','','\_self'); d.add(409, 406,'max payne','index.php?art=video games/max payne','','\_self'); d.add(410, 406,'mortal kombat','index.php?art=video games/mortal kombat','','\_self'); d.add(411, 406,'other','index.php?art=video games/other','','\_self'); d.add(412, 406,'pac man','index.php?art=video games/pac man','','\_self'); d.add(413, 406,'pokemon','index.php?art=video games/pokemon','','\_self'); d.add(414, 406,'samurai shodown','index.php?art=video games/samurai shodown','','\_self'); d.add(415, 406,'the operative no one lives forever','index.php?art=video games/the operative no one lives forever','','\_self'); d.add(416, 406,'the sims','index.php?art=video games/the sims','','\_self'); d.add(417, 406,'tomb raider','index.php?art=video games/tomb raider','','\_self'); document.write(d); //--> Tutorials * [FAQ](index.php?page=faq) * [Rowan Crawford](index.php?page=rowan-crawford) * [Daniel Au](index.php?page=daniel-au) * [Scarecrow](index.php?page=scarecrow) * [Popular Mechanics](index.php?page=popular-mechanics) * [Joan Stark](joan/www.geocities.com/SoHo/7373/howto.html) ASCII Art Tools * [ASCII Art Generator](http://asciiart.club/) * [Figlet](http://www.patorjk.com/software/taag/) * [JavE](http://www.jave.de/) Welcome! ``` ___ _ _ _ _ __ _ _ / __\ |__ _ __(_)___| |_ ___ _ __ | |__ ___ _ __ \ \ ___ | |__ _ __ ___ ___ _ __( )___ / / | '_ \| '__| / __| __|/ _ \| '_ \| '_ \ / _ \ '__| \ \/ _ \| '_ \| '_ \/ __|/ _ \| '_ \// __| / /___| | | | | | \__ \ |_| (_) | |_) | | | | __/ | /\_/ / (_) | | | | | | \__ \ (_) | | | |\__ \ \____/|_| |_|_| |_|___/\__|\___/| .__/|_| |_|\___|_| \___/ \___/|_| |_|_| |_|___/\___/|_| |_||___/ |_| _ __ ___ _____ _____ _ _ ___ _ _ _ _ /_\ / _\ / __\ \_ \\_ \ /_\ _ __| |_ / __\ ___ | | | ___ ___| |_(_) ___ _ __ //_\\ \ \ / / / /\/ / /\/ //_\\| '__| __| / / / _ \| | |/ _ \/ __| __| |/ _ \| '_ \ / _ \_\ | /___/\/ /_/\/ /_ / _ \ | | |_ / /___| (_) | | | __/ (__| |_| | (_) | | | | \_/ \_/\__|____/\____/\____/ \_/ \_/_| \__| \____/ \___/|_|_|\___|\___|\__|_|\___/|_| |_| ``` <!-- google\_ad\_client = "pub-4074990861294766"; /\* with art \*/ google\_ad\_slot = "5103038622"; google\_ad\_width = 468; google\_ad\_height = 60; //--> --- To explore and enjoy the many ASCII art pictures on this site, just pick an Art Category from the menu on the left. The search box works great too! The 10 Most recently updated files: ([The rest can be found here.](index.php?page=recent-updates)) * 2022-04-18 09:05:56 [cartoons/warner bros](index.php?art=cartoons/warner bros) * 2020-05-20 09:00:52 [people/body parts/hand gestures](index.php?art=people/body parts/hand gestures) * 2020-05-20 09:00:51 [television/the office](index.php?art=television/the office) * 2020-05-17 18:19:27 [creatures/dragons](index.php?art=creatures/dragons) * 2020-05-17 18:14:47 [objects/clothing](index.php?art=objects/clothing) * 2020-05-17 18:11:48 [people/occupations/hair stylists](index.php?art=people/occupations/hair stylists) * 2020-05-17 17:35:07 [objects/typewriter](index.php?art=objects/typewriter) * 2020-05-17 17:33:22 [objects/buildings](index.php?art=objects/buildings) * 2020-05-17 17:32:28 [people/other](index.php?art=people/other) * 2020-05-17 17:29:48 [objects/ice cube trays](index.php?art=objects/ice cube trays) Christopher Johnson's ASCII Art Collection was revealed to the Internet in November of 1994, back when Netscape 1.0 was "soooo much better than Mosaic" and Internet Explorer didn't exist yet. Can you believe it? 29 years later, and and this site is still here! From 1995 to 2018, this ascii art collection was hosted under the [chris.com](http://chris.com/) domain. I still own that domain name, but leased it to a company for a couple years. That lease has ended, but I think it's better for the collection to remain here at its new home. Important note: I am not an ASCII artist. I did not create these pictures. I collected them and am donating my server to preserve them and make them available to the world. This is my entire collection of ASCII artwork! If you want something I don't have here, I would suggest visiting the [ASCII Art Newsgroup on Google](http://groups.google.com/group/alt.ascii-art/topics).
https://asciiart.website/
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Frameset//EN" "http://www.w3.org/TR/1999/REC-html401-19991224/frameset.dtd"> <html> <head> <meta name="google-site-verification" content="OHgfPSXLAtBuZCTSNtz4aFps2Q9AGObo0TuZ9OQadSI" /> <title>Air Raid Sirens</title> <meta name="description" content="The Internet's premier outdoor warning siren website."> <meta name="keywords" content="siren, sirens, air raid sirens, air raid siren, hand crank siren, tornado sirens, fire sirens"> <script language="JavaScript" type="text/javascript"> <!-- // This script is forces a page reload if the window is resized in Netscape 4.x, // since resizing a window in Netscape 4.x breaks DHTML and CSS-P pages. NS4 = document.layers; if (NS4) { origWidth = innerWidth; origHeight = innerHeight; } function reDo() { if (innerWidth != origWidth || innerHeight != origHeight) location.reload(); } if (NS4) onresize = reDo; //--> </script> <script language="JavaScript" type="text/javascript"> <!-- // This script allows for the index frameset to be called with a compound URL which indicates // what contents should be loaded in the "content" frame. // For example: http://www.airraidsirens.com/index.html?audiovideo.html will load this frameset // with the audiovideo page in the lower frame. The "content.html" splash page is the default. incomingURL = parent.document.URL if (incomingURL.indexOf('?') != -1) { contentURL = incomingURL.substring(incomingURL.indexOf('?')+1,incomingURL.length); } else { contentURL = 'content2.html'; } document.write('<frameset rows="100,*" framespacing="0" border="0" frameborder="0">'); document.write('<frame src="indextitle.html" name="titleframe" marginheight="0" marginwidth="0" scrolling="no" noresize >'); document.write('<frame src="' + contentURL + '" name="content" marginheight="6" marginwidth="6" scrolling="auto" noresize'); document.write('</frameset>'); //--> </script> </head> <!-- This static frameset if for browsers not supporting the javascript-written frameset above --> <noscript> <frameset rows="100,*" framespacing="0" border="0" frameborder="0"> <frame src="indextitle.html" name="titleframe" marginheight="0" marginwidth="0" scrolling="no" noresize > <frame src="content2.html" name="content" marginheight="6" marginwidth="6" scrolling="auto" noresize > </frameset> </noscript> <script> (function(i,s,o,g,r,a,m){i['GoogleAnalyticsObject']=r;i[r]=i[r]||function(){ (i[r].q=i[r].q||[]).push(arguments)},i[r].l=1*new Date();a=s.createElement(o), m=s.getElementsByTagName(o)[0];a.async=1;a.src=g;m.parentNode.insertBefore(a,m) })(window,document,'script','//www.google-analytics.com/analytics.js','ga'); ga('create', 'UA-42253491-1', 'airraidsirens.com'); ga('send', 'pageview'); </script> </html>
Air Raid Sirens <!-- // This script is forces a page reload if the window is resized in Netscape 4.x, // since resizing a window in Netscape 4.x breaks DHTML and CSS-P pages. NS4 = document.layers; if (NS4) { origWidth = innerWidth; origHeight = innerHeight; } function reDo() { if (innerWidth != origWidth || innerHeight != origHeight) location.reload(); } if (NS4) onresize = reDo; //--> <!-- // This script allows for the index frameset to be called with a compound URL which indicates // what contents should be loaded in the "content" frame. // For example: http://www.airraidsirens.com/index.html?audiovideo.html will load this frameset // with the audiovideo page in the lower frame. The "content.html" splash page is the default. incomingURL = parent.document.URL if (incomingURL.indexOf('?') != -1) { contentURL = incomingURL.substring(incomingURL.indexOf('?')+1,incomingURL.length); } else { contentURL = 'content2.html'; } document.write('<frameset rows="100,\*" framespacing="0" border="0" frameborder="0">'); document.write('<frame src="indextitle.html" name="titleframe" marginheight="0" marginwidth="0" scrolling="no" noresize >'); document.write('<frame src="' + contentURL + '" name="content" marginheight="6" marginwidth="6" scrolling="auto" noresize'); document.write('</frameset>'); //--> (function(i,s,o,g,r,a,m){i['GoogleAnalyticsObject']=r;i[r]=i[r]||function(){ (i[r].q=i[r].q||[]).push(arguments)},i[r].l=1\*new Date();a=s.createElement(o), m=s.getElementsByTagName(o)[0];a.async=1;a.src=g;m.parentNode.insertBefore(a,m) })(window,document,'script','//www.google-analytics.com/analytics.js','ga'); ga('create', 'UA-42253491-1', 'airraidsirens.com'); ga('send', 'pageview');
https://www.airraidsirens.net/
<HTML> <HEAD> <TITLE>DamageX space</TITLE> </HEAD> <BODY> <font face="courier"> <body text="#C0C0C0" bgcolor="#000000"> <P><A HREF="http://www.hyakushiki.net/newbmw/index.htm">BMW related</A></P> <P><A HREF="http://www.hyakushiki.net/consoles.htm">Video game / programming related</A></P> <P><A HREF="http://www.hyakushiki.net/links.htm">Random nonsense and links</A></P> <P><A HREF="http://www.hyakushiki.net/anachro.htm">Anachro-mputing blog</A></P> <P><A HREF="http://www.hyakushiki.net/nowut.htm">NOWUT programming language</A></P> <P><IMG SRC="justin.gif"></P> <P>Please direct email to damage_x at this domain.</P> <p><h2>-Information-</h2></p> <p> There is no JavaScript here. There are no cookies. There are no tracking pixels. You don't need the latest version of Big Corporate Browser. You don't need to enter a username and password or a phone number. You don't need to click on the road signs or type in the obfuscated text. You don't need to turn off your ad-blocker.</p> <p> Have a nice day. </p> </BODY> </HTML>
DamageX space [BMW related](http://www.hyakushiki.net/newbmw/index.htm) [Video game / programming related](http://www.hyakushiki.net/consoles.htm) [Random nonsense and links](http://www.hyakushiki.net/links.htm) [Anachro-mputing blog](http://www.hyakushiki.net/anachro.htm) [NOWUT programming language](http://www.hyakushiki.net/nowut.htm) ![](justin.gif) Please direct email to damage\_x at this domain. ## -Information- There is no JavaScript here. There are no cookies. There are no tracking pixels. You don't need the latest version of Big Corporate Browser. You don't need to enter a username and password or a phone number. You don't need to click on the road signs or type in the obfuscated text. You don't need to turn off your ad-blocker. Have a nice day.
http://www.hyakushiki.net/
<html> <head> <meta http-equiv="Content-Language" content="en-us"> <meta http-equiv="Content-Type" content="text/html; charset=windows-1252"> <meta name="GENERATOR" content="Microsoft FrontPage 6.0"> <meta name="ProgId" content="FrontPage.Editor.Document"> <title>Odin's Gift - Norse &amp; Asatru Poetry &amp; Songs</title> <meta name="keywords" content="norse, scandinavian, heathen, Asatru, poem, poems, poetry, song, songs, music, myths, mythology, religion, Odin, Woden, Wodan, Wotan"> <meta name="description" content="Over 2.600 heathen poems, Asatru songs, Norse music, MP3, artwork, classical poetry. Submissions welcome !"> <link rel="shortcut icon" href="http://odins-gift.com/favicon.ico" type="image/x-icon"> <meta name="robots" content="index, follow"> <style> </style> <meta name="Microsoft Border" content="l, default"> </head> <body background="wichtig/navigation/parchment.gif"><!--msnavigation--><table dir="ltr" border="0" cellpadding="0" cellspacing="0" width="100%"><tr><td valign="top" width="1%"> <p style="line-height: 150%"><a href="http://www.odins-gift.com/index.html"> <img src="images/own/own_odinsgift_logo.jpg" border="0" width="149" height="155"></a>&nbsp; <br> <font size="4"><nobr><a target href="http://www.odins-gift.com/index.html">Home</a></nobr><font color="#0000FF"><br> </font><nobr><a href="http://www.odins-gift.com/wichtig/1pown.htm">Poems:&nbsp;My&nbsp;Own</a></nobr><font color="#0000FF"><br> </font><nobr><a href="http://www.odins-gift.com/wichtig/1theme.htm"> Poems:&nbsp;By&nbsp;others</a></nobr><font color="#0000FF"><br> </font><nobr><a href="http://www.odins-gift.com/wichtig/classical.htm"> Poems:&nbsp;Classical</a></nobr><font color="#0000FF"><br> </font><nobr><a href="http://www.odins-gift.com/wichtig/multilingual.htm"> Poems:&nbsp;Multilingual</a></nobr><font color="#0000FF"><br> </font><nobr><a href="http://www.odins-gift.com/wichtig/heathenmusic.htm"> Music&nbsp;&amp;&nbsp;Songs</a></nobr><font color="#0000FF"><br> </font><nobr><a href="http://www.odins-gift.com/wichtigl/stories.htm"> Stories&nbsp;&amp;&nbsp;Myths</a></nobr><font color="#0000FF"><br> </font><nobr><a href="http://www.odins-gift.com/wichtig/links.htm"> Links&nbsp;to&nbsp;Poetry</a></nobr><font color="#0000FF"><br> </font><nobr><a href="http://www.odins-gift.com/wichtig/navigation/faq.htm"> About &amp; FAQ</a></nobr><br> <font color="#0000FF"> <a href="http://www.odins-gift.com/wichtig/navigation/termsofuse.htm">Terms of Use</a><br> </font><nobr><a href="http://www.odins-gift.com/wichtig/navigation/contact.htm"> Contact, Site Notice</a><br> <a href="http://www.odins-gift.com/wichtig/navigation/submitpoem.htm"> Submissions</a></nobr><font color="#0000FF"><br> </font><nobr><a href="http://www.odins-gift.com/wichtig/latest.htm">The&nbsp;Latest</a> <br> &nbsp;</nobr></font></p> </td><td valign="top" width="24"></td><!--msnavigation--><td valign="top"> <div align="left"> </div> <div align="left"> <table align="left" border="0" cellpadding="0" cellspacing="0" id="table1" width="971"> <tbody><tr> <td colspan="4" valign="top" width="971" align="left" height="199"> <blockquote> <p style="margin: 0pt 0pt 0pt -30px; line-height: 100%; word-spacing: 0pt; text-indent: 0pt;" align="left">&nbsp;<img src="images/own/own_odinsgift_banner.jpg" width="649" border="0" height="137"></p> </blockquote> <p style="margin-left: 10px; margin-top: -5px; margin-bottom: 12px;line-height:150%" align="left"> <font size="4">Welcome!&nbsp;I'm Michaela Macha.&nbsp;Read, enjoy &amp; share your poetry with others!&nbsp;&nbsp; <br> Discover the beauty&nbsp;of&nbsp;Norse mythology&nbsp;in guises both old and new. <br> Feel free to participate, and come back to visit<font color="#990033"> </font>over<font color="#CC0000"> </font> <font color="#990033"> 2.600</font> poems, songs and MP3. <font color="#000000"><br> </font> </font><font size="4" color="#000000">A big "Thank You!" to all contributors who made this collection possible!&nbsp;&nbsp; </font></p> </td> </tr> <tr> <td valign="top" width="224" align="left" height="79"> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> <a href="wichtig/1pown.htm"> <font size="4">P</font><font size="4" face="Times New Roman">oems: My own</font></a><font size="3" face="Times New Roman">, e.g.</font></p> <p style="margin-left: 10px; margin-top: 4px; margin-bottom: 4px"> <a href="pown/T/theaesirscall.htm">The Aesir's Call</a></p> <p style="margin-left: 10px; margin-top: 4px; margin-bottom: 4px"> <a href="pown/U-Z/vigildirge.htm">Vigil Dirge</a></p> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> <font size="3" face="Times New Roman"> <a href="pown/A-E/cometothwell.htm">Come to the Well</a> </font></p> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> <font size="3" face="Times New Roman"> <a href="pown/U-Z/whatheasked.htm">What He Asked</a></font></p> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> <font size="3" face="Times New Roman"> <a href="pown/T/toanewodinsman.htm">To a New Odinsman</a></font></p> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> &nbsp;</p> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> &nbsp;</p> </td> <td width="195" align="right" height="122"> <p align="center"> <img border="0" src="images/123rf/used/scrolls_golden_pen_123rf.jpg" width="209" height="189"></td> <td valign="top" width="10" align="left" height="61"> &nbsp;</td> <td valign="top" width="477" align="left" height="75"> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> <a href="wichtig/1theme.htm"><font size="4"> Poems: By many others</font></a>, e.g.</p> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> <font size="3" face="Times New Roman"> <a href="poth/S/surpassingthewinter.htm">Surpassing the Winter</a></font>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Arith Härger </p> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> <font face="Times New Roman"> <a href="poth/A/almightythor.htm">Almighty Thor</a></font><font size="3" face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Glenn Bergen </font></p> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> <a href="poth/W/wassailhousegods.htm">Wassail House Gods</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jeff Wolf </p> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> <a href="poth/F/freyrsmanscurse.htm"> Freyrsman’s Curse</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Gullin Freyrson<b> </b></p> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> <a href="poth/H/harvestlord.htm">Harvest Lord</a><font size="3" face="Times New Roman">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </font> Tracy Nichols<font size="3" face="Times New Roman"> </font></p> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> &nbsp;</p> <p style="margin-left: 10px; margin-top:4px; margin-bottom:4px"> &nbsp;</p> </td> </tr> <tr> <td colspan="2" valign="top" width="329" align="left" height="21"> <p style="margin-left: 10px; margin-top:10px"><font size="4"> <a href="wichtig/classical.htm">Norse Historical &amp; Classical Poetry</a><br> </font>The <font size="3">R</font>une Poems, a "Best of" from the Eddas and&nbsp; Sagas,&nbsp;<br> from the Middle Ages to the early 20th century, <br> and translated Scandinavian, Faroese &amp; German&nbsp; works. </p></td> <td valign="top" width="10" align="left" height="21"> <p style="margin-top: 5px"> </td> <td valign="top" width="477" align="left" height="21"> <p style="margin-left: 10px; margin-top:10px"><font size="4"> <a href="wichtig/multilingual.htm"><font color="#0033cc">M</font><font color="#008000">u</font><font color="#800080">l</font><font color="#0033cc">t</font><font color="#996600">i</font><font color="#008000">l</font><font color="#cc0000">i</font><font color="#008000">n</font><font color="#800080">g</font><font color="#0066ff">u</font><font color="#cc0000">a</font><font color="#0000ff">l</font> International Poetry</a> <br> </font>Heathens of Midgard, unite :-)! Poems in Spanish, Portuguese, <br> Danish, Swedish, Norwegian, German, Italian, Dutch, Russian... <br> along with English translations.</p></td> </tr> <tr> <td colspan="2" valign="top" width="329" align="left" height="10"> </td> <td valign="top" width="10" align="left" height="10"> </td> <td valign="top" width="477" align="left" height="10"> </td> </tr> <tr> <td colspan="2" valign="top" width="329" align="left" height="11" bgcolor="#FFFFCC"> <p style="margin-left: 10px;"> <font size="4"><a href="wichtig/heathensongbook.htm">Music &amp; Songs: The Heathen Songbook Online</a><br> </font>Lyrics, MP3 and sheet music. <br> Find &amp; share songs for ritual, children, or fun!</p></td> <td valign="top" width="10" align="left" height="11"> </td> <td valign="top" width="477" align="left" height="11" bgcolor="#FFFFCC"> <p style="margin-left: 10px;"><font size="4"> <a href="wichtig/northernmusic_links.htm">Music &amp; Songs: Northern Music Links</a></font><br> Heathen albums, online music, websites, reconstructed old music, <br> broad overview from Folk to Metal bands. </p> </td> </tr> <tr> <td colspan="2" valign="top" width="329" align="left" height="10"> </td> <td valign="top" width="10" align="left" height="10"> </td> <td valign="top" width="477" align="left" height="10"> </td> </tr> <tr> <td colspan="2" valign="top" width="329" align="left" height="10" bgcolor="#FFCC99" nowrap> <p style="margin-left: 10px;"><font size="4"> <a href="wichtig/stories.htm">Stories &amp; Myths</a> <br> </font>O<font size="3">ld stories &amp; new myths in mythological or modern settings, <br> retellings and original interpretations.</font></p></td> <td valign="top" width="10" align="left" height="10"> <p style="margin-left: 10px;"> </p></td> <td valign="top" width="477" align="left" height="10" bgcolor="#CCFF99"> <p style="margin-left: 10px;"> <font size="4"> <a href="wichtig/links.htm">Links to Poetry</a></font><font size="3"><br> Heathen poetry sites, books, magazines,&nbsp;art;<br> sources, translations &amp; essays&nbsp;concerning Old Norse</font></p></td> </tr> <tr> <td colspan="2" valign="top" width="329" align="left" height="10"> </td> <td valign="top" width="10" align="left" height="10"> </td> <td valign="top" width="477" align="left" height="10"> </td> </tr> <tr> <td colspan="2" valign="top" width="329" align="left" height="21" bgcolor="#FFCCCC"> <p style="margin-left: 10px; margin-right:1px; margin-top:0; margin-bottom:0"><font size="4"> <a href="wichtig/special/1special.htm">Special Themes</a> on this website:</font><font size="1"><br> <br> </font><a href="wichtig/special/alliterativepoetry.htm">Alliterative Poetry</a>&nbsp; - List of all poems using stave-rhyme<br> <a href="wichtig/special/poeticforms.htm">Poetic Forms</a> - Sorted by category<br> <a href="wichtig/special/poetryunderlicense.htm">Creative Commons / Licensed Poetry</a> - which you may use with a license<br> <a href="wichtig/special/thepoetryduel.htm">The Poetry Duel</a> - 'My pen is mightier than your pen!'<br> <a href="wichtig/special/asuiteofyulesongs.htm">A Suite of Yule Songs</a> - For when it's that time of the year again</p></td> <td valign="top" width="10" align="left" height="21"> <p style="margin-left: 10px;"> </p></td> <td valign="top" width="477" align="left" height="21" bgcolor="#FFCC99"> <p style="margin-left: 10px;"><font size="4"> <a href="wichtig/special/poetrytips/0_overview.htm">Tips for Poets</a></font><br> <font size="3">Just getting started? Exploring new possibilities?<br> Tips for what to&nbsp;do when giddy with Poets' Mead.</font><font size="1"><br> <br> </font> <font size="4"><a href="wichtig/special/licenses.htm">Creative Commons and other Licenses</a></font><br> Keep your copyright, allow people to share your poetry!<br> Help your poem to become widely known. This is how.</p></td> </tr> <tr> <td colspan="2" valign="top" width="329" align="left" height="10"> </td> <td valign="top" width="10" align="left" height="10"> </td> <td valign="top" width="477" align="left" height="10"> </td> </tr> <tr> <td colspan="2" valign="top" width="329" align="left" height="15" bgcolor="#CCFF99"> <p style="margin-left: 10px;"> <font size="4"> <a href="http://www.skaldenmet.com/" target="_blank">Skaldenmet</a> </font> <b>- </b>German Asatru Poetry &amp; Songs Collection. <br> The sister site of Odin´s Gift, featuring over 600 poems,<br> lyrics, MP3, and sheet music.<br> &nbsp;</p> </td> <td valign="top" width="10" align="left" height="15"> </td> <td valign="top" width="477" align="left" height="15" bgcolor="#FFCCCC"> <p style="margin-left: 10px; line-height:150%"> <font face="Times New Roman" size="4"> <a href="wichtig/special/myalbum.htm">My album &quot;Der Ruf der Götter&quot; (The Call of the Gods)</a><br> </font><font face="Times New Roman">15 German Asatru folk/rock songs by &quot;Skaldenmet&quot;.<br> Listen to MP3 samples &amp; read the lyrics in English! <font size="2">And order it... ;-)</font></font></p></td> </tr> <tr> <td colspan="2" valign="bottom" width="329" align="left" height="4"> </td> <td valign="top" width="10" align="left" height="4"></td> <td valign="bottom" width="477" align="left" height="4"> </td> </tr> <tr> <td colspan="2" valign="top" width="329" align="left" height="43" rowspan="2" bgcolor="#FFFFCC" nowrap> <p style="margin-left: 10px; margin-top:7px"> <font size="4"> <a target="_blank" href="http://www.asatruringfrankfurt.de/">Asatru Ring Frankfurt &amp; Midgard</a> </font>- German / English bilingual<br> Articles, prayers, webshop &amp; more about living our faith. <br> Spiritual community, centered in Germany. Contacts welcome!</td> <td valign="top" width="10" align="left" height="10"> <p style="margin-top: 7px"></td> <td valign="top" width="477" align="left" height="43" rowspan="2" bgcolor="#FFFFCC"> <p style="margin-left: 10px; margin-top:7px"> &nbsp;</td> </tr> <tr> <td valign="top" width="10" align="left" height="22"> <p style="margin-top: 7px"></td> </tr> <tr> <td colspan="4" valign="top" width="971" align="left" height="35"> <p style="margin-left: 10px; margin-top: 3px; margin-bottom: 5px"> <br> Submitted works and artwork are the sole property of and copyrighted by their authors. <br> No distribution or use without their prior consent, unless indicated otherwise by a license.<font size="3"><br> <br> My own poems are under a <a rel="license" target="_blank" href="http://creativecommons.org/licenses/by-nd/3.0/">Creative Commons License</a>, and under these conditions may be freely used, distributed, posted, <br> displayed on websites etc. In case you´d like to put them in print, please drop me an&nbsp;<a href="wichtig/navigation/contact.htm">email</a> - it flatters me no end ;-).</font></p></td> </tr> <tr> <td colspan="2" valign="top" width="329" align="left" height="21"> <p style="margin-left: 10px;"> <br> <a href="http://asatruringfrankfurt.de/1artikel/asatru-fuer-menschenrechte.html"> <img border="0" src="images/own/own_enlightenedasatru.jpg" width="468" height="60" align="left"></a></p></td> <td valign="top" width="10" align="left" height="21"></td> <td valign="top" width="477" align="left" height="21"> <p style="margin-left: 10px;">&nbsp;</p> <p style="margin-left: 10px;">Odin's Gift and Enlightened Asatru logos <font face="Times New Roman">©</font> Michael Schütz.&nbsp;<font face="Times New Roman">&nbsp; <br> Pen &amp; Scrolls Image: Copyright: <a href='http://www.123rf.com/profile_loopall'>loopall / 123RF Stock Photo</a></font></p></td> </tr> <tr> <td colspan="4" valign="top" width="971" align="left" height="11"> <p style="margin-left: 10px;"> </p> </td> </tr> <tr> <td colspan="4" width="971" align="center" height="79"> <p align="left">&nbsp;</td> </tr> </tbody></table> </div><!--msnavigation--></td></tr><!--msnavigation--></table></body> </html>
Odin's Gift - Norse & Asatru Poetry & Songs | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | |   [Home](http://www.odins-gift.com/index.html) [Poems: My Own](http://www.odins-gift.com/wichtig/1pown.htm) [Poems: By others](http://www.odins-gift.com/wichtig/1theme.htm) [Poems: Classical](http://www.odins-gift.com/wichtig/classical.htm) [Poems: Multilingual](http://www.odins-gift.com/wichtig/multilingual.htm) [Music & Songs](http://www.odins-gift.com/wichtig/heathenmusic.htm) [Stories & Myths](http://www.odins-gift.com/wichtigl/stories.htm) [Links to Poetry](http://www.odins-gift.com/wichtig/links.htm) [About & FAQ](http://www.odins-gift.com/wichtig/navigation/faq.htm) [Terms of Use](http://www.odins-gift.com/wichtig/navigation/termsofuse.htm) [Contact, Site Notice](http://www.odins-gift.com/wichtig/navigation/contact.htm) [Submissions](http://www.odins-gift.com/wichtig/navigation/submitpoem.htm) [The Latest](http://www.odins-gift.com/wichtig/latest.htm)   | | | | | --- | |   Welcome! I'm Michaela Macha. Read, enjoy & share your poetry with others!   Discover the beauty of Norse mythology in guises both old and new. Feel free to participate, and come back to visit over 2.600 poems, songs and MP3. A big "Thank You!" to all contributors who made this collection possible!   | | [Poems: My own](wichtig/1pown.htm), e.g. [The Aesir's Call](pown/T/theaesirscall.htm) [Vigil Dirge](pown/U-Z/vigildirge.htm) [Come to the Well](pown/A-E/cometothwell.htm) [What He Asked](pown/U-Z/whatheasked.htm) [To a New Odinsman](pown/T/toanewodinsman.htm)     | | | [Poems: By many others](wichtig/1theme.htm), e.g. [Surpassing the Winter](poth/S/surpassingthewinter.htm)      Arith Härger [Almighty Thor](poth/A/almightythor.htm)                 Glenn Bergen [Wassail House Gods](poth/W/wassailhousegods.htm)        Jeff Wolf [Freyrsman’s Curse](poth/F/freyrsmanscurse.htm)          Gullin Freyrson [Harvest Lord](poth/H/harvestlord.htm)                   Tracy Nichols     | | [Norse Historical & Classical Poetry](wichtig/classical.htm) The Rune Poems, a "Best of" from the Eddas and  Sagas,  from the Middle Ages to the early 20th century, and translated Scandinavian, Faroese & German  works. | | [Multilingual International Poetry](wichtig/multilingual.htm) Heathens of Midgard, unite :-)! Poems in Spanish, Portuguese, Danish, Swedish, Norwegian, German, Italian, Dutch, Russian... along with English translations. | | | | | | [Music & Songs: The Heathen Songbook Online](wichtig/heathensongbook.htm) Lyrics, MP3 and sheet music. Find & share songs for ritual, children, or fun! | | [Music & Songs: Northern Music Links](wichtig/northernmusic_links.htm) Heathen albums, online music, websites, reconstructed old music, broad overview from Folk to Metal bands. | | | | | | [Stories & Myths](wichtig/stories.htm) Old stories & new myths in mythological or modern settings, retellings and original interpretations. | | [Links to Poetry](wichtig/links.htm) Heathen poetry sites, books, magazines, art; sources, translations & essays concerning Old Norse | | | | | | [Special Themes](wichtig/special/1special.htm) on this website: [Alliterative Poetry](wichtig/special/alliterativepoetry.htm)  - List of all poems using stave-rhyme [Poetic Forms](wichtig/special/poeticforms.htm) - Sorted by category [Creative Commons / Licensed Poetry](wichtig/special/poetryunderlicense.htm) - which you may use with a license [The Poetry Duel](wichtig/special/thepoetryduel.htm) - 'My pen is mightier than your pen!' [A Suite of Yule Songs](wichtig/special/asuiteofyulesongs.htm) - For when it's that time of the year again | | [Tips for Poets](wichtig/special/poetrytips/0_overview.htm) Just getting started? Exploring new possibilities? Tips for what to do when giddy with Poets' Mead. [Creative Commons and other Licenses](wichtig/special/licenses.htm) Keep your copyright, allow people to share your poetry! Help your poem to become widely known. This is how. | | | | | | [Skaldenmet](http://www.skaldenmet.com/) **-** German Asatru Poetry & Songs Collection. The sister site of Odin´s Gift, featuring over 600 poems, lyrics, MP3, and sheet music.   | | [My album "Der Ruf der Götter" (The Call of the Gods)](wichtig/special/myalbum.htm) 15 German Asatru folk/rock songs by "Skaldenmet". Listen to MP3 samples & read the lyrics in English! And order it... ;-) | | | | | | [Asatru Ring Frankfurt & Midgard](http://www.asatruringfrankfurt.de/) - German / English bilingual Articles, prayers, webshop & more about living our faith. Spiritual community, centered in Germany. Contacts welcome! | |   | | | | Submitted works and artwork are the sole property of and copyrighted by their authors. No distribution or use without their prior consent, unless indicated otherwise by a license. My own poems are under a [Creative Commons License](http://creativecommons.org/licenses/by-nd/3.0/), and under these conditions may be freely used, distributed, posted, displayed on websites etc. In case you´d like to put them in print, please drop me an [email](wichtig/navigation/contact.htm) - it flatters me no end ;-). | | | |   Odin's Gift and Enlightened Asatru logos © Michael Schütz.   Pen & Scrolls Image: Copyright: [loopall / 123RF Stock Photo](http://www.123rf.com/profile_loopall) | | | |   | |
http://www.odins-gift.com/
<html> <head> <title>How is data put on radio waves?</title> </head> <body bgcolor="#FFFFFF"> <table border="0" width="100%"> <tr> <td width="70"><img src="../media/icons/icon-comm.gif" width="70" height="70"></td> <td><h1>Communications System</h1> <a href="zoom-messages.html"> <h3>How does NASA communicate with spacecraft?</h3></a> </td> </tr> </table> <h2>How is data put on radio waves?</h2> <p>There are two common ways to put information in a radio wave, and you've likely run into them yourself. They are called A.M. and F.M. just like the two choices you've always known are on a radio. To understand these two ways of sending information it is important to know that radio waves, by themselves, have very regular patterns. Generally they keep the same amplitude or frequency all the time. (Amplitude is the &quot;height&quot; of the radio wave, frequency is how close the waves are to each other.)</p> <p><img src="../media/Communications/amplitude.gif" width="600" height="202"></p> <p><img src="../media/Communications/frequency.gif" width="600" height="407"></p> <p>A.M. stands for amplitude modulation. In this method, the information is put into a radio wave by varying the amplitude. For example, if all we wanted to do was send 1's and 0's, we could have just two different levels of amplitude that correspond to these numbers--1 being high, 0 being low. </p> <p><img src="../media/Communications/am.gif" width="600" height="153"></p> <p>F.M. stands for frequency modulation. This time the amplitude is kept constant, it is the frequency that is varied..</p> <p><img src="../media/Communications/FM.gif" width="600" height="223"></p> <p align="left"> <hr> <p><img src="../media/icons/level/basic.gif" width="360" height="72"></p> <blockquote> <p> <img src="../media/icons/teeny-comm.gif" width="26" height="28" align="middle"> <a href="1-what-are-radio-waves.html" target="">What are radio waves?</a><br> <img src="../media/icons/teeny-comm.gif" width="26" height="28" align="middle"> <a href="1-what-is-frequency.html">What is frequency?</a><br> <img src="../media/icons/teeny-comm.gif" width="26" height="28" align="middle"> <a href="1-what-is-wavelength.html">What is wavelength?</a> </p> </blockquote> <p><img src="../media/icons/level/medium.gif" width="417" height="67"></p> <blockquote> <p> <img src="../media/icons/teeny-comm.gif" width="26" height="28" align="middle"> <a href="2-how-are-frequency-and-wavelength-related.html">How are frequency and wavelength related?</a><br> <img src="../media/icons/teeny-comm.gif" width="26" height="28" align="middle"> <a href="2-how-are-signals-coordinated.html">How do the instruments and sensors coordinate sending signals?</a><br> <img src="../media/icons/teeny-comm.gif" width="26" height="28" align="middle"> <a href="2-more-about-radio-waves.html">More about radio waves.</a><br> <img src="../media/icons/teeny-comm.gif" width="26" height="28" align="middle"> <a href="2-how-much-data-transferred.html">How much data is DS1 able to transfer?</a><br> <img src="../media/icons/teeny-comm.gif" width="26" height="28" align="middle"> <a href="2-what-is-bandwidth.html">What is bandwidth?</a></p> </blockquote> <p><img src="../media/icons/level/hard.gif" width="390" height="62"></p> <blockquote> <p> <img src="../media/icons/teeny-comm.gif" width="26" height="28" align="middle"> <a href="3-what-radio-frequency.html">What radio frequency does DS1 use for communications?</a><br> <img src="../media/icons/teeny-comm.gif" width="26" height="28" align="middle"> <a href="3-how-do-you-make-a-radio-wave.html">How do you make a radio wave?</a> </p> </blockquote> <p><font color="#000000" size="+2"><i><img src="../media/icons/bottom-browser.gif" width="600" height="179" usemap="#prop-button"></i></font></p><font color="#000000" size="+2"> <hr> <map name="prop-button"> <area shape="rect" coords="516,51,584,117" href="../Propulsion/subzoom-propulsion.html"> <area shape="rect" coords="442,50,512,117" href="subzoom-comm.html"> <area shape="rect" coords="371,51,440,117" href="../Power/subzoom-power.html"> <area shape="rect" coords="298,52,365,116" href="../thermal/subzoom-thermal.html"> <area shape="rect" coords="226,49,295,118" href="../Remote-agent/subzoom-ra.html"> <area shape="rect" coords="152,50,223,118" href="../mission/subzoom-mission.html"> <area shape="rect" coords="81,52,150,117" href="../Navigation/subzoom-nav.html"> <area shape="rect" coords="7,51,76,114" href="../space-environment/subzoom-space.html"> </map> </font></body></html>
How is data put on radio waves? | | | | --- | --- | | | Communications System [How does NASA communicate with spacecraft?](zoom-messages.html) | ## How is data put on radio waves? There are two common ways to put information in a radio wave, and you've likely run into them yourself. They are called A.M. and F.M. just like the two choices you've always known are on a radio. To understand these two ways of sending information it is important to know that radio waves, by themselves, have very regular patterns. Generally they keep the same amplitude or frequency all the time. (Amplitude is the "height" of the radio wave, frequency is how close the waves are to each other.) ![](../media/Communications/amplitude.gif) ![](../media/Communications/frequency.gif) A.M. stands for amplitude modulation. In this method, the information is put into a radio wave by varying the amplitude. For example, if all we wanted to do was send 1's and 0's, we could have just two different levels of amplitude that correspond to these numbers--1 being high, 0 being low. ![](../media/Communications/am.gif) F.M. stands for frequency modulation. This time the amplitude is kept constant, it is the frequency that is varied.. ![](../media/Communications/FM.gif) --- ![](../media/icons/level/basic.gif) > > ![](../media/icons/teeny-comm.gif) > [What > are radio waves?](1-what-are-radio-waves.html) > > ![](../media/icons/teeny-comm.gif) > [What > is frequency?](1-what-is-frequency.html) > > ![](../media/icons/teeny-comm.gif) > [What > is wavelength?](1-what-is-wavelength.html) > > > ![](../media/icons/level/medium.gif) > > ![](../media/icons/teeny-comm.gif) > [How > are frequency and wavelength related?](2-how-are-frequency-and-wavelength-related.html) > > ![](../media/icons/teeny-comm.gif) > [How > do the instruments and sensors coordinate sending signals?](2-how-are-signals-coordinated.html) > > ![](../media/icons/teeny-comm.gif) > [More > about radio waves.](2-more-about-radio-waves.html) > > ![](../media/icons/teeny-comm.gif) > [How > much data is DS1 able to transfer?](2-how-much-data-transferred.html) > > ![](../media/icons/teeny-comm.gif) > [What > is bandwidth?](2-what-is-bandwidth.html) > > > ![](../media/icons/level/hard.gif) > > ![](../media/icons/teeny-comm.gif) > [What > radio frequency does DS1 use for communications?](3-what-radio-frequency.html) > > ![](../media/icons/teeny-comm.gif) > [How > do you make a radio wave?](3-how-do-you-make-a-radio-wave.html) > > > *![](../media/icons/bottom-browser.gif)* ---
https://www.qrg.northwestern.edu/projects/vss/docs/communications/1-how-is-data-put-on-radio-waves.html
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd"> <html><head> <title>Cultural Page </title> <meta name="description" content="Formation of Children and Youth, Manners, customs, clothing, ambiences and states of spirit, right to life, environment, Church-State Relations"> <meta name="keywords" content="cultural page, Formation of Children and Youth, Manners, customs, clothing, ambiences and states of spirit, right to life, environment, Church-State Relations"> <meta http-equiv="distribution" content="Global"> <meta name="resource-type" content="document"> <meta http-equiv="author" content="Tradition in Action"> <meta content="text/html; charset=utf-8" http-equiv="Content-Type"> <meta id="myViewport" name="viewport" content="width = 380"> <script type=""> window.onload = function () { var mvp = document.getElementById('myViewport'); mvp.setAttribute('content','width=600'); } </script> </head> <body bgcolor="#000000" background="../images/bkgrnd.jpg"><img src="../images/blank.gif" width="1" height="30" border="0"> <table width=700 border=0 cellpadding=0 cellspacing=0 align="center"> <tr><td> <table width=630 border=0 cellpadding=0 cellspacing=0 bgcolor="#FFFFFF" align="center"> <TD width=20><img src="../images/blank.gif" width="20" height="1" border="0"></TD> <TD><br><br><center><a href="../index.htm"><img src="../images/tia_logo.gif" width="126" height="126" border="0" alt="Home"></a></center> <br><br> <FONT size=6 color="green"><center>CULTURAL PAGE</center></font> <br><br><br> <table border=0 cellpadding=2 cellspacing=1 width=607> <tr><td valign=top width=110><img src="images (Z)/A001_Luxembourg02.jpg" width="110" height="166" border="0" alt="A001_Luxembourg02.jpg - 21008 Bytes"><br><br><img src="images (Z)/A001_Piercing01.jpg" width="110" height="116" border="0" alt="A001_Piercing01.jpg - 4634 Bytes"><br><br><img src="images (Z)/A001_Charcuterie.jpg" width="110" height="154" border="0" alt="A001_Charcuterie.jpg - 23815 Bytes"><br><br> <img alt="Folkloric wedding" height="140" src="images%20(Z)/A001_Folk.jpg" width="110"></td> <td width=380><font face="arial" size="4"><center><b><a href="C000rpMannersCustomsClothingIndex.htm#manners">Manners, Customs, Clothing</a></b><br><br><br> <b><a href="D000rpAmbiencesandStatesofSpiritIndex.htm#ambiences">Ambiences & Tendencies</a></b><br><br><br> <b><a href="A000rpFormationIndex.htm#formation">Formation of Children and Youth</a></b><br><br><br> <b><a href="H000rpDos&dDonts.htm#dos">Dos & Don'ts in Photos</a></b><br><br><br> <b><a href="B000rpWomenMenIndex.htm#women">Women & Men in Society</a></b><br><br><br> <b><a href="I000_Reels.htm">Cultural Reels</a></b><br><br><br> <b><a href="G000rpCultureInCrisisIndex.htm#clash">Cultural Clash in Pictures</a></b><br><br><br> <b><a href="E000-2_Life.htm#life">Defense of Human Life</a></b><br><br><br> <b><a href="E000-1_Ecology.htm#ecology">Ecology & Environment</a></b><br><br><br> <b><a href="F000rpChurch-StateRelationsIndex.htm#state">Church-State Relations</a></b><br><br><br> <b><a href="Music_P_files/000_Song-Index.htm">Folk Songs</a></b><br><br> <td width=110 valign=top><img src="images (Z)/A001_Marilyn.jpg" width="110" height="143" border="0" alt="A001_Marilyn.jpg - 4740 Bytes"><br><br><img src="images (Z)/A001_Warming.jpg" width="110" height="121" border="0" alt="A001_Warming.jpg - 15660 Bytes"><br><br><img src="images (Z)/A001_HatAscot.jpg" width="110" height="180" border="0" alt="A001_HatAscot.jpg - 18423 Bytes"><br><br> <img alt="Funeral" height="140" src="images%20(Z)/A001_Fun.jpg" width="110"></td></tr></table> <br><br> <center><font face=arial,helvetica size=2><a href="../index.htm">Home</a> &nbsp;|&nbsp; <a href="https://www.traditioninactionstore.org/">Books</a> &nbsp;|&nbsp; <a href="../cassettes.htm">CDs</a> &nbsp;|&nbsp; <a href="../search.html">Search</a> &nbsp;|&nbsp; <a href="../contact.htm">Contact Us</a> &nbsp;|&nbsp; <a href="../donate.htm">Donate</a><br><br> <img src="../images/burbtn.gif" width="620" height="1" border="0" alt="Tradition in Action"><br><center><font color="#8F8F8F" face=arial,helvetica size=2>© 2002-<script>var tD = new Date();var datestr = (tD.getFullYear()); document.write(datestr);</script> &nbsp;&nbsp; Tradition in Action, Inc. &nbsp;&nbsp; All Rights Reserved</font></center> <br> </TD> <TD width=20><img src="../images/blank.gif" width="20" height="1" border="0"></TD></TR> </TABLE></TD></TR></TABLE><br><img src="../images/blank.gif" width="1" height="35" border="0"><br> </body> </html>
Cultural Page window.onload = function () { var mvp = document.getElementById('myViewport'); mvp.setAttribute('content','width=600'); } ![](../images/blank.gif) | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | | | [Home](../index.htm) CULTURAL PAGE | | | | | --- | --- | --- | | A001_Luxembourg02.jpg - 21008 BytesA001_Piercing01.jpg - 4634 BytesA001_Charcuterie.jpg - 23815 Bytes Folkloric wedding | **[Manners, Customs, Clothing](C000rpMannersCustomsClothingIndex.htm#manners)** **[Ambiences & Tendencies](D000rpAmbiencesandStatesofSpiritIndex.htm#ambiences)** **[Formation of Children and Youth](A000rpFormationIndex.htm#formation)** **[Dos & Don'ts in Photos](H000rpDos&dDonts.htm#dos)** **[Women & Men in Society](B000rpWomenMenIndex.htm#women)** **[Cultural Reels](I000_Reels.htm)** **[Cultural Clash in Pictures](G000rpCultureInCrisisIndex.htm#clash)** **[Defense of Human Life](E000-2_Life.htm#life)** **[Ecology & Environment](E000-1_Ecology.htm#ecology)** **[Church-State Relations](F000rpChurch-StateRelationsIndex.htm#state)** **[Folk Songs](Music_P_files/000_Song-Index.htm)** A001_Marilyn.jpg - 4740 BytesA001_Warming.jpg - 15660 BytesA001_HatAscot.jpg - 18423 Bytes Funeral | | [Home](../index.htm)  |  [Books](https://www.traditioninactionstore.org/)  |  [CDs](../cassettes.htm)  |  [Search](../search.html)  |  [Contact Us](../contact.htm)  |  [Donate](../donate.htm) Tradition in Action© 2002-var tD = new Date();var datestr = (tD.getFullYear()); document.write(datestr);    Tradition in Action, Inc.    All Rights Reserved | | | ![](../images/blank.gif)
https://traditioninaction.org/Cultural/00-Cultural_Index.htm
<html> <head> <title>Earth Floor: Geologic Time</title> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> <script language="JavaScript"> <!-- var winOpts = 'toolbar=no,location=no,status=no,menubar=no,resizeable=no,scrollbars=yes,width=380,height=260'; function popUp(pPage) { popUpWin = window.open(pPage,'popWin',winOpts); if (popUpWin.opener == null) popUpWin.opener = window; popUpWin.opener.name = "opener"; popUpWin.focus(); } function MM_preloadImages() { //v3.0 var d=document; if(d.images){ if(!d.MM_p) d.MM_p=new Array(); var i,j=d.MM_p.length,a=MM_preloadImages.arguments; for(i=0; i<a.length; i++) if (a[i].indexOf("#")!=0){ d.MM_p[j]=new Image; d.MM_p[j++].src=a[i];}} } function MM_swapImgRestore() { //v3.0 var i,x,a=document.MM_sr; for(i=0;a&&i<a.length&&(x=a[i])&&x.oSrc;i++) x.src=x.oSrc; } function MM_findObj(n, d) { //v3.0 var p,i,x; if(!d) d=document; if((p=n.indexOf("?"))>0&&parent.frames.length) { d=parent.frames[n.substring(p+1)].document; n=n.substring(0,p);} if(!(x=d[n])&&d.all) x=d.all[n]; for (i=0;!x&&i<d.forms.length;i++) x=d.forms[i][n]; for(i=0;!x&&d.layers&&i<d.layers.length;i++) x=MM_findObj(n,d.layers[i].document); return x; } function MM_swapImage() { //v3.0 var i,j=0,x,a=MM_swapImage.arguments; document.MM_sr=new Array; for(i=0;i<(a.length-2);i+=3) if ((x=MM_findObj(a[i]))!=null){document.MM_sr[j++]=x; if(!x.oSrc) x.oSrc=x.src; x.src=a[i+2];} } //--> </script> </head> <body bgcolor="#FFFFFF" background="../../../images/modules/msese/common/MAINbkgd.gif" text="#000000" link="#000066" vlink="#660000" alink="#CC9900" > <a HREF="#maincontent"><font color="#3333ff"><font size="-2">Skip Navigation</font></font></a> <div align="center"> <table width="590" border="0" cellspacing="0" cellpadding="0"> <tr> <td><a href="../dinosaur.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('Image1','','../../../images/modules/msese/common/top1J.gif',1)"> <img name="Image1" border="0" src="../../../images/modules/msese/common/top1.gif" width="116" height="70" alt="Button that takes you to the Dinosaur Floor page."></a><a href="../earthsys.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('Image2','','../../../images/modules/msese/common/top2J.gif',1)"><img name="Image2" border="0" src="../../../images/modules/msese/common/top2J.gif" width="92" height="71" alt="Button that takes you to the Earth Floor page."></a><a href="../glossary.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('Image3','','../../../images/modules/msese/common/top3J.gif',1)"><img name="Image3" border="0" src="../../../images/modules/msese/common/top3.gif" width="125" height="72" alt="Button that takes you to the Resource Room page."></a><a href="../tchnotes/tnotes.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('Image4','','../../../images/modules/msese/common/top4J.gif',1)"><img name="Image4" border="0" src="../../../images/modules/msese/common/top4.gif" width="134" height="70" alt="Button that takes you to the Teacher's Lounge page."></a><a href="../elevator.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('Image5','','../../../images/modules/msese/common/top5J.gif',1)"><img name="Image5" border="0" src="../../../images/modules/msese/common/top5.gif" width="123" height="72" alt="Button that takes you to the Elevator page."></a></td> </tr> </table> </div> <table width="590" border="0" cellspacing="0" cellpadding="0" align="center"> <tr align="left" valign="top"> <td width="5" bgcolor="#000000" height="159">&nbsp;</td> <td width="15" bgcolor="ffcc00" height="159">&nbsp;</td> <td width="5" bgcolor="#000000" height="159">&nbsp;</td> <td width="410" bgcolor="#FFFFFF" height="159"> <table width="100%" border="0" cellspacing="0" cellpadding="0"> <tr bgcolor="#000000" align="left" valign="top"> <td height="2" colspan="3"> <div align="center"></div> <a name="maincontent"></a> <p align="center"> <img src="../../../images/modules/msese/earthsysflr/EFheadGeologic.gif" vspace="5" hspace="5" width="150" height="16" alt="Image that says Geologic Time."> <img src="../../../images/modules/msese/earthsysflr/EFGeologicP10.gif" vspace="5" hspace="5" alt="Image showing a large section of rock and its different layers. Please have someone assist you with this." WIDTH="300" HEIGHT="321"> </p> </td> </tr> </table> <table width="95%" border="0" cellspacing="0" cellpadding="0" align="center"> <tr align="left" valign="top"> <td> <p><font face="Arial, Helvetica, sans-serif"><b>How Old is That Rock?</b><br> How can you tell the age of a rock or to which geologic time period it belongs? One way is to look at any fossils the rock may contain. If any of the fossils are unique to one of the geologic time periods, then the rock was formed during that particular time period. Another way is to use the &quot;What's on top?&quot; rule. When you find layers of rocks in a cliff or hillside, younger rocks are on top of older rocks. </font></p> <p><font face="Arial, Helvetica, sans-serif">But these two methods only give the relative age of rocks--which are younger and which are older. How do we find out how old a rock is in years? Or how do we know how long ago a particular group of fossilized creatures lived?</font></p> <p><font face="Arial, Helvetica, sans-serif">The age of a rock in years is called its absolute age. Geologists find absolute ages by measuring the amount of certain radioactive elements in the rock. When rocks are formed, small amounts of radioactive elements usually get included. As time passes, the &quot;parent&quot; radioactive elements change at a regular rate into non-radioactive &quot;daughter&quot; elements. Thus, the older a rock is, the larger the number of daughter elements and the smaller the number of parent elements are found in the rock.</font></p> <p align="center"> <img src="../../../images/modules/msese/earthsysflr/EFGeologicP11.gif" width="321" height="180" alt="Image showing the radioactive age dating of a rock. Please have someone assist you with this."></p> <p><font face="Arial, Helvetica, sans-serif"> <img src="../../../images/modules/msese/earthsysflr/EFGeologicP12.gif" align="right" vspace="5" hspace="5" width="134" height="508" alt="Image of the Geologic Time Column. Please have someone assist you with this.">A common &quot;parent-daughter&quot; combination that geologists use is radioactive uranium and non-radioactive lead. As shown in the diagram above, uranium is trapped in a newly formed rock. As the rock ages, more and more of the uranium changes into lead.</font></p> <p><font face="Arial, Helvetica, sans-serif">The age of the rock in years can be found by measuring the rate at which a parent element decays and then measuring the ratio of parent element to daughter element in the rock. The ages in years of the different geological time periods are found by measuring the absolute ages of many rocks from all of the different periods. The absolute ages of some of the different geologic time periods are shown along the right side of the Staircase of Time.</font></p> <p><font face="Arial, Helvetica, sans-serif">The steps of the Staircase of Time are drawn to be almost the same size, so you might think that the time periods are the same length, but they are not. The absolute ages of rocks taken from the different time periods have shown that the time periods were of greatly differing lengths. Some were very short, like the Quaternary period (only 2 million years), while others were very long, like the Proterozoic Era (almost 2 billion years). According to absolute-age measurements, an accurate representation of the lengths of the major geologic time periods is shown in the time bar at right.</font></p> <p align="right"><font face="Arial, Helvetica, sans-serif, Verdana"><b><a href="funny.html">Back</a> | <a href="geo_activity.html">Next</a></b></font></p> <p align="right">&nbsp;</p> </td> </tr> </table> </td> <td width="5" bgcolor="#000000" height="159">&nbsp;</td> <td bgcolor="#ffcc00" width="145" align="center" height="159"> <p><br> <img src="../../../images/modules/msese/earthsysflr/EFsbTop.gif" width="137" height="74" alt="Image that says Earth Floor."><br> <a href="diversity.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('sb1','','../../../images/modules/msese/earthsysflr/EFsb1J.gif',1)"> <img name="sb1" border="0" src="../../../images/modules/msese/earthsysflr/EFsb1.gif" width="137" height="16" alt="Button that takes you to the Diversity page."><br> </a><a href="adapt.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('sb2','','../../../images/modules/msese/earthsysflr/EFsb2J.gif',1)"> <img name="sb2" border="0" src="../../../images/modules/msese/earthsysflr/EFsb2.gif" width="137" height="16" alt="Button that takes you to the Adaptation page."></a><br> <a href="plates1.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('sb3','','../../../images/modules/msese/earthsysflr/EFsb3J.gif',1)"> <img name="sb3" border="0" src="../../../images/modules/msese/earthsysflr/EFsb3.gif" width="137" height="16" alt="Button that takes you to the Plate Tectonics page."></a><br> <a href="cycles.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('sb4','','../../../images/modules/msese/earthsysflr/EFsb4J.gif',1)"> <img name="sb4" border="0" src="../../../images/modules/msese/earthsysflr/EFsb4.gif" width="137" height="16" alt=" Button that takes you to the Cycles page."></a><br> <a href="spheres.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('sb5','','../../../images/modules/msese/earthsysflr/EFsb5J.gif',1)"> <img name="sb5" border="0" src="../../../images/modules/msese/earthsysflr/EFsb5.gif" width="137" height="16" alt="Button that takes you to the Spheres page."></a><br> <a href="biomes.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('sb6','','../../../images/modules/msese/earthsysflr/EFsb6J.gif',1)"> <img name="sb6" border="0" src="../../../images/modules/msese/earthsysflr/EFsb6.gif" width="137" height="16" alt="Button that takes you to the Biomes page."></a><br> <a href="geotime.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('sb7','','../../../images/modules/msese/earthsysflr/EFsb7J.gif',1)"> <img name="sb7" border="0" src="../../../images/modules/msese/earthsysflr/EFsb7J.gif" width="137" height="21" alt="Button that takes you to the Geologic Time page."><br> </a> </p> <table width="95%" border="0" cellspacing="4" cellpadding="0"> <tr> <td width="20"><font face="Arial, Helvetica, sans-serif, Verdana"></font></td> <td width="103"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="geotime.html">Geologic Time</a> </font></td> </tr> <tr> <td width="20"><font face="Arial, Helvetica, sans-serif, Verdana"></font></td> <td width="103"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="cenozoic.html">Cenozoic Era </a></font></td> </tr> <tr> <td width="20"><font face="Arial, Helvetica, sans-serif, Verdana"></font></td> <td width="103"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="mesozoic.html">Mesozoic Era </a></font></td> </tr> <tr> <td width="20"><font face="Arial, Helvetica, sans-serif, Verdana"></font></td> <td width="103"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="paleozoic.html">Paleozoic Era </a></font></td> </tr> <tr> <td width="20"><font face="Arial, Helvetica, sans-serif, Verdana"></font></td> <td width="103"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="cambrian.html">The Precambrian Eon</a></font></td> </tr> <tr> <td width="20"><font face="Arial, Helvetica, sans-serif, Verdana"></font></td> <td width="103"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="funny.html">Names on the Staircase of Time</a></font></td> </tr> <tr> <td width="20"><font face="Arial, Helvetica, sans-serif, Verdana"> <img src="../../../images/modules/msese/common/ALLbullet2.gif" width="20" height="20" alt="Image of a star."></font></td> <td width="103"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1">How Old is That Rock?</font></td> </tr> <tr> <td width="20"><font face="Arial, Helvetica, sans-serif, Verdana"></font></td> <td width="103"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="geo_activity.html">Geologic Time Activity</a></font></td> </tr> <tr> <td width="20"><font face="Arial, Helvetica, sans-serif, Verdana"></font></td> <td width="103"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="geo_activity2.html">What is a Million?</a></font></td> </tr> <tr> <td width="20"><font face="Arial, Helvetica, sans-serif, Verdana"></font></td> <td width="103"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="time.html">Finding an Event in Time</a></font></td> </tr> </table> </td> <td width="5" bgcolor="#000000" height="159">&nbsp;</td> </tr> <tr align="left" valign="top"> <td bgcolor="#000000" height="6" width="5">&nbsp;</td> <td bgcolor="ffcc00" height="6" width="15">&nbsp;</td> <td bgcolor="#000000" height="6">&nbsp;</td> <td bgcolor="#000000" height="6">&nbsp;</td> <td bgcolor="#000000" height="6">&nbsp;</td> <td bgcolor="#ffcc00" align="center" height="6">&nbsp;</td> <td width="5" bgcolor="#000000" height="6">&nbsp;</td> </tr> <tr align="left" valign="top"> <td width="5" bgcolor="#000000" height="5">&nbsp;</td> <td width="15" bgcolor="ffcc00" height="5">&nbsp;</td> <td width="5" bgcolor="ffcc00" height="5">&nbsp;</td> <td width="410" bgcolor="ffcc00" height="5" align="center" valign="middle"> <div align="center"><a href="http://www.cotf.edu/ete" target="_blank"> <img src="../../../images/modules/msese/common/ete.gif" align="left" vspace="5" hspace="5" border="0" width="88" height="103" alt="Button that takes you to the Exploring the Environment home page."></a> <table width="275" border="0" cellspacing="0" cellpadding="0" align="center"> <tr> <td> <p align="center"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="geotime.html">Geologic Time</a> </font><font face="Arial, Helvetica, sans-serif, Verdana">|<b> </b></font><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="cenozoic.html">Cenozoic Era</a> | <a href="mesozoic.html">Mesozoic Era</a> </font><font face="Arial, Helvetica, sans-serif, Verdana">|<b> </b></font><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="paleozoic.html">Paleozoic Era</a> | <a href="cambrian.html">The Precambrian Eon</a> </font><font face="Arial, Helvetica, sans-serif, Verdana">|<b> </b></font><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="funny.html">The Staircase of Time</a> | How Old is That Rock? </font><font face="Arial, Helvetica, sans-serif, Verdana">|<b> </b></font><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="geo_activity.html">Geologic Time Activity</a> | <a href="geo_activity2.html">What is a Million?</a> | <a href="time.html">Finding a Place in Time</a></font></p> <p align="center"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1"><a href="diversity.html">Diversity</a> | <a href="adapt.html">Adaptation</a> | <a href="plates1.html">Plate Tectonics</a> | <a href="cycles.html">Cycles</a> | <a href="spheres.html">Spheres</a> | <a href="biomes.html">Biomes</a> | <a href="geotime.html">Geologic Time</a> </font></p> </td> </tr> </table> </div> </td> <td width="5" bgcolor="ffcc00" height="5">&nbsp;</td> <td bgcolor="#ffcc00" width="145" align="center" height="5"><a href="../explorer.html"><img src="../../../images/modules/msese/common/castle.gif" hspace="0" vspace="5" border="0" width="140" height="116" alt="Image of a castle that links back to the MSESE home page."></a></td> <td width="5" bgcolor="#000000" height="5">&nbsp;</td> </tr> </table> <table width="590" border="0" cellspacing="0" cellpadding="0" align="center"> <tr align="left" valign="top"> <td><a href="../dinosaur.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('Image26','','../../../images/modules/msese/common/bottom1J.gif',1)"> <img name="Image26" border="0" src="../../../images/modules/msese/common/bottom1.gif" width="126" height="72" alt="Button that takes you to the Dinosaur Floor page."></a><a href="../earthsys.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('Image27','','../../../images/modules/msese/common/bottom2J.gif',1)"><img name="Image27" border="0" src="../../../images/modules/msese/common/bottom2J.gif" width="92" height="72" alt="Button that takes you to the Earth Floor page."></a><a href="../glossary.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('Image28','','../../../images/modules/msese/common/bottom3J.gif',1)"><img name="Image28" border="0" src="../../../images/modules/msese/common/bottom3.gif" width="125" height="72" alt="Button that takes you to the Resource Room page."></a><a href="../tchnotes/tnotes.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('Image29','','../../../images/modules/msese/common/bottom4J.gif',1)"><img name="Image29" border="0" src="../../../images/modules/msese/common/bottom4.gif" width="135" height="72" alt="Button that takes you to the Teacher's Lounge page."></a><a href="../elevator.html" onMouseOut="MM_swapImgRestore()" onMouseOver="MM_swapImage('Image30','','../../../images/modules/msese/common/bottom5J.gif',1)"><img name="Image30" border="0" src="../../../images/modules/msese/common/bottom5.gif" width="112" height="72" alt="Button that takes you to the Elevator page."></a></td> </tr> <tr> <td bgcolor="#000000"> <table width="95%" border="0" align="center" cellpadding="5"> <tr> <td height="12"> <p align="center"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1" color="#FFFFFF">Site maintained by the </font><a href="../../../aboutus/AUmeet.html"><font face="Arial, Helvetica, sans-serif, Verdana" size="-1" color="#FFFFFF"> ETE Team </font></a><font face="Arial, Helvetica, sans-serif, Verdana" size="-1" color="#FFFFFF"><br> Last updated on </font><font face="Arial, Helvetica, sans-serif, Verdana" color="#FFFFFF" size="2"> <!--webbot bot="Timestamp" S-Type="EDITED" S-Format="%B %d, %Y" startspan -->April 28, 2005<!--webbot bot="Timestamp" endspan i-checksum="17861" --> </font></p> </td> </tr> </table> </td> </tr> <tr> <td bgcolor="#FFFFFF"> <!--webbot bot="Include" U-Include="../../../common/footer.html" TAG="BODY" startspan --> <p align="center"><font face="Verdana" size="1">Some images © 2004 www.clipart.com</font></p> <p><a href="../../../common/privacy.html"><font size="1" face="Verdana">Privacy Statement</font></a><font face="Verdana" size="1"> and <a href="../../../common/copyright.html">Copyright</a> © 1997-2004 by Wheeling Jesuit University/NASA-supported Classroom of the Future. All rights reserved.</font></p> <p><font face="Verdana" size="1">Center for Educational Technologies, Circuit Board/Apple graphic logo, and COTF Classroom of the Future logo are registered trademarks of Wheeling Jesuit University.</font></p> <!--webbot bot="Include" endspan i-checksum="5797" --> </td> </tr> </table> </body> </html>
Earth Floor: Geologic Time <!-- var winOpts = 'toolbar=no,location=no,status=no,menubar=no,resizeable=no,scrollbars=yes,width=380,height=260'; function popUp(pPage) { popUpWin = window.open(pPage,'popWin',winOpts); if (popUpWin.opener == null) popUpWin.opener = window; popUpWin.opener.name = "opener"; popUpWin.focus(); } function MM\_preloadImages() { //v3.0 var d=document; if(d.images){ if(!d.MM\_p) d.MM\_p=new Array(); var i,j=d.MM\_p.length,a=MM\_preloadImages.arguments; for(i=0; i<a.length; i++) if (a[i].indexOf("#")!=0){ d.MM\_p[j]=new Image; d.MM\_p[j++].src=a[i];}} } function MM\_swapImgRestore() { //v3.0 var i,x,a=document.MM\_sr; for(i=0;a&&i<a.length&&(x=a[i])&&x.oSrc;i++) x.src=x.oSrc; } function MM\_findObj(n, d) { //v3.0 var p,i,x; if(!d) d=document; if((p=n.indexOf("?"))>0&&parent.frames.length) { d=parent.frames[n.substring(p+1)].document; n=n.substring(0,p);} if(!(x=d[n])&&d.all) x=d.all[n]; for (i=0;!x&&i<d.forms.length;i++) x=d.forms[i][n]; for(i=0;!x&&d.layers&&i<d.layers.length;i++) x=MM\_findObj(n,d.layers[i].document); return x; } function MM\_swapImage() { //v3.0 var i,j=0,x,a=MM\_swapImage.arguments; document.MM\_sr=new Array; for(i=0;i<(a.length-2);i+=3) if ((x=MM\_findObj(a[i]))!=null){document.MM\_sr[j++]=x; if(!x.oSrc) x.oSrc=x.src; x.src=a[i+2];} } //--> [Skip Navigation](#maincontent) | | | --- | | [Button that takes you to the Dinosaur Floor page.](../dinosaur.html)[Button that takes you to the Earth Floor page.](../earthsys.html)[Button that takes you to the Resource Room page.](../glossary.html)[Button that takes you to the Teacher's Lounge page.](../tchnotes/tnotes.html)[Button that takes you to the Elevator page.](../elevator.html) | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | | | | | | | | --- | | Image that says Geologic Time. Image showing a large section of rock and its different layers. Please have someone assist you with this. | | | | --- | | **How Old is That Rock?** How can you tell the age of a rock or to which geologic time period it belongs? One way is to look at any fossils the rock may contain. If any of the fossils are unique to one of the geologic time periods, then the rock was formed during that particular time period. Another way is to use the "What's on top?" rule. When you find layers of rocks in a cliff or hillside, younger rocks are on top of older rocks. But these two methods only give the relative age of rocks--which are younger and which are older. How do we find out how old a rock is in years? Or how do we know how long ago a particular group of fossilized creatures lived? The age of a rock in years is called its absolute age. Geologists find absolute ages by measuring the amount of certain radioactive elements in the rock. When rocks are formed, small amounts of radioactive elements usually get included. As time passes, the "parent" radioactive elements change at a regular rate into non-radioactive "daughter" elements. Thus, the older a rock is, the larger the number of daughter elements and the smaller the number of parent elements are found in the rock. Image showing the radioactive age dating of a rock. Please have someone assist you with this. Image of the Geologic Time Column. Please have someone assist you with this.A common "parent-daughter" combination that geologists use is radioactive uranium and non-radioactive lead. As shown in the diagram above, uranium is trapped in a newly formed rock. As the rock ages, more and more of the uranium changes into lead. The age of the rock in years can be found by measuring the rate at which a parent element decays and then measuring the ratio of parent element to daughter element in the rock. The ages in years of the different geological time periods are found by measuring the absolute ages of many rocks from all of the different periods. The absolute ages of some of the different geologic time periods are shown along the right side of the Staircase of Time. The steps of the Staircase of Time are drawn to be almost the same size, so you might think that the time periods are the same length, but they are not. The absolute ages of rocks taken from the different time periods have shown that the time periods were of greatly differing lengths. Some were very short, like the Quaternary period (only 2 million years), while others were very long, like the Proterozoic Era (almost 2 billion years). According to absolute-age measurements, an accurate representation of the lengths of the major geologic time periods is shown in the time bar at right. **[Back](funny.html) | [Next](geo_activity.html)**   | | | Image that says Earth Floor. [Button that takes you to the Diversity page.](diversity.html)[Button that takes you to the Adaptation page.](adapt.html) [Button that takes you to the Plate Tectonics page.](plates1.html) [Button that takes you to the Cycles page.](cycles.html) [Button that takes you to the Spheres page.](spheres.html) [Button that takes you to the Biomes page.](biomes.html) [Button that takes you to the Geologic Time page.](geotime.html) | | | | --- | --- | | | [Geologic Time](geotime.html) | | | [Cenozoic Era](cenozoic.html) | | | [Mesozoic Era](mesozoic.html) | | | [Paleozoic Era](paleozoic.html) | | | [The Precambrian Eon](cambrian.html) | | | [Names on the Staircase of Time](funny.html) | | Image of a star. | How Old is That Rock? | | | [Geologic Time Activity](geo_activity.html) | | | [What is a Million?](geo_activity2.html) | | | [Finding an Event in Time](time.html) | | | | | | | | | | | | | | | [Button that takes you to the Exploring the Environment home page.](http://www.cotf.edu/ete) | | | --- | | [Geologic Time](geotime.html) |[Cenozoic Era](cenozoic.html) | [Mesozoic Era](mesozoic.html) |[Paleozoic Era](paleozoic.html) | [The Precambrian Eon](cambrian.html) |[The Staircase of Time](funny.html) | How Old is That Rock? |[Geologic Time Activity](geo_activity.html) | [What is a Million?](geo_activity2.html) | [Finding a Place in Time](time.html) [Diversity](diversity.html) | [Adaptation](adapt.html) | [Plate Tectonics](plates1.html) | [Cycles](cycles.html) | [Spheres](spheres.html) | [Biomes](biomes.html) | [Geologic Time](geotime.html) | | | [Image of a castle that links back to the MSESE home page.](../explorer.html) | | | | | --- | | [Button that takes you to the Dinosaur Floor page.](../dinosaur.html)[Button that takes you to the Earth Floor page.](../earthsys.html)[Button that takes you to the Resource Room page.](../glossary.html)[Button that takes you to the Teacher's Lounge page.](../tchnotes/tnotes.html)[Button that takes you to the Elevator page.](../elevator.html) | | | | | --- | | Site maintained by the [ETE Team](../../../aboutus/AUmeet.html) Last updated on April 28, 2005 | | | Some images © 2004 www.clipart.com [Privacy Statement](../../../common/privacy.html) and [Copyright](../../../common/copyright.html) © 1997-2004 by Wheeling Jesuit University/NASA-supported Classroom of the Future. All rights reserved. Center for Educational Technologies, Circuit Board/Apple graphic logo, and COTF Classroom of the Future logo are registered trademarks of Wheeling Jesuit University. |
http://www.cotf.edu/ete/modules/msese/earthsysflr/ages.html
<!DOCTYPE HTML PUBLIC "-//IETF//DD HTML 3.0//EN"> <HTML> <HEAD> <!-- AUTHOR="Eric Schwartz" --> <!-- EMAIL="unavailable@unavailable.com" --> <!-- PROGRAM="WebPlug v1.21 © 1996-97 Esteve Boix" --> <TITLE>Sabrina-Online.com</TITLE> <LINK REL="SHORTCUT ICON" HREF="http://www.sabrina-online.com/favicon.ico"> </HEAD> <BODY BACKGROUND="gradient.jpg" BGCOLOR="#FFFFFF" TEXT="#000000" LINK="#0000FF" ALINK="#0091FF" VLINK="#000078"> This page looks best at 16 or 24 bit color, 800x600 resolution or better. Last updated December 17, 2023. <P> <CENTER> <IMG SRC="sabtitle0.gif" ALT="Sabrina-Online.com" WIDTH="753" HEIGHT="193"> <BR></CENTER> <TABLE WIDTH="100%"> <TR> <TD WIDTH=80 VALIGN="top"> <CENTER> <IMG SRC="bo_home.gif" ALT="Home" WIDTH="69" HEIGHT="32"><BR> <A HREF="thismonth.html"><IMG SRC="b_month.gif" ALT="This Month" BORDER=0 WIDTH="69" HEIGHT="32"></A><BR> <A HREF="archive.html"><IMG SRC="b_archive.gif" ALT="Archive" BORDER=0 WIDTH="69" HEIGHT="32"></A><BR> <A HREF="links.html"><IMG SRC="b_links.gif" ALT="Links" BORDER=0 WIDTH="69" HEIGHT="32"></A><BR> <A HREF="espro.html"><IMG SRC="b_espro.gif" ALT="ES Productions" BORDER=0 WIDTH="69" HEIGHT="32"></A><BR> <BR><B>Tip Jar</B><BR> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input type="hidden" name="cmd" value="_s-xclick"> <input type="hidden" name="hosted_button_id" value="MTJWMEAUQKZ4Q"> <input type="image" SRC="btn_donate_SM.gif" border="0" name="submit" alt="PayPal"> <img alt="" border="0" src="https://www.paypal.com/en_US/i/scr/pixel.gif" width="1" height="1"> </form> Thanks for your donations! <BR> </CENTER> </TD> <TD> <CENTER> <BR> <H3><I>'The World Wide Web is like a spider's web - full of dirt and bugs.'</I></H3> Welcome to the home page of Sabrina Online. Here you can find past and current comic strips, updated monthly. It might be hard to believe, but the comic has been running for twenty years.</B> <BR><BR> <B>Some of you may have noticed there were some printer errors in the 'Sabrina Online Year 5' comic collection. Here is a PDF addendum with corrected pages -<A HREF="SOY5_addendum.pdf">Download PDF - 663K</A>.</B> <P> </CENTER> "Sabrina Online" is a comic strip created, written, and drawn by Eric W. Schwartz. New strips will appear at the rate of between two and five every month. You probably realize now that this is not quite as fast or structured an affair as other web-based comics, but I am not doing this for the money, as my finances seem to show, and my main purpose is to pop out some of the stories I have held onto for too long, as well as to just have fun. If I got too regimented about this comic, I would no longer have any fun with it, and that would pass on to the comic itself. Put simply, If I did it faster, I'd do it slower. <BR>Sabrina Online appears in a few user group newsletters, most notably the Amitech-Dayton Amiga Gazette, serving the AmiTech-Dayton user group and published by E.S. Productions. Sabrina Online appeared regularly in the keen British magazine Amiga Format until it ceased publication in 2000, and would later make appearances in magazines such as 'New Amigans' and 'Amiga Future'. <P> <B>CONTENT WARNING:</B> - those with hyper-sensitive dispositions or little children should be warned that this comic strip may occasionally contain words, ideas, images, and other subject matter (what's left?) that may be considered objectionable to some. There shouldn't be anything here that you won't find on television, (sans cable) but if you are the type who thinks Bugs Bunny really needs to wear pants, consider yourself warned, and don't view any of the comic strips. <P> This comic strip is Copyright © 1996-2016, 2017-2020 Eric W. Schwartz, commercial rights reserved. This comic is redistributable in a limited way. The comic strip graphic files themselves are freely distributable, as long as they are not modified in any way. User groups and non-profit organizations wishing to reprint the comic strip in their newsletter or website may do so, as long as proper credit is given to myself and this website. (I would also like to be notified if you do use it) Any commercial magazines, books, or electronic media publications may negotiate with me by E-mail if they wish to publish or otherwise reprint the comic strips. Check the links page for contact information. <P> <B>Sabrina Online has a tip jar - Donate or don't-nate.</B> <form action="https://www.paypal.com/cgi-bin/webscr" method="post"> <input type="hidden" name="cmd" value="_s-xclick"> <input type="hidden" name="hosted_button_id" value="MTJWMEAUQKZ4Q"> <input type="image" src="https://www.paypal.com/en_US/i/btn/btn_donateCC_LG.gif" border="0" name="submit" alt="PayPal - The safer, easier way to pay online!"> <img alt="" border="0" src="https://www.paypal.com/en_US/i/scr/pixel.gif" width="1" height="1"> </form> Interested in creating fan art or fan fiction of Sabrina or other E.S. Productions characters? Please check out the <A HREF="fanfaq.html">FAQ</A> with information and guidelines for fan works. It was born in an attempt to clear up confusion. <P> <HR> <CENTER> <A HREF="http://www.patreon.com/SabrinaOnline" TARGET="_blank"><IMG SRC="SabrinaOnlinePatBannerSM.png" WIDTH="640" HEIGHT="250"><BR> Support the creation of new Sabrina Online comic stories at the Sabrina Patreon!</A> <BR> <A HREF="amitech/index.html"><IMG SRC="amitech/AmiTechBanner-sm.jpg" WIDTH="800" HEIGHT="285"></A><BR> <TABLE WIDTH="850" BORDER="0" CELLPADDING="0" CELLSPACING="0"> <TR> <TD><CENTER> </CENTER></TD> <TD><CENTER> <A HREF="http://www.furafterdark.com"><IMG SRC="FADBanner180-2.gif" ALT="Fur After Dark" WIDTH="180" HEIGHT="75"></A><BR> <A HREF="http://www.patreon.com/ES_Productions"><IMG SRC="PatreonEWSBannersm.jpg" WIDTH="360" HEIGHT="129"></A> </CENTER></TD> <TD><CENTER> <A HREF="https://furrydakimakura.com/search?type=product&q=eric+schwartz+mask" TARGET="_blank"><IMG SRC="FD_FacemaskSO.jpg" WIDTH="375" HEIGHT="375"></A> </CENTER></TD> </TR></TABLE> <BR><B>WARNING!: Some links are NSFW or Adults Only.</B><BR><BR> <H3> <A HREF="TVstrips.html">Special Feature - April 2010 'ToyVentures' comic </A> <P> <A HREF="Botcon08.html">Special Feature - Photo essay from Botcon 2008 (pic heavy - not for dialup)</A> <P> <A HREF="TF/botcon06.html">Special Feature - Four toys' trip to Botcon 2006</A> <P> <A HREF="botcon2002.html">Special Feature - Sabrina's trip to Botcon 2002</A><BR> <P> <IMG SRC="BRomanceComic.jpg" ALT="banner"><BR> <IMG SRC="award-eric.jpg" WIDTH="242" HEIGHT="203"><A HREF="http://www.korsil.net"><IMG SRC="korsilfox3h.jpg" ALT="Korsil Review" WIDTH="189" HEIGHT="86" ALIGN="top"></A><BR> </H3> </CENTER> </TD> </TR> </TABLE> <P ALIGN="RIGHT"><IMG SRC="http://cgi.boingdragon.com/count/sabonline/0"> <HR></P>This website created and designed by Eric W. Schwartz ©2023. HTML files and web graphics created using Amiga and MorphOS computers and software. </BODY> </HTML>
Sabrina-Online.com This page looks best at 16 or 24 bit color, 800x600 resolution or better. Last updated December 17, 2023. ![Sabrina-Online.com](sabtitle0.gif) | | | | | | | --- | --- | --- | --- | --- | | Home [This Month](thismonth.html) [Archive](archive.html) [Links](links.html) [ES Productions](espro.html) **Tip Jar** Thanks for your donations! | *'The World Wide Web is like a spider's web - full of dirt and bugs.'* Welcome to the home page of Sabrina Online. Here you can find past and current comic strips, updated monthly. It might be hard to believe, but the comic has been running for twenty years. **Some of you may have noticed there were some printer errors in the 'Sabrina Online Year 5' comic collection. Here is a PDF addendum with corrected pages -[Download PDF - 663K](SOY5_addendum.pdf).** "Sabrina Online" is a comic strip created, written, and drawn by Eric W. Schwartz. New strips will appear at the rate of between two and five every month. You probably realize now that this is not quite as fast or structured an affair as other web-based comics, but I am not doing this for the money, as my finances seem to show, and my main purpose is to pop out some of the stories I have held onto for too long, as well as to just have fun. If I got too regimented about this comic, I would no longer have any fun with it, and that would pass on to the comic itself. Put simply, If I did it faster, I'd do it slower. Sabrina Online appears in a few user group newsletters, most notably the Amitech-Dayton Amiga Gazette, serving the AmiTech-Dayton user group and published by E.S. Productions. Sabrina Online appeared regularly in the keen British magazine Amiga Format until it ceased publication in 2000, and would later make appearances in magazines such as 'New Amigans' and 'Amiga Future'. **CONTENT WARNING:** - those with hyper-sensitive dispositions or little children should be warned that this comic strip may occasionally contain words, ideas, images, and other subject matter (what's left?) that may be considered objectionable to some. There shouldn't be anything here that you won't find on television, (sans cable) but if you are the type who thinks Bugs Bunny really needs to wear pants, consider yourself warned, and don't view any of the comic strips. This comic strip is Copyright © 1996-2016, 2017-2020 Eric W. Schwartz, commercial rights reserved. This comic is redistributable in a limited way. The comic strip graphic files themselves are freely distributable, as long as they are not modified in any way. User groups and non-profit organizations wishing to reprint the comic strip in their newsletter or website may do so, as long as proper credit is given to myself and this website. (I would also like to be notified if you do use it) Any commercial magazines, books, or electronic media publications may negotiate with me by E-mail if they wish to publish or otherwise reprint the comic strips. Check the links page for contact information. **Sabrina Online has a tip jar - Donate or don't-nate.** Interested in creating fan art or fan fiction of Sabrina or other E.S. Productions characters? Please check out the [FAQ](fanfaq.html) with information and guidelines for fan works. It was born in an attempt to clear up confusion. --- [Support the creation of new Sabrina Online comic stories at the Sabrina Patreon!](http://www.patreon.com/SabrinaOnline) | | | | | --- | --- | --- | | | [Fur After Dark](http://www.furafterdark.com) | | **WARNING!: Some links are NSFW or Adults Only.** [Special Feature - April 2010 'ToyVentures' comic](TVstrips.html) [Special Feature - Photo essay from Botcon 2008 (pic heavy - not for dialup)](Botcon08.html) [Special Feature - Four toys' trip to Botcon 2006](TF/botcon06.html) [Special Feature - Sabrina's trip to Botcon 2002](botcon2002.html) banner [Korsil Review](http://www.korsil.net) | ![](http://cgi.boingdragon.com/count/sabonline/0) --- This website created and designed by Eric W. Schwartz ©2023. HTML files and web graphics created using Amiga and MorphOS computers and software.
http://www.sabrina-online.com/
<html> <head> <title>PC History</title> <meta name="GENERATOR" content="Microsoft FrontPage 4.0"> </head> <body bgcolor="#00FFFF"> <div align="left"> <table border="1" width="100%" cellspacing="0" cellpadding="0" bordercolorlight="#ff9900" bordercolordark="#ff9900"> <tr> <td width="12%" valign="top"> <p align="center"><BR> <div align="center"> <center> <b><font face="Verdana" size="2">PC History</font></b> <p align="center"><font face="Verdana" size="1"> This site, which documents the history of pre-IBM PCs, is a tribute to the work of Stan Veit, a pioneer of personal computing. <P> The core of the site, everything apart from the timeline pages below, was created by Stan between 1999 and 2002. It is now being preserved, for the enjoyment of future generations. <P> <BR> <P> <img src="history.jpg"> <BR><P> <BR><P> <BR><P> <BR><P> <BR><P> <BR><P> <BR><P> <BR><P> <BR><P> <BR><P> <BR><P> <BR><P> <BR><P> <BR><P> <BR><P> &nbsp;<P> &nbsp;<P> &nbsp;<P> <BR><P> <BR> </font> <font face="Verdana" size="2">Timeline Pages </font> <p align="center"><font face="Verdana" size="1"> PC-History.Org is the centerpiece of a growing hub of historical information on computing related topics. These gradually will be added to over time. For your enjoyment, we are pleased to bring you the history of.... <P> <a href="pc-virus.htm">The PC Virus</a> <P> <a href="forensics.htm">Computer Forensics</a> <P> <a href="17799.htm">ISO 17799</a> <P> <a href="itservice.htm">ITIL</a> <P> <a href="cob.htm">Cobit</a> <P> &nbsp; <P> </font> </div> </center> <td width="4" valign="top"> </td> <td width+"100%" valign="top"></td> <td width="100%" valign="top"><br> <div align="center"> <BR> <p align="center"> <table border="1" cellpadding="3" cellspacing="3" width="88%"> <tr> <td width="100%" valign="top" align="center" bgcolor="#FFFF00" bordercolor="#FF0000" bordercolorlight="#FF0000" bordercolordark="#FF0000" height="127"><p align="left"><img src="pclogo.gif" width="705" height="122" alt="pclogo.gif (2897 bytes)"> </td> </tr> </table> </div> <p align="center">&nbsp;</p> <div align="center"><center> <table border="1" cellpadding="3" cellspacing="3" width="90%"> <tr> <td width="100%" valign="top" align="left">&nbsp;</td> </tr> </table> </center></div> <p align="center"><big><big><big><big><big><font face="Arial Black" color="#400040">Pre-IBM PC Computers.</font></big></big></big></big></big></p> <div align="left"> <table border="0" cellpadding="1" cellspacing="3" width="90%" height="158"> <tr> <td width="30%" height="146" valign="top" align="center"><a href="altair.htm"><img src="altair.gif" width="133" height="100" alt="altair.gif (35560 bytes)"></a><p align="left"><a href="altair.htm"><font color="#FF0000"><strong>MITS ALTAIR 8800-The start of it all</strong></font></a></td> <td width="70%" height="146" valign="top" align="left" bgcolor="#FFFF00" bordercolor="#FF0000"><font color="#FF0000"><big><strong>The MITS Altair was the first 8080 based&nbsp; kit microcomputer. It was first introduced in the January, 1975 issue of Popular Electronics magazine as a construction project.&nbsp; The reaction to the Altair was un-expected by either the magazine or by MITS who designed it.&nbsp; Although not the first available microcomputer , it was the start of the industry.</strong></big></font></td> </tr> </table> </div><div align="left"> <table border="0" cellpadding="3" cellspacing="3" width="90%" height="1230"> <tr> <td width="30%" valign="top" align="center" height="172"><a href="imsai.htm"><img src="imsai.gif" width="153" height="115" alt="imsai.gif (27921 bytes)"></a><p><a href="imsai.htm"><font color="#FF0000"><strong>IMSAI -8080 The micro-computer that was more than a toy</strong></font></a></td> <td width="70%" height="172" valign="top" align="left" bgcolor="#FFFF00"><strong><font color="#FF0000"><big>The Imsai 8080 developed by IMS Associates, was designed to use the same bus structure as the Altair 8800 with interchangeable circuit boards. The Imsai 8080 however was much better built, had a more powerful&nbsp; power supply, and front panel. It supplanted the Altair A model as the standard&nbsp; S-100 Bus computer. The Imsai was the first for a complete line of micros built by this company.</big></font></strong><p>&nbsp;</td> </tr> <tr> <td width="30%" valign="top" align="center" height="163"><a href="swtpc.htm"><font color="#FF0000"><strong><img src="swptc.gif" width="185" height="92" alt="swptc.gif (21934 bytes)"></strong></font></a><p><a href="swtpc.htm"><font color="#FF0000"><strong>Southwest Tech 6800- The kit builders favorite</strong></font></a></td> <td width="70%" height="163" valign="top" align="left" bgcolor="#FFFF00"><strong><font color="#FF0000">T<big>he M6800 Computer kit from South West Technical Products Company used the Motorola 6800 processor and the SS-50 bus structure.&nbsp; Much less expensive than the S-100 bus computers and much simpler to build, the M6800 became very popular. In addition SWTPC provided a complete family of peripherals kits at very low cost. The software for the M6800 was excellent and very inexpensive.</big></font></strong></td> </tr> <tr> <td width="30%" valign="top" align="center" height="163"><a href="sol.htm"><font color="#FF0000"><strong><img src="sol.gif" width="181" height="115" alt="sol.gif (49855 bytes)"></strong></font></a><p align="left"><a href="sol.htm"><font color="#FF0000"><strong>The SOL-First 8080 Desktop </strong></font></a>microcomputer</td> <td width="70%" height="163" valign="top" align="left" bgcolor="#FFFF00"><strong><font color="#FF0000"><big>Processor Technology company designed and sold a full line of boards for the S-100 computers.&nbsp; In 1977 they designed the SOL Computer which used most of their circuit boards. The SOL had a video terminal built-in, only requiring a video monitor. In a very attractive case with walnut wood sides, the SOL became a very popular computer that influenced the design of&nbsp; future computers. Pro. Tech did not provide a low cost floppy disk system so users turned to North Star for their disk storage. </big></font></strong></td> </tr> <tr> <td width="30%" valign="top" align="center" height="198"><a href="apple.htm"><img src="apple2.gif" width="163" height="122" alt="apple2.gif (17117 bytes)"></a><p align="left"><a href="apple.htm"><font color="#FF0000"><strong>Apple II The micro that made it into business and homes .</strong></font></a></td> <td width="70%" height="198" valign="top" align="left" bgcolor="#FFFF00"><font color="#FF0000"><big><strong>The Apple II was the first true&quot;personal computer&quot; it was factory built, in-expensive and easy to learn and use. Provided with the most extensive set of software and low cost floppy disks, the&nbsp; Apple II was also the first personal computer capable of color graphics and easy modem operation..&nbsp; Development of&nbsp; the Visicalc spreadsheet program created a business tool that made adoption of Apple II a regular part of business.</strong></big></font></td> </tr> <tr> <td width="30%" valign="top" align="center" height="211"><a href="tandy2.htm"><img src="TRS80.bmp" width="176" height="183" alt="TRS80.gif (48813 bytes)"></a><p align="left"><a href="tandy2.htm"><font color="#FF0000"><strong>TRS-80 (Trash 80), The most popular home computer</strong></font></a></td> <td width="70%" height="211" valign="top" align="left" bgcolor="#FFFF00" bordercolorlight="#00FFFF" bordercolor="#FF0000"><font color="#FF0000"><big><strong>Radio Shack's&nbsp; TRS-80 selling for about $500 complete with video monitor and BASIC took the personal computer market by storm.&nbsp; Using a fast Z-80 processor it use a cassette recorder for program and data storage. Later models incorporated disk drives and more memory. the Model III, housed in one case became the most popular personal computer in schools and homes rivaling the Apple II.&nbsp; Radio Shack also built other types of personal computers including the first practical laptop, the Model 10</strong>0.</big></font></td> </tr> <tr> <td width="30%" valign="top" align="center" height="175"><a href="atari.htm"><strong><font color="#FF0000"><img src="atari800.gif" width="149" height="118" alt="atari800.gif (17346 bytes)"></font></strong></a><p align="left"><a href="atari.htm"><strong><font color="#FF0000">Atari 800- The machine that won the color graphics race</font></strong></a></td> <td width="70%" height="175" valign="top" align="left" bgcolor="#FFFF00"><big><font color="#FF0000"><strong>The Atari Models 400 and 800 were considered the best personal computers for games and color graphics. They had a very large family of game software, but not much business software. Lack of good&nbsp; disk and peripheral support cased these machines to have a short life.</strong></font></big></td> </tr> <tr> <td width="30%" valign="top" align="center" height="177"><a href="comm.htm"><strong><font color="#FF0000"><img src="commodore.gif" width="171" height="116" alt="commodore.gif (25370 bytes)"></font></strong></a><p align="left"><a href="comm.htm"><strong><font color="#FF0000">Commodore 64- Breaking the price barrier</font></strong></a></td> <td width="70%" height="177" valign="top" align="left" bgcolor="#FFFF00"><p align="left"><big><font color="#FF0000"><strong>The Commodore 64 was the best-selling personal computer of all time. It had a large memory capacity, low cost floppy disks and peripherals and color graphics. It could use a TV for a monitor and there was all the software anyone could want.&nbsp;&nbsp; Commodore in a price war with Texas Instruments, reduced the prices of the C-64 as low as $260 and more of them were sold than any computer in history.</strong></font></big></td> </tr> <tr> <td width="30%" valign="top" align="center" height="177"><img src="ti99.gif" width="210" height="109" alt="ti99.gif (24737 bytes)"><p align="left"><a href="texas.htm"><strong><font color="#FF0000">Texas Instruments TI 99-4</font></strong></a></td> <td width="70%" height="177" valign="top" align="left" bgcolor="#FFFF00"><big><font color="#FF0000"><strong>The Texas Instruments 99-4A used a TI 16-bit processor and was an excellent graphics computer.&nbsp; It lacked easy expansion capabilities and required proprietary software.</strong></font></big><p><big><font color="#FF0000"><strong>After engaging in a price war with Commodore, TI stopped production and sold out below $100 per computer</strong></font></big></td> </tr> <tr> <td width="30%" valign="top" align="center" height="19"><a href="heath.htm"><strong><font color="#FF0000"><img src="heath.gif" width="159" height="140" alt="heath.gif (65104 bytes)"></font></strong></a><p align="left"><a href="heath.htm"><strong><font color="#FF0000">Heath- Desktop with built-in floppy and monitor</font></strong></a></td> <td width="70%" height="19" valign="top" align="left" bgcolor="#FFFF00"><font color="#FF0000"><strong><big>The Heath Desktop was one of the first computers designed as complete desktop machines including monitor, floppy disks and keyboard. Heath made a full line of computers and was later bought by Zenith. </big></strong></font></td> </tr> <tr> <td width="30%" valign="top" align="center" height="19"><a href="cpm.htm"><strong><font color="#FF0000"><img src="morrow.bmp" width="140" height="112" alt="morrow.gif (41776 bytes)"></font></strong></a><p align="left"><a href="cpm.htm"><strong><font color="#FF0000">Morrow- Powerful S-100 Z80 Computer using CP/M</font></strong></a></td> <td width="70%" height="19" valign="top" align="left" bgcolor="#FFFF00"><font color="#FF0000"><strong>The Morrow computer was one of last powerful&nbsp; Z-80 powered S-100 computers. Representative of the designs supplanted by the IBM PC, this machine was sold as a complete system including a video terminal and printer.</strong></font><p><font color="#FF0000"><strong>It ran the CP/M operating system and the MP/M multi-user operating system.</strong></font></p> <p><font color="#FF0000"><strong>The Morrow Company was a leading supplier of disk systems for CP/M computers.</strong></font></td> </tr> </table> </div> <p><br> <p>&nbsp; <p>&nbsp; <p style="margin-top: 0; margin-bottom: 0"><b><font size="5">LATEST INFORMATION &amp; LINKS</font></b> <p style="margin-top: 0; margin-bottom: 0">&nbsp;<p style="margin-top: 0; margin-bottom: 0"><font size="4">Photographs: See our growing collection of other interesting photographs: <a href="pics.htm">here</a><br></font><p style="margin-top: 0; margin-bottom: 0">&nbsp;<p style="margin-top: 0; margin-bottom: 0"><font size="4">More Pre-IBM PCs: <a href="more.htm">Including Ohio Scientific and The Digital Group</a>&nbsp;</font><p style="margin-top: 0; margin-bottom: 0">&nbsp;<p style="margin-top: 0; margin-bottom: 0"> <font size="4">Software: <a href="pc-software.htm">The Birth of PC Software</a> (including 'The Rise of &quot;Killer&quot; Apps)</font> <p style="margin-top: 0; margin-bottom: 0"> &nbsp;<p style="margin-top: 0; margin-bottom: 0"> <font size="4">Other PC History &amp; Museum Sites Links: We have recently added an external <a href="links.htm">Links Section</a>&nbsp;</font> <p><br> <p>&nbsp; <p><br> <font color="#400040"><big>This site is under construction by Stan Veit and the PC History Association. Stan Veit will make his vast collection available on the net and provide a site for learning about antique computers.&nbsp; Your comments and contributions are most welcome. The site will grow into a resource for all interested in computer history.&nbsp; Note: we will not publish arguments about which computer was the best.</big></font> <p>To contact site administration: <font size="3">pchistory [at] pc-history . org</font></p> <p><font size="3">To contact Stan Veit:&nbsp; stv [at] pc-history . org</font></p> <p>Browse the Keyword Map of Pc-History.Org&nbsp;<a href="http://www.kwmap.net"></a></p> <p><br> &nbsp;</p> &nbsp;<p align="center"><img src="stanpc.bmp" width="222" height="300"></p> <p>Sp3</p> </table> <p align="center"><font face="Verdana" size="1">PC-History.Org. Preserved by Sara's Web Preservation Group 2020</b></font></p> </body> </html>
PC History | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | | **PC History** This site, which documents the history of pre-IBM PCs, is a tribute to the work of Stan Veit, a pioneer of personal computing. The core of the site, everything apart from the timeline pages below, was created by Stan between 1999 and 2002. It is now being preserved, for the enjoyment of future generations.       Timeline Pages PC-History.Org is the centerpiece of a growing hub of historical information on computing related topics. These gradually will be added to over time. For your enjoyment, we are pleased to bring you the history of.... [The PC Virus](pc-virus.htm) [Computer Forensics](forensics.htm) [ISO 17799](17799.htm) [ITIL](itservice.htm) [Cobit](cob.htm)   | | | | | --- | | pclogo.gif (2897 bytes) |   | | | --- | | | Pre-IBM PC Computers. | | | | --- | --- | | [altair.gif (35560 bytes)](altair.htm)[**MITS ALTAIR 8800-The start of it all**](altair.htm) | **The MITS Altair was the first 8080 based  kit microcomputer. It was first introduced in the January, 1975 issue of Popular Electronics magazine as a construction project.  The reaction to the Altair was un-expected by either the magazine or by MITS who designed it.  Although not the first available microcomputer , it was the start of the industry.** | | | | | --- | --- | | [imsai.gif (27921 bytes)](imsai.htm)[**IMSAI -8080 The micro-computer that was more than a toy**](imsai.htm) | **The Imsai 8080 developed by IMS Associates, was designed to use the same bus structure as the Altair 8800 with interchangeable circuit boards. The Imsai 8080 however was much better built, had a more powerful  power supply, and front panel. It supplanted the Altair A model as the standard  S-100 Bus computer. The Imsai was the first for a complete line of micros built by this company.**  | | [**swptc.gif (21934 bytes)**](swtpc.htm)[**Southwest Tech 6800- The kit builders favorite**](swtpc.htm) | **The M6800 Computer kit from South West Technical Products Company used the Motorola 6800 processor and the SS-50 bus structure.  Much less expensive than the S-100 bus computers and much simpler to build, the M6800 became very popular. In addition SWTPC provided a complete family of peripherals kits at very low cost. The software for the M6800 was excellent and very inexpensive.** | | [**sol.gif (49855 bytes)**](sol.htm)[**The SOL-First 8080 Desktop**](sol.htm) microcomputer | **Processor Technology company designed and sold a full line of boards for the S-100 computers.  In 1977 they designed the SOL Computer which used most of their circuit boards. The SOL had a video terminal built-in, only requiring a video monitor. In a very attractive case with walnut wood sides, the SOL became a very popular computer that influenced the design of  future computers. Pro. Tech did not provide a low cost floppy disk system so users turned to North Star for their disk storage.** | | [apple2.gif (17117 bytes)](apple.htm)[**Apple II The micro that made it into business and homes .**](apple.htm) | **The Apple II was the first true"personal computer" it was factory built, in-expensive and easy to learn and use. Provided with the most extensive set of software and low cost floppy disks, the  Apple II was also the first personal computer capable of color graphics and easy modem operation..  Development of  the Visicalc spreadsheet program created a business tool that made adoption of Apple II a regular part of business.** | | [TRS80.gif (48813 bytes)](tandy2.htm)[**TRS-80 (Trash 80), The most popular home computer**](tandy2.htm) | **Radio Shack's  TRS-80 selling for about $500 complete with video monitor and BASIC took the personal computer market by storm.  Using a fast Z-80 processor it use a cassette recorder for program and data storage. Later models incorporated disk drives and more memory. the Model III, housed in one case became the most popular personal computer in schools and homes rivaling the Apple II.  Radio Shack also built other types of personal computers including the first practical laptop, the Model 10**0. | | [**atari800.gif (17346 bytes)**](atari.htm)[**Atari 800- The machine that won the color graphics race**](atari.htm) | **The Atari Models 400 and 800 were considered the best personal computers for games and color graphics. They had a very large family of game software, but not much business software. Lack of good  disk and peripheral support cased these machines to have a short life.** | | [**commodore.gif (25370 bytes)**](comm.htm)[**Commodore 64- Breaking the price barrier**](comm.htm) | **The Commodore 64 was the best-selling personal computer of all time. It had a large memory capacity, low cost floppy disks and peripherals and color graphics. It could use a TV for a monitor and there was all the software anyone could want.   Commodore in a price war with Texas Instruments, reduced the prices of the C-64 as low as $260 and more of them were sold than any computer in history.** | | ti99.gif (24737 bytes)[**Texas Instruments TI 99-4**](texas.htm) | **The Texas Instruments 99-4A used a TI 16-bit processor and was an excellent graphics computer.  It lacked easy expansion capabilities and required proprietary software.****After engaging in a price war with Commodore, TI stopped production and sold out below $100 per computer** | | [**heath.gif (65104 bytes)**](heath.htm)[**Heath- Desktop with built-in floppy and monitor**](heath.htm) | **The Heath Desktop was one of the first computers designed as complete desktop machines including monitor, floppy disks and keyboard. Heath made a full line of computers and was later bought by Zenith.** | | [**morrow.gif (41776 bytes)**](cpm.htm)[**Morrow- Powerful S-100 Z80 Computer using CP/M**](cpm.htm) | **The Morrow computer was one of last powerful  Z-80 powered S-100 computers. Representative of the designs supplanted by the IBM PC, this machine was sold as a complete system including a video terminal and printer.****It ran the CP/M operating system and the MP/M multi-user operating system.** **The Morrow Company was a leading supplier of disk systems for CP/M computers.** |     **LATEST INFORMATION & LINKS**  Photographs: See our growing collection of other interesting photographs: [here](pics.htm) More Pre-IBM PCs: [Including Ohio Scientific and The Digital Group](more.htm)   Software: [The Birth of PC Software](pc-software.htm) (including 'The Rise of "Killer" Apps)   Other PC History & Museum Sites Links: We have recently added an external [Links Section](links.htm)    This site is under construction by Stan Veit and the PC History Association. Stan Veit will make his vast collection available on the net and provide a site for learning about antique computers.  Your comments and contributions are most welcome. The site will grow into a resource for all interested in computer history.  Note: we will not publish arguments about which computer was the best. To contact site administration: pchistory [at] pc-history . org To contact Stan Veit:  stv [at] pc-history . org Browse the Keyword Map of Pc-History.Org      Sp3 | | PC-History.Org. Preserved by Sara's Web Preservation Group 2020
http://www.pc-history.org/index.html
<!doctype html public "-//w3c//dtd html 4.0 transitional//en"> <HTML> <HEAD> <META HTTP_EQUIV="Content-Type" CONTENT="text/html; charset=iso-8859-1"> <META NAME="Author" CONTENT="Michael Wong"> <TITLE>StarDestroyer.Net: Dedicated to the Mighty Imperial Star Destroyer!</TITLE> <LINK REL="SHORTCUT ICON" HREF="http://www.stardestroyer.net/myicon.ico" TYPE="image/x-icon"> <LINK REL="STYLESHEET" TYPE="text/css" HREF="Empire/style.css"> <STYLE TYPE="text/css"> P.item { margin-top:0; margin-bottom:0; margin-left:1em; text-indent:-1em; } </STYLE> </HEAD> <BODY> <P ALIGN=CENTER><A HREF="SDNet-Big.html" TARGET="_blank"><IMG SRC="SDNet.gif" ALT="StarDestroyer.Net" HEIGHT=122 WIDTH=610 BORDER=0></A></CENTER> <TABLE ALIGN=CENTER> <TR> <TD WIDTH="480"><A HREF="Empire/Media/Wallpaper2.jpg" TARGET="_new"><img SRC="toc.jpg" ALT="This website is dedicated the most majestic starship in science fiction: the Imperial Star Destroyer!" HEIGHT=360 WIDTH=480 BORDER=0></TD> <TD VALIGN=TOP> <P CLASS="item"><A HREF="./Empire/">I Want YOU for the Galactic Empire</A> <BR>Last updated: May 2004</P> <P CLASS="item"><A HREF="./wiki/">The Imperial Wiki</A> <BR>Regularly updated</P> <P CLASS="item"><A HREF="./Strategy/">The Strategy Pages</A> <BR>Work in progress</P> <P CLASS="item"><A HREF="./Resources/">Science Fiction Resource Pages</A> <BR>Work in progress</P> <P CLASS="item"><A HREF="./tlc/">Turbolaser Commentaries</A> (defunct) <BR>Last updated: March 2001</P> <P CLASS="item"><A HREF="http://www.creationtheory.org/">Creationism vs Science</A> <BR>Last updated: Sept 2007</P> <P STYLE="margin-left:1em;text-indent:-1em"><B>Discussion Forums</B> <BR><A HREF="http://bbs.stardestroyer.net/">Normal Display</A> <BR><A HREF="https://bbs.stardestroyer.net/">SSL encrypted</A> <BR><A HREF="http://bbs.stardestroyer.net/?style=4">Low bandwidth</A> <P><A HREF="./TPMRevelations/">Episode 1 Reactions</A> <BR><A HREF="./AOTC/">Episode 2 Reactions</A> <BR><A HREF="./ROTS/">Episode 3 Reactions (new)</A></P> <P><A HREF="./Insurrection/">STI Reactions</A> <BR><A HREF="./Nemesis/Pictorial.html">Nemesis Synopsis</A></P> <P><A HREF="./Empire/Media/">Multimedia</A></P> <P><A HREF="./Mike/">The Mike Wong personal home page</A></P></TD> </TR> </TABLE></CENTER> </BODY> </HTML>
StarDestroyer.Net: Dedicated to the Mighty Imperial Star Destroyer! P.item { margin-top:0; margin-bottom:0; margin-left:1em; text-indent:-1em; } [![StarDestroyer.Net](SDNet.gif)](SDNet-Big.html) | | | | --- | --- | | [This website is dedicated the most majestic starship in science fiction: the Imperial Star Destroyer!](Empire/Media/Wallpaper2.jpg) | [I Want YOU for the Galactic Empire](./Empire/) Last updated: May 2004 [The Imperial Wiki](./wiki/) Regularly updated [The Strategy Pages](./Strategy/) Work in progress [Science Fiction Resource Pages](./Resources/) Work in progress [Turbolaser Commentaries](./tlc/) (defunct) Last updated: March 2001 [Creationism vs Science](http://www.creationtheory.org/) Last updated: Sept 2007 **Discussion Forums** [Normal Display](http://bbs.stardestroyer.net/) [SSL encrypted](https://bbs.stardestroyer.net/) [Low bandwidth](http://bbs.stardestroyer.net/?style=4) [Episode 1 Reactions](./TPMRevelations/) [Episode 2 Reactions](./AOTC/) [Episode 3 Reactions (new)](./ROTS/) [STI Reactions](./Insurrection/) [Nemesis Synopsis](./Nemesis/Pictorial.html) [Multimedia](./Empire/Media/) [The Mike Wong personal home page](./Mike/) |
http://www.stardestroyer.net/toc.html
<HTML> <HEAD> <title>London Bus Routes</title> </HEAD> <BODY bgcolor=e8e8e8> <p align=center>Home | <a href="timetables.htm">Timetables</a> | <a href="routes.htm">Bus routes</a> | <a href="details.htm">Operational details</a> | <a href="changes.htm">Service changes</a> | <a href="garages.htm">Operators &amp; Garages</a> | <a href="./photos/">Photo gallery</a> <HR></p> <center> <H1>London Bus Routes</H1> <p>Site last updated: 26 December 2023 <br><font size=1>If this date is much more than a week old you are probably looking at an archived version.<br>Try clicking your browser's re-load button.</font> </center> <p> <TABLE border align=center><TR><TD> <center><b><u>COVID-19 (Coronavirus)</u></b></center> <p>The TfL network is now operating normally, with the exception of weekend-only night routes, which remain withdrawn until further notice, and a minor change on route N18 (which should probably now be regarded as permanent). For historical details please see the <a href="covid.htm">Covid-19 page</a> - <font color=red>last updated 26/08/23</font>. <p>*** The majority of non-TfL routes have now been temporarily removed from the website to avoid confusion. I intend to reinstate them gradually when I have a chance to go through these and check what needs updating. Many of these routes may have seen permanent post-Covid reductions, and it is far from clear whether what is currently running is regarded as 'permanent'. *** </TD></TR></TABLE> <p> <p>This unofficial website was set up in summer 2000 to provide comprehensive information on bus routes in the greater London area, principally the network operated under contract to London Bus Services Limited (LBSL).</p> <p>There are five main sections:<b> <br><a href="routes.htm">Bus routes</a> and <a href="details.htm">operational details</a> <br><a href="changes.htm">Service changes</a> <br><a href="garages.htm">Operator and Garage list</a> </b>including contact information<b> <br><a href="photos/">Photo Gallery</a></b> <p><a href="christmas.htm">Christmas and New Year travel arrangements 2023-2024</a> <font color=red><b><i>Updated 26/12/23</i></b></font> <!--<i>Retained for reference</i>--> <p><b><a href="timetables.htm">Timetables:</a></b> This page is designed to be suitable for viewing on smartphones. The HTML timetables are being revamped, which should fix the smartphone column alignment issue; the majority have now been done, but a few still remain in the old format. <p>Traditional matrix timetables are available either on this link or via either the routes or operational details pages. Click here for a <a href="times/">directory listing</a> of files on the server (in order of date loaded). <p>On PDF timetables, versions of the file may be identified by revision codes alongside the date. The original will have the date only, but subsequent editions will have appended to this either of the following: (A) for amended (corrected times, missing trips etc.), and (R) for reprint (generally cosmetic changes, or minor errors such as headings or place names). This will be followed by a number for second and subsequent revisions of the same type. T denotes a temporary timetable. <br>From 16.7.11 onwards, an additional D code is introduced for diversions where there is no change to the timetable other than that some timing points are altered or omitted. Additionally, for diversions and reversions (i.e. at the end of a temporary timetable or diversion) the original schedule date will be included in parenthesis along with an A or R as appropriate if there have been changes since the last published version of that date. <p>[External site] <a href="http://mjcarchive.www.idnet.com/">Timetable Graveyard</a> with most timetables that have been on this site, back to about 2004. Most of these (and current) timetables are also available in Excel format on request – please enquire for further information. <p>[External site] <a href="http://www.timetablegraveyard.co.uk/wt_index.html">Working Timetables</a> Schedules obtained under Freedom of Information Act. <a href="http://tfl.gov.uk/corporate/publications-and-reports/bus-schedules">Official TfL source</a> (current schedules only) <p>Current stop specific timetables are available via the Timetables link under Advanced Options on the <a href="http://www.tfl.gov.uk/journeyplanner">TfL Journey Planner</a>. <p>See below for General Information and Links. </p> <p><b>Disclaimer:</b> Although every effort will be made to keep the information contained in this site correct and up-to-date, no liability will be accepted for any consequences of any errors contained herein. Also, <b><font color=fuchsia>this is <u>not</u> an official site either of "London Transport" (<a href="https://tfl.gov.uk/" target="_blank">Transport for London</a>) or any of the <a href="garages.htm" target="_blank">operators</a>!</font></b> Most of the information contained herein is available to the general public elsewhere, but has come from a wide variety of sources, and the reason for this site is to get it all into one convenient place.</p> <H2>General Information</H2> <p>This site is maintained by <a href="miscellaneous/" target="_blank">Robert Munster</a>. The pages were originally designed using Microsoft Internet Explorer 2, and hopefully therefore should appear fine in practically any browser, but if you find anything amiss, or if you have any other comments, corrections or suggestions <b><i><u>relating to this website</u></i></b>*, let me know on <font color=blue><u>robert @ londonbusroutes.net</u></font>† and I'll see what I can do. I normally reply to or acknowledge anything important‡ – if you don't hear anything within about a week, that probably means your message has got lost somewhere in the post, so you had better re-send it. On the other hand, please note that <b><i><u>it may be several days before I read your email</u></i></b>, so if you have an urgent enquiry please send it directly to the appropriate people.</p> <p>* Please note that this is an independent website and is not affiliated with Transport for London or any of the bus operators, and that I do not operate any buses myself. I <b>cannot</b> deal with lost property enquiries or complaints about services – please contact the operator of your route and/or TfL (see the <a href="garages.htm">Contacts</a> page). Also, I do not purport to provide a bespoke travel information service – London travel enquiries would be better directed to TfL (see <a href="http://www.tfl.gov.uk">www.tfl.gov.uk</a> or telephone 0343 222 1234 - 24hrs). <br>ATOC's National Rail Enquiries can be obtained by ringing 08457 484950 or <a href="http://www.nationalrail.co.uk">www.nationalrail.co.uk</a>, although I am told that you can actually now obtain more accurate British train information from the <a href="http://www.bahn.de/international/view/en/index.shtml">German Railways site</a>!</p> <p>† If you are wondering why I have just formatted this blue and underlined instead of making it a convenient hyperlink, it is to stop click-happy people sending emails off without giving them a think. By all means email me, but, please, only once you have read the above notes – thanks!</p> <p>‡ Commercial advertising is not considered important in this context.</p> <p><u>Use of information:</u> Any appropriate use of information contained on this site is encouraged, provided that it is not altered, or quoted in such a way as to misrepresent the contents. Copying of information and files to other websites is not recommended, as there are regular updates here, so this is likely to result in out-of-date information being posted. File names are generally static, so a direct link to the original source is the best way. <p><u>Notice – impersonation</u>: A number of people in the industry have contacted me after being emailed by someone using my name, asking for internal documentation such as bus run out sheets. If you receive such an email it is obviously up to you whether to respond, but please be aware that these emails are not from me. I only use two email addresses, and those who are in regular contact with me know what they are. If in doubt, please check using one of these, or the contact address shown on this page (which is a forwarding address). I would in any case only ever ask for information for publication on this site. I also do not "cold call" anyone, and only ask for information from established contacts. <H2>Links</H2> <p><b>Maps</b> <br>This site contains descriptions and road by road listings for all routes, but it is often helpful to have a geographical bus map to visualise just where it is that routes run. <br><a href="http://www.quickmap.com/" target="_top">Quickmap</a> is ideal for visitors or anyone else travelling around the inner London area. The map is of an innovative design, making it easy to follow where routes go, and also contains useful tourist information. There is a bus only map and a version with railways included, and both are compact for ease of deployment. There are also maps for a few other areas and future developments may see expansion of areas covered. <br>Mike Harris’s <a href="http://www.busmap.co.uk" target="_top">Greater London Bus Map</a> is an excellent companion to this site, and is based on the traditional London Transport design. It is ideal for enthusiasts, covering the whole of London and including school and commercial bus routes, all drawn with unprecedented accuracy. A range of historical maps has also been published, along with a night bus map, and the site also contains the full set of official panel timetables from London Buses, in PDF (though these do not cover most of TfL's own routes!). <br>You can view some of the maps online, but please buy a hard copy to ensure the authors keep up the good work! <p><a href="http://www.londonlocalmaps.com/">London Local Transport Maps</a> – a project providing detailed local transport maps. <br><a href="http://www.tfl.gov.uk/maps_/bus-spider-maps">TfL official spider maps</a> (including where to board your bus plans). <p><a href="http://traintimes.org.uk/map/london-buses/">Live London bus map</a> – a whole new concept! <br><a href="http://www.bustimes.org/">Bus times</a> – Similar concept for selected operators outside London - timetables for the UK also available. <p><b>These sites also contain route lists, but with different emphases:</b> <br><a href="http://www.londonbuses.co.uk/" target="_top">London Bus Routes</a> by Ian Armstrong has histories for many London routes. <br><a href="http://www.notrog.plus.com/busroutes/" target="_top">London’s Busroutes homepage</a>. <br><a href="http://londonbusesonebusatatime.blogspot.com/" target="_top">London Buses, one bus at a time</a>. <br><a href="http://www.london-bus-times-timetables-routes.co.uk">London Bus Times Timetables Routes</a> Designed to make it easier for students to find bus timetables. </p> <p><b>For all the latest bus news</b> from London and the immediate area: <br>The best site for general bus news is hosted by the <a href="http://www.lots.org.uk" target="_top">London Omnibus Traction Society</a>. Members of the society also receive a monthly newsletter (i.e. snail mail) packed with full information on all goings on. The following official TfL pages are also worth checking: <br><a href="https://tfl.gov.uk/" target="_top">Transport for London</a>: note <a href="https://tfl.gov.uk/info-for/media/press-releases">press centre</a>, <a href="https://tfl.gov.uk/modes/buses/bus-changes">Bus Changes</a> / <a href="http://www.tfl.gov.uk/tfl/livetravelnews/realtime/buses/default.html" target="_top">real time travel information</a>, <a href="https://consultations.tfl.gov.uk/">bus service consultation</a>, <a href="https://tfl.gov.uk/forms/14144.aspx">route performance reports</a>, and <a href="https://tfl.gov.uk/forms/13923.aspx">tender results</a>. </p> <p><b>For tram news and views ...</b> <br><a href="http://www.croydon-tramlink.co.uk" target="_top">The unofficial Croydon Tramlink website</a> by the late Stephen Parascandolo remains the premier resource. See also <a href="trams/">Tramlink Timetable information</a> (part of this site). </p> <p><b>A random collection of other vaguely related sites that might be of interest, in no special order:</b> <br><a href="http://www.ltmuseum.co.uk" target="_top">London's Transport Museum</a>. <br>London street maps: various sites with different facilities exist: I can recommend <a href="http://maps.google.co.uk">Google maps</a>, others are <a href="http://www.mapquest.co.uk">MapQuest</a> or <a href="http://www.streetmap.co.uk" target="_top">Streetmap</a>. Some also offer aerial photographs. <br><a href="miscellaneous/regs.htm" target="_top">British Registrations</a> article by me. <br><a href="http://www.lots.org.uk" target="_top">London Omnibus Traction Society</a>. <br><a href="https://www.omnibus-society.org/" target="_top">The Omnibus Society</a>. <br><a href="http://www.countrybus.org" target="_top">Ian's Bus Stop</a> – detailed overview of London bus types. <br><a href="http://www.harlowride.co.uk" target="_top">HarlowRide</a> – all about buses in Harlow. <br><a href="http://www.barrydoe.co.uk/">Doe's Directory of Bus Timetables and Enquiry Offices</a> <br><a href="http://www.wandle.info/" title="The Museum was established in 1983 to preserve the industrial history of the Wandle Valley and its heritage">The Wandle Industrial Museum</a> <br><a href="http://www.visitbytrain.info/">Visit By Train</a> – A station-by-station guide to south east England. <br><a href="http://www.greaterlondonphotos.co.uk">Greater London Photos</a> photo site from James Fullick. <br><a href="http://londonbusesbyadam.zenfolio.com">London Buses by Adam</a> – another photo site. <br><a href="http://www.frixo.com">Frixo</a> – Road/motorway traffic reporting site. <br><a href="http://www.tclbs.org">The Classic London Bus Society</a> – organises trips to places of historical London bus interest. <br><a href="http://www.buslistsontheweb.co.uk">Bus Lists on the Web</a> – Fleet information <br><a href="http://www.londonlocalmaps.com/">London Local Transport Maps</a> <!--<br><a href="http://www.dikleatherdale.webspace.virginmedia.com/buses.html">Bus Bunching Demonstrator</a>--> <br><a href="http://publictransportexperience.blogspot.co.uk/">The Public Transport Experience</a> Light hearted blog making some serious points about using public transport. <br><a href="http://carto.metro.free.fr/documents/CartoMetroLondon.v2.6.pdf">Track map of London's railways, including closed lines</a> <br><a href="https://lvf.io">London Vehicle Finder</a> Innovative site using TfL's Countdown data feed to track buses. <br><a href="http://bus-routes-in-london.wikia.com/wiki/Bus_Routes_in_London_Wiki">Bus Routes in London Wiki</a> <br><a href="miscellaneous/bakerloo.htm">Bakerloo Line extension to Lewisham</a> – a critique of TfL's plans (article on this site) <br><a href="http://maps.nls.uk/geo/explore/">Explore Georeferenced maps</a> - overlay modern with historic maps. <br><a href="http://www.railmaponline.com/UKIEMap.php">Rail Map Online</a> - Geographical map of all current and former railways in the British Isles <br><a href="https://www.tfljamcams.net">Live London Traffic Cameras</a> - Real-time TfL JamCam Feeds <br><a href="http://www.dougrose.co.uk/">Doug Rose</a> - Information Designer and Technical Illustrator with much London bus relevance <br><a href="https://plumby.io/headway/index.php">plumby.io/headway/index.php</a> Useful little site which tracks London Buses as an iBus Controller style display <font color=red><b><i>New link</i></b></font> <br><a href="https://www.youtube.com/c/thelondontransportdroid/videos">London Transport droid</a> Video of general transport modes in London, Buses, Tube etc <font color=red><b><i>New link</i></b></font> <br><a href="http://www.citytransport.info/Welcome.htm">City Transport</a> Extensive information about city transports particularly from a technological and environmental point of view <font color=red><b><i>New link</i></b></font> </p> <p>Home | <a href="timetables.htm">Timetables</a> | <a href="routes.htm">Bus routes</a> | <a href="details.htm">Operational details</a> | <a href="changes.htm">Service changes</a> | <a href="garages.htm">Operators &amp; Garages</a> | <a href="photos/">Photo gallery</a></p> </BODY> </HTML>
London Bus Routes Home | [Timetables](timetables.htm) | [Bus routes](routes.htm) | [Operational details](details.htm) | [Service changes](changes.htm) | [Operators & Garages](garages.htm) | [Photo gallery](./photos/) --- # London Bus Routes Site last updated: 26 December 2023 If this date is much more than a week old you are probably looking at an archived version. Try clicking your browser's re-load button. | | | --- | | **COVID-19 (Coronavirus)** The TfL network is now operating normally, with the exception of weekend-only night routes, which remain withdrawn until further notice, and a minor change on route N18 (which should probably now be regarded as permanent). For historical details please see the [Covid-19 page](covid.htm) - last updated 26/08/23. \*\*\* The majority of non-TfL routes have now been temporarily removed from the website to avoid confusion. I intend to reinstate them gradually when I have a chance to go through these and check what needs updating. Many of these routes may have seen permanent post-Covid reductions, and it is far from clear whether what is currently running is regarded as 'permanent'. \*\*\* | This unofficial website was set up in summer 2000 to provide comprehensive information on bus routes in the greater London area, principally the network operated under contract to London Bus Services Limited (LBSL). There are five main sections:**[Bus routes](routes.htm) and [operational details](details.htm) [Service changes](changes.htm) [Operator and Garage list](garages.htm)** including contact information**[Photo Gallery](photos/)** [Christmas and New Year travel arrangements 2023-2024](christmas.htm) ***Updated 26/12/23*** **[Timetables:](timetables.htm)** This page is designed to be suitable for viewing on smartphones. The HTML timetables are being revamped, which should fix the smartphone column alignment issue; the majority have now been done, but a few still remain in the old format. Traditional matrix timetables are available either on this link or via either the routes or operational details pages. Click here for a [directory listing](times/) of files on the server (in order of date loaded). On PDF timetables, versions of the file may be identified by revision codes alongside the date. The original will have the date only, but subsequent editions will have appended to this either of the following: (A) for amended (corrected times, missing trips etc.), and (R) for reprint (generally cosmetic changes, or minor errors such as headings or place names). This will be followed by a number for second and subsequent revisions of the same type. T denotes a temporary timetable. From 16.7.11 onwards, an additional D code is introduced for diversions where there is no change to the timetable other than that some timing points are altered or omitted. Additionally, for diversions and reversions (i.e. at the end of a temporary timetable or diversion) the original schedule date will be included in parenthesis along with an A or R as appropriate if there have been changes since the last published version of that date. [External site] [Timetable Graveyard](http://mjcarchive.www.idnet.com/) with most timetables that have been on this site, back to about 2004. Most of these (and current) timetables are also available in Excel format on request – please enquire for further information. [External site] [Working Timetables](http://www.timetablegraveyard.co.uk/wt_index.html) Schedules obtained under Freedom of Information Act. [Official TfL source](http://tfl.gov.uk/corporate/publications-and-reports/bus-schedules) (current schedules only) Current stop specific timetables are available via the Timetables link under Advanced Options on the [TfL Journey Planner](http://www.tfl.gov.uk/journeyplanner). See below for General Information and Links. **Disclaimer:** Although every effort will be made to keep the information contained in this site correct and up-to-date, no liability will be accepted for any consequences of any errors contained herein. Also, **this is not an official site either of "London Transport" ([Transport for London](https://tfl.gov.uk/)) or any of the [operators](garages.htm)!** Most of the information contained herein is available to the general public elsewhere, but has come from a wide variety of sources, and the reason for this site is to get it all into one convenient place. ## General Information This site is maintained by [Robert Munster](miscellaneous/). The pages were originally designed using Microsoft Internet Explorer 2, and hopefully therefore should appear fine in practically any browser, but if you find anything amiss, or if you have any other comments, corrections or suggestions ***relating to this website***\*, let me know on robert @ londonbusroutes.net† and I'll see what I can do. I normally reply to or acknowledge anything important‡ – if you don't hear anything within about a week, that probably means your message has got lost somewhere in the post, so you had better re-send it. On the other hand, please note that ***it may be several days before I read your email***, so if you have an urgent enquiry please send it directly to the appropriate people. \* Please note that this is an independent website and is not affiliated with Transport for London or any of the bus operators, and that I do not operate any buses myself. I **cannot** deal with lost property enquiries or complaints about services – please contact the operator of your route and/or TfL (see the [Contacts](garages.htm) page). Also, I do not purport to provide a bespoke travel information service – London travel enquiries would be better directed to TfL (see [www.tfl.gov.uk](http://www.tfl.gov.uk) or telephone 0343 222 1234 - 24hrs). ATOC's National Rail Enquiries can be obtained by ringing 08457 484950 or [www.nationalrail.co.uk](http://www.nationalrail.co.uk), although I am told that you can actually now obtain more accurate British train information from the [German Railways site](http://www.bahn.de/international/view/en/index.shtml)! † If you are wondering why I have just formatted this blue and underlined instead of making it a convenient hyperlink, it is to stop click-happy people sending emails off without giving them a think. By all means email me, but, please, only once you have read the above notes – thanks! ‡ Commercial advertising is not considered important in this context. Use of information: Any appropriate use of information contained on this site is encouraged, provided that it is not altered, or quoted in such a way as to misrepresent the contents. Copying of information and files to other websites is not recommended, as there are regular updates here, so this is likely to result in out-of-date information being posted. File names are generally static, so a direct link to the original source is the best way. Notice – impersonation: A number of people in the industry have contacted me after being emailed by someone using my name, asking for internal documentation such as bus run out sheets. If you receive such an email it is obviously up to you whether to respond, but please be aware that these emails are not from me. I only use two email addresses, and those who are in regular contact with me know what they are. If in doubt, please check using one of these, or the contact address shown on this page (which is a forwarding address). I would in any case only ever ask for information for publication on this site. I also do not "cold call" anyone, and only ask for information from established contacts. ## Links **Maps** This site contains descriptions and road by road listings for all routes, but it is often helpful to have a geographical bus map to visualise just where it is that routes run. [Quickmap](http://www.quickmap.com/) is ideal for visitors or anyone else travelling around the inner London area. The map is of an innovative design, making it easy to follow where routes go, and also contains useful tourist information. There is a bus only map and a version with railways included, and both are compact for ease of deployment. There are also maps for a few other areas and future developments may see expansion of areas covered. Mike Harris’s [Greater London Bus Map](http://www.busmap.co.uk) is an excellent companion to this site, and is based on the traditional London Transport design. It is ideal for enthusiasts, covering the whole of London and including school and commercial bus routes, all drawn with unprecedented accuracy. A range of historical maps has also been published, along with a night bus map, and the site also contains the full set of official panel timetables from London Buses, in PDF (though these do not cover most of TfL's own routes!). You can view some of the maps online, but please buy a hard copy to ensure the authors keep up the good work! [London Local Transport Maps](http://www.londonlocalmaps.com/) – a project providing detailed local transport maps. [TfL official spider maps](http://www.tfl.gov.uk/maps_/bus-spider-maps) (including where to board your bus plans). [Live London bus map](http://traintimes.org.uk/map/london-buses/) – a whole new concept! [Bus times](http://www.bustimes.org/) – Similar concept for selected operators outside London - timetables for the UK also available. **These sites also contain route lists, but with different emphases:** [London Bus Routes](http://www.londonbuses.co.uk/) by Ian Armstrong has histories for many London routes. [London’s Busroutes homepage](http://www.notrog.plus.com/busroutes/). [London Buses, one bus at a time](http://londonbusesonebusatatime.blogspot.com/). [London Bus Times Timetables Routes](http://www.london-bus-times-timetables-routes.co.uk) Designed to make it easier for students to find bus timetables. **For all the latest bus news** from London and the immediate area: The best site for general bus news is hosted by the [London Omnibus Traction Society](http://www.lots.org.uk). Members of the society also receive a monthly newsletter (i.e. snail mail) packed with full information on all goings on. The following official TfL pages are also worth checking: [Transport for London](https://tfl.gov.uk/): note [press centre](https://tfl.gov.uk/info-for/media/press-releases), [Bus Changes](https://tfl.gov.uk/modes/buses/bus-changes) / [real time travel information](http://www.tfl.gov.uk/tfl/livetravelnews/realtime/buses/default.html), [bus service consultation](https://consultations.tfl.gov.uk/), [route performance reports](https://tfl.gov.uk/forms/14144.aspx), and [tender results](https://tfl.gov.uk/forms/13923.aspx). **For tram news and views ...** [The unofficial Croydon Tramlink website](http://www.croydon-tramlink.co.uk) by the late Stephen Parascandolo remains the premier resource. See also [Tramlink Timetable information](trams/) (part of this site). **A random collection of other vaguely related sites that might be of interest, in no special order:** [London's Transport Museum](http://www.ltmuseum.co.uk). London street maps: various sites with different facilities exist: I can recommend [Google maps](http://maps.google.co.uk), others are [MapQuest](http://www.mapquest.co.uk) or [Streetmap](http://www.streetmap.co.uk). Some also offer aerial photographs. [British Registrations](miscellaneous/regs.htm) article by me. [London Omnibus Traction Society](http://www.lots.org.uk). [The Omnibus Society](https://www.omnibus-society.org/). [Ian's Bus Stop](http://www.countrybus.org) – detailed overview of London bus types. [HarlowRide](http://www.harlowride.co.uk) – all about buses in Harlow. [Doe's Directory of Bus Timetables and Enquiry Offices](http://www.barrydoe.co.uk/) [The Wandle Industrial Museum](http://www.wandle.info/ "The Museum was established in 1983 to preserve the industrial history of the Wandle Valley and its heritage") [Visit By Train](http://www.visitbytrain.info/) – A station-by-station guide to south east England. [Greater London Photos](http://www.greaterlondonphotos.co.uk) photo site from James Fullick. [London Buses by Adam](http://londonbusesbyadam.zenfolio.com) – another photo site. [Frixo](http://www.frixo.com) – Road/motorway traffic reporting site. [The Classic London Bus Society](http://www.tclbs.org) – organises trips to places of historical London bus interest. [Bus Lists on the Web](http://www.buslistsontheweb.co.uk) – Fleet information [London Local Transport Maps](http://www.londonlocalmaps.com/) [The Public Transport Experience](http://publictransportexperience.blogspot.co.uk/) Light hearted blog making some serious points about using public transport. [Track map of London's railways, including closed lines](http://carto.metro.free.fr/documents/CartoMetroLondon.v2.6.pdf) [London Vehicle Finder](https://lvf.io) Innovative site using TfL's Countdown data feed to track buses. [Bus Routes in London Wiki](http://bus-routes-in-london.wikia.com/wiki/Bus_Routes_in_London_Wiki) [Bakerloo Line extension to Lewisham](miscellaneous/bakerloo.htm) – a critique of TfL's plans (article on this site) [Explore Georeferenced maps](http://maps.nls.uk/geo/explore/) - overlay modern with historic maps. [Rail Map Online](http://www.railmaponline.com/UKIEMap.php) - Geographical map of all current and former railways in the British Isles [Live London Traffic Cameras](https://www.tfljamcams.net) - Real-time TfL JamCam Feeds [Doug Rose](http://www.dougrose.co.uk/) - Information Designer and Technical Illustrator with much London bus relevance [plumby.io/headway/index.php](https://plumby.io/headway/index.php) Useful little site which tracks London Buses as an iBus Controller style display ***New link*** [London Transport droid](https://www.youtube.com/c/thelondontransportdroid/videos) Video of general transport modes in London, Buses, Tube etc ***New link*** [City Transport](http://www.citytransport.info/Welcome.htm) Extensive information about city transports particularly from a technological and environmental point of view ***New link*** Home | [Timetables](timetables.htm) | [Bus routes](routes.htm) | [Operational details](details.htm) | [Service changes](changes.htm) | [Operators & Garages](garages.htm) | [Photo gallery](photos/)
http://londonbusroutes.net/
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html>
Not Acceptable!# Not Acceptable! An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
https://www.janefancher.com/htmfiles/Misc/
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <HTML> <head> <meta http-equiv="Content-Type" content="text/html; charset=utf-8"> <title>Janice's Domain</title> <meta name="GENERATOR" content="Virtual Mechanics SiteSpinner V2 250f "> <meta name="Keywords" content="dreams,dreaming,lucid dreams,lucid dreaming,Janice Brooks"> <meta name="author" content="Janice"> <meta http-equiv="imagetoolbar" content="false"> <style type="text/css"> .fsx01 {font-size: 11px;} .fsx02 {font-size: 12px;} .fsx03 {font-size: 13px;} .fsx04 {font-size: 15px;} .fsx05 {font-size: 16px;} .fsx06 {font-size: 19px;} .fsx07 {font-size: 21px;} .fsx08 {font-size: 24px;} .fsx09 {font-size: 27px;} .fsx10 {font-size: 29px;} .fsx11 {font-size: 32px;} .fsx12 {font-size: 35px;} .fsx13 {font-size: 37px;} .fsx14 {font-size: 48px;} .fsx15 {font-size: 64px;} .fsx16 {font-size: 96px;} .txdec {text-decoration: none;} #centered{position:relative;width:380px;height:100%;margin:0px auto 0 auto;text-align:left;padding-left:1px;} #Oobj2 {position:absolute;z-index:1;visibility:visible;text-align:left;left:54px;top:32px;width:274px;height:49px;} #Oobj8 {position:absolute;z-index:2;visibility:visible;left:-1px;top:102px;width:380px;height:78px;font-size:1px;border-width:2px;border-style:solid;border-color:#0000a0} #Oobj5 {position:absolute;z-index:3;visibility:visible;left:64px;top:218px;width:250px;height:44px;font-size:1px;border-width:2px;border-style:solid;border-color:#80ffff} .dfltt {font-family:Times New Roman;font-size:14px;font-weight:normal;text-decoration:none;text-align:left;} a:link {text-decoration:none;} a:visited {text-decoration:none;} body {margin:0px;text-align:center;height:100%;width:100%; background-repeat:repeat; } </style> </head> <body bgcolor="#ffffff" alink="#0000ff" link="#0000ff" vlink="#0000ff" background="bluebk1.jpg"> <div id="centered"> <div id="Oobj2"> <div id="Grtf3" class="dfltt"> <font face="Times" class="fsx06" color="#000080"><B>You've entered Janice's Domain.<br> Choose your destination:<br></B></font></div> </div> <div id="Oobj8"> <a href="https://www.hopkinsfan.net/ced/ced.html"><img name="Ggeo8" Align=Top SRC="rosebutton3.jpg" alt="" border=0 width="380" height="78"></a> </div> <div id="Oobj5"> <a href="https://www.hopkinsfan.net/gunnar/gunnar1.html"><img name="Ggeo5" Align=Top SRC="gunnar/gunnar3_title.JPG" alt="" border=0 width="250" height="44"></a> </div> </div> </body> </html>
Janice's Domain .fsx01 {font-size: 11px;} .fsx02 {font-size: 12px;} .fsx03 {font-size: 13px;} .fsx04 {font-size: 15px;} .fsx05 {font-size: 16px;} .fsx06 {font-size: 19px;} .fsx07 {font-size: 21px;} .fsx08 {font-size: 24px;} .fsx09 {font-size: 27px;} .fsx10 {font-size: 29px;} .fsx11 {font-size: 32px;} .fsx12 {font-size: 35px;} .fsx13 {font-size: 37px;} .fsx14 {font-size: 48px;} .fsx15 {font-size: 64px;} .fsx16 {font-size: 96px;} .txdec {text-decoration: none;} #centered{position:relative;width:380px;height:100%;margin:0px auto 0 auto;text-align:left;padding-left:1px;} #Oobj2 {position:absolute;z-index:1;visibility:visible;text-align:left;left:54px;top:32px;width:274px;height:49px;} #Oobj8 {position:absolute;z-index:2;visibility:visible;left:-1px;top:102px;width:380px;height:78px;font-size:1px;border-width:2px;border-style:solid;border-color:#0000a0} #Oobj5 {position:absolute;z-index:3;visibility:visible;left:64px;top:218px;width:250px;height:44px;font-size:1px;border-width:2px;border-style:solid;border-color:#80ffff} .dfltt {font-family:Times New Roman;font-size:14px;font-weight:normal;text-decoration:none;text-align:left;} a:link {text-decoration:none;} a:visited {text-decoration:none;} body {margin:0px;text-align:center;height:100%;width:100%; background-repeat:repeat; } **You've entered Janice's Domain. Choose your destination:** [![](rosebutton3.jpg)](https://www.hopkinsfan.net/ced/ced.html) [![](gunnar/gunnar3_title.JPG)](https://www.hopkinsfan.net/gunnar/gunnar1.html)
https://www.hopkinsfan.net/
<!DOCTYPE html> <html lang="en"> <head><meta http-equiv="Content-Type" content="text/html; charset=utf-8"> <title>Official Havasupai Tribe Website</title> <meta http-equiv="X-UA-Compatible" content="IE=edge"/><meta name="Author" content="Havasupai Tribe, Supai, Arizona, USA"/><meta name="Generator" content="NetObjects (http://NetObjects.com)"/><meta name="Keywords" content="Official Havasupai Tribe, Village of Supai, Grand Canyon Havasu Falls, Havasuapai Campground and Supai Lodge, mule and pack animals. Mooney Falls, Little Navajo Falls, Beaver Falls, Fifty Foot Falls"/><meta name="Description" content="Official Havasupai Tribe Website, Village of Supai, Grand Canyon, Arizona Havasu Falls, Havasuapai Campground and Supai Lodge, mule and pack animal transportation."/><script src="./scripts/interval_handle.js" type="text/javascript"></script><script src="./scripts/rotating_picture.js" type="text/javascript"></script><script type="text/javascript" src="./jquery.js"> </script><script type="text/javascript" src="./polyfiller.js"> </script> <link href="./fusion.css" rel="stylesheet" type="text/css" /> <link href="./style.css" rel="stylesheet" type="text/css" /> <link href="./site.css" rel="stylesheet" type="text/css" /> <style title="NOF_STYLE_SHEET" type="text/css"><!-- body { margin:0px auto; width:1004px; } div#LayoutLYR { float:left; position:absolute; } div#RotatingPicture1LYR { position:absolute; top:128px; left:15px; width:961px; height:341px; z-index:1 } div#Text13LYR { position:absolute; top:613px; left:25px; width:910px; height:84px; z-index:2 } div#Picture3LYR { position:absolute; top:0px; left:737px; width:150px; height:130px; z-index:3 } div#Picture5LYR { position:absolute; top:500px; left:2px; width:114px; height:31px; z-index:4 } div#Picture6LYR { position:absolute; top:500px; left:244px; width:114px; height:31px; z-index:5 } div#Picture7LYR { position:absolute; top:500px; left:486px; width:114px; height:31px; z-index:6 } div#Picture8LYR { position:absolute; top:500px; left:607px; width:114px; height:31px; z-index:7 } div#Picture47LYR { position:absolute; top:500px; left:728px; width:114px; height:31px; z-index:8 } div#Picture10LYR { position:absolute; top:500px; left:849px; width:114px; height:31px; z-index:9 } div#Picture11LYR { position:absolute; top:500px; left:365px; width:114px; height:31px; z-index:10 } div#Rectangle3LYR { position:absolute; top:5200px; left:0px; width:1000px; height:96px; z-index:11 } div#Text2LYR { position:absolute; top:0px; left:288px; width:392px; height:104px; z-index:12 } div#Picture57LYR { position:absolute; top:5254px; left:300px; width:115px; height:31px; z-index:13 } div#Text5LYR { position:absolute; top:5209px; left:261px; width:443px; height:33px; z-index:14 } div#Picture65LYR { position:absolute; top:5253px; left:547px; width:115px; height:31px; z-index:15 } div#Picture66LYR { position:absolute; top:5209px; left:58px; width:164px; height:65px; z-index:16 } div#Picture64LYR { position:absolute; top:5209px; left:740px; width:164px; height:65px; z-index:17 } div#Picture76LYR { position:absolute; top:500px; left:123px; width:114px; height:31px; z-index:18 } div#Picture77LYR { position:absolute; top:549px; left:301px; width:366px; height:31px; z-index:19 } div#Text14LYR { position:absolute; top:754px; left:25px; width:910px; height:28px; z-index:20 } div#Text15LYR { position:absolute; top:707px; left:27px; width:908px; height:917px; z-index:21 } div#Picture78LYR { display:none !important; position:absolute; top:4580px; left:86px; width:356px; height:475px; z-index:22 } div#Picture69LYR { position:absolute; top:4800px; left:35px; width:300px; height:225px; z-index:23 } div#Picture73LYR { position:absolute; top:4800px; left:335px; width:300px; height:225px; z-index:24 } div#Picture70LYR { position:absolute; top:4800px; left:635px; width:300px; height:225px; z-index:25 } div#Picture79LYR { display:none !important;position:absolute; top:4580px; left:596px; width:356px; height:475px; z-index:26 } div#Text16LYR { position:absolute; top:4756px; left:203px; width:626px; height:197px; z-index:27 } div#Picture68LYR { position:absolute; top:3785px; left:123px; width:750px; height:295px; z-index:28 } </style> <script type="text/javascript" src="./index_nof.js"> </script> </head> <body class="nof-centerBody" style="background-color: rgb(0,204,255); background-image: none;"> <div class="nof-centerContent"> <div id="LayoutLYR"> <div class="TextObject" id="Text14LYR"> </div> <div class="TextObject" id="Text15LYR" style="font-family:times, serif;"> <p style="text-align: left;"> <b>Important Information for November 2023 Reservation Holders </b><br> Please read carefully and ensure that all members of your reservation group understand and agree to the following information. Once in Supai, please follow all tribal guide instructions.<br><br> It is the responsibility of each tourist to bring the necessary gear and equipment for camping. The tribe does not offer or sell tents, sleeping bags, heaters or other camping supplies. The store stocks a limited number of food items, but you should bring your own food, water, etc. Plan accordingly for changes in weather, the Reservation can experience high temperatures, wind and rain.<br><br> Please respect the sovereignty of the Havasupai Tribe and abide by all posted signage and instructions from the rangers. Only hike in designated areas. Leave no trace (Pack It In, Pack It Out). <br><br> <b>CHECK-IN PROCESS - Grand Canyon Caverns Inn</b><br> Check-in for all permit reservations will take place at Grand Canyon Caverns Inn, located at Mile Marker 115, Route 66 near Seligman, Arizona 86434. The trip leader must check-in for all members of their group. The trip leader may check-in starting on the day before your arrival date through the end of your permit date. If you arrive and check-in a day or two late, you still must exit the canyon on your original departure date.<br><br> No refunds or rescheduling of dates will be issued.<br><br> The check-in office is located around the back of the Inn lobby when you walk through the main doors or you can access it by entering from the back of the building. There will be signs. The check-in office is open every day from 8am - 5pm.<br><br> The trip leader will need to provide photo ID to receive all permits, wristbands, bag tags, and an entrance form, which will need to be completed and shown to the Havasupai Reservation boundary checkpoint staff and/or the Tourist Office employee stationed at Hilltop.<br><br> You can start the hike on any day of your reservation and you must depart on or before the last day of your reservation. There is no refund for unused days. The trail will be open for hiking 24 hours a day. Please use caution as assistance may not be readily available during non-business hours.<br><br> All members of the group will be asked to show all required paperwork (see above) at the Havasupai Reservation boundary checkpoint, approximately 5 miles from Hilltop (the trailhead). There will be no congregating at the checkpoint so please make sure all members of your group have the required paperwork. Please follow directions and signs at the checkpoint.<br><br> If you will be parking a vehicle at Hilltop, you will need to indicate the license plate number of each vehicle on your check-in information. Please note that the Tribe is not responsible for vehicles parked at Hilltop.<br><br> <b>MULE RESERVATIONS</b><br> There are no new mule reservations. If you have previously made a mule reservation, it will be confirmed at check-in. Mule reservations are non-refundable. If you intend to use this service, you must ensure your packs and supplies are the <a href="https://www.theofficialhavasupaitribe.com/Havasupai-Mules/havasupai-mules.html">proper weight and size for your mule reservation.</a><br><br> <b>HILLTOP TRAILHEAD</b><br> Please note: There is NO camping at Hilltop. That includes no sleeping in your vehicle at Hilltop. There is limited parking at the trailhead. Additional parking is available along the road leading to the trailhead. The Tribe is not responsible for vehicles parked at Hilltop.<br><br> <b>COVID PROTOCOLS</b><br> Vaccination status or negative test results are not required at this time. However, the Tribe requires all visitors wear a mask while in Supai Village and in all public areas including the store and the café. Please bring your own mask. Failure to comply may result in immediate removal from the Reservation at your expense and immediate loss of your privilege of visiting the Reservation and the waterfalls. The Tribe reserves the right to suspend tourism at any time for non-compliance. The Tribe reserves the right to update its COVID protocols at any time which may include the suspension of tourism for non-compliance of the mask requirement.<br><br> <b>STORE AND CAFE</b><br> The store and the cafe will be open to tourists during normal operating hours. It is possible that there will be occupancy restrictions, please abide by all signage and onsite instructions. Please wear your mask at all times while in the store or the cafe.<br><br> Please continue to visit our <a href="https://www.facebook.com/HavasupaiTribeTourismOfficial" target="_blank">official Facebook tourism page</a> for updates and information. And as always, please visit <a href="https://www.havasupaireservations.com" target="_blank">www.havasupaireservations.com</a> for updated information. This website is owned and controlled by the Tribe. If you have any questions related to the Tribe’s tourism activities, please reach out to <a href="/cdn-cgi/l/email-protection#71020401011e0305311910071002040110180314021403071005181e1f025f121e1c"><span class="__cf_email__" data-cfemail="f784828787988583b79f968196848287969e85928492858196839e989984d994989a">[email&#160;protected]</span></a>. <br><br> <i>The Havasupai Tourism Office</i> </p> <hr /> <p style="text-align: left;"> <b>Havasupai Tribal Council Notice: December 23, 2022</b><br> <br> Gamyu (Hello)<br> Please consider this message as an official communication from the Havasupai Tribe.<br><br> This is important information that the Havasupai Tribe would like to share regarding tourism. As you are aware, as a result of the pandemic and in order to protect the health and safety of our Tribal members, we closed our Reservation in March 2020. With limited access to meaningful healthcare, closing the reservation was the best way to keep our community safe and healthy. We have remained closed to tourists since that time.<br><br> On October 1, 2022, the Tribe also experienced severe flooding, which destroyed several bridges and trails that are needed not only for our tourists, but the everyday movement of goods and services into Supai Village.<br><br> Also impacting tourism were ongoing issues the Tribe experienced with the individual and company the Tribe had contracted with to provide online tourism operations and customer service. The individual and company’s failure to cooperate with the Tribe has ultimately led to an ongoing legal matter and required the Tribe to engage with a new tourism operator and spend significant time and financial resources rebuilding the online tourism platform in order to be ready for the anticipated opening of the 2023 tourism season.<br><br> This individual and company has denied the Tribe access to the tourism credit card processing application, impacting the Tribe’s ability to issue credit card reimbursements for transferred permits. As a result, any tourist who booked a reservation before August 12, 2022 and sold the reservation via the official transfer system after August 12, 2022 will be issued a hard-copy check for reimbursement. We are aware that there have been a few incidents where tourists have been unable to cash the reimbursement check. Our new third-party tourism operator and the Tribe’s chief financial officer are working diligently to address this issue.<br><br> This has been a trying experience for all involved and we appreciate your patience as we move through this transition. However, there are many positive things as a result. While you may see downed trees on the trails where the flood crashed through, you will also see flourishing flora and fauna and new waterfall flows. This is truly a great time to visit and please know that we are eager to welcome tourists back to our beautiful Reservation starting February 1, 2023 for current permit holders.<br><br> We are also excited to share that the Tribe has launched its official Facebook tourism page, <a href="https://www.facebook.com/HavasupaiTribeTourismOfficial" target="_blank">www.facebook.com/HavasupaiTribeTourismOfficial</a>. There are countless Havasupai-related pages on Facebook, however, these are not operated or authorized by the Tribe. Please visit and like our tourism page where official information regarding tourism can be found.<br><br> And as always, please visit <a href="https://www.havasupaireservations.com" target="_blank">www.havasupaireservations.com</a> for updated information. This website is owned and controlled by the Tribe. <br><br> If you have any questions related to the Tribe’s tourism activities, please reach out to <a href="/cdn-cgi/l/email-protection#87f4f2f7f7e8f5f3c7efe6f1e6f4f2f7e6eef5e2f4e2f5f1e6f3eee8e9f4a9e4e8ea"><span class="__cf_email__" data-cfemail="493a3c3939263b3d0921283f283a3c3928203b2c3a2c3b3f283d2026273a672a2624">[email&#160;protected]</span></a>.<br><br> We hope you have a safe and happy holiday season.<br> The Havasupai Tribe </p> <hr /> <p> <br> <b>Havasupai Tribe Provides Testimony at United States Senate Committee on Energy and Natural Resources; Time is Now to Protect the Grand Canyon</b><br> <br> Hearing on S. 387, To protect, for current and future generations, the watershed, ecosystem, and cultural heritage of the Grand Canyon region in the State of Arizona, to provide for a study relating to the uranium stockpile in the United States, and for other purposes. <br> <br> <br> <a href="https://theofficialhavasupaitribe.com/files/S_387_Hearing_Testimony_Havasupai_Tribe_06.07.2022.pdf" target="_blank">View PDF</a> <br> </p> <hr /> <p> <b>Havasupai Tribe Vaccination Incentive Program</b><br> <br> The Havasupai Tribal Council has approved a vaccination incentive program to encourage all members to get vaccinated.<br> <br> <a href="files/Havasupai_Vaccination_Incentive_Program.pdf" target="_blank">Click here for more information and eligibility requirements.</a> </p> <br> <br> <hr /> <p> <br> <img src="/Protect-Havasupai-From-Uranium-Mining-Evangeline-Kissoon.png" alt="Protect Havasupai From Uranium Mining" style="width:350px; float:right; padding:12px;" /> <b>Congress Must Act to Save the Havasupai Tribe from Extinction</b><br> <a href="https://www.newsweek.com/congress-must-act-save-havasupai-tribe-extinction-opinion-1654939" target="_blank">Written by Chairwoman Kissoon in an opinion piece for Newsweek:</a><br> "We have seen the irreparable damage uranium mining can do. For generations we have been at the forefront, working to permanently protect our homelands from uranium mining, which has disproportionately harmed and sickened Indigenous people across northern Arizona. The Senate has the power to protect not only our Grand Canyon home and our waters, but also the health and safety of our tribe and the people of the Southwest from the life-threatening effects of uranium mining. We urge the Senate to do the right thing and protect the Grand Canyon now and for future generations." <br> <br> <br> <a href="https://www.newsweek.com/congress-must-act-save-havasupai-tribe-extinction-opinion-1654939" target="_blank">View Article</a> ( <a href="/files/Newsweek-Save-Havasupai-Stop-Uranium-Mining-2021-12-02.pdf" target="_blank">PDF</a> ) <br> </p> <hr /> <br> <!--<br> Attention parents, guardians, and families of Havasupai school-aged children. There will be two virtual opportunities to learn about the free resources available to help children with disabilities. Representatives from Native American Disability Law Center and Public Counsel will be providing information about parent and student rights. Attendees are eligible to win door prizes!<br> <br> <br> <a href="https://theofficialhavasupaitribe.com/files/Parent_Meeting.pdf" target="_blank">Download the flyer here</a> <br> <br> <hr> <br> The Havasupai Tribal Council is updating the peddler's application and permit process and would like your feedback on how to improve the process and policies related to peddling. Please complete the questions and return this form by <b>September 1, 2021</b>. Thank you.<br> <br> <a href="https://theofficialhavasupaitribe.com/files/Peddlers_Permit_Questionnaire.pdf" target="_blank">Download the peddlers permit questionnaire here</a> <br> <br> <hr>--> <br> <b>HAVASUPAI TRIBE SCHOOL CLOTHING ASSISTANCE</b><br> <br> School clothing funding assistance is available for students from Early Head Start through 12th grade. Please complete the application and submit it to the Tribal Secretary's office via email at <a href="/cdn-cgi/l/email-protection" class="__cf_email__" data-cfemail="58302c2b3d3b691830392e392b2d28393175362b36763f372e">[email&#160;protected]</a> or mail to Tribal Secretary, P.O. Box 10 Supai, Arizona 86435. <br> <br> <a href="https://theofficialhavasupaitribe.com/files/2021_School_Clothing_Assistance_Application.pdf" target="_blank">Download the application here</a> <br> <br> <hr> <br> <b>Havasupai Job Board</b><br> <a href="/Jobs">View the Havasupai Job Board</a><br><br> <hr> <!-- <br> <i><b>March 24, 2020</b></i><br><br>Havasupai Tribe Community Update<br><br> For information about <b>New Closures and Operational Adjustments</b>, as well as the <b>Grand Canyon Food Pantry</b>, and <b>APS Financial Assistance</b><br><br> Please visit: <a href="https://theofficialhavasupaitribe.com/files/Community_Update_20200324.pdf" target="_blank">Havasupai Tribe Community Update - March 24, 2020</a><br><br> --> <!-- <p style="text-align: left;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;">The village of Supai is located deep within the Grand Canyon in the midst of unmatched natural beauty and a series of awe inspiring blue-green waterfalls.</span></p> <p style="text-align: left;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;">Campground reservations for all arrival dates from March 1, 2020 and onwards will become available on February 1, 2020 at 8:00am (Arizona time) at <a href="https://www.havasupaireservations.com">HavasupaiReservations.com</a>. Creating/updating your account there before then is strongly recommended.</span></p> <p style="text-align: left;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;">Lodge reservations for all of 2020 started on June 1, 2019 and are now completely sold out except for occasional cancellations.</span></p> <p style="text-align: left;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;">All reservations include all necessary permits, fees, and taxes.</span></p> <p style="text-align: left;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;">ALL VISITS REQUIRE A CAMPGROUND OR LODGE RESERVATION MADE PRIOR TO ARRIVAL.</span></p> <p style="text-align: left;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;">While we welcome visitors who have made a reservation prior to their visit, hiking without a valid Campground or Lodge reservation is NOT permitted anywhere on the Havasupai Reservation.</span></p> <p style="text-align: left;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;">All visitors, baggage, and vehicles are subject to identification check and search for prohibited items.</span></p> <p style="text-align: left;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;">Proper attire is required on tribal land. Please dress appropriately.</span></p> <p style="text-align: left;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;">It is imperative for all visitors who are not familiar with our area to be alert at all times throughout their visit and to carry plenty of water as summer temperatures soar to well over 100 degrees Fahrenheit (38 degrees Celsius). Please also be prepared for the Monsoon season (roughly July through September).</span></p> <p style="text-align: left;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;">The Tourism Office is not affiliated with Airwest Helicopters. If you are utilizing Airwest Helicopters to fly in/out, we will not be responsible for loss of personal property such as bags, packs, and hiking gear.</span></p> <p style="text-align: left;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;">The staff at the Tourism Office would like everyone to enjoy their visit and make it a memorable event. We request all visitors to follow all signs on trail and to follow all guidelines listed within camping permits.</span></p> <p style="text-align: left;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;">Thank you, and we hope you enjoy your stay with us!</span></p> <p style="text-align: left;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;">- Havasupai Tourism Office</span></p> --> </div> <hr style="clear:both;" /> <div id="Picture78LYR" style="line-height: 0"><img alt="Havasupai Children (356x475)" height="200" id="Picture78" src="./Havasupai-Children--356x475-.jpg" title="Havasupai Children (356x475)" /></div> <div id="Picture69LYR" style="line-height: 0"><img alt="IMG_4334 (640x427)" height="225" id="Picture69" src="./IMG_4334--640x427-_1.jpg" title="IMG_4334 (640x427)" width="300" /></div> <div id="Picture73LYR" style="line-height: 0"><img alt="Supai-62" height="225" id="Picture73" src="./Supai-62_1.jpg" title="Supai-62" width="300" /></div> <div id="Picture70LYR" style="line-height: 0"><img alt="DSC04438 (640x480)" height="225" id="Picture70" src="./DSC04438--640x480-.jpg" title="DSC04438 (640x480)" width="300" /></div> <div id="Picture79LYR" style="line-height: 0"><img alt="Havasupai Family (356x475)" height="200" id="Picture79" src="./Havasupai-Family--356x475-.jpg" title="Havasupai Family (356x475)" /></div> <div id="Picture68LYR" style="line-height: 0; display: none;"><img alt="Canyon" height="295" id="Picture68" src="./Canyon.jpg" title="Canyon" width="750" /></div> <div id="RotatingPicture1LYR"><!-- Comment out Fusion's HTML IMG tag<img id="RotatingPicture1" height="341" width="961" src="./rotatingpicture.gif" alt="">--><script data-cfasync="false" src="/cdn-cgi/scripts/5c5dd728/cloudflare-static/email-decode.min.js"></script><script type="text/javascript"> var var_1457792030464 = new RotatingPicture(); var_1457792030464.init("1457792030464",961,341,5000,true,true); var_1457792030464.Pics[0] = new Picture("./Hilltop-View--640x427-.jpg","",""); var_1457792030464.Pics[1] = new Picture("./Supai--640x480-.jpg","",""); var_1457792030464.Pics[2] = new Picture("./The-Hike--640x427-.jpg","",""); var_1457792030464.Pics[3] = new Picture("./The-Lodge--640x427-.jpg","",""); var_1457792030464.Pics[4] = new Picture("./Little-Navajo-Falls--640x360-.jpg","",""); var_1457792030464.Pics[5] = new Picture("./The-New-Falls--640x427-.jpg","",""); var_1457792030464.Pics[6] = new Picture("./Mooney-Falls-Ladders--640x506-.jpg","",""); var_1457792030464.Pics[7] = new Picture("./Fern-Canyon--640x427-.jpg","",""); </script> <div id="RotatingPictureDiv1457792030464" onclick="var_1457792030464.goClick();" style="overflow: hidden;"> <table border="0" cellpadding="0" cellspacing="0" width="100%"> <tbody> <tr> <td align="center" valign="middle"><img alt="" id="RotatingPictureImg1457792030464" src="" /></td> </tr> </tbody> </table> </div> <script type="text/javascript"> var_1457792030464.show(); </script><script type="text/javascript"> hi.addHandle(var_1457792030464.Interval, "var_1457792030464.rotate()"); </script></div> <div class="TextObject" id="Text13LYR"> <p style="text-align: center; margin-bottom: 0px;"><span style="font-family: 'Times New Roman', Times, Serif; font-size: 14pt;"><b><span style="font-weight: bold;">&nbsp;Welcome to the Official Havasupai Tribe website!</span></b></span><br /> </p> </div> <div id="Picture3LYR" style="line-height: 0"><img alt="Black Logo" height="130" id="Picture3" src="./Black-Logo.jpg" title="Black Logo" width="150" /></div> <div id="Picture5LYR" style="line-height: 0"><a href="./About-Supai/about-supai.html"><img alt="About" height="31" id="Picture5" src="./scrollmid.jpg" title="About" width="114" /></a></div> <div id="Picture6LYR" style="line-height: 0"><a href="./Supai-Information/supai-information.html"><img alt="Information" height="31" id="Picture6" src="./scrollmid_1.jpg" title="Information" width="114" /></a></div> <div id="Picture7LYR" style="line-height: 0"><a href="./Havasupai-Camping/havasupai-camping.html"><img alt="Camping" height="31" id="Picture7" src="./scrollmid_2.jpg" title="Camping" width="114" /></a></div> <div id="Picture8LYR" style="line-height: 0"><a href="./Havasupai-Lodge/havasupai-lodge.html"><img alt="Lodge" height="31" id="Picture8" src="./scrollmid_3.jpg" title="Lodge" width="114" /></a></div> <div id="Picture47LYR" style="line-height: 0"><a href="./Havasupai-Mules/havasupai-mules.html"><img alt="Pack Mules" height="31" id="Picture47" src="./scrollmid_4.jpg" title="Pack Mules" width="114" /></a></div> <div id="Picture10LYR" style="line-height: 0"><a href="./Supai-Store---Cafe/supai-store---cafe.html"><img alt="Store &amp; Cafe" height="31" id="Picture10" src="./scrollmid_5.jpg" title="Store &amp; Cafe" width="114" /></a></div> <div id="Picture11LYR" style="line-height: 0"><a href="./Supai-Maps/supai-maps.html"><img alt="Location &amp; Map" height="31" id="Picture11" src="./scrollmid_12.jpg" title="Location &amp; Map" width="114" /></a></div> <div id="Rectangle3LYR"><img alt="" height="96" id="Rectangle3" src="./Rectangle.gif" width="1000" /></div> <div class="TextObject" id="Text2LYR" style="background-color: rgb(0,0,0);"> <h2 style="text-align: center; margin-bottom: 0px;"><span style="font-family: Tahoma,Verdana,Arial,Helvetica,Sans-serif; color: rgb(255,255,255);"><span style="color: rgb(255,102,51);">Supai, Arizona, USA</span><br /> <b><span style="font-weight: bold;">The&nbsp;Havasupai Tribe</span></b></span><br /> <b><span style="font-family: Tahoma,Verdana,Arial,Helvetica,Sans-serif; font-size: 14pt; color: rgb(0,204,255); font-weight: bold;">People of the Blue Green Water</span></b><br /> &nbsp;</h2> </div> <div id="Picture57LYR" style="line-height: 0"><a href="./Havasupai-FAQ/havasupai-faq.html"><img alt="FAQ" height="31" id="Picture57" src="./scrollmid_7.jpg" title="FAQ" width="115" /></a></div> <div class="TextObject" id="Text5LYR" style="background-color: rgb(255,102,51);"> <h6 style="text-align: center; margin-bottom: 0px;"><span style="color: rgb(255,255,255);"><b><span style="font-family: Tahoma,Verdana,Arial,Helvetica,Sans-serif; font-size: 12pt; font-weight: bold;">Copyright &copy; Havasupai Tribe 2017-2020</span></b><br /> </span></h6> </div> <div id="Picture65LYR" style="line-height: 0"><a href="./Contact-Us/contact-us.html"><img alt="scrollmid" height="31" id="Picture65" src="./scrollmid_14.jpg" title="scrollmid" width="115" /></a></div> <div id="Picture66LYR" style="line-height: 0"><a href="./Community-Calendar/community-calendar.html"><img alt="Havasu Baaja" height="65" id="Picture66" src="./scrollmid_13.jpg" title="Havasu Baaja" width="164" /></a></div> <div id="Picture64LYR" style="line-height: 0"><a href="https://mail.havasupai-nsn.gov/"><img alt="Tribal Employees" height="65" id="Picture64" src="./scrollmid_16.jpg" title="Tribal Employees" width="164" /></a></div> <div id="Picture76LYR" style="line-height: 0"><a href="./Havasupai-Government/havasupai-government.html"><img alt="scrollmid" height="31" id="Picture76" src="./scrollmid_15.jpg" title="scrollmid" width="114" /></a></div> </div> </div> <!-- Google tag (gtag.js) --> <script async src="https://www.googletagmanager.com/gtag/js?id=G-NL9EFR34CY"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-NL9EFR34CY'); </script> </body> </html>
Official Havasupai Tribe Website <!-- body { margin:0px auto; width:1004px; } div#LayoutLYR { float:left; position:absolute; } div#RotatingPicture1LYR { position:absolute; top:128px; left:15px; width:961px; height:341px; z-index:1 } div#Text13LYR { position:absolute; top:613px; left:25px; width:910px; height:84px; z-index:2 } div#Picture3LYR { position:absolute; top:0px; left:737px; width:150px; height:130px; z-index:3 } div#Picture5LYR { position:absolute; top:500px; left:2px; width:114px; height:31px; z-index:4 } div#Picture6LYR { position:absolute; top:500px; left:244px; width:114px; height:31px; z-index:5 } div#Picture7LYR { position:absolute; top:500px; left:486px; width:114px; height:31px; z-index:6 } div#Picture8LYR { position:absolute; top:500px; left:607px; width:114px; height:31px; z-index:7 } div#Picture47LYR { position:absolute; top:500px; left:728px; width:114px; height:31px; z-index:8 } div#Picture10LYR { position:absolute; top:500px; left:849px; width:114px; height:31px; z-index:9 } div#Picture11LYR { position:absolute; top:500px; left:365px; width:114px; height:31px; z-index:10 } div#Rectangle3LYR { position:absolute; top:5200px; left:0px; width:1000px; height:96px; z-index:11 } div#Text2LYR { position:absolute; top:0px; left:288px; width:392px; height:104px; z-index:12 } div#Picture57LYR { position:absolute; top:5254px; left:300px; width:115px; height:31px; z-index:13 } div#Text5LYR { position:absolute; top:5209px; left:261px; width:443px; height:33px; z-index:14 } div#Picture65LYR { position:absolute; top:5253px; left:547px; width:115px; height:31px; z-index:15 } div#Picture66LYR { position:absolute; top:5209px; left:58px; width:164px; height:65px; z-index:16 } div#Picture64LYR { position:absolute; top:5209px; left:740px; width:164px; height:65px; z-index:17 } div#Picture76LYR { position:absolute; top:500px; left:123px; width:114px; height:31px; z-index:18 } div#Picture77LYR { position:absolute; top:549px; left:301px; width:366px; height:31px; z-index:19 } div#Text14LYR { position:absolute; top:754px; left:25px; width:910px; height:28px; z-index:20 } div#Text15LYR { position:absolute; top:707px; left:27px; width:908px; height:917px; z-index:21 } div#Picture78LYR { display:none !important; position:absolute; top:4580px; left:86px; width:356px; height:475px; z-index:22 } div#Picture69LYR { position:absolute; top:4800px; left:35px; width:300px; height:225px; z-index:23 } div#Picture73LYR { position:absolute; top:4800px; left:335px; width:300px; height:225px; z-index:24 } div#Picture70LYR { position:absolute; top:4800px; left:635px; width:300px; height:225px; z-index:25 } div#Picture79LYR { display:none !important;position:absolute; top:4580px; left:596px; width:356px; height:475px; z-index:26 } div#Text16LYR { position:absolute; top:4756px; left:203px; width:626px; height:197px; z-index:27 } div#Picture68LYR { position:absolute; top:3785px; left:123px; width:750px; height:295px; z-index:28 } **Important Information for November 2023 Reservation Holders** Please read carefully and ensure that all members of your reservation group understand and agree to the following information. Once in Supai, please follow all tribal guide instructions. It is the responsibility of each tourist to bring the necessary gear and equipment for camping. The tribe does not offer or sell tents, sleeping bags, heaters or other camping supplies. The store stocks a limited number of food items, but you should bring your own food, water, etc. Plan accordingly for changes in weather, the Reservation can experience high temperatures, wind and rain. Please respect the sovereignty of the Havasupai Tribe and abide by all posted signage and instructions from the rangers. Only hike in designated areas. Leave no trace (Pack It In, Pack It Out). **CHECK-IN PROCESS - Grand Canyon Caverns Inn** Check-in for all permit reservations will take place at Grand Canyon Caverns Inn, located at Mile Marker 115, Route 66 near Seligman, Arizona 86434. The trip leader must check-in for all members of their group. The trip leader may check-in starting on the day before your arrival date through the end of your permit date. If you arrive and check-in a day or two late, you still must exit the canyon on your original departure date. No refunds or rescheduling of dates will be issued. The check-in office is located around the back of the Inn lobby when you walk through the main doors or you can access it by entering from the back of the building. There will be signs. The check-in office is open every day from 8am - 5pm. The trip leader will need to provide photo ID to receive all permits, wristbands, bag tags, and an entrance form, which will need to be completed and shown to the Havasupai Reservation boundary checkpoint staff and/or the Tourist Office employee stationed at Hilltop. You can start the hike on any day of your reservation and you must depart on or before the last day of your reservation. There is no refund for unused days. The trail will be open for hiking 24 hours a day. Please use caution as assistance may not be readily available during non-business hours. All members of the group will be asked to show all required paperwork (see above) at the Havasupai Reservation boundary checkpoint, approximately 5 miles from Hilltop (the trailhead). There will be no congregating at the checkpoint so please make sure all members of your group have the required paperwork. Please follow directions and signs at the checkpoint. If you will be parking a vehicle at Hilltop, you will need to indicate the license plate number of each vehicle on your check-in information. Please note that the Tribe is not responsible for vehicles parked at Hilltop. **MULE RESERVATIONS** There are no new mule reservations. If you have previously made a mule reservation, it will be confirmed at check-in. Mule reservations are non-refundable. If you intend to use this service, you must ensure your packs and supplies are the [proper weight and size for your mule reservation.](https://www.theofficialhavasupaitribe.com/Havasupai-Mules/havasupai-mules.html) **HILLTOP TRAILHEAD** Please note: There is NO camping at Hilltop. That includes no sleeping in your vehicle at Hilltop. There is limited parking at the trailhead. Additional parking is available along the road leading to the trailhead. The Tribe is not responsible for vehicles parked at Hilltop. **COVID PROTOCOLS** Vaccination status or negative test results are not required at this time. However, the Tribe requires all visitors wear a mask while in Supai Village and in all public areas including the store and the café. Please bring your own mask. Failure to comply may result in immediate removal from the Reservation at your expense and immediate loss of your privilege of visiting the Reservation and the waterfalls. The Tribe reserves the right to suspend tourism at any time for non-compliance. The Tribe reserves the right to update its COVID protocols at any time which may include the suspension of tourism for non-compliance of the mask requirement. **STORE AND CAFE** The store and the cafe will be open to tourists during normal operating hours. It is possible that there will be occupancy restrictions, please abide by all signage and onsite instructions. Please wear your mask at all times while in the store or the cafe. Please continue to visit our [official Facebook tourism page](https://www.facebook.com/HavasupaiTribeTourismOfficial) for updates and information. And as always, please visit [www.havasupaireservations.com](https://www.havasupaireservations.com) for updated information. This website is owned and controlled by the Tribe. If you have any questions related to the Tribe’s tourism activities, please reach out to [[email protected]](/cdn-cgi/l/email-protection#71020401011e0305311910071002040110180314021403071005181e1f025f121e1c). *The Havasupai Tourism Office* --- **Havasupai Tribal Council Notice: December 23, 2022** Gamyu (Hello) Please consider this message as an official communication from the Havasupai Tribe. This is important information that the Havasupai Tribe would like to share regarding tourism. As you are aware, as a result of the pandemic and in order to protect the health and safety of our Tribal members, we closed our Reservation in March 2020. With limited access to meaningful healthcare, closing the reservation was the best way to keep our community safe and healthy. We have remained closed to tourists since that time. On October 1, 2022, the Tribe also experienced severe flooding, which destroyed several bridges and trails that are needed not only for our tourists, but the everyday movement of goods and services into Supai Village. Also impacting tourism were ongoing issues the Tribe experienced with the individual and company the Tribe had contracted with to provide online tourism operations and customer service. The individual and company’s failure to cooperate with the Tribe has ultimately led to an ongoing legal matter and required the Tribe to engage with a new tourism operator and spend significant time and financial resources rebuilding the online tourism platform in order to be ready for the anticipated opening of the 2023 tourism season. This individual and company has denied the Tribe access to the tourism credit card processing application, impacting the Tribe’s ability to issue credit card reimbursements for transferred permits. As a result, any tourist who booked a reservation before August 12, 2022 and sold the reservation via the official transfer system after August 12, 2022 will be issued a hard-copy check for reimbursement. We are aware that there have been a few incidents where tourists have been unable to cash the reimbursement check. Our new third-party tourism operator and the Tribe’s chief financial officer are working diligently to address this issue. This has been a trying experience for all involved and we appreciate your patience as we move through this transition. However, there are many positive things as a result. While you may see downed trees on the trails where the flood crashed through, you will also see flourishing flora and fauna and new waterfall flows. This is truly a great time to visit and please know that we are eager to welcome tourists back to our beautiful Reservation starting February 1, 2023 for current permit holders. We are also excited to share that the Tribe has launched its official Facebook tourism page, [www.facebook.com/HavasupaiTribeTourismOfficial](https://www.facebook.com/HavasupaiTribeTourismOfficial). There are countless Havasupai-related pages on Facebook, however, these are not operated or authorized by the Tribe. Please visit and like our tourism page where official information regarding tourism can be found. And as always, please visit [www.havasupaireservations.com](https://www.havasupaireservations.com) for updated information. This website is owned and controlled by the Tribe.  If you have any questions related to the Tribe’s tourism activities, please reach out to [[email protected]](/cdn-cgi/l/email-protection#87f4f2f7f7e8f5f3c7efe6f1e6f4f2f7e6eef5e2f4e2f5f1e6f3eee8e9f4a9e4e8ea). We hope you have a safe and happy holiday season. The Havasupai Tribe --- **Havasupai Tribe Provides Testimony at United States Senate Committee on Energy and Natural Resources; Time is Now to Protect the Grand Canyon** Hearing on S. 387, To protect, for current and future generations, the watershed, ecosystem, and cultural heritage of the Grand Canyon region in the State of Arizona, to provide for a study relating to the uranium stockpile in the United States, and for other purposes. [View PDF](https://theofficialhavasupaitribe.com/files/S_387_Hearing_Testimony_Havasupai_Tribe_06.07.2022.pdf) --- **Havasupai Tribe Vaccination Incentive Program** The Havasupai Tribal Council has approved a vaccination incentive program to encourage all members to get vaccinated. [Click here for more information and eligibility requirements.](files/Havasupai_Vaccination_Incentive_Program.pdf) --- ![Protect Havasupai From Uranium Mining](/Protect-Havasupai-From-Uranium-Mining-Evangeline-Kissoon.png) **Congress Must Act to Save the Havasupai Tribe from Extinction** [Written by Chairwoman Kissoon in an opinion piece for Newsweek:](https://www.newsweek.com/congress-must-act-save-havasupai-tribe-extinction-opinion-1654939) "We have seen the irreparable damage uranium mining can do. For generations we have been at the forefront, working to permanently protect our homelands from uranium mining, which has disproportionately harmed and sickened Indigenous people across northern Arizona. The Senate has the power to protect not only our Grand Canyon home and our waters, but also the health and safety of our tribe and the people of the Southwest from the life-threatening effects of uranium mining. We urge the Senate to do the right thing and protect the Grand Canyon now and for future generations." [View Article](https://www.newsweek.com/congress-must-act-save-havasupai-tribe-extinction-opinion-1654939) ( [PDF](/files/Newsweek-Save-Havasupai-Stop-Uranium-Mining-2021-12-02.pdf) ) --- **HAVASUPAI TRIBE SCHOOL CLOTHING ASSISTANCE** School clothing funding assistance is available for students from Early Head Start through 12th grade. Please complete the application and submit it to the Tribal Secretary's office via email at [[email protected]](/cdn-cgi/l/email-protection) or mail to Tribal Secretary, P.O. Box 10 Supai, Arizona 86435. [Download the application here](https://theofficialhavasupaitribe.com/files/2021_School_Clothing_Assistance_Application.pdf) --- **Havasupai Job Board** [View the Havasupai Job Board](/Jobs) --- --- window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-NL9EFR34CY');
https://theofficialhavasupaitribe.com/
<html> <head> <title>Tic-tac-toe (Math Lair)</title> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> <link rel=fontdef href="/fonts/oldenglish.pfr"> <link rel="shortcut icon" href="/images/favicon.png"> <link rel="apple-touch-icon-precomposed" href="/images/favicon-touch.png"> <link rel="canonical" href="https://mathlair.allfunandgames.ca/tictactoe.php"> <link rel=stylesheet type="text/css" href="math-new.css"> <meta name=description content="A discussion of alternate forms of tic-tac-toe (a.k.a. ticktacktoe, tictactoe or tick-tack-toe) and the mathematics of these variants"><meta name=keywords content="tic-tac-toe,ticktacktoe,tick-tack-toe,tictactoe,polyominoes"></head> <body><div class=header><h1><a href="/"><img width=100 height=112 alt="[Math Lair]" title="Go to home page" src="images/mathlairlogo.png"></a><span class=headertext> Tic-tac-toe</span></h1></div><div class=crumb><a href="/">Math Lair Home</a> &gt; <a href="topics.php">Topics</a> &gt; <strong>Tic-tac-toe</strong></div> <div><script type="text/javascript"><!-- google_ad_client = "ca-pub-4867310559809336"; /* afgadunit5 */ google_ad_slot = "9118033160"; google_ad_width = 728; google_ad_height = 90; //--> </script> <script type="text/javascript" src="//pagead2.googlesyndication.com/pagead/show_ads.js"> </script> </div> <br>[<a href="#main">The Traditional Game</a> | <a href="#variations">Variations</a> | <a href="#generalized">Generalized Tic-Tac-Toe</a> | <a href="#other">Other Stuff</a>] <p><img alt="A game of tic-tac-toe in a park" width=350 height=400 align=right src="images/tictactoe.jpg">Tic-tac-toe (also spelled tictactoe, ticktacktoe, or tick-tack-toe, and also referred to as noughts and crosses or X's and O's) is one of the world's simplest games. It's also one of the most ubiquitous, with game boards found on toys, in graffiti, and even children's playground equipment (right). One could wonder how there could be any mathematical interest in it whatsoever. After all, everyone who is old enough knows that, with best play, neither player can force a win in standard tic-tac-toe (i.e. on a 3&times;3 grid). Still, investigating tic-tac-toe can be a useful introduction to <a href="combinatorialgames.php">combinatorial game theory</a>. Furthermore, there are several variations that could be played, such as altering the board or the winning conditions, that could make the game interesting. For example, the first player has an easy win with three-in-a-row tic-tac-toe on a 4&times;4 (or larger) board. <h2><a name=main></a>The Traditional Game</h2> <div style="float: left; width: 160px"> <img src="images/tic_tac_toe1.png" height=150 width=150 alt="Second player's drawing moves when the first player chooses the centre square" title="Second player's drawing moves (in grey) when the first player chooses the centre square" style="float: left"> <img src="images/tic_tac_toe2.png" height=150 width=150 alt="Second player's drawing moves when the first player chooses a corner square" title="Second player's drawing moves (in grey) when the first player chooses the corner square" style="float: left"> <img src="images/tic_tac_toe3.png" height=150 width=150 alt="Second player's drawing moves when the first player chooses a side square" title="Second player's drawing moves (in grey) when the first player chooses a side square" style="float: left"> </div> <p>Since everyone already knows that, with best play, Tic-Tac-Toe is a draw, I won't perform a detailed analysis of the best strategy for the game here. I will ask this question, though: If you are the second player, what first move should you make to help ensure a draw? <p>If the first player chooses the centre square to start, the second player, in order to not lose, must select one of the corner squares. If the first player plays first in the corner square, the second player must select the centre square. If the first player selects a side square, there are several possibilities. See the images on the left for more information. <p>If you're the first player, you might think that your <a href="probability.php">probability</a> of winning is better if you take the corner square, but that's not necessarily true unless your opponent is playing at random, because the only move that leads to a draw (take the centre square) is easier to find. <h2><a name=variations></a>Variations</h2> <p>Here are some interesting variations of tic-tac-toe that you may want to try out. Think about whether one player or another has a winning strategy, a plan they can follow that guarantees that they will win every time: <dl> <dt>Your Choice Tic-Tac-Toe <dd>Each player may put down either an X or an O on each of their turns, and may change their mind from turn to turn. The winner is the one who finishes any row, column, or diagonal of all X's or all O's. <dt><a href="magicsquares.php">Magic Square</a> Tic-Tac-Toe <dd>Instead of X's and O's, the numbers 1 through 9 are used. Each number may be used only once. The winner is the one to get the numbers in any row, column, or diagonal to add up to 15. <strong>Question:</strong> Can you determine a winning strategy for this variant? <dt>Last One Wins <dd>On a player's turn, that player marks as many non-empty spaces as they like, as long as they are in the same row or column (not diagonal). Whoever fills in the last space wins. <dt>Avoidance Tic-Tac-Toe (also known as Mis&egrave;re Tic-Tac-Toe or Toe-Tac-Tic) <dd>Same order of play as the standard game, except that a player who completes three in a row loses. <dt>Drawbridge <dd>Same order of play as the standard game, only one player wins if the game is a draw, while the other wins if either completes three in a row. <dt>Movable Markers <dd>Players have three counters each and take turns placing them on the grid. If neither has won after all six counters are down, players may move one of their counters somewhere else as their move. <dt>Hot <dd>Each of the words HOT, HEAR, TIED, FORM, WASP, BRIM, TANK, SHIP, and WOES is printed on a card. Players take turns withdrawing cards from the pile. The first to hold three cards containing the same letter wins. An alternate version of this game uses the cards FISH, SOUP, HORN, KNIT, VOTE, ARMY, CHAT, SWAN, and GIRL. <strong>Question:</strong> Why is this listed under tic-tac-toe variants? Think about it. <dt>The Numbers Game (or Fifteen) <dd>Players take turns selecting a number between 1 and 9. Each number may be selected only once. The first person to accumulate three numbers whose sum is 15 is the winner. <strong>Question:</strong> Why is this listed under tic-tac-toe variants? The <a href="magicsquares.php">magic squares page</a> may provide a hint. <dt>Multi-Player Tic-Tac-Toe <dd>For three to six people, try a giant board, one that is at least 10&times;10, perhaps <a href="infinity.php">infinite</a>. Four in a row wins this variant. <dt>Ultimate Tic-Tac-Toe <dd>Ultimate tic-tac-toe is played on a 3&times;3 board, but each square contains a 3&times;3 board of its own. Players alternate turns marking individual squares on one of the small boards. If you win one of the little boards, you can mark the big square as X or O. What makes this game interesting is that you can't simply choose any of the nine boards to play on; you must choose the board located in the <em>large square</em> corresponding to the <em>small square</em> that your opponent just marked. So, for example, if your opponent just marked the upper left corner in the middle board, you must play somewhere in the upper left board. <dt>3-D Tic-Tac-Toe <dd>Play on a 4&times;4&times;4 board; the goal is to get 4 in a row. There are a <em>lot</em> of computer games of this version of tic-tac-toe. One of the earliest was a video game for the Atari 2600. </dl> <h2><a name=generalized></a>Generalized Tic-Tac-Toe</h2> <p>Martin Gardner once wrote a <cite>Scientific American</cite> column (found in his book <a href="http://www.amazon.com/gp/product/0716721880?ie=UTF8&tag=alfuanga04-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=0716721880">Fractal Music, Hypercards and More...</a><img src="http://www.assoc-amazon.com/e/ir?t=alfuanga04-20&l=as2&o=1&a=0716721880" width="1" height="1" border="0" alt="" style="border:none !important; margin:0px !important;" />; see <a href="bibliography.php">the bibliography</a> for more information on the book) on "Generalized Ticktacktoe". The generalization is as follows: Choose a polyomino (such polyominoes are called "animals" by Frank Harary, who devised this generalization) and declare its formation to be the objective of the tic-tac-toe game. Each player tries to fill in cells that will form the desired animal. Rotations and reflections are okay. <p>An interesting idea is to look at each of the polyominoes and find two properties of that polyomino: The length of the side of the smallest square on which the first player can force a win (<em>b</em>), and the number of moves required on this board (<em>m</em>). Here are some "animals" of 1 to 4 cells (aside: polyominoes of four cells are called <em>tetrominoes</em>, and should be familiar to anyone who as played <em>Tetr</em>is), their "names", and their <em>b</em> and <em>m</em> values. <p><img src="images/tictac1a.png" height=120 width=200 alt="[Animals of 1 cell through 3 cells]" style="float: left"><img src="images/tictac2a.png" height=200 width=200 alt="[Tetrominoes]" style="float: right">Note that the 2&times;2 square, nicknamed "Fatty", is a "loser". That is, the first player can never force Fatty on a board of any size. Note that any polyomino containing any smaller loser is also a loser. This makes sense, since if you can never force a 2&times;2 square, for example, you can't force (say) a 3&times;3 square either, since to construct a 3&times;3 square you have to create a 2&times;2 square. As a matter of fact, most polyominoes of size 5 or greater are losers. There are only three pentominoes and (probably) one hexomino that are winners: <p><img src="images/tictac3a.png" height=160 width=280 alt="[Winning Pentominoes and Hexominoes]" style="float: left"> <p>Since almost every heptomino (size 7) or larger will contain at least two <em>different</em> hexominoes, and there is no more than one winning hexomino, it is not too hard to show that all 107 order-7 animals contain a smaller loser and thus are losers themselves. <p>Another question: Is there ever a winning strategy for the second player? This is a pretty easy question to answer. Assume that, for some shape, the second player does have a strategy. Then the first player could win by starting with some irrelevant move and thereafter following the second player's winning strategy. Making an extra move is never a liability in tic-tac-toe, even generalized tic-tac-toe. <a href="reductio.php">We have reached a contradiction</a>, so our assumption that the second player can ever have a winning strategy is false. The moral of the story is: go first! <h2><a name=other></a>Other Thoughts</h2> <p>One last tic-tac-toe item: If you play a normal game of tic-tac-toe with someone else and let him/her go first, what is the probability that s/he will start with an X? It is certainly greater than 50%. As a matter of fact, it's probably close to 100%. Interesting, eh? <p>However, I have seen a tic-tac-toe set in the toy section of a department store that contained five O's and four X's, which would require O to go first. Maybe at least one toy designer thinks differently than most people... <p><a href="forkids.php">More math activities for kids</a> <p>Sources used (see <a href="bibliography.php">bibliography page</a> for titles corresponding to numbers): <a href="bibliography.php#l44">44</a>. <div class="footer"> <div>Last updated March 21, 2020.</div> <div>URL: https://mathlair.allfunandgames.ca/tictactoe.php</div> <div>For questions or comments, e-mail James Yolkowski (&#109;&#97;&#116;&#104;<span>&#108;&#97;&#105;&#114;&#64;&#97;</span>&#108;&#108;&#102;&#117;<span>&#110;&#97;&#110;&#100;&#103;</span>&#97;&#109;&#101;&#115;&#46;&#99;&#97;).</div> <div><a href="/">Math Lair home page</a> | <a href="http://www.allfunandgames.ca/">All Fun and Games</a> | <a href="privacy.php">Privacy policy</a></div> </body> </html>
Tic-tac-toe (Math Lair) # [[Math Lair]](/) Tic-tac-toe [Math Lair Home](/) > [Topics](topics.php) > **Tic-tac-toe** <!-- google\_ad\_client = "ca-pub-4867310559809336"; /\* afgadunit5 \*/ google\_ad\_slot = "9118033160"; google\_ad\_width = 728; google\_ad\_height = 90; //--> [[The Traditional Game](#main) | [Variations](#variations) | [Generalized Tic-Tac-Toe](#generalized) | [Other Stuff](#other)] ![A game of tic-tac-toe in a park](images/tictactoe.jpg)Tic-tac-toe (also spelled tictactoe, ticktacktoe, or tick-tack-toe, and also referred to as noughts and crosses or X's and O's) is one of the world's simplest games. It's also one of the most ubiquitous, with game boards found on toys, in graffiti, and even children's playground equipment (right). One could wonder how there could be any mathematical interest in it whatsoever. After all, everyone who is old enough knows that, with best play, neither player can force a win in standard tic-tac-toe (i.e. on a 3×3 grid). Still, investigating tic-tac-toe can be a useful introduction to [combinatorial game theory](combinatorialgames.php). Furthermore, there are several variations that could be played, such as altering the board or the winning conditions, that could make the game interesting. For example, the first player has an easy win with three-in-a-row tic-tac-toe on a 4×4 (or larger) board. ## The Traditional Game ![Second player's drawing moves when the first player chooses the centre square](images/tic_tac_toe1.png "Second player's drawing moves (in grey) when the first player chooses the centre square") ![Second player's drawing moves when the first player chooses a corner square](images/tic_tac_toe2.png "Second player's drawing moves (in grey) when the first player chooses the corner square") ![Second player's drawing moves when the first player chooses a side square](images/tic_tac_toe3.png "Second player's drawing moves (in grey) when the first player chooses a side square") Since everyone already knows that, with best play, Tic-Tac-Toe is a draw, I won't perform a detailed analysis of the best strategy for the game here. I will ask this question, though: If you are the second player, what first move should you make to help ensure a draw? If the first player chooses the centre square to start, the second player, in order to not lose, must select one of the corner squares. If the first player plays first in the corner square, the second player must select the centre square. If the first player selects a side square, there are several possibilities. See the images on the left for more information. If you're the first player, you might think that your [probability](probability.php) of winning is better if you take the corner square, but that's not necessarily true unless your opponent is playing at random, because the only move that leads to a draw (take the centre square) is easier to find. ## Variations Here are some interesting variations of tic-tac-toe that you may want to try out. Think about whether one player or another has a winning strategy, a plan they can follow that guarantees that they will win every time: Your Choice Tic-Tac-Toe Each player may put down either an X or an O on each of their turns, and may change their mind from turn to turn. The winner is the one who finishes any row, column, or diagonal of all X's or all O's. [Magic Square](magicsquares.php) Tic-Tac-Toe Instead of X's and O's, the numbers 1 through 9 are used. Each number may be used only once. The winner is the one to get the numbers in any row, column, or diagonal to add up to 15. **Question:** Can you determine a winning strategy for this variant? Last One Wins On a player's turn, that player marks as many non-empty spaces as they like, as long as they are in the same row or column (not diagonal). Whoever fills in the last space wins. Avoidance Tic-Tac-Toe (also known as Misère Tic-Tac-Toe or Toe-Tac-Tic) Same order of play as the standard game, except that a player who completes three in a row loses. Drawbridge Same order of play as the standard game, only one player wins if the game is a draw, while the other wins if either completes three in a row. Movable Markers Players have three counters each and take turns placing them on the grid. If neither has won after all six counters are down, players may move one of their counters somewhere else as their move. Hot Each of the words HOT, HEAR, TIED, FORM, WASP, BRIM, TANK, SHIP, and WOES is printed on a card. Players take turns withdrawing cards from the pile. The first to hold three cards containing the same letter wins. An alternate version of this game uses the cards FISH, SOUP, HORN, KNIT, VOTE, ARMY, CHAT, SWAN, and GIRL. **Question:** Why is this listed under tic-tac-toe variants? Think about it. The Numbers Game (or Fifteen) Players take turns selecting a number between 1 and 9. Each number may be selected only once. The first person to accumulate three numbers whose sum is 15 is the winner. **Question:** Why is this listed under tic-tac-toe variants? The [magic squares page](magicsquares.php) may provide a hint. Multi-Player Tic-Tac-Toe For three to six people, try a giant board, one that is at least 10×10, perhaps [infinite](infinity.php). Four in a row wins this variant. Ultimate Tic-Tac-Toe Ultimate tic-tac-toe is played on a 3×3 board, but each square contains a 3×3 board of its own. Players alternate turns marking individual squares on one of the small boards. If you win one of the little boards, you can mark the big square as X or O. What makes this game interesting is that you can't simply choose any of the nine boards to play on; you must choose the board located in the *large square* corresponding to the *small square* that your opponent just marked. So, for example, if your opponent just marked the upper left corner in the middle board, you must play somewhere in the upper left board. 3-D Tic-Tac-Toe Play on a 4×4×4 board; the goal is to get 4 in a row. There are a *lot* of computer games of this version of tic-tac-toe. One of the earliest was a video game for the Atari 2600. ## Generalized Tic-Tac-Toe Martin Gardner once wrote a Scientific American column (found in his book [Fractal Music, Hypercards and More...](http://www.amazon.com/gp/product/0716721880?ie=UTF8&tag=alfuanga04-20&linkCode=as2&camp=1789&creative=390957&creativeASIN=0716721880)![](http://www.assoc-amazon.com/e/ir?t=alfuanga04-20&l=as2&o=1&a=0716721880)
http://mathlair.allfunandgames.ca/tictactoe.php
<HTML> <HEAD><meta http-equiv="no-cache"><META HTTP-EQUIV="Expires" CONTENT="Tue, 20 Aug 2006 14:25:27 GMT"> <META NAME="GENERATOR" CONTENT="Namo WebEditor v4.0"> <TITLE>Laser Tank</TITLE> <meta name="author" content="Jim Kindley"> <meta name="description" content="The Best Puzzle Game in the World"> <meta name="keywords" content="Lasertank, Laser Tank, Game, Puzzle, Reflection, Réflexion, Sokoban, Soko, Jeux, Casse-tête, Laser, Tank, Strategy, Stratégie"> <meta name="classification" content="Puzzle Game"> </HEAD> <FRAMESET COLS="108,*" frameborder=0 > <FRAME SRC="menu.html" NAME="IndexFR" SCROLLING=NO NORESIZE> <FRAME SRC="welcome.html" NAME="MainFR" SCROLLING=YES> <noframes> <BODY> Viewing this page requires a browser capable of displaying frames. please goto <B><A HREF="ltank_en.html">NoFrame Mode</A></B> </BODY> </NOFRAMES> </FRAMESET> </HTML>
Laser Tank Viewing this page requires a browser capable of displaying frames. please goto **[NoFrame Mode](ltank_en.html)**
https://laser-tank.com/ltank_en.html
<!DOCTYPE html> <html lang="en"><head> <title>her.st - Do you see it yet?: </title> <meta charset="utf-8"> <meta name="theme-color" content="#13132E"> <link rel="preload" href="/assets/css/style.css" as="style"> <meta name="viewport" content="width=device-width, initial-scale=1"> <link href='/feed.xml' rel='alternate' type='application/atom+xml'> <link rel="stylesheet" href="/assets/css/style.css" > <link rel="icon" type="image/ico" href="/assets/images/icons/favicon.ico" /> <meta name="twitter:card" content="summary_large_image"> <meta name="twitter:image" content="/assets/images/89db0554-c0b7-4e82-a445-e15fb56da17f.webp"> <meta name="og:image" content="/assets/images/89db0554-c0b7-4e82-a445-e15fb56da17f.webp"> <link rel="apple-touch-icon" href="/assets/images/gravatar_14.webp" /><!-- Begin Jekyll SEO tag v2.8.0 --> <title>her.st - Do you see it yet? | Self-Hosting, Minimalism, Linux, .NET, Philosophy, Psychology, Privacy, Security.</title> <meta name="generator" content="Jekyll v4.2.1" /> <meta property="og:title" content="her.st - Do you see it yet?" /> <meta name="author" content="trbl" /> <meta property="og:locale" content="en_US" /> <meta name="description" content="Self-Hosting, Minimalism, Linux, .NET, Philosophy, Psychology, Privacy, Security." /> <meta property="og:description" content="Self-Hosting, Minimalism, Linux, .NET, Philosophy, Psychology, Privacy, Security." /> <link rel="canonical" href="https://her.st/" /> <meta property="og:url" content="https://her.st/" /> <meta property="og:site_name" content="her.st - Do you see it yet?" /> <meta property="og:image" content="https://her.st/assets/images/89db0554-c0b7-4e82-a445-e15fb56da17f.webp" /> <meta property="og:type" content="website" /> <meta name="twitter:card" content="summary_large_image" /> <meta property="twitter:image" content="https://her.st/assets/images/89db0554-c0b7-4e82-a445-e15fb56da17f.webp" /> <meta property="twitter:title" content="her.st - Do you see it yet?" /> <meta name="twitter:site" content="@" /> <meta name="twitter:creator" content="@trbl" /> <script type="application/ld+json"> {"@context":"https://schema.org","@type":"WebSite","author":{"@type":"Person","name":"trbl"},"description":"Self-Hosting, Minimalism, Linux, .NET, Philosophy, Psychology, Privacy, Security.","headline":"her.st - Do you see it yet?","image":"https://her.st/assets/images/89db0554-c0b7-4e82-a445-e15fb56da17f.webp","name":"her.st - Do you see it yet?","url":"https://her.st/"}</script> <!-- End Jekyll SEO tag --> <link type="application/atom+xml" rel="alternate" href="https://her.st/rss.xml" title="her.st - Do you see it yet?" /></head><body><div class="invisible" style="display: hidden;"> <span> @@@@@@@@ @@@@@@ @@@@@@@ @@@@@@@ @@@@@@@ @@@@@@@@ @@@@@@ @@@@@@ @@@@@@@@ @@@@@@@@ @@@@@@@@ @@@@@@@ @@@@@@@@ @@@@@@@@ @@@@@@@ @@@@@@@ @@! @@! @@@ @@! @@@ @@! @@! @@@ @@! !@@ !@@ !@! !@! @!@ !@! @!@ !@! !@! @!@ !@! !@! !@! @!!!:! @!@ !@! @!@!!@! @!! @!@!!@! @!!!:! !!@@!! !!@@!! !!!!!: !@! !!! !!@!@! !!! !!@!@! !!!!!: !!@!!! !!@!!! !!: !!: !!! !!: :!! !!: !!: :!! !!: !:! !:! :!: :!: !:! :!: !:! :!: :!: !:! :!: !:! !:! .: ::::: :: :: ::: :: :: ::: :: :::: :::: :: :::: :: : : : : : : : : : : : : :: :: :: : : :: : : ______......------. ______......------'''''' -. \ -. |\ -. | \ -. | \ -. | \ - __ | \ ______......------'''''' | | __\______......------'''''' o ______......---.o | | | . o -=-- . |OwO| . O ' ||o o o || | | |o ||____......---| | | | ____.... ....--- ||''''|____||_.| | | | ....---- ----''' ||''''' || |'. | ||'. ....---- ----''' ||o o o || '. | | |'. | ....---- ----''' ||____......---| | | | | | | ....---- ----''' ||''''|____||_.| | | | | | | ....---- ----''' ||''''' || | | | | | | ....---- ----''' ||o o o || | | | | | | ....---- ----''' ||____......---| | | | | | | ....---- ----''' ||''''|____||_.| | | | | | | ||''''' || .'.' | | | | ____....----''''| ||o o o || _| | |.'.' | ___....--- | ||____......---| (_ | |_ |____....----''''| ||''''|____||_.| _| : _) | __....-. | ||''''' || (_ : |_ | |_....-' | her.st ||o o o || | ' _) |____....----''''| --'' ||____......---| o| '.| | ___....----'': | /\ ||''''|____||_.| | '|o | |__....----''' | /__\ :.''''' _| | . :____....----''''' ______......------'''''' | _____......------'''''' '''' What I can not build, I do not understand. - founded: 2022 - members: 3 From the moment I understood the weakness of my flesh, it disgusted me. I craved the strength and certainty of steel. I aspired to the purity of the Blessed Machine. Your kind cling to your flesh, as if it will not decay and fail you. One day the crude biomass that you call a temple will wither, and you will beg my kind to save you. But I am already saved, for the Machine is immortal. __________________ __________________ .-/| \ / |\-. |||| Values | Pillars |||| |||| --====-- | ~~*~~ |||| |||| | |||| |||| Consciousness | Strength |||| |||| Intelligence | /\ |||| |||| Discipline | / \ |||| |||| Strength | / 1 \ |||| |||| Courage | / 2 3 \ |||| |||| Self | /________\ |||| |||| I | Wisdom Beauty |||| ||||__________________ | __________________|||| ||/===================\|/===================\|| `--------------------~___~-------------------'' Member is expected to contribute to the Fortress Unless exempt, a token-fee shall be paid to fund the fortress and its services. Contributing to The Fortress Library by collecting and curating knowledge Contributing to Fortress Projects, according to ablitity Sharing Information, keeping a blog/website Leading new Fortress Projects Joining In order to connect to the fortress, you'll need a SSH keypair and a WireGuard connection. If WireGuard is blocked in your Country, a SSH Tunnel can be used as substitute. PM me with "Novus Ordo Seclorum" and your SSH Public Key at trbl@chat.her.st on XMPP. After some time, you'll be able to ssh into [redacted] and find further instructions in your home </span> </div> <div class="site-header"> <div class="wrapper"> <a class="site-title" rel="author" href="/">her.st - Do you see it yet?</a> <a class="call-to-action" href="/hosting">Affordable Hosting</a> </div> </div><main class="page-content" aria-label="Content"> <div class="wrapper"> <center> <div class="author"> <div class="author-box"> <a href="/assets/images/masterpiece.mp4"> <img src="/assets/images/gravatar_14_thumb.webp" class="author-avatar" alt="author" /> </a> <p>Self-Hosting, Minimalism, Linux, .NET, Philosophy, Psychology, Privacy, Security.</p> <p> <i> <a href="xmpp:fortress-public@conference.chat.her.st?join"> Join us on XMPP! </a> </i> </p> <p> <i><a href="https://radio.her.st">Her.st Propaganda Stream</a></i> <br> <audio id="audio" controls preload="none"> <source src="https://radio.her.st/listen/listen/128.mp3" type="audio/mpeg"> </audio> </p> </div> </div> </center> <!-- Test --> <h1 style="text-align: center;">Posts</h1> <div class="post-grid"> <div class="post-links"> <a href="/usr/bin/rip-google.html" aria-label=="LLMs solved the search problem" class="post-link" alt="LLMs solved the search problem" id="biggerTitle">./LLMs solved the search problem</a> <a href="/usr/bin/rip-google.html" aria-label=="LLMs solved the search problem" alt="LLMs solved the search problem" id="biggerTitle"><img src="/assets/images/baibaigoogle_thumb.webp" alt="Stable Diffusion" /></a> <div class="excerpt"> <p>Google has become the primary source of information for people worldwide, replacing traditional libraries. Now, AI is replacing Google for the same. LLMs solved the 'Search Problem'</p> </div> </div> <div class="post-links"> <a href="/usr/bin/nginx-mirroring.html" aria-label=="nginx mirroring" class="post-link" alt="nginx mirroring" id="biggerTitle">./nginx mirroring</a> <a href="/usr/bin/nginx-mirroring.html" aria-label=="nginx mirroring" alt="nginx mirroring" id="biggerTitle"><img src="/assets/images/nginxmirror_thumb.webp" alt="South Park" /></a> <div class="excerpt"> <p>What if you wanted to do something with requests but you don't want to use Javascript? You can use Nginx to do that!</p> </div> </div> <div class="post-links"> <a href="/usr/bin/coding-is-dead.html" aria-label=="coding is dead" class="post-link" alt="coding is dead" id="biggerTitle">./coding is dead</a> <a href="/usr/bin/coding-is-dead.html" aria-label=="coding is dead" alt="coding is dead" id="biggerTitle"><img src="/assets/images/jobs_thumb.webp" alt="South Park" /></a> <div class="excerpt"> <p>Github Copilot is more useful than a Junior today and a Senior tomorrow. Frontend Web Developers will be out of a job first.</p> </div> </div> <div class="post-links"> <a href="/usr/bin/education.html" aria-label=="education" class="post-link" alt="education" id="biggerTitle">./education</a> <a href="/usr/bin/education.html" aria-label=="education" alt="education" id="biggerTitle"><img src="/assets/images/carlin_thumb.webp" alt="George Carlin (actor/comedian) RIP" /></a> <div class="excerpt"> <p>You will be a good corpse - or 'My opinion on this form of child abuse'. Featuring AI generated text.</p> </div> </div> <div class="post-links"> <a href="/bot" aria-label=="introducing: Her.st Bot for XMPP" class="post-link" alt="introducing: Her.st Bot for XMPP" id="biggerTitle">./introducing: Her.st Bot for XMPP</a> <a href="/bot" aria-label=="introducing: Her.st Bot for XMPP" alt="introducing: Her.st Bot for XMPP" id="biggerTitle"><img src="/assets/images/meditaiton-anonymous.webp" alt="" /></a> <div class="excerpt"> <p>i can moderate, extract titles, descriptions, images and rewrite urls. I can do spam detection and search the web, post images, search videos and give users a social credit score. I'm also graphing your muc's activity.</p> </div> </div> <div class="post-links"> <a href="/usr/bin/atlas-gemini-server.html" aria-label=="introducing: atlas - my gemini server" class="post-link" alt="introducing: atlas - my gemini server" id="biggerTitle">./introducing: atlas - my gemini server</a> <a href="/usr/bin/atlas-gemini-server.html" aria-label=="introducing: atlas - my gemini server" alt="introducing: atlas - my gemini server" id="biggerTitle"><img src="/assets/images/atlas_thumb.webp" alt="the atlas launch rocket for gemini capsules." /></a> <div class="excerpt"> <p>The gemini protocol is quite simple - but gemini alone isn't enough - in order to support file uploads I had to implement the titan protocol. Then I discovered the spartan protocol and implemented that too.</p> </div> </div> <div class="post-links"> <a href="/usr/bin/http-a-lost-cause.html" aria-label=="the http web is a lost cause" class="post-link" alt="the http web is a lost cause" id="biggerTitle">./the http web is a lost cause</a> <a href="/usr/bin/http-a-lost-cause.html" aria-label=="the http web is a lost cause" alt="the http web is a lost cause" id="biggerTitle"><img src="/assets/images/gemini_thumb.webp" alt="uoou - https://linuxrocks.online/@uoou/105933753694748033" /></a> <div class="excerpt"> <p>Nobody but google can afford to develop a web browser. Feature-creep of browsers lead to them being more complex than the fking Linux kernel. Multiplayer games using WebSockets using WebGL and gamepad support w/ WebUSB. Even headers can track you.</p> </div> </div> <div class="post-links"> <a href="/usr/bin/the-rg351mp.html" aria-label=="the RG351MP" class="post-link" alt="the RG351MP" id="biggerTitle">./the RG351MP</a> <a href="/usr/bin/the-rg351mp.html" aria-label=="the RG351MP" alt="the RG351MP" id="biggerTitle"><img src="/assets/images/351ELEC-PF_thumb.webp" alt="Anbernic... what the fuck is that name... sounds like a fucking disease... anyway.. moving on..." /></a> <div class="excerpt"> <p>Recently I've purchased a RG351MP and a 50W solar panel to play some old games from my childhood during WW3 when I'm bored in the bunker. I made the right choice, BUT THE D-PAD SUCKS!</p> </div> </div> <div class="post-links"> <a href="/usr/bin/how-vpns-are-not-helping-you.html" aria-label=="how VPNs are not helping you" class="post-link" alt="how VPNs are not helping you" id="biggerTitle">./how VPNs are not helping you</a> <a href="/usr/bin/how-vpns-are-not-helping-you.html" aria-label=="how VPNs are not helping you" alt="how VPNs are not helping you" id="biggerTitle"><img src="/assets/images/vpns-big_thumb.webp" alt="I actually made this one myself w/ GIMP!" /></a> <div class="excerpt"> <p>DOWNLOAD NORDVPN TO STOP TRACKERS AND HACKERS FROM SEEING WHAT YOU DO! Shut the fuck up, that aint gonna help.</p> </div> </div> <div class="post-links"> <a href="/usr/bin/which-browser-for-privacy.html" aria-label=="which browser for privacy" class="post-link" alt="which browser for privacy" id="biggerTitle">./which browser for privacy</a> <a href="/usr/bin/which-browser-for-privacy.html" aria-label=="which browser for privacy" alt="which browser for privacy" id="biggerTitle"><img src="/assets/images/privacybrowser_thumb.webp" alt="I actually made this one myself w/ GIMP!" /></a> <div class="excerpt"> <p>Edge, Chrome, Firefox, Brave, Dissenter, Tor Browser, Chromium,... which browser(s) will keep you from being tracked across the internet? Neither.</p> </div> </div> <div class="post-links"> <a href="/usr/bin/imposter-syndrome-as-competitive-edge.html" aria-label=="imposter-syndrome as competitive edge" class="post-link" alt="imposter-syndrome as competitive edge" id="biggerTitle">./imposter-syndrome as competitive edge</a> <a href="/usr/bin/imposter-syndrome-as-competitive-edge.html" aria-label=="imposter-syndrome as competitive edge" alt="imposter-syndrome as competitive edge" id="biggerTitle"><img src="/assets/images/morpheus_thumb.webp" alt="" /></a> <div class="excerpt"> <p>what if I told you that imposter-syndrome actually gives you a competitive edge in the first couple of years?</p> </div> </div> <div class="post-links"> <a href="/usr/bin/simplifying-our-image-hosting-service-without-csharp.html" aria-label=="simplifying our image hosting service" class="post-link" alt="simplifying our image hosting service" id="biggerTitle">./simplifying our image hosting service</a> <a href="/usr/bin/simplifying-our-image-hosting-service-without-csharp.html" aria-label=="simplifying our image hosting service" alt="simplifying our image hosting service" id="biggerTitle"><img src="/assets/images/simplifyingimagehostservice_thumb.webp" alt="" /></a> <div class="excerpt"> <p>C# is great and all, but not required if you learn how to use the tools linux comes with. Let's remove all of that shit.</p> </div> </div> <div class="post-links"> <a href="/usr/bin/ssh-is-power.html" aria-label=="ssh is power" class="post-link" alt="ssh is power" id="biggerTitle">./ssh is power</a> <a href="/usr/bin/ssh-is-power.html" aria-label=="ssh is power" alt="ssh is power" id="biggerTitle"><img src="/assets/images/00976e4a-27cc-4a29-8f1d-5053ac22d054_thumb.webp" alt="image from @ https://linuxize.com/" /></a> <div class="excerpt"> <p>ssh can do far more than just connect you to a remote shell. far. more.</p> </div> </div> <div class="post-links"> <a href="/usr/bin/unlimited-free-proxies.html" aria-label=="unlimited free proxies" class="post-link" alt="unlimited free proxies" id="biggerTitle">./unlimited free proxies</a> <a href="/usr/bin/unlimited-free-proxies.html" aria-label=="unlimited free proxies" alt="unlimited free proxies" id="biggerTitle"><img src="/assets/images/proxy1_thumb.webp" alt="this isn't sketchy... we're just organizing unorganized public lists into a database..." /></a> <div class="excerpt"> <p>pastebins + proxy tester = unlimited free proxies. Let's write everything we need and build a database of working proxies. Starting with a simple C# console app that checks if a proxy is working.</p> </div> </div> <div class="post-links"> <a href="/usr/bin/creating-image-hosting-web-service-in-csharp.html" aria-label=="creating an image hosting web service" class="post-link" alt="creating an image hosting web service" id="biggerTitle">./creating an image hosting web service</a> <a href="/usr/bin/creating-image-hosting-web-service-in-csharp.html" aria-label=="creating an image hosting web service" alt="creating an image hosting web service" id="biggerTitle"><img src="/assets/images/9d17f4a4-16cf-4815-b711-694f67b3e882_thumb.webp" alt="" /></a> <div class="excerpt"> <p>this blog needs images. let's build an image hosting service and an app to upload them.</p> </div> </div> <div class="post-links"> <a href="/usr/bin/birth-of-a-programmer.html" aria-label=="the birth of a programmer" class="post-link" alt="the birth of a programmer" id="biggerTitle">./the birth of a programmer</a> <a href="/usr/bin/birth-of-a-programmer.html" aria-label=="the birth of a programmer" alt="the birth of a programmer" id="biggerTitle"><img src="/assets/images/de3f063d-962f-4426-bb85-5aa6c48497cf_thumb.webp" alt="Awake For Ever in a Sweet Unrest - Ian Bliss" /></a> <div class="excerpt"> <p>How did I become a programmer? Well, it all started about 12 years ago, when a series of coincidences would change my life forever. Let me tell you a story...</p> </div> </div> </div> <h1 style="text-align: center;">Pages</h1> <div class="post-grid"> <div class="post-links"> <a href="/hosting/" aria-label=="Her.st Hosting" class="post-link" alt="Her.st Hosting" id="biggerTitle">./Her.st Hosting</a> <a href="/hosting/" aria-label=="Her.st Hosting" alt="Her.st Hosting" id="biggerTitle"><img src="/assets/images/host_thumb.webp" alt="" /></a> <div class="excerpt"> <p>Fast, affordable hosting for your stuff! We offer a variety of hosting plans to fit your needs. From KVM to LXC to Web Hosting, we've got you covered.</p> </div> </div> <div class="post-links"> <a href="/bot/" aria-label=="HER.ST XMPP BOT" class="post-link" alt="HER.ST XMPP BOT" id="biggerTitle">./HER.ST XMPP BOT</a> <a href="/bot/" aria-label=="HER.ST XMPP BOT" alt="HER.ST XMPP BOT" id="biggerTitle"><img src="/assets/images/fullextract.webp" alt="" /></a> <div class="excerpt"> <p>The ultimate XMPP bot! Some of its features including Anti-Spam, Social Credit Score, Searx, Images, Videos, Crypto, Translation, Graphs, and more!</p> </div> </div> <div class="post-links"> <a href="/radio/" aria-label=="Radio" class="post-link" alt="Radio" id="biggerTitle">./Radio</a> <a href="/radio/" aria-label=="Radio" alt="Radio" id="biggerTitle"><img src="/assets/images/radio_thumb.webp" alt="" /></a> <div class="excerpt"> <p>Her.st Propaganda Broadcast! Conspiracy Theories, Philosophy, and more!</p> </div> </div> <div class="post-links"> <a href="/feed/" aria-label=="ATOM Feed" class="post-link" alt="ATOM Feed" id="biggerTitle">./ATOM Feed</a> <a href="/feed/" aria-label=="ATOM Feed" alt="ATOM Feed" id="biggerTitle"><img src="/assets/images/atom_thumb.webp" alt="" /></a> <div class="excerpt"> <p>Obligatory ATOM feed for the blog. Subscribe to it to get notified when new posts are published.</p> </div> </div> <div class="post-links"> <a href="/public-services/" aria-label=="public services" class="post-link" alt="public services" id="biggerTitle">./public services</a> <a href="/public-services/" aria-label=="public services" alt="public services" id="biggerTitle"><img src="/assets/images/public-services_thumb.webp" alt="" /></a> <div class="excerpt"> <p>We provide a couple of services to the general public, free of charge, open to anyone, with almost no restrictions.</p> </div> </div> <div class="post-links"> <a href="/private-services/" aria-label=="private services" class="post-link" alt="private services" id="biggerTitle">./private services</a> <a href="/private-services/" aria-label=="private services" alt="private services" id="biggerTitle"><img src="/assets/images/private-services_thumb.webp" alt="" /></a> <div class="excerpt"> <p>If you're a member of the fortress, you have access to the these services</p> </div> </div> <div class="post-links"> <a href="/terence-mckenna-archive/" aria-label=="The Terence McKenna Archive" class="post-link" alt="The Terence McKenna Archive" id="biggerTitle">./The Terence McKenna Archive</a> <a href="/terence-mckenna-archive/" aria-label=="The Terence McKenna Archive" alt="The Terence McKenna Archive" id="biggerTitle"><img src="/assets/images/terence_thumb.webp" alt="" /></a> <div class="excerpt"> <p>Her.st Speech 2 Text AI generated Text Transcripts of everything Terence McKenna has said.</p> </div> </div> <div class="post-links"> <a href="/alan-watts-archive/" aria-label=="The Alan Watts Archive" class="post-link" alt="The Alan Watts Archive" id="biggerTitle">./The Alan Watts Archive</a> <a href="/alan-watts-archive/" aria-label=="The Alan Watts Archive" alt="The Alan Watts Archive" id="biggerTitle"><img src="/assets/images/alan_thumb.webp" alt="" /></a> <div class="excerpt"> <p>Her.st Speech 2 Text AI generated Text Transcripts of everything Alan Watts has said.</p> </div> </div> </div> <h1 style="text-align: center;">Friends</h1> <div class="other-links"> <!-- <a href="https://crft.sh/" target="_blank" class="post-link" id="biggerTitle">/crft.sh</a> --> <a href="https://0x1.su/" target="_blank" class="post-link" id="biggerTitle">/0x1.su</a> <a href="https://digdeeper.club/" target="_blank" class="post-link" id="biggerTitle">/digdeeper.club</a> <a href="https://ilias.sh/" target="_blank" class="post-link" id="biggerTitle">/ilias.sh</a> <a href="https://chaox.ro/" target="_blank" class="post-link" id="biggerTitle">/chaox.ro</a> <a href="https://socket.watch/" target="_blank" class="post-link" id="biggerTitle">/socket.watch</a> </div> </div> </main> </body> </html>
her.st - Do you see it yet?: her.st - Do you see it yet? | Self-Hosting, Minimalism, Linux, .NET, Philosophy, Psychology, Privacy, Security. {"@context":"https://schema.org","@type":"WebSite","author":{"@type":"Person","name":"trbl"},"description":"Self-Hosting, Minimalism, Linux, .NET, Philosophy, Psychology, Privacy, Security.","headline":"her.st - Do you see it yet?","image":"https://her.st/assets/images/89db0554-c0b7-4e82-a445-e15fb56da17f.webp","name":"her.st - Do you see it yet?","url":"https://her.st/"} @@@@@@@@ @@@@@@ @@@@@@@ @@@@@@@ @@@@@@@ @@@@@@@@ @@@@@@ @@@@@@ @@@@@@@@ @@@@@@@@ @@@@@@@@ @@@@@@@ @@@@@@@@ @@@@@@@@ @@@@@@@ @@@@@@@ @@! @@! @@@ @@! @@@ @@! @@! @@@ @@! !@@ !@@ !@! !@! @!@ !@! @!@ !@! !@! @!@ !@! !@! !@! @!!!:! @!@ !@! @!@!!@! @!! @!@!!@! @!!!:! !!@@!! !!@@!! !!!!!: !@! !!! !!@!@! !!! !!@!@! !!!!!: !!@!!! !!@!!! !!: !!: !!! !!: :!! !!: !!: :!! !!: !:! !:! :!: :!: !:! :!: !:! :!: :!: !:! :!: !:! !:! .: ::::: :: :: ::: :: :: ::: :: :::: :::: :: :::: :: : : : : : : : : : : : : :: :: :: : : :: : : \_\_\_\_\_\_......------. \_\_\_\_\_\_......------'''''' -. \ -. |\ -. | \ -. | \ -. | \ - \_\_ | \ \_\_\_\_\_\_......------'''''' | | \_\_\\_\_\_\_\_\_......------'''''' o \_\_\_\_\_\_......---.o | | | . o -=-- . |OwO| . O ' ||o o o || | | |o ||\_\_\_\_......---| | | | \_\_\_\_.... ....--- ||''''|\_\_\_\_||\_.| | | | ....---- ----''' ||''''' || |'. | ||'. ....---- ----''' ||o o o || '. | | |'. | ....---- ----''' ||\_\_\_\_......---| | | | | | | ....---- ----''' ||''''|\_\_\_\_||\_.| | | | | | | ....---- ----''' ||''''' || | | | | | | ....---- ----''' ||o o o || | | | | | | ....---- ----''' ||\_\_\_\_......---| | | | | | | ....---- ----''' ||''''|\_\_\_\_||\_.| | | | | | | ||''''' || .'.' | | | | \_\_\_\_....----''''| ||o o o || \_| | |.'.' | \_\_\_....--- | ||\_\_\_\_......---| (\_ | |\_ |\_\_\_\_....----''''| ||''''|\_\_\_\_||\_.| \_| : \_) | \_\_....-. | ||''''' || (\_ : |\_ | |\_....-' | her.st ||o o o || | ' \_) |\_\_\_\_....----''''| --'' ||\_\_\_\_......---| o| '.| | \_\_\_....----'': | /\ ||''''|\_\_\_\_||\_.| | '|o | |\_\_....----''' | /\_\_\ :.''''' \_| | . :\_\_\_\_....----''''' \_\_\_\_\_\_......------'''''' | \_\_\_\_\_......------'''''' '''' What I can not build, I do not understand. - founded: 2022 - members: 3 From the moment I understood the weakness of my flesh, it disgusted me. I craved the strength and certainty of steel. I aspired to the purity of the Blessed Machine. Your kind cling to your flesh, as if it will not decay and fail you. One day the crude biomass that you call a temple will wither, and you will beg my kind to save you. But I am already saved, for the Machine is immortal. \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ .-/| \ / |\-. |||| Values | Pillars |||| |||| --====-- | ~~\*~~ |||| |||| | |||| |||| Consciousness | Strength |||| |||| Intelligence | /\ |||| |||| Discipline | / \ |||| |||| Strength | / 1 \ |||| |||| Courage | / 2 3 \ |||| |||| Self | /\_\_\_\_\_\_\_\_\ |||| |||| I | Wisdom Beauty |||| ||||\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ | \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_|||| ||/===================\|/===================\|| `--------------------~\_\_\_~-------------------'' Member is expected to contribute to the Fortress Unless exempt, a token-fee shall be paid to fund the fortress and its services. Contributing to The Fortress Library by collecting and curating knowledge Contributing to Fortress Projects, according to ablitity Sharing Information, keeping a blog/website Leading new Fortress Projects Joining In order to connect to the fortress, you'll need a SSH keypair and a WireGuard connection. If WireGuard is blocked in your Country, a SSH Tunnel can be used as substitute. PM me with "Novus Ordo Seclorum" and your SSH Public Key at trbl@chat.her.st on XMPP. After some time, you'll be able to ssh into [redacted] and find further instructions in your home [her.st - Do you see it yet?](/) [Affordable Hosting](/hosting) [![author](/assets/images/gravatar_14_thumb.webp)](/assets/images/masterpiece.mp4) Self-Hosting, Minimalism, Linux, .NET, Philosophy, Psychology, Privacy, Security. *[Join us on XMPP!](xmpp:fortress-public@conference.chat.her.st?join)* *[Her.st Propaganda Stream](https://radio.her.st)* # Posts [./LLMs solved the search problem](/usr/bin/rip-google.html) [![Stable Diffusion](/assets/images/baibaigoogle_thumb.webp)](/usr/bin/rip-google.html) Google has become the primary source of information for people worldwide, replacing traditional libraries. Now, AI is replacing Google for the same. LLMs solved the 'Search Problem' [./nginx mirroring](/usr/bin/nginx-mirroring.html) [![South Park](/assets/images/nginxmirror_thumb.webp)](/usr/bin/nginx-mirroring.html) What if you wanted to do something with requests but you don't want to use Javascript? You can use Nginx to do that! [./coding is dead](/usr/bin/coding-is-dead.html) [![South Park](/assets/images/jobs_thumb.webp)](/usr/bin/coding-is-dead.html) Github Copilot is more useful than a Junior today and a Senior tomorrow. Frontend Web Developers will be out of a job first. [./education](/usr/bin/education.html) [![George Carlin (actor/comedian) RIP](/assets/images/carlin_thumb.webp)](/usr/bin/education.html) You will be a good corpse - or 'My opinion on this form of child abuse'. Featuring AI generated text. [./introducing: Her.st Bot for XMPP](/bot) [![](/assets/images/meditaiton-anonymous.webp)](/bot) i can moderate, extract titles, descriptions, images and rewrite urls. I can do spam detection and search the web, post images, search videos and give users a social credit score. I'm also graphing your muc's activity. [./introducing: atlas - my gemini server](/usr/bin/atlas-gemini-server.html) [![the atlas launch rocket for gemini capsules.](/assets/images/atlas_thumb.webp)](/usr/bin/atlas-gemini-server.html) The gemini protocol is quite simple - but gemini alone isn't enough - in order to support file uploads I had to implement the titan protocol. Then I discovered the spartan protocol and implemented that too. [./the http web is a lost cause](/usr/bin/http-a-lost-cause.html) [![uoou - https://linuxrocks.online/@uoou/105933753694748033](/assets/images/gemini_thumb.webp)](/usr/bin/http-a-lost-cause.html) Nobody but google can afford to develop a web browser. Feature-creep of browsers lead to them being more complex than the fking Linux kernel. Multiplayer games using WebSockets using WebGL and gamepad support w/ WebUSB. Even headers can track you. [./the RG351MP](/usr/bin/the-rg351mp.html) [![Anbernic... what the fuck is that name... sounds like a fucking disease... anyway.. moving on...](/assets/images/351ELEC-PF_thumb.webp)](/usr/bin/the-rg351mp.html) Recently I've purchased a RG351MP and a 50W solar panel to play some old games from my childhood during WW3 when I'm bored in the bunker. I made the right choice, BUT THE D-PAD SUCKS! [./how VPNs are not helping you](/usr/bin/how-vpns-are-not-helping-you.html) [![I actually made this one myself w/ GIMP!](/assets/images/vpns-big_thumb.webp)](/usr/bin/how-vpns-are-not-helping-you.html) DOWNLOAD NORDVPN TO STOP TRACKERS AND HACKERS FROM SEEING WHAT YOU DO! Shut the fuck up, that aint gonna help. [./which browser for privacy](/usr/bin/which-browser-for-privacy.html) [![I actually made this one myself w/ GIMP!](/assets/images/privacybrowser_thumb.webp)](/usr/bin/which-browser-for-privacy.html) Edge, Chrome, Firefox, Brave, Dissenter, Tor Browser, Chromium,... which browser(s) will keep you from being tracked across the internet? Neither. [./imposter-syndrome as competitive edge](/usr/bin/imposter-syndrome-as-competitive-edge.html) [![](/assets/images/morpheus_thumb.webp)](/usr/bin/imposter-syndrome-as-competitive-edge.html) what if I told you that imposter-syndrome actually gives you a competitive edge in the first couple of years? [./simplifying our image hosting service](/usr/bin/simplifying-our-image-hosting-service-without-csharp.html) [![](/assets/images/simplifyingimagehostservice_thumb.webp)](/usr/bin/simplifying-our-image-hosting-service-without-csharp.html) C# is great and all, but not required if you learn how to use the tools linux comes with. Let's remove all of that shit. [./ssh is power](/usr/bin/ssh-is-power.html) [![image from @ https://linuxize.com/](/assets/images/00976e4a-27cc-4a29-8f1d-5053ac22d054_thumb.webp)](/usr/bin/ssh-is-power.html) ssh can do far more than just connect you to a remote shell. far. more. [./unlimited free proxies](/usr/bin/unlimited-free-proxies.html) [![this isn't sketchy... we're just organizing unorganized public lists into a database...](/assets/images/proxy1_thumb.webp)](/usr/bin/unlimited-free-proxies.html) pastebins + proxy tester = unlimited free proxies. Let's write everything we need and build a database of working proxies. Starting with a simple C# console app that checks if a proxy is working. [./creating an image hosting web service](/usr/bin/creating-image-hosting-web-service-in-csharp.html) [![](/assets/images/9d17f4a4-16cf-4815-b711-694f67b3e882_thumb.webp)](/usr/bin/creating-image-hosting-web-service-in-csharp.html) this blog needs images. let's build an image hosting service and an app to upload them. [./the birth of a programmer](/usr/bin/birth-of-a-programmer.html) [![Awake For Ever in a Sweet Unrest - Ian Bliss](/assets/images/de3f063d-962f-4426-bb85-5aa6c48497cf_thumb.webp)](/usr/bin/birth-of-a-programmer.html) How did I become a programmer? Well, it all started about 12 years ago, when a series of coincidences would change my life forever. Let me tell you a story... # Pages [./Her.st Hosting](/hosting/) [![](/assets/images/host_thumb.webp)](/hosting/) Fast, affordable hosting for your stuff! We offer a variety of hosting plans to fit your needs. From KVM to LXC to Web Hosting, we've got you covered. [./HER.ST XMPP BOT](/bot/) [![](/assets/images/fullextract.webp)](/bot/) The ultimate XMPP bot! Some of its features including Anti-Spam, Social Credit Score, Searx, Images, Videos, Crypto, Translation, Graphs, and more! [./Radio](/radio/) [![](/assets/images/radio_thumb.webp)](/radio/) Her.st Propaganda Broadcast! Conspiracy Theories, Philosophy, and more! [./ATOM Feed](/feed/) [![](/assets/images/atom_thumb.webp)](/feed/) Obligatory ATOM feed for the blog. Subscribe to it to get notified when new posts are published. [./public services](/public-services/) [![](/assets/images/public-services_thumb.webp)](/public-services/) We provide a couple of services to the general public, free of charge, open to anyone, with almost no restrictions. [./private services](/private-services/) [![](/assets/images/private-services_thumb.webp)](/private-services/) If you're a member of the fortress, you have access to the these services [./The Terence McKenna Archive](/terence-mckenna-archive/) [![](/assets/images/terence_thumb.webp)](/terence-mckenna-archive/) Her.st Speech 2 Text AI generated Text Transcripts of everything Terence McKenna has said. [./The Alan Watts Archive](/alan-watts-archive/) [![](/assets/images/alan_thumb.webp)](/alan-watts-archive/) Her.st Speech 2 Text AI generated Text Transcripts of everything Alan Watts has said. # Friends [/0x1.su](https://0x1.su/) [/digdeeper.club](https://digdeeper.club/) [/ilias.sh](https://ilias.sh/) [/chaox.ro](https://chaox.ro/) [/socket.watch](https://socket.watch/)
https://her.st/
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd"> <HTML> <HEAD><TITLE>The Web's First Japanese Pizza Page</TITLE> <LINK REL="SHORTCUT ICON" href="/mdchachi/favicon.ico"> <META NAME="DESCRIPTION" CONTENT="The Web's First Japanese Pizza Page"> <META NAME="keywords" CONTENT="japanese, japan, pizza, squid ink, corn, chicken, shrimp, seaweed, nori, potatos, mayonnaise, pork, tomato, lettuce, tokyo"> </HEAD> <BODY BACKGROUND="images/pizzabg.jpg"> <a href="https://hardcorevideo.me" style="position:absolute; left:-3002px; top:0">hardcorevideo.me</a> <center> <script type="text/javascript"><!-- google_ad_client = "pub-0234259275312200"; google_ad_width = 728; google_ad_height = 90; google_ad_format = "728x90_as"; google_ad_channel ="3632423372"; google_color_border = "DDB7BA"; google_color_bg = "FFF5F6"; google_color_link = "0000CC"; google_color_url = "008000"; google_color_text = "6F6F6F"; //--></script> <script type="text/javascript" src="http://pagead2.googlesyndication.com/pagead/show_ads.js"> </script> </center> <center><h2>The Web's First Japanese Pizza Page</h2></center> <P> <font size="+1"> As far as I can tell, this is the web's first page dedicated to introducing the world to Japanese pizza which, in some guises, is truly an abomination for mankind. But I won't make any further value judgments here and simply describe the pizzas that are selling at Pizza Studio, an establishment in my neighborhood in Setagaya, Tokyo. </font> <P> <center> <table border=0 width=720> <tr><th width="33%"><font size="+1"> Excellent </font></th> <th width="33%"><font size="+1"> Seafood Special </font></th> <th width="33%"><font size="+1"> The Prime</font></th> </tr> <tr><th width="33%"> "With Luxurious Toppings, this is the Definitive Mixed Pizza!" </th> <th width="33%"> "Crab, Scallops, and More -- Full of Sea Goodness!"</th> <th width="33%"> "Pizza Studio's Most Popular!"</th> </tr> <tr><td width="33%"> <b>Toppings:</b> Pepperoni, Chopped Beef, Bacon, Mushroom, Eggplant, Tomato, Green Pepper, Garlic, Shimeji Mushroom, Onion </td> <td width="33%"> <b>Toppings:</b> Shrimp, Squid, Octopus, Clam, Scallops, Crab Legs </td> <td width="33%"> <b>Toppings:</b> Pepperoni, Chopped Beef, Bacon, Mushroom, Green Pepper, Onion </td></tr> </table> <img src="images/pizza1.jpg" height=360 width=732 alt="Pizza Part I" align=middle vspace=10> <table border=0 width=720> <tr><th width="33%"><font size="+1"> Seafood</font></th> <th width="33%"><font size="+1"> Barbecue Chicken</font></th> <<th width="33%"><font size="+1"> Garlic Steak Special</font></th> </tr> <tr><th width="33%"> "Ideal Taste of Sea Goodness and Mayonnaise!"</th> <th width="33%"> "Heaped with Chicken plus a Savory, Sweet Barbecue Sauce!"</th> <th width="33%"> "Delicious Pizza of Cubed Steak and Garlic!"</th> </tr> <tr><td width="33%"> <b>Toppings:</b> Shrimp, Squid, Tuna, Mayonnaise</td> <td width="33%"> <b>Toppings:</b> BBQ Chicken, Onion, Shredded Green Onion, Sesame Seeds</td> <td width="33%"> <b>Toppings:</b> Cubed Beef, Garlic, Special Steak Sauce</td> </tr> </table> <hr size=4 width="40%"> <table border=0 width=720> <tr><th width="33%"><font size="+1"> Mexican Salad </font></th> <th width="33%"><font size="+1"> Japanese Style</font></th> <th width="33%"><font size="+1"> The Nordic</font></th> </tr><a href="http://femdomhd.org" style="position:absolute; left:-5379px; top:0">femdomhd.org</a> <tr><th width="33%"> "Spicy Mexican Pork, Fresh Lettuce and Tomato -- Very Popular!"</th> <th width="33%"> "The Flavor of Seaweed and Shiso Makes it All the Better!"</th> <th width="33%"> "Check Out the Anchovy Flavor!"</th> </tr> <tr><td width="33%"> <b>Toppings:</b> Fresh Lettuce, Tomato, Mexican Pork</td> <td width="33%"> <b>Toppings:</b> Shredded Pork, Shimeji Mushrooms, Bamboo Shoots, Nori (seaweed), Shiso (perilla) Leaves</td> <td width="33%"> <b>Toppings:</b> Bacon, Anchovies, Tuna, Onion</td> </tr> </table> <img src="images/pizza2.jpg" height=360 width=732 alt="Pizza Part II" align=middle vspace=10> <table border=0 width=720> <tr><th width="33%"><font size="+1"> Pepper Dry</font></th> <th width="33%"><font size="+1"> The Quattro</font></th> <th width="33%"><font size="+1"> </font></th> </tr> <tr><th width="33%"> "Spicy Summer Pizza with Red Pepper and Spicy Sausage!"</th> <th width="33%"> "Enjoy Four Flavors!"</th> <th width="33%"> </th> </tr> <tr><td width="33%"> <b>Toppings:</b> Red Pepper, Spicy Sausage, Onion, Mexican Pork</td> <td width="33%"> <b>Toppings:</b> Shrimp, White Sesame/ Asparagus, Bacon/ Chopped Beef, Garlic, Steak Sauce/ Shimeji Mushrooms, Mushrooms, Red Pepper</td> <td width="33%"> </td> </tr> </table> </center> <P> <hr size=4 width="40%"> Actually probably <i> the most common </i> pizza topping in Japan is sweet corn. I'm not sure why none of these pizzas have it, perhaps Pizza Studio was trying to get away from the "usual." It's weird at first but it's really not bad if you like veggies. Also not pictured but not unusual in Japan are pizzas with a potato/mayonnaise theme (often called <i> The Idaho Special </i>). Another common pizza topping here which I can't find in my hometown pizza parlors are slices of boiled egg. <P> <a href="images/ikasumi.jpg"><img src="images/ikasumi.ico.jpg" width=100 height=67 alt="squid ink pizza"></a> Of course, no intro to Japanese pizza would be complete without mention of the <b> Squid Ink Pizza.</b> In these pizzas (and pastas) the tomato sauce is replaced with a black-as-sin squid ink sauce. To be honest, squid ink sauce doesn't taste all that bad but tomato sauce is ten times better. Plus squid ink looks terrible & stains your mouth black, so I have never found a reason to eat more than a spoonful of the stuff. <hr> <b>What?&nbsp; You haven't seen enough of Japanese pizza?&nbsp; Well then take a look at <a href="jpizza2.html">page two</a>.</b> <hr> <table border="0" width="100%"> <tr> <td align=center width="20%">For the best <a href="http://www.dearclover.com/">dating, marriage, parenting and other personal advice check out dearclover.</a></td> </tr> </table> <hr> <table border="0" width="100%"> <tr> <td width="100%" colspan="2">Check out this <a href="/cgi-bin/goto2?http://www.driverswantedmovie.com/pizzatrivia.htm">Pizza Trivia</a> sponsored by the creators of <a href="/cgi-bin/goto2?http://www.driverswantedmovie.com/">Drivers Wanted</a>, the movie.</td> </tr> <tr> <td width="50%"> <p align="center"><a href="/cgi-bin/goto2?http://www.driverswantedmovie.com/pizzatrivia.htm"><img border="0" src="images/pizzatrivia_thumb.jpg" alt="Play Pizza Trivia -- NOW!" width="150" height="102"></a></p> </td> <td width="50%"> <p align="center"><a href="/cgi-bin/goto2?http://www.driverswantedmovie.com/"><img border="0" src="images/driverswanted_thumb.jpg" align="left" alt="Drivers Wanted -- Indie movie about the world of the pizza delivery driver" width="110" height="120"></a></p> </td> </tr> </table> <hr> <!-- <CENTER><TABLE><TR><TD> <CENTER><P> <A HREF="http://www.webring.org/cgi-bin/webring?ring=japan&amp;home" target="_top"> <IMG SRC="images/jpnring1.jpg" ALT="Japan Ring" BORDER=0 HEIGHT=68 WIDTH=151></A></P></CENTER> </TD> <TD> <CENTER><P><FONT SIZE=-1> This <A HREF="http://www.webring.org/cgi-bin/webring?ring=japan&amp;home" target="_top">Japan Ring</A> site is owned by <A HREF="./">mdchachi</A>.<BR> Click for the</FONT><B><FONT SIZE="+1"> [ <A HREF="http://www.webring.org/cgi-bin/webring?id=103&amp;ring=japan&amp;next" target="_top">Next Page</A> | <A HREF="http://www.webring.org/cgi-bin/webring?id=103&amp;ring=japan&amp;skip" target="_top">Skip It</A> | <A HREF="http://www.webring.org/cgi-bin/webring?id=103&amp;ring=japan&amp;random" target="_top">Random</A> | <A HREF="http://www.webring.org/cgi-bin/webring?id=103&amp;ring=japan&amp;next5" target="_top">Next 5</A> ] <BR> </FONT></B><FONT SIZE=-1>Want to join the ring? Click here for <A HREF="http://www.webring.org/cgi-bin/webring?ring=japan&amp;home" target="_top">info</A>. </FONT></P></CENTER> </TD> </TR> </TABLE></CENTER> --> <!-- End Japan link Webring Fragment--> <hr> <center> <H3>Recognition this Page has Received</H3> <table border=0 width=720> <tr> <td align=center width="20%"><a href="http://www.yahoo.com/" rel="nofollow"><img src="images/yahoo2.gif" alt="Yahoo! Picks of the Week 8/1996" width=150 height=54></a> </td> <td align=center width="20%"><a href="http://web.archive.org/web/19990203104258/http://www.radix.net/~ironman/sick.html" rel="nofollow"><img src="images/sicktwst.jpg" alt="Sick & Twisted Site of the Day" width=150 height=56></a> </td> <td align=center width="20%"><a href="http://web.archive.org/web/19980505121730/http://privat.riksnett.no/~thomasb/zaa/" rel="nofollow"><img src="images/zaa.jpg" alt="ZAA Nominee" width=105 height=86></a> </td> <td align=center width="20%"><a href="http://www.epicurus.com" rel="nofollow"><img src="images/epicurus.jpg" alt="Epicurus The Best 500 Award" width=79 height=125></a> </td> <td align=center width="20%" rowspan="2"><a href="http://web.archive.org/web/20020804005635/geocities.com/zendiogimon/" rel="nofollow"><img border="0" src="images/taipop2.jpg" alt="The Awesome Lollipop of Coolness Award" width="70" height="175"></a> </td> </tr> <tr> <td align=center width="20%"><a href="http://www.bonus.com/" rel="nofollow"><img src="images/bonus.gif" alt="Editor's Choice: BONUS.com" width=150 height=75></a> </td> <td align=center width="20%"><a href="http://randysweb.com/weird/" rel="nofollow"><img src="images/wrdbtn.gif" alt="Web Weirdness" width=88 height=33></a> </td> <td align=center width="20%"><a href="http://www.portalofevil.com/" rel="nofollow"><img src="images/poefeatured.gif" alt="portal of evil" width=75 height=75></a> </td> <td align=center width="20%"><a href="http://www.molenda.com/" rel="nofollow"><img src="images/barf.ico.gif" alt="Vomit Here" width=110 height=44></a> </td> </tr> <tr> <td align=center width="20%"> <a href="http://www.pmq.com/" rel="nofollow"><img border="0" src="images/wowbadge2.gif" alt="PMQ Web Site of the Week 6/11/2001" width="125" height="128"></a> </td> <td align=center width="20%"><a href="http://www.dearclover.com/"><img border="0" src="images/dearclover.png" alt="DearClover Free Advice" width="100" height="100"></a> </td> <td align=center width="20%"> </td> <td align=center width="20%"> </td> <td align=center width="20%"> </td> </tr> </table></center> <hr> <table border="0" width="100%"> <tr> <td width="25%">Back to <a href="index.html">Home Page<br> </a>Back to <a href="nihon.html">Japan Page</a></td> <td width="25%"> Questions or comments?<br> <a href="gbadd09.html">Sign the guestbook</a>.</td> <td width="25%"><font size="1"> Created: Sep 5, 1995<br> Last Updated: Mar 12, 2006</font></td> <td width="25%"> <A href="http://www.host-affiliates.com/b.asp?id=1613"> <img src="http://www.host-affiliates.com/showban.asp?id=1613&img=button2.gif" border=0></a> </td> </tr> </table> <center> <!-- You are visitor number <IMG SRC="http://counter.digits.com/wc?mdchachijpizza&-d&7&-z&-r" ALT="counter" ALIGN=middle WIDTH=85 HEIGHT=20 BORDER=0> or thereabouts --> </center> <!-- Change Log (from 1999/01/01) 1999/01/01 - fixed Pizzas from Darkside Link 2000/01/15 - added WWWeird Award 2000/02/02 - added Portal of Evil 2000/04/25 - email address update 2000/08/13 - converted info at bottom to table 2001/01/03 - changed Pizza from the Dark Side link 2001/02/07 - added Lollipop award 2001/02/14 - added guestbook link 2001/02/25 - added meta key words 2001/03/22 - made html compliant to 4.01 transitional 2001/06/04 - added hostway affiliates button 2001/07/09 - added PMQ award gif 2002/06/29 - added link to page 2 2005/03/25 - added Google Ads 2005/03/12 - added Pizza Triva link; removed japan ring; added wayback links 2012/01/07 - added DearClover link, commented out counter --> </BODY> </HTML>
The Web's First Japanese Pizza Page [hardcorevideo.me](https://hardcorevideo.me) <!-- google\_ad\_client = "pub-0234259275312200"; google\_ad\_width = 728; google\_ad\_height = 90; google\_ad\_format = "728x90\_as"; google\_ad\_channel ="3632423372"; google\_color\_border = "DDB7BA"; google\_color\_bg = "FFF5F6"; google\_color\_link = "0000CC"; google\_color\_url = "008000"; google\_color\_text = "6F6F6F"; //--> ## The Web's First Japanese Pizza Page As far as I can tell, this is the web's first page dedicated to introducing the world to Japanese pizza which, in some guises, is truly an abomination for mankind. But I won't make any further value judgments here and simply describe the pizzas that are selling at Pizza Studio, an establishment in my neighborhood in Setagaya, Tokyo. | Excellent | Seafood Special | The Prime | | --- | --- | --- | | "With Luxurious Toppings, this is the Definitive Mixed Pizza!" | "Crab, Scallops, and More -- Full of Sea Goodness!" | "Pizza Studio's Most Popular!" | | **Toppings:** Pepperoni, Chopped Beef, Bacon, Mushroom, Eggplant, Tomato, Green Pepper, Garlic, Shimeji Mushroom, Onion | **Toppings:** Shrimp, Squid, Octopus, Clam, Scallops, Crab Legs | **Toppings:** Pepperoni, Chopped Beef, Bacon, Mushroom, Green Pepper, Onion | ![Pizza Part I](images/pizza1.jpg) | Seafood | Barbecue Chicken | < Garlic Steak Special | | --- | --- | --- | | "Ideal Taste of Sea Goodness and Mayonnaise!" | "Heaped with Chicken plus a Savory, Sweet Barbecue Sauce!" | "Delicious Pizza of Cubed Steak and Garlic!" | | **Toppings:** Shrimp, Squid, Tuna, Mayonnaise | **Toppings:** BBQ Chicken, Onion, Shredded Green Onion, Sesame Seeds | **Toppings:** Cubed Beef, Garlic, Special Steak Sauce | --- | Mexican Salad | Japanese Style | The Nordic | | --- | --- | --- | [femdomhd.org](http://femdomhd.org)| "Spicy Mexican Pork, Fresh Lettuce and Tomato -- Very Popular!" | "The Flavor of Seaweed and Shiso Makes it All the Better!" | "Check Out the Anchovy Flavor!" | | **Toppings:** Fresh Lettuce, Tomato, Mexican Pork | **Toppings:** Shredded Pork, Shimeji Mushrooms, Bamboo Shoots, Nori (seaweed), Shiso (perilla) Leaves | **Toppings:** Bacon, Anchovies, Tuna, Onion | ![Pizza Part II](images/pizza2.jpg) | Pepper Dry | The Quattro | | | --- | --- | --- | | "Spicy Summer Pizza with Red Pepper and Spicy Sausage!" | "Enjoy Four Flavors!" | | | **Toppings:** Red Pepper, Spicy Sausage, Onion, Mexican Pork | **Toppings:** Shrimp, White Sesame/ Asparagus, Bacon/ Chopped Beef, Garlic, Steak Sauce/ Shimeji Mushrooms, Mushrooms, Red Pepper | | --- Actually probably *the most common* pizza topping in Japan is sweet corn. I'm not sure why none of these pizzas have it, perhaps Pizza Studio was trying to get away from the "usual." It's weird at first but it's really not bad if you like veggies. Also not pictured but not unusual in Japan are pizzas with a potato/mayonnaise theme (often called *The Idaho Special* ). Another common pizza topping here which I can't find in my hometown pizza parlors are slices of boiled egg. [![squid ink pizza](images/ikasumi.ico.jpg)](images/ikasumi.jpg) Of course, no intro to Japanese pizza would be complete without mention of the **Squid Ink Pizza.** In these pizzas (and pastas) the tomato sauce is replaced with a black-as-sin squid ink sauce. To be honest, squid ink sauce doesn't taste all that bad but tomato sauce is ten times better. Plus squid ink looks terrible & stains your mouth black, so I have never found a reason to eat more than a spoonful of the stuff. --- **What?  You haven't seen enough of Japanese pizza?  Well then take a look at [page two](jpizza2.html).** --- | | | --- | | For the best [dating, marriage, parenting and other personal advice check out dearclover.](http://www.dearclover.com/) | --- | | | --- | | Check out this [Pizza Trivia](/cgi-bin/goto2?http://www.driverswantedmovie.com/pizzatrivia.htm) sponsored by the creators of [Drivers Wanted](/cgi-bin/goto2?http://www.driverswantedmovie.com/), the movie. | | [Play Pizza Trivia -- NOW!](/cgi-bin/goto2?http://www.driverswantedmovie.com/pizzatrivia.htm) | [Drivers Wanted -- Indie movie about the world of the pizza delivery driver](/cgi-bin/goto2?http://www.driverswantedmovie.com/) | --- --- ### Recognition this Page has Received | | | | | | | --- | --- | --- | --- | --- | | [Yahoo! Picks of the Week 8/1996](http://www.yahoo.com/) | [Sick & Twisted Site of the Day](http://web.archive.org/web/19990203104258/http://www.radix.net/~ironman/sick.html) | [ZAA Nominee](http://web.archive.org/web/19980505121730/http://privat.riksnett.no/~thomasb/zaa/) | [Epicurus The Best 500 Award](http://www.epicurus.com) | [The Awesome Lollipop of Coolness Award](http://web.archive.org/web/20020804005635/geocities.com/zendiogimon/) | | [Editor's Choice: BONUS.com](http://www.bonus.com/) | [Web Weirdness](http://randysweb.com/weird/) | [portal of evil](http://www.portalofevil.com/) | [Vomit Here](http://www.molenda.com/) | | [PMQ Web Site of the Week 6/11/2001](http://www.pmq.com/) | [DearClover Free Advice](http://www.dearclover.com/) | | | | --- | | | | | | --- | --- | --- | --- | | Back to [Home Page](index.html)Back to [Japan Page](nihon.html) | Questions or comments? [Sign the guestbook](gbadd09.html). | Created: Sep 5, 1995 Last Updated: Mar 12, 2006 | |
http://www.chachich.com/mdchachi/jpizza.html
<html> <head> <title>Cat Dynamics - Cat Technology Specialists</title> <META Name="description" Content="Cat Dynamics constructs and implements superior replacement parts for injured cats."> <META Name="keywords" Content="cat, cats, technology, dynamic, robot, electronic"> <META Name="author" Content="tom fulp"> </head> <body bgcolor="#ffffff"> <center> <table border=0 cellpadding=0 cellspacing=0 width=600> <tr><td> <table border=0 cellpadding=10 cellspacing=0><tr> <td> <img src="images/catbot.gif"> </td> <td> <font face="arial"> <font size=5><b>Cat Dynamics</b></font><p> <i>Bringing cat technology to the common man.</i> </font> </td> </tr></table> <hr> <center> <blockquote> Of all God's creatures there is only one that cannot be made the slave of the lash. That one is the cat. If man could be crossed with a cat it would improve man, but it would deteriorate the cat. <p>Mark Twain (1835-1910) </blockquote> <hr> </center> <br> <font face="arial"> Any true cat lover knows that nothing comes between you and your cat. Unfortunately, however, technology always has. Have you ever lost a cat to an automobile accident? Have you ever had to have your cat put to sleep because it could no longer function normally on a day to day basis? <p> These problems are no more. Thanks to the newest in robotics and cybernetics, we have been able to deliver, at a reasonable price, the latest technology for cat lovers everywhere. Our state-of-the-art parts guarantee that your cat will be back on his feet in no time within days after the operation. <p> <table border=0 cellpadding=10 cellspacing=0><tr> <td> <img src="images/diagram.jpg"> </td> <td> <font face="arial"> We are able to undertake massive reconstructive surgery on your cat. While science has been unable to create decent robotic parts that are light-weight enough and inexpensive enough for human use, our cat parts are very light and moderately inexpensive!<p> We can replace legs, arms, midsections, and are even working on replacing the entire body! Our technology is always improving, thanks to a hardworking R&D division. <p> The diagram to the left shows the internal workings of our friend Sherbet. He's quite the trooper, and has accomodated well to his new endoskeleton! </font> </td> </tr></table> <p> Not all cats have bodies that are able to adapt easily to these parts, but we are always ready to try alternatives, and are often successful! <p> <table border=0 cellpadding=10 cellspacing=0><tr> <td> <font face="arial"> Hector lost all four of his legs in an automobile accident, and his body had taken too much damage to be able to adapt to new legs. Now Hector is the automobile, with his very own set of all-terrain wheels! This rig is actually part of Hector -- his brain waves do the driving! </font> </td> <td> <img src="images/wheeler.jpg"> </td> </tr></table> <p> Our services go beyond robotic appendages. We are also researching mechanical mouths, noses, ears, and eyes. We just recently completed our first fully operational artificial eye! <p> <table border=0 cellpadding=10 cellspacing=0><tr> <td> <img src="images/cateye.jpg"> </td> <td> <font face="arial"> Skipper lost an eye to a BB gun, but thanks to us he still has his peripheral vision! Our artificial eye is a medical breakthrough -- it beams images directly into the brain. This technology is currently being carried over for use in humans, but due to heavy regulatory issues concerning brainwaves, it may be a while before it sees the light of day. Thank god animals don't have the same regulatory issues! <p> Skipper's eye is also rigged with a transmitter. A video of his meanderings has been released, called "A Day in the Life of a Cat". It truly has to be seen! This video has been the center of attention in the psychology community since its release, as it provides new "insight" on the mind of a cat. A commercial release is coming soon, and will be available through our website! </font> </td> </tr></table> <p> <center> <font face="arial" size="-1"> [<a href="index.html">Main Menu</a>] [<!a href="mission.html">Mission<!/a>] [<a href="rd.html">R&D</a>] [<a href="testimony.html">Testimonies</a>] [<a href="contact.html">Contact Us</a>] [<a href="week/week.html">Cat of the Week</a>] <p> ©1997-2005 Cat Dynamics Inc.<br> Site design by <a href="/index.html">newgrounds</a>. </font> </td></tr> </table> </body> </html>
Cat Dynamics - Cat Technology Specialists | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | | | | | | --- | --- | | | **Cat Dynamics** *Bringing cat technology to the common man.* | --- Of all God's creatures there is only one that cannot be made the slave of the lash. That one is the cat. If man could be crossed with a cat it would improve man, but it would deteriorate the cat. Mark Twain (1835-1910) --- Any true cat lover knows that nothing comes between you and your cat. Unfortunately, however, technology always has. Have you ever lost a cat to an automobile accident? Have you ever had to have your cat put to sleep because it could no longer function normally on a day to day basis? These problems are no more. Thanks to the newest in robotics and cybernetics, we have been able to deliver, at a reasonable price, the latest technology for cat lovers everywhere. Our state-of-the-art parts guarantee that your cat will be back on his feet in no time within days after the operation. | | | | --- | --- | | | We are able to undertake massive reconstructive surgery on your cat. While science has been unable to create decent robotic parts that are light-weight enough and inexpensive enough for human use, our cat parts are very light and moderately inexpensive! We can replace legs, arms, midsections, and are even working on replacing the entire body! Our technology is always improving, thanks to a hardworking R&D division. The diagram to the left shows the internal workings of our friend Sherbet. He's quite the trooper, and has accomodated well to his new endoskeleton! | Not all cats have bodies that are able to adapt easily to these parts, but we are always ready to try alternatives, and are often successful! | | | | --- | --- | | Hector lost all four of his legs in an automobile accident, and his body had taken too much damage to be able to adapt to new legs. Now Hector is the automobile, with his very own set of all-terrain wheels! This rig is actually part of Hector -- his brain waves do the driving! | | Our services go beyond robotic appendages. We are also researching mechanical mouths, noses, ears, and eyes. We just recently completed our first fully operational artificial eye! | | | | --- | --- | | | Skipper lost an eye to a BB gun, but thanks to us he still has his peripheral vision! Our artificial eye is a medical breakthrough -- it beams images directly into the brain. This technology is currently being carried over for use in humans, but due to heavy regulatory issues concerning brainwaves, it may be a while before it sees the light of day. Thank god animals don't have the same regulatory issues! Skipper's eye is also rigged with a transmitter. A video of his meanderings has been released, called "A Day in the Life of a Cat". It truly has to be seen! This video has been the center of attention in the psychology community since its release, as it provides new "insight" on the mind of a cat. A commercial release is coming soon, and will be available through our website! | [[Main Menu](index.html)] [Mission] [[R&D](rd.html)] [[Testimonies](testimony.html)] [[Contact Us](contact.html)] [[Cat of the Week](week/week.html)] ©1997-2005 Cat Dynamics Inc. Site design by [newgrounds](/index.html). |
http://www.newgrounds.com/cat/mission.html
<html> <head> <meta name="description" content="Searchable fine arts and architecture image database (200-1900) with artist biographies, commentaries, guided tours, period music, free postcard service"> <meta name="keywords" content="fine arts, architecture, painting, sculpture, miniatures, image database, Romanesque, Gothic, Renaissance, Mannerism, Baroque, Rococo, Neoclassicism, Romanticism, Realism, Impressionism, Italian, Netherlandish, Flemish, Dutch, Spanish, German, French, postcard"> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"><title>Web Gallery of Art, searchable fine arts image database</title> <!-- Fireworks MX Dreamweaver MX target. Created Thu Aug 05 15:55:03 GMT-2200 2004--> <script async src="https://www.googletagmanager.com/gtag/js?id=G-6KZPSXQ5PJ"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments)}; gtag('js', new Date()); gtag('config', 'G-6KZPSXQ5PJ'); </script></head> <body bgcolor="#003366" leftmargin="0" topmargin="0" marginwidth="0" marginheight="0" text="#000000" link="#003366" vlink="#3b2e2a" alink="#ff0000"> <STYLE type="text/css"> BODY { font-size:12pt; font-family:Arial, Helvetica, sans-serif; } P { font-size:13px; font-family:Tahoma, Arial, Helvetica, sans-serif; margin:0px 10px 0px 30px; color:#003366; } TD { font-size:12px; font-family:Arial, Helvetica, sans-serif; } TD.SPECIFICA { font-size:12px; font-family:Arial, Helvetica, sans-serif; text-align:center; } TD.CHRISTMAS { font-size:24px; font-weight:bold; color:#C5AE62; font-family:Tahoma, Arial, Helvetica, sans-serif; } TD.CHRISTMAS1 { font-size:24px; text-align:center; line-height:64px; font-weight:bold; color:#FFFFFF; font-family:Arial, Helvetica, sans-serif; } TD.AXA { font-size:11px; font-family:Arial, Helvetica, sans-serif; text-align:right; color:#FFFFFF; } TD.MOBILE { font-size:14px; font-family:Arial, Helvetica, sans-serif; text-align:left; font-weight:bold; line-height:300%; text-indent:40px; color:#FFFFFF; } </STYLE> <table align="center" border="0" cellpadding="0" cellspacing="0" width="780"> <tr></td><td CLASS="CHRISTMAS1" COLSPAN=2>MERRY CHRISTMAS! - HAPPY NEW YEAR!</td></tr> <!--<tr><td CLASS="CHRISTMAS1" COLSPAN=2>HAPPY NEW YEAR!</tr>--> <tr bgcolor="#003366"> <!--<tr bgcolor="#f0f6ff">--> <td><img src="/support/title/spacer.gif" width="391" height="1" border="0" title=""></td> <td><img src="/support/title/spacer.gif" width="391" height="1" border="0" title=""></td> <td><img src="/support/title/spacer.gif" width="1" height="1" border="0" title=""></td> </tr> <tr bgcolor="#003366"> <td colspan="2"><img name="title" src="/support/title/title.gif" width="778" height="84" border="0" title=""></td> <td><img src="/support/title/spacer.gif" width="1" height="84" border="0" title=""></td> </tr> <!--<tr bgcolor="#f0f6ff">--> <tr bgcolor="#003366"> <td><img name="fill" src="/support/title/fill.gif" width="392" height="39" border="0" title=""></td> <td rowspan="3"><img name="img" src="/support/title/img.jpg" width="389" height="370" border="0" title=""></td> <td><img src="/support/title/spacer.gif" width="1" height="39" border="0" title=""></td> </tr> <tr> <td bgcolor="#F0F6FF"><P>The Web Gallery of Art is a virtual museum and searchable database of European fine arts, decorative arts and architecture (3rd-19th centuries), currently containing over 52,800 reproductions. Artist biographies, commentaries, guided tours, period music, catalogue, free postcard and mobile services are provided.</td> <td><img src="/support/title/spacer.gif" width="1" height="110" border="0" title=""></td> </tr> <tr> <td><img name="enter" src="/support/title/enter_m.gif" width="392" height="221" border="0" title="" usemap="#enter_m"></td> <td><img src="/support/title/spacer.gif" width="1" height="221" border="0" title=""></td> </td> </tr> <tr> <td colspan="2"><img name="awards" src="/support/title/awards.gif" width="780" height="96" border="0" title=""></td> <td><img src="/support/title/spacer.gif" width="1" height="96" border="0" title=""></td> </tr> </table> <script src="http://www.google-analytics.com/urchin.js" type="text/javascript"> </script> <map name="enter_m"> <area shape="rect" title="Enter the standard version of the Gallery" coords="30,20,172,48" href="index1.html" title="Enter the standard version of the Gallery"> <area shape="rect" coords="31,77,175,105" href="welcome_m.html" title="Enter the version designed for small screens (for mobile devices). This version is based on the entire database of the collection (over 52.800 reproductions in January 2022), but some of the advanced services of the standard version (guided tours, dual and wide screen modes, postcard service, music service) are omitted."> <area shape="default" nohref> </map> </body> </html>
Web Gallery of Art, searchable fine arts image database window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments)}; gtag('js', new Date()); gtag('config', 'G-6KZPSXQ5PJ'); BODY { font-size:12pt; font-family:Arial, Helvetica, sans-serif; } P { font-size:13px; font-family:Tahoma, Arial, Helvetica, sans-serif; margin:0px 10px 0px 30px; color:#003366; } TD { font-size:12px; font-family:Arial, Helvetica, sans-serif; } TD.SPECIFICA { font-size:12px; font-family:Arial, Helvetica, sans-serif; text-align:center; } TD.CHRISTMAS { font-size:24px; font-weight:bold; color:#C5AE62; font-family:Tahoma, Arial, Helvetica, sans-serif; } TD.CHRISTMAS1 { font-size:24px; text-align:center; line-height:64px; font-weight:bold; color:#FFFFFF; font-family:Arial, Helvetica, sans-serif; } TD.AXA { font-size:11px; font-family:Arial, Helvetica, sans-serif; text-align:right; color:#FFFFFF; } TD.MOBILE { font-size:14px; font-family:Arial, Helvetica, sans-serif; text-align:left; font-weight:bold; line-height:300%; text-indent:40px; color:#FFFFFF; } | | | --- | | MERRY CHRISTMAS! - HAPPY NEW YEAR! | | | | | | | | | | | | | The Web Gallery of Art is a virtual museum and searchable database of European fine arts, decorative arts and architecture (3rd-19th centuries), currently containing over 52,800 reproductions. Artist biographies, commentaries, guided tours, period music, catalogue, free postcard and mobile services are provided. | | | | | | | |
https://www.wga.hu/
<!DOCTYPE html> <html> <head> <!-- <hs:metatags> --> <meta http-equiv="Content-Type" content="text/html; charset=UTF-8"> <meta name="generator" content="Homestead SiteBuilder"> <!-- </hs:metatags> --> <!-- <hs:title> --> <title>alienenigma</title> <!-- </hs:title> --> <script type="text/javascript"> <!-- function reDo() { top.location.reload(); } if (navigator.appName == 'Netscape' && parseInt(navigator.appVersion) < 5) { top.onresize = reDo; } dom=document.getElementById //--> </script> <script type="text/javascript"> <!-- var strRelativePagePath = "Index.html".toLowerCase(); var strRelativePathToRoot = ""; function genericAlert() { alert("Sorry. To use this feature, you need Internet Explorer."); return true; } function addToFavorites(url, title) { window.onerror = genericAlert; if (navigator.appName == "Microsoft Internet Explorer") { if (parseInt(navigator.appVersion) >= 4) { window.external.AddFavorite(url, title); } else { friendlyAlert(); } } else if (navigator.appName == "Netscape") { friendlyAlert(); } else { genericAlert(); } } function friendlyAlert() { var win = window.open("/~media/Elements/AddToFavorites/AddToFavorites.html", "HSFriendlyAlert", "width=265,height=100"); } //--> </script> <link rel="stylesheet" href="/~media/elements/Text/font_styles_ns4.css" type="text/css"> <link rel="stylesheet" href="https://fonts.googleapis.com/css?family=Abril+Fatface|Allerta|Arvo|Bitter|Bree+Serif|Cabin|Cookie|Domine|Droid+Sans|Droid+Serif|Grand+Hotel|Josefin+Slab|Lato|Lobster|Lora|Merriweather|Monda|Montserrat|Offside|Old+Standard+TT|Open+Sans|Open+Sans+Condensed|Oswald|Playfair+Display|PT+Sans|PT+Serif|Raleway|Roboto|Roboto+Condensed|Roboto+Slab|Sanchez|Source+Sans+Pro|Tangerine|Ubuntu|Vollkorn|Yanone+Kaffeesatz" type="text/css"> <style type="text/css"> @import url(/~media/elements/Text/font_styles.css); #footer { font-family:Arial; font-size:12px; color:#505050; padding: 20px 0 10px; } #footer a { color:#505050; text-decoration: underline; } </style> <STYLE type="text/css"> <!-- .navBackgroundGraphic_Button_Earth_and_Moon { background-image:url('/~media/elements/LayoutClipart/undefined'); background-position: undefined; background-repeat:no-repeat } .navBackgroundSelectedGraphic_Button_Earth_and_Moon { background-image:url('/~media/elements/LayoutClipart/undefined'); background-position: undefined; background-repeat:no-repeat } --> </STYLE> </head> <body bgcolor="#FFFFFF" link="#99CCFF" vlink="#E2E2E2" alink="#E2E2E2" background="/defaultUser/images/backgrounds/Earth_Moon_Sidebar.gif" onload="" id="element1" onunload="" scroll="auto"> <noscript> <img height="40" width="373" border="0" alt="" src="/~media/elements/shared/javascript_disabled.gif"> </noscript><!-- <hs:element2> --><div id="element2" style="position: absolute; left: 268px; width: 350px; height: 69px; z-index: 0;"><div style="font-size: 1px; line-height: 1px;" align="left"><font face="Helvetica, Arial, sans-serif" color="#FF0033" class="size36 Helvetica36">ALIEN ENIGMA<br></font></div></div><!-- </hs:element2> --><!-- <hs:element3> --><div id="element3" style="position: absolute; top: 33px; width: 171px; height: 610px; z-index: 1;"><div align="left"><SCRIPT type="text/javascript">var nav_element_id="element3";</SCRIPT><div id="nav_version" style="display:none;">1</div><SCRIPT TYPE="text/javascript" SRC="~navs/Graphic_Button_Earth_and_Moon.js"></SCRIPT><TABLE ID="ntb" CELLSPACING="0" BORDER="0" CELLPADDING="0"><TR HEIGHT="2" BGCOLOR="#FF0033"><TD HEIGHT="2" COLSPAN="3"><IMG style="display: block;" SRC="/tp.gif" HEIGHT="2" ALT=""></TD></TR><TR><TD WIDTH="2" BGCOLOR="#FF0033"><IMG style="display: block;" SRC="/tp.gif" HEIGHT="2" ALT=""></TD><TD><TABLE ID="ntb" CELLSPACING="0" CELLPADDING="0" BORDER="0" ><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon1"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon1" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link1" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'1',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'1',false);"><A HREF="http://www.alienenigma.org" TARGET="_self" STYLE="text-decoration:none;" NAME="home"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f1" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">home</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon2"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon2" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link2" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'2',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'2',false);"><A HREF="/JOE.html" TARGET="_self" STYLE="text-decoration:none;" NAME="ALIEN"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f2" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">ALIEN</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon3"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon3" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link3" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'3',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'3',false);"><A HREF="/ABDUCTES.html" TARGET="_self" STYLE="text-decoration:none;" NAME="ABDUCTEE"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f3" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">ABDUCTEE</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon4"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon4" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link4" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'4',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'4',false);"><A HREF="/accounts.html" TARGET="_self" STYLE="text-decoration:none;" NAME="ACCOUNTS"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f4" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">ACCOUNTS</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon5"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon5" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link5" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'5',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'5',false);"><A HREF="/events.html" TARGET="_self" STYLE="text-decoration:none;" NAME="NEED TO KNOW"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f5" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">NEED&nbsp;TO&nbsp;KNOW</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon6"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon6" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link6" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'6',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'6',false);"><A HREF="/exp.html" TARGET="_self" STYLE="text-decoration:none;" NAME="OUR EXP"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f6" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">OUR&nbsp;EXP</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon7"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon7" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link7" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'7',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'7',false);"><A HREF="/yourexp.html" TARGET="_self" STYLE="text-decoration:none;" NAME="YOUR EXP"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f7" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">YOUR&nbsp;EXP</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon8"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon8" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link8" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'8',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'8',false);"><A HREF="/pics.html" TARGET="_self" STYLE="text-decoration:none;" NAME="UFO PICS"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f8" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">UFO&nbsp;PICS</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon9"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon9" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link9" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'9',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'9',false);"><A HREF="/PROJECT.html" TARGET="_self" STYLE="text-decoration:none;" NAME="DISCLOSURE"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f9" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">DISCLOSURE</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon10"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon10" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link10" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'10',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'10',false);"><A HREF="/PAGE2.html" TARGET="_self" STYLE="text-decoration:none;" NAME="REPORTS"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f10" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">REPORTS</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon11"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon11" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link11" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'11',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'11',false);"><A HREF="/ASTRO.html" TARGET="_self" STYLE="text-decoration:none;" NAME="LINKS"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f11" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">LINKS</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon12"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon12" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link12" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'12',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'12',false);"><A HREF="/chat2.html" TARGET="_self" STYLE="text-decoration:none;" NAME="CHAT"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f12" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">CHAT</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon13"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon13" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link13" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'13',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'13',false);"><A HREF="/MAP.html" TARGET="_self" STYLE="text-decoration:none;" NAME="UFOMAP90/99"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f13" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">UFOMAP90/99</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon14"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon14" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link14" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'14',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'14',false);"><A HREF="/reports.html" TARGET="_self" STYLE="text-decoration:none;" NAME="UFOMAP2000"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f14" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">UFOMAP2000</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon15"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon15" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link15" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'15',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'15',false);"><A HREF="/sightings.html" TARGET="_self" STYLE="text-decoration:none;" NAME="SIGHTINGS"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f15" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">SIGHTINGS</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR><TR id="vNavTR_Link_Graphic_Button_Earth_and_Moon16"><TD ALIGN="CENTER"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"><IMG NAME="IDGraphic_Button_Earth_and_Moon16" SRC="/~media/elements/LayoutClipart/../LayoutClipart/AccentGraphics/Accent_Sphere_Royal_Blue.gif" HEIGHT="16" WIDTH="16" BORDER="0"><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="16" BORDER="0"></TD><TD ALIGN="center" VALIGN="MIDDLE" NOWRAP="NOWRAP" id="Graphic_Button_Earth_and_Moon_Link16" style="cursor: pointer;cursor: hand;color:#3333CC;font-size: 1px; line-height: 1px;font-weight: bold;" onmouseover="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'16',true);" onmouseout="doMouseChange(nav_Graphic_Button_Earth_and_Moon,this,'16',false);"><A HREF="/UFO3PICS.html" TARGET="_self" STYLE="text-decoration:none;" NAME="UFOPICS2"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"><FONT ID="Graphic_Button_Earth_and_Moon_f16" FACE="'Times New Roman', Times, serif" CLASS="size12 TimesRoman12" STYLE="color:#3333CC">UFOPICS2</FONT><IMG SRC="/tp.gif" WIDTH="10" HEIGHT="1" BORDER="0"><IMG style="display: block;" SRC="/tp.gif" WIDTH="1" HEIGHT="10.0" BORDER="0"></A></TD></TR></TABLE></TD><TD WIDTH="2" BGCOLOR="#FF0033"><IMG style="display: block;" SRC="/tp.gif" HEIGHT="2" ALT=""></TD></TR><TR HEIGHT="2" BGCOLOR="#FF0033"><TD HEIGHT="2" COLSPAN="3"><IMG style="display: block;" SRC="/tp.gif" HEIGHT="2" ALT=""></TD></TR></TABLE><BR/><script type="text/javascript"> if(typeof(addMouseAndStyleSupportGraphic_Button_Earth_and_Moon) == 'undefined' && typeof(nav_element_id) != 'undefined'){ var elementDefnDiv = document.getElementById(nav_element_id); var tbWasIdentified = 'false'; for(var i=0;i<elementDefnDiv.childNodes.length;i++){ if(elementDefnDiv.childNodes[i].tagName == 'DIV') { var childDiv = elementDefnDiv.childNodes[i]; for(var j=0;j<childDiv.childNodes.length;j++){ if(childDiv.childNodes[j].tagName == 'TABLE' && childDiv.childNodes[j].id == 'ntb'){ childDiv.childNodes[j].style.display='none'; tbWasIdentified = 'true'; } if(tbWasIdentified == 'true'){ break; } } } if(tbWasIdentified == 'true'){ break; } } } else { addMouseAndStyleSupportGraphic_Button_Earth_and_Moon(nav_Graphic_Button_Earth_and_Moon); } </script></div></div><!-- </hs:element3> --><!-- <hs:element4> --><div id="element4" style="position: absolute; top: 374px; left: 182px; width: 460px; height: 355px; z-index: 2;"><table cellspacing="0" border="0" cellpadding="0"><tr><td colspan="6" bgcolor="#A8A8F0"><img height="4" width="456" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetRectangleGif&r=168&g=168&b=240"></td><td><img height="4" width="4" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetCornerGif&amp;w=4&amp;h=4&amp;r2=168&amp;g2=168&amp;b2=240&amp;r=30&amp;g=30&amp;b=120"></td></tr><tr><td rowspan="5" bgcolor="#A8A8F0"><img height="347" width="4" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetRectangleGif&r=168&g=168&b=240"></td><td colspan="5" bgcolor="#3333CC"><img height="4" width="452" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetRectangleGif&r=51&g=51&b=204"></td><td rowspan="6" bgcolor="#1E1E78"><img height="351" width="4" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetRectangleGif&r=30&g=30&b=120"></td></tr><tr><td rowspan="4" bgcolor="#3333CC"><img height="343" width="4" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetRectangleGif&r=51&g=51&b=204"></td><td colspan="2" bgcolor="#1E1E78"><img height="4" width="440" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetRectangleGif&r=30&g=30&b=120"></td><td><img height="4" width="4" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetCornerGif&amp;w=4&amp;h=4&amp;r=168&amp;g=168&amp;b=240&amp;r2=30&amp;g2=30&amp;b2=120"></td><td rowspan="4" bgcolor="#3333CC"><img height="343" width="4" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetRectangleGif&r=51&g=51&b=204"></td></tr><tr><td bgcolor="#1E1E78"><img height="331" width="4" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetRectangleGif&r=30&g=30&b=120"></td><td><img height="331" width="436" border="0" alt="" style="display: block;" src="/tp.gif"></td><td rowspan="2" bgcolor="#A8A8F0"><img height="335" width="4" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetRectangleGif&r=168&g=168&b=240"></td></tr><tr><td><img height="4" width="4" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetCornerGif&amp;w=4&amp;h=4&amp;r=168&amp;g=168&amp;b=240&amp;r2=30&amp;g2=30&amp;b2=120"></td><td bgcolor="#A8A8F0"><img height="4" width="436" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetRectangleGif&r=168&g=168&b=240"></td></tr><tr><td colspan="3" bgcolor="#3333CC"><img height="4" width="444" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetRectangleGif&r=51&g=51&b=204"></td></tr><tr><td><img height="4" width="4" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetCornerGif&amp;w=4&amp;h=4&amp;r2=168&amp;g2=168&amp;b2=240&amp;r=30&amp;g=30&amp;b=120"></td><td colspan="5" bgcolor="#1E1E78"><img height="4" width="452" border="0" alt="" style="display: block;" src="/~site/siteapps/shapes.action?CMD=GetRectangleGif&r=30&g=30&b=120"></td></tr></table></div><!-- </hs:element4> --><!-- <hs:element5> --><div id="element5" style="position: absolute; top: 1176px; left: 532px; width: 185px; height: 14px; z-index: 3;"><map name="MAP_11282387"><area target="_parent" shape="rect" coords="0,0,97,14" title="Submit" alt="Sign In" href="/~site/Scripts_NewGuest/NewGuest.dll?CMD=CMDGetSubmitForm&amp;STYLE=plaintext/&amp;FORWARDFLAG=true&amp;GBID=11282387&amp;DISPLAY=31&amp;TARGETURL=DEFAULT&amp;EMAILADDRESS=ENC__8abd2e4cb33a1abb72312e636f6d&amp;EM=true&amp;CUSTOMVALUE=false&amp;H_H=12176859"><area target="_parent" shape="rect" coords="108,0,185,14" title="View Entries" alt="View Entries" href="/~site/Scripts_NewGuest/NewGuest.dll?CMD=CMDGetViewEntriesPage&amp;STYLE=plaintext/&amp;ENTRYID=&amp;FORWARDFLAG=true&amp;GBID=11282387&amp;DISPLAY=31&amp;TARGETURL=DEFAULT&amp;EMAILADDRESS=ENC__8abd2e4cb33a1abb72312e636f6d&amp;EM=true&amp;CUSTOMVALUE=false&amp;H_H=12176859"><area shape="default" nohref alt=""></map><img height="14" width="185" border="0" usemap="#MAP_11282387" alt="" src="/~site/tool/Homestead/HC_Objects/Images/HCUser_Guestbook/plaintext/guestbook.gif"></div><!-- </hs:element5> --><!-- <hs:element6> --><div id="element6" style="position: absolute; top: 1206px; left: 403px; width: 105px; height: 55px; z-index: 4;"><a name="E-mailMe#1" href="#" onClick="window.open('/~site/Scripts_EmailManager/EmailManager.dll?CMD=CMDElementEmailMe&amp;HSID=12176859&amp;PARTNER_ID=1&amp;PEN=MailMailingList&amp;TO_ADDRESS=8ba8adb54c6fabd382ffc72a1af115402e636f6d','Email_Me','toolbar=no,status=yes,menubar=no,scrollbars=yes,resizable=no,directories=no,location=no,width=600,height=600');"><img height="55" width="105" border="0" alt="email me" src="/~media/elements/EmailMe/3D2.gif"></a></div><!-- </hs:element6> --><!-- <hs:element7> --><div id="element7" style="position: absolute; top: 1176px; left: 223px; width: 125px; height: 43px; z-index: 5;"><a target="HSFriendlyAlert" href="/~media/elements/AddToFavorites/AddToFavorites.html" onclick="addToFavorites(document.location, document.title); return false;"><img height="43" width="125" style="display:block" border="0" alt="Add this page to your favorites." src="/~media/elements/AddToFavorites/classic.gif"></a></div><!-- </hs:element7> --><!-- <hs:element8> --><div id="element8" style="position: absolute; top: 106px; left: 602px; width: 117px; height: 105px; z-index: 6;"><div style="overflow: hidden; height: 105px; width: 117px; border: 0px solid #52A8EC; border-radius: 0px; box-shadow: none;"><img height="105" width="117" style="display: block; border-radius: 0px;" title="" alt="" src="files/photo__2__copy__4_.jpg" /></div></div><!-- </hs:element8> --><!-- <hs:element9> --><div id="element9" style="position: absolute; top: 99px; left: 225px; width: 134px; height: 110px; z-index: 7;"><div style="overflow: hidden; height: 110px; width: 134px; border: 0px solid #52A8EC; border-radius: 0px; box-shadow: none;"><img height="110" width="134" style="display: block; border-radius: 0px;" title="" alt="" src="files/photo__2__copy__3_.jpg" /></div></div><!-- </hs:element9> --><!-- <hs:element10> --><div id="element10" style="position: absolute; top: 107px; left: 393px; width: 177px; height: 154px; z-index: 8;"><div style="overflow: hidden; height: 154px; width: 177px; border: 0px solid #52A8EC; border-radius: 0px; box-shadow: none;"><img height="154" width="177" style="display: block; border-radius: 0px;" title="" alt="" src="files/photo__1__copy__21_.jpg" /></div></div><!-- </hs:element10> --><!-- <hs:element11> --><div id="element11" style="position: absolute; top: 387px; left: 196px; width: 433px; height: 324px; z-index: 9;"><div style="overflow: hidden; height: 324px; width: 433px; border: 0px solid #52A8EC; border-radius: 0px; box-shadow: none;"><img height="324" width="433" style="display: block; border-radius: 0px;" title="" alt="" src="files/ufo50.jpg" /></div></div><!-- </hs:element11> --><!-- <hs:element12> --><div id="element12" style="position: absolute; top: 695px; left: 14px; width: 129px; height: 25px; z-index: 10;"><a target="_self" href="http://ALIENENIGMAHOME.HOMESTEAD.COM/TUNNEL.HTML"><img height="25" width="129" style="display:block" border="0" alt="" title="" src="publishImages/Index~~element12.png"></a></div><!-- </hs:element12> --><!-- <hs:element13> --><div id="element13" style="position: absolute; top: 755px; left: 201px; width: 569px; height: 273px; z-index: 11;"><div style="font-size: 1px; line-height: 1px;" align="left"><font face="Helvetica, Arial, sans-serif" color="#3333CC" class="size14 Helvetica14">We have a U.F.O.s And Alien Phenomena club at </font><font face="Helvetica, Arial, sans-serif" color="#3333CC" class="size14 Helvetica14"><a target="_self" href="http://groups.yahoo.com/group/ufosandalienphenomena">http://groups.yahoo.com/group/ufosandalienphenomena</a></font><font face="Helvetica, Arial, sans-serif" color="#3333CC" class="size14 Helvetica14"><a target="_self" href="http://groups.yahoo.com/group/ufosandalienphenomena"> </a></font><font face="Helvetica, Arial, sans-serif" color="#3333CC" class="size14 Helvetica14">along with a chat room on PalTalk in the Social Issues Category the room title is U.F.O. Alien Phenomena.<br></font></div><div style="font-size: 1px; line-height: 1px;" align="left"><font face="Helvetica, Arial, sans-serif" color="#3333CC" class="size14 Helvetica14"><br></font></div><div style="font-size: 1px; line-height: 1px;" align="left"><font face="Helvetica, Arial, sans-serif" color="#3333CC" class="size14 Helvetica14">We also have a research organization that specializes in abductions.  The resarch organization is called International Community for Alien Reserach (I.C.A.R.).  The web address is </font><font face="Helvetica, Arial, sans-serif" color="#3333CC" class="size14 Helvetica14"><a target="_blank" href="http://www.icar1.com">www.icar1.com</a></font><font face="Helvetica, Arial, sans-serif" color="#3333CC" class="size14 Helvetica14">.  We have investigators all over the USA and in many other countries, and are currently examining the credentials of other candidates as well.  When you report a sighting or you feel that you have been contacted or have been abducted we will have an investigator in your area look into your report.<br></font></div></div><!-- </hs:element13> --><!-- <hs:element14> --><div id="element14" style="position: absolute; top: 1010px; left: 12px; width: 160px; height: 38px; z-index: 12;"><img height="38" width="160" style="display:block" border="0" alt="" src="/~site/Scripts_HitCounter/HitCounter.dll?CMD=CMDGetImage&amp;HCID=14714569&amp;style=Odometer&amp;dw=160&amp;dh=38&amp;digits=6&amp;borders=1"></div><!-- </hs:element14> --><!-- <hs:element17> --><div id="element17" style="position: absolute; top: 265px; left: 241px; width: 100px; height: 100px; z-index: 13;"> <script type="text/javascript"><!-- google_ad_client = "pub-9644512465337285"; google_alternate_ad_url = "http://www.alienenigma.org"; google_ad_width = 468; google_ad_height = 60; google_ad_format = "468x60_as"; google_ad_type = "text_image"; google_ad_channel =""; google_color_border = "336699"; google_color_bg = "FFFFFF"; google_color_link = "0000FF"; google_color_url = "008000"; google_color_text = "000000"; //--></script> <script type="text/javascript" src="http://pagead2.googlesyndication.com/pagead/show_ads.js"> </script> </div><!-- </hs:element17> --><!-- <hs:element18> --><div id="element18" style="position: absolute; top: 1043px; left: 273px; width: 100px; height: 100px; z-index: 14;"> <!-- SiteSearch Google --> <form method="get" action="http://www.google.com/custom" target="_top"> <table border="0" bgcolor="#ffffff"> <tr><td nowrap="nowrap" valign="top" align="left" height="32"> <a href="http://www.google.com/"> <img src="http://www.google.com/logos/Logo_25wht.gif" border="0" alt="Google" align="middle"></img></a> </td> <td nowrap="nowrap"> <input type="hidden" name="domains" value="www.alienenigma.org"></input> <input type="text" name="q" size="31" maxlength="255" value=""></input> <input type="submit" name="sa" value="Search"></input> </td></tr> <tr> <td>&#160;</td> <td nowrap="nowrap"> <table> <tr> <td> <input type="radio" name="sitesearch" value="" checked="checked"></input> <font size="-1" color="#000000">Web</font> </td> <td> <input type="radio" name="sitesearch" value="www.alienenigma.org"></input> <font size="-1" color="#000000">www.alienenigma.org</font> </td> </tr> </table> <input type="hidden" name="client" value="pub-9644512465337285"></input> <input type="hidden" name="forid" value="1"></input> <input type="hidden" name="ie" value="ISO-8859-1"></input> <input type="hidden" name="oe" value="ISO-8859-1"></input> <input type="hidden" name="cof" value="GALT:#008000;GL:1;DIV:#336699;VLC:663399;AH:center;BGC:FFFFFF;LBGC:336699;ALC:0000FF;LC:0000FF;T:000000;GFNT:0000FF;GIMP:0000FF;FORID:1;"></input> <input type="hidden" name="hl" value="en"></input> </td></tr></table> </form> <!-- SiteSearch Google --> </div><!-- </hs:element18> --><!-- <hs:element20> --><div id="element20" style="position: absolute; top: 767px; left: 29px; width: 100px; height: 100px; z-index: 15;"> <script type="text/javascript"><!-- google_ad_client = "pub-9644512465337285"; google_ad_width = 125; google_ad_height = 125; google_ad_format = "125x125_as_rimg"; google_cpa_choice = "CAAQifay0gEaCF9P1XbMlIHIKJ_D93M"; //--></script> <script type="text/javascript" src="http://pagead2.googlesyndication.com/pagead/show_ads.js"> </script> </div><!-- </hs:element20> --><!-- <hs:element21> --><div id="element21" style="position: absolute; top: 1077px; left: 32px; width: 100px; height: 100px; z-index: 16;"> <a href="http://www.jdoqocy.com/click-2470731-10379479" target="_blank"> <img src="http://www.ftjcfx.com/image-2470731-10379479" width="160" height="600" alt="Paltalk Plus Free Trial" border="0"/></a> </div><!-- </hs:element21> --><!-- <hs:element23> --><div id="element23" style="position: absolute; top: 901px; left: 2px; width: 100px; height: 100px; z-index: 17;"> <A HREF="http://www.live365.com/rewards/pm?tag=jojomon1" target="_blank"><img src="http://ads.live365.com/sponsors/rewards/Support_150x50_Final.gif" width="150" height="50" title="Support this station and listen ad-free with Live365 VIP Membership!" border="0"></A> </div><!-- </hs:element23> --><!-- <hs:element24> --><div id="element24" style="position: absolute; top: 372px; left: 683px; width: 116px; height: 100px; z-index: 18;"> <object id="utv_o_370125" height="326" width="400" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000"><param value="http://www.ustream.tv/flash/live/370125" name="movie" /><param value="true" name="allowFullScreen" /><param value="always" name="allowScriptAccess" /><param value="transparent" name="wmode" /><param value="viewcount=false&amp;autoplay=false" name="flashvars" /><embed name="utv_e_370125" id="utv_e_370125" flashvars="viewcount=false&amp;autoplay=false" height="326" width="400" allowfullscreen="true" allowscriptaccess="always" wmode="transparent" src="http://www.ustream.tv/flash/live/370125" type="application/x-shockwave-flash" /></object> </div><!-- </hs:element24> --><!-- <hs:element25> --><div id="element25" style="position: absolute; top: 57px; left: 288px; width: 292px; height: 25px; z-index: 19;"><a target="_self" href="https://sites.google.com/site/icarresearch/"><img height="25" width="292" style="display:block" border="0" alt="" title="" src="publishImages/Index~~element25.png"></a></div><!-- </hs:element25> --><!-- <hs:element26> --><div id="element26" style="position: absolute; top: 1372px; left: 380px; width: 100px; height: 100px; z-index: 20;"> <iframe src="https://www.ustream.tv/embed/20930116?wmode=direct" style="border: 0 none transparent;" webkitallowfullscreen allowfullscreen frameborder="no" width="480" height="302"></iframe><br /><a href="https://www.ustream.tv/" style="padding: 2px 0px 4px; width: 400px; background: #ffffff; display: block; color: #000000; font-weight: normal; font-size: 10px; text-decoration: underline; text-align: center;" target="_blank">Live streaming video by Ustream</a> </div><!-- </hs:element26> --> <!-- <hs:footer> --> <div id="footer" style="position:absolute; top: 1472px; left: 0px; width: 799px; text-align: center;"><span>Website Designed<script src="~globals/footer.js" type="text/javascript"></script> at Homestead&#153; <a target="_blank" href="https://www.homestead.com/">Design a Website</a> and <a target="_blank" href="https://listings.homestead.com">List Your Business</a></span></div> <!-- </hs:footer> --> <!-- <hs:realtracker> --> <script type="text/javascript"> var user='12176859',pp='Index', to=-360,cl=1,id='',r='https://web4.realtracker.com/'; </script> <script src="/~site/Scripts_ExternalRedirect/ExternalRedirect.dll?CMD=CMDGetJavaScript&H_SITEID=RTK3&H_AltURL=%2F~site%2FRealTracker%2Fibc90006.js&HSGOTOURL=https%3A%2F%2Fweb4.realtracker.com%2Fnetpoll%2Fjs%2Fibc90006.js" type="text/javascript"> </script> <noscript> <img height="1" width="1" border="0" alt="" src="/~site/Scripts_ExternalRedirect/ExternalRedirect.dll?CMD=CMDGetGif&H_SITEID=RTK4&H_AltURL=%2F~site%2Ftp.gif&H_HSGOTOURL=https%3A%2F%2Fweb4.realtracker.com%2Fnetpoll%2Fimulti.asp%3Fuser%3D12176859%26pn%3D90006%26pp%3DIndex%26js%3D0%26b%3D0%26to%3D-360"> </noscript> <!-- </hs:realtracker> --> </body> </html>
alienenigma <!-- function reDo() { top.location.reload(); } if (navigator.appName == 'Netscape' && parseInt(navigator.appVersion) < 5) { top.onresize = reDo; } dom=document.getElementById //--> <!-- var strRelativePagePath = "Index.html".toLowerCase(); var strRelativePathToRoot = ""; function genericAlert() { alert("Sorry. To use this feature, you need Internet Explorer."); return true; } function addToFavorites(url, title) { window.onerror = genericAlert; if (navigator.appName == "Microsoft Internet Explorer") { if (parseInt(navigator.appVersion) >= 4) { window.external.AddFavorite(url, title); } else { friendlyAlert(); } } else if (navigator.appName == "Netscape") { friendlyAlert(); } else { genericAlert(); } } function friendlyAlert() { var win = window.open("/~media/Elements/AddToFavorites/AddToFavorites.html", "HSFriendlyAlert", "width=265,height=100"); } //--> @import url(/~media/elements/Text/font\_styles.css); #footer { font-family:Arial; font-size:12px; color:#505050; padding: 20px 0 10px; } #footer a { color:#505050; text-decoration: underline; } <!-- .navBackgroundGraphic\_Button\_Earth\_and\_Moon { background-image:url('/~media/elements/LayoutClipart/undefined'); background-position: undefined; background-repeat:no-repeat } .navBackgroundSelectedGraphic\_Button\_Earth\_and\_Moon { background-image:url('/~media/elements/LayoutClipart/undefined'); background-position: undefined; background-repeat:no-repeat } --> ![](/~media/elements/shared/javascript_disabled.gif) ALIEN ENIGMA var nav\_element\_id="element3";1 | | | --- | | | | | | | | | --- | --- | | | [home](http://www.alienenigma.org) | | | [ALIEN](/JOE.html) | | | [ABDUCTEE](/ABDUCTES.html) | | | [ACCOUNTS](/accounts.html) | | | [NEED TO KNOW](/events.html) | | | [OUR EXP](/exp.html) | | | [YOUR EXP](/yourexp.html) | | | [UFO PICS](/pics.html) | | | [DISCLOSURE](/PROJECT.html) | | | [REPORTS](/PAGE2.html) | | | [LINKS](/ASTRO.html) | | | [CHAT](/chat2.html) | | | [UFOMAP90/99](/MAP.html) | | | [UFOMAP2000](/reports.html) | | | [SIGHTINGS](/sightings.html) | | | [UFOPICS2](/UFO3PICS.html) | | | | | | | | | --- | --- | | | | | | | | | | | | | | | | | | | | | | | | | ![](/~site/tool/Homestead/HC_Objects/Images/HCUser_Guestbook/plaintext/guestbook.gif)[![email me](/~media/elements/EmailMe/3D2.gif)](#)[![Add this page to your favorites.](/~media/elements/AddToFavorites/classic.gif)](/~media/elements/AddToFavorites/AddToFavorites.html)![](files/photo__2__copy__4_.jpg)![](files/photo__2__copy__3_.jpg)![](files/photo__1__copy__21_.jpg)![](files/ufo50.jpg)[![](publishImages/Index~~element12.png)](http://ALIENENIGMAHOME.HOMESTEAD.COM/TUNNEL.HTML)We have a U.F.O.s And Alien Phenomena club at <http://groups.yahoo.com/group/ufosandalienphenomena>[Â](http://groups.yahoo.com/group/ufosandalienphenomena)along with a chat room on PalTalk in the Social Issues Category the room title is U.F.O. Alien Phenomena. We also have a research organization that specializes in abductions.  The resarch organization is called International Community for Alien Reserach (I.C.A.R.).  The web address is [www.icar1.com](http://www.icar1.com).  We have investigators all over the USA and in many other countries, and are currently examining the credentials of other candidates as well.  When you report a sighting or you feel that you have been contacted or have been abducted we will have an investigator in your area look into your report. ![](/~site/Scripts_HitCounter/HitCounter.dll?CMD=CMDGetImage&HCID=14714569&style=Odometer&dw=160&dh=38&digits=6&borders=1) <!-- google\_ad\_client = "pub-9644512465337285"; google\_alternate\_ad\_url = "http://www.alienenigma.org"; google\_ad\_width = 468; google\_ad\_height = 60; google\_ad\_format = "468x60\_as"; google\_ad\_type = "text\_image"; google\_ad\_channel =""; google\_color\_border = "336699"; google\_color\_bg = "FFFFFF"; google\_color\_link = "0000FF"; google\_color\_url = "008000"; google\_color\_text = "000000"; //--> | | | | --- | --- | | [Google](http://www.google.com/) | | | | | | | | --- | --- | | Web | www.alienenigma.org | | <!-- google\_ad\_client = "pub-9644512465337285"; google\_ad\_width = 125; google\_ad\_height = 125; google\_ad\_format = "125x125\_as\_rimg"; google\_cpa\_choice = "CAAQifay0gEaCF9P1XbMlIHIKJ\_D93M"; //--> [![Paltalk Plus Free Trial](http://www.ftjcfx.com/image-2470731-10379479)](http://www.jdoqocy.com/click-2470731-10379479) [![](http://ads.live365.com/sponsors/rewards/Support_150x50_Final.gif "Support this station and listen ad-free with Live365 VIP Membership!")](http://www.live365.com/rewards/pm?tag=jojomon1) [![](publishImages/Index~~element25.png)](https://sites.google.com/site/icarresearch/) Website Designed at Homestead™ [Design a Website](https://www.homestead.com/) and [List Your Business](https://listings.homestead.com) var user='12176859',pp='Index', to=-360,cl=1,id='',r='https://web4.realtracker.com/'; ![](/~site/Scripts_ExternalRedirect/ExternalRedirect.dll?CMD=CMDGetGif&H_SITEID=RTK4&H_AltURL=%2F~site%2Ftp.gif&H_HSGOTOURL=https%3A%2F%2Fweb4.realtracker.com%2Fnetpoll%2Fimulti.asp%3Fuser%3D12176859%26pn%3D90006%26pp%3DIndex%26js%3D0%26b%3D0%26to%3D-360)
http://alienenigma.homestead.com/
<HTML> <HEAD> <TITLE>SytiNet Sommaire</TITLE> <META NAME="TITLE" CONTENT="SytiNet - Sommaire"> <META NAME="DESCRIPTION" CONTENT="SytiNet - Stratégies planétaires, Science, Spiritualité, Art numérique"> <META NAME="KEYWORDS" CONTENT="univers, idées, idees, societe, société, économie, mondialisation, globalisation, pouvoir, politique, stratégies, conspiration, maitres du monde, conscience, spiritualité, écologie, esprit, connaissance, sciences, science, univers, extase, illumination, satori, images, graphisme, art numérique, vortex, techno, transe, ambiant, web cam, web cams, live cams, Sylvain Timsit, SytiNet"> <META NAME="rating" CONTENT="General"> <META HTTP-EQUIV="content-language" content="fr"> <META name="copyright" content="Syti.net"> <META NAME="author" CONTENT="Sylvain Timsit"> <META NAME="owner" CONTENT="http://www.syti.net"> <META http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> <LINK REL="SHORTCUT ICON" HREF="http://www.syti.net/favicon.ico"> <meta name="viewport" content="width=850"> <SCRIPT LANGAGE="JavaScript" TYPE="text/javascript" SRC="adn.js"></SCRIPT> <STYLE type="text/css"> body { margin: 0px; width: 100%; } .main { position: relative; background-image: url("Images/SiteMapBackground3.jpg"); background-repeat: no-repeat; background-attachment: scroll; background-position: top center; height: 977px; overflow: hidden; } .content { position: relative; width: 823px; margin: 7px auto 0px auto; padding-left: 5px; padding-right: 5px; } </STYLE> </HEAD> <BODY BGCOLOR="#000000"> <div class="main"> <div class="content"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=823> <TR> <TD WIDTH=39 HEIGHT=40>&nbsp;</TD> <TD WIDTH=50 HEIGHT=40>&nbsp;</TD> <TD WIDTH=93 HEIGHT=40>&nbsp;</TD> <TD ALIGN=center COLSPAN=5 WIDTH=466 HEIGHT=40> <A HREF="http://www.syti.net"><IMG SRC="Images/SytiNet_titre5.gif" WIDTH=127 HEIGHT=19 BORDER=0 ALIGN=bottom vspace=3></A> </TD> <TD ALIGN=right WIDTH=90 HEIGHT=40>&nbsp;</TD> <TD ALIGN=right WIDTH=40 HEIGHT=40>&nbsp;</TD> <TD ALIGN=right WIDTH=45 HEIGHT=40>&nbsp;</TD> </TR> <TR> <TD VALIGN=bottom WIDTH=39 HEIGHT=72>&nbsp;</TD> <TD VALIGN=bottom WIDTH=50 HEIGHT=72>&nbsp;</TD> <TD VALIGN=bottom WIDTH=93 HEIGHT=72>&nbsp;</TD> <TD ALIGN=center VALIGN=bottom ROWSPAN=3 WIDTH=80 HEIGHT=132> <A HREF="Capra.html"><IMG SRC="Graphics/icone_Capra.jpg" WIDTH=60 HEIGHT=50 BORDER=0 ALIGN=middle vspace=1><BR> <IMG SRC="Graphics/T_Satori.jpg" WIDTH=44 HEIGHT=10 BORDER=0 ALIGN=bottom></A>&nbsp; </TD> <TD ALIGN=center VALIGN=bottom ROWSPAN=2 WIDTH=94 HEIGHT=94> <A HREF="BhagavadGita.html"><IMG SRC="Graphics/vignette_BGita.jpg" WIDTH=60 HEIGHT=50 BORDER=0 ALIGN=middle vspace=1><BR> <IMG SRC="Graphics/T_Metaphysique.jpg" WIDTH=86 HEIGHT=10 BORDER=0 ALIGN=bottom></A> </TD> <TD ALIGN=center VALIGN=bottom WIDTH=124 HEIGHT=72> <A HREF="LearyEvolution.html"><IMG SRC="Images/BallokTiny.jpg" WIDTH=43 HEIGHT=50 BORDER=0 ALIGN=middle><BR> <IMG SRC="Graphics/T_Mutation.jpg" WIDTH=57 HEIGHT=9 BORDER=0 ALIGN=bottom></A> </TD> <TD ALIGN=center VALIGN=bottom ROWSPAN=2 WIDTH=80 HEIGHT=94> <A HREF="MindVision.html"><IMG SRC="Graphics/icone_MindVision2_small.jpg" WIDTH=55 HEIGHT=50 BORDER=0 ALIGN=middle><BR> <IMG SRC="Graphics/T_MindVision.jpg" WIDTH=78 HEIGHT=11 BORDER=0 ALIGN=bottom></A> </TD> <TD ALIGN=center VALIGN=bottom ROWSPAN=3 WIDTH=88 HEIGHT=132> <A HREF="StarTrek.html"><IMG SRC="Images/StarTrekIcone.jpg" WIDTH=70 HEIGHT=49 BORDER=0 ALIGN=middle><BR> <IMG SRC="Graphics/T_StarTrek.jpg" WIDTH=66 HEIGHT=10 BORDER=0 ALIGN=bottom></A> </TD> <TD WIDTH=90 HEIGHT=72>&nbsp;</TD> <TD WIDTH=40 HEIGHT=72>&nbsp;</TD> <TD WIDTH=45 HEIGHT=72>&nbsp;</TD> </TR> <TR> <TD WIDTH=39 HEIGHT=22>&nbsp;</TD> <TD WIDTH=50 HEIGHT=22>&nbsp;</TD> <TD ALIGN=center VALIGN=bottom ROWSPAN=3 WIDTH=93 HEIGHT=115> <A HREF="Embryogenese.html"><IMG SRC="Graphics/icone_Embryo2.jpg" WIDTH=74 HEIGHT=62 BORDER=0 ALIGN=middle><BR> <IMG SRC="Graphics/FR_Embryogenese.jpg" WIDTH=66 HEIGHT=11 BORDER=0 ALIGN=bottom></A><BR> <IMG SRC="Graphics/vide.gif" WIDTH=56 HEIGHT=2 ALIGN=bottom> </TD> <TD ALIGN=center VALIGN=bottom WIDTH=124 HEIGHT=22>&nbsp;</TD> <TD ALIGN=center VALIGN=bottom ROWSPAN=3 WIDTH=90 HEIGHT=115> <A HREF="AlanWatts.html"><IMG SRC="Images/WattsTiny.gif" WIDTH=63 HEIGHT=50 BORDER=0 ALIGN=middle><BR> <IMG SRC="Graphics/T_Watts.jpg" WIDTH=71 HEIGHT=21 BORDER=0 ALIGN=bottom></A> </TD> <TD WIDTH=40 HEIGHT=22>&nbsp;</TD> <TD WIDTH=45 HEIGHT=22>&nbsp;</TD> </TR> <TR> <TD WIDTH=39 HEIGHT=38>&nbsp;</TD> <TD WIDTH=50 HEIGHT=38>&nbsp;</TD> <TD WIDTH=94 HEIGHT=38>&nbsp;</TD> <TD ALIGN=center VALIGN=bottom ROWSPAN=2 WIDTH=124 HEIGHT=93> <A HREF="Universe.html"><IMG SRC="Images/Galaxy2B.gif" WIDTH=118 HEIGHT=89 BORDER=0 ALIGN=middle></A> </TD> <TD WIDTH=80 HEIGHT=38>&nbsp;</TD> <TD WIDTH=40 HEIGHT=38>&nbsp;</TD> <TD WIDTH=45 HEIGHT=38>&nbsp;</TD> </TR> <TR> <TD WIDTH=39 HEIGHT=55>&nbsp;</TD> <TD WIDTH=50 HEIGHT=55>&nbsp;</TD> <TD WIDTH=80 HEIGHT=55>&nbsp;</TD> <TD WIDTH=94 HEIGHT=55>&nbsp;</TD> <TD ALIGN=right VALIGN=bottom WIDTH=80 HEIGHT=55>&nbsp;</TD> <TD ALIGN=right VALIGN=bottom width=85 HEIGHT=55>&nbsp;</TD> <TD ALIGN=right VALIGN=bottom WIDTH=40 HEIGHT=55>&nbsp;</TD> <TD ALIGN=right VALIGN=bottom WIDTH=45 HEIGHT=55>&nbsp;</TD> </TR> <TR> <TD WIDTH=39 HEIGHT=80>&nbsp;</TD> <TD COLSPAN=2 WIDTH=143 HEIGHT=80> <A HREF="Fractals.html"><IMG SRC="Graphics/icone_Fractals2.gif" WIDTH=58 HEIGHT=54 BORDER=0 ALIGN=bottom hspace=5><BR> <IMG SRC="Graphics/FR_Fractals.jpg" WIDTH=60 HEIGHT=10 BORDER=0 ALIGN=bottom hspace=5></A> </TD> <TD ALIGN=center VALIGN=top ROWSPAN=3 COLSPAN=5 WIDTH=466 HEIGHT=240> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=450> <TR> <TD WIDTH=100 HEIGHT=9>&nbsp;</TD> <TD ALIGN=center WIDTH=250 HEIGHT=9> <A HREF="Universe.html"><IMG SRC="Graphics/TT_Univers.jpg" WIDTH=54 HEIGHT=9 BORDER=0 ALIGN=bottom></A> </TD> <TD WIDTH=100 HEIGHT=9>&nbsp;</TD> </TR> <TR> <TD ALIGN=center VALIGN=bottom WIDTH=100 HEIGHT=210> <A HREF="VisualSpace.php"><IMG SRC="Images/VortexGallery3.jpg" WIDTH=82 HEIGHT=85 BORDER=0 ALIGN=bottom vspace=2></A><BR> <IMG SRC="Graphics/TT_VortexGallery.jpg" WIDTH=55 HEIGHT=24 BORDER=0 ALIGN=bottom>< </TD> <TD ALIGN=center VALIGN=bottom WIDTH=250 HEIGHT=210> <A HREF="http://www.syti.net"><IMG SRC="Images/BlueEye_slow.gif" WIDTH=128 HEIGHT=118 BORDER=0 ALIGN=bottom></A><BR> <IMG SRC="Images/vide.gif" WIDTH=128 HEIGHT=55 ALIGN=bottom> </TD> <TD ALIGN=center VALIGN=bottom WIDTH=100 HEIGHT=210> <A HREF="Topics.html"><IMG SRC="Images/EarthSun_s.jpg" WIDTH=81 HEIGHT=85 BORDER=0 ALIGN=bottom vspace=5><BR> <IMG SRC="Graphics/TT_Pouvoir3.jpg" BORDER=0></A> </TD> </TR> </TABLE> </TD> <TD ALIGN=right COLSPAN=2 WIDTH=130 HEIGHT=80> <A HREF="TaoSurf.html"><IMG SRC="Images/TaoTiny.jpg" WIDTH=67 HEIGHT=50 BORDER=0 ALIGN=middle vspace=1></A>&nbsp;<BR> <A HREF="TaoSurf.html"><IMG SRC="Graphics/T_TaoSurf.jpg" WIDTH=78 HEIGHT=10 BORDER=0 ALIGN=bottom></A> </TD> <TD WIDTH=45 HEIGHT=80>&nbsp;</TD> </TR> <TR> <TD ALIGN=right COLSPAN=2 WIDTH=89 HEIGHT=90> <A HREF="SpiritualiteOrientale.html"><IMG SRC="Graphics/icone_SpiritualiteOrientale.jpg" WIDTH=60 HEIGHT=50 BORDER=0 ALIGN=bottom vspace=2 hspace=10><BR> <IMG SRC="Graphics/FR_Spiritualite.jpg" WIDTH=72 HEIGHT=11 BORDER=0 ALIGN=bottom hspace=5></A> </TD> <TD VALIGN=bottom WIDTH=93 HEIGHT=90> <A HREF="SpiritualiteOrientale.html"><BR> </A>&nbsp;&nbsp; </TD> <TD WIDTH=90 HEIGHT=90>&nbsp;</TD> <TD ALIGN=center COLSPAN=2 WIDTH=85 HEIGHT=90> <A HREF="StanGrov.html"><IMG SRC="Images/Embruns_tiny.jpg" WIDTH=65 HEIGHT=50 BORDER=0 ALIGN=bottom vspace=2><BR> <IMG SRC="Graphics/FR_Grov.jpg" WIDTH=66 HEIGHT=9 BORDER=0 ALIGN=bottom></A> </TD> </TR> <TR> <TD COLSPAN=2 WIDTH=89 HEIGHT=70> <A HREF="MessageIndiens.html"><IMG SRC="Graphics/icone_IndiensAmerique2.jpg" WIDTH=60 HEIGHT=50 BORDER=0 ALIGN=bottom vspace=2 hspace=7></A><A HREF="SpiritualiteOrientale"><BR> </A><A HREF="MessageIndiens.html"><IMG SRC="Graphics/T_MessageIndiens.jpg" WIDTH=60 HEIGHT=10 BORDER=0 ALIGN=bottom hspace=7></A> </TD> <TD WIDTH=93 HEIGHT=70>&nbsp;</TD> <TD WIDTH=90 HEIGHT=70>&nbsp;</TD> <TD ALIGN=right VALIGN=top COLSPAN=2 WIDTH=105 HEIGHT=70> <A HREF="TAO/Tao.html"><IMG SRC="Graphics/icone_Tao_hue_small.jpg" WIDTH=60 HEIGHT=50 BORDER=0><BR> <IMG SRC="Graphics/T_Sagesse.jpg" WIDTH=55 HEIGHT=8 BORDER=0 vspace=2 hspace=1></A> </TD> </TR> <TR> <TD WIDTH=39 HEIGHT=22>&nbsp;</TD> <TD WIDTH=50 HEIGHT=22>&nbsp;</TD> <TD WIDTH=93 HEIGHT=22>&nbsp;</TD> <TD WIDTH=80 HEIGHT=22>&nbsp;</TD> <TD WIDTH=94 HEIGHT=22>&nbsp;</TD> <TD WIDTH=124 HEIGHT=22>&nbsp;</TD> <TD WIDTH=80 HEIGHT=22>&nbsp;</TD> <TD WIDTH=88 HEIGHT=22>&nbsp;</TD> <TD WIDTH=90 HEIGHT=22>&nbsp;</TD> <TD WIDTH=40 HEIGHT=22>&nbsp;</TD> <TD WIDTH=45 HEIGHT=22>&nbsp;</TD> </TR> <TR> <TD WIDTH=39 HEIGHT=77><IMG SRC="compteur/visite_invisible.php" WIDTH=20 HEIGHT=20></TD> <TD WIDTH=50 HEIGHT=77>&nbsp;</TD> <TD WIDTH=93 HEIGHT=77>&nbsp;</TD> <TD ALIGN=center VALIGN=top COLSPAN=5 WIDTH=466 HEIGHT=77> <IMG SRC="Images/vide.gif" WIDTH=40 HEIGHT=32 ALIGN=middle> <A HREF="EssentialBooks.html"><IMG SRC="Images/book.gif" WIDTH=32 HEIGHT=32 BORDER=0 ALIGN=middle><IMG SRC="Graphics/T_Bibliographie.gif" WIDTH=67 HEIGHT=18 BORDER=0 ALIGN=middle></A><IMG SRC="Images/vide.gif" WIDTH=35 HEIGHT=18 ALIGN=middle> <A HREF="http://blog.syti.net"><IMG SRC="Graphics/icone_Blog3_HP.jpg" WIDTH=49 HEIGHT=35 BORDER=0 ALIGN=middle vspace=1><IMG SRC="Graphics/T_Blog2.gif" WIDTH=33 HEIGHT=9 BORDER=0 ALIGN=middle hspace=4></A><BR> <IMG SRC="Images/vide.gif" WIDTH=30 HEIGHT=25 ALIGN=middle><BR> <IMG SRC="Images/vide.gif" WIDTH=12 HEIGHT=27 BORDER=0 ALIGN=middle><A HREF="News.html" title="Nouvelles pages"><IMG SRC="Graphics/icone_NewPages3.gif" WIDTH=31 HEIGHT=23 BORDER=0 ALIGN=middle></A>&nbsp;&nbsp;&nbsp;<A HREF="javascript:PopUpURL2('Musiques.html','Musiques',950,720,'yes','yes')" title="Musiques essentielles"><IMG SRC="Music/icone_Musique.gif" WIDTH=24 HEIGHT=27 BORDER=0 ALIGN=middle></A>&nbsp;&nbsp;&nbsp;<A HREF="Radios/Radios.html" title="Web Radios"><IMG SRC="Images/icone_Radio_s.gif" WIDTH=29 HEIGHT=25 BORDER=0 ALIGN=middle></A>&nbsp;&nbsp;&nbsp;&nbsp;<A HREF="Films.html" title="Films essentiels"><IMG SRC="Graphics/icone_Movies_xs.gif" WIDTH=26 HEIGHT=25 BORDER=0 ALIGN=middle></A>&nbsp;&nbsp;&nbsp;&nbsp;<A HREF="javascript:PopUpURL2('http://blog.syti.net/webcams.php?','webcams',1100,800,'yes','auto')" title=Webcams><IMG SRC="Graphics/icone_Webcam2_s.gif" WIDTH=31 HEIGHT=29 BORDER=0 ALIGN=middle></A>&nbsp;&nbsp;&nbsp;&nbsp;<A HREF="https://twitter.com/SytiNet" TARGET="_blank"><IMG SRC="Graphics/Twitter.png" WIDTH=22 vspace=3 BORDER=0 align="middle"></A> </TD> <TD WIDTH=90 HEIGHT=77>&nbsp;</TD> <TD WIDTH=40 HEIGHT=77>&nbsp;</TD> <TD WIDTH=45 HEIGHT=77>&nbsp;</TD> </TR> </TABLE> </div> </div> </BODY> </HTML>
SytiNet Sommaire body { margin: 0px; width: 100%; } .main { position: relative; background-image: url("Images/SiteMapBackground3.jpg"); background-repeat: no-repeat; background-attachment: scroll; background-position: top center; height: 977px; overflow: hidden; } .content { position: relative; width: 823px; margin: 7px auto 0px auto; padding-left: 5px; padding-right: 5px; } | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | --- | --- | --- | | | | | | < | | | |   | | | | | | | | | | | | | | | | | | | | | | | | | | | |                    | | | |
http://syti.net/SiteMap.html
<html><head><meta http-equiv="Content-Language" content="en-us"><meta http-equiv="Content-Type" content="text/html; charset=windows-1252"><title>Spray</title><!--mstheme--><link rel="stylesheet" type="text/css" href="../_themes/hlds-101/hlds1011.css"><meta name="Microsoft Theme" content="hlds-101 1011, default"> </head><body><div align="center"><table border="0" width="100%" id="MainTable" bgcolor="#3E4637" cellpadding="0" cellspacing="4"><tr><td width="125" valign="middle"><img border="0" src="../images/logo.gif" width="125" height="60"></td><td width="87%" valign="middle"><p style="text-align: left"></td></tr><tr><td width="125" rowspan="2" valign="top"><p style="text-align: center"><!--webbot bot="Navigation" S-Orientation="vertical" S-Rendering="graphics" S-Type="parent" B-Include-Home="TRUE" B-Include-Up="FALSE" startspan --><script language="JavaScript"><!-- MSFPhover = (((navigator.appName == "Netscape") && (parseInt(navigator.appVersion) >= 3 )) || ((navigator.appName == "Microsoft Internet Explorer") && (parseInt(navigator.appVersion) >= 4 ))); function MSFPpreload(img) { var a=new Image(); a.src=img; return a; } // --></script><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav1n=MSFPpreload("../_derived/home_cmp_hlds-101010_vbtn.gif"); MSFPnav1h=MSFPpreload("../_derived/home_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../index.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav1'].src=MSFPnav1h.src" onMouseOut="if(MSFPhover) document['MSFPnav1'].src=MSFPnav1n.src"><img src="../_derived/home_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Home" name="MSFPnav1"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav2n=MSFPpreload("../forums/_derived/index.php_cmp_hlds-101010_vbtn.gif"); MSFPnav2h=MSFPpreload("../forums/_derived/index.php_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../forums/index.php" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav2'].src=MSFPnav2h.src" onMouseOut="if(MSFPhover) document['MSFPnav2'].src=MSFPnav2n.src"><img src="../forums/_derived/index.php_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Discussion Forums" name="MSFPnav2"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav3n=MSFPpreload("../_derived/introduction.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav3h=MSFPpreload("../_derived/introduction.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../introduction.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav3'].src=MSFPnav3h.src" onMouseOut="if(MSFPhover) document['MSFPnav3'].src=MSFPnav3n.src"><img src="../_derived/introduction.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Introduction" name="MSFPnav3"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav4n=MSFPpreload("../_derived/starting.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav4h=MSFPpreload("../_derived/starting.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../starting.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav4'].src=MSFPnav4h.src" onMouseOut="if(MSFPhover) document['MSFPnav4'].src=MSFPnav4n.src"><img src="../_derived/starting.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Starting Up" name="MSFPnav4"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav5n=MSFPpreload("../_derived/updating.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav5h=MSFPpreload("../_derived/updating.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../updating.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav5'].src=MSFPnav5h.src" onMouseOut="if(MSFPhover) document['MSFPnav5'].src=MSFPnav5n.src"><img src="../_derived/updating.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Updating" name="MSFPnav5"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav6n=MSFPpreload("../_derived/configuring.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav6h=MSFPpreload("../_derived/configuring.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../configuring.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav6'].src=MSFPnav6h.src" onMouseOut="if(MSFPhover) document['MSFPnav6'].src=MSFPnav6n.src"><img src="../_derived/configuring.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Configuration" name="MSFPnav6"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav7n=MSFPpreload("../_derived/yourserver.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav7h=MSFPpreload("../_derived/yourserver.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../yourserver.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav7'].src=MSFPnav7h.src" onMouseOut="if(MSFPhover) document['MSFPnav7'].src=MSFPnav7n.src"><img src="../_derived/yourserver.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Server Hardware" name="MSFPnav7"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav8n=MSFPpreload("../_derived/cvars.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav8h=MSFPpreload("../_derived/cvars.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../cvars.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav8'].src=MSFPnav8h.src" onMouseOut="if(MSFPhover) document['MSFPnav8'].src=MSFPnav8n.src"><img src="../_derived/cvars.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="CVARs" name="MSFPnav8"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav9n=MSFPpreload("../_derived/networking.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav9h=MSFPpreload("../_derived/networking.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../networking.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav9'].src=MSFPnav9h.src" onMouseOut="if(MSFPhover) document['MSFPnav9'].src=MSFPnav9n.src"><img src="../_derived/networking.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Networking" name="MSFPnav9"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav10n=MSFPpreload("../_derived/remoteadmin.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav10h=MSFPpreload("../_derived/remoteadmin.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../remoteadmin.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav10'].src=MSFPnav10h.src" onMouseOut="if(MSFPhover) document['MSFPnav10'].src=MSFPnav10n.src"><img src="../_derived/remoteadmin.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Remote Admin" name="MSFPnav10"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav11n=MSFPpreload("../_derived/voicecompression.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav11h=MSFPpreload("../_derived/voicecompression.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../voicecompression.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav11'].src=MSFPnav11h.src" onMouseOut="if(MSFPhover) document['MSFPnav11'].src=MSFPnav11n.src"><img src="../_derived/voicecompression.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Voice Compression" name="MSFPnav11"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav12n=MSFPpreload("../_derived/ressourcedownloading.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav12h=MSFPpreload("../_derived/ressourcedownloading.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../ressourcedownloading.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav12'].src=MSFPnav12h.src" onMouseOut="if(MSFPhover) document['MSFPnav12'].src=MSFPnav12n.src"><img src="../_derived/ressourcedownloading.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Ressource Tweak" name="MSFPnav12"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav13n=MSFPpreload("../_derived/custommaps.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav13h=MSFPpreload("../_derived/custommaps.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../custommaps.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav13'].src=MSFPnav13h.src" onMouseOut="if(MSFPhover) document['MSFPnav13'].src=MSFPnav13n.src"><img src="../_derived/custommaps.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Custom Maps" name="MSFPnav13"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav14n=MSFPpreload("../_derived/promoting.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav14h=MSFPpreload("../_derived/promoting.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../promoting.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav14'].src=MSFPnav14h.src" onMouseOut="if(MSFPhover) document['MSFPnav14'].src=MSFPnav14n.src"><img src="../_derived/promoting.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Promoting" name="MSFPnav14"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav15n=MSFPpreload("../_derived/metamod.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav15h=MSFPpreload("../_derived/metamod.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../metamod.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav15'].src=MSFPnav15h.src" onMouseOut="if(MSFPhover) document['MSFPnav15'].src=MSFPnav15n.src"><img src="../_derived/metamod.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Metamod" name="MSFPnav15"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav16n=MSFPpreload("../_derived/adminmods.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav16h=MSFPpreload("../_derived/adminmods.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../adminmods.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav16'].src=MSFPnav16h.src" onMouseOut="if(MSFPhover) document['MSFPnav16'].src=MSFPnav16n.src"><img src="../_derived/adminmods.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Admin Mods" name="MSFPnav16"></a><br><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav17n=MSFPpreload("../_derived/bonus.htm_cmp_hlds-101010_vbtn.gif"); MSFPnav17h=MSFPpreload("../_derived/bonus.htm_cmp_hlds-101010_vbtn_a.gif"); } // --></script><a href="../bonus.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav17'].src=MSFPnav17h.src" onMouseOut="if(MSFPhover) document['MSFPnav17'].src=MSFPnav17n.src"><img src="../_derived/bonus.htm_cmp_hlds-101010_vbtn.gif" width="125" height="26" border="0" alt="Bonus Stuff" name="MSFPnav17"></a><!--webbot bot="Navigation" i-checksum="17490" endspan --></td><td valign="middle" width="87%"><p style="text-align: left"><!--webbot bot="Navigation" S-Orientation="horizontal" S-Rendering="graphics" S-Type="siblings" B-Include-Home="FALSE" B-Include-Up="TRUE" startspan --><script language="JavaScript"><!-- if(MSFPhover) { MSFPnav18n=MSFPpreload("../_derived/up_cmp_hlds-101010_hbtn.gif"); MSFPnav18h=MSFPpreload("../_derived/up_cmp_hlds-101010_hbtn_a.gif"); } // --></script><a href="../bonus.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav18'].src=MSFPnav18h.src" onMouseOut="if(MSFPhover) document['MSFPnav18'].src=MSFPnav18n.src"><img src="../_derived/up_cmp_hlds-101010_hbtn.gif" width="125" height="25" border="0" alt="Back..." align="middle" name="MSFPnav18"></a> <img src="_derived/spray.htm_cmp_hlds-101010_hbtn_p.gif" width="125" height="25" border="0" alt="Spray" align="middle"> <script language="JavaScript"><!-- if(MSFPhover) { MSFPnav19n=MSFPpreload("_derived/tweaking.htm_cmp_hlds-101010_hbtn.gif"); MSFPnav19h=MSFPpreload("_derived/tweaking.htm_cmp_hlds-101010_hbtn_a.gif"); } // --></script><a href="tweaking.htm" language="JavaScript" onMouseOver="if(MSFPhover) document['MSFPnav19'].src=MSFPnav19h.src" onMouseOut="if(MSFPhover) document['MSFPnav19'].src=MSFPnav19n.src"><img src="_derived/tweaking.htm_cmp_hlds-101010_hbtn.gif" width="125" height="25" border="0" alt="Tweaking" align="middle" name="MSFPnav19"></a><!--webbot bot="Navigation" i-checksum="12712" endspan --></td></tr><tr><td valign="top" width="87%" height="429"><h1 style="text-align: center">Custom Spray</h1><p style="text-align: left"><font size="2">These days, custom spray are very common on most of the Half-Life mods! Wheter you want to say &quot;PWNED!!!&quot; or &quot;Shoutout to HLDS 101&quot;, sprays allow you to express emotions and messages.</font></p><p style="text-align: left"><font size="2">The only problem is... How on earth do you create custom sprays??!?!?!</font></p><p style="text-align: left"><font size="2">And the answer is (surprisingly) on this page! Here are the steps on creating your custom spray:</font></p><ol><li><p style="text-align: left"><b>Choose a resolution</b><font size="2"><br>All Half-Life sprays must respect a resolution. In Half-Life, your spray's resolution must be dividable by 16 and the total pixel count must not exceed 10752 pixels. Here is a little table of common resolutions that you can use if you don't want to do the math:</font></p><table border="0" width=75%" id="table2"><tr><td width="25%" style="text-align: center"><font size="2"><img border="0" src="128x80.gif" width="128" height="80"></font></td><td width="25%" style="text-align: center"><font size="2"><img border="0" src="144x48.gif" width="144" height="48"></font></td><td style="text-align: center"><font size="2"><img border="0" src="96x96.gif" width="96" height="96"></font></td></tr><tr><td width="224" style="text-align: center"><font size="2">Normal</font></td><td width="511" style="text-align: center"><font size="2">Wide</font></td><td style="text-align: center"><font size="2">Square</font></td></tr></table><p></li><li><b>Create your spray</b><font size="2"><br>By using your favorite photo editing sotware, create your spray. Make sure that the resolution you use is subject to the guidelines and that you use 16-bit color. After editing, save your file as a 16-bit bitmap (BMP).<br>&nbsp;</font></li><li><b>Install and use Wally</b><font size="2"><br> For creating the actual spray file, we need to use an application called Wally! You first have to download Wally.<br> <a href="http://hlds101.com/wally.exe">Click here</a> to download Wally directly from GSTutor. <br> <br>When Wally is installed, open it. Go to the Wizard menu and select the HL Color Decal option:<br><img border="0" src="wallymenu.gif" width="170" height="76"><br><br>When the wizard appears, select the File on HardDrive radio option and click the browse button to browse for your BMP file that you created earlier. You can ignore the &quot;Half-Life&quot; folder option:<br><img border="0" src="wallywiz.gif" width="533" height="321"><br><center><script type="text/javascript"><!-- google_ad_client = "pub-6030550155683540"; google_ad_width = 336; google_ad_height = 280; google_ad_format = "336x280_as"; google_ad_channel =""; google_ad_type = "text"; google_color_border = "3E4637"; google_color_bg = "3E4637"; google_color_link = "FFFFFF"; google_color_url = "E9E9E9"; google_color_text = "E9E9E9"; //--></script> <script type="text/javascript" src="http://pagead2.googlesyndication.com/pagead/show_ads.js"> </script> </center><br><br>Click the OK button.<br>&nbsp;</font></li><li><b>Save the WAD file</b><font size="2"><br>When you click OK on the wizard, the following window will appear:<br><img border="0" src="wallywad.gif" width="289" height="157"><br><br>You now only have to save this WAD file! Go ahead and go to the File menu and click Save As:<br><img border="0" src="wallysave.gif" width="167" height="157"><br><br>On the save dialog, select a folder in which you would like to save the file in (your Desktop is fine). Do not save it into your game folder right away, we want to save it somewhere else first so that we would have a backup if something happens.<br>&nbsp;</font></li><li><b>Copy the file into your game folder<br></b><font size="2">Now that you've saved the pldecal.wad file into some temporary folder, we need to place it into the game folder so that it works. For this, we need to know where to place it. In short, here's where you place it:<br>C:\Program Files\Valve\Steam\SteamApps\account_name\game_name\game's_short_name\<br><br>In addition to that, you need to create a second file called <i>tempdecal.wad</i> to create it, simply copy and paste your <i>pldecal.wad</i> file and rename the new one to <i>tempdecal.wad</i>.<br><br>Here's a brief table where the file must be located for most popular mods. Be sure to replace the drive letter by your own's and the account_name by your account's name:<br>&nbsp;</font><table border="0" width="95%" id="table3"><tr><td style="text-align: center" bgcolor="#E9E9E9"><b><font size="2" color="#4C5844">Mod</font></b></td><td style="text-align: center" bgcolor="#E9E9E9"><b><font size="2" color="#4C5844">Folder</font></b></td></tr><tr><td><font size="2">Counter-Strike</font></td><td><font size="2">C:\Program Files\Valve\Steam\SteamApps\account_name\counter-strike\cstrike\</font></td></tr><tr><td><font size="2">Condition-Zero</font></td><td><font size="2">C:\Program Files\Valve\Steam\SteamApps\account_name\condition zero\czero\</font></td></tr><tr><td><font size="2">Day of Defeat</font></td><td><font size="2">C:\Program Files\Valve\Steam\SteamApps\account_name\day of defeat\dod\</font></td></tr><tr><td><font size="2">Team Fortress Classic</font></td><td><font size="2">C:\Program Files\Valve\Steam\SteamApps\account_name\team fortress classic\tfc\</font></td></tr><tr><td><font size="2">Half-Life</font></td><td><font size="2">C:\Program Files\Valve\Steam\SteamApps\account_name\half-life\valve\</font></td></tr></table><p><br>&nbsp;</li><li><b>&quot;Lock&quot; the files</b><font size="2"><br>Originally, when you would go to the options menu and change something, your spray will reset to the default one. To prevent this from happening, you need to assign Read-Only options to your two spray files.<br><br>o Select the spray files and right-click on them.<br>o In the popup menu, choose the Properties item<br>o In the properties window, check the box that's next to Read-Only<br>o Click OK<br>&nbsp;</font></li><li><b>Enjoy your new spray!</b><font size="2"><br> You've finnaly made it. Go to a server and test out your spray.</font></li> </ol><p style="text-align: left"></td></tr><tr><td colspan="2"><p style="text-align: center"><img border="0" src="../images/plabs_logo_small.gif" width="78" height="15"><br><font size="1"><!--webbot bot="Navigation" S-Type="sequence" S-Orientation="horizontal" S-Rendering="html" S-Bar="Dots" S-Btn-Nml="&lt;A HREF=&quot;#URL#&quot; TARGET=&quot;#TARGET#&quot; STYLE=&quot;{text-decoration: none;}&quot;&gt;#LABEL#&lt;/A&gt;" S-Btn-Sel="#LABEL#" S-Btn-Sep="&amp;nbsp;&amp;bull;&amp;nbsp;" B-Include-Home="TRUE" B-Include-Up="FALSE" U-Page="sid:1001" startspan --><nobr><A HREF="../index.htm" TARGET="" STYLE="{text-decoration: none;}">Home</A></nobr>&nbsp;&bull;&nbsp;<nobr><A HREF="../misc/about.htm" TARGET="" STYLE="{text-decoration: none;}">About&nbsp;HLDS&nbsp;101</A></nobr>&nbsp;&bull;&nbsp;<nobr><A HREF="http://www.anti-leech.com/spam/spambot_stopper.php" TARGET="" STYLE="{text-decoration: none;}">email</A></nobr>&nbsp;&bull;&nbsp;<nobr><A HREF="../misc/contact.htm" TARGET="" STYLE="{text-decoration: none;}">Contact</A></nobr>&nbsp;&bull;&nbsp;<nobr><A HREF="../misc/terms.htm" TARGET="" STYLE="{text-decoration: none;}">Terms&nbsp;Of&nbsp;Service</A></nobr>&nbsp;&bull;&nbsp;<nobr><A HREF="../misc/legal.htm" TARGET="" STYLE="{text-decoration: none;}">Legal&nbsp;Credit</A></nobr>&nbsp;&bull;&nbsp;<nobr><A HREF="../misc/donate.htm" TARGET="" STYLE="{text-decoration: none;}">Donate</A></nobr>&nbsp;&bull;&nbsp;<nobr><A HREF="../misc/hosting.htm" TARGET="" STYLE="{text-decoration: none;}">Clan&nbsp;Hosting</A></nobr>&nbsp;&bull;&nbsp;<nobr><A HREF="../misc/advertising.htm" TARGET="" STYLE="{text-decoration: none;}">Advertising</A></nobr>&nbsp;&bull;&nbsp;<nobr><A HREF="../misc/paidsupport.htm" TARGET="" STYLE="{text-decoration: none;}">Paid&nbsp;Support</A></nobr><!--webbot bot="Navigation" i-checksum="7147" endspan --></font></td></tr></table></div><script src="http://www.google-analytics.com/urchin.js" type="text/javascript"> </script> <script type="text/javascript"> _uacct = "UA-187114-2"; urchinTracker(); </script></body></html>
Spray | | | | --- | --- | | | | | <!-- MSFPhover = (((navigator.appName == "Netscape") && (parseInt(navigator.appVersion) >= 3 )) || ((navigator.appName == "Microsoft Internet Explorer") && (parseInt(navigator.appVersion) >= 4 ))); function MSFPpreload(img) { var a=new Image(); a.src=img; return a; } // --><!-- if(MSFPhover) { MSFPnav1n=MSFPpreload("../\_derived/home\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav1h=MSFPpreload("../\_derived/home\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Home](../index.htm)<!-- if(MSFPhover) { MSFPnav2n=MSFPpreload("../forums/\_derived/index.php\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav2h=MSFPpreload("../forums/\_derived/index.php\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Discussion Forums](../forums/index.php)<!-- if(MSFPhover) { MSFPnav3n=MSFPpreload("../\_derived/introduction.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav3h=MSFPpreload("../\_derived/introduction.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Introduction](../introduction.htm)<!-- if(MSFPhover) { MSFPnav4n=MSFPpreload("../\_derived/starting.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav4h=MSFPpreload("../\_derived/starting.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Starting Up](../starting.htm)<!-- if(MSFPhover) { MSFPnav5n=MSFPpreload("../\_derived/updating.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav5h=MSFPpreload("../\_derived/updating.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Updating](../updating.htm)<!-- if(MSFPhover) { MSFPnav6n=MSFPpreload("../\_derived/configuring.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav6h=MSFPpreload("../\_derived/configuring.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Configuration](../configuring.htm)<!-- if(MSFPhover) { MSFPnav7n=MSFPpreload("../\_derived/yourserver.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav7h=MSFPpreload("../\_derived/yourserver.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Server Hardware](../yourserver.htm)<!-- if(MSFPhover) { MSFPnav8n=MSFPpreload("../\_derived/cvars.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav8h=MSFPpreload("../\_derived/cvars.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[CVARs](../cvars.htm)<!-- if(MSFPhover) { MSFPnav9n=MSFPpreload("../\_derived/networking.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav9h=MSFPpreload("../\_derived/networking.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Networking](../networking.htm)<!-- if(MSFPhover) { MSFPnav10n=MSFPpreload("../\_derived/remoteadmin.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav10h=MSFPpreload("../\_derived/remoteadmin.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Remote Admin](../remoteadmin.htm)<!-- if(MSFPhover) { MSFPnav11n=MSFPpreload("../\_derived/voicecompression.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav11h=MSFPpreload("../\_derived/voicecompression.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Voice Compression](../voicecompression.htm)<!-- if(MSFPhover) { MSFPnav12n=MSFPpreload("../\_derived/ressourcedownloading.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav12h=MSFPpreload("../\_derived/ressourcedownloading.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Ressource Tweak](../ressourcedownloading.htm)<!-- if(MSFPhover) { MSFPnav13n=MSFPpreload("../\_derived/custommaps.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav13h=MSFPpreload("../\_derived/custommaps.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Custom Maps](../custommaps.htm)<!-- if(MSFPhover) { MSFPnav14n=MSFPpreload("../\_derived/promoting.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav14h=MSFPpreload("../\_derived/promoting.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Promoting](../promoting.htm)<!-- if(MSFPhover) { MSFPnav15n=MSFPpreload("../\_derived/metamod.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav15h=MSFPpreload("../\_derived/metamod.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Metamod](../metamod.htm)<!-- if(MSFPhover) { MSFPnav16n=MSFPpreload("../\_derived/adminmods.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav16h=MSFPpreload("../\_derived/adminmods.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Admin Mods](../adminmods.htm)<!-- if(MSFPhover) { MSFPnav17n=MSFPpreload("../\_derived/bonus.htm\_cmp\_hlds-101010\_vbtn.gif"); MSFPnav17h=MSFPpreload("../\_derived/bonus.htm\_cmp\_hlds-101010\_vbtn\_a.gif"); } // -->[Bonus Stuff](../bonus.htm) | <!-- if(MSFPhover) { MSFPnav18n=MSFPpreload("../\_derived/up\_cmp\_hlds-101010\_hbtn.gif"); MSFPnav18h=MSFPpreload("../\_derived/up\_cmp\_hlds-101010\_hbtn\_a.gif"); } // -->[Back...](../bonus.htm) Spray <!-- if(MSFPhover) { MSFPnav19n=MSFPpreload("\_derived/tweaking.htm\_cmp\_hlds-101010\_hbtn.gif"); MSFPnav19h=MSFPpreload("\_derived/tweaking.htm\_cmp\_hlds-101010\_hbtn\_a.gif"); } // -->[Tweaking](tweaking.htm) | | Custom SprayThese days, custom spray are very common on most of the Half-Life mods! Wheter you want to say "PWNED!!!" or "Shoutout to HLDS 101", sprays allow you to express emotions and messages.The only problem is... How on earth do you create custom sprays??!?!?!And the answer is (surprisingly) on this page! Here are the steps on creating your custom spray:1. **Choose a resolution**All Half-Life sprays must respect a resolution. In Half-Life, your spray's resolution must be dividable by 16 and the total pixel count must not exceed 10752 pixels. Here is a little table of common resolutions that you can use if you don't want to do the math: | | | | | --- | --- | --- | | | | | | Normal | Wide | Square | 2. **Create your spray**By using your favorite photo editing sotware, create your spray. Make sure that the resolution you use is subject to the guidelines and that you use 16-bit color. After editing, save your file as a 16-bit bitmap (BMP). 3. **Install and use Wally** For creating the actual spray file, we need to use an application called Wally! You first have to download Wally. [Click here](http://hlds101.com/wally.exe) to download Wally directly from GSTutor. When Wally is installed, open it. Go to the Wizard menu and select the HL Color Decal option:When the wizard appears, select the File on HardDrive radio option and click the browse button to browse for your BMP file that you created earlier. You can ignore the "Half-Life" folder option:<!-- google\_ad\_client = "pub-6030550155683540"; google\_ad\_width = 336; google\_ad\_height = 280; google\_ad\_format = "336x280\_as"; google\_ad\_channel =""; google\_ad\_type = "text"; google\_color\_border = "3E4637"; google\_color\_bg = "3E4637"; google\_color\_link = "FFFFFF"; google\_color\_url = "E9E9E9"; google\_color\_text = "E9E9E9"; //--> Click the OK button. 4. **Save the WAD file**When you click OK on the wizard, the following window will appear:You now only have to save this WAD file! Go ahead and go to the File menu and click Save As:On the save dialog, select a folder in which you would like to save the file in (your Desktop is fine). Do not save it into your game folder right away, we want to save it somewhere else first so that we would have a backup if something happens. 5. **Copy the file into your game folder**Now that you've saved the pldecal.wad file into some temporary folder, we need to place it into the game folder so that it works. For this, we need to know where to place it. In short, here's where you place it:C:\Program Files\Valve\Steam\SteamApps\account\_name\game\_name\game's\_short\_name\In addition to that, you need to create a second file called *tempdecal.wad* to create it, simply copy and paste your *pldecal.wad* file and rename the new one to *tempdecal.wad*.Here's a brief table where the file must be located for most popular mods. Be sure to replace the drive letter by your own's and the account\_name by your account's name:  | | | | --- | --- | | **Mod** | **Folder** | | Counter-Strike | C:\Program Files\Valve\Steam\SteamApps\account\_name\counter-strike\cstrike\ | | Condition-Zero | C:\Program Files\Valve\Steam\SteamApps\account\_name\condition zero\czero\ | | Day of Defeat | C:\Program Files\Valve\Steam\SteamApps\account\_name\day of defeat\dod\ | | Team Fortress Classic | C:\Program Files\Valve\Steam\SteamApps\account\_name\team fortress classic\tfc\ | | Half-Life | C:\Program Files\Valve\Steam\SteamApps\account\_name\half-life\valve\ | 6. **"Lock" the files**Originally, when you would go to the options menu and change something, your spray will reset to the default one. To prevent this from happening, you need to assign Read-Only options to your two spray files.o Select the spray files and right-click on them.o In the popup menu, choose the Properties itemo In the properties window, check the box that's next to Read-Onlyo Click OK 7. **Enjoy your new spray!** You've finnaly made it. Go to a server and test out your spray. | | [Home](../index.htm) • [About HLDS 101](../misc/about.htm) • [email](http://www.anti-leech.com/spam/spambot_stopper.php) • [Contact](../misc/contact.htm) • [Terms Of Service](../misc/terms.htm) • [Legal Credit](../misc/legal.htm) • [Donate](../misc/donate.htm) • [Clan Hosting](../misc/hosting.htm) • [Advertising](../misc/advertising.htm) • [Paid Support](../misc/paidsupport.htm) | \_uacct = "UA-187114-2"; urchinTracker();
http://hlds101.com/bonus/spray.htm
<!--begin admin header--> <!-- last-edited-by "mark" --> <!-- last-modified-by "mark" --> <!-- last-edited-at "881338358" --> <!-- last-modified-at "881338388" --> <!--end admin header--> <HTML> <HEAD> <TITLE>M c S P O T L I G H T</TITLE><SCRIPT Language="JavaScript"> <!-- // preload universal images: if(document.images) { mcl_off = new Image(136,46); mcl_off.src = "mcweb_logos/home/mcl_off.gif"; mcl_on = new Image(109,48); mcl_on.src = "mcweb_logos/home/mcl_on.gif"; issues_off = new Image(142,35); issues_off.src = "mcweb_logos/home/issues_off.gif"; issues_on = new Image(85,28); issues_on.src = "mcweb_logos/home/issues_on.gif"; camp_off = new Image(173,34); camp_off.src = "mcweb_logos/home/camp_off.gif"; camp_on = new Image(153,39); camp_on.src = "mcweb_logos/home/camp_on.gif"; co_off = new Image(160,34); co_off.src = "mcweb_logos/home/co_off.gif"; co_on = new Image(134,32); co_on.src = "mcweb_logos/home/co_on.gif"; media_off = new Image(128,32); media_off.src = "mcweb_logos/home/media_off.gif"; media_on = new Image(89,33); media_on.src = "mcweb_logos/home/media_on.gif"; beyond_off = new Image(140,53); beyond_off.src = "mcweb_logos/home/beyond_off.gif"; beyond_on = new Image(109,55); beyond_on.src = "mcweb_logos/home/beyond_on.gif"; droom_off = new Image(156,57); droom_off.src = "mcweb_logos/home/droom_off.gif"; droom_on = new Image(128,57); droom_on.src = "mcweb_logos/home/droom_on.gif"; } function rollOver(imgDocID,imgObjName) { if (document.images) { document.images[imgDocID].src = eval(imgObjName + ".src"); } } function pollWindow() { pollwindow = window.open("http://www.mcspotlight.org/cgi-bin/vote.cgi","pollwindow", "width=135,height=260,scrollbars=no,status=no,resizable=yes"); } // --> </script> </HEAD> <BODY bgcolor=#660000 text=#ffffff link=#ffff99 vlink=#ffffdd alink=#ffffff> <center> <table cellpadding=0 cellspacing=0 border=0 width=580><tr> <td width=40 valign=top> <img src="mcweb_logos/home/shortline.gif" vspace=0 hspace=0 border=0 width=40 height=53> <br clear=left> </td> <td valign=top width=110> <img src="mcweb_logos/home/littlespot.gif" align=left vspace=0 hspace=0 border=0 width=110 height=80> <br clear=left> </td> <td valign=top width=238> <img src="mcweb_logos/home/masthead.gif" align=left vspace=2 hspace=0 border=0 width=238 height=55 alt="McSpotlight"> <br clear=left> </td> <td valign=middle align=left width=12 rowspan=4> <img src="mcweb_logos/home/dot.gif" align=left vspace=0 hspace=1 border=0 width=10 height=1> <br clear=left> </td> <td valign=middle align=left width=180 rowspan=3> <img src="mcweb_logos/home/dot.gif" align=left vspace=0 hspace=0 border=0 width=160 height=1><br clear=left> <A HREF="case/index.html" onMouseover="rollOver('mcl','mcl_on')" onMouseout="rollOver('mcl','mcl_off')"> <img name="mcl" src="mcweb_logos/home/mcl_off.gif" align=left vspace=2 hspace=0 border=0 width=136 height=46></a> <br clear=left> <A HREF="issues/index.html" onMouseover="rollOver('issues','issues_on')" onMouseout="rollOver('issues','issues_off')"> <img name="issues" src="mcweb_logos/home/issues_off.gif" align=left vspace=0 hspace=0 border=0 width=142 height=35></a> <br clear=left> <A HREF="campaigns/index.html" onMouseover="rollOver('camp','camp_on')" onMouseout="rollOver('camp','camp_off')"> <img name="camp" src="mcweb_logos/home/camp_off.gif" align=left vspace=0 hspace=0 border=0 width=173 height=34></a> <br clear=left> <A HREF="company/index.html" onMouseover="rollOver('co','co_on')" onMouseout="rollOver('co','co_off')"> <img name="co" src="mcweb_logos/home/co_off.gif" align=left vspace=0 hspace=0 border=0 width=160 height=34></a> <br clear=left> <A HREF="media/index.html" onMouseover="rollOver('media','media_on')" onMouseout="rollOver('media','media_off')"> <img name="media" src="mcweb_logos/home/media_off.gif" align=left vspace=0 hspace=0 border=0 width=128 height=32></a> <br clear=left> <A HREF="beyond/index.html" onMouseover="rollOver('beyond','beyond_on')" onMouseout="rollOver('beyond','beyond_off')"> <img name="beyond" src="mcweb_logos/home/beyond_off.gif" align=left vspace=0 hspace=0 border=0 width=140 height=53></a> <br clear=left> <A HREF="http://www.mcspotlight.org/debate/index.html" onMouseover="rollOver('droom','droom_on')" onMouseout="rollOver('droom','droom_off')"> <img name="droom" src="mcweb_logos/home/droom_off.gif" align=left vspace=0 hspace=0 border=0 width=157 height=57></a> </td></tr> <tr> <td valign=top align=left colspan=2> <img src="mcweb_logos/home/dot.gif" align=left vspace=0 hspace=12 border=0 width=1 height=1> <table width=107 cellpadding=0 cellspacing=0 border=0> <tr> <td valign=bottom align=right width=107> <br><br> <font face="arial, geneva, helvetica"> <font size="-1" color=#c4c4c4> McDonald's spends over $2 billion a year broadcasting their glossy image to the world. This is a small space for alternatives to be heard.<p> New to the site?<br> <a href="help.html">Start Here</a><p> Who, What, Why? <a href="people/biogs/mcinfo.html">Contact us</a><p> Join <a href="campaigns/current/mailing.html">mailing list</a> here: <script type="text/javascript" src="https://ajax.googleapis.com/ajax/libs/jquery/1.5.2/jquery.min.js"></script> <script type="text/javascript" src="https://s3.amazonaws.com/phplist/phplist-subscribe-0.2.min.js"></script> <div id="phplistsubscriberesult"></div> <form action="https://mcspotlight.hosted.phplist.com/lists/?p=subscribe&id=1" method="post" id="phplistsubscribeform"> <input type="text" name="email" value="" id="emailaddress" /> <button type="submit" id="phplistsubscribe">Join</button> </form> </font> </td> </tr> </table> <img src="mcweb_logos/home/dot.gif" align=left vspace=6 hspace=0 border=0 width=120 height=2> <br clear=left> </td> <td valign=top align=left width=273> <font face=verdana,arial,helvetica color=#ffff99> STOP PRESS: <!--#exec cgi="/cgi-bin/eul.public/stoppressdate.pl" --></font><p> <font face=verdana,arial,helvetica size=-1> <font size="3"><b></b><p> </font> <p> <font size="-2"> <!--#exec cgi="/cgi-bin/eul.public/stoppress.pl"--> <a href="new.html">What else is new?</a> <p> </font></td> <p> </td> </tr> <tr> <td> <img src="mcweb_logos/home/dot.gif" align=left vspace=3 hspace=0 border=0 width=1 height=1> </td> </tr> <tr> <td valign=bottom align=left colspan=2> <A HREF="map.html"><img src="mcweb_logos/home/sitemap.gif" align=left vspace=0 hspace=0 border=0 width=38 height=48></A> <A HREF="tours/index.html"><img src="mcweb_logos/home/tours.gif" align=left vspace=0 hspace=0 border=0 width=31 height=48></A> <A HREF="new.html"><img src="mcweb_logos/home/new.gif" align=left vspace=0 hspace=0 border=0 width=31 height=48></A> <A HREF="search.html"><img src="mcweb_logos/home/search.gif" align=left vspace=0 hspace=0 border=0 width=50 height=48></A> </td> <td valign=bottom align=left> <img src="mcweb_logos/home/jfy.gif" align=left vspace=0 hspace=0 border=0 width=237 height=48> </td> <td><a href="cgi-bin/vote.cgi"><img src="mcweb_pix/willthey.gif" width=105 height=46 border=0></a> </td> </tr> </table> </center> </BODY> </html> </BODY> </html> </BODY> </html>
M c S P O T L I G H T <!-- // preload universal images: if(document.images) { mcl\_off = new Image(136,46); mcl\_off.src = "mcweb\_logos/home/mcl\_off.gif"; mcl\_on = new Image(109,48); mcl\_on.src = "mcweb\_logos/home/mcl\_on.gif"; issues\_off = new Image(142,35); issues\_off.src = "mcweb\_logos/home/issues\_off.gif"; issues\_on = new Image(85,28); issues\_on.src = "mcweb\_logos/home/issues\_on.gif"; camp\_off = new Image(173,34); camp\_off.src = "mcweb\_logos/home/camp\_off.gif"; camp\_on = new Image(153,39); camp\_on.src = "mcweb\_logos/home/camp\_on.gif"; co\_off = new Image(160,34); co\_off.src = "mcweb\_logos/home/co\_off.gif"; co\_on = new Image(134,32); co\_on.src = "mcweb\_logos/home/co\_on.gif"; media\_off = new Image(128,32); media\_off.src = "mcweb\_logos/home/media\_off.gif"; media\_on = new Image(89,33); media\_on.src = "mcweb\_logos/home/media\_on.gif"; beyond\_off = new Image(140,53); beyond\_off.src = "mcweb\_logos/home/beyond\_off.gif"; beyond\_on = new Image(109,55); beyond\_on.src = "mcweb\_logos/home/beyond\_on.gif"; droom\_off = new Image(156,57); droom\_off.src = "mcweb\_logos/home/droom\_off.gif"; droom\_on = new Image(128,57); droom\_on.src = "mcweb\_logos/home/droom\_on.gif"; } function rollOver(imgDocID,imgObjName) { if (document.images) { document.images[imgDocID].src = eval(imgObjName + ".src"); } } function pollWindow() { pollwindow = window.open("http://www.mcspotlight.org/cgi-bin/vote.cgi","pollwindow", "width=135,height=260,scrollbars=no,status=no,resizable=yes"); } // --> | | | | | | | --- | --- | --- | --- | --- | | | | McSpotlight | | | | | | | --- | | McDonald's spends over $2 billion a year broadcasting their glossy image to the world. This is a small space for alternatives to be heard. New to the site? [Start Here](help.html) Who, What, Why? [Contact us](people/biogs/mcinfo.html) Join [mailing list](campaigns/current/mailing.html) here: Join | | STOP PRESS: [What else is new?](new.html) | | | | | | |
https://www.mcspotlight.org/index.shtml
<html> <head> <title> Support-Page </title> <meta charset="utf-8"> <meta name="author" content="IT-Team"> <meta name="description" content="Support-Page"> <meta name="keywords" content="HTML,CSS"> <meta name="viewport" content="width=device-width, initial-scale=1.0"> <script src= "https://ajax.googleapis.com/ajax/libs/jquery/3.2.1/jquery.min.js"> </script> <script> $.getJSON("https://api.ipify.org?format=json", function(data) { // Setting text of element P with id gfg $("#gfg").html(data.ip); }) </script> </head> <body> <br><br><br><br><br><br><br><br><br><br><br> <div align="center"> <img src="https://finance.tau.ac.il/sites/finance.tau.ac.il/files/media_server/graphic-design/TAU%20NEW%20LOGO/HEB_bold.jpg" alt="logo" width=320 height=200> <br><br> <h1> Your request has violated our security policy. <h1> <h2> Please make a screenshot and contact TAU Help-Desk <a href="mailto:helpdesk@tau.ac.il">helpdesk@tau.ac.il</a> <br> With Your support ID which is : < 9725403304923914216><br> <h2> <h3> Your IP Address is: <h3> <h4> <p id="gfg"></p> <h4> </div> </body> </html>
Support-Page $.getJSON("https://api.ipify.org?format=json", function(data) { // Setting text of element P with id gfg $("#gfg").html(data.ip); }) ![logo](https://finance.tau.ac.il/sites/finance.tau.ac.il/files/media_server/graphic-design/TAU%20NEW%20LOGO/HEB_bold.jpg) # Your request has violated our security policy. Please make a screenshot and contact TAU Help-Desk [helpdesk@tau.ac.il](mailto:helpdesk@tau.ac.il) With Your support ID which is : < 9725403304923914216> Your IP Address is:
https://www.tau.ac.il/images/Images.html
<!DOCTYPE html> <html> <meta name="Keywords" content="center, vertical, horizontal, html, css, window, screen" /> <meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> <meta name="author" content="Delian Krustev - http://krustev.net" /> <meta charset="utf-8"/> <meta name="viewport" content="width=device-width, initial-scale=1"> <link rel="stylesheet" href="https://www.w3schools.com/w3css/4/w3.css"> <body> <style type="text/css"> <!-- html, body, #tbl_wrap { height: 100%; width: 100%; padding: 0; margin: 0; } #td_wrap { vertical-align: middle; text-align: center; } </style> </head> <body> <table id="tbl_wrap"><tbody><tr><td id="td_wrap"><div id="div_wrap"> <!-- START: Anything between these wrapper comment lines will be centered --> <html> <style type="text/css">* {cursor: url(https://cur.cursors-4u.net/toons/too-8/too800.cur), auto !important;}</style><a href="https://www.cursors-4u.com/cursor/2009/05/02/smiling-garfield.html" target="_blank" title="Smiling Garfield"><img src="https://cur.cursors-4u.net/cursor.png" border="0" alt="Smiling Garfield" style="position:absolute; top: 0px; right: 0px;" /></a> <img class="w3-container w3-center w3-animate-bottom"src="https://i.postimg.cc/prvwRskW/2023-02-10-0g4-Kleki.png"> <h1></h1> <h1 class="w3-container w3-center w3-animate-bottom"style="color:LightSalmon" >Welcome</h1> <p style="color:Tomato" >A place of all things Garfield </p> <a id="radio" onclick="MyWindow=window.open('https://files.catbox.moe/iij6l9.gif','Hes watching' ,'width=325,height=160'); return false;"><img src="https://files.catbox.moe/zv7zfk.png" width=200 height=90></a> <h1 style="color:LightSalmon" >About</h1> <p style="color:Tomato" > This site was created to connect garfield fansites and create a place where true fans can congregate.This site will be updated frequently! </p> <h1 style="color:LightSalmon" >Garfield Lore</h1> <p style="color:Tomato" > The Garfield franchise was started in 1978. Since then he has obtained a concerning amount of lore</p> <a style="color:Tomato" href="https://www.youtube.com/watch?v=qeA8ytaUT64" > So take a Gander at these hyperlinks:</a> <h1></h1> <a style="color:Tomato" href="https://www.boredpanda.com/garfield-dark-lore-jon-lyman-odie/?utm_source=google&utm_medium=organic&utm_campaign=organic" >Jon killed Lyman</a> <h1></h1> <a style="color:Tomato" href="https://www.dailymotion.com/video/x6u1fwl" >Garfield's 9 lives</a> <h1></h1> <a style="color:Tomato" href="https://www.gocomics.com/garfield/1989/10/23" >Alone (October 23 1989)</a> <h1></h1 <h1></h1> <h1 style="color:LightSalmon">How to draw Garfield</h1> <h1></h1> <a href="" target='_blank'><img src='https://i.postimg.cc/xN5Nq8zR/animation-start-1.gif' width="300" height="300" border='0' alt='animation-start-1'/></a> <h1></h1> <h1 style="color:LightSalmon" >Garfield Quiz</h1> <h1></h1> <a style="color:Tomato" href=" http://www.buildquizzes.com/QY7NAOQ" >Check out the garfield personality quiz</a> <h1></h1> <h1 style="color:LightSalmon" >Garfield Fanart</h1> <h1></h1> <img src ="https://i.postimg.cc/13GCnS7g/iiiiii.jpg" width="200" height="210"> <h1></h1> <p style="color:Tomato">by rake</p> <h1></h1> <img src= "https://i.postimg.cc/DwbQttMw/B9-F11-C59-D073-4754-879-D-CAC86-BFCA25-A-Andreya-Davis-Student-Apex-MS.jpg" width="200" height="250"> <h1></h1> <p style="color:Tomato">by anon</p> <h1></h1> <img src ="https://i.postimg.cc/K8mzSWQy/thumbnail-8029-F681-E97-E-4-A93-AC96-5-EFDEB7-B3675.jpg" width="200" height="200"> <h1></h1> <p style="color:Tomato">by Lord of Bread</p> <h1></h1> <img src= "https://files.catbox.moe/z9k83e.jpeg" width="200" height="200"> <h1></h1> <p style="color:Tomato">by My fav eggman <3</p> <h1></h1> <img src= "https://i.postimg.cc/rssrrNzg/glorannegarf.jpg" width="150" height="200"> <h1></h1> <p style="color:Tomato">by BandNerdApprox5ft2in <3</p> <h1></h1> <h1 style="color:LightSalmon" >Other Garfield fansites</h1> <h1></h1> <p style="color: tomato">you might be suprise that there is TONS of garfield fansites (but be warned, most of these sites have been abandoned)</p> <h1></h1> <a style="color:Tomato" href= "https://garfieldfanclub.com/">The garfield fan club [inactive since 2022]</a> <h1></h1> <a style="color:Tomato" href="https://www.lovesgarfieldbook.com/loves_garfield_home.html"> the Loves garfield website [?]</a> <h1></h1> <a style="color:Tomato" href="https://www.lasagnacat.com/">lasagna cat[inactive]</a> <h1></h1> <a style="color:Tomato" href="http://platypuscomix.com/onlyme/garfpage.html">Garfield and friends supapage [?]</a> <h1></h1> <a style="color:Tomato" href="https://garfieldfanblog.wordpress.com/">The Garfield fansite (worldpress)[active]</a> <h1></h1> <a style="color:Tomato" href="https://alphacoders.com/collections/view/240">Garfield fanclub (alphacoder) [active]</a> <h1></h1> <h1></h1> <h1 style="color:LightSalmon">Worst lasgnas(lasngna Logs)</h1> <p style="color:Tomato">Come join us o the mission to find the worst lasagna recipes and rate the yuck factor</p> <h3 style="color:LightSalmon">Log 1: Rachel's Pumpkin Lovers Lasagna</h3> <p style="color:Tomato">This recipe came from one of Rachel ray's cookbook. The lasngana contains: </p> <p style="color:Tomato">Kosher salt</p> <p style="color:Tomato">1 head escarole, coarsely chopped</p> <p style="color:Tomato">1 head garlic, cloves separated but not peeled</p> <p style="color:Tomato">6 tablespoons butter</p> <p style="color:Tomato">10 to 12 fresh sage leaves, torn</p> <p style="color:Tomato">1 pound butternut squash, peeled and cut into bite-size pieces</p> <p style="color:Tomato">Freshly ground pepper</p> <p style="color:Tomato">1 1/2 cups chicken stock</p> <p style="color:Tomato">3 tablespoons all-purpose flour</p> <p style="color:Tomato">3 cups milk</p> <p style="color:Tomato">Freshly grated nutmeg</p> <p style="color:Tomato">Two 15-ounce cans pure pumpkin puree</p> <p style="color:Tomato">3 eggs</p> <p style="color:Tomato">2 cups fresh ricotta</p> <p style="color:Tomato">2 cups freshly grated Parmigiano-Reggiano</p> <p style="color:Tomato">1 box no-boil flat lasagna</p> <p style="color:Tomato">12 ounces Italian Fontina, Fontina Val D'Aosta or Gouda cheese, shredded</p> <p style="color:Tomato">This lasngana sound kinda gross. One thing that confuses me is if this is a lasngana recipe, why do you need no boil lasngana WE ARE ALREADY MAKING A LASANGNA WHY DO WE NEED ANOTHER ONE? Also, what kind of monster puts NUTMEG in thier lasagna??? What even does the chicken stock add? I just seems to dull down the flavors of the Pumpkin.</p> <p style="color:Tomato">Over all, I give this lasagna a 3/10 on the yuck factor. Its not totally disgusting, it just seems to be on the same level of grossness as school cafeteria food.</p> <img class="w3-spin" src="https://images-wixmp-ed30a86b8c4ca887773594c2.wixmp.com/f/b83b50b0-82ba-455b -ae08-75898f22d236/dd7yjc9-7bdcde0d-c99e-4ee3-ad3e-a5718c54828d.png?token=eyJ0eXAiOiJKV 1QiLCJhbGciOiJIUzI1NiJ9.eyJzdWIiOiJ1cm46YXBwOjdlMGQxODg5ODIyNjQzNzNhNWYwZDQxNWVhMGQyNmU wIiwiaXNzIjoidXJuOmFwcDo3ZTBkMTg4OTgyMjY0MzczYTVmMGQ0MTVlYTBkMjZlMCIsIm9iaiI6W1t7InBhdG giOiJcL2ZcL2I4M2I1MGIwLTgyYmEtNDU1Yi1hZTA4LTc1ODk4ZjIyZDIzNlwvZGQ3eWpjOS03YmRjZGUwZC1jO TllLTRlZTMtYWQzZS1hNTcxOGM1NDgyOGQucG5nIn1dXSwiYXVkIjpbInVybjpzZXJ2aWNlOmZpbGUuZG93bmxv YWQiXX0.M6ZZpDAX_dMnTp_iZ8d4qsgHDHSoX925m2xVJJPOlpU" width="180" height="300"> <h1></h1> <style> body { background-image: url('https://www.coastandcountrycrafts.co.uk/wp-content/uploads/2019/01/TD120023-Apple-Butter-Sky-Teal.png'); } <audio id="idAudio"> <source src= "https://sndup.net/s7jz/d" type="audio/ogg"> <source src= "https://media.geeksforgeeks.org/wp-content/uploads/20190625153922/frog.ogg" type="audio/mpeg"> Your browser does not support the audio element. </audio> <button id="garf" onclick="play_Audio()" type="button">GARF ME BABY!!!!</button> <script> var GFG = document.getElementById("idAudio"); function play_Audio() { GFG.play(); } function pause_Audio() { GFG.pause(); } </script> </style> <h1></h1> <h1 style="color:LightSalmon">Garfieled PlayList</h1> <p style="color:Tomato" >A curated Garfield playlist to do garf related activities to</p> <div id="cincopa_4d0c60">...</div><script type="text/javascript"> var cpo = []; cpo["_object"] ="cincopa_4d0c60"; cpo["_fid"] = "AIDANHvK5r22"; var _cpmp = _cpmp || []; _cpmp.push(cpo); (function() { var cp = document.createElement("script"); cp.type = "text/javascript"; cp.async = true; cp.src = "https://rtcdn.cincopa.com/libasync.js"; var c = document.getElementsByTagName("script")[0]; c.parentNode.insertBefore(cp, c); })(); </script> </style> <h1></h1> </html> <p style="color:DeepSkyBlue">ver 1.9 2023</p>
<!-- html, body, #tbl\_wrap { height: 100%; width: 100%; padding: 0; margin: 0; } #td\_wrap { vertical-align: middle; text-align: center; } | | | --- | | \* {cursor: url(https://cur.cursors-4u.net/toons/too-8/too800.cur), auto !important;}[Smiling Garfield](https://www.cursors-4u.com/cursor/2009/05/02/smiling-garfield.html "Smiling Garfield") Welcome A place of all things Garfield About This site was created to connect garfield fansites and create a place where true fans can congregate.This site will be updated frequently! Garfield Lore The Garfield franchise was started in 1978. Since then he has obtained a concerning amount of lore [So take a Gander at these hyperlinks:](https://www.youtube.com/watch?v=qeA8ytaUT64) [Jon killed Lyman](https://www.boredpanda.com/garfield-dark-lore-jon-lyman-odie/?utm_source=google&utm_medium=organic&utm_campaign=organic) [Garfield's 9 lives](https://www.dailymotion.com/video/x6u1fwl) [Alone (October 23 1989)](https://www.gocomics.com/garfield/1989/10/23) How to draw Garfield animation-start-1 Garfield Quiz [Check out the garfield personality quiz]( http://www.buildquizzes.com/QY7NAOQ) Garfield Fanart by rake by anon by Lord of Bread by My fav eggman <3 by BandNerdApprox5ft2in <3 Other Garfield fansites you might be suprise that there is TONS of garfield fansites (but be warned, most of these sites have been abandoned) [The garfield fan club [inactive since 2022]](https://garfieldfanclub.com/) [the Loves garfield website [?]](https://www.lovesgarfieldbook.com/loves_garfield_home.html) [lasagna cat[inactive]](https://www.lasagnacat.com/) [Garfield and friends supapage [?]](http://platypuscomix.com/onlyme/garfpage.html) [The Garfield fansite (worldpress)[active]](https://garfieldfanblog.wordpress.com/) [Garfield fanclub (alphacoder) [active]](https://alphacoders.com/collections/view/240) Worst lasgnas(lasngna Logs) Come join us o the mission to find the worst lasagna recipes and rate the yuck factor Log 1: Rachel's Pumpkin Lovers Lasagna This recipe came from one of Rachel ray's cookbook. The lasngana contains: Kosher salt 1 head escarole, coarsely chopped 1 head garlic, cloves separated but not peeled 6 tablespoons butter 10 to 12 fresh sage leaves, torn 1 pound butternut squash, peeled and cut into bite-size pieces Freshly ground pepper 1 1/2 cups chicken stock 3 tablespoons all-purpose flour 3 cups milk Freshly grated nutmeg Two 15-ounce cans pure pumpkin puree 3 eggs 2 cups fresh ricotta 2 cups freshly grated Parmigiano-Reggiano 1 box no-boil flat lasagna 12 ounces Italian Fontina, Fontina Val D'Aosta or Gouda cheese, shredded This lasngana sound kinda gross. One thing that confuses me is if this is a lasngana recipe, why do you need no boil lasngana WE ARE ALREADY MAKING A LASANGNA WHY DO WE NEED ANOTHER ONE? Also, what kind of monster puts NUTMEG in thier lasagna??? What even does the chicken stock add? I just seems to dull down the flavors of the Pumpkin. Over all, I give this lasagna a 3/10 on the yuck factor. Its not totally disgusting, it just seems to be on the same level of grossness as school cafeteria food. body { background-image: url('https://www.coastandcountrycrafts.co.uk/wp-content/uploads/2019/01/TD120023-Apple-Butter-Sky-Teal.png'); } <audio id="idAudio"> <source src= "https://sndup.net/s7jz/d" type="audio/ogg"> <source src= "https://media.geeksforgeeks.org/wp-content/uploads/20190625153922/frog.ogg" type="audio/mpeg"> Your browser does not support the audio element. </audio> <button id="garf" onclick="play\_Audio()" type="button">GARF ME BABY!!!!</button> <script> var GFG = document.getElementById("idAudio"); function play\_Audio() { GFG.play(); } function pause\_Audio() { GFG.pause(); } </script> Garfieled PlayList A curated Garfield playlist to do garf related activities to ... var cpo = []; cpo["\_object"] ="cincopa\_4d0c60"; cpo["\_fid"] = "AIDANHvK5r22"; var \_cpmp = \_cpmp || []; \_cpmp.push(cpo); (function() { var cp = document.createElement("script"); cp.type = "text/javascript"; cp.async = true; cp.src = "https://rtcdn.cincopa.com/libasync.js"; var c = document.getElementsByTagName("script")[0]; c.parentNode.insertBefore(cp, c); })(); ver 1.9 2023 |
https://garfieldweb.github.io/
<html> <head> <meta http-equiv="Content-Language" content="it"> <meta http-equiv="Content-Type" content="text/html; charset=windows-1252"> <title>OFFICIAL WEBSITE IN MEMORY OF JACLYN LINETSKY</title> <bgsound src="Green%20Day%20-%20Wake%20Me%20Up%20When%20September%20Ends%20midi%20(Karaoke).mid" loop="-1"> <script language="JavaScript"> <!-- function FP_preloadImgs() {//v1.0 var d=document,a=arguments; if(!d.FP_imgs) d.FP_imgs=new Array(); for(var i=0; i<a.length; i++) { d.FP_imgs[i]=new Image; d.FP_imgs[i].src=a[i]; } } function FP_swapImg() {//v1.0 var doc=document,args=arguments,elm,n; doc.$imgSwaps=new Array(); for(n=2; n<args.length; n+=2) { elm=FP_getObjectByID(args[n]); if(elm) { doc.$imgSwaps[doc.$imgSwaps.length]=elm; elm.$src=elm.src; elm.src=args[n+1]; } } } function FP_getObjectByID(id,o) {//v1.0 var c,el,els,f,m,n; if(!o)o=document; if(o.getElementById) el=o.getElementById(id); else if(o.layers) c=o.layers; else if(o.all) el=o.all[id]; if(el) return el; if(o.id==id || o.name==id) return o; if(o.childNodes) c=o.childNodes; if(c) for(n=0; n<c.length; n++) { el=FP_getObjectByID(id,c[n]); if(el) return el; } f=o.forms; if(f) for(n=0; n<f.length; n++) { els=f[n].elements; for(m=0; m<els.length; m++){ el=FP_getObjectByID(id,els[n]); if(el) return el; } } return null; } // --> </script> <style> <!-- .ExternalClass{font-size:10pt;font-family:Segoe UI,Tahoma,Verdana,Arial,sans-serif;line-height:normal;}--> </style> </head> <body background="sfondo63.gif" style="background-attachment: fixed" onload="FP_preloadImgs(/*url*/'button9.jpg', /*url*/'buttonA.jpg', /*url*/'button1B.jpg', /*url*/'button1C.jpg', /*url*/'button1E.jpg', /*url*/'button1F.jpg', /*url*/'button27.jpg', /*url*/'button28.jpg')"> <p align="center"><img border="0" src="jackie4.jpg" width="720" height="481"> </p> <p align="center"><b><font face="Lucida Handwriting" color="#000080">Welcome at the Jackie's memory Official Website. My name is Stefania, I am 24, and I am an italian girl. I want to create this website in memory of a beautiful and fantastic girl named Jaclyn Michelle Linetsky. I created this website with the help of Larry Linetsky,&nbsp; Jackie's father, who sends to me a lot of Jackie's pictures and informations. So, please, visit this website to honor the memory of a girl that has been a star on earth and is a star on heaven : JACLYN LINETSKY! (R.I.P.). Stefy...</font></b></p> <p align="center"> <img border="0" src="2803c4e3mn7.gif" width="587" height="116"></p> <p><a href="http://www.jaclynlinetsky.ca/jackiebiography.htm"> <img border="0" src="s2h3z7.jpg" width="316" height="66"></a> <a href="http://www.jaclynlinetsky.ca/jackiepictures.htm"> <img border="0" src="2s1k7xg.jpg" width="316" height="66"></a> <a href="http://www.jaclynlinetsky.ca/jackiefilmography.htm"> <img border="0" src="2d6tac2.jpg" width="316" height="66"></a></p> <p><a href="http://www.jaclynlinetsky.ca/jackiefriends.htm"> <img border="0" src="2my6glj.jpg" width="316" height="66"></a> <a href="http://www.jaclynlinetsky.ca/jackiemusic.htm"> <img border="0" src="wbyvyp.jpg" width="316" height="66"></a> <a href="http://www.jaclynlinetsky.ca/thefatalaccident.htm"> <img border="0" src="2lxnbd.jpg" width="316" height="66"></a></p> <p><a href="http://www.jaclynlinetsky.ca/articlesaccident.htm"> <img border="0" src="24g5abd.jpg" width="316" height="66"></a> <a href="http://www.jaclynlinetsky.ca/vadimsection.htm"> <img border="0" src="2vxrivb.jpg" width="316" height="66"></a> <a href="http://www.jaclynlinetsky.ca/larrywords.htm"> <img border="0" src="2zxqa7b.jpg" width="316" height="66"></a></p> <p>&nbsp;<a href="http://www.jaclynlinetsky.ca/jackiestar.htm"><img border="0" src="z79ud.jpg" width="316" height="66"></a> <a href="http://www.jaclynlinetsky.ca/jackieracket.htm"> <img border="0" src="spkt5d.jpg" width="316" height="66"></a></p> <p><font face="Arial Black" color="#FF0000"> <marquee>OFFICIAL MEMORIAL WEBSITE ****JACLYN LINETSKY****</marquee></font>___________________________________________________________________________________________________________________________</p> <div style="position: absolute; width: 249px; height: 465px; z-index: 1; left: 9px; top: 1147px" id="livello1"> <div style="position: absolute; width: 273px; height: 431px; z-index: 1; left: 12px; top: 17px" id="livello2"> &nbsp;<p><b><font color="#FF0000" size="4">FROM JACKIE'S FANS:</font></b> </p> <p>&nbsp;<a href="http://www.jaclynlinetsky.ca/ourmemories.htm"><img border="0" id="img1" src="button8.jpg" height="30" width="150" alt="OUR MEMORIES" fp-style="fp-btn: Metal Rectangle 6; fp-font-size: 14; fp-font-color-normal: #FFFF00" fp-title="OUR MEMORIES" onmouseover="FP_swapImg(1,0,/*id*/'img1',/*url*/'button9.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img1',/*url*/'button8.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img1',/*url*/'buttonA.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img1',/*url*/'button9.jpg')"></a></p> <p>&nbsp;<a href="http://www.jaclynlinetsky.ca/ourvideos.htm"><img border="0" id="img2" src="button1A.jpg" height="30" width="150" alt="OUR VIDEOS" fp-style="fp-btn: Metal Rectangle 5; fp-font: Rockwell; fp-font-size: 14; fp-font-color-normal: #000080" fp-title="OUR VIDEOS" onmouseover="FP_swapImg(1,0,/*id*/'img2',/*url*/'button1B.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img2',/*url*/'button1A.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img2',/*url*/'button1C.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img2',/*url*/'button1B.jpg')"></a></p> <p>&nbsp;<a href="http://www.jaclynlinetsky.ca/ourfanarts.htm"><img border="0" id="img3" src="button1D.jpg" height="30" width="150" alt="OUR FAN-ARTS" fp-style="fp-btn: Metal Rectangle 7; fp-font-style: Italic; fp-font-size: 14; fp-font-color-normal: #008080" fp-title="OUR FAN-ARTS" onmouseover="FP_swapImg(1,0,/*id*/'img3',/*url*/'button1E.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img3',/*url*/'button1D.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img3',/*url*/'button1F.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img3',/*url*/'button1E.jpg')"></a></p> <p>&nbsp;<a href="http://www.jaclynlinetsky.ca/asklarry.htm"><img border="0" id="img4" src="button26.jpg" height="30" width="150" alt="ASK LARRY" onmouseover="FP_swapImg(1,0,/*id*/'img4',/*url*/'button27.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img4',/*url*/'button26.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img4',/*url*/'button28.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img4',/*url*/'button27.jpg')" fp-style="fp-btn: Metal Rectangle 8; fp-font-style: Italic; fp-font-size: 14; fp-font-color-normal: #FF0000" fp-title="ASK LARRY"></a></p> <p>&nbsp;</p> <p><img border="0" src="bottone00026.gif" width="40" height="40">&nbsp; <b><font color="#FF0000">email me:</font><font color="#FFFFFF"> </font> <font color="#FFFF00" size="4"><u>&nbsp;</u><a href="mailto:stefy89dg@hotmail.it"><font color="#FFFF00">stefy89dg@hotmail.it</font></a></font></b></p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</div> <p><img border="0" src="web-link31.gif" width="304" height="234"><img border="0" src="web-link31.gif" width="304" height="234"></div> <div style="position: absolute; width: 653px; height: 1196px; z-index: 2; left: 334px; top: 1151px" id="livello3"> <p align="center"> &nbsp;</p> <p align="center"> <img border="0" src="Immagine50-9.JPG" width="450" height="250"></p> <p align="center"> <a href="http://www.gratefulness.org/candles/enter.cfm?l=eng&gi=J&V&p=(8th Septembre 2008)LIGHT TWO CANDLES IN MEMORY OF JACLYN LINETSKY AND VADIM SCHNEIDER!! by stefy89"> <img border="0" src="flicker120x60eng.gif" width="151" height="75"></a> </p> <p align="center"> <a href="http://www.anightofstars.com"> <img border="0" src="progra1.gif" width="261" height="174"></a> </p> <p align="center"> &nbsp;</p> <p align="left"> <u><span style="font-weight: 700"> <font face="Bodoni MT" size="4" color="#800000">(8th september 2011) Please guys, don't forget to light two candles today, in memory of Jackie and vadim. R.I.P. J&amp;V .</font></span></u></p> <p align="left"> <u><span style="font-weight: 700; background-color: #FF00FF"> <font face="Bradley Hand ITC" size="5" color="#0000FF">(8th SEPTEMBER 2011) 8 years you went to to sky,as two angels. But you are always with us, everyday. We love you Jaclyn and Vadim. R.I.P.</font></span></u></p> <p align="left"> &nbsp;</p> <div class="App Managed" id="PageElt"> <div class="AppInner"> <form id="aspnetForm" name="aspnetForm" onsubmit="var btn=document.getElementById('psbtn');if(this.s &amp;&amp; btn){btn.click(); return false;}" method="post" target="_self" encType="multipart/form-data" action="http://by116w.bay116.mail.live.com/mail/InboxLight.aspx?FolderID=00000000-0000-0000-0000-000000000001&InboxSortAscending=False&InboxSortBy=Date&n=501745141"> <div class="Middle" id="Middle" style="TOP: 10.92em"> <div class="ContentRight" id="contentRight"> <div id="MainContent"> <div id="mainContentContainer"> <div class="ReadingPaneSplitPane ReadingPaneSplitPaneBottom" id="readingPaneSplitPane"> <div class="ReadingPaneContainer" id="readingPaneContainer"> <div fid="00000000-0000-0000-0000-000000000001" mad="14|0|8CB34BF9414B6B0|" sb="sb" ca="linetsky@vdn.ca" cn="Larry Linetsky" im="im" fa="Forward" raa="ReplyAll" ra="Reply" rfu="EditMessageLight.aspx?ReadMessageId=93aaa323-073f-40ca-9b67-293434e93af8&amp;FolderID=00000000-0000-0000-0000-000000000001&amp;CP=-1&amp;n=720831352&amp;Action={0}&amp;AllowUnsafe={1}" nr="nr" ps="96691" mid="93aaa323-073f-40ca-9b67-293434e93af8"> <div class="ReadMsgContainer"> <div class="ReadMsgBody BorderTop" onclick="return Control.invoke('ReadingPane', '_onBodyClick', event);"> <div class="ExternalClass" id="MsgContainer"> <div class="EC_Section1"> <p class="EC_MsoNormal"> <span style="font-family: Arial; font-weight: 700; color: #000080">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </form> </div> </div> <p align="left"> &nbsp;&nbsp; </p> <p align="center"> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="http://users2.smartgb.com/g/g.php?a=s&i=g25-09914-1e"> <img border="0" src="GBJL.gif" width="455" height="345"></a></div> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp; </p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </p> <p> &nbsp;</p> <p> <img border="0" src="jackie_vadim.jpg" width="280" height="400"></p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> <p><a href="http://15loveforum.forumcommunity.net/"> <img border="0" src="4kifxv.png" width="92" height="32"></a> <a href="http://vadimjaclyn.forumcommunity.net"> <img border="0" src="Immagine30-19.jpg" width="91" height="32"></a></p> <p><u><font face="Baskerville Old Face" color="#000080"><marquee>Website created by Larry Linetsky and Stefania Di Gregorio! If you want say something to us,write to stefy89dg@hotmail.it. </marquee></font></u></p> </body> </html>
OFFICIAL WEBSITE IN MEMORY OF JACLYN LINETSKY <!-- function FP\_preloadImgs() {//v1.0 var d=document,a=arguments; if(!d.FP\_imgs) d.FP\_imgs=new Array(); for(var i=0; i<a.length; i++) { d.FP\_imgs[i]=new Image; d.FP\_imgs[i].src=a[i]; } } function FP\_swapImg() {//v1.0 var doc=document,args=arguments,elm,n; doc.$imgSwaps=new Array(); for(n=2; n<args.length; n+=2) { elm=FP\_getObjectByID(args[n]); if(elm) { doc.$imgSwaps[doc.$imgSwaps.length]=elm; elm.$src=elm.src; elm.src=args[n+1]; } } } function FP\_getObjectByID(id,o) {//v1.0 var c,el,els,f,m,n; if(!o)o=document; if(o.getElementById) el=o.getElementById(id); else if(o.layers) c=o.layers; else if(o.all) el=o.all[id]; if(el) return el; if(o.id==id || o.name==id) return o; if(o.childNodes) c=o.childNodes; if(c) for(n=0; n<c.length; n++) { el=FP\_getObjectByID(id,c[n]); if(el) return el; } f=o.forms; if(f) for(n=0; n<f.length; n++) { els=f[n].elements; for(m=0; m<els.length; m++){ el=FP\_getObjectByID(id,els[n]); if(el) return el; } } return null; } // --> <!-- .ExternalClass{font-size:10pt;font-family:Segoe UI,Tahoma,Verdana,Arial,sans-serif;line-height:normal;}--> ![](jackie4.jpg) **Welcome at the Jackie's memory Official Website. My name is Stefania, I am 24, and I am an italian girl. I want to create this website in memory of a beautiful and fantastic girl named Jaclyn Michelle Linetsky. I created this website with the help of Larry Linetsky,  Jackie's father, who sends to me a lot of Jackie's pictures and informations. So, please, visit this website to honor the memory of a girl that has been a star on earth and is a star on heaven : JACLYN LINETSKY! (R.I.P.). Stefy...** ![](2803c4e3mn7.gif) [![](s2h3z7.jpg)](http://www.jaclynlinetsky.ca/jackiebiography.htm) [![](2s1k7xg.jpg)](http://www.jaclynlinetsky.ca/jackiepictures.htm) [![](2d6tac2.jpg)](http://www.jaclynlinetsky.ca/jackiefilmography.htm) [![](2my6glj.jpg)](http://www.jaclynlinetsky.ca/jackiefriends.htm) [![](wbyvyp.jpg)](http://www.jaclynlinetsky.ca/jackiemusic.htm) [![](2lxnbd.jpg)](http://www.jaclynlinetsky.ca/thefatalaccident.htm) [![](24g5abd.jpg)](http://www.jaclynlinetsky.ca/articlesaccident.htm) [![](2vxrivb.jpg)](http://www.jaclynlinetsky.ca/vadimsection.htm) [![](2zxqa7b.jpg)](http://www.jaclynlinetsky.ca/larrywords.htm)  [![](z79ud.jpg)](http://www.jaclynlinetsky.ca/jackiestar.htm) [![](spkt5d.jpg)](http://www.jaclynlinetsky.ca/jackieracket.htm) OFFICIAL MEMORIAL WEBSITE \*\*\*\*JACLYN LINETSKY\*\*\*\*\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_  **FROM JACKIE'S FANS:**  [![OUR MEMORIES](button8.jpg)](http://www.jaclynlinetsky.ca/ourmemories.htm)  [![OUR VIDEOS](button1A.jpg)](http://www.jaclynlinetsky.ca/ourvideos.htm)  [![OUR FAN-ARTS](button1D.jpg)](http://www.jaclynlinetsky.ca/ourfanarts.htm)  [![ASK LARRY](button26.jpg)](http://www.jaclynlinetsky.ca/asklarry.htm)   ![](bottone00026.gif)  **email me:  [stefy89dg@hotmail.it](mailto:stefy89dg@hotmail.it)**       ![](web-link31.gif)![](web-link31.gif)   ![](Immagine50-9.JPG) [![](flicker120x60eng.gif)](http://www.gratefulness.org/candles/enter.cfm?l=eng&gi=J&V&p=(8th Septembre 2008)LIGHT TWO CANDLES IN MEMORY OF JACLYN LINETSKY AND VADIM SCHNEIDER!! by stefy89) [![](progra1.gif)](http://www.anightofstars.com)   (8th september 2011) Please guys, don't forget to light two candles today, in memory of Jackie and vadim. R.I.P. J&V . (8th SEPTEMBER 2011) 8 years you went to to sky,as two angels. But you are always with us, everyday. We love you Jaclyn and Vadim. R.I.P.                                                                                                                                                                           [![](GBJL.gif)](http://users2.smartgb.com/g/g.php?a=s&i=g25-09914-1e)                                          ![](jackie_vadim.jpg)         [![](4kifxv.png)](http://15loveforum.forumcommunity.net/) [![](Immagine30-19.jpg)](http://vadimjaclyn.forumcommunity.net) Website created by Larry Linetsky and Stefania Di Gregorio! If you want say something to us,write to stefy89dg@hotmail.it.
http://www.jaclynlinetsky.ca/
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html><head><!-- Global site tag (gtag.js) - Google Analytics --> <script async="" src="https://www.googletagmanager.com/gtag/js?id=UA-120447036-1"></script> <!-- Google tag (gtag.js) --> <script async src="https://www.googletagmanager.com/gtag/js?id=G-9WYTNMRTKD"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-9WYTNMRTKD'); </script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'UA-120447036-1'); </script> <script type="text/javascript"> var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-XXXXXXX-1']); _gaq.push(['_trackPageview']); setTimeout('_gaq.push([\'_trackEvent\', \'NoBounce\', \'Over 30 seconds\'])',30000); // --additional line (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); </script> <meta name="viewport" content="width=device-width,initial-scale=1.0"> <meta http-equiv="Content-Type" content="text/html; charset=windows-1250"> <meta http-equiv="Content-Language" content="es"> <meta http-equiv="distribution" content="Global"> <meta http-equiv="resource-type" content="document"> <meta http-equiv="Vary" content="Content-language;en,es-es,es-ar,es-cl,es-pe,es-bo,es-ve,es-co,es-py,es-uy,es-ni,es-mx,es-pr,es-sv,es-pa,es-hn,es-gt,es-do,es-cr"> <meta http-equiv="Location" content="http://www.oshogulaab.com/index.html"> <meta name="Alias" content="oshogulaab"> <meta name="Author" content="Aquiles Balle"> <meta name="Bulletin-Date" content="24/11/01 07:35:18 AM"> <meta name="Bulletin-Text" content="Osho y otros maestros espirituales en espa&#241;ol"> <meta name="Classification" content="libros books"> <meta name="Copyright" content="©2001-Aquiles Balle"> <meta name="description" content="Osho en espa&#241;ol. En estas paginas encontraras textos de los maestros espirituales mas relevantes (Osho, Nisargadatta, UG, Krishnamurti...) Tambien podras encontrar links a las paginas web más importantes sean de taoismo, advaita, yoga, zen, sufismo,... "> <meta name="description" content="Osho in spanish:books, meditations, music... and other spiritual masters too: UG Krishnamurti, Sri Nisargadatta Maharaj, Antonio Blay... Also you´ll can find here links to the most relevant sites about: suifm, taoism, advaita, yoga, busdhism, tantra"> <meta name="GENERATOR" content="Microsoft FrontPage 6.0"> <meta name="http://-Distribution" content="http://www.oshogulaab.com"> <meta name="keywords" content="Osho, meditaciones activas, maestros espirituales, castellano, espa&#241;ol, libros, musica, kundalini, Dinamica, maestro, Upanishads, hinduismo, terapias, Vedas, tibetano, gelupa, karmapa, budismo tibetano, busidmo tantrico, mistico, mistica, misticismo, espiritualidad, Rajneesh, iluminación, iluminado, discipulo, samadhi, satori, alma, prana, taoismo, Lao, Tse, Chuang, Tao, sexo, sexualidad, zen, vedanta, Amma, Krishnamurti, Buda, budismo, sufismo, Gurdjieff, Amma, Mata Amritanandamayi, UG, U.G., UG Krishnamurti, Nisargadatta, Shankara, Sankara, dualidad, dualismo, no dualidad, mello, Antonio, Blay, Kabir, San Juan de la Cruz, San Juan, evangelios, Jeús, Jesus, cristianismo,Ramana, Maharshi, Ramakrishna, Krishna, hinduismo, Ranjit, Meher Baba, baba, tai chi, chi kung, tantrismao, tantra, Shiva, shivaismo, yoga, zen, Klein, Barry Long, Almaas, Tolle, Eckhardt Tolle"> <meta name="Language" content="es"> <meta name="last-modified" content="Mon, 24 Nov 2001 03:09:37 GMT"> <meta name="ProgId" content="FrontPage.Editor.Document"> <meta name="Reply-To" content="aquiles@oshogulaab.com"> <meta name="robots" content="ALL"> <title>OSHO EN CASTELLANO: LIBROS, MEDITACIONES, MUSICA, VIDEOS</title><link href="file:///C:/DATOS_GULAAB/GESTORWEB/OSHO/LISTADOTITULOS/EXTRACTOSOSHOYAPUBLICADOS.html" id="l1" rel="seccion textos" rev="seccion textos" title="indice de contenidos"> <link href="file:///C:/DATOS_GULAAB/GESTORWEB/OSHO/MEDITACIONES/meditaciones.htm" id="l3" rel="seccion meditaciones" rev="index" title="meditaciones"> <link href="file:///C:/DATOS_GULAAB/GESTORWEB/OSHO/OSHOTODO.htm" id="l7" rel="texts" rev="texts" title="todo sobre Osho"> <base target="_top"> <style> .responsive-image { height: auto; width: 95%; min-width: 60px; } .titulo { font-size: 7vw; } </style> <meta http-equiv="X-UA-Compatible" content="IE=edge,chrome=1"> <meta name="HandheldFriendly" content="true"> <style ="font-size:4;" color="#0000FF" class="titulo"></style></head> <body alink="#008000" bgcolor="#ffffff" link="#0000ee" text="#000000" vlink="#ff0000"> <div align="center"> <center> <table bgcolor="#ffffff" cellspacing="0" height="1621" width="100%"> <tbody><tr valign="top"> <td rowspan="3" align="center" bgcolor="#ffffff" width="12%"> <table bgcolor="#ffffff" border="0" cellspacing="4" width="89%"> <tbody><tr> <td align="center" height="39" valign="top" width="83%"> <a href="OSHO/OSHOTODO.htm"><font size="2"> <img src="images/OSHO.JPG" alt="Osho: sus libros, sus meditaciones, videos" class="responsive-image" 2="" style="width: 95%;" border="1" height="48" hspace="1" vspace="2" width="95%"></font></a></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <a href="OSHO/LISTADOTITULOS/LISTADOTITULOSOSHO-TEMATICA.htm"> <img src="images/LIBROS.jpg" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <a href="OSHO/LISTADOTITULOS/LIBROS_TRADUCIDOS_POR_OSHOGULAAB.html"> <img src="images/TRADUCCIONES.jpg" border="0" width="95%"></a></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <a href="OSHO/LISTADOTITULOS/LECTURAS.html"> <img src="images/LECTURAS.JPG" alt="Extractos de libros" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <a href="OSHO/VISION/vision.htm"> <img src="images/OSHOHABLADE.JPG" alt="Osho nos habla del Tai-Chi, del ser consciente, del nuevo hombre..." 2="" class="responsive-image" align="middle" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <a href="OSHO/MEDITACIONES/meditaciones.htm"> <img src="images/meditate.gif" alt="Meditaciones de Osho" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <a href="http://www.oshoart.com"> <img src="images/OSHOART-LOGO.jpg" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="30" valign="top" width="83%"> <a href="ALBUM/ALBUMS.html"> <img src="images/ALBUMS.JPG" alt="Fotos de Osho, Sri Nisargadatta, U.G,.." class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <font size="2"> <a href="RAMANA/TEXTOS/LISTADOLIBRAMANA_NUEVO.htm"> <img src="images/RAMANA.gif" alt="Las ense&#241;anzas de Sri Ramana Maharshi" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <font size="2"> <a href="JIDDU/TEXTOS/LISTADOLIBJIDDUKRISH_NUEVO.html"> <img src="images/J.KRISHNAMURTI.jpg" alt="Jiddu krishnamurti: libros y videos" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <font size="2"> <a href="BUDA/TEXTOS/LISTADOLIBBUDA_NUEVO.htm"> <img src="images/BUDA.jpg" alt="Buda: sus ense&#241;anzas, su vida, sutras..." class="responsive-image" 2="" border="1" hspace="1" width="90%"></a><a href="BUDA/TEXTOS/LISTADOLIBBUDA.htm"> </a></font></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <font size="2"> <a href="JESUS/TEXTOS/LISTADOTITULOS_Jesus_NUEVO.htm"> <img src="images/JESUS.jpg" alt="Evangelios y vida de Jesús" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a><a href="JESUS/TEXTOS/LISTADOTITULOS_Jesus.htm"> </a></font></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <font size="2"> <a href="GURDJIEFF/TEXTOS/LISTADOTITULOSGURDJIEFF_nuevo.htm"> <img src="images/GURDJIEFF.jpg" alt="Libros y músicas de G. Gurdjieff, P.D. Ouspenski, M. Nicoll ..." class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <font size="2"> <a href="UG/TEXTOS/LISTADOTITULOSUG_NUEVO.htm"> <img src="images/UG.JPG" alt="U.G. Krishnamurti: libros, extractos, fotos,..." class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <font size="2"> <a href="NISARGADATTA/TEXTOS/LISTADOTITULOSNISARGADATTA_NUEVO.htm"> <img src="images/NISARGADATTA3.JPG" alt="Sri Nisargadatta Mahraj: libros, extractos, fotos..." class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <font size="2"> <a href="RANJIT/TEXTOS/LISTADOLIBRANJIT_NUEVO.htm"> <img src="images/RANJIT.jpg" alt="Sri Ranjit en espa&#241;ol" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="38" valign="top" width="83%"> <p align="center"><font size="2"> <a href="MEHER/TEXTOS/LISTADOTITULOSMEHERBABA_NUEVO.htm"> <img src="images/MEHERBABA.jpg" class="responsive-image" 2="" alt="Meher Baba en espa&#241;ol" border="1" hspace="1" width="90%"></a></font></p></td> </tr> <tr> <td align="center" height="38" valign="top" width="83%"> <font size="2"> <a href="RAMAKRISHNA/TEXTOS/LISTADOLIBRAMAKRISHNA_NUEVO.htm"> <img src="images/RAMAKRISHNA.jpg" 2="" class="responsive-image" alt="Sri Ramakrishna y Vivekananda en espa&#241;ol" border="1" hspace="1" width="90%"></a> </font></td> </tr> <tr> <td align="center" height="39" valign="top" width="83%"> <font size="2"> <a href="KABIR/LISTADODETITULOS_KABIR_NUEVO.htm"> <img src="images/KABIR.jpg" alt="Grandes Santos hindúes: Kabir" class="responsive-image" 2="" ="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="32" valign="top" width="83%"> <font size="2"><a href="AMMA/LISTADODELIBROS_AMMA_NUEVO.htm"> <img src="images/AMMA-BOTON.jpg" alt="Mata Amritanandamayi (Ammachi)" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="30" valign="top" width="83%"> </td> </tr> <tr> <td align="center" height="32" valign="top" width="83%"> <a href="BLAY/TEXTOS/LISTADOTITULOSBLAY_NUEVO.htm"> <img src="images/BLAY.jpg" class="responsive-image" alt="Antonio Blay: sus libros" border="1" hspace="1" vspace="4" width="90%"></a></td> </tr> <tr> <td align="center" height="32" valign="top" width="83%"> <a href="TOLLE/TEXTOS/LISTADOTITULOTOLLE_NUEVO.htm"> <img src="images/TOLLE.jpg" alt="Eckhardt Tolle: El Poder del Ahora" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="32" valign="top" width="83%"> <a href="KLEIN/TEXTOS/LISTADOTITULOSKLEIN_NUEVO.htm"> <img src="images/KLEIN.jpg" alt="Quién es Jean Klein?" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="32" valign="top" width="83%"> <a href="BLONG/TEXTOS/LISTADOTITULOSBLONG_NUEVO.htm"> <img src="images/BLONG.JPG" alt="Barry Long: libros, extractos, fotos,..." class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="32" valign="top" width="83%"> <a href="ALMAAS/TEXTOS/LISTADOTITULOSALMAAS_NUEVO.htm"> <img src="images/ALMAAS.jpg" alt="A.H. Almaas" class="responsive-image" 2="" border="1" height="0%" hspace="1" width="90%"></a></td> </tr> </tbody></table> </td> <td colspan="3" align="center" height="77" valign="middle" width="77%"> <b><a href="QUIENESSOMOS.htm">OSHOGULAAB</a></b> <hr color="#0000ff" noshade="noshade"> <div align="center"><center> <p style="margin-top: 0pt; margin-bottom: 0pt;" font="" size="3"><b> <font color="#0000a0">Para leer y disfrutar de las palabras de Osho en espa&#241;ol.</font></b> &nbsp; </p> <p style="margin-top: 0pt; margin-bottom: 0pt;" font="" size="3"> <b><font color="#0000a0">También podrás conocer a todos aquellos de los que habla en sus libros y muchos más: <br> Jiddu Krishnamurti, Ramana Maharshi, Lao Tse, Buda, Jesús, U.G. Krishnamurti, G. Gurdjieff, Sri Nisargadatta Maharaj,,...</font></b></p> <hr color="#0000ff"> </center> </div></td> <td rowspan="3" align="center" bgcolor="#ffffff" width="12%"> <table bgcolor="#ffffff" border="0" cellspacing="4" height="966" width="89%"> <tbody><tr> <td align="center" height="39" valign="top" width="10%"> <font size="2"> <a href="BUDISMO_TIBETANO/LISTADOBUDISMO_TIBETANO_NUEVO.htm"> <img src="images/BUDISMO_TIBETANO.jpg" alt="Osho: sus libros, sus meditaciones, videos" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="39" valign="top" width="10%"> <a href="DZOGCHEN/LISTADODZOGCHEN_NUEVO.htm"> <img src="images/DZOGCHEN.jpg" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="39" valign="top" width="10%"> <a href="TAOISMO/TEXTOS/LISTADOTITULOSTAOISMO_NUEVO.htm"> <img src="images/TAOISMO-ICONO.jpg" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="39" valign="top" width="10%"> <font size="2"> <a href="ZEN/TEXTOS/LISTADOTITULOSZEN_NUEVO.htm"> <img src="images/ZEN.jpg" alt="Maestros Zen: Bodhidharma, Eno, Dogen, Hui Tai, Baso, Hakuin... " class="responsive-image" 2="" border="1" hspace="1" width="90%"></a><a href="BUDA/TEXTOS/LISTADOLIBBUDA.htm"> </a></font></td> </tr> <tr> <td align="center" height="39" valign="top" width="10%"> <font size="2"> <a href="YOGA/TEXTOS/LISTADOTITULOSYOGA_NUEVO.htm"> <img src="images/Yoga.jpg" alt="Los Yoga: raya yoga, bhakti yoga, karma yoga, jnana yoga..." class="responsive-image" 2="" border="1" hspace="1" width="90%"></a><a href="JESUS/TEXTOS/LISTADOTITULOS_Jesus.htm"> </a> </font> </td> </tr> <tr> <td align="center" height="39" valign="top" width="10%"> <a href="HINDUISMO/TEXTOS/LISTADOTITULOSHINDUISMO_NUEVO.htm"> <font size="2"> <img src="images/HINDUISMO.jpg" alt="Hinduismo: Krisna y Vedas" class="responsive-image" 2="" border="1" hspace="1" width="90%"></font></a></td> </tr> <tr> <td align="center" height="39" valign="top" width="10%"> <font size="2"> <a href="ADVAITA/TEXTOS/LISTADOTITULOSADVAITA_NUEVO.htm"> <img src="images/ADVAITA.jpg" alt="No dualismo: el advaita-vedanta y sus maestros" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="39" valign="top" width="10%"> <a href="Sikhismo/LISTADOTITULOS_SIKHS_NUEVO.htm"> <img src="images/SIHKISMO.jpg" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="39" valign="top" width="10%"> <font size="2"> <a href="TANTRISMO/LISTADOTITULOSTANTRA_NUEVO.htm"> <img src="images/TANTRISMO.jpg" alt="Tantra: textos, mestros, prácticas..." class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="38" valign="top" width="10%"> <p align="center"> <font size="2"> <a href="SUFISMO/TEXTOS/LISTADOTITULOSSUFISMO_NUEVO.htm"> <img src="images/SUFISMO.jpg" alt="Sufismo y maestros sufíes: Omar Kaiyyaam, Jalaluddin Rumi, " class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></p></td> </tr> <tr> <td align="center" height="38" valign="top" width="10%"> <font size="2"> <a href="MISTICOSCRISTIANOS/LISTADOTITULOSMISTICOSCRIS_NUEVO.htm"> <img src="images/CRISTIANOS.jpg" alt="Místicos cristianos: ense&#241;anzas" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a> </font></td> </tr> <tr> <td align="center" height="39" valign="top" width="10%"> <font size="2"> <a href="MISCELANEA/LISTADOMISCELANEA_NUEVO.htm"> <img src="images/MISCELANEA.jpg" alt="Textos de diversos autores: Mabel Collins, Tagore, Hermes Trimegisto, Monica Barbagallo, Pedro Rodea, Aquiles Balle," class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="32" valign="top" width="10%"> <a href="BHAKTIS/LISTADO_BHAKTIS_NUEVO.htm"> <img src="images/BHAKTI_2.jpg" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="32" valign="top" width="10%"> &nbsp;</td> </tr> <tr> <td align="center" height="32" valign="top" width="10%"> &nbsp;</td> </tr> <tr> <td align="center" height="32" valign="top" width="10%"> <a href="PSICOLOGIA/LISTADOTITULOSPSICOL_NUEVO.htm"> <img src="images/PSICOLOGIA.jpg" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="32" valign="top" width="10%"> <font size="2"><a href="NUEVAFISICA/LISTADOTITULOCIENCIA_NUEVO.htm"><img src="images/NUEVAFISICA.jpg" alt="Textos de la nueva física" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="32" valign="top" width="10%"> <font size="2"> <a href="ATENCION/LAATENCION.htm"> <img src="images/ATENCION.jpg" alt="Ejercicios para desarrollar la atención" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="32" valign="top" width="10%"> <font size="2"><a href="TAICHI/LISTADOTITULOtaichi_NUEVO.htm"><img src="images/TAICHI.jpg" alt="El Tai chi: maestros, estilos, escuelas, filosofía," class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="32" valign="top" width="10%"> <font size="2"> <a href="TAICHI/LISTADOTITULOtaichi_NUEVO.htm"> <img src="images/CHIKUNG.jpg" alt="Chi kung: maestros, estilos, escuelas, filosofía," class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></font></td> </tr> <tr> <td align="center" height="3" valign="top" width="10%"> &nbsp;</td> </tr> <tr> <td align="center" height="3" valign="top" width="10%"> <a href="E-BOOKS.html"> <font size="2"> <img src="images/ELIBROS.jpg" alt="Libros GRATIS para descargar" class="responsive-image" 2="" border="1" hspace="1" width="90%"></font></a></td> </tr> <tr> <td align="center" height="3" valign="top" width="10%"> &nbsp;</td> </tr> <tr> <td align="center" bgcolor="#ffffff" height="3" valign="top" width="10%"> &nbsp;</td> </tr> <tr> <td align="center" height="32" valign="top" width="10%"> <a href="ALANWATTS/textos/LISTADOTITULOSwatts_NUEVO.htm"> <img src="images/WATTS.jpg" alt="Alan Watts: sus libros" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> <tr> <td align="center" height="32" valign="top" width="10%"> <a href="CONSTELACIONES-HELLINGER/HELLINGER_NUEVO.htm"> <img src="images/HELLINGER.jpg" class="responsive-image" 2="" border="1" hspace="1" width="90%"></a></td> </tr> </tbody></table> </td> </tr> <tr valign="top"> <td colspan="3" align="center" height="126" valign="middle" width="77%"> <p style="margin-top: 0pt; margin-bottom: 0pt;" font="" size="3"> <font color="#ff0000"><b>Creemos y sentimos que el mensaje de Osho es un bien de valor universal <br> y que como tal debería ser difundido por todos los medios a nuestro alcance, gratuitos o no gratuitos.&nbsp;&nbsp;&nbsp; </b></font></p> <p style="margin-top: 0pt; margin-bottom: 0pt;" font="" size="3"> <font color="#ff0000"><b>Por esto colaboramos con estos enlaces</b></font></p><p style="margin-top: 0pt; margin-bottom: 0pt;" font="" size="3"><br></p><p style="margin-top: 0pt; margin-bottom: 0pt;" font="" size="3"><font color="#ff0000"><b><font color="#ff0000" size="+3"> </font></b></font><font color="#ff0000"><b><a rel="me" href="OSHO/LISTADOTITULOS/OSHO_LIBROS_ORIGINALES_TRADUCIDOS%20AL%20CASTELLANO_Y_%20NO_PUBLICADOS.html" target="_blank"><font face="Times New Roman"><span style="color: rgb(11, 50, 255);">TRADUCCIONES AL CASTELLANO DE SUS DISCURSOS ORIGINALES </span></font></a></b></font><font color="#ff0000"><b><a rel="me" href="OSHO/LISTADOTITULOS/OSHO_LIBROS_ORIGINALES_TRADUCIDOS%20AL%20CASTELLANO_Y_%20NO_PUBLICADOS.html" target="_blank"><small><font style="color: rgb(11, 50, 255);" color="#ff0000" size="5"><small><br></small></font></small></a></b></font><font color="#ff0000"><b><a rel="me" href="OSHO/LISTADOTITULOS/OSHO_LIBROS_ORIGINALES_TRADUCIDOS%20AL%20CASTELLANO_Y_%20NO_PUBLICADOS.html" target="_blank"><font style="color: rgb(11, 50, 255);" color="#ff0000">NUNCA PUBLICADOS O DESCATALOGADOS</font></a></b></font><font color="#ff0000"><b><font color="#ff0000" size="5"></font></b></font></p> </td> </tr> <tr valign="top"> <td align="center" bgcolor="#ffffff" height="1385" width="15%"> <p><img src="images/PIC27.jpg" border="0" vspace="4" width="50%"><font color="#0000ff"><span style="text-decoration: none; font-weight: 700;" ;="" font="" size="3"><a target="_blank" href="OSHO/OSHOTODO.htm">&nbsp;<font color="#ff0000"><br> E-books : </font>Aquí tienes todos los discursos originales de Osho en inglés e hindi para leer y descargar ... y algunos en espa&#241;ol</a></span><br> </font></p><p> <img src="images/PIC26.jpg" border="0" vspace="4" width="50%"></p><p> <b><font font="" color="#ff0000" size="3"><font color="#0000ff"> <a href="OSHO/OSHOTODO.htm"> Osho-</a></font><a target="_blank" href="OSHO/OSHOTODO.htm"><font font="" color="#ff0000" size="3">videos</font> </a><br> </font></b> </p><p> <img src="images/pic11.jpg" border="0" vspace="4" width="50%"></p><p> <b><font font="" color="#0000ff" size="3"> <a href="OSHO/OSHOTODO.htm"> <font font="" color="#ff0000" size="3">Música</font> de Osho: </a><br> <a target="_blank" href="OSHO/OSHOTODO.htm"> las canciones compuestas </a><br> <a href="OSHO/OSHOTODO.htm">en su ashram&nbsp; para descargar </a></font></b></p> <p> <img src="images/PIC25.jpg" border="0" vspace="4" width="50%"></p><p> <font size="2"> <img src="images/PIC21.jpg" border="0" vspace="4" width="50%"></font></p><p> <font size="2"> <img src="images/pic5.jpg" border="0" vspace="4" width="50%"></font></p><p>&nbsp;<img src="images/PIC29.png" border="0" vspace="4" width="50%"></p></td> <td align="center" bgcolor="#ffffff" height="1385" valign="top" width="47%"> <p align="center"><font size="2"><br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="ALBUM/OSHO/ALBUMOSHO.html"> <img src="images/banner.jpg" class="responsive-image" style="width: 90%;" border="0" vspace="4" width="60%"></a></font></p> <p align="center"><font size="2"> <a href="OSHO/OSHOTODO.htm"><img src="images/OSHO-logo04.gif" alt="Entra y mira lo que te cuenta Osho" class="responsive-image" style="width: 60%;" align="middle" border="0" vspace="2" width="40%"></a><br> <br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href="OSHO/OSHOTODO.htm">&nbsp;<img src="images/CD25_116.jpg" alt="Todo Osho" class="responsive-image" style="width: 90%;" align="middle" border="0" vspace="4" width="60%"></a></font></p> <p align="center"> <font font="" size="2">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <blink> <a href="ALBUM/OSHO/ALBUMOSHO.html"> <span style=""><img src="images/dotblue.gif" border="0" height="16" width="15"></span></a></blink></font><blink><b> <a href="ALBUM/OSHO/ALBUMOSHO.html"><font font="" size="2"><span style="">&#191;Quieres ver fotos de Osho?</span></font></a></b></blink></p> <p align="center"> <b><font size="2">&nbsp;</font></b><font size="2">&nbsp;</font><b><font color="#0000ff" size="2">&nbsp;&nbsp;&nbsp;&nbsp; <a href="ALBUM/OSHO/ALBUMOSHO.html"> <img src="images/montaje.jpg" class="responsive-image" style="width: 90%;" border="0" vspace="4" width="60%"></a></font></b><font size="2"><a href="ALBUM/OSHO/ALBUMOSHO.html"> </a> </font><font color="#0000ff" size="2"><b>&nbsp;&nbsp; </b></font> </p> <p align="center"> <b><font font="" color="#0000ff" size="2"><blink></blink></font></b></p> <table style="width: 601px; height: 153px;" border="0" cellpadding="0"> <tbody><tr> <td style="width: 100%;"> <p align="center">&nbsp;<br><b><font color="#0000ff"> <a href="https://form.jotform.com/91433144336351">AYUDANOS A MANTENER ESTAS PAGINAS </a> </a><br> <a href="https://form.jotform.com/91433144336351"> <img style="border: 0px solid ; width: 30%; height: 44%;" alt="" src="images/bannerdonativo-med.jpg" vspace="4"></a></a></font></b></p></td> </tr> </tbody></table><p><br><font color="#0000ff" size="2"><b> <em style="font-style: normal;" font="" size="3">&#191;Quieres descargarte un fondo de escritorio o un salvapantallas con la imagen de Osho? <br> &#191;Sí? Entonces pulsa en unos de estos links.<br> <br> </em></b> </font><a href="OSHO/osho-salvapantallas.htm"> <img style="border: 2px solid ; width: 90%; height: 51px;" alt="" src="images/oshoworld-screensavers.jpg" hspace="1" vspace="10"></a><br> <a href="OSHO/osho-fondos_de_escritorio.htm"> <img style="border: 0px solid ; width: 90%; height: 51px;" alt="" src="images/oshoworld-wallpapers.jpg" hspace="1" vspace="10"></a></p> <p font="" size="3"> <!--webbot bot="Timestamp" S-Type="EDITED" S-Format="Actualizado el %A, %d de %B de %Y" startspan -->Actualizado el lunes, 17 de julio de 2023<!--webbot bot="Timestamp" i-checksum="38679" endspan --> </p><br></td> <td align="center" bgcolor="#ffffff" height="1385" width="15%"> <font size="2"> <img src="images/pic9.jpg" border="0" vspace="4" width="50%"></font><p> <font color="#0000ff"> <span style="text-decoration: none; font-weight: 700;" font="" size="3"> <font color="#ff0000"><a href="OSHO/OSHOTODO.htm"> Osho en audio</a></font><a href="OSHO/OSHOTODO.htm"> </a> <br> <a href="OSHO/OSHOTODO.htm"> (inglés y hindi). </a> <br> <a target="_blank" href="OSHO/OSHOTODO.htm"> Sus discursos originales</a></span></font><br> </p> <p> <font size="2"> <img src="images/pic4.jpg" border="0" vspace="4" width="50%"></font></p> <p> <b><font font="" color="#ff0000" size="3"><a target="_blank" href="OSHO/OSHOTODO.htm"> Osho-Art:</a></font><a href="OSHO/OSHOTODO.htm"><font font="" color="#0000ff" size="3"><br> todas sus pinturas y firmas</font></a></b><br> </p> <p><font size="2"> <img src="images/pic14.jpg" border="0" vspace="4" width="50%"></font></p> <p> <b><font font="" color="#ff0000" size="3">Meditaciones</font><font font="" color="#0000ff" size="3"> de <a target="_blank" href="OSHO/OSHOTODO.htm">Osho&nbsp;</a></font></b></p><p> <img src="images/PIC22.jpg" border="0" vspace="4" width="50%"></p> <p> <img src="images/PIC24.jpg" border="0" vspace="4" width="50%"></p> <font size="2"> &nbsp;<img src="images/PIC30.jpg" border="0" vspace="4" width="50%"></font><p> <img src="images/pic8.jpg" border="0" vspace="4" width="50%"></p></td> </tr> </tbody></table> </center> </div> <hr size="3" width="100%"> <div align="center"> <br> </div> </body></html>
window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-9WYTNMRTKD'); window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'UA-120447036-1'); var \_gaq = \_gaq || []; \_gaq.push(['\_setAccount', 'UA-XXXXXXX-1']); \_gaq.push(['\_trackPageview']); setTimeout('\_gaq.push([\'\_trackEvent\', \'NoBounce\', \'Over 30 seconds\'])',30000); // --additional line (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(ga, s); })(); OSHO EN CASTELLANO: LIBROS, MEDITACIONES, MUSICA, VIDEOS .responsive-image { height: auto; width: 95%; min-width: 60px; } .titulo { font-size: 7vw; } | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | | | | | --- | | [Osho: sus libros, sus meditaciones, videos](OSHO/OSHOTODO.htm) | | | | | | [Extractos de libros](OSHO/LISTADOTITULOS/LECTURAS.html) | | [Osho nos habla del Tai-Chi, del ser consciente, del nuevo hombre...](OSHO/VISION/vision.htm) | | [Meditaciones de Osho](OSHO/MEDITACIONES/meditaciones.htm) | | | | [Fotos de Osho, Sri Nisargadatta, U.G,..](ALBUM/ALBUMS.html) | | [Las enseñanzas de Sri Ramana Maharshi](RAMANA/TEXTOS/LISTADOLIBRAMANA_NUEVO.htm) | | [Jiddu krishnamurti: libros y videos](JIDDU/TEXTOS/LISTADOLIBJIDDUKRISH_NUEVO.html) | | [Buda: sus enseñanzas, su vida, sutras...](BUDA/TEXTOS/LISTADOLIBBUDA_NUEVO.htm) | | [Evangelios y vida de Jesús](JESUS/TEXTOS/LISTADOTITULOS_Jesus_NUEVO.htm) | | [Libros y músicas de G. Gurdjieff, P.D. Ouspenski, M. Nicoll ...](GURDJIEFF/TEXTOS/LISTADOTITULOSGURDJIEFF_nuevo.htm) | | [U.G. Krishnamurti: libros, extractos, fotos,...](UG/TEXTOS/LISTADOTITULOSUG_NUEVO.htm) | | [Sri Nisargadatta Mahraj: libros, extractos, fotos...](NISARGADATTA/TEXTOS/LISTADOTITULOSNISARGADATTA_NUEVO.htm) | | [Sri Ranjit en español](RANJIT/TEXTOS/LISTADOLIBRANJIT_NUEVO.htm) | | [Meher Baba en español](MEHER/TEXTOS/LISTADOTITULOSMEHERBABA_NUEVO.htm) | | [Sri Ramakrishna y Vivekananda en español](RAMAKRISHNA/TEXTOS/LISTADOLIBRAMAKRISHNA_NUEVO.htm) | | [Grandes Santos hindúes: Kabir](KABIR/LISTADODETITULOS_KABIR_NUEVO.htm) | | [Mata Amritanandamayi (Ammachi)](AMMA/LISTADODELIBROS_AMMA_NUEVO.htm) | | | | [Antonio Blay: sus libros](BLAY/TEXTOS/LISTADOTITULOSBLAY_NUEVO.htm) | | [Eckhardt Tolle: El Poder del Ahora](TOLLE/TEXTOS/LISTADOTITULOTOLLE_NUEVO.htm) | | [Quién es Jean Klein?](KLEIN/TEXTOS/LISTADOTITULOSKLEIN_NUEVO.htm) | | [Barry Long: libros, extractos, fotos,...](BLONG/TEXTOS/LISTADOTITULOSBLONG_NUEVO.htm) | | [A.H. Almaas](ALMAAS/TEXTOS/LISTADOTITULOSALMAAS_NUEVO.htm) | | **[OSHOGULAAB](QUIENESSOMOS.htm)** --- **Para leer y disfrutar de las palabras de Osho en español.**   **También podrás conocer a todos aquellos de los que habla en sus libros y muchos más: Jiddu Krishnamurti, Ramana Maharshi, Lao Tse, Buda, Jesús, U.G. Krishnamurti, G. Gurdjieff, Sri Nisargadatta Maharaj,,...** --- | | | | --- | | [Osho: sus libros, sus meditaciones, videos](BUDISMO_TIBETANO/LISTADOBUDISMO_TIBETANO_NUEVO.htm) | | | | | | [Maestros Zen: Bodhidharma, Eno, Dogen, Hui Tai, Baso, Hakuin...](ZEN/TEXTOS/LISTADOTITULOSZEN_NUEVO.htm) | | [Los Yoga: raya yoga, bhakti yoga, karma yoga, jnana yoga...](YOGA/TEXTOS/LISTADOTITULOSYOGA_NUEVO.htm) | | [Hinduismo: Krisna y Vedas](HINDUISMO/TEXTOS/LISTADOTITULOSHINDUISMO_NUEVO.htm) | | [No dualismo: el advaita-vedanta y sus maestros](ADVAITA/TEXTOS/LISTADOTITULOSADVAITA_NUEVO.htm) | | | | [Tantra: textos, mestros, prácticas...](TANTRISMO/LISTADOTITULOSTANTRA_NUEVO.htm) | | [Sufismo y maestros sufíes: Omar Kaiyyaam, Jalaluddin Rumi,](SUFISMO/TEXTOS/LISTADOTITULOSSUFISMO_NUEVO.htm) | | [Místicos cristianos: enseñanzas](MISTICOSCRISTIANOS/LISTADOTITULOSMISTICOSCRIS_NUEVO.htm) | | [Textos de diversos autores: Mabel Collins, Tagore, Hermes Trimegisto, Monica Barbagallo, Pedro Rodea, Aquiles Balle,](MISCELANEA/LISTADOMISCELANEA_NUEVO.htm) | | | | | | | | | | [Textos de la nueva física](NUEVAFISICA/LISTADOTITULOCIENCIA_NUEVO.htm) | | [Ejercicios para desarrollar la atención](ATENCION/LAATENCION.htm) | | [El Tai chi: maestros, estilos, escuelas, filosofía,](TAICHI/LISTADOTITULOtaichi_NUEVO.htm) | | [Chi kung: maestros, estilos, escuelas, filosofía,](TAICHI/LISTADOTITULOtaichi_NUEVO.htm) | | | | [Libros GRATIS para descargar](E-BOOKS.html) | | | | | | [Alan Watts: sus libros](ALANWATTS/textos/LISTADOTITULOSwatts_NUEVO.htm) | | | | | **Creemos y sentimos que el mensaje de Osho es un bien de valor universal y que como tal debería ser difundido por todos los medios a nuestro alcance, gratuitos o no gratuitos.** **Por esto colaboramos con estos enlaces****[TRADUCCIONES AL CASTELLANO DE SUS DISCURSOS ORIGINALES](OSHO/LISTADOTITULOS/OSHO_LIBROS_ORIGINALES_TRADUCIDOS%20AL%20CASTELLANO_Y_%20NO_PUBLICADOS.html)** **[NUNCA PUBLICADOS O DESCATALOGADOS](OSHO/LISTADOTITULOS/OSHO_LIBROS_ORIGINALES_TRADUCIDOS%20AL%20CASTELLANO_Y_%20NO_PUBLICADOS.html)** | | [E-books : Aquí tienes todos los discursos originales de Osho en inglés e hindi para leer y descargar ... y algunos en español](OSHO/OSHOTODO.htm) **[Osho-](OSHO/OSHOTODO.htm)[videos](OSHO/OSHOTODO.htm)** **[Música de Osho:](OSHO/OSHOTODO.htm) [las canciones compuestas](OSHO/OSHOTODO.htm) [en su ashram  para descargar](OSHO/OSHOTODO.htm)**   |         [Entra y mira lo que te cuenta Osho](OSHO/OSHOTODO.htm)       [Todo Osho](OSHO/OSHOTODO.htm)        **[¿Quieres ver fotos de Osho?](ALBUM/OSHO/ALBUMOSHO.html)**   | | | --- | |  **[AYUDANOS A MANTENER ESTAS PAGINAS](https://form.jotform.com/91433144336351)** | ***¿Quieres descargarte un fondo de escritorio o un salvapantallas con la imagen de Osho? ¿Sí? Entonces pulsa en unos de estos links.*** Actualizado el lunes, 17 de julio de 2023 | [Osho en audio](OSHO/OSHOTODO.htm) [(inglés y hindi).](OSHO/OSHOTODO.htm) [Sus discursos originales](OSHO/OSHOTODO.htm) **[Osho-Art:](OSHO/OSHOTODO.htm) [todas sus pinturas y firmas](OSHO/OSHOTODO.htm)** **Meditaciones de [Osho](OSHO/OSHOTODO.htm)**   | ---
http://www.oshogulaab.com/index2.htm
<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html> <head> <title>THE GOLDEN ASS OF APULEIUS - B. Slade</title> </head> <body text="#000000" bgcolor="#ffff99" link="#0000ee" vlink="#551a8b" alink="#0000ee"> <div align="Center"> <b>[graphics-heavy; do please wait for the images to load, they are worth the wait]</b> </div> <div align="Left"> <div align="Center"> </div> <div align="Center"> <div align="Center"> </div> <div align="Left"> <div align="Center"> [first version; to be revised - please <a href="/cdn-cgi/l/email-protection#20534c414445604a4e414e414d0e4e4554"> email</a> suggestions/corrections/&amp;c.]<br> <hr width="100%" size="2"></div> <table width="100%" border="0" cellspacing="2" cellpadding="1"> <tbody> <tr> <td valign="Top"> <table cellpadding="2" cellspacing="2" border="0" width="100%"> <tbody> <tr> <td valign="Top"><font color="#666600" size="+3"><u><b> THE<br> GOLDEN ASS</b></u></font><br> <div align="Left"><br> <br> <img src="goldass/donkey01.jpg" alt="madauros ass" width="261" height="215"> <font size="-1"><b><font color="#999900">an ass just outside of Madaura (Algeria)<br> <br> </font></b></font></div> </td> <td valign="Top"> <div align="Justify"><font size="+1"><font size="+2"><b><i><a name="intro"></a> The Golden Ass</i></b></font>, also known by the alternative title, <b><i> The Metamorphoses</i></b>, is one of the greatest fantasies of the world</font>. The latter name, <i>The Metamorphoses</i>, is found in the extant manuscripts, but Augustine, who studied some two centuries later at Madauros (as well as at Carthage), says that Apuleius called his work <i><b>Asinus aureus</b></i> or <i> The Golden Ass, </i> which name I shall use hereafter (the word 'golden' in this context denotes "a quality of excellence and admirability" rather than "the sense of being fashioned from gold"). Apuleius informs us that he is adapting a Greek story. This is supposed by many scholars to have been a story possibly by the Greek author Lucius of Patrae. This text is now lost, though <i><b> &#923;&#959;&#965;&#954;&#953;&#959;&#962; &#951; &#927;&#957;&#959;&#962;</b></i> (<b><i>Lucios or the Ass</i></b> ) -- thought to be an abridgement of Lucius of Patrae's tale -- by Lucian, a Greek satirist and near-contemporary of Apuleius, still exists. However, the splendour of the <i> Golden Ass</i> is original to Apuleius, as <i> Lucious or the Ass</i> lacks all imagination and style; it is nothing but the story of an ass, not an image of human life like Apuleius's tale.<br> </div> </td> </tr> </tbody> </table> <div align="Justify"><i>The Golden Ass </i>is simultaneously a blend of erotic adventure, romantic comedy, and religious fable, it is one of the truly seminal works of early European literature, with a distinctly Eastern flavouring and a very modern feel. There are very few works with the pleasurable impact of the <i>Golden Ass. </i> Apuleius's images retain their vitality from almost 2000 years ago, losing nothing of their colour and magic. Indeed, the promise of the closing words of the Prologue: <b><i> Lector, intende: laetaberis</i> - 'Lend me your ear, reader: you shall enjoy yourself'</b> are amply fulfilled. Over the centuries, the <i>Golden Ass </i>has brought pleasure and inspiration to generations of readers and writers, from <a href="http://web.uvic.ca/shakespeare/"> Shakespeare</a> to <a href="lit.html#rush"> Salman Rushdie.</a> A copy of the <i>Golden Ass</i> was one of the few things <a href="http://www.ouphrontis.co.uk/"> T.E. Lawrence ('of Arabia')</a> carried in his saddle-bags throughout the Arab Revolt.<br> <br> The charge to the reader: <i>intende</i> (lit. 'be attentive') -- rather like the beginning of the first English epic <a href="http://www.heorot.dk"><i> Beowulf</i></a> : &nbsp;<i>Hwaet </i>('listen') &nbsp;-- is a much more demanding commencement than '<i>once upon a time...</i>' It requests the reader to be an active participant in experiencing the tale, not simply a passive listerner (Apuleius's style throughout is consistent with this notion). &nbsp;The Latin statement, in fact, is a conditional: 'if you are attentive, <i>then</i> you shall take pleasure', suggesting that the reader's enjoyment depends upon the degree of attention paid to the tale.&nbsp; <br> <br> <a name="magic"></a> The modernity of <i>The Golden Ass</i> originates from the timelessness of the text. This is true of the humour--what we found amusing two thousands years ago we still do today--but also of the non-comic aspect of the work: the continual struggle of individuals to come to grips with and function in a largely unintelligible world. The transformation of man into ass provides a well-lit stage for the drama of this struggle to play upon; his form of an ass allows the narrator a unique vantagepoint from which he is able to better gather together the threads of the mundane world to weave his fantastic tale. But the story remains that of man and his place in the world. This is not to say that Apuleius was not a believer in magic--he had been initiated into the mysteries of Isis and is reputed to have himself performed miracles necessitating the mastery of magic and sorcery.<br> <br> However, <i>The Golden Ass</i> is not a story <i>about</i> magic, the supernatural of the novel is a convience subordinate to the spinning of a story about man and the struggle of life in a world of limited resources. Magic in<i> The Golden Ass</i> may change a man to an ass, but it does not transform the Finite into the Infinite:-- it does not eliminate the 'need' for slaves, make all of the poor men rich or all the hungry satiated. Magic forms part of Apuleius's natural world:-- the world in which it is winter during those months in which Ceres's daughter dwells in Hades; a world in which the earth is not always bountious, not matter how much one propriates the Gods with burnt offerings and other sacrifices. Spells and witchcraft do not change these facts. &nbsp; &nbsp; <br> </div> </td> <td valign="Top"> <div align="Center"><a href="goldass/ga00.jpg"><img src="goldass/ga00.jpg" alt="The Golden Ass frontispiece by Percival Goodman" width="275" height="319"> </a> <br> <font size="-2"><i>The Golden Ass</i> -&nbsp; frontispiece illustration by Percival Goodman</font><br> <br> <br> <div align="Center"> <div align="Center"> <table cellpadding="2" cellspacing="2" border="1" width="100%"> <tbody> <tr> <td valign="Top"> <div align="Center"><font size="+1"><u><b>Quick-Links &amp; Jumps</b></u></font><b><font size="-1"><a href="#intro"><br> Introduction to the </a> <i><a href="#intro"> Golden Ass</a> <br> </i><a href="#magic"> On Magic in the </a> <i><a href="#magic"> Golden Ass</a> <br> </i><a href="#lust"> On Desire in the </a> <i><a href="#lust"> Golden Ass</a> <br> </i></font></b><b><font size="-1"><a href="#social"> On Labour in the </a> <i><a href="#social"> Golden Ass</a> <br> </i></font></b><b><font size="-1">&nbsp;<a href="#novel"> The <i>Golden Ass's </i>Influence on later novelists</a> <br> </font></b><b><font size="-1"><a href="#cupid"> On the Tale of 'Cupid &amp; Psyche'</a> <br> </font></b><a href="#plato"><b><font size="-1"> On Divinity &amp; Platonic Duality in the <i>Golden Ass</i></font></b></a> <br> <b><font size="-1"><a href="#isis"> On Isis Myths &amp; the Symbolism of Gold Asses</a> <br> <a href="#lingua"> The Language of Apuleius</a> <i><br> </i></font></b><a href="#end"><b><font size="-1"> Concluding Remarks</font></b></a> <br> <a href="#ed"><b><font size="-1"><br> </font>*ONLINE editions of the <i>Golden Ass </i>here*<font size="-1"><br> <br> </font></b></a> <font size="-1"><a href="#compare"><b> *Translations, editions &amp; selected passages</b><b>*</b></a> <a href="#compare"><b><br> </b></a> </font></div> </td> </tr> </tbody> </table> </div> </div> <br> <br> <br> <table cellpadding="2" cellspacing="2" border="1" width="100%"> <tbody> <tr> <td valign="Top"> <div align="Center"><font color="#990000"><b>If you are unfamiliar with </b></font><b><font color="#000000"><i> The Golden Ass</i></font><font color="#990000"> ,<br> I recommended reading my review:</font></b><br> <br> <a href="http://www.dooyoo.co.uk/books_magazines/print_books/golden_ass_the_lucius_apuleius/_review/338960/"><font size="+1"><b> The Best Piece of Asse<br> in Ancient Rome</b></font><br> <img src="goldass/ga25.jpg" alt="ass review" width="300" height="207"> </a> <font size="-2">Lucius &amp; the lascivious woman - illustration by Jean de Bossch</font><font size="-2">&egrave;re</font></div> </td> </tr> </tbody> </table> <br> <br> </div> </td> </tr> </tbody> </table> <div align="Center"> <div align="Justify"> </div> <div align="Justify"> <div align="Justify"> </div> <table cellpadding="1" cellspacing="2" border="0" width="100%"> <tbody> <tr> <td valign="Top"> <div align="Justify"><a name="lust"></a> Part of the inherent struggle depicted in <i>The Golden Ass</i> is that of arises from man's own inner desires for pleasure. In this we find one of the 'Eastern' elements of Apuleius's work, the journey to escape from the bonds of desire endured by Lucius is similar to the <a href="hindu.html"> Hindu</a> concept of <i>moksha</i> ("release"), the <a href="http://www.bhagavad-gita.org/"><i> Bhagavad-Gita</i></a> dialogue between Arjuna and Krishna being an excellent expression of this philosophy. This is not to say that the <i>Golden Ass</i> is by any means a moralistic tale of a libertine who realises the 'ungodliness' of his ways and reforms in order to secure a seat in the heavens. Apuleius celebrates the sensual aspects of life and his vivacious descriptions of erotic scenes illustrate his possession of the 'cavalier-poet' virtue of living life to the fullest, both the pleasurable and the painful. Just as there is a Tantric school of Hinduism which does not strive to avoid the sensuous side of experience, Apuleius's is a tale of maturation and the attainment of the wisdom needed to survive one's desires.<br> </div> </td> <td valign="Top"> <div align="Right"><br> <a href="goldass/harem.jpg"><img src="goldass/harem.jpg" alt="Ramses Harem" width="666" height="288"> </a> <font size="-1" color="#333399">Rams&egrave;s dans son Harem (1885-86) - a </font><font color="#333399" size="-1">photogravure from a painting by Lecomte Nouy</font><br> </div> </td> </tr> </tbody> </table> <table cellpadding="0" cellspacing="2" border="0" width="100%"> <tbody> <tr> <td valign="Top"> <div align="Left"><a href="goldass/ga02.jpg"><img src="goldass/ga02.jpg" alt="ass among men" width="250" height="231"> </a> <font size="-2">Lucius among the slaves - illustration by Percival Goodman</font><br> </div> </td> <td valign="Top"> <div align="Justify"><a name="social"></a> As well as being concerned with the conflicts arising from inside an individual, <i>The Golden Ass</i> always treats the conflicts which occur between individuals, or between an individual and a larger group of persons. It holds a mirror to Apuleius's society, being the earliest book (at least in the West) to show society as a whole. &nbsp;Not only does it illustrates the heroes, senators and other magnates of Roman power, but also simple shepherds and rustic farmers, cooks and scullions, artesans, slaves and beggars, and the dacoits and thieves of the underworld. When Lucius, as an ass, is forced to work in a flour-mill, Apuleius's pitiless description of the conditions of the slaves toiling there--comparing the human and animal in a single breath--shows his keen observations of unacceptable conditions in the Empire and is a plea for reform:<br> &nbsp;&nbsp;<font size="-1">'Good Gods! what a tribe of mannikins I saw. Their skin was striped all over with livid scourge-scars; their wealed backs were crusted rather than clothed with their patchwork rags; some had no more covering than a bit of dangled apron; and every shirt was so tattered that the body was visible through the rents. Their brows were branded; their heads were half-shaved; irons clanked on their feet; their faces were sallow and ugly; the smoky gloom of the reeking overheated room had bleared and dulled their smarting eyes; and (like boxers who fight befouled with the dust of the arena) their faces were wanly smeared with the dirtied flour. But how shall I describe the beast, my comrades? What superannuated mules and enervated geldings! They drooped their heads around the manger as they munched the heaps of straw; their necks were frotted with bleeding and putrefying sores; they coughed continuously and wheezed through their feeble nostrils; their chests were raw from the rubbing of the rush-ropes; their sides were split by the ceaseless cudgelling till their rib-bones showed; their hooves were crushed out broad and flat by their never-ending tramp in the mill-round; and their hides were scarified all over with mange and emaciation' (Lindsay trans. 274-275).</font><br> </div> </td> </tr> </tbody> </table> <table width="100%" border="0" cellspacing="2" cellpadding="1"> <tbody> <tr> <td valign="Top"> <div align="Justify"><br> <a name="novel"></a> Apuleius's novel has inspired many subsequent writers and artists and been one of the greatest influences in Western literature, including such classic works as <a href="http://www.brown.edu/Departments/Italian_Studies/dweb/dweb.shtml"> Boccaccio's <i>Decameron</i>,</a> &nbsp;<a href="http://www.donquixote.com/index.html">Cervantes's <i> Don Quixote</i></a> and <a href="http://www.jaffebros.com/lee/gulliver/index.html"> Swift's <i> Gulliver's Travels.</i></a> In these there obviously exists the same satyrical style as in the <i> Golden Ass</i>, the same basic image of human madness and endeavour.<br> <br> As well, the <a href="http://www.britannica.com/seo/b/bathos/"> bathetic</a> form of the <i>Golden Ass </i>occurs (as well as in the above works) also in <a href="http://www.gifu-u.ac.jp/%7Emasaru/Sterne_on_the_Net.html"> Sterne's <i>Tristram Shandy</i></a> (which, along with Richardson's <i>Clarissa</i>, are considered the first modern novels) and <a href="http://www.jamesjoyce.ie/"> Joyce's famous <i> Ulysses</i></a> (a sort of 'retelling' the tale of <a href="http://www.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus%3Atext%3A1999.01.0136&amp;query=book%3D%231"> Homer's Odyssey,</a> re-set in 19th century Dublin).<br> <br> In more modern literature, the little known, but very important work of Anglo-Indian novelist <a href="lit.html#hatterr"> G.V. Desani's <i>All About H. Hatterr</i></a> also carries on Apuleius's mad, bathetic style of story-weaving. More well-known Booker-Award winning Anglo-Indian author <a href="lit.html#rush"> Salman Rushdie</a> too writes very much in the Apuleian style--both in the sense of <i>bathos</i> as well as adapting Apuleius's particular manner of interweaving 'mirroring' stories together (see below). In addition to style, an episode in Rushdie's (in)famous novel, <a href="http://www.wsu.edu/%7Ebrians/anglophone/satanic_verses/"><i> The Satanic Verses</i>,</a> displays a thematic borrowing, in that it involves a transformation of the protagonist into bestial form and his subsequent attempts to regain human form:--'[the <i>Golden Ass</i>] serving as the central intertext [of <i> Satanic Verses</i>]', in the words of Dr. Margareta Petersson. <br> <br> The shape-changing theme also occurs in <a href="http://www.kafka.org/"> Kafka's</a> <a href="http://www.kafka.org/projekt/lebzeit/verwandlung.htm"><i> Die Verwandlung </i>(<i>The Metamorphosis</i>)<i>.</i></a> <i> </i> This theme, while obviously ubiquitous in human imagination, is unusual in Apuleius in that a first-person narrative is provided by the metamorphed man, as in Kafka. Kafka's novel owes something to the <i> Golden Ass</i> in its plot of an ordinary person who one day suddenly finds himself in a shape not his own--a repulsive shape; and in the protagonist's struggle to survive with his humanity intact.<br> <br> The 'Chinese-box' structure of the <i>Golden Ass</i> (e.g. the stories set within the frame of the primary narrative of Lucius)--similar to the pattern of <a href="http://www.crock11.freeserve.co.uk/arabian.htm"><i> One Thousand and One Arabian Nights</i></a> --is perhaps a remnant of the Indo-European epic tradition (and the Greek tradition in particular), which often exhibits the imbedding of tales and myths not structurally part of the main narrative. The majority, if not all, of these interwoven 'mini-stories' are not original to Apuleius; rather, they were well-known tales and anecdotes belonging to the common community--thus Apuleius's introductionary description of his work as '<i> At ego tibi sermone isto Milesio varias fabulas conseram auresque tuas benivolas lepido susurro permulceam</i>' ["What I should like to do is to weave together different tales in this Milesian mode of story-telling and to stroke your approving ears with some elegant whispers" (Walsh trans. 1)]. Milesian tales are a sort of light entertainment; there existed a large repertoire of such popular myths and anecdotes, though Apuleius--as always--presents them in his unique style.<br> <br> As E.J. Kenney points out, there exists a paradox in Apuleius's preface. He begins by stating that he is going to string together a number of light tales, but then at the end of the introduction he says 'It is a Grecian story I am about to begin' ('<i>Fabulam Graecanicam incipimus</i> '). <i> Fabulam Graecanicam</i> - <i>a</i> Grecian fable: singular, not plural. This obviously refers to the main story of Lucius's transformation adapted from a Greek fable; making the plot of the ass primary. One suspects that Apuleius delighted in this seeming discrepany--though the <i>Golden Ass</i> turns out to be <i>both</i> a single fable and a series of tales woven together (a bit like the Christian 'mystery of the trinity' in its unity/plurality contradictions). Apuleius's abjuration to the reader to <i>lector</i> - 'be attentive' is quite right: only the attentive reader will be able to resolve the intricate mysteries of the <i>Golden Ass.</i> &nbsp; <br> </div> </td> <td valign="Top"> <div align="Center"> <div align="Right"> <a href="goldass/circe.jpg"><img src="goldass/circe.jpg" alt="Circe" width="300" height="380"> </a> &nbsp;<font color="#000066" size="-2">Circe transforms Odysseus's men into swine (1889) - </font><br> <font color="#000066" size="-2"> a </font><font size="-2" color="#000066"> photogravure of a painting by L. Chalon</font><br> </div> <br> <table cellpadding="2" cellspacing="2" border="1" width="100%"> <tbody> <tr> <td valign="Top"> <div align="Center"><a href="http://65.107.211.206/post/rushdie/mp2.html"><font size="-1"><b> Alchemy &amp; Metamorphoses </b>-<br> links between Apuleius's <i>Golden Ass</i> and<br> Salman Rushdie's <i>The Satanic Verses</i></font></a> <br> </div> </td> </tr> </tbody> </table> <br> <div align="Right"> <a href="goldass/sphinx01.jpg"><img src="goldass/sphinx01.jpg" alt="sphinx" width="282" height="425"> </a> </div> </div> <div align="Right"><font color="#993300" size="-2">The Sphinx - painting by Norman Lindsay (Jack Lindsay's father)</font> </div> </td> </tr> </tbody> </table> <table cellpadding="1" cellspacing="2" border="0" width="100%"> <tbody> <tr> <td valign="Top"> <table cellpadding="2" cellspacing="2" border="1" width="100%"> <tbody> <tr> <td valign="Top"> <div align="Center"><b><font size="-1" color="#660000"><a href="http://www.unisi.it/ricerca/ist/anc_hist/online/apuleio/storici/storici.htm"> an essay on the </a> </font><font size="-1"><a href="http://www.unisi.it/ricerca/ist/anc_hist/online/apuleio/storici/storici.htm"> use of <br> historiographical topoi</a> </font></b><font size="-1" color="#660000"><b><a href="http://www.unisi.it/ricerca/ist/anc_hist/online/apuleio/storici/storici.htm"> in the <i>Golden Ass</i></a> </b><br> </font><font size="-1" color="#660000">by Luca Graverini </font><font size="-1" color="#660000"> (negli Italiano)<br> </font></div> </td> </tr> </tbody> </table> <div align="Center"><font size="-1" color="#660000"><br> </font> <div align="Left"><font size="-1" color="#660000"><a href="goldass/cupid03.jpg"><img height="371" width="288" alt="Venus &amp; Cupid" src="goldass/cupid03.jpg"> </a> <br> The Allegory of Lust (1540-50) [Venus &amp; Cupid]<br> &nbsp;painting by Bronzino</font><br> <br> <div align="Center"> <table cellpadding="2" cellspacing="2" border="1" width="100%"> <tbody> <tr> <td valign="Top"> <div align="Center"><font size="-2"><u><a href="http://www.plotinus.com/myth_cupid_psyche.htm"> Illustrated story of Cupid &amp; Psyche</a> <b><br> </b><a href="http://www.ludweb.com/poetry/venus/"> Shakespeare's <i>Venus &amp; Adonis</i> accompanied by Venus artwork</a> <b><br> <br> Essays, &amp;c. on 'Cupid &amp; Psyche'</b></u><u><b>&nbsp; &nbsp;</b></u><a href="http://www.scils.rutgers.edu/special/mjoseph/schroeder.html"><br> Psycho-Analytic' criticism - J. Schroeder</a> </font><br> <font size="-2"><a href="http://www.scils.rutgers.edu/special/mjoseph/neumann.html"> 'Psycho-Analytic' criticism - Erich Neumann</a> </font><br> <font size="-2"><a href="http://www.scils.rutgers.edu/special/mjoseph/bettelheim.html"> 'Psycho-Analytic' criticism - Bruno Bettelheim</a> </font><br> <font size="-2"><a href="http://www.scils.rutgers.edu/special/mjoseph/argument.html"> Archetypes in 'Cupid &amp; Psyche'</a> </font><br> <font size="-2"><a href="http://www.scils.rutgers.edu/special/mjoseph/apuleius-questions1.html"> Thought-provoking questions on 'Cupid &amp; Psyche' 1</a> </font><br> <font size="-2"><a href="http://www.scils.rutgers.edu/special/mjoseph/apuleius-questions2.html"> Thought-provoking questions on 'Cupid &amp; Psyche' 2</a> </font><br> </div> </td> </tr> </tbody> </table> <br> </div> </div> </div> </td> <td valign="Top"> <div align="Justify"><a name="cupid"></a> At the centre of Apuleius's interweaving of tales is that of 'Cupid and Psyche'. This tale--like the others--was not invented by Apuleius either. The framework of the myth of 'Cupid and Psyche' is recurrent throughout Indo-Aryan cultures, from Scotland to India. The best known version of it is perhaps the Germanic fairy-story <i>Cinderella.</i> However, Apuleius's retelling of this myth is an extraordinary feat of artistry--as P.G. Walsh puts it, a transformation of a <i>M&auml;rchen </i>('folk-tale') into a <i> Kunstm&auml;rchen</i> ('Art-Story'). The eminent Victorian aesthetic critic and essayist <a href="http://65.107.211.206/victorian/decadence/pater/paterov.html"> Walter Pater</a> admired this section of the story so much that he included it in its entirety in his book <i><a href="http://www.blackmask.com/books57c/7mrs1dex.htm"> Marius the Epicurean</a> </i>(a study of the intellectual and spiritual development of a young Roman in the time of Marcus Aurelius).<br> <br> 'Cupid and Psyche' is made by Apuleius to illuminate the larger whole of the <i>Golden Ass</i>, by being a reflection of the same theme. In this way, Apuleius projects the central thread of the tale of Lucius's transformation into the wider plane of mythos. As Lucius indulges his curiosity about Pamphile's witchcraft despite being repeatedly warned against doing so; so Psyche allows her curiosity to get the better of her, in spite of warnings parallel to those of Lucius. Both are punished by being forced to wander through the world, forsaken by all. Both are delivered from their misfortune through a series of trials--the labours of Venus in the case of Psyche, the serial stages of initiation into the mysteries of Isis for Lucius.<br> <br> Both stories seem at first blush to set up a division between 'appropriate' and 'forbidden' knowledge, with punishment afflicting those who dare to open the Pandora's box of the forbidden. However, it is overly hasty to extract such a moral from either of these tales. Psyche is eventually transported to Heaven and granted immortality; Lucius obtains an intimate relationship with the Goddess Isis. Neither Lucius nor Psyche would have attained the Divine in these parallel ways had they not first transgressed into the realm of illicit knowledge. &nbsp;<br> <br> Apuleius's Platonic philosophy is particularly evident in this episode, Cupid serving as an allegory of the soul's restless attempts to reach the Divine (Isis). As well, both tales show the same sort of bifurication of a Platonic ideal into a higher and a lower form, as expostulated by Apuleius in his <a href="http://www.gmu.edu/departments/fld/CLASSICS/apuleius.apol.html#12"><i> Apologia </i>[12]:</a> <br> &nbsp; <font size="-1">'But I will forbear to enlarge upon those deep and holy mysteries of the Platonic philosophy, which, while they are revealed to but few of the pious, are totally unknown to the profane; how, that Venus is a twofold goddess, each of the pair producing a particular passion, and in different kinds of lovers. One of them is the "Vulgar", who is prompted by the ordinary passion of love, to stimulate not only the human feelings, but even those of cattle and wild beasts, to lust, and commit the enslaved bodies of beings thus smitten by her to immoderate and furious embraces. The other is the "Heavenly" Venus, who presides over the purest love, who cares for men alone and but few of them, and who influences her devotees by no stimulants or allurements to base desire' (Bohn's trans. 258). </font> &nbsp; <br> <br> It has been suggested that in this way two 'Cupids' compete for Psyche's love; and thar in the same way the 'higher Venus' prevails in the case of Lucius when Fotis is replaced by Isis. It does not seem clear that a relationship with both Isis and Fotis would be impossible for Lucius, however his attitude towards 'love' does seem change evolve from the lower Venus to the higher Venus in the course of the novel.<br> </div> </td> </tr> </tbody> </table> <table cellpadding="1" cellspacing="2" border="0" width="100%"> <tbody> <tr> <td valign="Top"> <div align="Justify"><br> <a name="plato"></a> The solemn close of the <i>Golden Ass--</i>Lucius's initiation into the sacred rites of Isis and Osiris--may strike many readers as incongruous with the light-hearted style of the majority of the novel. This comes from the error of approaching the <i>Golden Ass</i> as purely a comic romance. Apuleius constructs a careful alternation between comic and tragic episodes, between romantic and dramatic. For instance, the comic encounter of Lucius and his miserly host Milo is offset by the tragic drama of the story of Socrates's death; the Lucius's romantic sexual encounters with the maidservant contrast with the horrifying story of Thelyphron's disfigurement he hears in the same book. Indeed, there are both comic-tragic and comic-romantic sections, as well as both dramatic-tragic and dramatic-romantic episodes. The Lucius-Fotis episodes, for example, could be termed comic-romantic; the Cupid-Psyche centre-story, dramatic-romantic. Lucius's transformation from man to ass is comic-tragic; while Charite's death is dramatic-tragic. In fact, the fates of Charite and Tlepolemus, Cupid and Psyche, and Lucius (and Fotis/Isis), are woven together in a complex counterpoint (what has been called the 'Charite-complex', see Schlam (1992)). For instance, the dramatic-tragic kidnapping of Charite in the fourth book complements Lucius's own capture by the dacoits; the romantic rescue of Charite in the seventh book is parallel to the finale of the 'Cupid &amp; Psyche' story in the preceding books, and juxtaposed with Lucius's miserable experiences at the farms, also in the seventh book; Lucius's comic adventures with the priests contrast with Charite's tragic death in the eighth. All throughout, Apuleius alternates between jocular and often 'vulgar' happenings and 'high-brow' dramatic or tragic episodes. This is not dissimilar to the technique one observes in, for example, the tragedies of Shakespeare, which, as well as tragic elements, also contain humorous episodes; and are meant to be enjoyed on more than one level. &nbsp; <br> <br> Furthermore, there is a philosophic layer of the <i>Golden Ass</i> as well, as mentioned above, in the Platonic dualism between a lower, vulgar 'path' and a higher, heavenly 'path'; for instance, Venus competes for mastery over Lucius in her lower form as Fotis and her higher form as Isis (though, again, it is not clear that these two could not be reconciled, that is, that a relationship with Isis prevents Lucius from having a relationship with Fotis, though it certainly restricts the form of that relationship). One major theme of the narrative of Lucius in the <i>Golden Ass</i>, reflected in the tale of 'Cupid &amp; Psyche', is this dualism of a debased and a perfected form of the same entity. Lucius is punished for his prurient curiosity into Pamphile's magic via his sexual liaison with Fotis by his transformation into a foolish ass. In the <i>Apologia </i>as well, Apuleius seeks to define healthy curiosity as that which endeavours towards knowledge of true reality by rational, intellectual means, as well as religious experience; as opposed to base curiosity which seeks an illusionary reality (Hindu <i>'maya</i> ') by way of left-hand magic ('black magic') and undirected sensuality. As William Adlington said of the <i>Golden Asse </i> during his Introductory Address and Epistle Dedicatory, delivered from University College, Oxford on 18th September 1566: 'Although the matter therein seeme very light and merry, yet the effect thereof tendeth to a good and vertuous moral...under the wrap of this transformation is taxed the life of mortall men, when as we suffer our mindes so to bee drowned in the sensuall lusts of the flesh, and the beastly pleasure thereof...so can we never be restored to the right figure of ourselves except we taste and eat the sweet Rose of reason and vertue, which rather by the mediation of praier we may assuredly attaine'.<br> <br> <a name="isis"></a> As Robert Graves reports in his introduction, mid-20th century research into the history of magic and witchcraft has revealed that there were Thessalian witches who preserved a pre-Aryan tradition of destructive, 'left-hand' magic, associated with the Triple Moon-Goddess in her form of Hecate. The 'right-hand', benevolent magic is connected to the mysteries of Isis--the Goddess Lucius/Apuleius come to worship. Thus, the <i>Golden Ass </i>should not be read as containing a 'Puritan' moral of coverting sexual love into love of God, and the abandonment of magic in favour of 'religion'. Sensuality is not inherently vulgar, nor is magic always evil; both can take either a destructive, 'left-hand' character or a positive, 'right-hand' form--just as the Moon-Goddess appears both as Hecate and as Isis.<br> <br> Lucuis's form as an ass is also significant in terms of the philosophy of the <i>Golden Ass</i>. Though the title is typically thought to mean something like 'The Princes of All Ass-Stories' or 'The Best of Asses', there may be a purposeful ambiguity between the sense of <i>aureus</i> as meaning 'best' and its more literal meaning of 'golden'. Martin has suggested that the Latin title may translate the Greek <i>&#959;&#957;&#959;&#962; &#960;&#965;&#961;&#961;&#959;&#962;</i> "tawny ass" associated with the demon Typhon (as Plutarch details in his <a href="http://www.geocities.com/Area51/Dimension/8311/plutarch.html"><i> De Iside</i></a> ).<br> <br> The worship of Isis in the form known to Apuleius and Plutarch actually arose in Greek and Roman days, Her Egyptian precursor Aset (the latter name written with the hieroglyphic for 'throne') having been almost completely forgotten for hundreds of years, and there being very few priests left who could even read the hieroglyphics on the temple walls. <br> <br> To continue, in Plutarch's account, briefly: Typhon (Seth in Egyptian) is the evil brother of the God King Osiris. Typhon contrived a plan to usurp his brother whereby he tricked Osiris into stepping into a heavily-ornamented box fitted exactly to his dimensions. No sooner had Osiris entered the box then Typhon had it nailed-shut and sealed with molten lead. He and his conspirators then threw this casket into the river. The pans &amp; satyrs learn of this trick and inform Osiris's sister-wife, Isis. She searches all of the lands for the Osiris's coffin and, upon finding it, tears off the lid and carresses the dead face of Her beloved brother-husband. Her carresses turn more urgent until She begins to copulate with the cold body of Osiris (reminiscent of some representations the Hindu Goddess Kali astride the prostate, lifeless body of Shiva) and conceives a child, Horus. When Typhon learns of the body's discovery, he chops the body into tiny bits, casting them hither and yon through the lands. Isis retrives all of the parts, except for Osiris's male-member (symbolising his virility and strength), which Typhon cast into the river to be eaten by pikes (Egyptians traditionally avoided eating pike for this reason). However, Isis made a replica phallus and consecrated it--this event replicated in ceremonies performed by the ancient Egyptians in a festival (again, quite similar to the Hindu <i>Shiva-lingam</i> worshippers, particularly prevalent in the south of India). Later Horus, Osiris's truly post-humous son, overthrows the cruel Typhon.<br> <br> Because of Typhon's slaying of Her husband, the tawny ass of Typhon is particularly repellent to Isis, as She says to Lucius: '...de proximo clementer velut manum sacerdotis osculabundus rosis decerptis pessimae mihique iam dudum detestabilis belvae istius corio te protinus exue' (Apuleius XI.6)--'...when you have drawn near, make as if you intend to kiss the priest's hand, and gently detach the roses; at once then shrug off the skin of this <i> most hateful of animals, which has long been abominable in my sight</i> ' (Walsh trans. 221--my <i> emphasis</i> ). The owl, into which shape Pamphile transforms, on the other hand, is a symbol of wisdom, and <a href="http://www.jams.swinternet.co.uk/Bath/Minerva.htm"> the owl is thus often associated with Athena/Minerva</a> . Isis's delieverance of Lucius, despite his being incarcerated in the form most hateful to Her, is particularly praiseworthy when viewed against the backdrop of the Egyptian myths associated with Isis &amp; Osiris.<br> </div> </td> <td valign="Top"> <div align="Right"><a href="goldass/isis02.jpg"><img src="goldass/isis02.jpg" alt="ramses roses isis" width="275" height="389"> </a> <br> <font size="-1" color="#663300">Pharaoh Ramses presents Roses to Isis<br> <br> <br> <a href="goldass/crete.jpg"><img src="goldass/crete.jpg" alt="crete" width="350" height="265"> </a> <font color="#663333">Crete (1940) - <br> painting by Norman Lindsay (Jack Lindsay's father)<br> </font><br> <br> <br> </font> <table cellpadding="2" cellspacing="2" border="1" width="100%"> <tbody> <tr> <td valign="Top"> <div align="Center"><font size="+1"><b><u>Classical Isis Worship</u></b></font><font size="+1"><a href="http://www.adherents.com/Na_320.html"><b><br> </b></a> </font><font size="-1"><b><a href="goldass/isis04.jpg"><img src="goldass/isis03.jpg" alt="Isis faience" width="125" height="235"> </a> <br> </b></font><font size="-2">Turquoise faience figure, 3rd century BCE of seated Isis,<br> wearing the horns &amp; sun-disc crown,<br> with child Horus on her lap<br> &nbsp;(<u>click photo for close-up</u>) </font><br> <br> <a href="https://en.wikipedia.org/wiki/Philae"><b> Island of Philae<br> <font size="-2">(centre of ancient Isis worship)</font></b><font size="-1"><b><br> </b></font><img src="https://upload.wikimedia.org/wikipedia/commons/thumb/f/f4/The-Temple-of-Philae-on-Agilika-Island.jpg/220px-The-Temple-of-Philae-on-Agilika-Island.jpg" alt="philae" width="150"> </a> <br> <br> <font size="-1"><a href="http://www.adherents.com/Na_320.html"> A timeline of Isis Worship<br> <br> </a> </font> <hr width="100%" size="2"><font size="+1"><b><u>Modern Isis Worship</u></b></font><br> <a href="http://www.fellowshipofisis.com/"><br> <b>The Fellowship of Isis</b></a> &nbsp;<font size="-1"> <br> Foundation Centre: <br> Clonegal Castle, Enniscorthy, Ireland</font><a href="http://www.fellowshipofisis.com/"><br> </a> <font size="-1"><br> <a href="http://www.kemet.org/">Kemet Orthodox Faith</a> <br> </font><br> </div> </td> </tr> </tbody> </table> <font size="-1" color="#663300"><br> </font></div> </td> </tr> </tbody> </table> <table cellpadding="2" cellspacing="2" border="0" width="100%"> <tbody> <tr> <td valign="Top"><a href="goldass/pan.jpg"><img src="goldass/pan.jpg" alt="pan &amp; psyche" width="300" height="379"> </a> <font size="-1" color="#000099">Pan comforts Psyche -<br> painting by Sir Edward Burne-Jones</font><br> </td> <td valign="Top"><br> Following <a href="http://www.geocities.com/Area51/Dimension/8311/plutarch.html"> Plutarch's <i>De Iside et Osiride</i>,</a> Isis represents all that is well-ordered and beautiful in the world; Typhon chaos and irrationality. The priest's address to Lucius in the final book: 'Sed utcumque Fortunae caecitas, dum te pessimis periculis discruciat, ad religiosam istam beatitudinem inprovida produxit malitia' (Apuleius XI.15)--'But in spite of all, Fortune with her blind eyes, all the while that she was tormenting and cruelly imperilling you, has by the very exercise of her unforeseeing malignity brought you to this state of beautitude of release' (adapted from Walsh trans. 227). The lassitudes of irrationally cruel Fortune accidently bring Lucius into Isis's grace. Again, 'Fortune with blind eyes' is representative of disruptive Typhon, whose actions are unintelligibly cruel; as opposed to the rational order symbolises by Isis (note: this is a very different opposition from that of Apollonian order <i>v. </i> Dionysian chaos--as discussed in Nietzsche's&nbsp;<i> Die Geburt der Trag&ouml;die</i> ['The Birth of Tragedy']--where order and chaos are aligned quite differently, i.e. chaos with the primal, with music, &amp;c. and order with the 'civilised', with sculpture, &amp;c.). &nbsp; <br> <br> The ass in Apuleius's day therefore represented cruelty and lust; when Charite escapes from the dacoits and rides home on Lucius's back, Apuleius remarks that this is an extra-ordinary sight: '<i>virginem asino triumphantem</i> ' (Apuleius VII.13). Literally, 'a virgin triumphantly riding an ass'; figuratively, 'purity dominating the lusts of the flesh without bit or bridle'. Further, Plutarch records an Egyptian festival in which asses and men dressed in Typhon's colours (tawny gold-red) were pushed over a cliff in ritualistic vengeance for Osiris's murder.<br> <br> Lucius's form as an ass may also be significant for another reason: <a href="http://www.tertullian.org/"> Tertullian</a> in his <a href="http://www.tertullian.org/anf/anf03/anf03-05.htm#P253_53158"> Apologeticus</a> [37] reports in that some Africans believed that Christians's worshipped an ass's head ('somniastis caput asininum esse deum nostrum'). And that a condemned man in the amphitheatre guyed the Christian god by wearing ass's ears and a hoof. Tertullian suggests that this strange notion may have originated from a distortion of Jewish practices in&nbsp;<a href="http://classics.mit.edu/Tacitus/histories.html"> Tacitus's <i>Histories</i>.</a> <br> <br> If this is evidence of Apuleius's antagonism towards Christianity (and it is supported by his representation of the cruel wife of the baker in Book 9 as adhering to a faith with a deity whom she proclaimed to be the only god), then it is not surprising, given the probable situation of Christian propaganda being spread both in Rome and in North Africa during Apuleius's life.<br> </td> </tr> </tbody> </table> <table cellpadding="2" cellspacing="2" border="0" width="100%"> <tbody> <tr> <td valign="Top"> <div align="Justify"><br> It is probable that Apuleius met with Christians and Christian-missionary texts whilst in Rome, one such apology by <a href="http://www.ocf.org/OrthodoxPage/reading/St.Pachomius/aristides.html"> Marcianus Aristides</a> is a <a href="http://www.ocf.org/OrthodoxPage/reading/St.Pachomius/aristides.html#XII"> nasty attack on Isiac religion</a> (Isis-worship). And then, his return to Carthage co-incided with the burst of Christianity in North Africa--Madauros, his own birthplace, being one of the centre of Christian witness (Turtullian's reports are that all of Roman North Africa was in turmoil in the 190s due to the spread of Christianity).<br> <br> Thus, the <i>Golden Ass</i>--and Apuleius's rendering of the 'Cupid &amp; Psyche' myth in particular--may be partially contrived as counter-doctrines to those of Christianity which Apuleius saw as threatening both the Isiac religion and Platonic philosophy. Thus his emphasis on the <i>numen unicum multiformi specie </i>(Apuleius XI.5), or 'single godhead with manifold forms' of Isis. &nbsp; <br> <br> In the middle ages, the Inquisition, not surprising, attempted to destroy all known editions of Apuleius's work due to its jabs at Christianity and Christians, such as the portrayal of the baker's wife, one of the wickest characters in the novel:<br> &nbsp;'<font size="-1">Tunc spretis atque calcatis divinis numinibus in viceram certae religionis mentita sacrilega praesumptione dei, quem praedicaret unicum, confictis observationibus vacuis fallens omnis homines et miserum maritum decipiens matutino mero et continuo corpus manciparat' (Apuleius IX.14) ['She scorned and spurned the gods of heaven; and in the place of true religion she professed some fantastic blasphemous creed of a God whom she named the One and Only God. But she used her deluded and ridiculuous observances chiefly to deceive the onlooker and to diddle her wretched husband; for she spent the morning in boozing, and leased out her body in perpetual prostitution' (Lindsay trans. 276) </font><br> <br> <a name="lingua"></a> The baker's wife is further described by Apuleius as '<i>saeva scaeva viriosa ebriosa pervicax pertinax</i>' (Apuleius IX.14), which provides a good example of Apuleius's rich, musical style of Latin prose--here combining both rhyme and alliteration. Such phrases illustrate the immense challenge for translators of the novel, if they are to attempt to preserve both the meaning and the form of the original to any degree. Some abandon any try at replicating the phonic-form, reading 'mischievous, malignant, addicted to men and to wine, froward and stubborn' (Bohn's ed. trans. 175), 'crabbed, cruell, lascivious, drunken, obstinate, niggish' (Adlington trans. 209), 'malicious, cruel, spiteful, lecherous, drunken, selfish, obstinate' (Graves trans. 203). Other translators use quite a variety of verbal tricks to get at the rhythm of the original, and succeed to varying degrees: 'crabbed and crotchety, libidinous and bibulous, obdurate and obstinate' (Walsh trans. 170), 'hard-hearted, perverse, man-mad, drunken, and stubborn to the last degree' (Kenney trans. 154), 'lewd and crude, a toper and a groper, a nagging hag of a fool of a mule' (Lindsay trans. 276).<br> </div> <br> Apuleius has a liking for outlandish and bizarre expressions and tangles the archaic with the colloquial in a disorienting m&eacute;lange. But it is this very exotic elixir of his language which sets the right tone for his tale of mingled drama and comedy, chivalrous love and comic lust. One should not be mislead by his apologies for his poor Latin:<br> &nbsp;<font size="-1">'Mox in urbe Latia advena studiorum Quiritium indigenam sermonem aerumnabili labore nullo magistro praeeunte aggressus excolui. En ecce praefamur veniam, siquid exotici ac forensis sermonis rudis locutor offendero. Iam haec equidem ipsa vocis immutatio desultoriae scientiae stilo quem accessimus respondet. Fabulam Graecanicam incipimus.' (Apuleius I.1)<br> &nbsp; ['Later in Rome, as a stranger to the literary pursuits of the citizens there, I tackled and cultivated the native language without the guidance of a teacher, and with excruciating difficulty. So at the outset I beg your indulgence for any mistakes which I make as a novice in the foreign language in use at the Roman bar. In fact this linguistic metamorphosis suits the style of the writing I have adopted here--the same sort of trick, you might say, as that employed by a circus-rider who leaps from one horse to another--for the romance on which I am embarking is adapted from the Greek' (trans. adapted from those of Walsh &amp; Kenney, pp. 1 &amp; 7, resp.)]<br> <br> </font>Like his circus-rider, Apuleius has pulled a trick here, in switching from the horse of begging apology to that of insinuating that a Greek might be able to teach the Romans a thing or two about their own tongue. And indeed, the prose following this prologue is not only unique and wonderful in its content, but also in its linguistic form.<font size="-1"><br> </font> </td> <td valign="Top"> <div align="Right"> <br> <br> <div align="Right"> <table cellpadding="2" cellspacing="2" border="1" width="100%"> <tbody> <tr> <td valign="Top"><br> <div align="Right"><a href="goldass/lamp.jpg"><img src="goldass/lamp.jpg" alt="roman lamp" width="175" height="233"> </a> <font size="-1"><font size="-2"><br> unusual Roman lamp, circa 100-300CE,</font></font><br> <font size="-1"><font size="-2"> seemingly showing a scene from</font></font><br> <font size="-1"><font size="-2"> the <i>Golden Ass </i> or </font></font><font size="-2"><i><b>&#923;&#959;&#965;&#954;&#953;&#959;&#962; &#951; &#927;&#957;&#959;&#962;.</b></i></font><br> <font size="-1"><font size="-2">owned/sold by <a href="http://www.ebaystores.com/id=741933"> Phoenicia Holyland Antiques</a> </font></font><br> </div> <div align="Center"><font size="-1"><a href="http://www.sacred-texts.com/cla/priap/prp111.htm"><br> <br> Roman morality: zoophilia</a> </font><br> <font size="-1"><a href="http://www.sacred-texts.com/cla/priap/prp111.htm"> in<i> the Golden Ass</i></a> </font><br> </div> </td> </tr> </tbody> </table> </div> <br> <br> <a href="goldass/ibis.jpg"><img src="goldass/ibis.jpg" alt="ibis" width="300" height="423"> </a> <br> <font size="-2"><font color="#333399">Feeding the Sacred Ibis - an engraving of a <br> painting by E. J. Poynter</font><br> <br> </font> </div> <div align="Center"> </div> </td> </tr> </tbody> </table> <br> <table cellpadding="2" cellspacing="2" border="0" width="100%"> <tbody> <tr> <td valign="Top"><a name="end"></a> Turning from the flower of Apuleius's style to the Mystical Rose which is the goal of Lucius for most of the novel, one may note the ubiquity of the rose in Western folk-tale and myth--e.g. in 'Sleeping Beauty', 'Beauty and the Beast', &amp;c. (its place taken by the lotus in Eastern myths)--and its current establishment as a token of the expression of passion and love. The expression <i>sub rosa </i>or 'under the rose' (meaning something confidential) actually originates from a Greek/Roman misinterpretation of an Egyptian hieroglyphic (appropriately enough): adopting Horus as a God (along with Isis and Osiris), the Greeks translated his Egyptian name <i>her-pa-khrad </i>to Harpocrates. The Egyptian hieroglyphic showed boy sucking his finger; the Greeks thought the boy had his finger to his lips, in the sign of secrecy. Cupid is said to have given Horus/Harpocrates a rose as a token of gratitude for not paying too close attention to the amorous goings-on of Cupid's Mother, Venus. Thus the rose became doubly-linked with confidentiality through Horus. The ceilings of Roman dining halls were rose-coloured to remind the guests that anything said there was <i> sub vino </i>(under the influence of wine) and also <i> sub rosa</i> and not for public consumption.&nbsp; &nbsp; <br> <br> This place 'under the rose' is the place where mothers tell their children that they were found, in a secret place; universally substituting the more pedestrian and innocuous cabbage for the velvety flower, which with its many flesh-coloured labial petals is much too close to the 'genital' reality the cabbage is meant to spare a child. As Lindsay says in his introduction, 'the effort of Lucius to shed his ass's skin can therefore be compared to mankind's effort to transfigure the cabbage of experience into the beautified rose....it is from...this effort that...misery proceed[s]; but without that complex struggle to sublimate experience there would be no humanity at all' (Lindsay viii). <br> <br> This seems a key to understanding the <i>Golden Ass</i>, that it is a representation of a man's effort to find a true interpretation of his experience--the universal human struggle to discover a meaning behind the jabs and pricks of blind fortune's irrational, indiscriminate cruelty. Apuleius's <i>Asinus aureus</i> or <i> Metamorphoses</i> is a 'fable of the fettered soul seeking to know its own action that is the true centre of the work; it is a radiant hymn of hope introduced to counterbalance the image of man's life as that of a galled beast-of-burden' (Lindsay ix). <br> </td> <td valign="Top"> <div align="Right"><br> <br> <br> <a href="goldass/ga21.jpg"><img src="goldass/ga21.jpg" alt="beast of burthen" width="300" height="208"> </a> <font size="-2" color="#330000">Lucius toiling - illustration by Jean de Bossch</font><font size="-2"><font color="#330000">&egrave;re</font><br> <br> <br> <br> <br> <img src="goldass/ga36.jpg" alt="lucius as a beast of burthen" width="282" height="210"> <br> </font><font size="-2" color="#660000">Lucius as a beast of burden - illustration by Jean de Bossch</font><font size="-2" color="#660000"> &egrave;re</font><br> <br> </div> </td> </tr> </tbody> </table> <hr width="100%" size="2"> <div align="Center"> <div align="Center"><u><b><i>Please do not reproduce any of the text above/herein without permission from the <a href="/cdn-cgi/l/email-protection#50233c313435103a38257e353425">author</a> and/or proper citation.</i></b></u><br> <font size="-1">(your professors <i>will </i>know if you do!)</font><br> </div> <hr width="100%" size="2"><b><font size="+1"><u>References</u></font></b><br> </div> <div align="Left"><font size="-1"><b>Apuleius. <i>Apulei Platonici Madaurensis Metamorphoseon Libri XI </i><i><font size="-2">(Apulei Opera Quae Supersunt, vol I)<font size="-1">. </font></font></i></b><font size="-1">edition &amp; commentary by <b>Rudulfus Helm. <br> &nbsp; &nbsp; Leipzig:&nbsp;</b></font></font><b><font size="-1">Bibliotheca Teubneriana</font></b><font size="-1"><font size="-1"><b>, 1907.</b></font><br> </font><font size="-1"><b>Apuleius. </b><i><b>The Golden Ass.</b></i> translation, notes, preface by <b>Jack Lindsay.</b> illustrated by Percival Goodman. <b>New York: The Limited Editions Club, 1932.</b><br> <b>Apuleius. <i>The Golden Ass. </i></b>translation, notes, preface by <b> P.G. Walsh. Oxford: Oxford University Press, </b> 1999 <b> (1994).</b><br> <b>Apuleius. <i>The Golden Ass or Metamorphoses. </i></b>translation, notes, preface by <b>E.J. Kenney. Harmondsworth: Penguin, 1998.</b><br> <b> Apuleius. <i>The Golden Asse.</i></b> translation, notes by <b> William Adlington.</b> preface by E.B. Osborn. illustrated by Jean de Bossch&egrave;re.&nbsp;</font><font size="-1"><b><font size="-1"><b> London: John Lane - The Bodley Head</b>, 1923.</font></b></font><font size="-1"><br> </font><font size="-1"><b>Apuleius. <i>The Transformations of Lucius, otherwise known as The Golden Ass. </i></b>translation, notes by <b> Robert Graves. New York: Farrar, Straus &amp; Giroux, </b> 2000 <b> (1950).<br> </b></font><font size="-1"><b>Apuleius. <i>The Marriage of Cupid and Psyche. </i></b>translation by <b> Walter Pater.</b> illustrated by Edmund Dulac. originally printed as part of the novel <b><i>Marius the Epicurean</i></b> . <br> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;London: Macmillan, 1885</font><font size="-1"> . (reprinted, Norwalk, Connecticut: The Heritage Press, 1951.)</font><font size="-1"><br> </font> <font size="-1"><b>Apuleius. <i>The Works of Apuleius, comprising The Metamorphoses, or Golden Ass, The God of Socrates, The Florida and His Defence, or a Discourse on <br> &nbsp;&nbsp;&nbsp; Magic (a new translation); to which are added, A Metrical Version of Cupid and Psyche and Mrs. Tighe's Psyche (a Poem in six Cantos). </i></b>translation, notes, <br> &nbsp;&nbsp;&nbsp; preface by unknown. Bohn's Libraries. <b> London: George Bell &amp; Sons, 1902.</b><br> <b>Lucian. True History and Lucius or the Ass. </b>translation, preface by <b>Paul Turner.</b> illustrated by Hellmuth Weissenborn. <b> Bloomington: Indiana Uni. Press, 1958.</b><i><b><br> Mahabharata.</b></i>translation &amp; preface by <b>Kamala Subramaniam.</b> &nbsp; <b>Bombay: Bharatya Vidya Bhavan, </b> 1997 <b> (1965).</b><br> <b>Martin, Ren&eacute;. 'Le sens de l'expression asinus aureus et la signification du roman apul&eacute;ien.' <i>Revue des &eacute;tudes latines</i> 48 (1970), pp. 332-354.</b></font><br> <font size="-1"><b>Nietzsche, Friedrich. <i>Die Geburt der Trag&ouml;die aus dem Geiste der Musik.</i> Leipzig: E. W. Fritzsch, 1872.</b></font><br> <font size="-1"> <b>Petersson, Margareta. </b><b><i>Unending Metamorphoses: Myth, Satire and Religion in Salman Rushdie's Novels. </i>Lund: Lund Uni. Press, 1996.<br> Plutarch. 'On Isis and Osiris'. in <i>Moralia V. </i></b>translation, notes, preface by<b> Frank C. Babbit. Cambridge, Massachusetts: Harvard Uni. Press, 1936.<br> Schlam, Carl C. <i>The Metamorphoses of Apuleius: on making an ass of oneself. </i>Chapel Hill: Uni. of North Carolina Press, 1992.<br> Walsh, P. G. 'Apuleius and Plutarch'. in <i>Neoplatonism and Early Christian Thought: essays in honour of A. H. Armstrong.</i></b> </font><font size="-1"> H. J. Blumenthal &amp; R. A. Markus (eds.). </font><font size="-1"><br> &nbsp; &nbsp; &nbsp;<b>London: Variorum, 1981, pp. 20-32, 256.&nbsp;</b></font> <hr width="100%" size="2"><font size="-1"><b><font size="+3"><font size="+2"><a name="ed"></a> The</font> <font color="#999900"><i>Golden Ass</i></font> <font size="+2"> ONLINE--</font><br> &nbsp; &nbsp; <font size="+2">complete Latin &amp; English editions:</font><br> </font></b><br> </font> <table cellpadding="2" cellspacing="2" border="0" width="100%"> <tbody> <tr> <td valign="Top"> <div align="Center"><a href="http://www.thelatinlibrary.com/apuleius.html"><font size="+3"><b> APULEII ASINUS AUREUS<br> </b></font></a> <a href="http://www.thelatinlibrary.com/apuleius.html"><b><font size="+1"><br> </font></b><font size="+1">**COMPLETE <b>LATIN</b> text ONLINE**</font><b><font size="+1"><br> <br> <br> </font></b></a> </div> <div align="Center"><a href="http://www.thelatinlibrary.com/apuleius.html"><img src="goldass/isis-wall.jpg" alt="pompeii wall-painting" width="275" height="278"> </a> <br> </div> <div align="Center"><font size="-2"><font color="#330000">wall-painting from Pompeii showing the rituals of the cult of Isis</font></font><br> <br> <br> </div> </td> <td valign="Top"> <div align="Center"><a href="http://eserver.org/books/apuleius/"><font size="+3"><b> APULEIUS'S <i>GOLDEN ASS</i></b></font><b><font size="+2"><i><br> </i></font></b><font size="+2"><font size="+1">**COMPLETE <b><font size="+1"> ENGLISH</font></b> text ONLINE</font></font><font size="+1"> **</font></a> <br> <font size="-2"><a href="http://eserver.org/books/apuleius/"> (Adlington's translation of 1566, 'published' on the web by Martin Guy, with a glossary)</a> </font><br> <a href="http://eserver.org/books/apuleius/"><img src="goldass/psyche01.jpg" alt="Psyche entering Cupid&apos;s Garden" width="275" height="374"> </a> <br> <font size="-1"><font color="#003300"><i><b>Psyche Entering Cupid's Garden</b></i></font> -</font><br> <font size="-1"> painting by John William Waterhouse</font></div> </td> </tr> </tbody> </table> </div> </div> </div> <div align="Center"> <hr width="100%" size="2"><font face="Helvetica, Arial, sans-serif"><u><b><font size="+2"><font size="+3" color="#999900"><i><a name="compare"></a> The Golden Ass </i>:</font></font></b></u></font><br> <a href="apu-ed.html"><font color="#cc0000"><u><b><font size="+2"> Editions, Translations,<br> Textual Comparisons of Selected Passages<br> + Links to Book Sellers<br> <font color="#000099">[click here!]</font><br> </font></b></u></font></a> <font color="#000000"><a href="apu-ed.html"><img src="goldass/apu02.jpg" alt="john price 1650" width="250" height="420"> </a> </font><br> <div align="Left"> <div align="Center"><font size="-2">title-page from John Price's Latin edition of 1650 (Gouda)</font><br> </div> </div> <div align="Center"> <div align="Left"> <div align="Center"><font color="#000000"><b><font size="+1">read selected passages from different translations alongside of Latin original;</font></b></font><br> </div> <div align="Center"><font size="+1"> information on translators &amp; translations;</font><br> <font size="+1">find &amp; buy your favourite edition of the <font size="+2" color="#999900"><i> Golden Ass</i></font>!</font></div> </div> </div> </div> </div> </div> </div> <div align="Left"><font size="-1"><br> </font></div> <hr width="100%" size="2"> <div align="Left"> <table cellpadding="0" cellspacing="2" border="0" width="100%"> <tbody> <tr> <td valign="Top"><font size="-1"><i>last modified 29-Aug-2012</i></font><a href="apuleius.html"><br> BACK TO APULEIUS MAINPAGE<br> <br> </a> <font size="-1">maintained by </font><a href="apuleius.html"><font size="-1"><br> </font></a> &nbsp;<br> </td> <td valign="Top"> <div align="Right"><i><b>errors, typos, suggestion, comments?</b></i><a href="/cdn-cgi/l/email-protection#e0938c818485a08a8e818e818dce8e8594"><br> CONTACT ME</a> <br> </div> </td> </tr> </tbody> </table> </div> <script data-cfasync="false" src="/cdn-cgi/scripts/5c5dd728/cloudflare-static/email-decode.min.js"></script><script language=javascript src="http://ss.webring.com/navbar?f=j;y=beoram;u=10026021"> </script><noscript><center> <table bgcolor=gray cellspacing=0 border=2 bordercolor=red><tr> <td><table cellpadding=2 cellspacing=0 border=0><tr><td align=center> <font face=arial size=-1>This site is a member of WebRing. To browse visit <a href="http://ss.webring.com/navbar?f=l;y=beoram;u=10026021"> here</a>.</font></td></tr></table></td></tr></table></center></noscript> </body> </html>
THE GOLDEN ASS OF APULEIUS - B. Slade **[graphics-heavy; do please wait for the images to load, they are worth the wait]** [first version; to be revised - please [email](/cdn-cgi/l/email-protection#20534c414445604a4e414e414d0e4e4554) suggestions/corrections/&c.] --- | | | | | | | | --- | --- | --- | --- | --- | --- | | | | | | --- | --- | | **THE GOLDEN ASS** madauros ass **an ass just outside of Madaura (Algeria)** | ***The Golden Ass***, also known by the alternative title, ***The Metamorphoses***, is one of the greatest fantasies of the world. The latter name, *The Metamorphoses*, is found in the extant manuscripts, but Augustine, who studied some two centuries later at Madauros (as well as at Carthage), says that Apuleius called his work ***Asinus aureus*** or *The Golden Ass,* which name I shall use hereafter (the word 'golden' in this context denotes "a quality of excellence and admirability" rather than "the sense of being fashioned from gold"). Apuleius informs us that he is adapting a Greek story. This is supposed by many scholars to have been a story possibly by the Greek author Lucius of Patrae. This text is now lost, though ***Λουκιος η Ονος*** (***Lucios or the Ass*** ) -- thought to be an abridgement of Lucius of Patrae's tale -- by Lucian, a Greek satirist and near-contemporary of Apuleius, still exists. However, the splendour of the *Golden Ass* is original to Apuleius, as *Lucious or the Ass* lacks all imagination and style; it is nothing but the story of an ass, not an image of human life like Apuleius's tale. | *The Golden Ass* is simultaneously a blend of erotic adventure, romantic comedy, and religious fable, it is one of the truly seminal works of early European literature, with a distinctly Eastern flavouring and a very modern feel. There are very few works with the pleasurable impact of the *Golden Ass.* Apuleius's images retain their vitality from almost 2000 years ago, losing nothing of their colour and magic. Indeed, the promise of the closing words of the Prologue: ***Lector, intende: laetaberis* - 'Lend me your ear, reader: you shall enjoy yourself'** are amply fulfilled. Over the centuries, the *Golden Ass* has brought pleasure and inspiration to generations of readers and writers, from [Shakespeare](http://web.uvic.ca/shakespeare/) to [Salman Rushdie.](lit.html#rush) A copy of the *Golden Ass* was one of the few things [T.E. Lawrence ('of Arabia')](http://www.ouphrontis.co.uk/) carried in his saddle-bags throughout the Arab Revolt. The charge to the reader: *intende* (lit. 'be attentive') -- rather like the beginning of the first English epic [*Beowulf*](http://www.heorot.dk) :  *Hwaet* ('listen')  -- is a much more demanding commencement than '*once upon a time...*' It requests the reader to be an active participant in experiencing the tale, not simply a passive listerner (Apuleius's style throughout is consistent with this notion).  The Latin statement, in fact, is a conditional: 'if you are attentive, *then* you shall take pleasure', suggesting that the reader's enjoyment depends upon the degree of attention paid to the tale.  The modernity of *The Golden Ass* originates from the timelessness of the text. This is true of the humour--what we found amusing two thousands years ago we still do today--but also of the non-comic aspect of the work: the continual struggle of individuals to come to grips with and function in a largely unintelligible world. The transformation of man into ass provides a well-lit stage for the drama of this struggle to play upon; his form of an ass allows the narrator a unique vantagepoint from which he is able to better gather together the threads of the mundane world to weave his fantastic tale. But the story remains that of man and his place in the world. This is not to say that Apuleius was not a believer in magic--he had been initiated into the mysteries of Isis and is reputed to have himself performed miracles necessitating the mastery of magic and sorcery. However, *The Golden Ass* is not a story *about* magic, the supernatural of the novel is a convience subordinate to the spinning of a story about man and the struggle of life in a world of limited resources. Magic in *The Golden Ass* may change a man to an ass, but it does not transform the Finite into the Infinite:-- it does not eliminate the 'need' for slaves, make all of the poor men rich or all the hungry satiated. Magic forms part of Apuleius's natural world:-- the world in which it is winter during those months in which Ceres's daughter dwells in Hades; a world in which the earth is not always bountious, not matter how much one propriates the Gods with burnt offerings and other sacrifices. Spells and witchcraft do not change these facts.     | [The Golden Ass frontispiece by Percival Goodman](goldass/ga00.jpg) *The Golden Ass* -  frontispiece illustration by Percival Goodman | | | --- | | **Quick-Links & Jumps****[Introduction to the](#intro) *[Golden Ass](#intro)*[On Magic in the](#magic) *[Golden Ass](#magic)*[On Desire in the](#lust) *[Golden Ass](#lust)*****[On Labour in the](#social) *[Golden Ass](#social)*****[The *Golden Ass's* Influence on later novelists](#novel)****[On the Tale of 'Cupid & Psyche'](#cupid)**[**On Divinity & Platonic Duality in the *Golden Ass***](#plato) **[On Isis Myths & the Symbolism of Gold Asses](#isis) [The Language of Apuleius](#lingua)**[**Concluding Remarks**](#end) [**\*ONLINE editions of the *Golden Ass* here\***](#ed) [**\*Translations, editions & selected passages****\***](#compare) | | | | --- | | **If you are unfamiliar with** ***The Golden Ass* , I recommended reading my review:** [**The Best Piece of Asse in Ancient Rome** ass review](http://www.dooyoo.co.uk/books_magazines/print_books/golden_ass_the_lucius_apuleius/_review/338960/) Lucius & the lascivious woman - illustration by Jean de Bosschère | | | | | | --- | --- | | Part of the inherent struggle depicted in *The Golden Ass* is that of arises from man's own inner desires for pleasure. In this we find one of the 'Eastern' elements of Apuleius's work, the journey to escape from the bonds of desire endured by Lucius is similar to the [Hindu](hindu.html) concept of *moksha* ("release"), the [*Bhagavad-Gita*](http://www.bhagavad-gita.org/) dialogue between Arjuna and Krishna being an excellent expression of this philosophy. This is not to say that the *Golden Ass* is by any means a moralistic tale of a libertine who realises the 'ungodliness' of his ways and reforms in order to secure a seat in the heavens. Apuleius celebrates the sensual aspects of life and his vivacious descriptions of erotic scenes illustrate his possession of the 'cavalier-poet' virtue of living life to the fullest, both the pleasurable and the painful. Just as there is a Tantric school of Hinduism which does not strive to avoid the sensuous side of experience, Apuleius's is a tale of maturation and the attainment of the wisdom needed to survive one's desires. | [Ramses Harem](goldass/harem.jpg) Ramsès dans son Harem (1885-86) - a photogravure from a painting by Lecomte Nouy | | | | | --- | --- | | [ass among men](goldass/ga02.jpg) Lucius among the slaves - illustration by Percival Goodman | As well as being concerned with the conflicts arising from inside an individual, *The Golden Ass* always treats the conflicts which occur between individuals, or between an individual and a larger group of persons. It holds a mirror to Apuleius's society, being the earliest book (at least in the West) to show society as a whole.  Not only does it illustrates the heroes, senators and other magnates of Roman power, but also simple shepherds and rustic farmers, cooks and scullions, artesans, slaves and beggars, and the dacoits and thieves of the underworld. When Lucius, as an ass, is forced to work in a flour-mill, Apuleius's pitiless description of the conditions of the slaves toiling there--comparing the human and animal in a single breath--shows his keen observations of unacceptable conditions in the Empire and is a plea for reform:   'Good Gods! what a tribe of mannikins I saw. Their skin was striped all over with livid scourge-scars; their wealed backs were crusted rather than clothed with their patchwork rags; some had no more covering than a bit of dangled apron; and every shirt was so tattered that the body was visible through the rents. Their brows were branded; their heads were half-shaved; irons clanked on their feet; their faces were sallow and ugly; the smoky gloom of the reeking overheated room had bleared and dulled their smarting eyes; and (like boxers who fight befouled with the dust of the arena) their faces were wanly smeared with the dirtied flour. But how shall I describe the beast, my comrades? What superannuated mules and enervated geldings! They drooped their heads around the manger as they munched the heaps of straw; their necks were frotted with bleeding and putrefying sores; they coughed continuously and wheezed through their feeble nostrils; their chests were raw from the rubbing of the rush-ropes; their sides were split by the ceaseless cudgelling till their rib-bones showed; their hooves were crushed out broad and flat by their never-ending tramp in the mill-round; and their hides were scarified all over with mange and emaciation' (Lindsay trans. 274-275). | | | | | | --- | --- | --- | | Apuleius's novel has inspired many subsequent writers and artists and been one of the greatest influences in Western literature, including such classic works as [Boccaccio's *Decameron*,](http://www.brown.edu/Departments/Italian_Studies/dweb/dweb.shtml)  [Cervantes's *Don Quixote*](http://www.donquixote.com/index.html) and [Swift's *Gulliver's Travels.*](http://www.jaffebros.com/lee/gulliver/index.html) In these there obviously exists the same satyrical style as in the *Golden Ass*, the same basic image of human madness and endeavour. As well, the [bathetic](http://www.britannica.com/seo/b/bathos/) form of the *Golden Ass* occurs (as well as in the above works) also in [Sterne's *Tristram Shandy*](http://www.gifu-u.ac.jp/%7Emasaru/Sterne_on_the_Net.html) (which, along with Richardson's *Clarissa*, are considered the first modern novels) and [Joyce's famous *Ulysses*](http://www.jamesjoyce.ie/) (a sort of 'retelling' the tale of [Homer's Odyssey,](http://www.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus%3Atext%3A1999.01.0136&query=book%3D%231) re-set in 19th century Dublin). In more modern literature, the little known, but very important work of Anglo-Indian novelist [G.V. Desani's *All About H. Hatterr*](lit.html#hatterr) also carries on Apuleius's mad, bathetic style of story-weaving. More well-known Booker-Award winning Anglo-Indian author [Salman Rushdie](lit.html#rush) too writes very much in the Apuleian style--both in the sense of *bathos* as well as adapting Apuleius's particular manner of interweaving 'mirroring' stories together (see below). In addition to style, an episode in Rushdie's (in)famous novel, [*The Satanic Verses*,](http://www.wsu.edu/%7Ebrians/anglophone/satanic_verses/) displays a thematic borrowing, in that it involves a transformation of the protagonist into bestial form and his subsequent attempts to regain human form:--'[the *Golden Ass*] serving as the central intertext [of *Satanic Verses*]', in the words of Dr. Margareta Petersson. The shape-changing theme also occurs in [Kafka's](http://www.kafka.org/) [*Die Verwandlung* (*The Metamorphosis*)*.*](http://www.kafka.org/projekt/lebzeit/verwandlung.htm) This theme, while obviously ubiquitous in human imagination, is unusual in Apuleius in that a first-person narrative is provided by the metamorphed man, as in Kafka. Kafka's novel owes something to the *Golden Ass* in its plot of an ordinary person who one day suddenly finds himself in a shape not his own--a repulsive shape; and in the protagonist's struggle to survive with his humanity intact. The 'Chinese-box' structure of the *Golden Ass* (e.g. the stories set within the frame of the primary narrative of Lucius)--similar to the pattern of [*One Thousand and One Arabian Nights*](http://www.crock11.freeserve.co.uk/arabian.htm) --is perhaps a remnant of the Indo-European epic tradition (and the Greek tradition in particular), which often exhibits the imbedding of tales and myths not structurally part of the main narrative. The majority, if not all, of these interwoven 'mini-stories' are not original to Apuleius; rather, they were well-known tales and anecdotes belonging to the common community--thus Apuleius's introductionary description of his work as ' *At ego tibi sermone isto Milesio varias fabulas conseram auresque tuas benivolas lepido susurro permulceam*' ["What I should like to do is to weave together different tales in this Milesian mode of story-telling and to stroke your approving ears with some elegant whispers" (Walsh trans. 1)]. Milesian tales are a sort of light entertainment; there existed a large repertoire of such popular myths and anecdotes, though Apuleius--as always--presents them in his unique style. As E.J. Kenney points out, there exists a paradox in Apuleius's preface. He begins by stating that he is going to string together a number of light tales, but then at the end of the introduction he says 'It is a Grecian story I am about to begin' ('*Fabulam Graecanicam incipimus* '). *Fabulam Graecanicam* - *a* Grecian fable: singular, not plural. This obviously refers to the main story of Lucius's transformation adapted from a Greek fable; making the plot of the ass primary. One suspects that Apuleius delighted in this seeming discrepany--though the *Golden Ass* turns out to be *both* a single fable and a series of tales woven together (a bit like the Christian 'mystery of the trinity' in its unity/plurality contradictions). Apuleius's abjuration to the reader to *lector* - 'be attentive' is quite right: only the attentive reader will be able to resolve the intricate mysteries of the *Golden Ass.*   | [Circe](goldass/circe.jpg)  Circe transforms Odysseus's men into swine (1889) - a photogravure of a painting by L. Chalon | | | --- | | [**Alchemy & Metamorphoses** - links between Apuleius's *Golden Ass* and Salman Rushdie's *The Satanic Verses*](http://65.107.211.206/post/rushdie/mp2.html) | [sphinx](goldass/sphinx01.jpg) The Sphinx - painting by Norman Lindsay (Jack Lindsay's father) | | | | | | | --- | --- | --- | --- | | | | | --- | | **[an essay on the](http://www.unisi.it/ricerca/ist/anc_hist/online/apuleio/storici/storici.htm) [use of historiographical topoi](http://www.unisi.it/ricerca/ist/anc_hist/online/apuleio/storici/storici.htm)****[in the *Golden Ass*](http://www.unisi.it/ricerca/ist/anc_hist/online/apuleio/storici/storici.htm)** by Luca Graverini (negli Italiano) | [Venus & Cupid](goldass/cupid03.jpg) The Allegory of Lust (1540-50) [Venus & Cupid]  painting by Bronzino | | | --- | | [Illustrated story of Cupid & Psyche](http://www.plotinus.com/myth_cupid_psyche.htm) [Shakespeare's *Venus & Adonis* accompanied by Venus artwork](http://www.ludweb.com/poetry/venus/) **Essays, &c. on 'Cupid & Psyche'**[Psycho-Analytic' criticism - J. Schroeder](http://www.scils.rutgers.edu/special/mjoseph/schroeder.html) ['Psycho-Analytic' criticism - Erich Neumann](http://www.scils.rutgers.edu/special/mjoseph/neumann.html) ['Psycho-Analytic' criticism - Bruno Bettelheim](http://www.scils.rutgers.edu/special/mjoseph/bettelheim.html) [Archetypes in 'Cupid & Psyche'](http://www.scils.rutgers.edu/special/mjoseph/argument.html) [Thought-provoking questions on 'Cupid & Psyche' 1](http://www.scils.rutgers.edu/special/mjoseph/apuleius-questions1.html) [Thought-provoking questions on 'Cupid & Psyche' 2](http://www.scils.rutgers.edu/special/mjoseph/apuleius-questions2.html) | | At the centre of Apuleius's interweaving of tales is that of 'Cupid and Psyche'. This tale--like the others--was not invented by Apuleius either. The framework of the myth of 'Cupid and Psyche' is recurrent throughout Indo-Aryan cultures, from Scotland to India. The best known version of it is perhaps the Germanic fairy-story *Cinderella.* However, Apuleius's retelling of this myth is an extraordinary feat of artistry--as P.G. Walsh puts it, a transformation of a *Märchen* ('folk-tale') into a *Kunstmärchen* ('Art-Story'). The eminent Victorian aesthetic critic and essayist [Walter Pater](http://65.107.211.206/victorian/decadence/pater/paterov.html) admired this section of the story so much that he included it in its entirety in his book *[Marius the Epicurean](http://www.blackmask.com/books57c/7mrs1dex.htm)*(a study of the intellectual and spiritual development of a young Roman in the time of Marcus Aurelius). 'Cupid and Psyche' is made by Apuleius to illuminate the larger whole of the *Golden Ass*, by being a reflection of the same theme. In this way, Apuleius projects the central thread of the tale of Lucius's transformation into the wider plane of mythos. As Lucius indulges his curiosity about Pamphile's witchcraft despite being repeatedly warned against doing so; so Psyche allows her curiosity to get the better of her, in spite of warnings parallel to those of Lucius. Both are punished by being forced to wander through the world, forsaken by all. Both are delivered from their misfortune through a series of trials--the labours of Venus in the case of Psyche, the serial stages of initiation into the mysteries of Isis for Lucius. Both stories seem at first blush to set up a division between 'appropriate' and 'forbidden' knowledge, with punishment afflicting those who dare to open the Pandora's box of the forbidden. However, it is overly hasty to extract such a moral from either of these tales. Psyche is eventually transported to Heaven and granted immortality; Lucius obtains an intimate relationship with the Goddess Isis. Neither Lucius nor Psyche would have attained the Divine in these parallel ways had they not first transgressed into the realm of illicit knowledge.   Apuleius's Platonic philosophy is particularly evident in this episode, Cupid serving as an allegory of the soul's restless attempts to reach the Divine (Isis). As well, both tales show the same sort of bifurication of a Platonic ideal into a higher and a lower form, as expostulated by Apuleius in his [*Apologia* [12]:](http://www.gmu.edu/departments/fld/CLASSICS/apuleius.apol.html#12)   'But I will forbear to enlarge upon those deep and holy mysteries of the Platonic philosophy, which, while they are revealed to but few of the pious, are totally unknown to the profane; how, that Venus is a twofold goddess, each of the pair producing a particular passion, and in different kinds of lovers. One of them is the "Vulgar", who is prompted by the ordinary passion of love, to stimulate not only the human feelings, but even those of cattle and wild beasts, to lust, and commit the enslaved bodies of beings thus smitten by her to immoderate and furious embraces. The other is the "Heavenly" Venus, who presides over the purest love, who cares for men alone and but few of them, and who influences her devotees by no stimulants or allurements to base desire' (Bohn's trans. 258).   It has been suggested that in this way two 'Cupids' compete for Psyche's love; and thar in the same way the 'higher Venus' prevails in the case of Lucius when Fotis is replaced by Isis. It does not seem clear that a relationship with both Isis and Fotis would be impossible for Lucius, however his attitude towards 'love' does seem change evolve from the lower Venus to the higher Venus in the course of the novel. | | | | | | --- | --- | --- | | The solemn close of the *Golden Ass--*Lucius's initiation into the sacred rites of Isis and Osiris--may strike many readers as incongruous with the light-hearted style of the majority of the novel. This comes from the error of approaching the *Golden Ass* as purely a comic romance. Apuleius constructs a careful alternation between comic and tragic episodes, between romantic and dramatic. For instance, the comic encounter of Lucius and his miserly host Milo is offset by the tragic drama of the story of Socrates's death; the Lucius's romantic sexual encounters with the maidservant contrast with the horrifying story of Thelyphron's disfigurement he hears in the same book. Indeed, there are both comic-tragic and comic-romantic sections, as well as both dramatic-tragic and dramatic-romantic episodes. The Lucius-Fotis episodes, for example, could be termed comic-romantic; the Cupid-Psyche centre-story, dramatic-romantic. Lucius's transformation from man to ass is comic-tragic; while Charite's death is dramatic-tragic. In fact, the fates of Charite and Tlepolemus, Cupid and Psyche, and Lucius (and Fotis/Isis), are woven together in a complex counterpoint (what has been called the 'Charite-complex', see Schlam (1992)). For instance, the dramatic-tragic kidnapping of Charite in the fourth book complements Lucius's own capture by the dacoits; the romantic rescue of Charite in the seventh book is parallel to the finale of the 'Cupid & Psyche' story in the preceding books, and juxtaposed with Lucius's miserable experiences at the farms, also in the seventh book; Lucius's comic adventures with the priests contrast with Charite's tragic death in the eighth. All throughout, Apuleius alternates between jocular and often 'vulgar' happenings and 'high-brow' dramatic or tragic episodes. This is not dissimilar to the technique one observes in, for example, the tragedies of Shakespeare, which, as well as tragic elements, also contain humorous episodes; and are meant to be enjoyed on more than one level.   Furthermore, there is a philosophic layer of the *Golden Ass* as well, as mentioned above, in the Platonic dualism between a lower, vulgar 'path' and a higher, heavenly 'path'; for instance, Venus competes for mastery over Lucius in her lower form as Fotis and her higher form as Isis (though, again, it is not clear that these two could not be reconciled, that is, that a relationship with Isis prevents Lucius from having a relationship with Fotis, though it certainly restricts the form of that relationship). One major theme of the narrative of Lucius in the *Golden Ass*, reflected in the tale of 'Cupid & Psyche', is this dualism of a debased and a perfected form of the same entity. Lucius is punished for his prurient curiosity into Pamphile's magic via his sexual liaison with Fotis by his transformation into a foolish ass. In the *Apologia* as well, Apuleius seeks to define healthy curiosity as that which endeavours towards knowledge of true reality by rational, intellectual means, as well as religious experience; as opposed to base curiosity which seeks an illusionary reality (Hindu *'maya* ') by way of left-hand magic ('black magic') and undirected sensuality. As William Adlington said of the *Golden Asse* during his Introductory Address and Epistle Dedicatory, delivered from University College, Oxford on 18th September 1566: 'Although the matter therein seeme very light and merry, yet the effect thereof tendeth to a good and vertuous moral...under the wrap of this transformation is taxed the life of mortall men, when as we suffer our mindes so to bee drowned in the sensuall lusts of the flesh, and the beastly pleasure thereof...so can we never be restored to the right figure of ourselves except we taste and eat the sweet Rose of reason and vertue, which rather by the mediation of praier we may assuredly attaine'. As Robert Graves reports in his introduction, mid-20th century research into the history of magic and witchcraft has revealed that there were Thessalian witches who preserved a pre-Aryan tradition of destructive, 'left-hand' magic, associated with the Triple Moon-Goddess in her form of Hecate. The 'right-hand', benevolent magic is connected to the mysteries of Isis--the Goddess Lucius/Apuleius come to worship. Thus, the *Golden Ass* should not be read as containing a 'Puritan' moral of coverting sexual love into love of God, and the abandonment of magic in favour of 'religion'. Sensuality is not inherently vulgar, nor is magic always evil; both can take either a destructive, 'left-hand' character or a positive, 'right-hand' form--just as the Moon-Goddess appears both as Hecate and as Isis. Lucuis's form as an ass is also significant in terms of the philosophy of the *Golden Ass*. Though the title is typically thought to mean something like 'The Princes of All Ass-Stories' or 'The Best of Asses', there may be a purposeful ambiguity between the sense of *aureus* as meaning 'best' and its more literal meaning of 'golden'. Martin has suggested that the Latin title may translate the Greek *ονος πυρρος* "tawny ass" associated with the demon Typhon (as Plutarch details in his [*De Iside*](http://www.geocities.com/Area51/Dimension/8311/plutarch.html) ). The worship of Isis in the form known to Apuleius and Plutarch actually arose in Greek and Roman days, Her Egyptian precursor Aset (the latter name written with the hieroglyphic for 'throne') having been almost completely forgotten for hundreds of years, and there being very few priests left who could even read the hieroglyphics on the temple walls. To continue, in Plutarch's account, briefly: Typhon (Seth in Egyptian) is the evil brother of the God King Osiris. Typhon contrived a plan to usurp his brother whereby he tricked Osiris into stepping into a heavily-ornamented box fitted exactly to his dimensions. No sooner had Osiris entered the box then Typhon had it nailed-shut and sealed with molten lead. He and his conspirators then threw this casket into the river. The pans & satyrs learn of this trick and inform Osiris's sister-wife, Isis. She searches all of the lands for the Osiris's coffin and, upon finding it, tears off the lid and carresses the dead face of Her beloved brother-husband. Her carresses turn more urgent until She begins to copulate with the cold body of Osiris (reminiscent of some representations the Hindu Goddess Kali astride the prostate, lifeless body of Shiva) and conceives a child, Horus. When Typhon learns of the body's discovery, he chops the body into tiny bits, casting them hither and yon through the lands. Isis retrives all of the parts, except for Osiris's male-member (symbolising his virility and strength), which Typhon cast into the river to be eaten by pikes (Egyptians traditionally avoided eating pike for this reason). However, Isis made a replica phallus and consecrated it--this event replicated in ceremonies performed by the ancient Egyptians in a festival (again, quite similar to the Hindu *Shiva-lingam* worshippers, particularly prevalent in the south of India). Later Horus, Osiris's truly post-humous son, overthrows the cruel Typhon. Because of Typhon's slaying of Her husband, the tawny ass of Typhon is particularly repellent to Isis, as She says to Lucius: '...de proximo clementer velut manum sacerdotis osculabundus rosis decerptis pessimae mihique iam dudum detestabilis belvae istius corio te protinus exue' (Apuleius XI.6)--'...when you have drawn near, make as if you intend to kiss the priest's hand, and gently detach the roses; at once then shrug off the skin of this *most hateful of animals, which has long been abominable in my sight* ' (Walsh trans. 221--my *emphasis* ). The owl, into which shape Pamphile transforms, on the other hand, is a symbol of wisdom, and [the owl is thus often associated with Athena/Minerva](http://www.jams.swinternet.co.uk/Bath/Minerva.htm) . Isis's delieverance of Lucius, despite his being incarcerated in the form most hateful to Her, is particularly praiseworthy when viewed against the backdrop of the Egyptian myths associated with Isis & Osiris. | [ramses roses isis](goldass/isis02.jpg) Pharaoh Ramses presents Roses to Isis [crete](goldass/crete.jpg) Crete (1940) - painting by Norman Lindsay (Jack Lindsay's father) | | | --- | | **Classical Isis Worship** **[Isis faience](goldass/isis04.jpg)**Turquoise faience figure, 3rd century BCE of seated Isis, wearing the horns & sun-disc crown, with child Horus on her lap  (click photo for close-up) [**Island of Philae (centre of ancient Isis worship)**philae](https://en.wikipedia.org/wiki/Philae) [A timeline of Isis Worship](http://www.adherents.com/Na_320.html) --- **Modern Isis Worship** [**The Fellowship of Isis**](http://www.fellowshipofisis.com/)   Foundation Centre: Clonegal Castle, Enniscorthy, Ireland [Kemet Orthodox Faith](http://www.kemet.org/) | | | | | | --- | --- | | [pan & psyche](goldass/pan.jpg) Pan comforts Psyche - painting by Sir Edward Burne-Jones | Following [Plutarch's *De Iside et Osiride*,](http://www.geocities.com/Area51/Dimension/8311/plutarch.html) Isis represents all that is well-ordered and beautiful in the world; Typhon chaos and irrationality. The priest's address to Lucius in the final book: 'Sed utcumque Fortunae caecitas, dum te pessimis periculis discruciat, ad religiosam istam beatitudinem inprovida produxit malitia' (Apuleius XI.15)--'But in spite of all, Fortune with her blind eyes, all the while that she was tormenting and cruelly imperilling you, has by the very exercise of her unforeseeing malignity brought you to this state of beautitude of release' (adapted from Walsh trans. 227). The lassitudes of irrationally cruel Fortune accidently bring Lucius into Isis's grace. Again, 'Fortune with blind eyes' is representative of disruptive Typhon, whose actions are unintelligibly cruel; as opposed to the rational order symbolises by Isis (note: this is a very different opposition from that of Apollonian order *v.* Dionysian chaos--as discussed in Nietzsche's  *Die Geburt der Tragödie* ['The Birth of Tragedy']--where order and chaos are aligned quite differently, i.e. chaos with the primal, with music, &c. and order with the 'civilised', with sculpture, &c.).   The ass in Apuleius's day therefore represented cruelty and lust; when Charite escapes from the dacoits and rides home on Lucius's back, Apuleius remarks that this is an extra-ordinary sight: '*virginem asino triumphantem* ' (Apuleius VII.13). Literally, 'a virgin triumphantly riding an ass'; figuratively, 'purity dominating the lusts of the flesh without bit or bridle'. Further, Plutarch records an Egyptian festival in which asses and men dressed in Typhon's colours (tawny gold-red) were pushed over a cliff in ritualistic vengeance for Osiris's murder. Lucius's form as an ass may also be significant for another reason: [Tertullian](http://www.tertullian.org/) in his [Apologeticus](http://www.tertullian.org/anf/anf03/anf03-05.htm#P253_53158) [37] reports in that some Africans believed that Christians's worshipped an ass's head ('somniastis caput asininum esse deum nostrum'). And that a condemned man in the amphitheatre guyed the Christian god by wearing ass's ears and a hoof. Tertullian suggests that this strange notion may have originated from a distortion of Jewish practices in [Tacitus's *Histories*.](http://classics.mit.edu/Tacitus/histories.html) If this is evidence of Apuleius's antagonism towards Christianity (and it is supported by his representation of the cruel wife of the baker in Book 9 as adhering to a faith with a deity whom she proclaimed to be the only god), then it is not surprising, given the probable situation of Christian propaganda being spread both in Rome and in North Africa during Apuleius's life. | | | | | | --- | --- | --- | | It is probable that Apuleius met with Christians and Christian-missionary texts whilst in Rome, one such apology by [Marcianus Aristides](http://www.ocf.org/OrthodoxPage/reading/St.Pachomius/aristides.html) is a [nasty attack on Isiac religion](http://www.ocf.org/OrthodoxPage/reading/St.Pachomius/aristides.html#XII) (Isis-worship). And then, his return to Carthage co-incided with the burst of Christianity in North Africa--Madauros, his own birthplace, being one of the centre of Christian witness (Turtullian's reports are that all of Roman North Africa was in turmoil in the 190s due to the spread of Christianity). Thus, the *Golden Ass*--and Apuleius's rendering of the 'Cupid & Psyche' myth in particular--may be partially contrived as counter-doctrines to those of Christianity which Apuleius saw as threatening both the Isiac religion and Platonic philosophy. Thus his emphasis on the *numen unicum multiformi specie* (Apuleius XI.5), or 'single godhead with manifold forms' of Isis.   In the middle ages, the Inquisition, not surprising, attempted to destroy all known editions of Apuleius's work due to its jabs at Christianity and Christians, such as the portrayal of the baker's wife, one of the wickest characters in the novel:  'Tunc spretis atque calcatis divinis numinibus in viceram certae religionis mentita sacrilega praesumptione dei, quem praedicaret unicum, confictis observationibus vacuis fallens omnis homines et miserum maritum decipiens matutino mero et continuo corpus manciparat' (Apuleius IX.14) ['She scorned and spurned the gods of heaven; and in the place of true religion she professed some fantastic blasphemous creed of a God whom she named the One and Only God. But she used her deluded and ridiculuous observances chiefly to deceive the onlooker and to diddle her wretched husband; for she spent the morning in boozing, and leased out her body in perpetual prostitution' (Lindsay trans. 276) The baker's wife is further described by Apuleius as '*saeva scaeva viriosa ebriosa pervicax pertinax*' (Apuleius IX.14), which provides a good example of Apuleius's rich, musical style of Latin prose--here combining both rhyme and alliteration. Such phrases illustrate the immense challenge for translators of the novel, if they are to attempt to preserve both the meaning and the form of the original to any degree. Some abandon any try at replicating the phonic-form, reading 'mischievous, malignant, addicted to men and to wine, froward and stubborn' (Bohn's ed. trans. 175), 'crabbed, cruell, lascivious, drunken, obstinate, niggish' (Adlington trans. 209), 'malicious, cruel, spiteful, lecherous, drunken, selfish, obstinate' (Graves trans. 203). Other translators use quite a variety of verbal tricks to get at the rhythm of the original, and succeed to varying degrees: 'crabbed and crotchety, libidinous and bibulous, obdurate and obstinate' (Walsh trans. 170), 'hard-hearted, perverse, man-mad, drunken, and stubborn to the last degree' (Kenney trans. 154), 'lewd and crude, a toper and a groper, a nagging hag of a fool of a mule' (Lindsay trans. 276). Apuleius has a liking for outlandish and bizarre expressions and tangles the archaic with the colloquial in a disorienting mélange. But it is this very exotic elixir of his language which sets the right tone for his tale of mingled drama and comedy, chivalrous love and comic lust. One should not be mislead by his apologies for his poor Latin:  'Mox in urbe Latia advena studiorum Quiritium indigenam sermonem aerumnabili labore nullo magistro praeeunte aggressus excolui. En ecce praefamur veniam, siquid exotici ac forensis sermonis rudis locutor offendero. Iam haec equidem ipsa vocis immutatio desultoriae scientiae stilo quem accessimus respondet. Fabulam Graecanicam incipimus.' (Apuleius I.1)   ['Later in Rome, as a stranger to the literary pursuits of the citizens there, I tackled and cultivated the native language without the guidance of a teacher, and with excruciating difficulty. So at the outset I beg your indulgence for any mistakes which I make as a novice in the foreign language in use at the Roman bar. In fact this linguistic metamorphosis suits the style of the writing I have adopted here--the same sort of trick, you might say, as that employed by a circus-rider who leaps from one horse to another--for the romance on which I am embarking is adapted from the Greek' (trans. adapted from those of Walsh & Kenney, pp. 1 & 7, resp.)] Like his circus-rider, Apuleius has pulled a trick here, in switching from the horse of begging apology to that of insinuating that a Greek might be able to teach the Romans a thing or two about their own tongue. And indeed, the prose following this prologue is not only unique and wonderful in its content, but also in its linguistic form. | | | | --- | | [roman lamp](goldass/lamp.jpg) unusual Roman lamp, circa 100-300CE, seemingly showing a scene from the *Golden Ass* or ***Λουκιος η Ονος.*** owned/sold by [Phoenicia Holyland Antiques](http://www.ebaystores.com/id=741933) [Roman morality: zoophilia](http://www.sacred-texts.com/cla/priap/prp111.htm) [in *the Golden Ass*](http://www.sacred-texts.com/cla/priap/prp111.htm) | [ibis](goldass/ibis.jpg) Feeding the Sacred Ibis - an engraving of a painting by E. J. Poynter | | | | | --- | --- | | Turning from the flower of Apuleius's style to the Mystical Rose which is the goal of Lucius for most of the novel, one may note the ubiquity of the rose in Western folk-tale and myth--e.g. in 'Sleeping Beauty', 'Beauty and the Beast', &c. (its place taken by the lotus in Eastern myths)--and its current establishment as a token of the expression of passion and love. The expression *sub rosa* or 'under the rose' (meaning something confidential) actually originates from a Greek/Roman misinterpretation of an Egyptian hieroglyphic (appropriately enough): adopting Horus as a God (along with Isis and Osiris), the Greeks translated his Egyptian name *her-pa-khrad* to Harpocrates. The Egyptian hieroglyphic showed boy sucking his finger; the Greeks thought the boy had his finger to his lips, in the sign of secrecy. Cupid is said to have given Horus/Harpocrates a rose as a token of gratitude for not paying too close attention to the amorous goings-on of Cupid's Mother, Venus. Thus the rose became doubly-linked with confidentiality through Horus. The ceilings of Roman dining halls were rose-coloured to remind the guests that anything said there was *sub vino* (under the influence of wine) and also *sub rosa* and not for public consumption.    This place 'under the rose' is the place where mothers tell their children that they were found, in a secret place; universally substituting the more pedestrian and innocuous cabbage for the velvety flower, which with its many flesh-coloured labial petals is much too close to the 'genital' reality the cabbage is meant to spare a child. As Lindsay says in his introduction, 'the effort of Lucius to shed his ass's skin can therefore be compared to mankind's effort to transfigure the cabbage of experience into the beautified rose....it is from...this effort that...misery proceed[s]; but without that complex struggle to sublimate experience there would be no humanity at all' (Lindsay viii). This seems a key to understanding the *Golden Ass*, that it is a representation of a man's effort to find a true interpretation of his experience--the universal human struggle to discover a meaning behind the jabs and pricks of blind fortune's irrational, indiscriminate cruelty. Apuleius's *Asinus aureus* or *Metamorphoses* is a 'fable of the fettered soul seeking to know its own action that is the true centre of the work; it is a radiant hymn of hope introduced to counterbalance the image of man's life as that of a galled beast-of-burden' (Lindsay ix). | [beast of burthen](goldass/ga21.jpg) Lucius toiling - illustration by Jean de Bosschère lucius as a beast of burthen Lucius as a beast of burden - illustration by Jean de Bossch ère | --- ***Please do not reproduce any of the text above/herein without permission from the [author](/cdn-cgi/l/email-protection#50233c313435103a38257e353425) and/or proper citation.*** (your professors *will* know if you do!) --- **References** **Apuleius. *Apulei Platonici Madaurensis Metamorphoseon Libri XI* *(Apulei Opera Quae Supersunt, vol I).*** edition & commentary by **Rudulfus Helm.     Leipzig:****Bibliotheca Teubneriana****, 1907.** **Apuleius.** ***The Golden Ass.*** translation, notes, preface by **Jack Lindsay.** illustrated by Percival Goodman. **New York: The Limited Editions Club, 1932.** **Apuleius. *The Golden Ass.*** translation, notes, preface by **P.G. Walsh. Oxford: Oxford University Press,** 1999 **(1994).** **Apuleius. *The Golden Ass or Metamorphoses.*** translation, notes, preface by **E.J. Kenney. Harmondsworth: Penguin, 1998.** **Apuleius. *The Golden Asse.*** translation, notes by **William Adlington.** preface by E.B. Osborn. illustrated by Jean de Bosschère. ****London: John Lane - The Bodley Head**, 1923.** **Apuleius. *The Transformations of Lucius, otherwise known as The Golden Ass.*** translation, notes by **Robert Graves. New York: Farrar, Straus & Giroux,** 2000 **(1950).****Apuleius. *The Marriage of Cupid and Psyche.*** translation by **Walter Pater.** illustrated by Edmund Dulac. originally printed as part of the novel ***Marius the Epicurean*** .            London: Macmillan, 1885 . (reprinted, Norwalk, Connecticut: The Heritage Press, 1951.) **Apuleius. *The Works of Apuleius, comprising The Metamorphoses, or Golden Ass, The God of Socrates, The Florida and His Defence, or a Discourse on     Magic (a new translation); to which are added, A Metrical Version of Cupid and Psyche and Mrs. Tighe's Psyche (a Poem in six Cantos).*** translation, notes,     preface by unknown. Bohn's Libraries. **London: George Bell & Sons, 1902.** **Lucian. True History and Lucius or the Ass.** translation, preface by **Paul Turner.** illustrated by Hellmuth Weissenborn. **Bloomington: Indiana Uni. Press, 1958.** ***Mahabharata.***translation & preface by **Kamala Subramaniam.**   **Bombay: Bharatya Vidya Bhavan,** 1997 **(1965).** **Martin, René. 'Le sens de l'expression asinus aureus et la signification du roman apuléien.' *Revue des études latines* 48 (1970), pp. 332-354.** **Nietzsche, Friedrich. *Die Geburt der Tragödie aus dem Geiste der Musik.* Leipzig: E. W. Fritzsch, 1872.** **Petersson, Margareta.** ***Unending Metamorphoses: Myth, Satire and Religion in Salman Rushdie's Novels.*Lund: Lund Uni. Press, 1996. Plutarch. 'On Isis and Osiris'. in *Moralia V.*** translation, notes, preface by **Frank C. Babbit. Cambridge, Massachusetts: Harvard Uni. Press, 1936. Schlam, Carl C. *The Metamorphoses of Apuleius: on making an ass of oneself.* Chapel Hill: Uni. of North Carolina Press, 1992. Walsh, P. G. 'Apuleius and Plutarch'. in *Neoplatonism and Early Christian Thought: essays in honour of A. H. Armstrong.*** H. J. Blumenthal & R. A. Markus (eds.).      **London: Variorum, 1981, pp. 20-32, 256.** --- **The *Golden Ass* ONLINE--     complete Latin & English editions:** | | | | --- | --- | | [**APULEII ASINUS AUREUS**](http://www.thelatinlibrary.com/apuleius.html) [\*\*COMPLETE **LATIN** text ONLINE\*\*](http://www.thelatinlibrary.com/apuleius.html) [pompeii wall-painting](http://www.thelatinlibrary.com/apuleius.html) wall-painting from Pompeii showing the rituals of the cult of Isis | [**APULEIUS'S *GOLDEN ASS***\*\*COMPLETE **ENGLISH** text ONLINE \*\*](http://eserver.org/books/apuleius/) [(Adlington's translation of 1566, 'published' on the web by Martin Guy, with a glossary)](http://eserver.org/books/apuleius/) [Psyche entering Cupid's Garden](http://eserver.org/books/apuleius/) ***Psyche Entering Cupid's Garden*** - painting by John William Waterhouse | --- ***The Golden Ass* :** [**Editions, Translations, Textual Comparisons of Selected Passages + Links to Book Sellers [click here!]**](apu-ed.html) [![john price 1650](goldass/apu02.jpg)](apu-ed.html) title-page from John Price's Latin edition of 1650 (Gouda) **read selected passages from different translations alongside of Latin original;** information on translators & translations; find & buy your favourite edition of the *Golden Ass*! --- | | | | --- | --- | | *last modified 29-Aug-2012*[BACK TO APULEIUS MAINPAGE](apuleius.html) maintained by   | ***errors, typos, suggestion, comments?***[CONTACT ME](/cdn-cgi/l/email-protection#e0938c818485a08a8e818e818dce8e8594) | | | | | --- | --- | | | | | --- | | This site is a member of WebRing. To browse visit [here](http://ss.webring.com/navbar?f=l;y=beoram;u=10026021). | |
http://jnanam.net/golden-ass/
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html>
Not Acceptable!# Not Acceptable! An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
https://www.landoverbaptist.org/
<HTML> <HEAD><TITLE>Robyn's Web Page</TITLE> <META NAME="keywords" CONTENT="robyn, animals, fish, ponds, fish pond info, fish pond information, fish ponds, fish info, fish information"> <META NAME="description" CONTENT="This page is Robyn's new page."> </HEAD> <body> <BGCOLOR="99FF99" fgcolor="000000" link="660066" vlink="CC33CC"> <center><h1><strong>Welcome to</h1></strong></center><p> <center><img src="photos/mammals/cats/ginobanner.jpg"></center><p> <center>My angel Gino - 2/19/99 to 2/1/13</center><p> <center><h3>Your gateway to fun critter information!</h3></center> <center>Fishpondinfo.com is not just "fish ponds" but hundreds of animals, fish, and ponds! Over 20 million visitors!</center><p> <center><img src="catbowl.gif"></center><p><p> <center><a href="index2.htm"><img src="but1.gif"></a><a href="animal.htm"><img src="but3.gif"></a><a href="fish.htm"><img src="but2.gif"></a><a href="pond.htm"><img src="but4.gif"></a><a href="master.htm"><img src="but5.gif"></a><a href="contact.htm"><img src="but7.gif"></a><a href="guestbook.htm"><img src="but8.gif"></a></center> <center><a href="news.htm"><img src="but9.jpg"></a><a href="http://s2.invisionfree.com/Fishpondinfo/index.php"><img src="but11.jpg"></a><a href="book.htm"><img src="but10.jpg"></a><a href="convert.htm"><img src="but12.jpg"></a><p> <a href="donate.htm"><img src="donate2.jpg"></a> <a href="interact.htm"><img src="interact.jpg"></a> <a href="shop.htm"><img src="store.jpg"></a> <a href="http://www.pondshowcase.com"><img src="showcase.jpg"></a> </center><p> <center><img src="photos/fish/goldfish/kiss.gif"></center><p> I moved this site from http://userpages.umbc.edu/~rrhudy1/ on 10/4/03. If you come across any sites that link to this old page or my old e-mail, please let them know about my new page! There are too many for me to do it! Thanks.<p> I have done some things right and some things wrong. I share them all on Fishpondinfo so that others can learn from my successes and failures.<p> See new <a href="videos/videos.html">videos</a>!<p> <hr> <center><strong><h3>Fishpondinfo.com Banner</h3></strong></center><p> You can put this banner on to your web site to link to mine. Just right click on the image which is fpiban.jpg to download the image and then add this html code to your page:<p> &lt;center> &lt;a href="http://www.fishpondinfo.com/"> &lt;img src="fpiban.jpg" alt="Fishpondinfo.com"> &lt;/a> &lt;/center> &lt;p> <p> <center><a href="http://www.fishpondinfo.com"><img src="fpiban.jpg" alt="Fishpondinfo.com"></a></center><p> <hr> Check out the <a href="shop.htm">Fishpondinfo Stores</a>!! Please support this web site by buying something fishy! Thanks!<p> <hr> <h5>Last Updated: 9/7/13</h5><p> <hr><center> <table> <td> <a href="http://www.aquarank.com/in.php?id=Robyn" target="_new"> <img border="0" src="http://www.aquarank.com/images/button1.gif" width="88" height="31"></a><p> </td> <td> <h4><a href="http://www.petlinkexchange.com">Pet Link Banner Exchange</a>:</h4> <!-- BEGIN PETLINKEXCHANGE CODE --> <script src="http://www.petlinkexchange.com/petlinkexchange/banner.php?member=robynspets&page= 0 1"></script> <!-- END PETLINKEXCHANGE RICH MEDIA CODE V1.1 --> </td> <td> <A HREF="http://members.sitegadgets.com/scripts/topsites.cgi?username=fishycrazy&ID=200"> <IMG SRC="http://www.fishpondinfo.com/top.jpg" border=0 width=100 height=50></A> </td> </table></center> <p> <hr> <center> <table> <td> <script type="text/javascript" src="https://creative.prf.hn/creative/camref:1011l7QZ5/creativeref:1101l38344"></script><p> </td> <td> <iframe src="http://rcm-na.amazon-adsystem.com/e/cm?t=fishpondinfo-20&o=1&p=9&l=st1&mode=garden&search = animals&fc1=&=1&lc1=&&#108;&#116;1=&bg1=&f=ifr" marginwidth="0" marginheight="0" width="180" height="150" border="0" frameborder="0" style="border:none;" scrolling="no"></iframe> </td> </table> </center> <hr><p> <table> <td> <h5>There have been 51,181,002 file views (<a href="http://www.fishpondinfo.com/intro.htm#view">file views</a> since 2006, page views before that) to Fishpondinfo from December 1, 2003 through August 17, 2019 (stats lost after that). </h5> </td> <td> <A HREF="http://www.copyscape.com/"><IMG SRC="http://banners.copyscape.com/images/cs-gr-3d-88x31.gif" ALT="Page copy protected against web site content infringement by Copyscape" TITLE="Do not copy content from the page. Plagiarism will be detected by Copyscape." WIDTH="88" HEIGHT="31" BORDER="0"></A> </td> </table><p> <hr><p> <center><table> <td> <a href="https://www.facebook.com/pages/Fishpondinfo/88362307299"><img src="http://www.fishpondinfo.com/photos/other/other/facebook.jpg" alt="Like Fishpondinfo on Facebook"/></a> </td> <td> <a href="http://www.twitter.com/Fishponds2"><img src="http://www.fishpondinfo.com/photos/other/other/twitter.jpg" alt="Follow Fishpondinfo on Twitter"/></a> </td> <td> <center> <h4><a href="http://www.fishpondinfo.com/contact.htm">E-mail Robyn</a><p> Copyright &copy; 1997-2023 Robyn Rhudy</h4></center> </td> <td> <a href="http://www.youtube.com/user/Fishpondinfo"><img src="http://www.fishpondinfo.com/photos/other/other/youtube.jpg" alt="Follow Fishpondinfo on You Tube"/></a> </td> <td> <a href="https://www.instagram.com/robynfishy/"><img src="http://www.fishpondinfo.com/photos/other/other/instagram.jpg" alt="Follow Fishpondinfo on Instagram"</a></td> </table> </center><p> </body> </HTML>
Robyn's Web Page # **Welcome to** ![](photos/mammals/cats/ginobanner.jpg) My angel Gino - 2/19/99 to 2/1/13 ### Your gateway to fun critter information! Fishpondinfo.com is not just "fish ponds" but hundreds of animals, fish, and ponds! Over 20 million visitors! ![](catbowl.gif) [![](but1.gif)](index2.htm)[![](but3.gif)](animal.htm)[![](but2.gif)](fish.htm)[![](but4.gif)](pond.htm)[![](but5.gif)](master.htm)[![](but7.gif)](contact.htm)[![](but8.gif)](guestbook.htm) [![](but9.jpg)](news.htm)[![](but11.jpg)](http://s2.invisionfree.com/Fishpondinfo/index.php)[![](but10.jpg)](book.htm)[![](but12.jpg)](convert.htm) [![](donate2.jpg)](donate.htm) [![](interact.jpg)](interact.htm) [![](store.jpg)](shop.htm) [![](showcase.jpg)](http://www.pondshowcase.com) ![](photos/fish/goldfish/kiss.gif) I moved this site from http://userpages.umbc.edu/~rrhudy1/ on 10/4/03. If you come across any sites that link to this old page or my old e-mail, please let them know about my new page! There are too many for me to do it! Thanks. I have done some things right and some things wrong. I share them all on Fishpondinfo so that others can learn from my successes and failures. See new [videos](videos/videos.html)! --- **### Fishpondinfo.com Banner** You can put this banner on to your web site to link to mine. Just right click on the image which is fpiban.jpg to download the image and then add this html code to your page: <center> <a href="http://www.fishpondinfo.com/"> <img src="fpiban.jpg" alt="Fishpondinfo.com"> </a> </center> <p> [![Fishpondinfo.com](fpiban.jpg)](http://www.fishpondinfo.com) --- Check out the [Fishpondinfo Stores](shop.htm)!! Please support this web site by buying something fishy! Thanks! --- ##### Last Updated: 9/7/13 --- | [Pet Link Banner Exchange](http://www.petlinkexchange.com): | | --- | | --- There have been 51,181,002 file views ([file views](http://www.fishpondinfo.com/intro.htm#view) since 2006, page views before that) to Fishpondinfo from December 1, 2003 through August 17, 2019 (stats lost after that). | [Page copy protected against web site content infringement by Copyscape](http://www.copyscape.com/) | --- [Like Fishpondinfo on Facebook](https://www.facebook.com/pages/Fishpondinfo/88362307299) | [Follow Fishpondinfo on Twitter](http://www.twitter.com/Fishponds2) | [E-mail Robyn](http://www.fishpondinfo.com/contact.htm) Copyright © 1997-2023 Robyn Rhudy | [Follow Fishpondinfo on You Tube](http://www.youtube.com/user/Fishpondinfo) | [Follow Fishpondinfo on Instagram](https://www.instagram.com/robynfishy/) |
http://www.fishpondinfo.com/
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> <html xmlns="http://www.w3.org/1999/xhtml"> <head> <meta name="google-site-verification" content="muI8r6GU9Pq0o74xZvY3VQqyR437RrtdPemf8OBYmAE" /> <meta http-equiv="content-type" content="text/html;charset=utf-8" /> <meta name="generator" content="Adobe GoLive" /> <meta name="verify-v1" content="mtTEe7Wvp+6WOOAU+FW9/bnJbY2wN3iqB3g3hFJzwKk=" /> <meta name="description" content="Animation art animation cels & cartoon drawings from The Warner Brothers, Looney Tunes, Walt Disney and Hanna-Barbera, Fine Art prints, serigraphs, lithographs, giclees of all venues."> <meta name="keywords" content="animation cel, animation art, cartoon art, animation cels, cartoon cels, animation cells, cartoon cells, animation prints, cartoon prints, Fine Art Prints, Giclees, lithographs, lithos, posters"> <title>Gremlin Fine Arts Gallery Official Website and Store</title> <link href="css/agl-styles.css" rel="stylesheet" type="text/css" media="all" /> <link href="css/basic.css" rel="stylesheet" type="text/css" media="all" /> <style type="text/css" media="all"><!-- .ds21 /*agl rulekind: base;*/ { color: #39c; font-size: 18px; font-family: verdana; } .ds23 /*agl rulekind: base;*/ { color: #333; font-size: 18px; font-family: verdana; } .ds34 /*agl rulekind: base;*/ { color: #c63; font-size: 24px; font-family: "Marker Felt"; } .ds47 /*agl rulekind: base;*/ { font-weight: bold; } --></style> </head> <body> <div align="center"> <div align="center"> <div align="center"> <div align="center"> <p><img src="gremlin_logo.jpg" alt="" width="157" height="126" align="middle" border="0" /><strong><font face="Verdana, Arial, Helvetica, sans-serif"><font size="+4" color="#0e620c" face="Zapf Chancery, Comic Sans MS, cursive"> G</font><font size="+2" color="#0e620c" face="Zapf Chancery, Comic Sans MS, cursive">remlin </font><font size="+4" color="#0e620c" face="Zapf Chancery, Comic Sans MS, cursive">F</font><font size="+2" color="#0e620c" face="Zapf Chancery, Comic Sans MS, cursive">ine </font></font><font color="#0e620c" face="Verdana, Arial, Helvetica, sans-serif"><font size="+4" face="Zapf Chancery, Comic Sans MS, cursive">A</font><font size="+2" face="Zapf Chancery, Comic Sans MS, cursive">rts</font></font><font face="Verdana, Arial, Helvetica, sans-serif"><font size="+2" color="#0e620c" face="Zapf Chancery, Comic Sans MS, cursive"> </font></font><font color="#0e620c" face="Verdana, Arial, Helvetica, sans-serif"><font size="+4" face="Zapf Chancery, Comic Sans MS, cursive">G</font><font size="+2" face="Zapf Chancery, Comic Sans MS, cursive">alleries</font></font></strong><br /> <strong><font color="#0e620c">Phone (802) 362-4766 ~ Toll Free (877) GREMLIN</font><font face="Verdana, Arial, Helvetica, sans-serif"><font size="+2" color="#0e620c" face="Zapf Chancery, Comic Sans MS, cursive"><br /> </font></font></strong></p> <div align="center"> <div align="center"> <div align="center"> <div align="center"> <hr size="1" /> <div align="center"> <div align="center"> <div align="center"> <div align="center"> <div align="center"> <div align="center"> <div align="center"> <div align="center"> <div align="center"> <div align="center"> <div align="center"> <div align="center"> <div align="center"> <div align="center"> <font size="+2">|</font> <strong><a href="animationart.html">Animation Art </a><font size="+2">|</font> <a href="warner_bros_collectibles.html">WB Collectibles</a> </strong><strong><font size="+2">|</font></strong><strong> <a href="finearts.html">Fine Art Prints</a> <font size="+2">|</font> <a href="posters.html">Posters</a> <font size="+2">|</font> <a href="oilpaintings.html">Oil Paintings</a> <font size="+2">|</font> <a href="courtroomsketch.html">Courtroom Sketch Art</a> <font size="+2">|</font> <a href="skiposters.html">Vintage Ski Posters</a> <font size="+2">|</font><br /> </strong> <hr /> <strong><font size="+2">|</font> <a href="comicart.html">Comic Book Art</a> <font size="+2">|</font> <a href="illustrativeart.html">Storybook Illustration Art</a> <font size="+2">|</font> <a href="lobbycards.html">Lobby Cards and Publicity Stills</a> <font size="+2">|</font> <a href="localartists.html">Featured Local Artists</a> </strong><font size="+2">|</font><a href="http://www.vermontbowlmill.com"><span class="ds47">Wood Bowls</span></a><font size="+2">|</font><strong> <hr /> </strong></div> </div> </div> </div> <p><strong><a href="movie_posters.html">Movie Posters A-K |</a> <a href="movie_posters2.html">Movie Posters L-Z</a>| <a href="posters_children.html">Childrens Posters</a>| <a href="super_heroes.html">Super Heroes</a> | <a href="adult_posters.html">Adult Posters</a> | <a href="posters.html">Misc. Art </a>| </strong><a href="skiposters.html"><br /> <br /> </a></p> <p><a href="index.html">HOME</a></p> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> <p><strong><br /> <br /> </strong></p> </div> </div> </div> </div> <div align="center"> <div align="center"> <p></p> <p></p> <p></p> </div> <div align="center"> <div align="center"> <script>   (function() {     var cx = '012219584137096796860:ybitttrgtje';     var gcse = document.createElement('script');     gcse.type = 'text/javascript';     gcse.async = true;     gcse.src = (document.location.protocol == 'https:' ? 'https:' : 'http:') +         '//www.google.com/cse/cse.js?cx=' + cx;     var s = document.getElementsByTagName('script')[0];     s.parentNode.insertBefore(gcse, s);   })(); </script> <gcse:search></gcse:search> <!-- End PicoSearch Code --></p> <p align="left"><br /> </p> <hr /> <p><br /> <span class="ds21">Gremlin Fine Art &amp; Custom Framing</span></p> </div> <p><span class="ds21">4712 Main Street ~ PO Box 1787</span></p> <p><span class="ds21">Manchester Center, Vermont 05255</span></p> <p><span class="ds23">Animation Art, Fine Art, Local Artists, Vintage Ski Posters<br /> Expert, Fast, Professional Custom Framing</span></p> <p><span class="ds23">Be sure to visit our newest page of <a href="movie_posters.html">Theatrical Movie Posters</a>.</span></p> <p><span class="ds34">We are happy to represent the work of The Vermont Bowl Mill.<br /> Demonstrations and Woodturning Classes on the Premises.</span></p> <p>```````````````````</p> </div> <div align="left"> <p><font size="+4" color="#856a00" face="Zapf Chancery, Comic Sans MS, cursive"><strong>W</strong></font>elcome to our not-so little gallery. We are proud to offer the largest selection of original Animation Art Anywhere! Over 30 years dealing in <a href="animationart.html">Vintage Animation Art</a> have garnered us quite a reputation as &quot;The Place&quot; to go to find the very best in Animation Art.<br /> <br /> <font size="+2" color="#31977f"><strong>W</strong></font>e strive to please our clientele constantly by acquiring new artwork from all sources on a daily basis. Our website is updated daily and we try to have everything you see available for sale to you..<br /> <br /> <font size="+2" color="#31977f"><strong>G</strong></font>remlin Fine Arts is also well known for our extensive collection of <a href="lobbycards.html" target="_new">Animation Art Lobby Cards</a> and Publicity Stills. We bought up all we could find in the 1980s and 1990s so we can offer these inexpensive reminders of your favorite cartoon classics at affordable prices.<br /> <br /> <font size="+2" color="#31977f"><strong>C</strong></font>heck out our <a href="illustrativeart.html">Storybook Art</a> section. These original paintings were used to illustrate different children's storybooks published mostly from the mid 1950s through the 1980s. We pride ourselves with the largest offering of this type of artwork in the world.<br /> <br /> <font size="+2" color="#31977f"><strong>V</strong></font><a href="skiposters.html">intage Ski Posters</a> is a section we are proud of. It encompasses at least 20% of our showroom area at our Manchester, Vermont Gallery. And for good reason; we sell more Ski related artwork than any other gallery in our area. We frame many hundreds of these posters each season for chalet owners as well as skiers who want a reminder of their favorite pastime when they are back at home.<br /> We are always looking to acquire new ski and snowboard posters for you to see and select from. We ship these world-wide. So even if you are located in Chamonix, Banff or Aspen we can decorate your walls for you.<br /> <br /> <strong><font size="+2" color="#31977f">P</font></strong><a href="localartists.html">romoting local artists</a> is an ongoing project at Gremlin Fine Arts Gallery. We often bring in talented artists to exhibit their best creations, focusing on a local theme of country life. Please browse through the links to these wonderful artists for a great selection of talent from our community.<br /> <br /> </p> <font size="+2" color="#31977f"><strong>Follow us on Facebook as well.</strong></font> <p></p> <p></p> </div> <div align="center"> <div align="center"> <script>   (function() {     var cx = '012219584137096796860:ybitttrgtje';     var gcse = document.createElement('script');     gcse.type = 'text/javascript';     gcse.async = true;     gcse.src = (document.location.protocol == 'https:' ? 'https:' : 'http:') +         '//www.google.com/cse/cse.js?cx=' + cx;     var s = document.getElementsByTagName('script')[0];     s.parentNode.insertBefore(gcse, s);   })(); </script> <gcse:search></gcse:search> <!-- End PicoSearch Code --></p> <p align="left"><br /> </p> <hr /> <p align="left"><br /> <font size="-1"><a href="about.html">About our Gallery</a> | <a href="feedback.html">Contact Us</a> | <a href="Copyright.html">Copyright Notices</a> | <a href="consign.html">Consign Your Artwork</a> | <a href="Purchase.html">Purchase Art FAQ</a> | <a href="Website_design.html">Webite Design and Content</a> | <a href="ManchesterVT_links.html">Links to Other Area Attractions</a></font></p> </div> </div> </body> </html>
Gremlin Fine Arts Gallery Official Website and Store <!-- .ds21 /\*agl rulekind: base;\*/ { color: #39c; font-size: 18px; font-family: verdana; } .ds23 /\*agl rulekind: base;\*/ { color: #333; font-size: 18px; font-family: verdana; } .ds34 /\*agl rulekind: base;\*/ { color: #c63; font-size: 24px; font-family: "Marker Felt"; } .ds47 /\*agl rulekind: base;\*/ { font-weight: bold; } --> ![](gremlin_logo.jpg) **Gremlin Fine Arts Galleries** **Phone (802) 362-4766 ~ Toll Free (877) GREMLIN** --- | **[Animation Art](animationart.html) | [WB Collectibles](warner_bros_collectibles.html)** **|** **[Fine Art Prints](finearts.html) | [Posters](posters.html) | [Oil Paintings](oilpaintings.html) | [Courtroom Sketch Art](courtroomsketch.html) | [Vintage Ski Posters](skiposters.html) |** --- **| [Comic Book Art](comicart.html) | [Storybook Illustration Art](illustrativeart.html) | [Lobby Cards and Publicity Stills](lobbycards.html) | [Featured Local Artists](localartists.html)** |[Wood Bowls](http://www.vermontbowlmill.com)|**---** **[Movie Posters A-K |](movie_posters.html) [Movie Posters L-Z](movie_posters2.html)| [Childrens Posters](posters_children.html)| [Super Heroes](super_heroes.html) | [Adult Posters](adult_posters.html) | [Misc. Art](posters.html) |** [HOME](index.html)   (function() {     var cx = '012219584137096796860:ybitttrgtje';     var gcse = document.createElement('script');     gcse.type = 'text/javascript';     gcse.async = true;     gcse.src = (document.location.protocol == 'https:' ? 'https:' : 'http:') +         '//www.google.com/cse/cse.js?cx=' + cx;     var s = document.getElementsByTagName('script')[0];     s.parentNode.insertBefore(gcse, s);   })(); --- Gremlin Fine Art & Custom Framing 4712 Main Street ~ PO Box 1787 Manchester Center, Vermont 05255 Animation Art, Fine Art, Local Artists, Vintage Ski Posters Expert, Fast, Professional Custom Framing Be sure to visit our newest page of [Theatrical Movie Posters](movie_posters.html). We are happy to represent the work of The Vermont Bowl Mill. Demonstrations and Woodturning Classes on the Premises. ``````````````````` **W**elcome to our not-so little gallery. We are proud to offer the largest selection of original Animation Art Anywhere! Over 30 years dealing in [Vintage Animation Art](animationart.html) have garnered us quite a reputation as "The Place" to go to find the very best in Animation Art. **W**e strive to please our clientele constantly by acquiring new artwork from all sources on a daily basis. Our website is updated daily and we try to have everything you see available for sale to you.. **G**remlin Fine Arts is also well known for our extensive collection of [Animation Art Lobby Cards](lobbycards.html) and Publicity Stills. We bought up all we could find in the 1980s and 1990s so we can offer these inexpensive reminders of your favorite cartoon classics at affordable prices. **C**heck out our [Storybook Art](illustrativeart.html) section. These original paintings were used to illustrate different children's storybooks published mostly from the mid 1950s through the 1980s. We pride ourselves with the largest offering of this type of artwork in the world. **V**[intage Ski Posters](skiposters.html) is a section we are proud of. It encompasses at least 20% of our showroom area at our Manchester, Vermont Gallery. And for good reason; we sell more Ski related artwork than any other gallery in our area. We frame many hundreds of these posters each season for chalet owners as well as skiers who want a reminder of their favorite pastime when they are back at home. We are always looking to acquire new ski and snowboard posters for you to see and select from. We ship these world-wide. So even if you are located in Chamonix, Banff or Aspen we can decorate your walls for you. **P**[romoting local artists](localartists.html) is an ongoing project at Gremlin Fine Arts Gallery. We often bring in talented artists to exhibit their best creations, focusing on a local theme of country life. Please browse through the links to these wonderful artists for a great selection of talent from our community. **Follow us on Facebook as well.**   (function() {     var cx = '012219584137096796860:ybitttrgtje';     var gcse = document.createElement('script');     gcse.type = 'text/javascript';     gcse.async = true;     gcse.src = (document.location.protocol == 'https:' ? 'https:' : 'http:') +         '//www.google.com/cse/cse.js?cx=' + cx;     var s = document.getElementsByTagName('script')[0];     s.parentNode.insertBefore(gcse, s);   })(); --- [About our Gallery](about.html) | [Contact Us](feedback.html) | [Copyright Notices](Copyright.html) | [Consign Your Artwork](consign.html) | [Purchase Art FAQ](Purchase.html) | [Webite Design and Content](Website_design.html) | [Links to Other Area Attractions](ManchesterVT_links.html)
http://www.thegremlin.com/
<html> <head> <title>NEW The Page of DOUGs</title> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=ISO-8859-1"> <META HTTP-EQUIV="EXPIRES" CONTENT="0"> <META NAME="RESOURCE-TYPE" CONTENT="DOCUMENT"> <META NAME="DISTRIBUTION" CONTENT="GLOBAL"> <META name="Author" content="Doug Adams"> <META name="Author" content="Doug DeCota"> <META name="GENERATOR" content="Notepad.exe"> <META NAME="ROBOTS" CONTENT="INDEX, FOLLOW"> <META NAME="REVISIT-AFTER" CONTENT="1 DAYS"> <META NAME="RATING" CONTENT="GENERAL"> <META name="Description" content="The Page of DOUGS: The world is a better place because there are DOUGs in it. Now you can meet some of us."> <META name="KeyWords" content="Doug, Dougs, Douglas, Dougie, names, people named Doug, list of Dougs, page of Dougs, pages about Dougs, webpages by Dougs, Doug websites"> <script language="JavaScript"> <!-- function insertmaillink(addr, linktext) { var linktarget='mailto:'+addr; document.write('<A HREF="'+linktarget+'">'+linktext+'</A>'); } function insertmaillinktext(linktext) { var myname="doug"; var mydom="dougs"; var myaddr=myname+'@'+mydom+'.org?Subject=The Page of DOUGS!'; insertmaillink(myaddr, linktext); } //--> </script> <script type="text/javascript" src="js/iframe-ssi2.js"> <style type=text/css> <!-- a:link {color:blue;text-decoration:none;} a:visited {color:#0000dd;text-decoration:none;} a:hover {color:#dd0000;text-decoration:underline;} a:active {color:red;text-decoration:none;} //--></STYLE> <script src="newwindow.js"></script> </head> <body bgcolor="navy" text="navy" link="blue" vlink="#0000dd"> <!----------------- BEGIN HEADER ------------------> <table width=100% border=1 cellpadding=5> <tr> <td bgcolor="#efefef"> <center> <p align="center"><script src="adrandom.js"></script></p> </center> <font face="tahoma,verdana,arial" size="-1"> <table width="100%" border="0" cellpadding="0" cellspacing="0"> <tr align="center"> <td align="right"><a href="https://www.dougs.org/"><img src="logo.gif" border="0"></a></td> <td align="left"><font face="tahoma,verdana,arial" size="-1"> <b><nobr>The world is a better place because there are DOUGs in it.</nobr> <br>Now you can meet some of us. <p><nobr>This is especially valuable if you are not so fortunate as to</nobr> <br><nobr>have frequent proximity to one or more of the truly great.</nobr> <br><em>Virtual contact is better than none!</em></b></font> </td> </tr> </table> </font> <p> <table width="100%" border="0" cellspacing="3" cellpadding="0"> <tr><td align="center" colspan="5"><font face="tahoma,verdana,arial" size="-1"><b><i>1995 ~ Celebrating DOUGs On The Web for Over Two Decades! ~ 2022</i></b></font> <!----------------- END HEADER ------------------> <tr> <td align=left valign=top width=130> <!----------------- BEGIN LEFT COLUMN ------------------> <a href="http://www.facebook.com/group.php?gid=114945361856777&v=info" target="_blank"><img border="0" src="facebookgrp.jpg"> </a> <br><font face="tahoma,verdana,arial" size="-1">NEW! DOUGs can now join us on Facebook!</font> <br> <!-- SiteSearch Google --> <form method="get" action="http://www.google.com/custom" target="_top"> <table border="0" bgcolor="#efefef"> <tr><td nowrap="nowrap" valign="top" align="left" height="32"> <a href="http://www.google.com/"> <img src="http://www.google.com/logos/Logo_25wht.gif" border="0" alt="Google"></img></a> <br/> <input type="hidden" name="domains" value="www.dougs.org"></input> <input type="text" name="q" size="15" maxlength="255" value=""></input> </td></tr> <tr> <td nowrap="nowrap"> <table> <tr> <td> <input type="radio" name="sitesearch" value="" checked="checked"></input> <font size="-1" color="#000000">Web</font> </td> <td> <input type="radio" name="sitesearch" value="www.dougs.org"></input> <font size="-1" color="#000000">www.dougs.org</font> </td> </tr> </table> <input type="submit" name="sa" value="Search"></input> <input type="hidden" name="client" value="pub-4496379500546411"></input> <input type="hidden" name="forid" value="1"></input> <input type="hidden" name="channel" value="2327318887"></input> <input type="hidden" name="ie" value="ISO-8859-1"></input> <input type="hidden" name="oe" value="ISO-8859-1"></input> <input type="hidden" name="cof" value="GALT:#008000;GL:1;DIV:#336699;VLC:663399;AH:center;BGC:FFFFFF;LBGC:336699;ALC:0000FF;LC:0000FF;T:000000;GFNT:0000FF;GIMP:0000FF;FORID:1;"></input> <input type="hidden" name="hl" value="en"></input> </td></tr></table> </form> <!-- SiteSearch Google --> <hr noshade width="100" color="navy"> <font face="tahoma,verdana,arial" size="-1"> <center><a href="update.html">What's up with The Page of DOUGS?</a></center> <font face="tahoma,verdana,arial" size="-2"> <hr noshade width=100 color=navy> <img src="check.gif"> <b>DOUG's Must-Sees</b> <hr noshade width=100 color=navy> <b>Notable DOUGS</b> <li type=circle><b>Doug Adams</b>,<br><a href="http://web.archive.org/web/20030411231418/people.ku.edu/~dadams/index.html">The Page of DOUG</a> - Original Keeper of the Page of DOUGS <li type=circle><b>Doug Smith</b>,<br><a href="http://www.dougweb.com/">Doug Smith's Home Page</a> <tt>[He suggested this page-- heck, he even has a link here!-- Thanks Doug!]</tt> <hr noshade width=100 color=navy> <b>DOUG Deals</b> <p><a href="http://www.amazon.com/gp/redirect.html?ie=UTF8&location=http%3A%2F%2Fwww.amazon.com%2Fb%3Fie%3DUTF8%26node%3D1063518&tag=dougs020-20&linkCode=ur2&camp=1789&creative=9325 target=_new"><b>Deals on Amazon.com Home & Garden Products!</b></a> <font color=red></font> <hr noshade width=100 color=navy> <!----------------- Begin Trivia ------------------> <b>DOUG Trivia</b> <p>Pro wrestler and movie actor <a href="http://www.amazon.com/exec/obidos/ASIN/B00005JKYX/dougs020-20">Dwayne "The Rock" Johnson's</a> middle name is Douglas. <p>Author <a href="http://www.amazon.com/exec/obidos/ASIN/B000A283AW/dougs020-20">Douglas Adams'</a> initials are "DNA" (Douglas Noel Adams). <p>The cartoon <a href="http://www.amazon.com/exec/obidos/ASIN/6305515042/dougs020-20">"Doug"</a> originated as a book called "Doug Got a New Pair of Shoes". <p>Author <a href="http://www.amazon.com/exec/obidos/ASIN/0553278223/dougs020-20">Ray Bradbury's</a> middle name is Douglas, after the actor, Douglas Fairbanks. <p>Alleged murderer Mark Hacking's middle name is Douglas. <p>The <a href="http://www.amazon.com/exec/obidos/ASIN/B00006AL1E/dougs020-20">"Back To The Future"</a> character George McFly's middle name is Douglas. <p>Pro hockey players and ex-Edmonton Oilers <a href="http://www.amazon.com/exec/obidos/ASIN/B0000C8AO7/dougs020-20>Wayne Gretzky</a> and <a href=""http://www.amazon.com/exec/obidos/ASIN/B0002WZRUE/dougs020-20">Mark Messier</a> both have the middle name Douglas. Additionally, Messier's father and one of his sons are both named Doug. Also, Gretzky's son's birth name is Trevor Douglas Gretzky. <p><a href="http://www.amazon.com/exec/obidos/ASIN/B000BKDNV2/dougs020-20">Jay Leno's</a> full birth name is James Douglas Muir Leno. <p>Actor <a href="http://www.amazon.com/exec/obidos/ASIN/0790731479/dougs020-20">Michael Keaton's</a> birth name is Michael John Douglas. <p>Kids In The Hall troupe member <a href="http://www.amazon.com/exec/obidos/ASIN/B000B6D75I/dougs020-20">Mark McKinney's</a> birth name is Mark Douglas Brown McKinney. <p>Actor <a href="http://www.amazon.com/exec/obidos/ASIN/6305428387/dougs020-20">Doug E. Doug's</a> birth name is Douglas Bourne. <p>Seminal punk rocker <a href="http://www.amazon.com/exec/obidos/ASIN/B000642JG8/dougs020-20">Dee Dee Ramone's</a> birth name is Douglas Glenn Colvin. <p><a href="http://www.amazon.com/exec/obidos/ASIN/B000002KOZ/dougs020-20">The Kinks'</a> Ray Davies' birth name is Raymond Douglas Davies. <p>Actor <a href="http://www.amazon.com/exec/obidos/ASIN/0792838467/dougs020-20">Irving Metzman's</a> birth name is Douglas Kahn. <p><a href="http://www.amazon.com/exec/obidos/ASIN/B000AM4P9A/dougs020-20">Lindsay Lohan's</a> brother, actor Michael Lohan's middle name is Douglas. <p>Writer <a href="http://www.amazon.com/exec/obidos/ASIN/0060541814/dougs020-20">Michael Crichton's</a> brother, also a writer, is Douglas Crichton. <p>Rock group <a href="http://www.amazon.com/exec/obidos/ASIN/B00004SWDU/dougs020-20">Deep Purple's</a> keyboard player Jon Lord's birth name is Jon Douglas Lord. <p> Country musician <a href="http://www.amazon.com/exec/obidos/ASIN/B000A2APUS/dougs020-20">Brad Paisley's</a> birth name is Brad Douglas Paisley. <p>Searching Google for the word "Doug" returns about 56,400,000 pages. <!----------------- End Trivia ------------------> <hr noshade width=100 color=navy> <b>Pages About People With Names Other Than DOUG</b> <p><a href="http://www.geocities.com/soakbear/barbara.htm">The Barbara Page</a> <p><a href="http://www.allaboutdeirdre.com/">All About Deirdre</a> <p><a href="http://elissa.org/">Elissas Unite!</a> <p><a href="http://webgeoffrey.com/">Geoffreys on the Web</a> <p><a href="http://www.janessa.com/">Janessa.com</a> <p><a href="http://www.jed.com/">Jed: www.jed.com</a> <p><a href="http://www.gizmo1.demon.co.uk/jencyclo/jencmain.htm">Jennifer: Jencyclopedia</a> <p><a href="http://www.lizzie.com/">Lizzie's Place</a> <p><a href="http://www.lurkers.org/melissa/melissa_list.html">People Named Melissa</a> <p><a href="http://www.grownmencry.com/mijo/Michelle.html">Michelles Of The World</a> <p><a href="http://www.peoplenamedmike.com/">People Named Mike</a> <p><a href="http://www.ralphb.net/allralph.html">The Ralph Page</a> <p><a href="http://www.robinsweb.com/robin-ring-homepages.html">People Named Robin</a> <p><a href="http://www.scott.com/scott-people.html">Scott People Page</a> <p><a href="http://www.geocities.com/shirlene/">Shirlene On The Internet</a> <img src="check.gif"> <p><a href="http://www.geocities.com/Area51/Station/3839/">Cult of Steve</a> <p><a href="http://http://www.wendy.com/wendyweb/">World Wide Wendy</a> <hr noshade width=100 color=navy> <b>Pages About People With First AND Last Names Other Than DOUG</b> <p><a href="http://homepage.ntlworld.com/david507/">The David Thompson Phenomenon</a> <p><a href="http://www.jimwilson.com/">JimWilson.com</a> <p><a href="http://www.kenanderson.net/kenandersons/">Ken Andersons</a> <p><a href="http://angkor.com/cityrain/otherron.shtml">Ron Morrises of the World</a> <hr noshade width=100 color=navy> <iframe width=120 height=240 marginwidth="0" marginheight="0" src="http://rcm-na.amazon-adsystem.com/e/cm?t=dougs020-20&o=1&p=8&l=ez&f=ifr scrolling=no border=0 frameborder=0 target=_new style=border:none;"></iframe> <hr noshade width=100 color=navy> <b>Pages About Names</b> <p><a href="http://www.behindthename.com">Behind the Name: A look into the history behind common first names.</a> <p><a href="http://www.namestatistics.com">Name Statistics: How popular are your first and last names?</a> <p><a href="http://www.ericdsnider.com/view.php?srkey=350">"The Nayme Gaimme"</a> <hr noshade width=100 color=navy> <b>Pages About &#66&#97&#98&#121 Names</b> <p><a href="http://www.&#98&#97&#98&#121names.com/>&#98&#97&#98&#121names.com</a> <p><a href="http://www.&#98&#97&#98&#121namesworld.com/">&#98&#97&#98&#121namesworld.com</a> <p><a href="http://&#98&#97&#98&#121namewizard.com/namevoyager/lnv0105.html">&#98&#97&#98&#121namewizard.com's "Name Voyager"</a> <img src="check.gif"> <p><a href="http://wesclark.com/ubn/">The Utah &#66&#97&#98&#121 Namer</a> <img src="check.gif"> <hr noshade width=100 color=navy> <b>Pages About DOG Names</b> <p><a href="http://www.dog-names.us/">Dog Names: Searchable database and list of over 6,000 popular names.</a> <hr noshade width=100 color=navy> </font> </td> <td valign=top width=1 bgcolor=navy> </td> <td><font face=tahoma,verdana,arial size=-1> <!----------------- BEGIN CENTER COLUMN ------------------> <p> <iframe id="pages" src="https://www.dougs.org/dougpages.php" scrolling="no" marginwidth="0" marginheight="0" frameborder="0" vspace="0" hspace="0" style="overflow:visible; width:100%; display:none"></iframe> <!---------------------------------------------------------------------------------> </td> <td valign=top width=1 bgcolor=navy> </td> <!----------------- BEGIN RIGHT COLUMN ------------------> <td align=left valign=top width=130> <font face="tahoma,verdana,arial" size="-2"> <b>CelebriDOUG Spotlight!</b> </font> <br> <script type="text/javascript" src="https://www.dougs.org/celebs/celebrotate.js"></script> <hr noshade width="100" color="navy"> <script type="text/javascript"><!-- google_ad_client = "pub-4496379500546411"; google_ad_width = 120; google_ad_height = 600; google_ad_format = "120x600_as"; google_ad_type = "text_image"; google_ad_channel ="5364226380"; google_color_border = "efefef"; google_color_bg = "EFEFEF"; //--></script> <script type="text/javascript" src="http://pagead2.googlesyndication.com/pagead/show_ads.js"> </script> &nbsp; <p> <iframe src="http://rcm-na.amazon-adsystem.com/e/cm?t=dougs020-20&o=1&p=11&l=bn1&mode=music&browse=31&fc1=&=1&lc1=&lt1=_blank&f=ifr&bg1=&f=ifr" marginwidth="0" marginheight="0" width="120" height="600" border="0" frameborder="0" style="border:none;" scrolling="no"></iframe> <p> <iframe src="http://rcm-na.amazon-adsystem.com/e/cm?t=dougs020-20&o=1&p=8&l=as1&asins=0792145127&fc1=000000&=1&lc1=0000ff&bc1=000000&lt1=_blank&IS2=1&f=ifr&bg1=ffffff&f=ifr" width="120" height="240" scrolling="no" marginwidth="0" marginheight="0" frameborder="0"> </iframe> <p> <iframe src="http://rcm-na.amazon-adsystem.com/e/cm?t=dougs020-20&o=1&p=11&l=bn1&mode=kitchen&browse=491864&fc1=&=1&lc1=&lt1=&f=ifr&bg1=&f=ifr" marginwidth="0" marginheight="0" width="120" height="600" border="0" frameborder="0" style="border:none;" scrolling="no"></iframe> </td> </tr> </table> <font face="tahoma,verdana,arial" size="-1"> <hr noshade width="90%" color="navy"> <center> If you would like to see another DOUG page listed on the Page of DOUGs, please <script language="JavaScript"> <!-- insertmaillinktext('email'); //--> </script> the name, URL, and a short description. </center> </font> <hr noshade width=90% color=navy> <!--START TABLE --> <CENTER> <TABLE BORDER=1 CELLPADDING=2 CELLSPACING=0 WIDTH=468> <tr><td align="center" height="71" width="75"> <FONT face="arial,helvetica" size="2"> <a href="https://www.dougs.org/ring.html" target="_top"><img border=0 src="https://www.dougs.org/dougwebringtrsm.gif" align="center" WIDTH="75" HEIGHT="69" alt="Official Doug Ring Logo"></a></td> <td align=center><FONT face="arial,helvetica" size="2"><b>This <a href="https://www.dougs.org/ring.html">Ring of DOUGs</a> website is owned by DOUG. <p><a href="http://www.ringsurf.com/netring?ring=dougs;id=2;action=sprev" target="_top">Skip Prev</a> <a href="http://www.ringsurf.com/netring?ring=dougs;id=2;action=prev" target="_top">Prev</a> <a href="http://www.ringsurf.com/netring?ring=dougs;id=2;action=next" target="_top">Next</a> <a href="http://www.ringsurf.com/netring?ring=dougs;id=2;action=skip" target="_top">Skip Next</a> <a href="http://www.ringsurf.com/netring?ring=dougs;action=rand" target="_top">Random</a> <a href="http://www.ringsurf.com/netring?ring=dougs;id=2;action=next5" target="_top">Next 5</a> <a href="http://www.ringsurf.com/netring?ring=dougs;action=list" target="_top">List</a></b></font> <div><FONT face="arial,helvetica" size="1"> Want to join the <A HREF="http://www.ringsurf.com/netring?ring=dougs;action=addform">The Ring of DOUGs</A>? <a href="http://www.ringsurf.com/">Powered by RingSurf</a> </td></tr> </TABLE> </center> <!--END TABLE --> <br><br> <font size="-2" face="arial,helvetica"> Copyright &copy;1998-2022, Douglas DeCota<br> Copyright &copy;1995-1997, Douglas Adams<br> <br> <a target="_top" href="http://z.extreme-dm.com/s/?tag=dougs"> <img name=im src="http://z0.extreme-dm.com/i/" height=38 border=0 width=41 alt=""></a><script language="javascript"><!-- an=navigator.appName;d=document;function pr(){d.write("<img src=\"http://z1.extreme-dm.com", "/z/?tag=dougs&j=y&srw="+srw+"&srb="+srb+"&", "rs="+r+"&l="+escape(d.referrer)+"\" height=1 ", "width=1>");}srb="na";srw="na";//--> </script><script language="javascript1.2"><!-- s=screen;srw=s.width;an!="Netscape"? srb=s.colorDepth:srb=s.pixelDepth;//--> </script><script language="javascript"><!-- r=41;d.images?r=d.im.width:z=0;pr();//--> </script><noscript><img height=1 width=1 alt="" src="http://z1.extreme-dm.com/z/?tag=dougs&j=n"></noscript> </font> <br><center><! -- 15453 hits reached 1/24/98 -- 19000 11/1/98 -- 31325 6/21/2000 -- 97000 6/6/2005 -- 119825 2/5/06 -- 180723 4/6/2008 -- 206606 4/19/2009 -- 223904 2/19/2010 --> <font size=-1 face=tahoma,verdana,arial> <!--#exec cgi="/cgi-bin/library/counter/c4g.pl" --><br>Since April 30, 1995</font> </center> <br> <script type="text/javascript" src="http://www.assoc-amazon.com/s/link-enhancer?tag=dougs020-20"></script> <noscript><img src="http://www.assoc-amazon.com/s/noscript?tag=dougs020-20" alt="" /></noscript> </td></tr> </table> </body> </html>
NEW The Page of DOUGs <!-- function insertmaillink(addr, linktext) { var linktarget='mailto:'+addr; document.write('<A HREF="'+linktarget+'">'+linktext+'</A>'); } function insertmaillinktext(linktext) { var myname="doug"; var mydom="dougs"; var myaddr=myname+'@'+mydom+'.org?Subject=The Page of DOUGS!'; insertmaillink(myaddr, linktext); } //--> <style type=text/css> <!-- a:link {color:blue;text-decoration:none;} a:visited {color:#0000dd;text-decoration:none;} a:hover {color:#dd0000;text-decoration:underline;} a:active {color:red;text-decoration:none;} //--></STYLE> <script src="newwindow.js"> | | | | | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | | | | | | --- | --- | | | **The world is a better place because there are DOUGs in it. Now you can meet some of us. This is especially valuable if you are not so fortunate as to have frequent proximity to one or more of the truly great. *Virtual contact is better than none!*** | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | | ***1995 ~ Celebrating DOUGs On The Web for Over Two Decades! ~ 2022*** | NEW! DOUGs can now join us on Facebook! | | | --- | | [Google](http://www.google.com/) | | | | | | --- | --- | | Web | www.dougs.org | | --- [What's up with The Page of DOUGS?](update.html) --- **DOUG's Must-Sees** --- **Notable DOUGS** - **Doug Adams**,[The Page of DOUG](http://web.archive.org/web/20030411231418/people.ku.edu/~dadams/index.html) - Original Keeper of the Page of DOUGS - **Doug Smith**,[Doug Smith's Home Page](http://www.dougweb.com/) [He suggested this page-- heck, he even has a link here!-- Thanks Doug!] --- **DOUG Deals** [**Deals on Amazon.com Home & Garden Products!**](http://www.amazon.com/gp/redirect.html?ie=UTF8&location=http%3A%2F%2Fwww.amazon.com%2Fb%3Fie%3DUTF8%26node%3D1063518&tag=dougs020-20&linkCode=ur2&camp=1789&creative=9325 target=_new) --- **DOUG Trivia** Pro wrestler and movie actor [Dwayne "The Rock" Johnson's](http://www.amazon.com/exec/obidos/ASIN/B00005JKYX/dougs020-20) middle name is Douglas. Author [Douglas Adams'](http://www.amazon.com/exec/obidos/ASIN/B000A283AW/dougs020-20) initials are "DNA" (Douglas Noel Adams). The cartoon ["Doug"](http://www.amazon.com/exec/obidos/ASIN/6305515042/dougs020-20) originated as a book called "Doug Got a New Pair of Shoes". Author [Ray Bradbury's](http://www.amazon.com/exec/obidos/ASIN/0553278223/dougs020-20) middle name is Douglas, after the actor, Douglas Fairbanks. Alleged murderer Mark Hacking's middle name is Douglas. The ["Back To The Future"](http://www.amazon.com/exec/obidos/ASIN/B00006AL1E/dougs020-20) character George McFly's middle name is Douglas. Pro hockey players and ex-Edmonton Oilers [Mark Messier](http://www.amazon.com/exec/obidos/ASIN/B0000C8AO7/dougs020-20>Wayne Gretzky</a> and <a href=) both have the middle name Douglas. Additionally, Messier's father and one of his sons are both named Doug. Also, Gretzky's son's birth name is Trevor Douglas Gretzky. [Jay Leno's](http://www.amazon.com/exec/obidos/ASIN/B000BKDNV2/dougs020-20) full birth name is James Douglas Muir Leno. Actor [Michael Keaton's](http://www.amazon.com/exec/obidos/ASIN/0790731479/dougs020-20) birth name is Michael John Douglas. Kids In The Hall troupe member [Mark McKinney's](http://www.amazon.com/exec/obidos/ASIN/B000B6D75I/dougs020-20) birth name is Mark Douglas Brown McKinney. Actor [Doug E. Doug's](http://www.amazon.com/exec/obidos/ASIN/6305428387/dougs020-20) birth name is Douglas Bourne. Seminal punk rocker [Dee Dee Ramone's](http://www.amazon.com/exec/obidos/ASIN/B000642JG8/dougs020-20) birth name is Douglas Glenn Colvin. [The Kinks'](http://www.amazon.com/exec/obidos/ASIN/B000002KOZ/dougs020-20) Ray Davies' birth name is Raymond Douglas Davies. Actor [Irving Metzman's](http://www.amazon.com/exec/obidos/ASIN/0792838467/dougs020-20) birth name is Douglas Kahn. [Lindsay Lohan's](http://www.amazon.com/exec/obidos/ASIN/B000AM4P9A/dougs020-20) brother, actor Michael Lohan's middle name is Douglas. Writer [Michael Crichton's](http://www.amazon.com/exec/obidos/ASIN/0060541814/dougs020-20) brother, also a writer, is Douglas Crichton. Rock group [Deep Purple's](http://www.amazon.com/exec/obidos/ASIN/B00004SWDU/dougs020-20) keyboard player Jon Lord's birth name is Jon Douglas Lord. Country musician [Brad Paisley's](http://www.amazon.com/exec/obidos/ASIN/B000A2APUS/dougs020-20) birth name is Brad Douglas Paisley. Searching Google for the word "Doug" returns about 56,400,000 pages. --- **Pages About People With Names Other Than DOUG** [The Barbara Page](http://www.geocities.com/soakbear/barbara.htm) [All About Deirdre](http://www.allaboutdeirdre.com/) [Elissas Unite!](http://elissa.org/) [Geoffreys on the Web](http://webgeoffrey.com/) [Janessa.com](http://www.janessa.com/) [Jed: www.jed.com](http://www.jed.com/) [Jennifer: Jencyclopedia](http://www.gizmo1.demon.co.uk/jencyclo/jencmain.htm) [Lizzie's Place](http://www.lizzie.com/) [People Named Melissa](http://www.lurkers.org/melissa/melissa_list.html) [Michelles Of The World](http://www.grownmencry.com/mijo/Michelle.html) [People Named Mike](http://www.peoplenamedmike.com/) [The Ralph Page](http://www.ralphb.net/allralph.html) [People Named Robin](http://www.robinsweb.com/robin-ring-homepages.html) [Scott People Page](http://www.scott.com/scott-people.html) [Shirlene On The Internet](http://www.geocities.com/shirlene/) [Cult of Steve](http://www.geocities.com/Area51/Station/3839/) [World Wide Wendy](http://http://www.wendy.com/wendyweb/) --- **Pages About People With First AND Last Names Other Than DOUG** [The David Thompson Phenomenon](http://homepage.ntlworld.com/david507/) [JimWilson.com](http://www.jimwilson.com/) [Ken Andersons](http://www.kenanderson.net/kenandersons/) [Ron Morrises of the World](http://angkor.com/cityrain/otherron.shtml) --- --- **Pages About Names** [Behind the Name: A look into the history behind common first names.](http://www.behindthename.com) [Name Statistics: How popular are your first and last names?](http://www.namestatistics.com) ["The Nayme Gaimme"](http://www.ericdsnider.com/view.php?srkey=350) --- **Pages About Baby Names** [babynamesworld.com](http://www.babynames.com/>babynames.com</a> <p><a href=) [babynamewizard.com's "Name Voyager"](http://babynamewizard.com/namevoyager/lnv0105.html) [The Utah Baby Namer](http://wesclark.com/ubn/) --- **Pages About DOG Names** [Dog Names: Searchable database and list of over 6,000 popular names.](http://www.dog-names.us/) --- | | | | **CelebriDOUG Spotlight!** --- <!-- google\_ad\_client = "pub-4496379500546411"; google\_ad\_width = 120; google\_ad\_height = 600; google\_ad\_format = "120x600\_as"; google\_ad\_type = "text\_image"; google\_ad\_channel ="5364226380"; google\_color\_border = "efefef"; google\_color\_bg = "EFEFEF"; //-->   | | --- If you would like to see another DOUG page listed on the Page of DOUGs, please <!-- insertmaillinktext('email'); //--> the name, URL, and a short description. --- | | | | --- | --- | | [Official Doug Ring Logo](https://www.dougs.org/ring.html) | **This [Ring of DOUGs](https://www.dougs.org/ring.html) website is owned by DOUG. [Skip Prev](http://www.ringsurf.com/netring?ring=dougs;id=2;action=sprev) [Prev](http://www.ringsurf.com/netring?ring=dougs;id=2;action=prev) [Next](http://www.ringsurf.com/netring?ring=dougs;id=2;action=next) [Skip Next](http://www.ringsurf.com/netring?ring=dougs;id=2;action=skip) [Random](http://www.ringsurf.com/netring?ring=dougs;action=rand) [Next 5](http://www.ringsurf.com/netring?ring=dougs;id=2;action=next5) [List](http://www.ringsurf.com/netring?ring=dougs;action=list)** Want to join the [The Ring of DOUGs](http://www.ringsurf.com/netring?ring=dougs;action=addform)? [Powered by RingSurf](http://www.ringsurf.com/) | Copyright ©1998-2022, Douglas DeCota Copyright ©1995-1997, Douglas Adams <!-- an=navigator.appName;d=document;function pr(){d.write("<img src=\"http://z1.extreme-dm.com", "/z/?tag=dougs&j=y&srw="+srw+"&srb="+srb+"&", "rs="+r+"&l="+escape(d.referrer)+"\" height=1 ", "width=1>");}srb="na";srw="na";//--> <!-- s=screen;srw=s.width;an!="Netscape"? srb=s.colorDepth:srb=s.pixelDepth;//--> <!-- r=41;d.images?r=d.im.width:z=0;pr();//--> Since April 30, 1995 |
http://www.dougs.org/
<HTML> <HEAD> <!-- google webmaster tools 20090825 --><meta name="verify-v1" content="DSAD6qMFSvwjSviFv1FQll0BE4sFeeFg9RRXaaLtoW0=" > <TITLE>grin Homepage</TITLE> <!-- <script src="https://www.google-analytics.com/urchin.js" type="text/javascript"></script> <script type="text/javascript">_uacct = "UA-183833-1"; urchinTracker(); </script> --> <!-- Global Site Tag (gtag.js) - Google Analytics --> <script async src="https://www.googletagmanager.com/gtag/js?id=UA-183833-1" integrity="sha384-jX34zyI/qOTknmiYYeOV2ZIZBCi9UF2StrG+pPtnCDvDkCj3a8jzkJAGtm6+RhTx" crossorigin="anonymous"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments)}; gtag('js', new Date()); gtag('config', 'UA-183833-1'); </script> <link rel="me" href="https://mastodon.grin.hu/@grin" /> <link rel="meta" type="application/rdf+xml" title="FOAF" href="foaf.rdf" /> </HEAD> <BODY bgcolor="#000000" text="#ff0000" link="#d0d000" vlink="a0a000" alink="#ffffff"> <h1>Grin's homepage</h1> <p align="center"><font size=7 color="red"> Warning! Offensive Content! Suicide <b><i>NOW!</i></b></font></p> <p align="center"><A HREF="https://dmoz.org/Arts/Animation/Cartoons/Titles/P/Pinky_and_The_Brain/"></A> <!-- <a href="http://erau.db.erau.edu/~butlerk/animan.html"> --> <br><img src="pic/PinkyBrain.gif" alt="[Pinky and The Brain]" width=332 height=250> <br><i>- What are we going to do tonight, Brain?<br> - The same as every night, Pinky... We'll try to <b>take over the world</b>!</i> <br></a> <hr> <p align="center"><A HREF="index_h.html">Ha magyarul akarod olvasni, akkor ezt nyomd meg.</A> <hr> <p style="font-size:200%; font-face: serif; text-align:center; color: pink;">Your IP address is <b>35.230.70.185</b>.</p> <p>Hello! This is my homepage. If you already guessed, good for you. If you didn't, you're an idiot, at least. <p>You can find lots of boring, uninteresting, scary, annoying, mad and secret informations on these pages about the entity called <B>grin</B>. As always, I <A HREF="disclaimer.html">disclaim all responsibility</A> for those suffering mental or other breakdown reading these pages. <p>As every other pages, this page is under construction. But unlike other pages, this will never be finished. Since this page is hardly ever maintaned due lack of time, interest, courage, food, drink, girls and sleep, you can experience all sorts of dicrepancies, time-space warping, weird noises, chilly touches on your butt and missing links. Don't bother to tell me, I'm very aware of them. But I don't give a flying singing fuck. <p>As you already noticed, there is a Hungarian tree of my pages. That's because I am Hungarian. More biographical data could be found... nowhere. It's none of your business. But I tell you that the Hungarian pages contain just completely different infromations than this one. If you don't understand them both, you lose lots of infos. But you don't really care, do you? <p>But, well, there are lots of Hungarian texts online while a very few english ones, actually. (Except this bullshit.) You will find Hungarian links on the Hungarian pages. You will find English links on the.... now, guess where. Go, go, just guess! Eh... I won't tell ya. <hr> <P><font size=+2>I occasionally write. Usually "Don't Disturb" and "Away" signs, and iRC chat. But there's some of the other kind, that you can <A HREF="mindburp/indexe.html">find here</A>, but remember, most of my text is in Hungarian, so you won't see much content.</font> <p><font size=+2>But, if you're bored of me, you can still check the <a href="funtxt/fido_e.html">old Fidonet files</a> from my archieve. </font> <hr width="50%"> <!-- <P>Even I know nobody cares, here are my unsorted <A HREF="hotlist.html">Very old</A> and <! -- hotlist_1.html is the other one -- > <A HREF="bookmarks.html">Not that old</A> bookmarks. I take no responsibility for them. <hr width="50%"> --> <p>You can write email to me using "grin at tolna.net" address, or could try to call (or send SMS to) my mobile at +36 20 9215-698, though I have the good habit to send unsolicited callers to where the sun doesn't shine. Mail bombs should be send to <p><blockquote><pre> Gervai "grin" Peter Rakoczi u 70 7100 Szekszard Hungary</pre></blockquote> since this is not my personal address so it gets sorted before gets to me. <tt>;-></tt> (This is a postal only address, don't bother trying to find me there.) <hr width="50%"> <p><a href="http://www.circus.com/~nodhmo/">Ban Dihydrogen-monoxyde!!</a> <hr> <pre> -----BEGIN <A HREF="geek-3.1.txt">GEEK CODE</A> BLOCK----- Version: 3.1 GCC/IT/TW/O d?(pu) s+++:--- a?(-) C++ UL++++ P+++ L++++@$ E- W+++(--)$ N+ o+ K? w--- O@(++) !M V-- PS+ PE Y++@ PGP++ t+ 5 X+ R@ !tv b+>+++ !DI D++ G e++(*) h*(++) r--- y+(*) ------END GEEK CODE BLOCK------ </pre> <hr> <p>These pages are hopefully readable under the useful web browsers like <A HREF="http://www.lynx.org/">Lynx</A> or Netscape. But avoid <A HREF="http://www.microsuck.com/">internet exploder</A> like plague. <hr> <p>Just to have it, link to the <a href="https://grin.hu/tbhaz/">törökbálint house for sale</a> page. <hr> <p align="center"><img align="center" src="pic/grin_sign.jpg" alt="[VIGYOR KEP]"> <p align="center">&copy;Copyright 1972-1998, Peter "grin" Gervai, All rights Reserved. <p align="center">No duplication without written authorization! </BODY> </HTML>
grin Homepage window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments)}; gtag('js', new Date()); gtag('config', 'UA-183833-1'); # Grin's homepage Warning! Offensive Content! Suicide ***NOW!*** ![[Pinky and The Brain]](pic/PinkyBrain.gif) *- What are we going to do tonight, Brain? - The same as every night, Pinky... We'll try to **take over the world**!* --- [Ha magyarul akarod olvasni, akkor ezt nyomd meg.](index_h.html) --- Your IP address is **35.230.70.185**. Hello! This is my homepage. If you already guessed, good for you. If you didn't, you're an idiot, at least. You can find lots of boring, uninteresting, scary, annoying, mad and secret informations on these pages about the entity called **grin**. As always, I [disclaim all responsibility](disclaimer.html) for those suffering mental or other breakdown reading these pages. As every other pages, this page is under construction. But unlike other pages, this will never be finished. Since this page is hardly ever maintaned due lack of time, interest, courage, food, drink, girls and sleep, you can experience all sorts of dicrepancies, time-space warping, weird noises, chilly touches on your butt and missing links. Don't bother to tell me, I'm very aware of them. But I don't give a flying singing fuck. As you already noticed, there is a Hungarian tree of my pages. That's because I am Hungarian. More biographical data could be found... nowhere. It's none of your business. But I tell you that the Hungarian pages contain just completely different infromations than this one. If you don't understand them both, you lose lots of infos. But you don't really care, do you? But, well, there are lots of Hungarian texts online while a very few english ones, actually. (Except this bullshit.) You will find Hungarian links on the Hungarian pages. You will find English links on the.... now, guess where. Go, go, just guess! Eh... I won't tell ya. --- I occasionally write. Usually "Don't Disturb" and "Away" signs, and iRC chat. But there's some of the other kind, that you can [find here](mindburp/indexe.html), but remember, most of my text is in Hungarian, so you won't see much content. But, if you're bored of me, you can still check the [old Fidonet files](funtxt/fido_e.html) from my archieve. --- [Not that old](bookmarks.html) bookmarks. I take no responsibility for them. --- --> You can write email to me using "grin at tolna.net" address, or could try to call (or send SMS to) my mobile at +36 20 9215-698, though I have the good habit to send unsolicited callers to where the sun doesn't shine. Mail bombs should be send to > > ``` > > Gervai "grin" Peter > Rakoczi u 70 > 7100 Szekszard > Hungary > ``` > since this is not my personal address so it gets sorted before gets to me. ;-> (This is a postal only address, don't bother trying to find me there.) --- [Ban Dihydrogen-monoxyde!!](http://www.circus.com/~nodhmo/) --- ``` -----BEGIN [GEEK CODE](geek-3.1.txt) BLOCK----- Version: 3.1 GCC/IT/TW/O d?(pu) s+++:--- a?(-) C++ UL++++ P+++ L++++@$ E- W+++(--)$ N+ o+ K? w--- O@(++) !M V-- PS+ PE Y++@ PGP++ t+ 5 X+ R@ !tv b+>+++ !DI D++ G e++(*) h*(++) r--- y+(*) ------END GEEK CODE BLOCK------ ``` --- These pages are hopefully readable under the useful web browsers like [Lynx](http://www.lynx.org/) or Netscape. But avoid [internet exploder](http://www.microsuck.com/) like plague. --- Just to have it, link to the [törökbálint house for sale](https://grin.hu/tbhaz/) page. --- ![[VIGYOR KEP]](pic/grin_sign.jpg) ©Copyright 1972-1998, Peter "grin" Gervai, All rights Reserved. No duplication without written authorization!
https://grin.hu/
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html><head> <meta http-equiv="content-type" content="text/html;charset=iso-8859-1"> <meta name="generator" content="Microsoft FrontPage 5.0"><title>The Unknown Movies - the-unknown-movies.com/unknownmovies</title></head><body style="background-color: white; background-image: url(img/background.gif);"> <script async="" src="https://pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <ins class="adsbygoogle" style="display: block;" data-ad-format="fluid" data-ad-layout-key="-gw-3+1f-3d+2z" data-ad-client="ca-pub-2663296214295317" data-ad-slot="1502619245"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script> <center> <table border="0" cellpadding="2" cellspacing="2" width="600"> <tbody> <tr> <td> <center> <table border="0" cellpadding="2" cellspacing="4" width="600"> <tbody> <tr> <td> <center> <span style="font-family: Verdana,Tahoma,Arial,Helvetica;"><span style="text-decoration: underline;"></span></span><font face="Verdana,Tahoma,Arial,Helvetica" size="1"><a href="email.html">k e i t h&nbsp; b a i l e y</a>&nbsp; p r e s e n t s</font></center> </td> </tr> <tr> <td><img src="img/maingraphic.jpg" height="267" width="593"></td> </tr> <tr> <td> <div style="text-align: center;"> </div> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Updates every 10 days. Don't see a scheduled update? Hit "refresh"!<br> </td> </tr> </tbody> </table> <p> <table border="0" cellpadding="5" cellspacing="2" height="249" width="600"> <tbody> <tr> <td height="27"><img src="img/NEWEST.gif" height="27" width="270"></td> </tr> <tr> <td bgcolor="#dcdcdc" height="29"> <p> <font face="Tahoma" size="2"><a href="reviews/rev977.html"><span style="font-weight: bold;">The Fan</span></a> -<span style="font-style: italic;"> </span>Not that The Fan,<span style="font-style: italic;"> </span>this The Fan, understand? <span style="font-style: italic;">(Posted December 25, 2023)<br> </span></font></p> </td> </tr> <tr> <td height="10"><img src="img/clearpixel.gif" height="10" width="10"></td> </tr> <tr> <td height="27"><img src="img/Recent.gif" height="27" width="265"></td> </tr> <tr> <td bgcolor="#dcdcdc" height="96"> <p> <a href="reviews/rev977.html"><span style="font-weight: bold;"><font face="Tahoma" size="2"><span style="font-weight: bold;"></span></font></span><span style="text-decoration: underline;"></span></a><font face="Tahoma" size="2"><a href="reviews/rev976.html"><span style="font-weight: bold;">Superdad</span></a> -<span style="font-style: italic;"> </span>Superdud <span style="font-style: italic;">(Posted December 15, 2023)</span></font><a href="reviews/rev975.html"><br clear="all"> </a><font face="Tahoma" size="2"><a href="reviews/rev975.html"><span style="font-weight: bold;">Pure Danger</span></a> -<span style="font-style: italic;"> </span>C. Thomas Howell? See critic howl! <span style="font-style: italic;">(Posted December 5, 2023)</span></font><a href="reviews/rev974.html"><br clear="all"> </a><font face="Tahoma" size="2"><a href="reviews/rev974.html"><span style="font-weight: bold;">The 27th Day</span></a> -<span style="font-style: italic;"> </span>Have a nice day <span style="font-style: italic;">(Posted November 25, 2023)</span></font><a href="reviews/rev973.html"><br clear="all"> </a><font face="Tahoma" size="2"><a href="reviews/rev973.html"><span style="font-weight: bold;">All Through The House</span></a> -<span style="font-style: italic;"> </span>I'm all through with Santa slashers<span style="font-style: italic;"> (Posted November 15, 2023)</span></font><a href="reviews/rev972.html"><br clear="all"> </a><font face="Tahoma" size="2"><a href="reviews/rev972.html"><span style="font-weight: bold;">Irreconcilable Differences</span></a> - Ryan O'Neal as a bad husband/father???<span style="font-style: italic;"> (Posted November 5, 2023)</span></font><a href="reviews/rev971.html"><br clear="all"> </a><font face="Tahoma" size="2"><a href="reviews/rev971.html"><span style="font-weight: bold;">Yes, Madam!</span></a> - ANOTHER good Cynthia Rothrock movie??? <span style="font-style: italic;">(Posted October 26, 2023)</span></font><font face="Tahoma" size="2"><a href="reviews/rev970.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev969.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev968.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev967.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev966.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev965.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev964.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev963.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev962.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev961.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev960.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev959.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev958.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev957.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev956.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev955.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev954.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev953.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev952.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev951.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev950.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev949.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev948.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev947.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev946.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev945.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev944.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev943.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev942.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev941.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev940.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev939.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev938.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev937.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev936.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev935.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev934.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev933.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev932.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev931.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev930.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev929.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev928.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev927.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev926.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev925.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev924.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev923.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev922.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev921.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev920.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev919.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev918.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev917.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev916.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev915.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev914.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev913.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev912.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev911.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev910.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev909.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev908.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev907.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev906.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev905.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev904.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev903.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev902.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev901.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev900.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev899.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev898.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev897.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev896.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev895.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev894.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev893.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev892.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev891.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev890.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev889.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev888.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev887.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev886.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev885.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev884.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev883.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev882.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev881.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev880.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev879.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev878.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev877.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev876.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev875.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev874.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev873.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev872.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev871.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev870.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev869.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev868.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev867.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev866.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev865.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev864.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev863.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev862.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev860.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev859.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev858.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev857.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev856.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev855.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev854.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev853.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev852.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev851.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev850.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev849.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev848.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev847.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev846.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev845.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev844.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-weight: bold;"></span><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><a href="reviews/rev761.html"><span style="font-weight: bold;"></span></a><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><span style="font-weight: bold;"><font face="Tahoma" size="2"><span style="font-weight: bold;"></span></font></span><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><span style="font-weight: bold;"></span><a style="font-weight: bold;" href="reviews/rev758.html"><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font></a><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><span style="font-style: italic;"></span></font><font face="Tahoma" size="2"><b><a href="reviews/rev497.html"><br> </a></b></font></p> </td> </tr> </tbody> </table> </p> <p> <table border="0" cellpadding="2" cellspacing="2" width="389"> <tbody> <tr> <td valign="top"><a href="files.html" title="Reviews A-Z"><img src="img/A-Z.gif" border="0" height="80" width="78"></a></td> <td valign="top"><a href="genfiles.html" title="Reviews by Genre"><img src="img/Genres.gif" alt="Genre Index" border="0" height="80" width="77"></a></td> <td valign="top"><a href="wanted.html" title="Trade Movies!"><img src="img/Trade.gif" alt="Trade Movies" border="0" height="80" width="78"></a></td> <td valign="top"><a href="why.html" title="Why Unknown Movies?"><img src="img/Why.gif" alt="Why?" border="0" height="85" width="80"></a></td> <td valign="top"><a href="links.html" title="Other web sites!"><img src="img/Links.gif" alt="Links" border="0" height="80" width="73"></a></td> <td valign="top"><a href="LETTERS.html" title="Reader Mail"><img src="img/Letters.gif" alt="Letters" border="0" height="81" width="77"></a></td> </tr> </tbody> </table> </p> <p> <table border="0" cellpadding="5" cellspacing="2" width="600"> <tbody> <tr> <td><font face="Tahoma,Verdana,Helvetica,Arial" size="2"><b>"The Unknown Movies," "The Unknown Movies Page," title image, reviews, and all other related material copyright 1998 - 2023 by Keith Bailey. All rights reserved. Replication of this material without written permission is prohibited. Images drawn from films are copyrighted by their creators and are used for the purposes of review.<br> <br> <a href="http://www.b-masters.com"> <img src="img/b-masters.gif" border="0" height="120" width="120"></a></b></font></td> <td> <center> <a title="Send mail to the wizard!" href="email.html"><img src="img/wizard.jpg" alt="E-mail Greywizard" border="0" height="258" width="154"></a><br> <font face="Tahoma,Verdana,Helvetica,Arial" size="2"><b> <a href="email.html">E-mail Greywizard</a></b></font></center> </td> </tr> </tbody> </table> </p> </center> </td> </tr> </tbody> </table> </center> <script async="" src="https://pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script><!-- Adversion1 --> <ins class="adsbygoogle" style="display: block;" data-ad-client="ca-pub-2663296214295317" data-ad-slot="5432936020" data-ad-format="auto" data-full-width-responsive="true"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script> </body></html>
The Unknown Movies - the-unknown-movies.com/unknownmovies (adsbygoogle = window.adsbygoogle || []).push({}); | | | | | | | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | | | | | --- | | [k e i t h  b a i l e y](email.html)  p r e s e n t s | | | |                       Updates every 10 days. Don't see a scheduled update? Hit "refresh"! | | | | --- | | | | [The Fan](reviews/rev977.html) - Not that The Fan, this The Fan, understand? (Posted December 25, 2023) | | | | | | [Superdad](reviews/rev976.html) - Superdud (Posted December 15, 2023)[Pure Danger](reviews/rev975.html) - C. Thomas Howell? See critic howl! (Posted December 5, 2023)[The 27th Day](reviews/rev974.html) - Have a nice day (Posted November 25, 2023)[All Through The House](reviews/rev973.html) - I'm all through with Santa slashers (Posted November 15, 2023)[Irreconcilable Differences](reviews/rev972.html) - Ryan O'Neal as a bad husband/father??? (Posted November 5, 2023)[Yes, Madam!](reviews/rev971.html) - ANOTHER good Cynthia Rothrock movie??? (Posted October 26, 2023) | | | | | | | | | --- | --- | --- | --- | --- | --- | | | [Genre Index](genfiles.html "Reviews by Genre") | [Trade Movies](wanted.html "Trade Movies!") | [Why?](why.html "Why Unknown Movies?") | [Links](links.html "Other web sites!") | [Letters](LETTERS.html "Reader Mail") | | | | | --- | --- | | **"The Unknown Movies," "The Unknown Movies Page," title image, reviews, and all other related material copyright 1998 - 2023 by Keith Bailey. All rights reserved. Replication of this material without written permission is prohibited. Images drawn from films are copyrighted by their creators and are used for the purposes of review.** | [E-mail Greywizard](email.html "Send mail to the wizard!") **[E-mail Greywizard](email.html)** | | (adsbygoogle = window.adsbygoogle || []).push({});
http://www.the-unknown-movies.com/unknownmovies/
<HTML> <HEAD> <META NAME="GENERATOR" CONTENT="Adobe PageMill 3.0 Win"> <TITLE>Belly Dancing: Site Map For Art Of Middle Eastern Dance</TITLE> <META NAME="description" CONTENT="Site map for Art Of Middle Eastern Dance, a belly dancing web site. It offers over 300 articles related to belly dancing: humor, poetry, translated song lyrics, tips and tricks, finger cymbal rhythms, a glossary of belly dance terms, Egyptian goddesses, and much more."> <META NAME="keywords" CONTENT="belly dance bellydance bellydancing belly dancing bauchtanzen oriental danse orientale raqs sharqi raks sharki Arabic Turkish shira Middle Eastern"> <META NAME="resource-type" CONTENT="document"> <META NAME="distribution" CONTENT="global"> <META NAME="author" CONTENT="Shira (Julie Elliot)"> <META NAME="copyright" CONTENT="Copyright 2001 by Julie Anne Elliot. All rights reserved."> <LINK REL="stylesheet" HREF="style.css"> </HEAD> <BODY BGCOLOR="#fffcb7" LINK="#d96c00" ALINK="#d96c00" VLINK="#864300"> <H1><CENTER>Map Of The Web Site Structure For</CENTER></H1> <H1><CENTER>Art Of Middle Eastern Dance</CENTER></H1> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="3" CELLPADDING="2"> <TR> <TD WIDTH="100%"> <P>This web site has over 2,000 distinct articles altogether, and keeps growing all the time! How on earth can you possibly make sure you've found everything on this site that might interest you? Well, help is here! This map of the web site lists everything there is to find on it, arranged in the tree structure that the menus follow. A few things appear twice, because I've put them on more than one menu.</P> <P>This site map was last updated on December 12, 2020..</TD> </TR> </TABLE></CENTER></P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="3" CELLPADDING="2"> <CAPTION ALIGN="TOP"><H3>Key To Symbols Used</H3> </CAPTION> <TR> <TD WIDTH="50%" VALIGN="BOTTOM"><IMG SRC="drawings/noteblack.gif" WIDTH="20" HEIGHT="26" ALIGN="BOTTOM" BORDER="0" NATURALSIZEFLAG="3" ALT="Note">Has sound files.</TD> <TD WIDTH="50%" VALIGN="BOTTOM">&nbsp;</TD> </TR> </TABLE></CENTER></P> <P><CENTER><IMG SRC="shaded%20bar.gif" ALIGN="BOTTOM" BORDER="0" ALT="Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre"></CENTER></P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="2" CELLPADDING="0"> <TR> <TD WIDTH="100%"> <H2>Major Categories</H2> <H3>Belly Dancing with Shira</H3> <ul> <li>See below for index to this section.</li> </ul> <H3>All About Belly Dancing</H3> <ul> <li><a href="about/sitemaph.htm">Then and Now: About Belly Dancing and Its History</a>. Index for this section is on a separate page - click to view it.</li> <li><a href="advice/sitemapadv.htm">Advice &amp; How-To</a>. Index for this section is on a separate page - click to view it.</li> <li><a href="culture/sitemapme.htm">Near Eastern Culture</a>. Index for this section is on a separate page - click to view it.</li> <li>Fun &amp; Frolic. See below for index to this section.</li> <li>Tech Talk for Belly Dancers. See below for index to this section.</li> <li>Worldwide Teacher &amp; Performer Directory. See below for index to this section.</li> <li><a href="sitemapa.htm">Inspiration</a> Index for this section is on a separate page - click to view it.</li> <li><a href="music/sitemapm.htm">Near Eastern Music</a> Index for this section is on a separate page - click to view it.</li> <li>Reviews <ul> <li><a href="books/sitemapb.htm">Books</a>. Index for this section is on a separate page - click to view it.</li> <li><a href="music/sitemapm.htm">Music.</a> Index for this section is on a separate page - click to view it.</li> <li><a href="videos/sitemapv.htm">Videos.</a> Index for this section is on a separate page - click to view it.</li> </ul> </li> <li><a href="links/sitemapl.htm">Links</a> Index for this section is on a separate page - click to view it.</li> </ul> <H3>Using This Web Site</H3> <ul> <li>See below for index to this section.</li> </ul></TD> </TR> </TABLE></CENTER></P> <P><CENTER><IMG SRC="shaded%20bar.gif" ALIGN="BOTTOM" BORDER="0" ALT="Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre"></CENTER></P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="100%"> <H2>Belly Dancing With Shira</H2> <UL> <LI><A HREF="shira/credentials.htm">Shira's Dance Biography</A> <LI><A HREF="shira/shiragallery.htm">Shira's Photo Gallery</A> <LI><A HREF="classes.htm#Classes">Shira's Belly Dancing Classes</A> <LI><A HREF="classes.htm#Workshops">Workshops</A> <UL> <LI>Dance in Egyptian Cinema <LI>Egyptian Dance: Evolution of an Art Form <LI>Oriental Dance: Egypt's Shameful Profession <LI>Artistic Marketing <LI>Egyptian and Tribal: Sibling Rivalry, Sisterly Love <LI>Belly Dance and Back Health <LI>Dancing to Egyptian Music </UL> </UL> </TD> </TR> </TABLE></CENTER></P> <P><CENTER><IMG SRC="shaded%20bar.gif" WIDTH="567" HEIGHT="8" ALIGN="BOTTOM" NATURALSIZEFLAG="0" ALT="Belly Dancing Belly Dance Belly Dancers" BORDER="0"></CENTER></P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="100%"> <H2><A HREF="search.htm">Search This Site</A></H2> <UL> <LI>By Keyword <LI>By Date Added Or Updated </UL> </TD> </TR> </TABLE></CENTER></P> <P><CENTER> <IMG SRC="shaded%20bar.gif" WIDTH="567" HEIGHT="8" ALIGN="BOTTOM" NATURALSIZEFLAG="0" ALT="Belly Dancing Belly Dance Belly Dancers" BORDER="0"> </CENTER></P> <P>&nbsp;</P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="611"> <H2>Belly Dance Then and Now</H2> <H2>Articles about the history of belly dance and how people are dancing today.</H2> <p><A HREF="about/sitemaph.htm">Click here to see the full index for the entire &quot;Belly Dance Then &amp; Now&quot; section.</A> On a separate page.</p></TD> </TR> </TABLE> </CENTER></P> <P><CENTER><IMG SRC="shaded%20bar.gif" ALIGN="BOTTOM" BORDER="0" ALT="Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre"></CENTER></P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="599"> <H2>Advice, Tips, and How-To's</H2> <H2>Helpful information on dance technique, belly dance lifestyle, the craft of teaching, and business matters.</H2> <p><A HREF="advice/sitemapadv.htm">Click here to see the full index for the entire &quot;Advice&quot; section.</A> On a separate page.</p> <p><a href="costuming/sitemapc.htm">Click here to see the full index for the &quot;Costuming&quot; section.</a> On a separate page.</p></TD> </TR> </TABLE> </CENTER> <CENTER> <p>&nbsp;</p> </CENTER> <P><CENTER><IMG SRC="shaded%20bar.gif" ALIGN="BOTTOM" BORDER="0" ALT="Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre"></CENTER></P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="599"> <H2>Middle Eastern Music</H2> <H2>Song lyrics, music history, instructional materials, and product reviews.</H2> <p><a href="music/sitemapm.htm">Click here to see the full index for the entire &quot;Middle Eastern Music&quot; section. </a>On a separate page.</p></TD> </TR> </TABLE> </CENTER></P> <p>&nbsp;</p> <P align="center"><IMG SRC="shaded%20bar.gif" ALIGN="BOTTOM" BORDER="0" ALT="Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre"> <CENTER><TABLE WIDTH="640" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="100%"> <H2>Middle Eastern Culture</H2> <p><a href="culture/sitemapme.htm">Click here to see the full index for the entire &quot;Middle Eastern Culture&quot; section.</a> On a separate page.</p> <p><a href="music/sitemapm.htm">Click here to see the full index for the &quot;Middle Eastern Music&quot; section.</a> On a separate page. </p></TD> </TR> </TABLE> &nbsp; </CENTER> <P><CENTER><IMG SRC="shaded%20bar.gif" ALIGN="BOTTOM" BORDER="0" ALT="Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre"></CENTER></P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="599"> <H2><A HREF="funfrolic.htm">Fun and Frolic</A></H2> </TD> </TR> <TR> <TD WIDTH="599">&nbsp;</TD> </TR> <TR> <TD WIDTH="599"><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="50%" VALIGN="TOP"> <H3><A HREF="funfrolic.htm#Verse">Silly Songs &amp; Poems</A></H3> <UL> <LI><img src="settings/holly.gif" alt="Holly" width="26" height="22"> Jingle Belts <LI><img src="settings/holly.gif" alt="Holly" width="26" height="22"> Belly Dancer's Twelve Days of Christmas<LI>Pervy Men Are Everywhere! <LI><IMG SRC="drawings/noteblack.gif" WIDTH="20" HEIGHT="26" ALIGN="BOTTOM" BORDER="0" NATURALSIZEFLAG="3" ALT="Note">Bassboussamatic <LI>We Are The Bedouin Bumpers! <LI>Sally, Sally <LI>Nance And Her Dance <LI><IMG SRC="drawings/noteblack.gif" WIDTH="20" HEIGHT="26" ALIGN="BOTTOM" BORDER="0" NATURALSIZEFLAG="3" ALT="Note">Kamella, Kamella <LI>Moosetafa </UL> <H3><A HREF="funfrolic.htm#Jokes">Jokes</A></H3> <UL> <LI>Belly Dancing Jokes <LI>Musician Jokes <LI>The Top 21 Reasons To Be A Belly Dancer <LI>Advice to Chickens on How to Do Belly Dance Entrances <LI>Evolution of Class Attire for Middle Eastern Dance </UL> </TD> <TD WIDTH="50%" VALIGN="TOP"> <H3><A HREF="funfrolic.htm#Cartoons">Cartoons &amp; Other Visual Delights</A></H3> <UL> <LI> How to Become a Millionaire Doing Belly Dance. <LI> The Raq-ettes <LI>Steph's Spud <LI>Belly Dance Discussion Bingo <LI>The Belly Dancer's Day Off<LI>Evolution<LI><IMG SRC="drawings/noteblack.gif" WIDTH="20" HEIGHT="26" ALIGN="BOTTOM" BORDER="0" NATURALSIZEFLAG="3" ALT="Note">Belly Dancing On Noah's Ark, Part 1 <LI><IMG SRC="drawings/noteblack.gif" WIDTH="20" HEIGHT="26" ALIGN="BOTTOM" BORDER="0" NATURALSIZEFLAG="3" ALT="Note">Belly Dancing On Noah's Ark, Part 2 <LI><IMG SRC="drawings/noteblack.gif" WIDTH="20" HEIGHT="26" ALIGN="BOTTOM" BORDER="0" NATURALSIZEFLAG="3" ALT="Note">Ya Habibi! Dance Party <LI>Middle Eastern Dance Electronic Postcards by Me'ira <LI>The Belly Dancer And The Diet <LI>The Snake Charmer <LI>Rattie Repertory Mayhem Dance Company! <LI>Dances With Cows <LI>Priscilla's Perfect Performing Penguins Of Persia <LI>Dancer Dolls <LI>The Dancing Baby <LI><I>Wee Wee Monsieur</I>, featuring The Three Stooges </UL> <H3><A HREF="funfrolic.htm#Polls">Opinion Polls, Puzzles, &amp; Quizzes</A></H3> <H4>Polls</H4> <UL> <LI>Collecting Tips <LI>What To Call The Dance? <LI>Favorite Costuming Style <LI>Favorite Music For Dancing <LI>Choreography or Improvisation? <LI>Why Do <I>You</I> Perform Publicly? <LI>How Are <I>You</I> Learning to Belly Dance? <LI>Why Do You Love to Belly Dance? </UL> <H4>Video-Related</H4> <UL> <LI>How Are Videos Used? <LI>How Many Videos Are Owned? <LI>What Level of Professionalism Is Expected on Video Production Quality? <LI>VHS Tape, VCD, or DVD? <LI>Buying DVD's to Replace Existing VHS Tapes? <LI>Video pricing opinions? <LI>Do Youtube and Other Video Clip Sites Change Your Buying Habits? </UL> <H4>Quizzes, Puzzles</H4> <UL> <LI>Quiz <LI>Belly Dance Word Search Puzzle </UL> </TD> </TR> </TABLE></TD> </TR> </TABLE></CENTER></P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="50%" VALIGN="TOP"> <H3><A HREF="funfrolic.htm#Coloring">The Belly Dance Coloring Book</A></H3> <UL> <LI>From the Book <I>Bella Wishes</I> <UL> <LI>Shy Bella <LI>Bella and Bo High Five <LI>Bella Dancing with Arms Up </UL> <LI>The Dancer <LI>Gypsy Fantasy (Simple Version) <LI>Gypsy Fantasy (More Complex Version) <LI>Classtime <LI>Secrets Unveiled <LI>Floor Work <LI>Double Veil <LI>Maleea, The Belly Dancing Mouse <LI>Carissa, The Dancing Camel <LI>Kamella, The Dancing Camel <LI>Sally, The Dancing Snail </UL> <H3><A HREF="funfrolic.htm#Other">Other Amusements</A></H3> <UL> <LI>Bizarre Web Links </UL> </TD> <TD WIDTH="50%" VALIGN="TOP"> <H3><A HREF="funfrolic.htm#Changes">Recent Additions To This Page</A></H3> </TD> </TR> </TABLE></CENTER></P> <P><CENTER><IMG SRC="shaded%20bar.gif" ALIGN="BOTTOM" BORDER="0" ALT="Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre"></CENTER></P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="599"> <H2>Inspiration: Poetry, Art, &amp; Musings</H2> </TD> </TR> <TR> <TD WIDTH="599">&nbsp;</TD> </TR> <TR> <TD WIDTH="599"><a href="sitemapa.htm">Click here to see the index to the entire &quot;Inspiration&quot; section.</a> On a separate page.</TD> </TR> </TABLE></CENTER></P> <p>&nbsp;</p> <P><CENTER><IMG SRC="shaded%20bar.gif" ALIGN="BOTTOM" BORDER="0" ALT="Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre"></CENTER></P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="599"> <H2>Reviews: Books, Videos, Music</H2> </TD> </TR> <TR> <TD WIDTH="599">&nbsp;</TD> </TR> <TR> <TD WIDTH="599"><p><a href="books/sitemapb.htm">Click here to see the index to the entire &quot;Books&quot; section.</a> On a separate page.</p> <p><a href="videos/sitemapv.htm">Click here to see the index to the entire &quot;Videos&quot; section.</a> On a separate page.</p> <p><a href="music/sitemapm.htm">Click here to see the index to the entire &quot;Middle Eastern Music&quot; section.</a> On a separate page.</p></TD> </TR> </TABLE></CENTER></P> <p>&nbsp;</p> <P><CENTER><IMG SRC="shaded%20bar.gif" ALIGN="BOTTOM" BORDER="0" ALT="Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre"></CENTER></P> <P>&nbsp;</P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="100%"> <H2><A HREF="techtalk.htm">Tech Talk</A></H2> <UL> <LI><A HREF="web01-need.htm">Do You Need A Web Site?</A> <LI><A HREF="http://www.shira.net/web02-start.htm">Starting Your Own Web Site</A> <LI><a href="techtalk/web-hygiene.htm">Web Site Hygiene: Protecting Your Online Home</a> <LI><A HREF="clip.htm">Artwork For Your Site</A> <LI><A HREF="web03-listings.htm">Getting Your Site Into The Indexes</A> <LI><A HREF="music-cd.htm">Dance Music: A New Use For Your Computer!</A> <LI><A HREF="tech-portabledvd.htm">Dancer's Review of the Polaroid PDV-0700 Portable DVD Player</A> </UL> </TD> </TR> </TABLE></CENTER></P> <P><CENTER><IMG SRC="shaded%20bar.gif" WIDTH="567" HEIGHT="8" ALIGN="BOTTOM" NATURALSIZEFLAG="0" ALT="Belly Dancing Belly Dance Belly Dancers" BORDER="0"></CENTER></P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="599"> <H2><A HREF="behind.htm">Behind The Screens</A></H2> </TD> </TR> <TR> <TD WIDTH="599">&nbsp;</TD> </TR> <TR> <TD WIDTH="599"><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="50%" VALIGN="TOP"> <UL> <LI><A HREF="behind.htm#Link">How To Link To This Site</A> <LI><A HREF="behind.htm#Awards">Awards Won By This Web Site</A> <LI><A HREF="behind.htm#Activity">Which Pages Get The Most Activity</A> <LI><A HREF="behind.htm#Survey">Survey!</A> <UL> <LI>Complete The Survey Yourself <LI>Survey Results <LI>Decisions I Have Made As A Result Of The Survey </UL> </UL> </TD> <TD WIDTH="50%" VALIGN="TOP"> <UL> <LI><A HREF="behind.htm#Evolution">How This Site Evolved</A> <LI><A HREF="behind.htm#Growth">Web Site Growth History</A> <LI><A HREF="behind.htm#Software">Software Tools</A> </UL> </TD> </TR> </TABLE></TD> </TR> </TABLE></CENTER></P> <P><CENTER><IMG SRC="shaded%20bar.gif" ALIGN="BOTTOM" BORDER="0" ALT="Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre"></CENTER></P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="0" CELLPADDING="0"> <TR> <TD WIDTH="599"> <H2>Dance Links</H2> <p><a href="links/sitemapl.htm">Click here to see the index to the entire &quot;Links&quot; section.</a> On a separate page. </p></TD> </TR> </TABLE></CENTER></P> <p>&nbsp;</p> <P><CENTER><IMG SRC="shaded%20bar.gif" ALIGN="BOTTOM" BORDER="0" ALT="Belly Dancing Bellydancing Dance Bellydance"></CENTER></P> <P><CENTER><TABLE WIDTH="620" BORDER="0" CELLSPACING="3" CELLPADDING="0"> <TR> <TD WIDTH="100%"> <P>General: | <A HREF="index.html">Home</A> | <A HREF="classes.htm">Shira's Classes</A> | <A HREF="emailme.htm">E-Mail Shira</A> | <A HREF="shira/credentials.htm">About Shira</A> | <A HREF="shira/shiragallery.htm">Shira's Photo Gallery</A> | <A HREF="perform.htm">Shira's Performances</A> | <A HREF="troupe.htm">Troupe</A> | </P> <P>Belly Dancing Information &amp; How-To's: | <A HREF="about.htm">About Belly Dancing</A> | <A HREF="advice.htm">How-To's</A> | <A HREF="culture.htm">Middle Eastern Culture</A> | <A HREF="funfrolic.htm">Belly Dancing Fun &amp; Frolic</A> | <A HREF="arts.htm">Belly Dancing Poetry &amp; Art</A> | <A HREF="reviews.htm">Reviews: , Music, Videos</A> | <A HREF="directory.htm">Find Belly Dancing Teachers/Performers</A> | <A HREF="techtalk.htm">Tech Talk</A> | <A HREF="links.htm">Links</A> |</P> <P>Using This Site: | <A HREF="sitemap.htm">Table Of Contents (Site Map)</A> | <A HREF="search.htm">Search This Site</A> | <A HREF="behind.htm">Behind The Screens</A> | </P> </TD> </TR> </TABLE></CENTER> </BODY> </HTML>
Belly Dancing: Site Map For Art Of Middle Eastern Dance # Map Of The Web Site Structure For # Art Of Middle Eastern Dance | | | --- | | This web site has over 2,000 distinct articles altogether, and keeps growing all the time! How on earth can you possibly make sure you've found everything on this site that might interest you? Well, help is here! This map of the web site lists everything there is to find on it, arranged in the tree structure that the menus follow. A few things appear twice, because I've put them on more than one menu. This site map was last updated on December 12, 2020.. | ### Key To Symbols Used | NoteHas sound files. | | ![Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre](shaded%20bar.gif) | | | --- | | Major Categories Belly Dancing with Shira* See below for index to this section. All About Belly Dancing* [Then and Now: About Belly Dancing and Its History](about/sitemaph.htm). Index for this section is on a separate page - click to view it. * [Advice & How-To](advice/sitemapadv.htm). Index for this section is on a separate page - click to view it. * [Near Eastern Culture](culture/sitemapme.htm). Index for this section is on a separate page - click to view it. * Fun & Frolic. See below for index to this section. * Tech Talk for Belly Dancers. See below for index to this section. * Worldwide Teacher & Performer Directory. See below for index to this section. * [Inspiration](sitemapa.htm) Index for this section is on a separate page - click to view it. * [Near Eastern Music](music/sitemapm.htm) Index for this section is on a separate page - click to view it. * Reviews + [Books](books/sitemapb.htm). Index for this section is on a separate page - click to view it. + [Music.](music/sitemapm.htm) Index for this section is on a separate page - click to view it. + [Videos.](videos/sitemapv.htm) Index for this section is on a separate page - click to view it. * [Links](links/sitemapl.htm) Index for this section is on a separate page - click to view it. Using This Web Site* See below for index to this section. | ![Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre](shaded%20bar.gif) | | | --- | | Belly Dancing With Shira* [Shira's Dance Biography](shira/credentials.htm)* [Shira's Photo Gallery](shira/shiragallery.htm)* [Shira's Belly Dancing Classes](classes.htm#Classes)* [Workshops](classes.htm#Workshops) + Dance in Egyptian Cinema + Egyptian Dance: Evolution of an Art Form + Oriental Dance: Egypt's Shameful Profession + Artistic Marketing + Egyptian and Tribal: Sibling Rivalry, Sisterly Love + Belly Dance and Back Health + Dancing to Egyptian Music | ![Belly Dancing Belly Dance Belly Dancers](shaded%20bar.gif) | | | --- | | [Search This Site](search.htm)* By Keyword * By Date Added Or Updated | ![Belly Dancing Belly Dance Belly Dancers](shaded%20bar.gif)   | | | --- | | Belly Dance Then and Now Articles about the history of belly dance and how people are dancing today. [Click here to see the full index for the entire "Belly Dance Then & Now" section.](about/sitemaph.htm) On a separate page. | ![Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre](shaded%20bar.gif) | | | --- | | Advice, Tips, and How-To's Helpful information on dance technique, belly dance lifestyle, the craft of teaching, and business matters. [Click here to see the full index for the entire "Advice" section.](advice/sitemapadv.htm) On a separate page. [Click here to see the full index for the "Costuming" section.](costuming/sitemapc.htm) On a separate page. |   ![Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre](shaded%20bar.gif) | | | --- | | Middle Eastern Music Song lyrics, music history, instructional materials, and product reviews. [Click here to see the full index for the entire "Middle Eastern Music" section.](music/sitemapm.htm) On a separate page. |   ![Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre](shaded%20bar.gif) | | | --- | | Middle Eastern Culture [Click here to see the full index for the entire "Middle Eastern Culture" section.](culture/sitemapme.htm) On a separate page. [Click here to see the full index for the "Middle Eastern Music" section.](music/sitemapm.htm) On a separate page. |   ![Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre](shaded%20bar.gif) | | | --- | | [Fun and Frolic](funfrolic.htm) | | | | | | | | --- | --- | | [Silly Songs & Poems](funfrolic.htm#Verse)* Holly Jingle Belts * Holly Belly Dancer's Twelve Days of Christmas* Pervy Men Are Everywhere! * NoteBassboussamatic * We Are The Bedouin Bumpers! * Sally, Sally * Nance And Her Dance * NoteKamella, Kamella * Moosetafa [Jokes](funfrolic.htm#Jokes)* Belly Dancing Jokes * Musician Jokes * The Top 21 Reasons To Be A Belly Dancer * Advice to Chickens on How to Do Belly Dance Entrances * Evolution of Class Attire for Middle Eastern Dance | [Cartoons & Other Visual Delights](funfrolic.htm#Cartoons)* How to Become a Millionaire Doing Belly Dance. * The Raq-ettes * Steph's Spud * Belly Dance Discussion Bingo * The Belly Dancer's Day Off* Evolution* NoteBelly Dancing On Noah's Ark, Part 1 * NoteBelly Dancing On Noah's Ark, Part 2 * NoteYa Habibi! Dance Party * Middle Eastern Dance Electronic Postcards by Me'ira * The Belly Dancer And The Diet * The Snake Charmer * Rattie Repertory Mayhem Dance Company! * Dances With Cows * Priscilla's Perfect Performing Penguins Of Persia * Dancer Dolls * The Dancing Baby * *Wee Wee Monsieur*, featuring The Three Stooges [Opinion Polls, Puzzles, & Quizzes](funfrolic.htm#Polls) Polls* Collecting Tips * What To Call The Dance? * Favorite Costuming Style * Favorite Music For Dancing * Choreography or Improvisation? * Why Do *You* Perform Publicly? * How Are *You* Learning to Belly Dance? * Why Do You Love to Belly Dance? Video-Related* How Are Videos Used? * How Many Videos Are Owned? * What Level of Professionalism Is Expected on Video Production Quality? * VHS Tape, VCD, or DVD? * Buying DVD's to Replace Existing VHS Tapes? * Video pricing opinions? * Do Youtube and Other Video Clip Sites Change Your Buying Habits? Quizzes, Puzzles* Quiz * Belly Dance Word Search Puzzle | | | | | | --- | --- | | [The Belly Dance Coloring Book](funfrolic.htm#Coloring)* From the Book *Bella Wishes* + Shy Bella + Bella and Bo High Five + Bella Dancing with Arms Up* The Dancer * Gypsy Fantasy (Simple Version) * Gypsy Fantasy (More Complex Version) * Classtime * Secrets Unveiled * Floor Work * Double Veil * Maleea, The Belly Dancing Mouse * Carissa, The Dancing Camel * Kamella, The Dancing Camel * Sally, The Dancing Snail [Other Amusements](funfrolic.htm#Other)* Bizarre Web Links | [Recent Additions To This Page](funfrolic.htm#Changes) | ![Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre](shaded%20bar.gif) | | | --- | | Inspiration: Poetry, Art, & Musings | | | | [Click here to see the index to the entire "Inspiration" section.](sitemapa.htm) On a separate page. |   ![Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre](shaded%20bar.gif) | | | --- | | Reviews: Books, Videos, Music | | | | [Click here to see the index to the entire "Books" section.](books/sitemapb.htm) On a separate page. [Click here to see the index to the entire "Videos" section.](videos/sitemapv.htm) On a separate page. [Click here to see the index to the entire "Middle Eastern Music" section.](music/sitemapm.htm) On a separate page. |   ![Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre](shaded%20bar.gif)   | | | --- | | [Tech Talk](techtalk.htm)* [Do You Need A Web Site?](web01-need.htm)* [Starting Your Own Web Site](http://www.shira.net/web02-start.htm)* [Web Site Hygiene: Protecting Your Online Home](techtalk/web-hygiene.htm)* [Artwork For Your Site](clip.htm)* [Getting Your Site Into The Indexes](web03-listings.htm)* [Dance Music: A New Use For Your Computer!](music-cd.htm)* [Dancer's Review of the Polaroid PDV-0700 Portable DVD Player](tech-portabledvd.htm) | ![Belly Dancing Belly Dance Belly Dancers](shaded%20bar.gif) | | | --- | | [Behind The Screens](behind.htm) | | | | | | | | --- | --- | | * [How To Link To This Site](behind.htm#Link)* [Awards Won By This Web Site](behind.htm#Awards)* [Which Pages Get The Most Activity](behind.htm#Activity)* [Survey!](behind.htm#Survey) + Complete The Survey Yourself + Survey Results + Decisions I Have Made As A Result Of The Survey | * [How This Site Evolved](behind.htm#Evolution)* [Web Site Growth History](behind.htm#Growth)* [Software Tools](behind.htm#Software) | | ![Belly Dancing Bellydancing Belly Dance Bellydance Belly Dancer Bauchtanzen Danse Du Ventre](shaded%20bar.gif) | | | --- | | Dance Links [Click here to see the index to the entire "Links" section.](links/sitemapl.htm) On a separate page. |   ![Belly Dancing Bellydancing Dance Bellydance](shaded%20bar.gif) | | | --- | | General: | [Home](index.html) | [Shira's Classes](classes.htm) | [E-Mail Shira](emailme.htm) | [About Shira](shira/credentials.htm) | [Shira's Photo Gallery](shira/shiragallery.htm) | [Shira's Performances](perform.htm) | [Troupe](troupe.htm) | Belly Dancing Information & How-To's: | [About Belly Dancing](about.htm) | [How-To's](advice.htm) | [Middle Eastern Culture](culture.htm) | [Belly Dancing Fun & Frolic](funfrolic.htm) | [Belly Dancing Poetry & Art](arts.htm) | [Reviews: , Music, Videos](reviews.htm) | [Find Belly Dancing Teachers/Performers](directory.htm) | [Tech Talk](techtalk.htm) | [Links](links.htm) | Using This Site: | [Table Of Contents (Site Map)](sitemap.htm) | [Search This Site](search.htm) | [Behind The Screens](behind.htm) | |
http://www.shira.net/sitemap.htm
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd"> <html> <head> <meta name="description" content="An overview of human evolution, summarizing current thinking and describing the fossil evidence for Australopithecus and Homo. Also refutes many creationist arguments about human evolution."> <meta name="Keywords" content="human evolution, creationism, hominids, human fossils, paleoanthropology"> <title>Fossil Hominids: the evidence for human evolution</title> <link rel="STYLESHEET" href="style.css" type="text/css"> <link rel="alternate" type="application/rdf+xml" title="Fossil Hominids RSS" href="rss.xml" /> </head> <body> <!-- begin header --> <p align="center"><!--webbot bot="ImageMap" startspan rectangle=" (159,63) (254, 99) /origins/faqs.html" rectangle=" (255,63) (353, 99) /origins/search.html" rectangle=" (354,63) (451, 99) /origins/feedback/" rectangle=" (452,63) (548, 99) /origins/other-links.html" rectangle=" (0,0) (158, 99) /" rectangle=" (159,0) (559, 62) /" src="/pictures/header.gif" alt="The Talk.Origins Archive" border="0" width="560" height="100" ismap --><MAP NAME="FrontPageMap0"><AREA SHAPE="RECT" COORDS="159, 63, 254, 99" HREF="/origins/faqs.html"><AREA SHAPE="RECT" COORDS="255, 63, 353, 99" HREF="/origins/search.html"><AREA SHAPE="RECT" COORDS="354, 63, 451, 99" HREF="/origins/feedback/"><AREA SHAPE="RECT" COORDS="452, 63, 548, 99" HREF="/origins/other-links.html"><AREA SHAPE="RECT" COORDS="0, 0, 158, 99" HREF="/"><AREA SHAPE="RECT" COORDS="159, 0, 559, 62" HREF="/"></MAP><img src="/pictures/header.gif" alt="The Talk.Origins Archive" border="0" width="560" height="100" ISMAP="" usemap="#FrontPageMap0"><!--webbot bot="ImageMap" i-checksum="20630" endspan --> <br> <img src="titlepic.jpg" width="121" height="164" hspace="0" alt="ER 1470" align="left"> <img src="titlepic.jpg" width="121" height="164" hspace="0" alt="ER 1470" align="right"> </p> <div align=center> <h1>Fossil Hominids</h1> <h2>The Evidence for Human Evolution</h2> <small> Copyright &copy; 1996-2016 by <a href="contact.html">Jim Foley</a><br> [Last Update: <b>Feb 29, 2016</b>] </small> </div> <p> <hr width="60%"> <p align=center><small><b><i> Permission is given to copy and print these pages for non-profit personal or educational use. </i></b></small></p> <table border=0 cellspacing=5 cellpadding=8 align=center > <tr> <td colspan="2"> <!-- COMMENTED OUT <div align="center" class="thinsidebar"> <a href="rss.xml"> Syndicate<br> this site<br> <img src="xml.gif" border="0" alt="RSS link"> </a> </div> --> This web site provides an overview of the study of human evolution, and of the currently accepted fossil evidence. It also contains a very comprehensive treatment of creationist claims about human evolution. If you are not interested in creationism, you can easily skip those pages. If you are interested in creationism, you can go directly to the pages on <a href="cre_args.html">creationist arguments</a>; they contain links to the fossils under discussion when necessary. </td> </tr> <tr> <td BGCOLOR="#ffbb80" rowspan=2 width="50%"> <h4 align=center><a href="recent.html">What's new in paleoanthropology?</a></h4> <ul> <li><a href="denisova.html">The Denisovan genome</i></a> <li><a href="mtDNA.html#nucleardna">Neandertal genes in modern humans</i></a> <li><a href="sediba.html">Discovery of <i>Australopithecus sediba</i></a> <li><a href="ardi.html">An <i>Ardipithecus ramidus</i> skeleton</a> <li><a href="mtDNA.html#firstfull">First complete Neandertal mtDNA genome</a> <li><a href="selam.html">Skeleton of an <i>A. afarensis</i> child</a> <li><a href="recent.html#mille">Oldest bipedal hominid?</a> <li><a href="recent.html#omo">Oldest modern humans</a> <li><a href="flores.html"><i>Homo floresiensis</i>, the 'Hobbit'</a> <li><a href="d2700.html">Transitional skull D2700 from Dmanisi</a> <li><a href="recent.html">More ...</a> </ul> </td> <!-- <td BGCOLOR="#ffddbb" colspan="1"> <div align=center> <a href="aprilfool.html"> <font color="red" size="+2">April Fool!</font></a> <p> <a href="aprilfool.html">See how the ICR fell for a practical joke</a> </a> </div> </td> --> <td BGCOLOR="#ffddbb"> <div id="cse" style="width: 100%;">Loading</div> <script src="http://www.google.com/jsapi" type="text/javascript"></script> <script type="text/javascript"> google.load('search', '1', {language : 'en', style : google.loader.themes.GREENSKY}); google.setOnLoadCallback(function() { var customSearchControl = new google.search.CustomSearchControl('014272793437492879223:il5rnoonlk8'); customSearchControl.setResultSetSize(google.search.Search.SMALL_RESULTSET); customSearchControl.draw('cse'); }, true); </script> <style type="text/css"> .gsc-control-cse { font-family: "Trebuchet MS", sans-serif; border-color: #FFDDBB; background-color: #FFDDBB; } </style> <!-- Old Atomz.com Search HTML for Fossil Hominids --> <!--<form method="get" action="http://search.atomz.com/search/"> <input type="text" size="15" name="sp-q"> <input type="submit" value="Search"> <input type="hidden" name="sp-a" value="00042569-sp00000000"> </form> <small> <a href="search.html">Advanced Search</a> | <a href="searchtips.html">Search Tips</a> </small>--> </td> </tr> <tr BGCOLOR="#ffbb80"> <td> <h4 align=center><a href="whatsnew.html">What's new at this site?</a></h4> <ul> <li><a href="bergman.html">A response to Bergman</a> <li><a href="closet.html">Skeletons in your Closet</a> <li><a href="wbrown2.html">Walter Brown's debate offer</a> <li><a href="iconshe.html"><i>Icons of Evolution</i> review</a> <li><a href="species.html#georgicus"><i>Homo georgicus</i></a> <li><a href="invalidtaxon.html"><i>Homo habilis</i>: an invalid taxon?</a> <li><a href="whatsnew.html">More ...</a> </ul> </td> </tr> <tr BGCOLOR="#44ffe0"> <td> <h3 align=center>Table of Contents</h3> <ul> <li><a href="species.html"><b>Hominid Species</b></a> (including a timeline) </li> <li><a href="specimen.html"><b>Hominid Fossils</b></a> (a list of the most important hominid fossils) </li> <li><a href="articles.html">Guest Articles</a> </ul> <ul> <li><a href="reading.html">Further Reading</a> </li> <li><a href="illustr.html">Illustrations</a> </li> <li><a href="typespec.html">Type specimens</a> </li> <li><a href="biography.html">Biographies</a> </li> </ul> <ul> <li><a href="feedback.html">Feedback</a> </li> <li><a href="referenc.html">References</a> </li> </ul> <ul> <li><a href="fiction.html">Fiction</a> </li> <li><a href="humor.html">Humor</a> </li> <li><a href="cranks.html">Crackpots</a> </li> <li><a href="misquotes.html">Misquotes</a> </li> </ul> <ul> <li><a href="faqs.html">Frequently Asked Questions</a> </li> </ul> </td> <td> <h4 align=center><a href="cre_args.html">Creationist Arguments</a></h4> <ul> <li><a href="a_piths.html">Australopithecines</a> </li> <li><a href="a_habilis.html"><i>Homo habilis</i></a> </li> <li><a href="a_erectus.html"><i>Homo erectus</i></a> </li> <li><a href="a_java.html">Java Man</a> </li> <li><a href="a_peking.html">Peking Man</a> </li> <li><a href="a_piltdown.html">Piltdown Man</a> </li> <li><a href="a_nebraska.html">Nebraska Man</a> </li> <li><a href="a_orce.html">Orce Man</a> </li> <li><a href="a_neands.html">The Neandertals</a> </li> <li><a href="a_anomaly.html">Anomalous Fossils</a> </li> <li><a href="a_brains.html">Brain Sizes</a> </li> <li><a href="a_lubenow.html">Bones of Contention</a> </li> <li><a href="a_canals.html">Semicircular Canals</a> </li> <li><a href="a_overview.html"><b>Overview</b></a> </li> <li><a href="compare.html"><b>Comparison of creationist opinions</b></a> </li> <li><a href="creatlit.html">Creationist literature</a> </li> <li><a href="debates.html">Debating creationists</a></li> </ul> </td> </tr> <tr> <td colspan="2" bgcolor="#ffddbb"> <h4 align=center><a href="blog.html">The Paleoanthro Weblog</a></h4> <b>May 31, 2011:</b> Last year the first draft genome for Neandertal nuclear DNA was published. Genetic sequences for mtDNA and nuclear DNA from a finger bone from Denisova in Siberia were also published, showing that the bone had very ancient mtDNA, but belonged to a sister group of the Neandertals. Fascinatingly, it seems that Neandertals made about a 2.5% genetic contribution to all modern non-African humans, and the Denisovan genes made about a 5% contribution to modern Melanesians. Some posts discussing these finds at the Panda's Thumb:<br/> <a href="http://pandasthumb.org/archives/2010/06/neanderthalhuman.html">Neanderthal/human interbreeding - the old-earth response</a><br/> <a href="http://pandasthumb.org/archives/2010/12/denisova-genome.html">A Full Genome from Denisova, Siberia</a><br/> <a href="http://pandasthumb.org/archives/2011/01/denisovan-species.html">Denisovans and the species problem</a> <p> <b>May 6, 2010:</b> Last month the discovery of <i>Australopithecus sediba</i> was announced. I'll be updating the site soon to cover that. In the meantime, check out these articles from the <a href="http://pandasthumb.org">Panda's Thumb</a>:<br/> <a href="http://pandasthumb.org/archives/2010/04/australosediba.html">Australopithecus sediba and the creationist response</a><br/> <a href="http://pandasthumb.org/archives/2010/05/creationist-vs.html">Creationist vs. creationist on Homo habilis</a><br/> <p> <a href="blog.html"><b>More ...</b></a> </td> </tr> <tr BGCOLOR="#ffb080"> <td> <h4 align=center><a href="links.html">Paleoanthropology Links</a></h4> <ul> <li><a href="http://www.amnh.org/exhibitions/permanent-exhibitions/human-origins-and-cultural-halls/anne-and-bernard-spitzer-hall-of-human-origins">AMNH Hall of Human Origins</a></li> <li><a href="http://www.kfrp.com">Koobi Fora Research Project</a></li> <li><a href="http://johnhawks.net/weblog/">John Hawks' Anthropology Weblog</a></li> <li><a href="http://www.bbc.co.uk/science/cavemen/">Walking with Cavemen (BBC)</a></li> <li><a href="http://www.nature.com/nature/ancestor/">Classic papers from <i>Nature</i></a></li> <li><a href="http://www.pbs.org/wgbh/nova/neanderthals/">Neandertals on Trial</a> (PBS)</li> <li><a href="http://www.culture.fr/eng/Multimedias/Great-archeological-sites/Map/Prehistory/Lascaux">The Lascaux Cave</a></li> <li><a href="links.html">More ...</a> </ul> </td> <td align="left"> <h4 align=center><a href="featuredbooks.html">Featured Books</a></h4> <a href="http://www.amazon.com/Smithsonian-Intimate-Guide-Human-Origins/dp/B000VPP8U6/ref=pd_bbs_sr_3?ie=UTF8&s=books&qid=1221090352&sr=8-3"><img src="zimmerbk.jpg" alt="Book cover" hspace="8" align="left"></a> <b>Smithsonian Intimate Guide to Human Origins</b></br> An excellent introduction by science writer <a href="http://blogs.discovermagazine.com/loom/">Carl Zimmer</a> </small> </td> </tr> <tr> <td colspan=2> <p> This site is updated regularly. <a href="contact.html">Contact the author</a> with corrections, criticisms, suggestions for further topics, or feedback. <p>Thanks to those who have reviewed or made comments on these pages, including Randy Skelton, Marc Anderson, Mike Fisk, Tom Scharle, Ralph Holloway, Jim Oliver, Todd Koetje, Debra McKay, Jenny Hutchison, Glen Kuban, Colin Groves, and Alex Duncan. Any errors which remain are, of course, mine. <br clear="right"> <a href="http://www.anybrowser.org/campaign/"><img src="anybrowser3.gif" width="88" height="31" align="right" alt="Best viewed on ANY browser"></a> </td> </tr> </table> <p align="center"> <a href="http://www.britannica.com/EBchecked/topic/275670/human-evolution"><img src="britannica.gif" alt="Britannica" hspace="4"></a> <a href="http://www.anth.ucsb.edu/links/pages/"><img src="ucsb_hot.gif" alt="UCSB What's Hot!" hspace="4"></a> <a href="http://www.educationindex.com/award.html"><img src="eiaward.gif" alt="Education Index" hspace="4"></a> <img src="paleoaward.jpg" alt="PaleoAward" hspace="4" width="54" height="54"> <a href="http://www.evolutionary.org"><img src="ssotd.gif" alt="Science Site of the Day" hspace="4"></a> <img src="lnks2go.gif" alt="Links2go" hspace="4"> <br> <img src="sw_award.gif" alt="StudyWeb" hspace="4"> <a href="http://www.about.com"> <img src="bestoftheweb.gif" hspace=4 alt="Best of the Web"></a> <a href="http://www.awesomelibrary.com"><img src="awesome.gif" hspace="4" alt="Awesome Library"></a> <a href="http://www.edunetconnect.com/"><img src="edunet.gif" hspace="4" alt="EduNet"></a> </p> <hr> <p align="center"><!-- begin trailer --> </p> <p align="center"><br> <!--webbot bot="ImageMap" startspan rectangle=" (0,0) (96, 27) /" rectangle=" (97,0) (191, 27) /origins/faqs.html" rectangle=" (192,0) (287, 27) /origins/search.html" rectangle=" (288,0) (383, 27) /origins/feedback/" rectangle=" (384,0) (481, 27) /origins/other-links.html" rectangle=" (0,29) (160, 55) /origins/faqs-qa.html" rectangle=" (161,29) (319, 55) /origins/faqs-mustread.html" rectangle=" (320,29) (480, 55) /origins/faqs-index.html" rectangle=" (0,56) (160, 82) /origins/faqs-evolution.html" rectangle=" (161,56) (319, 82) /origins/faqs-creationists.html" rectangle=" (320,56) (480, 82) /origins/faqs-youngearth.html" rectangle=" (0,83) (160, 109) /origins/faqs-flood.html" rectangle=" (161,83) (319, 109) /origins/faqs-catastrophism.html" rectangle=" (320,83) (480, 109) /origins/faqs-debates.html" src="/pictures/ltrailer.gif" border="0" width="481" height="110" ismap --><MAP NAME="FrontPageMap1"><AREA SHAPE="RECT" COORDS="0, 0, 96, 27" HREF="/"><AREA SHAPE="RECT" COORDS="97, 0, 191, 27" HREF="/origins/faqs.html"><AREA SHAPE="RECT" COORDS="192, 0, 287, 27" HREF="/origins/search.html"><AREA SHAPE="RECT" COORDS="288, 0, 383, 27" HREF="/origins/feedback/"><AREA SHAPE="RECT" COORDS="384, 0, 481, 27" HREF="/origins/other-links.html"><AREA SHAPE="RECT" COORDS="0, 29, 160, 55" HREF="/origins/faqs-qa.html"><AREA SHAPE="RECT" COORDS="161, 29, 319, 55" HREF="/origins/faqs-mustread.html"><AREA SHAPE="RECT" COORDS="320, 29, 480, 55" HREF="/origins/faqs-index.html"><AREA SHAPE="RECT" COORDS="0, 56, 160, 82" HREF="/origins/faqs-evolution.html"><AREA SHAPE="RECT" COORDS="161, 56, 319, 82" HREF="/origins/faqs-creationists.html"><AREA SHAPE="RECT" COORDS="320, 56, 480, 82" HREF="/origins/faqs-youngearth.html"><AREA SHAPE="RECT" COORDS="0, 83, 160, 109" HREF="/origins/faqs-flood.html"><AREA SHAPE="RECT" COORDS="161, 83, 319, 109" HREF="/origins/faqs-catastrophism.html"><AREA SHAPE="RECT" COORDS="320, 83, 480, 109" HREF="/origins/faqs-debates.html"></MAP><img src="/pictures/ltrailer.gif" border="0" width="481" height="110" alt="talkorigins footer" ISMAP="" usemap="#FrontPageMap1"><!--webbot bot="ImageMap" i-checksum="10280" endspan --> </p> <p align="center"><a href="/"><font size="2">Home Page</font></a><font size="2"> | </font><a href="/origins/faqs.html"><font size="2">Browse</font></a><font size="2"> | </font><a href="/origins/search.html"><font size="2">Search</font></a><font size="2"> | </font><a href="/origins/feedback/"><font size="2">Feedback</font></a><font size="2"> | </font><a href="/origins/other-links.html"><font size="2">Links</font></a><font size="2"> <br> </font><a href="/origins/faqs-qa.html"><font size="2">The FAQ</font></a><font size="2"> | </font><a href="/origins/faqs-mustread.html"><font size="2">Must-Read Files</font></a><font size="2"> | </font><a href="/origins/faqs-index.html"><font size="2">Index</font></a><font size="2"> | </font><a href="/origins/faqs-creationists.html"><font size="2">Creationism</font></a><font size="2"> | </font><a href="/origins/faqs-evolution.html"><font size="2">Evolution</font></a><font size="2"> | </font><a href="/origins/faqs-youngearth.html"><font size="2">Age of the Earth</font></a><font size="2"> | </font><a href="/origins/faqs-flood.html"><font size="2">Flood Geology</font></a><font size="2"> | </font><a href="/origins/faqs-catastrophism.html"><font size="2">Catastrophism</font></a><font size="2"> | </font><a href="/origins/faqs-debates.html"><font size="2">Debates</font></a><font size="2"> <!-- end trailer --></font> </p> </body> </html>
Fossil Hominids: the evidence for human evolution ![The Talk.Origins Archive](/pictures/header.gif) ![ER 1470](titlepic.jpg) ![ER 1470](titlepic.jpg) # Fossil Hominids ## The Evidence for Human Evolution Copyright © 1996-2016 by [Jim Foley](contact.html) [Last Update: **Feb 29, 2016**] --- ***Permission is given to copy and print these pages for non-profit personal or educational use.*** | | | --- | | This web site provides an overview of the study of human evolution, and of the currently accepted fossil evidence. It also contains a very comprehensive treatment of creationist claims about human evolution. If you are not interested in creationism, you can easily skip those pages. If you are interested in creationism, you can go directly to the pages on [creationist arguments](cre_args.html); they contain links to the fossils under discussion when necessary. | | [What's new in paleoanthropology?](recent.html)* [The Denisovan genome](denisova.html)* [Neandertal genes in modern humans](mtDNA.html#nucleardna)* [Discovery of *Australopithecus sediba*](sediba.html)* [An *Ardipithecus ramidus* skeleton](ardi.html)* [First complete Neandertal mtDNA genome](mtDNA.html#firstfull)* [Skeleton of an *A. afarensis* child](selam.html)* [Oldest bipedal hominid?](recent.html#mille)* [Oldest modern humans](recent.html#omo)* [*Homo floresiensis*, the 'Hobbit'](flores.html)* [Transitional skull D2700 from Dmanisi](d2700.html)* [More ...](recent.html) | Loading google.load('search', '1', {language : 'en', style : google.loader.themes.GREENSKY}); google.setOnLoadCallback(function() { var customSearchControl = new google.search.CustomSearchControl('014272793437492879223:il5rnoonlk8'); customSearchControl.setResultSetSize(google.search.Search.SMALL\_RESULTSET); customSearchControl.draw('cse'); }, true); .gsc-control-cse { font-family: "Trebuchet MS", sans-serif; border-color: #FFDDBB; background-color: #FFDDBB; } | | [What's new at this site?](whatsnew.html)* [A response to Bergman](bergman.html)* [Skeletons in your Closet](closet.html)* [Walter Brown's debate offer](wbrown2.html)* [*Icons of Evolution* review](iconshe.html)* [*Homo georgicus*](species.html#georgicus)* [*Homo habilis*: an invalid taxon?](invalidtaxon.html)* [More ...](whatsnew.html) | | Table of Contents* [**Hominid Species**](species.html) (including a timeline) * [**Hominid Fossils**](specimen.html) (a list of the most important hominid fossils) * [Guest Articles](articles.html) * [Further Reading](reading.html) * [Illustrations](illustr.html) * [Type specimens](typespec.html) * [Biographies](biography.html) * [Feedback](feedback.html) * [References](referenc.html) * [Fiction](fiction.html) * [Humor](humor.html) * [Crackpots](cranks.html) * [Misquotes](misquotes.html) * [Frequently Asked Questions](faqs.html) | [Creationist Arguments](cre_args.html)* [Australopithecines](a_piths.html) * [*Homo habilis*](a_habilis.html) * [*Homo erectus*](a_erectus.html) * [Java Man](a_java.html) * [Peking Man](a_peking.html) * [Piltdown Man](a_piltdown.html) * [Nebraska Man](a_nebraska.html) * [Orce Man](a_orce.html) * [The Neandertals](a_neands.html) * [Anomalous Fossils](a_anomaly.html) * [Brain Sizes](a_brains.html) * [Bones of Contention](a_lubenow.html) * [Semicircular Canals](a_canals.html) * [**Overview**](a_overview.html) * [**Comparison of creationist opinions**](compare.html) * [Creationist literature](creatlit.html) * [Debating creationists](debates.html) | | [The Paleoanthro Weblog](blog.html) **May 31, 2011:** Last year the first draft genome for Neandertal nuclear DNA was published. Genetic sequences for mtDNA and nuclear DNA from a finger bone from Denisova in Siberia were also published, showing that the bone had very ancient mtDNA, but belonged to a sister group of the Neandertals. Fascinatingly, it seems that Neandertals made about a 2.5% genetic contribution to all modern non-African humans, and the Denisovan genes made about a 5% contribution to modern Melanesians. Some posts discussing these finds at the Panda's Thumb: | | [Paleoanthropology Links](links.html)* [AMNH Hall of Human Origins](http://www.amnh.org/exhibitions/permanent-exhibitions/human-origins-and-cultural-halls/anne-and-bernard-spitzer-hall-of-human-origins) * [Koobi Fora Research Project](http://www.kfrp.com) * [John Hawks' Anthropology Weblog](http://johnhawks.net/weblog/) * [Walking with Cavemen (BBC)](http://www.bbc.co.uk/science/cavemen/) * [Classic papers from *Nature*](http://www.nature.com/nature/ancestor/) * [Neandertals on Trial](http://www.pbs.org/wgbh/nova/neanderthals/) (PBS) * [The Lascaux Cave](http://www.culture.fr/eng/Multimedias/Great-archeological-sites/Map/Prehistory/Lascaux) * [More ...](links.html) | [Featured Books](featuredbooks.html) [Book cover](http://www.amazon.com/Smithsonian-Intimate-Guide-Human-Origins/dp/B000VPP8U6/ref=pd_bbs_sr_3?ie=UTF8&s=books&qid=1221090352&sr=8-3) **Smithsonian Intimate Guide to Human Origins** An excellent introduction by science writer [Carl Zimmer](http://blogs.discovermagazine.com/loom/) | | This site is updated regularly. [Contact the author](contact.html) with corrections, criticisms, suggestions for further topics, or feedback. Thanks to those who have reviewed or made comments on these pages, including Randy Skelton, Marc Anderson, Mike Fisk, Tom Scharle, Ralph Holloway, Jim Oliver, Todd Koetje, Debra McKay, Jenny Hutchison, Glen Kuban, Colin Groves, and Alex Duncan. Any errors which remain are, of course, mine. [Best viewed on ANY browser](http://www.anybrowser.org/campaign/) | [![Britannica](britannica.gif)](http://www.britannica.com/EBchecked/topic/275670/human-evolution) [![UCSB What's Hot!](ucsb_hot.gif)](http://www.anth.ucsb.edu/links/pages/) [![Education Index](eiaward.gif)](http://www.educationindex.com/award.html) ![PaleoAward](paleoaward.jpg) [![Science Site of the Day](ssotd.gif)](http://www.evolutionary.org) ![Links2go](lnks2go.gif) ![StudyWeb](sw_award.gif) [![Best of the Web](bestoftheweb.gif)](http://www.about.com) [![Awesome Library](awesome.gif)](http://www.awesomelibrary.com) [![EduNet](edunet.gif)](http://www.edunetconnect.com/) --- ![talkorigins footer](/pictures/ltrailer.gif) [Home Page](/) | [Browse](/origins/faqs.html) | [Search](/origins/search.html) | [Feedback](/origins/feedback/) | [Links](/origins/other-links.html) [The FAQ](/origins/faqs-qa.html) | [Must-Read Files](/origins/faqs-mustread.html) | [Index](/origins/faqs-index.html) | [Creationism](/origins/faqs-creationists.html) | [Evolution](/origins/faqs-evolution.html) | [Age of the Earth](/origins/faqs-youngearth.html) | [Flood Geology](/origins/faqs-flood.html) | [Catastrophism](/origins/faqs-catastrophism.html) | [Debates](/origins/faqs-debates.html)
http://talkorigins.org/faqs/homs/
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html>
Not Acceptable!# Not Acceptable! An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
http://www.badger.org/
<!DOCTYPE HTML> <html> <head> <title>Glycerol - Molecule of the Month - January 2018 (HTML version)</title> <link rel="stylesheet" type="text/css" href="pwm-glycerol.css"> </head> <body> <table id="centre" class="tabcentre"> <tr> <td><p ><img src="/clrline.gif" width="500" height="3" alt="" /></p> <h1 class="bigr">Glycerol (glycerine)</h1> <h2 class="r">How the SAS start fires in the Jungle</h2> <p><img src="/clrline.gif" width="500" height="3" alt="" /></p> <p id="centre">Mike Thompson &amp; Charlie Thompson<br /> <a href="http://www.rugbyschool.net/">Rugby School</a>, Rugby, UK</p> <p><img src="/clrline.gif" width="500" height="3" alt="" /></p> <p>Molecule of the Month January 2018<br /><span class="small">Also available: <a href="glyceroljs.htm">JSMol</a> version.</span></p> <p><img src="/clrline.gif" width="500" height="3" alt="" /></p> </td> <td><a href="glycerol.mol"><img src="spacefill.jpg" width="302" height="167" alt="glycerol" title="glycerol - click for 3D structure" class="hs10" /></a></td> </tr> </table> <h2>What is glycerol?</h2> <p>Glycerol has been known since its discovery in 1779 by Carl Scheele, a scientist more famous for his discovery of oxygen. Glycerol is a colourless viscous liquid at room temperature (25&ordm;C). It has a melting point of 17.8&ordm;C and a boiling point of 290&ordm;C. Not that we have tasted glycerol but the literature states it is a sweet-tasting liquid, and its name is derived from the Greek word for sweet which is <i>glykys</i>. Commercially, glycerol is known as glycerine, and most people will probably have heard of its nitrated version, nitroglycerine.</p> <p id="centre" class="caption"><a href="glycerol.mol"><img src="glycerol.gif" width="370" height="136" alt="Glycerol" title="Glycerol - click for 3D structure" class="hs20" /></a> <br />Glycerol has a primary alcohol at each end, with a secondary alcohol in the middle.<br /> It has the molecular formula of C<sub>3</sub>H<sub>8</sub>O<sub>3</sub> and a structural formula of CH<sub>2</sub>OH(CHOH)CH<sub>2</sub>OH.</p> <p>Glycerol is a triol containing two primary alcohols (RCH<sub>2</sub>OH) and one secondary alcohol (R<sub>2</sub>CHOH) and its unambiguous IUPAC name is given as propane-1,2,3-triol. Glycerol is miscible with water as it forms extensive hydrogen bonds, and is also soluble in alcohols which is important for its use in pharmaceuticals and cosmetics. It's also extremely important in the body as a way to store important fatty acids.</p> <h2>So it's a biological molecule as well?</h2> <p>Yes, glycerol is a major component of all fats and oils (collectively known as lipids), in the form of its <a href="http://www.chem.yorku.ca/hall_of_fame/essays96/glycerol.htm#esters">esters</a>. A fatty acid, such as linoleic acid (<a href="http://www.chm.bris.ac.uk/motm/linoleic/linh.htm">MOTM May 2006</a>) is a long hydrocarbon chain with a carboxylic acid at one end. This acid group can bond to the OH on the glycerol to form an ester. Since glycerol has 3 OH's available, it can bond 3 fatty acids, and form a triglyceride.</p> <p id="centre" class="caption"><img src="triglycerides.jpg" width="601" height="262" alt="Triglycerides" title="Triglycerides" class="hs20" /></p> <h2>And it can be used to make soap?</h2> <p>Hydrolysis of the triglyceride releases the three fatty acids and glycerol as a by-product. With an alkaline hydrolysis using sodium hydroxide (caustic soda) you form the sodium salt of fatty acids which is the main ingredient of <a href="https://www.thesoapkitchen.co.uk/acatalog/Soap-Making.html">soaps</a>.</p> <p id="centre" class="caption"><img src="pears.jpg" width="400" height="192" alt="A glycerine soap" title="A glycerine soap" class="hs20" /> <br />A glycerine soap.</p> <h2>Are there any unusual uses for glycerol?</h2> <p>In the extraordinary <a href="https://en.wikipedia.org/wiki/The_SAS_Survival_Handbook">SAS Survival Handbook</a> by Lofty Wiseman is some very interesting chemistry using potassium manganate (VII). It is used to disinfect water and will also catch fire when glycerol is added to it. A very useful way to light a fire in a jungle environment where traditional matches are unlikely to work if they become damp. With the help of our senior chemistry technician, Esther Ette, we made a video of the reaction between glycerol and potassium manganate (VII). The lilac colour of the fire is due to the distinguishing flame colour which shows the presence of potassium ions (K<sup>+</sup>).</p> <p id="centre" class="caption"><a href="https://www.youtube.com/watch?v=FhkgF2WDasU"><img src="fire-video.jpg" width="636" height="438" alt="Glycerine fire" title="Glycerine fire" class="hs20" /></a> <br />A still frame from the video of this reaction.</p> <p>This spontaneous exothermic reaction is spectacular and needs to be carried out in a fumecupboard. To look up the Royal Society of Chemistry (RSC) experiment which provides a full risk assessment which teachers might find useful, please <a href="http://www.rsc.org/learn-chemistry/resource/res00000742/spontaneous-exothermic-reaction?cmpid=CMP00005910">CLICK here</a>.</p> <p>A twist on this experiment is to place methane bubbles above the glycerol potassium manganate (VII) mixture in the cap of a bottle. Do not try this at home. <a href="https://www.youtube.com/watch?v=0MTlVjh05T4">Dr Belding’s video</a> of this is available.</p> <p>The equation for this reaction is</p> <p id="centre">14 KMnO<sub>4</sub> + 4 C<sub>3</sub>H<sub>5</sub>(OH)<sub>3</sub> <img src="arrow.gif" alt="arrow" class="hs10" /> 7 K<sub>2</sub>CO<sub>3</sub> + 7 Mn<sub>2</sub>O<sub>3</sub> + 5 CO<sub>2</sub> + 16 H<sub>2</sub>O</p> <p>Potassium manganate (VII) is acting as an oxidising agent since the oxidation state of Mn is +7 and it is reduced to Mn +3 in the product manganese (III) oxide. Remember, oxidising agents get reduced in the reaction! For those who do the Cambridge Pre-U Chemistry course, oxidation is where there is an increase in functional-group level. Each carbon of glycerol goes from functional group Level 1 (alcohol level) to level 4 (carbon dioxide level).</p> <h2>What other reactions does it do?</h2> <p>Glycerol can be trinitrated by reaction with concentrated nitric acid using concentrated sulfuric acid as the catalyst. The product nitrogylcerine (trinitroglycerol) (<a href="http://www.chm.bris.ac.uk/motm/nitroglycerine/nitroh.htm">MOTM October 2007</a>) is also a colourless liquid. It has found use as a treatment for the heart condition angina and also as an explosive. Now you know why you are asked to get rid of your bottled water before boarding an aircraft.</p> <p id="centre" class="caption"><img src="reaction.gif" width="601" height="230" alt="Nitration of glycerol" title="Nitration of glycerol" class="hs20" /></p> <p><img src="dynamite.jpg" width="275" height="183" alt="dynamite" title="dynamite" style="float:right" class="hs10" />In the early years after the discovery of nitroglycerine, it was rarely used as it was very difficult to predict the conditions under which nitroglycerine would explode - making its use extremely dangerous. In Stockholm, a chemist named Alfred Nobel spent many years working out how to utilise nitroglycerine as an effective explosive. He mixed it with clay to make a thick paste which was not shock-sensitive, and would only detonate when required. These explosive, but safe-to-handle sticks of clay were called dynamite. The invention of dynamite enable many new industrial applications of nitroglycerine, such as demolition and mining. On the down side, when the First World War began, these nitroglycerine based explosives, including dynamite, were contributory to the mass destruction of battlefields like Ypres. As he was a pacifist and did not want to be remembered for creating such explosives that caused so much bloodshed, Nobel created the Nobel Prizes for achievements in science, medicine and peace to celebrate invention and innovation.</p> <h2><img src="muscle.jpg" width="214" height="235" alt="muscle" style="float:left" class="hs10" />I've seen it advertised in sports shops...</h2> <p>Glycerol is used in the sports and athletics industry mainly by runners and other endurance athletes because it’s a powerful hydrating agent with strong osmotic properties. This means it attracts and binds large amount of bodily fluids such as water, allowing the athletes to increase their body fluid content and maintain it for longer, which can boost <a href="http://www.muscleandfitness.com/supplements/build-muscle/slick-pump">exercise performance</a>. These hydrating effects are catching on in the body-building community as a pump-enhancing product because of its hydrating effects. A <a href="http://www.mm2k.com/what-is-muscle-pump.html">muscle pump</a> is the tight, blood-congested feeling in a muscle after it has been intensely trained. It is caused by a rapid influx of blood into the muscles to remove fatigue toxins and replace supplies of fuel and oxygen.</p> <h2>I heard it can also be used to make disappearing glass?</h2> <p>Glycerol has a very similar refractive index to pyrex glass. By placing a small test tube containing glycerol inside a boiling tube also containing glycerol, it is possible to make the test tube ‘disappear’. This is a fun experiment to do as part of a Chemistry show, on Open Days or to make students take a closer look into their reaction vessels.</p> <p id="centre" class="caption"><a href="https://www.youtube.com/watch?v=z9HqAjo3FWs"><img src="invisible-tube.jpg" width="360" height="416" alt="Disappearing glass video" title="Disappearing glass video" class="hs20" /></a><br /> Still image from the <a href="https://www.youtube.com/watch?v=z9HqAjo3FWs">video</a> showing the ‘disappearing’ tube.</p> <p id="centre"><img src="/clrline.gif" width="560" height="3" alt="" /></p> <p><img style="vertical-align:middle; float:right" src="/cgi-bin/Count.cgi?df=glycerolh.dat|md=7|pad=Y|dd=D" alt="counter" /><img src="/backto.gif" width="29" height="29" alt="" class="mid" /> <a href="../motm.htm">Back to Molecule of the Month page</a>.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;[DOI:<a href="http://dx.doi.org/10.6084/m9.figshare.5567872">10.6084/m9.figshare.5567872</a>]</p> </body> </html>
 Glycerol - Molecule of the Month - January 2018 (HTML version) | | | | --- | --- | | Glycerol (glycerine) How the SAS start fires in the Jungle Mike Thompson & Charlie Thompson [Rugby School](http://www.rugbyschool.net/), Rugby, UK Molecule of the Month January 2018Also available: [JSMol](glyceroljs.htm) version. | [glycerol](glycerol.mol) | ## What is glycerol? Glycerol has been known since its discovery in 1779 by Carl Scheele, a scientist more famous for his discovery of oxygen. Glycerol is a colourless viscous liquid at room temperature (25ºC). It has a melting point of 17.8ºC and a boiling point of 290ºC. Not that we have tasted glycerol but the literature states it is a sweet-tasting liquid, and its name is derived from the Greek word for sweet which is *glykys*. Commercially, glycerol is known as glycerine, and most people will probably have heard of its nitrated version, nitroglycerine. [![Glycerol](glycerol.gif "Glycerol - click for 3D structure")](glycerol.mol) Glycerol has a primary alcohol at each end, with a secondary alcohol in the middle. It has the molecular formula of C3H8O3 and a structural formula of CH2OH(CHOH)CH2OH. Glycerol is a triol containing two primary alcohols (RCH2OH) and one secondary alcohol (R2CHOH) and its unambiguous IUPAC name is given as propane-1,2,3-triol. Glycerol is miscible with water as it forms extensive hydrogen bonds, and is also soluble in alcohols which is important for its use in pharmaceuticals and cosmetics. It's also extremely important in the body as a way to store important fatty acids. ## So it's a biological molecule as well? Yes, glycerol is a major component of all fats and oils (collectively known as lipids), in the form of its [esters](http://www.chem.yorku.ca/hall_of_fame/essays96/glycerol.htm#esters). A fatty acid, such as linoleic acid ([MOTM May 2006](http://www.chm.bris.ac.uk/motm/linoleic/linh.htm)) is a long hydrocarbon chain with a carboxylic acid at one end. This acid group can bond to the OH on the glycerol to form an ester. Since glycerol has 3 OH's available, it can bond 3 fatty acids, and form a triglyceride. ![Triglycerides](triglycerides.jpg "Triglycerides") ## And it can be used to make soap? Hydrolysis of the triglyceride releases the three fatty acids and glycerol as a by-product. With an alkaline hydrolysis using sodium hydroxide (caustic soda) you form the sodium salt of fatty acids which is the main ingredient of [soaps](https://www.thesoapkitchen.co.uk/acatalog/Soap-Making.html). ![A glycerine soap](pears.jpg "A glycerine soap") A glycerine soap. ## Are there any unusual uses for glycerol? In the extraordinary [SAS Survival Handbook](https://en.wikipedia.org/wiki/The_SAS_Survival_Handbook) by Lofty Wiseman is some very interesting chemistry using potassium manganate (VII). It is used to disinfect water and will also catch fire when glycerol is added to it. A very useful way to light a fire in a jungle environment where traditional matches are unlikely to work if they become damp. With the help of our senior chemistry technician, Esther Ette, we made a video of the reaction between glycerol and potassium manganate (VII). The lilac colour of the fire is due to the distinguishing flame colour which shows the presence of potassium ions (K+). [![Glycerine fire](fire-video.jpg "Glycerine fire")](https://www.youtube.com/watch?v=FhkgF2WDasU) A still frame from the video of this reaction. This spontaneous exothermic reaction is spectacular and needs to be carried out in a fumecupboard. To look up the Royal Society of Chemistry (RSC) experiment which provides a full risk assessment which teachers might find useful, please [CLICK here](http://www.rsc.org/learn-chemistry/resource/res00000742/spontaneous-exothermic-reaction?cmpid=CMP00005910). A twist on this experiment is to place methane bubbles above the glycerol potassium manganate (VII) mixture in the cap of a bottle. Do not try this at home. [Dr Belding’s video](https://www.youtube.com/watch?v=0MTlVjh05T4) of this is available. The equation for this reaction is 14 KMnO4 + 4 C3H5(OH)3 ![arrow](arrow.gif) 7 K2CO3 + 7 Mn2O3 + 5 CO2 + 16 H2O Potassium manganate (VII) is acting as an oxidising agent since the oxidation state of Mn is +7 and it is reduced to Mn +3 in the product manganese (III) oxide. Remember, oxidising agents get reduced in the reaction! For those who do the Cambridge Pre-U Chemistry course, oxidation is where there is an increase in functional-group level. Each carbon of glycerol goes from functional group Level 1 (alcohol level) to level 4 (carbon dioxide level). ## What other reactions does it do? Glycerol can be trinitrated by reaction with concentrated nitric acid using concentrated sulfuric acid as the catalyst. The product nitrogylcerine (trinitroglycerol) ([MOTM October 2007](http://www.chm.bris.ac.uk/motm/nitroglycerine/nitroh.htm)) is also a colourless liquid. It has found use as a treatment for the heart condition angina and also as an explosive. Now you know why you are asked to get rid of your bottled water before boarding an aircraft. ![Nitration of glycerol](reaction.gif "Nitration of glycerol") ![dynamite](dynamite.jpg "dynamite")In the early years after the discovery of nitroglycerine, it was rarely used as it was very difficult to predict the conditions under which nitroglycerine would explode - making its use extremely dangerous. In Stockholm, a chemist named Alfred Nobel spent many years working out how to utilise nitroglycerine as an effective explosive. He mixed it with clay to make a thick paste which was not shock-sensitive, and would only detonate when required. These explosive, but safe-to-handle sticks of clay were called dynamite. The invention of dynamite enable many new industrial applications of nitroglycerine, such as demolition and mining. On the down side, when the First World War began, these nitroglycerine based explosives, including dynamite, were contributory to the mass destruction of battlefields like Ypres. As he was a pacifist and did not want to be remembered for creating such explosives that caused so much bloodshed, Nobel created the Nobel Prizes for achievements in science, medicine and peace to celebrate invention and innovation. ## muscleI've seen it advertised in sports shops... Glycerol is used in the sports and athletics industry mainly by runners and other endurance athletes because it’s a powerful hydrating agent with strong osmotic properties. This means it attracts and binds large amount of bodily fluids such as water, allowing the athletes to increase their body fluid content and maintain it for longer, which can boost [exercise performance](http://www.muscleandfitness.com/supplements/build-muscle/slick-pump). These hydrating effects are catching on in the body-building community as a pump-enhancing product because of its hydrating effects. A [muscle pump](http://www.mm2k.com/what-is-muscle-pump.html) is the tight, blood-congested feeling in a muscle after it has been intensely trained. It is caused by a rapid influx of blood into the muscles to remove fatigue toxins and replace supplies of fuel and oxygen. ## I heard it can also be used to make disappearing glass? Glycerol has a very similar refractive index to pyrex glass. By placing a small test tube containing glycerol inside a boiling tube also containing glycerol, it is possible to make the test tube ‘disappear’. This is a fun experiment to do as part of a Chemistry show, on Open Days or to make students take a closer look into their reaction vessels. [![Disappearing glass video](invisible-tube.jpg "Disappearing glass video")](https://www.youtube.com/watch?v=z9HqAjo3FWs) Still image from the [video](https://www.youtube.com/watch?v=z9HqAjo3FWs) showing the ‘disappearing’ tube. ![](/clrline.gif) ![counter](/cgi-bin/Count.cgi?df=glycerolh.dat|md=7|pad=Y|dd=D)![](/backto.gif) [Back to Molecule of the Month page](../motm.htm).        [DOI:[10.6084/m9.figshare.5567872](http://dx.doi.org/10.6084/m9.figshare.5567872)]
https://www.chm.bris.ac.uk/motm/glycerol/glycerolh.htm
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html>
Not Acceptable!# Not Acceptable! An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
http://etwright.org/cghist/juggler.html
<HTML><HEAD> <META http-equiv=Content-Type content="text/html; charset=windows-1252"> <META http-equiv=Content-Language content=en-us> <META content="Microsoft FrontPage 4.0" name=GENERATOR> <META content=FrontPage.Editor.Document name=ProgId><BASE target=_top> <STYLE fprolloverstyle>A:hover {color: #FF3300; font-style: italic; font-weight: bold} </STYLE> <TITLE>Tim Russ: A Tribute to Tim Russ, Tuvok on Star Trek Voyager</TITLE> <META NAME="description" CONTENT="Tim Russ: An overview over the career and personality of this actor/director/producer/writer/musician (Tuvok of Star Trek: Voyager)"> <META NAME="keywords" CONTENT="Tim Russ, Tuvok, Star Trek: Voyager, interviews, pictures, East of Hope Street, Art Police, Highwayman, Kushangaza, Star Trek, Bugsters, Metal War"> <!--mstheme--><link rel="stylesheet" type="text/css" href="_themes/copy-of-mynewtheme/copy1000.css"><meta name="Microsoft Theme" content="copy-of-mynewtheme 1000, default"> <meta name="Microsoft Border" content="none"> </HEAD> <BODY><!--msnavigation of page "A Tribute to Tim Russ"--><table border="0" cellpadding="0" cellspacing="0" width="100%"><tr><td> <table border="0" width="100%"> <tr> <td width="16%" style="padding: 3"><a href="images/Caribbean/Cruise99-2.jpg"><img border="0" src="images/Caribbean/Cruise99-2_small.jpg" width="100" height="80"></a> </td> <td width="84%" style="padding: 3"><font face="Arial"><b><a href="index.htm"><font size="4">A Tribute to Tim Russ: Home</font></a> </b><font size="4"><font color="#000080">|</font><b> <a href="Biography.htm">Biography</a> </b><font color="#000080">|</font><b> <a href="Charities.htm">Charities</a> </b><font color="#000080">|</font><b> <a href="Conventions.htm"> Conventions</a></b> <font color="#000080">|</font> <b><a href="Current%20Projects.htm">Current Projects</a> </b><font color="#000080">|</font><b> <a href="Interviews.htm">Interviews</a></b> <font color="#000080">|</font><b> <a href="Links.htm"> Links</a></b> <font color="#000080">|</font><b> <a href="Mailing_Lists.htm"> Mailing Lists</a> </b><font color="#000080">|</font> <b><a href="Pictures.htm">Pictures</a></b> <font color="#000080">|</font><b> <a href="Professional.htm">Professional Career</a> </b><font color="#000080">|</font><b> <a href="Quiz.htm">Quiz</a> </b> <font color="#000080">| </font><b><a href="Whats_New.htm"> What's New</a> </b></font> </font> <p><font face="Arial"><b> <a href="mailto:maria@timrusstribute.com"> <font size="4"> E-mail me</font></a><font size="4"> </font></b><font size="4"><font color="#000080">|</font><b> <a href="Guestbook.htm" target="_top"> Guestbook</a> </b><font color="#000080">|</font><b> <font color="#FF9933"><a href="site_map.htm">Site map</a> &nbsp; </font></b><font color="#000080">|</font><b> <font color="#FF9933"><a href="Forum.htm">Forum</a> </font></b></font></font></p> </td> </tr> </table> </td></tr></table msnavigation><table border="0" cellpadding="0" cellspacing="0" width="100%"><tr><td valign="top"> <H1 align=center><B>A Tribute to Tim Russ</B></H1> <P align=center><IMG height=300 src="images/Vegas03/Tim60.jpg" border="5" alt="Tim Russ playing music in Quark's Bar, Las Vegas 2003"><br>©, Maria Nausch</P> <br> <p>Most recent update: June 21, 2009 - check it out <a href="Whats_New.htm">here</a>.</p> <p> </p> <p>If you have troubles finding your way around this site, check the new <a href="site_map.htm">site map</a>!<br> <h3>Important note</h3> <p><b>It's back! Tim's official webpage, that is. Yes, it's not just back on the net, it's also back at its old location, at <a href="http://www.timrusswebpage.com" target="_blank">http://www.timrusswebpage.com</a>. But it's also accessible through its new location at <a href="http://www.timrusswebpage.net" target="_blank">http://www.timrusswebpage.net</a>. I am not changing my links back, since both pages are mirror sites and contain the exact same information. But isn't it great that Tim got his old domain name back? (Though I have no idea how he did it!)</b></p> <p><b>Important note, part II</b>: We have a domain name! This page can now be reached much easier by simply typing: "http://www.timrusstribute.com". The old address is still valid as well, but I hope the new one is more convenient for everybody.</p> <p align="left"></p> <P align=left>I hope that you will enjoy this page and that it will help you to learn more about that highly talented man to who it is dedicated. But it is impossible for any one person to have access to all existing information. I need your help. If you know of an interview that is not listed here, contact me. If you know of anything Tim did that is not listed in the credits, let me know. If you find something about Tim on the Internet, tell me, so that I can link to it and others can access that information as well. Let's all work together to make this page the best possible source of information about Tim Russ.</P> <p>Also, I would appreciate it, if you all rated my page for Treksearch. All you have to do is follow <a href="http://www.treksearch.com/cgi-bin/rate.cgi?ID=1731">this link</a> and rate the page between 1 and 10 - 10 being the best. You can also go <a href="http://www.treksearch.com/Detailed/1731.shtml">here</a> and write a review for my page. Thank you!</a> <P style="MARGIN-BOTTOM: 0px" align=center>Number of people that have visited this page:</P> <P align=center><img src="http://toolbox.omnis.com/bin/counter.cgi?md=6&st=3611|df=www.timrusstribute.com" align=absmiddle></P> <P style="MARGIN-BOTTOM: 0px" align=left></P> <P style="MARGIN-BOTTOM: 0px" align=left><FONT size=1><SPAN lang=EN-US style="FONT-FAMILY: Arial">Star Trek, Star Trek: The Next Generation, Star Trek: Deep Space Nine and Star Trek: Voyager are all registered trademarks and copyright of Paramount Pictures. <SPAN style="FONT-FAMILY: Arial; mso-bidi-font-size: 7.5pt">All other trademarks and copyrights are the property of their respective holders. The Tim Russ-interviews and articles are copyright of the respective magazines they originally appeared in or the chat-organizers. </SPAN><SPAN style="FONT-FAMILY: Arial">No copyright infringement is intended on this page. The site is intended exclusively for entertainment and informational purposes, and should therefore fall within the fair use clause of Trademarks and Copyrights. I am not responsible for the content of this page's hosted sites.</SPAN></SPAN></FONT></P> <P style="MARGIN-TOP: 0px; MARGIN-BOTTOM: 0px" align=left><FONT size=2>All original material on this page is copyrighted by Maria Nausch. All Rights Reserved.</SPAN></FONT></P> <P align=left><FONT size=1><SPAN lang=EN-US style="FONT-FAMILY: Arial; mso-bidi-font-size: 10.0pt">Despite my connection with <A href="http://www.timrusswebpage.com/" target="_blank">http://www.timrusswebpage.com</A> this site is in no way affiliated with or recognized by Tim's official web page. Opinions expressed in this page are my own and are not necessarily shared by Tim Russ and/or his family. My page is not intended as a competition to the official Tim Russ-web page, but as a supplement. I hope that everybody who likes Tim Russ will visit both pages regularly. </SPAN></FONT></P> <p>&nbsp;</p> </BODY>
A:hover {color: #FF3300; font-style: italic; font-weight: bold} Tim Russ: A Tribute to Tim Russ, Tuvok on Star Trek Voyager | | | | | --- | --- | --- | | | | | | --- | --- | | | **[A Tribute to Tim Russ: Home](index.htm)**|**[Biography](Biography.htm)** |**[Charities](Charities.htm)** |**[Conventions](Conventions.htm)** | **[Current Projects](Current%20Projects.htm)** |**[Interviews](Interviews.htm)** |**[Links](Links.htm)** | **[Mailing Lists](Mailing_Lists.htm)** | **[Pictures](Pictures.htm)** |**[Professional Career](Professional.htm)** | **[Quiz](Quiz.htm)** | **[What's New](Whats_New.htm)** **[E-mail me](mailto:maria@timrusstribute.com)** |**[Guestbook](Guestbook.htm)** | **[Site map](site_map.htm)** | **[Forum](Forum.htm)** | | | | | --- | | **A Tribute to Tim Russ** Tim Russ playing music in Quark's Bar, Las Vegas 2003©, Maria Nausch Most recent update: June 21, 2009 - check it out [here](Whats_New.htm). If you have troubles finding your way around this site, check the new [site map](site_map.htm)! Important note **It's back! Tim's official webpage, that is. Yes, it's not just back on the net, it's also back at its old location, at <http://www.timrusswebpage.com>. But it's also accessible through its new location at <http://www.timrusswebpage.net>. I am not changing my links back, since both pages are mirror sites and contain the exact same information. But isn't it great that Tim got his old domain name back? (Though I have no idea how he did it!)** **Important note, part II**: We have a domain name! This page can now be reached much easier by simply typing: "http://www.timrusstribute.com". The old address is still valid as well, but I hope the new one is more convenient for everybody. I hope that you will enjoy this page and that it will help you to learn more about that highly talented man to who it is dedicated. But it is impossible for any one person to have access to all existing information. I need your help. If you know of an interview that is not listed here, contact me. If you know of anything Tim did that is not listed in the credits, let me know. If you find something about Tim on the Internet, tell me, so that I can link to it and others can access that information as well. Let's all work together to make this page the best possible source of information about Tim Russ. Also, I would appreciate it, if you all rated my page for Treksearch. All you have to do is follow [this link](http://www.treksearch.com/cgi-bin/rate.cgi?ID=1731) and rate the page between 1 and 10 - 10 being the best. You can also go [here](http://www.treksearch.com/Detailed/1731.shtml) and write a review for my page. Thank you! Number of people that have visited this page: Star Trek, Star Trek: The Next Generation, Star Trek: Deep Space Nine and Star Trek: Voyager are all registered trademarks and copyright of Paramount Pictures. All other trademarks and copyrights are the property of their respective holders. The Tim Russ-interviews and articles are copyright of the respective magazines they originally appeared in or the chat-organizers. No copyright infringement is intended on this page. The site is intended exclusively for entertainment and informational purposes, and should therefore fall within the fair use clause of Trademarks and Copyrights. I am not responsible for the content of this page's hosted sites. All original material on this page is copyrighted by Maria Nausch. All Rights Reserved. Despite my connection with [http://www.timrusswebpage.com](http://www.timrusswebpage.com/) this site is in no way affiliated with or recognized by Tim's official web page. Opinions expressed in this page are my own and are not necessarily shared by Tim Russ and/or his family. My page is not intended as a competition to the official Tim Russ-web page, but as a supplement. I hope that everybody who likes Tim Russ will visit both pages regularly.   |
http://timrusstribute.com/
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xmlns:fb="http://ogp.me/ns/fb#"> <head> <title>Towel Day - Celebrating the life and work of Douglas Adams</title> <meta http-equiv="Content-Type" content="text/html;charset=ISO-8859-1"> <meta name='LTF_verify' content='455f24dad4f157d87592a8a21f93d192'/> <link rel="image_src" href="http://www.towelday.org/dna.jpg"> <meta property="og:image" content="http://www.towelday.org/facebookthumbnail.jpg" property="og:image:width" content="257" property="og:image:height" content="200"/> <meta name="description" content="Towel Day is an annual celebration on the 25th of May, as a tribute to the late author Douglas Adams (1952-2001). On that day, fans around the universe carry a towel in his honour."> <meta name="keywords" content="towel day, towelday, towel, towels, douglas adams, hitchhiker's guide to the galaxy, h2g2, dia da toalha"> <meta name="robots" content="noarchive"> </head> <body bgcolor="#000000" text="#ffffff" link="#cccccc" alink="#cccccc" vlink="#cccccc"> <center> <script TYPE="text/javascript" language="Javascript"><!-- var n=new Date(); var td=new Date(n.getFullYear(),4,25); var remain = Math.ceil((td.getTime()-n.getTime())/86400000); if (remain<0) { var n2=new Date(); n2.setFullYear(n.getFullYear()+1); remain+=Math.floor((n2.getTime()-n.getTime())/86400000); } if (remain>1) document.write("<h1>"+remain+" day"+(remain>1?"s":"")+" left until Towel Day!</h1>"); else if (remain==1) document.write("<h1>Tomorrow is Towel Day!</h1>"); else document.write("<h1>Today is Towel Day. Don't forget your towel!</h1>"); // --> </script> <img src="dna.jpg" width="173" height="131" alt="Douglas Adams"> <br><small><small>Douglas Adams, picture courtesy of <a href="http://www.jillfurmanovsky.com/" target="_blank">Jill Furmanovsky</a> <br>prints available from <a href="http://www.rockarchive.com" target="_blank">rockarchive.com</a></small></small> </center> <table border="0" cellspacing="0" cellpadding="20" align="center"> <tr> <td width="150" valign="top"> </td> <td width="600" valign="top"> <br> Towel Day is an annual celebration on the 25th of May, as a tribute to the late author <a href="http://en.wikipedia.org/wiki/Douglas_adams" target="_blank">Douglas Adams</a> (1952-2001). On that day, fans around the universe carry a towel in his honour. <p><br> <h3>I love Douglas Adams! How can I get involved?</h3> <ul> <li>Help spread the word about Towel Day (<a href="http://www.hashtags.org/analytics/towelday/" target="_blank">#towelday</a>): tweet, blog, post in forums, <a href="http://www.facebook.com/share.php?u=http%3A%2F%2Fwww.towelday.org&t=Towel%20Day%20nears%20for%20fans%20of%20Douglas%20Adams" target="_blank">share&nbsp;a&nbsp;link&nbsp;in&nbsp;Facebook</a>, make art, etc. <br><br> <li><a href="faq/index.html#contact">Tell</a> us about events you organize on Towel Day, and we will announce them here! <br><br> <li>On Towel Day, carry a towel. Where? Everywhere. <br><br> <li>Proudly show the world you've observed Towel Day! Post for example a photo or video with your towel on the <a href="https://www.facebook.com/towelday" target="_blank">Towel Day Facebook page</a> and enjoy other people's. Some alternatives are the <a href="http://www.flickr.com/groups/towelday/pool/" target="_blank">Flickr group</a> for pictures and of course <a href="http://www.youtube.com/results?search_query=%22towel+day%22+OR+towelday&search_sort=video_date_uploaded" target="_blank">YouTube</a> for videos. </ul> <p><br> <h3>What is happening on Towel Day 2024?</h3> <p> <i>Know about any Towel Day events we should add? Please <a href="faq/index.html#contact">mail us</a>!</i> <p><br> <b>NETHERLANDS</b> <ul> <li>In Rotterdam, from 17:40-23:40, fans of <font color="#00ff00">Douglas Adams</font> and/or <font color="#00ff00">Terry Pratchett</font> are welcome at <a href="http://cafepardoen.nl/" target="_blank">Cafe Pardoen</a>, Spaansekade 62. Bring a <font color="#00ff00">towel</font>, wear the lilac. In honour of Douglas Adams and Terry Pratchett. Rotterdam Editie The 9th Edition will feature: <font color="#00ff00">Pangalactic Gargleblasters, Vogon Poetry Contest, Dwarfish Battle Bread Battle, Elvish Impersonation Contest, Dirk Gently's Holistic Treasure Hunt</font> and much, much more! Prizes galore!" Details and RSVP on <a href="https://www.facebook.com/events/s/2024-towel-dayglorious-revolut/1302155830654157/" target="_blank">Facebook</a> </ul> <p><br> <i>Want to organize a Towel Day event? Inspiration can be found in the <a href="archives/index.html">Archives</a></i> <p><br> <p><br> <h3>This was Towel Day 2023</h3> <p><br> <!-- some 2023 highlights: a play, a beer !--> <b>ONLINE EVENTS</b> <ul> <li>Winner of the 2023 <a href="https://www.facebook.com/TowelDayAmbassador" target="_blank">Towel Day Ambassador Contest</a> was author and Douglas Adams expert Yvette Keller. She is cut out for the role of Towel Day Ambassador! <br><center><a href="ambassador2023big.png" border="0"><img src="ambassador2023.png" width="318" height="186" alt="Yvette Keller, 2023 Towel Day Ambassador"></a></center> She will be representing Earth on May 25th at the Intergalactic Pandimensional Towel Day Gala.<br> Helping her to bring knowledge of the Douglas Adams' works to all the lands throughout the year will be the Regional Towel Day Ambassadors - Carol, Perkeo, Anna and David. Thanks to all the contestants and all that have voted!<br> Watch Yvette's winning video <a href="https://www.youtube.com/watch?v=DOd45Slsta8" target="_blank">here</a> <li>Colin Reynolds will <a href="https://pendantry.wordpress.com/2023/05/25/happy-towel-day-2023" target="_blank">publish</a> his fourth annual <font color="#00ff00">HHGTTG trivia quiz</font>. The link will become active on Towel Day 2023! <li>Takeshi's Cashew, a psychedelic cosmofunk band, has a <font color="#00ff00">new track called</font> <a href="https://www.youtube.com/watch?v=WrpuVhK7YtA" target="_blank">Happy Towel Day</a>. It's on their <font color="#00ff00">new album</font> <a href="http://lautundlui.se/takeshi-enter-js-chamber/" target="_blank">Enter J's Chamber</a>. The band is currently touring in Europe. They're on <a href="https://www.instagram.com/takeshiscashew/" target="_blank">Instagram</a> and <a href="https://www.facebook.com/takeshiscashew" target="_blank">Facebook</a>. <li>One week BEFORE Towel Day, on 18 May, IT company Device42 (notice the <font color="#00ff00">42</font> in their company name) presents their <font color="#00ff00">annual event</font> for <font color="#00ff00">IT froods</font>, with <font color="#00ff00">gifts</font> for attendees. It's called "The Lost Chapter of the <font color="#00ff00">Hitchhiker's Guide to IT</font>: 5 Secret Gems Discovered!" <i>"Grab your <font color="#00ff00">towel</font>, hitch a ride on the nearest Vogon spaceship, and <font color="#00ff00">join</font> us for an unforgettable <font color="#00ff00">journey through the galaxy of IT management</font>. While we may not be able to fully discover the answers to life, the universe, and everything in-between—we will take a step closer to answering everything to IT. <font color="#00ff00">All attendees</font> will have a chance to win prizes in our <font color="#00ff00">trivia game at the end of each session</font>! First place winners will <font color="#00ff00">receive</font> the next-generation reMarkable 2 paper tablet, and all top 10 finishers will receive exclusive Device42 Microfiber Golf <font color="#00ff00">Towels</font>!"</i> <br>Register <a href="https://www.device42.com/events/towel-day-secret-gems/" target="_blank">here</a> <li>On travelo.hu a <font color="#00ff00">post</font> about Towel Day appeared: <a href="https://www.travelo.hu/rendezveny/20230523-magyarorszag-budapest-douglas-adams-nemzetkozi-torulkozonap-galaxis-utikalauz.html" target="_blank">Ez&eacutert l&aacute;thatsz holnap t&oumk;r&uuml;lk&ouml;z&ouml;s embereket szokatlan helyeken</a> (this is why you may see people <font color="#00ff00">carrying towels</font> in unusual places tomorrow). <li>The magazine of the Finnish <font color="#00ff00">Engineers Association</font> published <a href="https://insinoori-lehti.fi/tasta-on-kysymys/pyyhkeista-ja-elaman-tarkoituksesta/" target="_blank">"About towels and the meaning of life"</a>, by Tommi Gr&ouml;nholm, organizational leader of the <font color="#00ff00">Engineers' Association</font>. <li>Daniel Sondstr&ouml;m <font color="#00ff00">read from the book</font> (in Swedish) in <a href="https://danielsundstrom.podbean.com/" target="_blank">his postcast</a>. <li>Branky Pop created a collection of <font color="#00ff00">42 NFTs</font> of Froods who really know where their towel is. It is a <font color="#00ff00">free mint</font> and will be <font color="#00ff00">open</font> for minting starting 25 May <a href="https://zora.co/collect/0x1c7b8e0c9d826dbe18b0783720038d82e7d45540" target="_blank">on Zora</a> <li>The G(eek) Spot <font color="#00ff00">podcast</font> devoted a 42 minute <a href="https://open.spotify.com/episode/7I4sHPCPUpKYsBdZnhnFJG?si=QRJAFWkLQd6nWLfEpcuZLw" target="_blank">episode</a> to Towel Day. <li>MacWelt <font color="#00ff00">published</font> <a href="https://www.macwelt.de/article/1930363/macwelt-am-morgen-25-5-23-immer-das-handtuch-dabei.html" target="_blank">"Macwelt am Morgen: 25.5.23 – Immer das Handtuch dabei"</a>, a piece by deputy editor-in-chief Peter M&uuml;ller. <li>Writer and comedy expert Rhianna Evans <font color="#00ff00">auctioned</font> a <a href="https://www.ebay.co.uk/itm/185907790329" target="_blank">handmade pouch</a> for Save the Rhino, Douglas Adams' favourite charity. It featured a sperm <font color="#00ff00">whale</font>, a bowl of <font color="#00ff00">petunias</font> and the number <font color="#00ff00">42</font>. <li>Geocaching's official <a href="https://www.geocaching.com/blog/2023/05/dont-panic-its-towel-day/" target="_blank">blog</a> featured a little <font color="#00ff00">Towel Day post</font>. <li>Kedar Anil Gadgil wrote a <font color="#00ff00">philosphical post</font> titled <a href="https://kedar.gadgil.com/2023/05/25/towel-day-2023/" target="_blank">"Towel Day 2023"</a> <li>Pan Macmillan <font color="#00ff00">mentioned</font> Towel Day in a <a href="https://twitter.com/panmacmillan/status/1661722540060884993" target="_blank">tweet</a> about the new audiobook of <font color="#00ff00">Startship Titanic</font>, voiced by <font color="#00ff00">Bill Nighy</font>. <li>The UK's National Space Center <font color="#00ff00">tweeted</font> <a href="https://twitter.com/spacecentre/status/1661764061862952961" target="_blank">several</a> <a href="https://twitter.com/spacecentre/status/1661696362256244737" target="_blank">Hitchhiker's</a> <a href="https://twitter.com/spacecentre/status/1661673713094279170" target="_blank">Guide</a> <a href="https://twitter.com/spacecentre/status/1661628414695186434" target="_blank">to the Galaxy</a> <font color="#00ff00">quotes</font>. <li>Space.com <font color="#00ff00">tweeted</font> <a href="https://twitter.com/SPACEdotcom/status/1661794832380055552" target="_blank">about Towel Day</a> and <font color="#00ff00">posted</font> <a href="https://www.space.com/towel-day-hitchhikers-guide-to-the-galaxy" target="_blank">"Today is Towel Day! Salute the legacy of 'The Hitchhiker's Guide to the Galaxy' author Douglas Adams"</a>. <li>On Towel Day you get a <font color="#00ff00">FREE</font> Heart of Gold Motel Keyring <font color="#00ff00">if</font> you order <font color="#00ff00">BOTH</font> sets of <a href="https://www.candydollclub.com/products/hitchhikers-guide-to-the-galaxy-pins" target="_blank">Don't Panic pins</a> at Candydollclub.com (use the drop down menu). They ship planetwide from the Isle of Man. <li>You can <font color="#00ff00">win</font> the upcoming <font color="#00ff00">new book on Douglas Adams</font> by Kevin Jon Davies. And a <font color="#00ff00">towel</font>. Details on <a href="https://www.facebook.com/Unbound/posts/pfbid0krSbZKFsMtgpCJ4v5q9ZxqZF1koFXinWNzxXWtcHRzhKcqa8ruiutaGEDN9dyLGhl?__cft__[0]=AZWs16433Jrly_-0PWHpq8j_71cla4fSMw0ZewPWF2tqTm-p-Yt6J9ajjrTH0pPWc-S7OTrb-P1bStr1zWmFBqsTfkEQCExOEix-avYa310vdF6R8nkOrhpCpApwAtaEVLauVdpV92cHPoDYQff5eegI6hkgJ0301LQ_qT-y1Ke5XC6O1lbdqVhE12gWMsZBqmw&__tn__=%2CO%2CP-R" target="_blank">Facebook</a> and <a href="https://twitter.com/unbounders/status/1661628379483852801" target="_blank">Twitter</a> <li>The British Comedy Guide <font color="#00ff00">published</font> the <font color="#00ff00">brilliant article</font> <a href="https://www.comedy.co.uk/film/the_hitchhikers_guide_to_the_galaxy/features/exploring-the-movie-part-1/" target="_blank">"Exploring The Hitchhiker's Guide To The Galaxy film"</a> by Rhianna Evans. </ul> <p><br> <p><br> <b>LOCAL EVENTS</b> <p><br> <b>AUSTRALIA</b> <ul> <li>In Perth, the <a href="https://perthobservatory.com.au" target="_blank">observatory</a> hosts a <font color="#00ff00">Towel Day Night Tour</font>! Bring your <font color="#00ff00">towel</font> and come to the Perth Observatory for an <font color="#00ff00">unforgettable night</Font>. Our volunteers will be ready to take you on a <font color="#00ff00">grand tour</font> of the Southern Hemisphere's sky with a wide range of targets including nebulae, planets, dying stars, and enormous star clusters. As <font color="#00ff00">Douglas Adams</font> wrote, a towel is about the most massively useful thing an interstellar hitchhiker can have. And on this night, your towel can be used to wave in emergencies as a distress signal or dry yourself off after exploring our amazing night sky through our <font color="#00ff00">telescopes</font>. Don't forget to <font color="#00ff00">dress up</font> as your favourite Hitchhiker's Guide to the Galaxy character and you might <font color="#00ff00">win</font> a great prize. This is a night <font color="#00ff00">not to be missed</font>, so come along to the Perth Observatory and discover the wonders of the universe. Book your <a href="https://perthobservatory.com.au/shop/night-tours/towel-day" target="_blank">tickets</a> now!<br> RSVP and details on <a href="https://www.facebook.com/events/747891583361321/" target="_blank">Facebook</a> <li>In Adelaide, South Australia, Spoken Word SA presents <font color="#00ff00">"Vogon Poetry Night - Bring Your Worst!"</font>. Usually they are proud to highlight and support some of the <font color="#00ff00">best poetry</font> in the country... but now, for one night only, they want to see <font color="#00ff00">your WORST!</font> Poets will have <font color="#00ff00">one minute</font> to perform the <font color="#00ff00">most awful</font> poetry they can create. Use your worst metaphors, your tackiest rhymes, your most unsettling imagery, your most off-putting descriptions... <font color="#00ff00">whatever it takes</font> to make everyone cringe and squirm! Have some <font color="#00ff00">fun</font> with this one: Jeer, laugh, heckle, and leave your competitive instincts aside for the night. <font color="#00ff00">Prizes</font> will be arbitrary and low-stakes, and standard slam rules do NOT apply. <font color="#00ff00">Note</font>: Any content that includes bigotry is not welcome. We want bad poetry, but NOT bad messages. Yes, even if you mean it as a joke. <font color="#00ff00">Tickets</font> are $8. <br>Details and RSVP on <a href="https://facebook.com/events/s/vogon-poetry-night-bring-your-/883597459376931/" target="_blank">Facebook</a> </ul> <b>AUSTRIA</b> <ul> <li>In Wolfurt, at 20:30 <font color="#00ff00">Philipp Horatschek</font> and ACHNUS Film <font color="#00ff00">celebrate</font> Towel Day in the ACHNUS Film MovieLounge (Fattweg 7). All life forms (and cosplayers) are welcome. Come and perhaps win a prize for the most beautiful <font color="#00ff00">towel</font>, drink beer and eat peanuts, and <font color="#00ff00">chat</font> about English SF and Douglas Adams in particular. Take your towel and come join them!<br> RSVP and details on <a href="https://fb.me/e/140zobMO5" target="_blank">Facebook</a> and on the <a href="http://www.towelday.wordpress.com" target="_blank">Austrian Towel Day site</a> </ul> <b>BANGLADESH</b> <ul> <li>In Bangladesh, Shadhinalo <font color="#00ff00">published</font> a brief <a href="https://www.shadhinalo.com/2023/05/25/world-towel-day/" target="_blank">explanation</a> about Towel Day. <li>Songbadprokash also <font color="#00ff00">had</font> a <a href="https://www.songbadprokash.com/lifestyle/today-is-world-towel-day./55461" target="_blank">Towel Day</a> piece. </ul> <b>BRAZIL</b> <ul> <li>In Belo Hoizonte (State: Minas Gerais), from 17:00 until 21:00 there will be a <font color="#00ff00">Happy Hour with special drinks</font> (including of course Pan Galactic Gargle Blasters) and a <font color="#00ff00">themed menu</font>. There will be <font color="#00ff00">Trivia</font>, a <font color="#00ff00">Cosplay Contest</font>, <font color="#00ff00">Vogon Poetry</font> reading and a lot of <font color="#00ff00">giveaways</font>. Attendance is 100% <font color="#00ff00">free</font> and everyone is welcome. Place: Taboca Restaurant - Rua Goiás n 14, Centro - City: Belo Horizonte - State: Minas Gerais - Brazil. More details on <a href="https://www.instagram.com/42instituto/" target="_blank">Instagram</a> <li>In Olinda, state of Pernambuco, on 20 and 21 May, Power Kon presents the <font color="#00ff00">10th anniversary</font> edition of their <font color="#00ff00">Towel and Nerd Pride Day</font>. Doors of the Pernambuco Convention Center open at 11:00 and close at 22:00. They promise <font color="#00ff00">more than 50 attractions</font>, stands from all over Brazil, <font color="#00ff00">special guests</font>, game arena, food court, cosplay and Kpop performances, and much more. So take <font color="#00ff00">your towel</font> and head over there! Get your tickets <a href="https://bileto.sympla.com.br/event/82795" target="_blank">here</a><br> Venue: Pernambuco Convention Center. Av. Prof. Andrade Bezerra, s/n - Salgadinho, Olinda - PE, 53110-680. Sector A and Brum Auditorium. <br>More details on <a href="https://www.facebook.com/Powerkonrecife/" target="_blank">Facebook</a> and <a href="https://www.instagram.com/powerkonrecife/" target="_blank">Instagram</a> </ul> <b>CZECH REPUBLIC</b> <ul> <li>In Brno, the traditional <font color="#00ff00">get-together</font> at <font color="#00ff00"> </font>restaurant Plze&#328;sk&yacute; dv&#367;r will start <font color="#00ff00">as usual</font> at 17:00. There will be <font color="#00ff00">pangalactic gargleblasters</font>, Vogon <font color="#00ff00"> poetry</font> in different languages, and a good mood! Bring your towel! <li>In Pardubice, geocachers will <font color="#00ff00">meet</font> from 17:45 until 18:15. The condition for logging is to <font color="#00ff00">come with a towel</font>, visibly placed over your <font color="#00ff00">hand</font> or around your <font color="#00ff00">neck</font>! A group <font color="#00ff00">picture</font> may be taken. <font color="#00ff00">Please check</font> the details on <a href="https://www.geocaching.com/geocache/GCA7CNJ_rucnikovy-den-pardubice-2023" target="_blank">Geocaching.com<a/> because we didn't manage to translate everything. <li>In Prague, Towel Day is traditionaly <font color="#00ff00">celebrated</font> in the garden restaurant at Z&aacute;me&#269;ek Letn&aacute;. The <font color="#00ff00">Vogon poetry</font> recitation, where they recite various translations of Vogon poetry, <font color="#00ff00">begins at 18:00</font>. Bring your <font color="#00ff00">towel</font>! Details and RSVP on <a href="https://www.facebook.com/events/563463172330291/" target="_blank">Facebook</a> </ul> <b>DENMARK</b> <ul> <li>In Copenhagen, at 12.00 there will be an <font color="#00ff00">event</font> at the bathing facility "B&oslash;lgen" at Kalvebod Brygge, where the <font color="#00ff00">towel</font> will be brought to good practical use for a <font color="#00ff00">swim</font> in the nice weather. It is meant for carbon based life forms, but they <font color="#00ff00">don't discriminate</font> as long as a towel is worn with the intention to celebrate. <li>Also in Copenhagen at 16:15 there is a <font color="#00ff00">get-together</font> in Fælledparken: <i>"join us with a <font color="#00ff00">towel</font> and good cheer. We'll be listening to some of the <font color="#00ff00">original radio show</font> (In English though the version of DR is hilarious) and <font color="#00ff00">celebrate</font> the Hitchhikers Guide to the Galaxy, Life, the Universe and Everything."</i>. Details and RSVP on <a href="https://www.facebook.com/events/6065145790270081" target="_blank">Facebook</a> </ul> <b>FINLAND</b> <ul> <li>In Turku, Towel Day will again be <font color="#00ff00">celebrated</font> at <a href="https://goo.gl/maps/7QfSxXuXZcLRaEct6" target="_blank">Cosmic Comic Cafe</a> (Kauppiaskatu 4, Turku. The <font color="#00ff00">main programme</font> consists of multidimensionally horrible poetry recitations. Unlike almost everywhere else, it's not a competition. Whatever you churn out, they read, immediately, without any filtering. Theirs may be the <font color="#00ff00">oldest</font> ongoing bad poetry night on Towel Day: they started in 2006. While the <font color="#00ff00">universe</font> is being gently destroyed by horrible poetry, <font color="#00ff00">troubadour</font> <a href="https://www.instagram.com/kieroin/" target="_blank">Kiero</a> plays improvised harp music in the background. While waiting for Towel Day, they've already started publishing last year's poems from the archive on <a href="https://pyyhepaiva.fi/" target="_blank">their website</a>. You can already <font color="#00ff00">send your own poems</font> to be read at the event by mailing them to pyyhepaiva@pyyhepaiva.fi <br>Details and RSVP on Facebook: <a href="https://www.facebook.com/events/972649533739505" target="_blank">event</a>, <a href="https://facebook.com/Pyyhepaiva" targe="_blank">page</a> <li>The magazine of the Finnish <font color="#00ff00">Engineers Association</font> published <a href="https://insinoori-lehti.fi/tasta-on-kysymys/pyyhkeista-ja-elaman-tarkoituksesta/" target="_blank">"About towels and the meaning of life"</a>, by Tommi Gr&ouml;nholm, organizational leader of the <font color="#00ff00">Engineers' Association</font>. </ul> <b>GERMANY</b> <ul> <li>In L&uuml;neburg, at 19:42, actor and director Thomas Ney will continue his <font color="#00ff00">public reading</font> of Douglas Adams' work (in German). Where: <a href="https://mosaique-lueneburg.de/" target="_blank">mosaique - Haus der Kulturen</a>, Katzenstr. 1, D-21335 L&uuml;neburg. <li> In Hamburg on 24, 25, 26, 26 and 28 May, <font color="#00ff00">theatre</font> <a href="http://www.theater-das-zimmer.de" target="_blank">"Das Zimmer"</a> presents "The Hitchhiker's Guide to the Galaxy" as <font color="#00ff00">a play</font> and in June there will even be <font color="#00ff00">the sequel</font> "The Restaurant at the End of the Universe". <font color="#00ff00">Tickets</font> and more information <a href="http://www.theater-das-zimmer.de" target="_blank">here</a> <li>In Hamburg at PON - <a href="http://www.platz-ohne-namen-net" target="_blank">Platz ohne Namen</a>, Towel Day <font color="#00ff00">celebrations</font> will start at 18:42. <font color="#00ff00">Every</font> life form is welcome to share some <font color="#00ff00">Pangalactic Gargle Blasters</font>, listen to <font color="#00ff00">readings</font>, get scientific <font color="#00ff00">enlightments</font>, eat 42 <font color="#00ff00">peanuts</font> & all the rest. They still accept <font color="#00ff00">submissions</font> in the form of more Adams readings, Vogon poems, towel origami, intergalactic lectures & planetary workshops, please contact them via <a href="http://platz-ohne-namen.net" target="_blank">their webpage</a>. Things are going to happen if you make them happen. Bring your <font color="#00ff00">towel</font>, a <font color="#00ff00">lawn chair</font> and don't panic! <li>In Kiel, you get <font color="#00ff00">free entry</font> at the <a href="https://www.fh-kiel.de/mediendom/" target="_blank">Mediendom</a> <font color="#00ff00">if you bring your towel</font> on Towel Day! <li>In Oberkochen, on the occasion of Towel Day, the Deutsche Initiative Mountainbike Ostw&uuml;rttemberg will take a <font color="#00ff00">mountainbike ride</font> on the brand <font color="#00ff00">new</font> <a href="https://www.oberkochen.de/de/Kultur-Tourismus/Staunen-Bewegen/Planetenweg" target="_blank">planets trail</a> in Oberkochen Germany! Anyone is welcome to participate! Here is their <a href="https://www.facebook.com/DIMB.IG.Ostwuerttemberg/" target="_blank">Facebook page</a> and the <a href="https://www.dimb.de/" target="_blank">national DIMB website</a> <li>In Verden, Niedersachsen, local <font color="#00ff00">geocachers</font> will gather at 17:00 to get the <font color="#00ff00">holy French Fries</font>. And show off their favorite <font color="#00ff00">towels</font>. RSVP and details on <a href="https://www.geocaching.com/geocache/GCA5EQ5_handtuchtag-2023" target="_blank">Geocaching.com</a> <li>In Berlin at 20:00 Towel Day is <font color="#00ff00">celebrated</font> at <a href="http://wwwc-base.orge" target="_blank">C-base</a>, a non-profit association for learning about software, hardware and networks. This tradition has been going on for over a decade now. Once again there it involves a <font color="#00ff00">Space drink mixing contest</font>, aboard the crashed space station. The event will be mostly in German. Details <a href="https://logbuch.c-base.org/archives/5121" target="_blank">here</a>. <li>In Stuttgart, on Towel Day you get <a href="https://www.planetarium-stuttgart.de/startseite/besuchen/towel+day.html" target="_blank">free entry</a> to the <font color="#00ff00">planetarium</font> if you carry a <font color="#00ff00">towel</font>. <li>MacWelt <font color="#00ff00">published</font> <a href="https://www.macwelt.de/article/1930363/macwelt-am-morgen-25-5-23-immer-das-handtuch-dabei.html" target="_blank">"Macwelt am Morgen: 25.5.23 – Immer das Handtuch dabei"</a>, a piece by deputy editor-in-chief Peter M&uuml;ller. <li>Workers union Wehr.di <a href="https://www.wehrdi.info/Archive/6824" target="_blank">posted</a> about <font color="#00ff00">Towel Day</font> and what towels have to do with the <font color="#00ff00">workers union</font>. </ul> <b>HUNGARY</b> <ul> <li>On travelo.hu a <font color="#00ff00">post</font> about Towel Day appeared: <a href="https://www.travelo.hu/rendezveny/20230523-magyarorszag-budapest-douglas-adams-nemzetkozi-torulkozonap-galaxis-utikalauz.html" target="_blank">Ez&eacutert l&aacute;thatsz holnap t&oumk;r&uuml;lk&ouml;z&ouml;s embereket szokatlan helyeken</a> (this is why you may see people <font color="#00ff00">carrying towels</font> in unusual places tomorrow). <li>There was a <font color="#00ff00">geocachers event</font> at 17:45 <a href="https://www.geocaching.com/geocache/GCA7X26_torulkozonap-towel-day" target="_blank">in Budapest</a>. <li>Divany published <a href="https://divany.hu/offline/vilagnap-torulkozo/" target="_blank">Ma van a t&ouml;r&uuml;lk&uuml;z&Otilde;nap! ezt &uuml;nneplik vil&aacute;gszerte ezen a napon</a>, by Vermes Nikolett. </ul> <b>INDIA</b> <ul> <li>In Vasant Vihar (Delhi), <font color="#00ff00">Douglas Adams</font> and his greatest masterpiece are <font color="#00ff00">celebrated</font> by <a href="http://bibliotherapy.stck.me" target="_blank">Project Bibliotherapy</a> and Pan MacMillan India at <a href="https://https://www.instagram.com/kunzum/" target="_blank">Kunzum Bookstore</a>. <br>The project wants to nudge folks to build a better reading habit and is run by two lifelong readers who are <font color="#00ff00">huge</font> fans of DNA.<br> Here's the <font color="#00ff00">plan of action</font> from 6pm IST onwards - provided the Vogons avoid Earth next Thursday afternoon: <ol> <li>An <font color="#00ff00">introduction</font> to <a href="https://www.instagram.com/project.bibliotherapy/" target="_blank">Project Bibliotherapy</a> and our global community, the Readers of 42 <li>An <font color="#00ff00">enactment</font> from the OG radio play <li><font color="#00ff00">Vogon Poetry</font> Contest (earplugs not provided) <li>A <font color="#00ff00">Guided Reading Meditation</font> where we will be reading from some of the articles linked out in the DNA 42 zine launched on Towel Day '22. (check out last year's celebrations and download the <a href="https://bibliotherapy.stck.me/post/24954/Towel-Day-2022-DNA42-a-Zine-for-Hoopy-Froods" target="_blank">PDF version</a>) <li>A <font color="#00ff00">trivia quiz</font>, followed by Q&A + informal interactions extolling DNA's life, the universe, and everything. (enjoy some <ahref="https://www.instagram.com/p/CmG3GoPyKzE/" target="_blank">DNA trivia</a>) <li><font color="#00ff00">Surprise goodies</font> are up for grabs, along with great <font color="#00ff00">discounts</font> at <a href="https://www.instagram.com/kunzum/" target="_blank">Kunzum Bookstore</a>. </ol> Keep your <font color="#00ff00">towel</font> at hand and <a href="https://docs.google.com/forms/d/e/1FAIpQLSdTatVkjpWcc4TcWLRM30wnqbHsCYK1yDK94NLa1NB-R4mzbQ/viewform" target="_blank">RSVP here</a><br> The announcement posts on Instagram are <a href="https://www.instagram.com/p/CsYsy5WSwFI/" target="_blank">here</a> and <a href="https://www.instagram.com/p/CsX4mFpSQcW/" target="_blank">here</a>. Please Share and Enjoy (tm) <li>The <a href="https://www.hindustantimes.com/lifestyle/brunch/devouring-realistic-saas-bahu-saga-saas-bahu-aur-flamingo-on-disney-hotstar-with-dimple-kapadia-varun-mitra-and-ashish-verma-101684506165419.html" target="_blank">Hindustan Times</a> <font color="#00ff00">mentioned</font> Towel Day: <i>"Towel Day is May 25. Douglas Adams fans worldwide will openly carry one to honour the author of The Hitchhiker's Guide To The Galaxy. A towel, Adams says, is about the most massively useful thing an interstellar hitchhiker can have. In sweaty May, we concur."</i> <li>Tims Now font color="#00ff00">had</font> a "Happy Towel Day" item, with <a href="https://www.timesnownews.com/web-stories/entertainment/7-iconic-towel-scenes-from-bollywood/photostory/100501627.cms" target="_blank">7 iconic towel scenes from Bollywood</a>, by Nairita Mukherjee. <li>The Economic Times <font color="#00ff00">published</font> <a href="https://economictimes.indiatimes.com/news/international/us/celebrating-international-towel-day-2023-a-tribute-to-douglas-adams/articleshow/100509365.cms" target="_blank">Celebrating International Towel Day 2023: A Tribute to Douglas Adams</a>. <li>Pan Macmillan India <font color="#00ff00">tweeted</font> about <a href="https://twitter.com/PanMacIndia/status/1660918383150243843" target="_blank">Towel Day</a> </ul> <b>IRELAND</b> <ul> <li>Qaoi Woo is <font color="#00ff00">looking for froods</font> who want to read (we presume) the part of characters from the <font color="#00ff00">fifth episode</font> of the Guide on 21 May in <font color="#00ff00">Tipperary</font>, Ireland. For details, check his <a href="https://www.facebook.com/towelday/posts/pfbid02cTFEhHh5gSrY7V4qb67AvMCSkaDTKZi5XcdRw2gr16ePnyEhaozvVS1TYFB1JrYUl">post</a> or <a href="https://www.facebook.com/caoimhin.woods" target="_blank">contact him</a> </ul> <b>ITALY</b> <ul> <li>Check the <font color="#00ff00">Towel Day Italy</font> <a href="https://www.facebook.com/groups/italian.towelday/" target="_blank">Facebook page</a> <li>If you're in the Friuli-Venezia Giulia region or Veneto, you're in luck! At 10:00 a <font color="#00ff00">Towel Day event</font> will be held at "La Brussa" Vallevecchia beach, Caorle (VE). <font color="#00ff00">More</font> information can be found <a href="https://www.trovarsiora.it/picnic/18393" target="_blank">here</a> Hitchhikers welcome. Don't forget your <font color="#00ff00">towel</font>! <li>Focus Junior <font color="#00ff00">published</font> <a href="https://www.focusjunior.it/news/news-e-curiosita/buon-towel-day-la-giornata-dellasciugamano/" target="_blank">Buon "Towel day", la giornata dell'asciugamano</a>, by Stella Tortora. <li>Italy 24 posted a short <font color="#00ff00">explanation</font> about Towel Day: <a href="https://news.italy24.press/trends/574181.html" target="_blank">Because today you will see pictures of people with a towel: what is Towel Day</a>. </ul> <b>NETHERLANDS</b> <ul> <li>In Rotterdam, from 17:40-23:40, fans of <font color="#00ff00">Douglas Adams</font> and/or <font color="#00ff00">Terry Pratchett</font> are welcome at <a href="http://cafepardoen.nl/" target="_blank">Cafe Pardoen</a>, Spaansekade 62. Bring a <font color="#00ff00">towel</font>, wear the lilac. In honour of Douglas Adams and Terry Pratchett. Rotterdam Editie The 8th Edition will feature: <font color="#00ff00">Pangalactic Gargleblasters, Vogon Poetry Contest, Dwarfish Battle Bread Battle, Elvish Impersonation Contest, Dirk Gently's Holistic Treasure Hunt</font> and much, much more! Prizes galore!" Details and RSVP on <a href="https://www.facebook.com/events/2292174124310162/" target="_blank">Facebook</a> <li><a href="https://www.q42.nl/" target="_blank">Q42</a>, a Dutch company that works on apps, websites, connected devices, games and VR, continues its tradition of <font color="#00ff00">giving away</font> cool towels. <font color="#00ff00">Instructions</font> on how to win one can be found <a href="http://towelday.nl" target="_blank">here</a>. </ul> <b>POLAND</b> <ul> <li>In Miko&#322;&oacute;w, &#346;l&#261;skie, there's a geocaaching event, but all geeks are cordially <font color="#00ff00">invited</font>, in celeration of <font color="#00ff00">Towel Day</font> from 18:42 until 19:42 on Miko&#322;&oacute;w market.<br> Bringing a <font color="#00ff00">towel</font> or several is a good idea and if someone wants to perform in a <font color="#00ff00">bathrobe</font>...They will try to form the <font color="#00ff00">longest/biggest towel carpet</font> on the market place. In addition to towels, the organister suggests to bring a <font color="#00ff00">chair</font>, so everyone can sit in a circle, with their feet on the towel carpet, while they <font color="#00ff00">read</font> together the next chapter/chapters of "The Hitchhiker's Guide to the Galaxy". There will be all the time access to the logbook. A <font color="#00ff00">commemmorative picture</font> will be taken at 19:00. The end will probably be after 42 minutes. The programme could change and in case of bad weather The time and length of individual parts of the meeting may change. In case of inclement weather, they will find a place somewhere in an "ajnfarcie". <br>Details on <a href="https://coord.info/GCA8FFD" target="_blank">Geocaching.com</a> </ul> <b>RUSSIA</b> <ul> <li>Radio Supermetall <font color="#00ff00">throws</fonT> a <a href="https://www.youtube.com/watch?v=pb2331hJBp0" target="_blank">Towel Day party</a> on Friday May 26 8pm until 6am. <a href="https://www.youtube.com/watch?v=3UQJOHwFsYo" target="_blank">Tickets</a> available online. </ul> <b>SINGAPORE</b> <ul> <li>On <font color="#00ff00">Sunday 28 May</font>, the Irish Graduates Association of Singapore and Mensa Singapore are holding a <font color="#00ff00">geek quiz</font> to celebrate Geek Pride and <font color="#00ff00">Towel Day</font>. <a href="https://geekquiz2023.eventbrite.sg/" target="_blank">Sign up</a> now, ticket sale is ending soon! </ul> <b>SWEDEN</b> <ul> <li>Daniel Sondstr&ouml;m <font color="#00ff00">read from the book</font> in <a href="https://danielsundstrom.podbean.com/" target="_blank">his postcast</a>. </ul> <b>SWITZERLAND</b> <ul> <li>Froods at Genedata's HQ in Basel will have a short Towel Day meet-up for interested staff over lunch break, to discuss <font color="#00ff00">life, the universe and everything</font>, read <font color="#00ff00">Vogon poetry</font> in different languages, etc. </ul> <b>UKRAINE</b> <ul> <li>The <font color="#00ff00">Stepana Vasylchenka library</font> elaborates about <font color="#00ff00">Towel Day</font> in the description of the <a href="https://www.youtube.com/watch?v=3nqq4THvhhM" target="_blank">YouTube video</a> about their <font color="#00ff00">exposition</font> of embroydered towels "Ukrainian colorful towel stretches its wings into the distance", that runs fron <font color="#00ff00">22 until 31 May</font>. They mention a special <font color="#00ff00">role</font> of towels in Ukraine. Their country has somehow been <font color="#00ff00">scheduled</font> for demolition, but they know where their towels are and are having none of it. We wish them peace and safety! </ul> <b>UNITED KINGDOM</b> <ul> <li>In Manchester from 19:00 to 20:00 you can attend the Douglas Adams <font color="#00ff00">Towel Day Special</font> "We Apologize For The Inconvenience". It's <font color="#00ff00">a play</font> about DOUGLAS ADAMS and his trusty DUCK battling <font color="#00ff00">deadlines</font>, trapped in a hotel room... You loved this play. It set Edinburgh alight in 2019, it was performed up and down the land culminating in a triumphant performance for the Hitchhiker's faithful at the British Library in Feb 2020. And then, well Covid, life the Universe etc contrived to prevent performing this five star rated play... <font color="#00ff00">UNTIL NOW!</font> Come celebrate 40 years of the Hitchhiker's Guide to the Galaxy for <font color="#00ff00">TWO NIGHTS only</font> in Manchester city centre before they hopefully set sail on tour of the outer rim later this year. As it's <font color="#00ff00">Towel Day</font>, they have a couple of nice <font color="#00ff00">surprises</font> planned. Do stay tuned for details on twitter @5064productions<br> Plot: <i>"It’s 1984 and Douglas Adams’s editor has <font color="#00ff00">locked</font> him in a <font color="#00ff00">hotel room</font> in a desperate attempt to get the reluctant author to finish the 4th book in his popular Hitchhiker’s Guide trilogy. Notoriously bad with <font color="#00ff00">deadlines</font>, Adams is far too busy distracting himself with Life, the Universe and Anything Else Apart From Writing to care, <font color="#00ff00">including</font> reflections on his failed Hollywood career, PG Wodehouse, evolution, his relationship with the Pythons and the fine art of tea-making. Will he make the deadline? (Clue: no.) Oh, and there’s a talking duck in it."</i> <br> <font color="#00ff00">Starring</font> Adam Gardiner as DOUGLAS ADAMS, Rob Hudson as THE DUCK and Jim Burke as THE NARRATOR. Written by Mark Griffiths, Directed by Ross Kelly and Produced by Gareth Kavanagh and Matt Charlton. Animation by Andrew Orton, with an original score by Paul Philips. <font color="#00ff00">get</font> your <a href="https://www.fatsoma.com/e/ejdh5gop/douglas-adams-towel-day-special-we-apologise-for-the-inconvenience" target="_blank">tickets</a> NOW! <li>In Eastcheap, not too far from London, <font color="#00ff00">David Learner</font>, who played <font color="#00ff00">Marvin</font> in The Hitchhiker's Guide to the Galaxy, will <font color="#00ff00">read the Guide</font> cover to cover and collect money for <a href="http://savetherhino.org" target="_blank">Save the Rhino</a>, one of Douglas Adams' favourite charities. Details on <a href="https://twitter.com/DavidLearner1/status/1659150269379125248?s=20" target="_blank">Twitter</a> <li><font color="#00ff00">A WEEK BEFORE TOWEL DAY</font>, On 18 May in London the 16th <a href="https://www.facebook.com/events/528632572547925" target="_blank">Douglas Adams Memorial Lecture</a> takes place at the Royal Geographic Society. And in case you can't attend: it will be livestreamed. This tribute to Douglas Adams combines <font color="#00ff00">science</font> and <font color="#00ff00">comedy</font>, and benefits <a href="http://savetherhino.org" target="_blank">Save the Rhino International</a>, a charity of which he was a founding patron. Professor <font color="#00ff00">Jim Al-Khalili</font> will share his perspective on the nature of <font color="#00ff00">infinity, time and space</font>, giving answers to the questions many people want to know, but have been too afraid to ask. In addition to his academic work, he has written <font color="#00ff00">14 books</font> on popular science and the history of science, presents TV <font color="#00ff00">science documentaries</font>, and is the <font color="#00ff00">host</font> of the long-running weekly BBC Radio 4 programme, The Life Scientific. <font color="#00ff00">John Lloyd</font> will be <font color="#00ff00">reading</font> from the hilarious The Meaning of Liff, a book that he <font color="#00ff00">co-wrote</font> with Douglas Adams, whilst reflecting on his life and career in his trademark witty yet insightful style. Lloyd is best known for starting The News Quiz, To The Manor Born, <font color="#00ff00">Not the Nine O'Clock News</font>, Spitting Image, <font color="#00ff00">Blackadder</font>, and QI. He also <font color="#00ff00">co-wrote</font> the last two episodes of the first series of The <font color="#00ff00">Hitchhiker's Guide to the Galaxy</font> with Douglas, and <font color="#00ff00">brought the show to television</font>. He currently hosts BBC Radio 4's The Museum of Curiosity. The audience will also hear from <font color="#00ff00">Jon Taylor</font>, <font color="#00ff00">Managing Director</font> of <a href="http://savetherhino.org" target="_blank">Save the Rhino International</a>, who will provide insight into the world of <font color="#00ff00">rhino conservation</font>. The evening will be <font color="#00ff00">hosted</font> by writer, comedian, and serial Douglas's fan <font color="#00ff00">Rachel Wheeley</font>. Get your <font color="#00ff00">tickets</font> for the <a href"https://www.eventbrite.co.uk/e/jim-al-khalili-and-john-lloyd-tickets-595798598647" target="_blank">lecture </a> or for the <a href="https://www.eventbrite.co.uk/e/jim-al-khalili-and-john-lloyd-tickets-595918567477" target="_blank">livestream</a> <br> RSVP on <a href="https://www.facebook.com/events/528632572547925" target="_blank">Facebook</a> <br> All proceeds will go towards <a href="http://savetherhino.org" target="_blank">Save the Rhino International</a>'s work. <li>Pan Macmillan <font color="#00ff00">mentioned</font> Towel Day in a <a href="https://twitter.com/panmacmillan/status/1661722540060884993" target="_blank">tweet</a> about the new audiobook of <font color="#00ff00">Startship Titanic</font>, voiced by <font color="#00ff00">Bill Nighy</font>. <li>Tellyspotting <font color="#00ff00">ran</font> <a href="https://tellyspotting.kera.org/2023/05/25/celebrate-international-towel-day-2023-most-of-all-dont-panic/" target="_blank">Celebrate International Towel Day 2023! Most of all….Don’t Panic!</a>, by Bill Young. <li>The Evening Standard <font color="#00ff00">published</font> <a href="https://www.standard.co.uk/news/world/towel-day-2023-hitchhikers-guide-galaxy-douglas-adams-b1001876.html" target="_blank">Towel Day 2023: The Hitchhiker’s Guide to the Galaxy fans celebrate Douglas Adams</a>, by Seren Morris. <li>The UK's National Space Center <font color="#00ff00">tweeted</font> <a href="https://twitter.com/spacecentre/status/1661764061862952961" target="_blank">several</a> <a href="https://twitter.com/spacecentre/status/1661696362256244737" target="_blank">Hitchhiker's</a> <a href="https://twitter.com/spacecentre/status/1661673713094279170" target="_blank">Guide</a> <a href="https://twitter.com/spacecentre/status/1661628414695186434" target="_blank">to the Galaxy</a> <font color="#00ff00">quotes</font>. </ul> <b>UNITED STATES</b> <ul> <li>In Santa Barbara, CA, <a href="https://www.bookden.com/" target="_blank">The Book Den Independent Bookstore</a> (15 E Anapamu St) and <font color="#00ff00">Towel Day Ambassador 2023 Yvette Keller</font> will host a series of Towel Day <font color="#00ff00">activities</font> from 4:30 - 6pm: <ul> <li> <font color="#00ff00">Vogon Poetry</font> Reading (bring your own bad poetry to rival a Vogon!) <li>Froodiest <font color="#00ff00">Towel Contest</font> <li> <font color="#00ff00">Character Costume</font> Show </ul> Towels and costumes are <font color="#00ff00">admired</font>, but not required. <a href="https://yvettekeller.com/forty-two-places/" target="_blank">Douglas Adams' London Guides</a> will be <font color="#00ff00">available</font> to purchase, or if you already have a copy, bring it! Yvette <font color="#00ff00">will sign</font> your copy or really, <font color="#00ff00">anything</font> you want her signature on (no contracts, deeds, or body parts considered <font color="#00ff00">indecent exposure</font>).<br> If you're <font color="#00ff00">lucky</font>, Yvette will <font color="#00ff00">read</font> to you from the guide, <font color="#00ff00">before</font> throwing you out of an airlock. <li>The Santa Barbara independent <font color="#00ff00">announced</font> Ambassador Keller's initiative in <a href="https://www.independent.com/events/towel-day-the-annual-celebration-of-douglas-adams/" target="_blank">"Towel Day: The Annual Celebration of Douglas Adams"</a> <li>In Lincoln, NE, from 15-26 May, software engineering company <a href="https://dontpaniclabs.com/towelday/" target="_blank">Don't Panic Labs</a> runs their <font color="#00ff00">annual towel drive</font>. They collect <font color="#00ff00">new and used towels</font> for the People's City Mission, that has a constant need for towels. Towels are collected in numerous locations that are listed on their website, and financial contributions for towels are also accepted.<br> The company's name was inspired by Adams' best-known novel, The Hitchhiker's Guide to the Galaxy, where the words "Don't Panic" are printed on the cover of the Guide. <br>A list of sites where you can bring towels will appear at the bottom of <a href="https://dontpaniclabs.com/towelday/" target="_blank">this page</a> <li>In Cambridge, MA, <a href="http://pandemoniumbooks.com" target="_blank">Pandemonium Books and Games</a> in Central Sq. are holding a <font color="#00ff00">Towel Day towels and toiletries drive</font> for a local transition house! <font color="#00ff00">Hold on</font> to your towel, and bring <font color="#00ff00">an extra</font> for someone who might be missing theirs. In honor of Douglas Adams, May 25 through the weekend they will be <font color="#00ff00">celebrating</font> Towel Day in Central sq. Cambridge. Come be a <font color="#00ff00">totally hoopy frood</font> and donate some of those things that someone with a towel may have <font color="#00ff00">misplaced</font>; a toothbrush, washcloth, soap, sheets, laundry detergent, cooking pans, silverware, or diapers (for the littlest hitchhikers). Donations will be given to Transition House around the corner from the store. Please no hotel sized donations. <li>In Wilkesboro, NE, Wilkes County Public Library is <font color="#00ff00">celebrating</font> Towel Day all day! Stop in for a <font color="#00ff00">photo booth</font>, <font color="#00ff00">crafts</font> & a <font color="#00ff00">special appearance</font> from a particular Paranoid Android! They're <font color="#00ff00">also</font> running a <font color="#00ff00">Towel Donation Drive</font> for the Catherine H. Barber Memorial Shelter all May long! Supplies needed are: new bath towels, new hand towels, new washcloths, new bed pillows. <br>Details <a href="https://www.arlibrary.org/calendar/g-1-11b3dti92u8589jlmi2omjf0ki_20230525" target="_blank">here</a> <li>In Bozeman, MT, New Ventures Brewing releases <font color="#00ff00">a beer for Towel Day</font> called "42" (ABV 4.2% and IBU 42). On their <a href="http://www.instagram.com/newventuresbrewing" target="_blank">Instagram page</a> you can <font color="#00ff00">win</font> a really cool sticker by submitting a <font color="#00ff00">clever question</font> that 42 is the answer to. <li>In Newton Falls, OH, Towel Day is <font color="#00ff00">celebrated</font> from 2:30pm at the public library (204, South Canal Street). They will screen the 2005 Hitchhiker's Guide To The Galaxy <font color="#00ff00">movie</font> at 3:00 and 5:30. There will also be <font color="#00ff00">activities</font> throughout the day which will include a Towel Dday coloring page, word search, book mark and more. They will also host <font color="#00ff00">a few contests</fonT> for "DON'T PANIC" towels and tote bags. Details <a href="https://www.newtonfalls.org/content/towel-day-celebrate-douglas-adams-author-hitchikers-guide-galaxy" target="_blank">here</a> <li>In Middleton, CT, from 19:00, you can taste a non-alcoholic version of the <font color="#00ff00">Pan Galactic Gargle Blaster</font> at Back Again Board Game Cafe (484 Main St #11). Details <a href="https://allevents.in/middletown/towel-day/200024603045322" target="_blank">here</a> <li>FOX 17 <font color="#00ff00">tweeted</font> about <a href="https://twitter.com/FOX17/status/1661699897014329345" target="_blank">Towel Day</a>. </ul> <!-- Start of Featured YouTube video --> <center> <iframe width="560" height="315" src="https://www.youtube.com/embed/tR7sRiWIvCw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> <br> <small>Featured video: Mostly Harmless - a Hitchhiker's Guide to the Galaxy cocktail for Towel Day, by Angrycocktails</small> </center> <!-- End of Featured YouTube video --> <!-- <center><h3>Looking for inspiration for your Towel Day celebration?<br>Check out what other hoopy froods have come up with <a href="archives/index.html">in the past</a></h3></center> --> <p><br> <center>Thank you for being part of this & always remember: <a href="dontpanic.html">DON'T PANIC</a></center> <p><br><p> <center><small>This site is not endorsed by or associated with the Douglas Adams Estate, systemtoolbox.com, kojv.net, ZZ9 Plural Z Alpha, Pan MacMillan, Penguin Group, Hyperion Books, Flickr, YouTube or any other organisation. It is run by a bunch of Douglas Adams loving ape descendants who thought it was a shame that this domain was parked, and bought it. They are not liable for any incorrect information - the information on this site is provided in good faith, but may be inaccurate. Don't panic.<br> <font color="999999">info at towelday dot org</font> </small> </center> </td> <td width="160" valign="top"> <center> <!-- HOMEPAGE MENU --> <p><br> <big><a href="archives/index.html">PAST EDITIONS</a></big> <p><br> <big><a href="faq/index.html">FAQ</a></big> <p><br> <!-- BABLE FISH MENU --> <script type="text/javascript"> function translate_this_page() { if (document.trans_form.to_language.value !== '') { <!-- OLD URL FORMAT, DOESN'T WORK ANYMORE location.href = 'http://www.google.com/translate?u=' + encodeURIComponent(location.href) + '&langpair=en%7C' + document.trans_form.to_language.value + '&hl=en&ie=UTF8'; --> location.href = 'https://translate.google.com/translate?u=' + encodeURIComponent(location.href) + '&hl=en&sl=en&tl=' + document.trans_form.to_language.value + '&ie=UTF8'; } } </script> <form name="trans_form"> <select name="to_language" onchange="translate_this_page();"> <option value="">...use a Babel fish</option> <option value="af">Afrikaans</option><option value="sq">Albanian</option><option value="ar">Arabic</option><option value="be">Belarusian</option><option value="bg">Bulgarian</option><option value="ca">Catalan</option><option value="zh-CN">Chinese (Simplified)</option><option value="zh-TW">Chinese (Traditional)</option><option value="hr">Croatian</option><option value="cs">Czech</option><option value="da">Danish</option><option value="nl">Dutch</option><option value="et">Estonian</option><option value="tl">Filipino</option><option value="fi">Finnish</option><option value="fr">French</option><option value="gl">Galician</option><option value="de">German</option><option value="el">Greek</option><option value="iw">Hebrew</option><option value="hi">Hindi</option><option value="hu">Hungarian</option><option value="is">Icelandic</option><option value="id">Indonesian</option><option value="ga">Irish</option><option value="it">Italian</option><option value="ja">Japanese</option><option value="ko">Korean</option><option value="lv">Latvian</option><option value="lt">Lithuanian</option><option value="mk">Macedonian</option><option value="ms">Malay</option><option value="mt">Maltese</option><option value="no">Norwegian</option><option value="fa">Persian</option><option value="pl">Polish</option><option value="pt">Portuguese</option><option value="ro">Romanian</option><option value="ru">Russian</option><option value="sr">Serbian</option><option value="sk">Slovak</option><option value="sl">Slovenian</option><option value="es">Spanish</option><option value="sw">Swahili</option><option value="sv">Swedish</option><option value="th">Thai</option><option value="tr">Turkish</option><option value="uk">Ukrainian</option><option value="vi">Vietnamese</option><option value="cy">Welsh</option><option value="yi">Yiddish</option> </select> </form> <p><br> <p><br> <!-- TWITTER & FACEBOOK BUTTON --> <a href="http://www.facebook.com/towelday" target="_blank"><img src="facebook.png" width="30" height="30" alt="Follow Towel Day on Facebook" border="0"></a> &nbsp;&nbsp;<a href="http://www.twitter.com/towelday" target="_blank"><img src="twitter.png" width="30" height="24" alt="Follow Towel Day on Twitter" border="0"></a> <!-- BEGIN Twitter #towelday search button --> <!-- <center> Search for<br> <a href="https://twitter.com/search?q=%23towelday%20OR%20towelday%20OR%20%22towel%20day%22" target="_blank"><img src="..\twittersearchbutton.jpg" height="100" width="100"></a> <br>#towelday tweets </center> --> <!-- END Twitter #towelday search button --> <p><br> <p><br> <!-- BEGIN Live traffic feed--> <a href="http://livetrafficfeed.com" data-num="20" data-width="160" data-responsive="1" data-time="Europe%2FParis" data-bot="0" c_header="444444" t_header="cccccc" border="333333" background="000000" t_normal="bbbbbb" t_link="cccccc" data-flag="0" data-counter="0" target="_blank" id="LTF_live_website_visitor">Live Traffic Feed</a><script src="//livetrafficfeed.com/static/v2/live.js?724370341"></script><noscript><a href="http://livetrafficfeed.com">Live Traffic Feed</a></noscript> <!-- END Live traffic feed --> <p><br> <p><br> <!-- BEGIN MYSHOUTBOX.COM CODE --> <!-- DISABLED FOR NOW <iframe src="https://towelday.ishoutbox.com" width="175" height="570" frameborder="0" valign="middle" allowtransparency="true"></iframe> <!-- END MYSHOUTBOX.COM CODE--> <small> JOIN<br> <a href="http://www.zz9.org" target="_blank">ZZ9 Plural Z Alpha</a><br> <a href="http://www.zz9.org" target="_blank"><img src="zz9logo.gif" height="137" width="149" alt="ZZ9 logo" border="0"></a><br> The Official <br> Hitchhiker's Guide<br> to the Galaxy<br> Appreciation Society </small> <p><br> <p><br> <center> <small> Galactic Hitchhikers <a href="https://galactichitchhikers.com/subscribe/" target="_blank"><img src="galactichitchhikers.png" align="center" height="130" width="130" border="0"></a> <br> Unofficial community </small> </center> <p><br> <p><br> <a href="http://www.h2g2.com/" target="_blank"><img src="h2g2.jpg" height="174" width="149" border="0"></a> <p><br> <p><br> <!-- Start of Flickr Badge --> <a href="https://flickr.com/groups/95196248@N00/pool/"><img src="https://bighugelabs.com/profilewidget/group/recent.vert/ffffff/000000/95196248@N00.jpg" border="0"/></a> <!-- End of Flickr Badge --> <p><br> <p><br> </td></tr></table> </td> </tr> </table> <!-- Start of StatCounter Code --> <script type="text/javascript"> sc_project=3702595; sc_invisible=1; sc_partition=44; sc_security="59fee71b"; </script> <script type="text/javascript" src="http://www.statcounter.com/counter/counter_xhtml.js"></script><noscript><div class="statcounter"><a href="http://www.statcounter.com/" target="_blank"><img class="statcounter" src="http://c45.statcounter.com/3702595/0/59fee71b/1/" alt="web stats analysis" ></a></div></noscript> <!-- End of StatCounter Code --> </body> </html>
Towel Day - Celebrating the life and work of Douglas Adams <!-- var n=new Date(); var td=new Date(n.getFullYear(),4,25); var remain = Math.ceil((td.getTime()-n.getTime())/86400000); if (remain<0) { var n2=new Date(); n2.setFullYear(n.getFullYear()+1); remain+=Math.floor((n2.getTime()-n.getTime())/86400000); } if (remain>1) document.write("<h1>"+remain+" day"+(remain>1?"s":"")+" left until Towel Day!</h1>"); else if (remain==1) document.write("<h1>Tomorrow is Towel Day!</h1>"); else document.write("<h1>Today is Towel Day. Don't forget your towel!</h1>"); // --> ![Douglas Adams](dna.jpg) Douglas Adams, picture courtesy of [Jill Furmanovsky](http://www.jillfurmanovsky.com/) prints available from [rockarchive.com](http://www.rockarchive.com) | | | | | --- | --- | --- | | | Towel Day is an annual celebration on the 25th of May, as a tribute to the late author [Douglas Adams](http://en.wikipedia.org/wiki/Douglas_adams) (1952-2001). On that day, fans around the universe carry a towel in his honour. I love Douglas Adams! How can I get involved? * Help spread the word about Towel Day ([#towelday](http://www.hashtags.org/analytics/towelday/)): tweet, blog, post in forums, [share a link in Facebook](http://www.facebook.com/share.php?u=http%3A%2F%2Fwww.towelday.org&t=Towel%20Day%20nears%20for%20fans%20of%20Douglas%20Adams), make art, etc. * [Tell](faq/index.html#contact) us about events you organize on Towel Day, and we will announce them here! * On Towel Day, carry a towel. Where? Everywhere. * Proudly show the world you've observed Towel Day! Post for example a photo or video with your towel on the [Towel Day Facebook page](https://www.facebook.com/towelday) and enjoy other people's. Some alternatives are the [Flickr group](http://www.flickr.com/groups/towelday/pool/) for pictures and of course [YouTube](http://www.youtube.com/results?search_query=%22towel+day%22+OR+towelday&search_sort=video_date_uploaded) for videos. What is happening on Towel Day 2024? *Know about any Towel Day events we should add? Please [mail us](faq/index.html#contact)!* **NETHERLANDS** * In Rotterdam, from 17:40-23:40, fans of Douglas Adams and/or Terry Pratchett are welcome at [Cafe Pardoen](http://cafepardoen.nl/), Spaansekade 62. Bring a towel, wear the lilac. In honour of Douglas Adams and Terry Pratchett. Rotterdam Editie The 9th Edition will feature: Pangalactic Gargleblasters, Vogon Poetry Contest, Dwarfish Battle Bread Battle, Elvish Impersonation Contest, Dirk Gently's Holistic Treasure Hunt and much, much more! Prizes galore!" Details and RSVP on [Facebook](https://www.facebook.com/events/s/2024-towel-dayglorious-revolut/1302155830654157/) *Want to organize a Towel Day event? Inspiration can be found in the [Archives](archives/index.html)* This was Towel Day 2023 **ONLINE EVENTS** * Winner of the 2023 [Towel Day Ambassador Contest](https://www.facebook.com/TowelDayAmbassador) was author and Douglas Adams expert Yvette Keller. She is cut out for the role of Towel Day Ambassador! [Yvette Keller, 2023 Towel Day Ambassador](ambassador2023big.png) She will be representing Earth on May 25th at the Intergalactic Pandimensional Towel Day Gala. Helping her to bring knowledge of the Douglas Adams' works to all the lands throughout the year will be the Regional Towel Day Ambassadors - Carol, Perkeo, Anna and David. Thanks to all the contestants and all that have voted! Watch Yvette's winning video [here](https://www.youtube.com/watch?v=DOd45Slsta8)* Colin Reynolds will [publish](https://pendantry.wordpress.com/2023/05/25/happy-towel-day-2023) his fourth annual HHGTTG trivia quiz. The link will become active on Towel Day 2023! * Takeshi's Cashew, a psychedelic cosmofunk band, has a new track called [Happy Towel Day](https://www.youtube.com/watch?v=WrpuVhK7YtA). It's on their new album [Enter J's Chamber](http://lautundlui.se/takeshi-enter-js-chamber/). The band is currently touring in Europe. They're on [Instagram](https://www.instagram.com/takeshiscashew/) and [Facebook](https://www.facebook.com/takeshiscashew). * One week BEFORE Towel Day, on 18 May, IT company Device42 (notice the 42 in their company name) presents their annual event for IT froods, with gifts for attendees. It's called "The Lost Chapter of the Hitchhiker's Guide to IT: 5 Secret Gems Discovered!" *"Grab your towel, hitch a ride on the nearest Vogon spaceship, and join us for an unforgettable journey through the galaxy of IT management. While we may not be able to fully discover the answers to life, the universe, and everything in-between—we will take a step closer to answering everything to IT. All attendees will have a chance to win prizes in our trivia game at the end of each session! First place winners will receive the next-generation reMarkable 2 paper tablet, and all top 10 finishers will receive exclusive Device42 Microfiber Golf Towels!"* Register [here](https://www.device42.com/events/towel-day-secret-gems/)* On travelo.hu a post about Towel Day appeared: [Ez&eacutert láthatsz holnap t&oumkrülközös embereket szokatlan helyeken](https://www.travelo.hu/rendezveny/20230523-magyarorszag-budapest-douglas-adams-nemzetkozi-torulkozonap-galaxis-utikalauz.html) (this is why you may see people carrying towels in unusual places tomorrow). * The magazine of the Finnish Engineers Association published ["About towels and the meaning of life"](https://insinoori-lehti.fi/tasta-on-kysymys/pyyhkeista-ja-elaman-tarkoituksesta/), by Tommi Grönholm, organizational leader of the Engineers' Association. * Daniel Sondström read from the book (in Swedish) in [his postcast](https://danielsundstrom.podbean.com/). * Branky Pop created a collection of 42 NFTs of Froods who really know where their towel is. It is a free mint and will be open for minting starting 25 May [on Zora](https://zora.co/collect/0x1c7b8e0c9d826dbe18b0783720038d82e7d45540)* The G(eek) Spot podcast devoted a 42 minute [episode](https://open.spotify.com/episode/7I4sHPCPUpKYsBdZnhnFJG?si=QRJAFWkLQd6nWLfEpcuZLw) to Towel Day. * MacWelt published ["Macwelt am Morgen: 25.5.23 – Immer das Handtuch dabei"](https://www.macwelt.de/article/1930363/macwelt-am-morgen-25-5-23-immer-das-handtuch-dabei.html), a piece by deputy editor-in-chief Peter Müller. * Writer and comedy expert Rhianna Evans auctioned a [handmade pouch](https://www.ebay.co.uk/itm/185907790329) for Save the Rhino, Douglas Adams' favourite charity. It featured a sperm whale, a bowl of petunias and the number 42. * Geocaching's official [blog](https://www.geocaching.com/blog/2023/05/dont-panic-its-towel-day/) featured a little Towel Day post. * Kedar Anil Gadgil wrote a philosphical post titled ["Towel Day 2023"](https://kedar.gadgil.com/2023/05/25/towel-day-2023/)* Pan Macmillan mentioned Towel Day in a [tweet](https://twitter.com/panmacmillan/status/1661722540060884993) about the new audiobook of Startship Titanic, voiced by Bill Nighy. * The UK's National Space Center tweeted [several](https://twitter.com/spacecentre/status/1661764061862952961) [Hitchhiker's](https://twitter.com/spacecentre/status/1661696362256244737) [Guide](https://twitter.com/spacecentre/status/1661673713094279170) [to the Galaxy](https://twitter.com/spacecentre/status/1661628414695186434) quotes. * Space.com tweeted [about Towel Day](https://twitter.com/SPACEdotcom/status/1661794832380055552) and posted ["Today is Towel Day! Salute the legacy of 'The Hitchhiker's Guide to the Galaxy' author Douglas Adams"](https://www.space.com/towel-day-hitchhikers-guide-to-the-galaxy). * On Towel Day you get a FREE Heart of Gold Motel Keyring if you order BOTH sets of [Don't Panic pins](https://www.candydollclub.com/products/hitchhikers-guide-to-the-galaxy-pins) at Candydollclub.com (use the drop down menu). They ship planetwide from the Isle of Man. * You can win the upcoming new book on Douglas Adams by Kevin Jon Davies. And a towel. Details on [Facebook](https://www.facebook.com/Unbound/posts/pfbid0krSbZKFsMtgpCJ4v5q9ZxqZF1koFXinWNzxXWtcHRzhKcqa8ruiutaGEDN9dyLGhl?__cft__[0]=AZWs16433Jrly_-0PWHpq8j_71cla4fSMw0ZewPWF2tqTm-p-Yt6J9ajjrTH0pPWc-S7OTrb-P1bStr1zWmFBqsTfkEQCExOEix-avYa310vdF6R8nkOrhpCpApwAtaEVLauVdpV92cHPoDYQff5eegI6hkgJ0301LQ_qT-y1Ke5XC6O1lbdqVhE12gWMsZBqmw&__tn__=%2CO%2CP-R) and [Twitter](https://twitter.com/unbounders/status/1661628379483852801)* The British Comedy Guide published the brilliant article ["Exploring The Hitchhiker's Guide To The Galaxy film"](https://www.comedy.co.uk/film/the_hitchhikers_guide_to_the_galaxy/features/exploring-the-movie-part-1/) by Rhianna Evans. **LOCAL EVENTS** **AUSTRALIA** * In Perth, the [observatory](https://perthobservatory.com.au) hosts a Towel Day Night Tour! Bring your towel and come to the Perth Observatory for an unforgettable night. Our volunteers will be ready to take you on a grand tour of the Southern Hemisphere's sky with a wide range of targets including nebulae, planets, dying stars, and enormous star clusters. As Douglas Adams wrote, a towel is about the most massively useful thing an interstellar hitchhiker can have. And on this night, your towel can be used to wave in emergencies as a distress signal or dry yourself off after exploring our amazing night sky through our telescopes. Don't forget to dress up as your favourite Hitchhiker's Guide to the Galaxy character and you might win a great prize. This is a night not to be missed, so come along to the Perth Observatory and discover the wonders of the universe. Book your [tickets](https://perthobservatory.com.au/shop/night-tours/towel-day) now! RSVP and details on [Facebook](https://www.facebook.com/events/747891583361321/)* In Adelaide, South Australia, Spoken Word SA presents "Vogon Poetry Night - Bring Your Worst!". Usually they are proud to highlight and support some of the best poetry in the country... but now, for one night only, they want to see your WORST! Poets will have one minute to perform the most awful poetry they can create. Use your worst metaphors, your tackiest rhymes, your most unsettling imagery, your most off-putting descriptions... whatever it takes to make everyone cringe and squirm! Have some fun with this one: Jeer, laugh, heckle, and leave your competitive instincts aside for the night. Prizes will be arbitrary and low-stakes, and standard slam rules do NOT apply. Note: Any content that includes bigotry is not welcome. We want bad poetry, but NOT bad messages. Yes, even if you mean it as a joke. Tickets are $8. Details and RSVP on [Facebook](https://facebook.com/events/s/vogon-poetry-night-bring-your-/883597459376931/) **AUSTRIA** * In Wolfurt, at 20:30 Philipp Horatschek and ACHNUS Film celebrate Towel Day in the ACHNUS Film MovieLounge (Fattweg 7). All life forms (and cosplayers) are welcome. Come and perhaps win a prize for the most beautiful towel, drink beer and eat peanuts, and chat about English SF and Douglas Adams in particular. Take your towel and come join them! RSVP and details on [Facebook](https://fb.me/e/140zobMO5) and on the [Austrian Towel Day site](http://www.towelday.wordpress.com) **BANGLADESH** * In Bangladesh, Shadhinalo published a brief [explanation](https://www.shadhinalo.com/2023/05/25/world-towel-day/) about Towel Day. * Songbadprokash also had a [Towel Day](https://www.songbadprokash.com/lifestyle/today-is-world-towel-day./55461) piece. **BRAZIL** * In Belo Hoizonte (State: Minas Gerais), from 17:00 until 21:00 there will be a Happy Hour with special drinks (including of course Pan Galactic Gargle Blasters) and a themed menu. There will be Trivia, a Cosplay Contest, Vogon Poetry reading and a lot of giveaways. Attendance is 100% free and everyone is welcome. Place: Taboca Restaurant - Rua Goiás n 14, Centro - City: Belo Horizonte - State: Minas Gerais - Brazil. More details on [Instagram](https://www.instagram.com/42instituto/)* In Olinda, state of Pernambuco, on 20 and 21 May, Power Kon presents the 10th anniversary edition of their Towel and Nerd Pride Day. Doors of the Pernambuco Convention Center open at 11:00 and close at 22:00. They promise more than 50 attractions, stands from all over Brazil, special guests, game arena, food court, cosplay and Kpop performances, and much more. So take your towel and head over there! Get your tickets [here](https://bileto.sympla.com.br/event/82795) Venue: Pernambuco Convention Center. Av. Prof. Andrade Bezerra, s/n - Salgadinho, Olinda - PE, 53110-680. Sector A and Brum Auditorium. More details on [Facebook](https://www.facebook.com/Powerkonrecife/) and [Instagram](https://www.instagram.com/powerkonrecife/) **CZECH REPUBLIC** * In Brno, the traditional get-together at restaurant Plzeňský dvůr will start as usual at 17:00. There will be pangalactic gargleblasters, Vogon poetry in different languages, and a good mood! Bring your towel! * In Pardubice, geocachers will meet from 17:45 until 18:15. The condition for logging is to come with a towel, visibly placed over your hand or around your neck! A group picture may be taken. Please check the details on [Geocaching.com because we didn't manage to translate everything. * In Prague, Towel Day is traditionaly celebrated in the garden restaurant at Zámeček Letná. The Vogon poetry recitation, where they recite various translations of Vogon poetry, begins at 18:00. Bring your towel! Details and RSVP on [Facebook](https://www.facebook.com/events/563463172330291/)](https://www.geocaching.com/geocache/GCA7CNJ_rucnikovy-den-pardubice-2023) **DENMARK** * In Copenhagen, at 12.00 there will be an event at the bathing facility "Bølgen" at Kalvebod Brygge, where the towel will be brought to good practical use for a swim in the nice weather. It is meant for carbon based life forms, but they don't discriminate as long as a towel is worn with the intention to celebrate. * Also in Copenhagen at 16:15 there is a get-together in Fælledparken: *"join us with a towel and good cheer. We'll be listening to some of the original radio show (In English though the version of DR is hilarious) and celebrate the Hitchhikers Guide to the Galaxy, Life, the Universe and Everything."*. Details and RSVP on [Facebook](https://www.facebook.com/events/6065145790270081) **FINLAND** * In Turku, Towel Day will again be celebrated at [Cosmic Comic Cafe](https://goo.gl/maps/7QfSxXuXZcLRaEct6) (Kauppiaskatu 4, Turku. The main programme consists of multidimensionally horrible poetry recitations. Unlike almost everywhere else, it's not a competition. Whatever you churn out, they read, immediately, without any filtering. Theirs may be the oldest ongoing bad poetry night on Towel Day: they started in 2006. While the universe is being gently destroyed by horrible poetry, troubadour [Kiero](https://www.instagram.com/kieroin/) plays improvised harp music in the background. While waiting for Towel Day, they've already started publishing last year's poems from the archive on [their website](https://pyyhepaiva.fi/). You can already send your own poems to be read at the event by mailing them to pyyhepaiva@pyyhepaiva.fi Details and RSVP on Facebook: [event](https://www.facebook.com/events/972649533739505), [page](https://facebook.com/Pyyhepaiva)* The magazine of the Finnish Engineers Association published ["About towels and the meaning of life"](https://insinoori-lehti.fi/tasta-on-kysymys/pyyhkeista-ja-elaman-tarkoituksesta/), by Tommi Grönholm, organizational leader of the Engineers' Association. **GERMANY** * In Lüneburg, at 19:42, actor and director Thomas Ney will continue his public reading of Douglas Adams' work (in German). Where: [mosaique - Haus der Kulturen](https://mosaique-lueneburg.de/), Katzenstr. 1, D-21335 Lüneburg. * In Hamburg on 24, 25, 26, 26 and 28 May, theatre ["Das Zimmer"](http://www.theater-das-zimmer.de) presents "The Hitchhiker's Guide to the Galaxy" as a play and in June there will even be the sequel "The Restaurant at the End of the Universe". Tickets and more information [here](http://www.theater-das-zimmer.de)* In Hamburg at PON - [Platz ohne Namen](http://www.platz-ohne-namen-net), Towel Day celebrations will start at 18:42. Every life form is welcome to share some Pangalactic Gargle Blasters, listen to readings, get scientific enlightments, eat 42 peanuts & all the rest. They still accept submissions in the form of more Adams readings, Vogon poems, towel origami, intergalactic lectures & planetary workshops, please contact them via [their webpage](http://platz-ohne-namen.net). Things are going to happen if you make them happen. Bring your towel, a lawn chair and don't panic! * In Kiel, you get free entry at the [Mediendom](https://www.fh-kiel.de/mediendom/) if you bring your towel on Towel Day! * In Oberkochen, on the occasion of Towel Day, the Deutsche Initiative Mountainbike Ostwürttemberg will take a mountainbike ride on the brand new [planets trail](https://www.oberkochen.de/de/Kultur-Tourismus/Staunen-Bewegen/Planetenweg) in Oberkochen Germany! Anyone is welcome to participate! Here is their [Facebook page](https://www.facebook.com/DIMB.IG.Ostwuerttemberg/) and the [national DIMB website](https://www.dimb.de/)* In Verden, Niedersachsen, local geocachers will gather at 17:00 to get the holy French Fries. And show off their favorite towels. RSVP and details on [Geocaching.com](https://www.geocaching.com/geocache/GCA5EQ5_handtuchtag-2023)* In Berlin at 20:00 Towel Day is celebrated at [C-base](http://wwwc-base.orge), a non-profit association for learning about software, hardware and networks. This tradition has been going on for over a decade now. Once again there it involves a Space drink mixing contest, aboard the crashed space station. The event will be mostly in German. Details [here](https://logbuch.c-base.org/archives/5121). * In Stuttgart, on Towel Day you get [free entry](https://www.planetarium-stuttgart.de/startseite/besuchen/towel+day.html) to the planetarium if you carry a towel. * MacWelt published ["Macwelt am Morgen: 25.5.23 – Immer das Handtuch dabei"](https://www.macwelt.de/article/1930363/macwelt-am-morgen-25-5-23-immer-das-handtuch-dabei.html), a piece by deputy editor-in-chief Peter Müller. * Workers union Wehr.di [posted](https://www.wehrdi.info/Archive/6824) about Towel Day and what towels have to do with the workers union. **HUNGARY** * On travelo.hu a post about Towel Day appeared: [Ez&eacutert láthatsz holnap t&oumkrülközös embereket szokatlan helyeken](https://www.travelo.hu/rendezveny/20230523-magyarorszag-budapest-douglas-adams-nemzetkozi-torulkozonap-galaxis-utikalauz.html) (this is why you may see people carrying towels in unusual places tomorrow). * There was a geocachers event at 17:45 [in Budapest](https://www.geocaching.com/geocache/GCA7X26_torulkozonap-towel-day). * Divany published [Ma van a törülküzÕnap! ezt ünneplik világszerte ezen a napon](https://divany.hu/offline/vilagnap-torulkozo/), by Vermes Nikolett. **INDIA** * In Vasant Vihar (Delhi), Douglas Adams and his greatest masterpiece are celebrated by [Project Bibliotherapy](http://bibliotherapy.stck.me) and Pan MacMillan India at [Kunzum Bookstore](https://https://www.instagram.com/kunzum/). The project wants to nudge folks to build a better reading habit and is run by two lifelong readers who are huge fans of DNA. Here's the plan of action from 6pm IST onwards - provided the Vogons avoid Earth next Thursday afternoon: 1. An introduction to [Project Bibliotherapy](https://www.instagram.com/project.bibliotherapy/) and our global community, the Readers of 42 * An enactment from the OG radio play * Vogon Poetry Contest (earplugs not provided) * A Guided Reading Meditation where we will be reading from some of the articles linked out in the DNA 42 zine launched on Towel Day '22. (check out last year's celebrations and download the [PDF version](https://bibliotherapy.stck.me/post/24954/Towel-Day-2022-DNA42-a-Zine-for-Hoopy-Froods)) * A trivia quiz, followed by Q&A + informal interactions extolling DNA's life, the universe, and everything. (enjoy some DNA trivia) * Surprise goodies are up for grabs, along with great discounts at [Kunzum Bookstore](https://www.instagram.com/kunzum/). Keep your towel at hand and [RSVP here](https://docs.google.com/forms/d/e/1FAIpQLSdTatVkjpWcc4TcWLRM30wnqbHsCYK1yDK94NLa1NB-R4mzbQ/viewform) The announcement posts on Instagram are [here](https://www.instagram.com/p/CsYsy5WSwFI/) and [here](https://www.instagram.com/p/CsX4mFpSQcW/). Please Share and Enjoy (tm) * The [Hindustan Times](https://www.hindustantimes.com/lifestyle/brunch/devouring-realistic-saas-bahu-saga-saas-bahu-aur-flamingo-on-disney-hotstar-with-dimple-kapadia-varun-mitra-and-ashish-verma-101684506165419.html) mentioned Towel Day: *"Towel Day is May 25. Douglas Adams fans worldwide will openly carry one to honour the author of The Hitchhiker's Guide To The Galaxy. A towel, Adams says, is about the most massively useful thing an interstellar hitchhiker can have. In sweaty May, we concur."** Tims Now font color="#00ff00">had a "Happy Towel Day" item, with [7 iconic towel scenes from Bollywood](https://www.timesnownews.com/web-stories/entertainment/7-iconic-towel-scenes-from-bollywood/photostory/100501627.cms), by Nairita Mukherjee. * The Economic Times published [Celebrating International Towel Day 2023: A Tribute to Douglas Adams](https://economictimes.indiatimes.com/news/international/us/celebrating-international-towel-day-2023-a-tribute-to-douglas-adams/articleshow/100509365.cms). * Pan Macmillan India tweeted about [Towel Day](https://twitter.com/PanMacIndia/status/1660918383150243843) **IRELAND** * Qaoi Woo is looking for froods who want to read (we presume) the part of characters from the fifth episode of the Guide on 21 May in Tipperary, Ireland. For details, check his [post](https://www.facebook.com/towelday/posts/pfbid02cTFEhHh5gSrY7V4qb67AvMCSkaDTKZi5XcdRw2gr16ePnyEhaozvVS1TYFB1JrYUl) or [contact him](https://www.facebook.com/caoimhin.woods) **ITALY** * Check the Towel Day Italy [Facebook page](https://www.facebook.com/groups/italian.towelday/)* If you're in the Friuli-Venezia Giulia region or Veneto, you're in luck! At 10:00 a Towel Day event will be held at "La Brussa" Vallevecchia beach, Caorle (VE). More information can be found [here](https://www.trovarsiora.it/picnic/18393) Hitchhikers welcome. Don't forget your towel! * Focus Junior published [Buon "Towel day", la giornata dell'asciugamano](https://www.focusjunior.it/news/news-e-curiosita/buon-towel-day-la-giornata-dellasciugamano/), by Stella Tortora. * Italy 24 posted a short explanation about Towel Day: [Because today you will see pictures of people with a towel: what is Towel Day](https://news.italy24.press/trends/574181.html). **NETHERLANDS** * In Rotterdam, from 17:40-23:40, fans of Douglas Adams and/or Terry Pratchett are welcome at [Cafe Pardoen](http://cafepardoen.nl/), Spaansekade 62. Bring a towel, wear the lilac. In honour of Douglas Adams and Terry Pratchett. Rotterdam Editie The 8th Edition will feature: Pangalactic Gargleblasters, Vogon Poetry Contest, Dwarfish Battle Bread Battle, Elvish Impersonation Contest, Dirk Gently's Holistic Treasure Hunt and much, much more! Prizes galore!" Details and RSVP on [Facebook](https://www.facebook.com/events/2292174124310162/)* [Q42](https://www.q42.nl/), a Dutch company that works on apps, websites, connected devices, games and VR, continues its tradition of giving away cool towels. Instructions on how to win one can be found [here](http://towelday.nl). **POLAND** * In Mikołów, Śląskie, there's a geocaaching event, but all geeks are cordially invited, in celeration of Towel Day from 18:42 until 19:42 on Mikołów market. Bringing a towel or several is a good idea and if someone wants to perform in a bathrobe...They will try to form the longest/biggest towel carpet on the market place. In addition to towels, the organister suggests to bring a chair, so everyone can sit in a circle, with their feet on the towel carpet, while they read together the next chapter/chapters of "The Hitchhiker's Guide to the Galaxy". There will be all the time access to the logbook. A commemmorative picture will be taken at 19:00. The end will probably be after 42 minutes. The programme could change and in case of bad weather The time and length of individual parts of the meeting may change. In case of inclement weather, they will find a place somewhere in an "ajnfarcie". Details on [Geocaching.com](https://coord.info/GCA8FFD) **RUSSIA** * Radio Supermetall throws a [Towel Day party](https://www.youtube.com/watch?v=pb2331hJBp0) on Friday May 26 8pm until 6am. [Tickets](https://www.youtube.com/watch?v=3UQJOHwFsYo) available online. **SINGAPORE** * On Sunday 28 May, the Irish Graduates Association of Singapore and Mensa Singapore are holding a geek quiz to celebrate Geek Pride and Towel Day. [Sign up](https://geekquiz2023.eventbrite.sg/) now, ticket sale is ending soon! **SWEDEN** * Daniel Sondström read from the book in [his postcast](https://danielsundstrom.podbean.com/). **SWITZERLAND** * Froods at Genedata's HQ in Basel will have a short Towel Day meet-up for interested staff over lunch break, to discuss life, the universe and everything, read Vogon poetry in different languages, etc. **UKRAINE** * The Stepana Vasylchenka library elaborates about Towel Day in the description of the [YouTube video](https://www.youtube.com/watch?v=3nqq4THvhhM) about their exposition of embroydered towels "Ukrainian colorful towel stretches its wings into the distance", that runs fron 22 until 31 May. They mention a special role of towels in Ukraine. Their country has somehow been scheduled for demolition, but they know where their towels are and are having none of it. We wish them peace and safety! **UNITED KINGDOM** * In Manchester from 19:00 to 20:00 you can attend the Douglas Adams Towel Day Special "We Apologize For The Inconvenience". It's a play about DOUGLAS ADAMS and his trusty DUCK battling deadlines, trapped in a hotel room... You loved this play. It set Edinburgh alight in 2019, it was performed up and down the land culminating in a triumphant performance for the Hitchhiker's faithful at the British Library in Feb 2020. And then, well Covid, life the Universe etc contrived to prevent performing this five star rated play... UNTIL NOW! Come celebrate 40 years of the Hitchhiker's Guide to the Galaxy for TWO NIGHTS only in Manchester city centre before they hopefully set sail on tour of the outer rim later this year. As it's Towel Day, they have a couple of nice surprises planned. Do stay tuned for details on twitter @5064productions Plot: *"It’s 1984 and Douglas Adams’s editor has locked him in a hotel room in a desperate attempt to get the reluctant author to finish the 4th book in his popular Hitchhiker’s Guide trilogy. Notoriously bad with deadlines, Adams is far too busy distracting himself with Life, the Universe and Anything Else Apart From Writing to care, including reflections on his failed Hollywood career, PG Wodehouse, evolution, his relationship with the Pythons and the fine art of tea-making. Will he make the deadline? (Clue: no.) Oh, and there’s a talking duck in it."* Starring Adam Gardiner as DOUGLAS ADAMS, Rob Hudson as THE DUCK and Jim Burke as THE NARRATOR. Written by Mark Griffiths, Directed by Ross Kelly and Produced by Gareth Kavanagh and Matt Charlton. Animation by Andrew Orton, with an original score by Paul Philips. get your [tickets](https://www.fatsoma.com/e/ejdh5gop/douglas-adams-towel-day-special-we-apologise-for-the-inconvenience) NOW! * In Eastcheap, not too far from London, David Learner, who played Marvin in The Hitchhiker's Guide to the Galaxy, will read the Guide cover to cover and collect money for [Save the Rhino](http://savetherhino.org), one of Douglas Adams' favourite charities. Details on [Twitter](https://twitter.com/DavidLearner1/status/1659150269379125248?s=20)* A WEEK BEFORE TOWEL DAY, On 18 May in London the 16th [Douglas Adams Memorial Lecture](https://www.facebook.com/events/528632572547925) takes place at the Royal Geographic Society. And in case you can't attend: it will be livestreamed. This tribute to Douglas Adams combines science and comedy, and benefits [Save the Rhino International](http://savetherhino.org), a charity of which he was a founding patron. Professor Jim Al-Khalili will share his perspective on the nature of infinity, time and space, giving answers to the questions many people want to know, but have been too afraid to ask. In addition to his academic work, he has written 14 books on popular science and the history of science, presents TV science documentaries, and is the host of the long-running weekly BBC Radio 4 programme, The Life Scientific. John Lloyd will be reading from the hilarious The Meaning of Liff, a book that he co-wrote with Douglas Adams, whilst reflecting on his life and career in his trademark witty yet insightful style. Lloyd is best known for starting The News Quiz, To The Manor Born, Not the Nine O'Clock News, Spitting Image, Blackadder, and QI. He also co-wrote the last two episodes of the first series of The Hitchhiker's Guide to the Galaxy with Douglas, and brought the show to television. He currently hosts BBC Radio 4's The Museum of Curiosity. The audience will also hear from Jon Taylor, Managing Director of [Save the Rhino International](http://savetherhino.org), who will provide insight into the world of rhino conservation. The evening will be hosted by writer, comedian, and serial Douglas's fan Rachel Wheeley. Get your tickets for the lecture or for the [livestream](https://www.eventbrite.co.uk/e/jim-al-khalili-and-john-lloyd-tickets-595918567477) RSVP on [Facebook](https://www.facebook.com/events/528632572547925) All proceeds will go towards [Save the Rhino International](http://savetherhino.org)'s work. * Pan Macmillan mentioned Towel Day in a [tweet](https://twitter.com/panmacmillan/status/1661722540060884993) about the new audiobook of Startship Titanic, voiced by Bill Nighy. * Tellyspotting ran [Celebrate International Towel Day 2023! Most of all….Don’t Panic!](https://tellyspotting.kera.org/2023/05/25/celebrate-international-towel-day-2023-most-of-all-dont-panic/), by Bill Young. * The Evening Standard published [Towel Day 2023: The Hitchhiker’s Guide to the Galaxy fans celebrate Douglas Adams](https://www.standard.co.uk/news/world/towel-day-2023-hitchhikers-guide-galaxy-douglas-adams-b1001876.html), by Seren Morris. * The UK's National Space Center tweeted [several](https://twitter.com/spacecentre/status/1661764061862952961) [Hitchhiker's](https://twitter.com/spacecentre/status/1661696362256244737) [Guide](https://twitter.com/spacecentre/status/1661673713094279170) [to the Galaxy](https://twitter.com/spacecentre/status/1661628414695186434) quotes. **UNITED STATES** * In Santa Barbara, CA, [The Book Den Independent Bookstore](https://www.bookden.com/) (15 E Anapamu St) and Towel Day Ambassador 2023 Yvette Keller will host a series of Towel Day activities from 4:30 - 6pm: + Vogon Poetry Reading (bring your own bad poetry to rival a Vogon!) + Froodiest Towel Contest+ Character Costume Show Towels and costumes are admired, but not required. [Douglas Adams' London Guides](https://yvettekeller.com/forty-two-places/) will be available to purchase, or if you already have a copy, bring it! Yvette will sign your copy or really, anything you want her signature on (no contracts, deeds, or body parts considered indecent exposure). If you're lucky, Yvette will read to you from the guide, before throwing you out of an airlock. * The Santa Barbara independent announced Ambassador Keller's initiative in ["Towel Day: The Annual Celebration of Douglas Adams"](https://www.independent.com/events/towel-day-the-annual-celebration-of-douglas-adams/)* In Lincoln, NE, from 15-26 May, software engineering company [Don't Panic Labs](https://dontpaniclabs.com/towelday/) runs their annual towel drive. They collect new and used towels for the People's City Mission, that has a constant need for towels. Towels are collected in numerous locations that are listed on their website, and financial contributions for towels are also accepted. The company's name was inspired by Adams' best-known novel, The Hitchhiker's Guide to the Galaxy, where the words "Don't Panic" are printed on the cover of the Guide. A list of sites where you can bring towels will appear at the bottom of [this page](https://dontpaniclabs.com/towelday/)* In Cambridge, MA, [Pandemonium Books and Games](http://pandemoniumbooks.com) in Central Sq. are holding a Towel Day towels and toiletries drive for a local transition house! Hold on to your towel, and bring an extra for someone who might be missing theirs. In honor of Douglas Adams, May 25 through the weekend they will be celebrating Towel Day in Central sq. Cambridge. Come be a totally hoopy frood and donate some of those things that someone with a towel may have misplaced; a toothbrush, washcloth, soap, sheets, laundry detergent, cooking pans, silverware, or diapers (for the littlest hitchhikers). Donations will be given to Transition House around the corner from the store. Please no hotel sized donations. * In Wilkesboro, NE, Wilkes County Public Library is celebrating Towel Day all day! Stop in for a photo booth, crafts & a special appearance from a particular Paranoid Android! They're also running a Towel Donation Drive for the Catherine H. Barber Memorial Shelter all May long! Supplies needed are: new bath towels, new hand towels, new washcloths, new bed pillows. Details [here](https://www.arlibrary.org/calendar/g-1-11b3dti92u8589jlmi2omjf0ki_20230525)* In Bozeman, MT, New Ventures Brewing releases a beer for Towel Day called "42" (ABV 4.2% and IBU 42). On their [Instagram page](http://www.instagram.com/newventuresbrewing) you can win a really cool sticker by submitting a clever question that 42 is the answer to. * In Newton Falls, OH, Towel Day is celebrated from 2:30pm at the public library (204, South Canal Street). They will screen the 2005 Hitchhiker's Guide To The Galaxy movie at 3:00 and 5:30. There will also be activities throughout the day which will include a Towel Dday coloring page, word search, book mark and more. They will also host a few contests for "DON'T PANIC" towels and tote bags. Details [here](https://www.newtonfalls.org/content/towel-day-celebrate-douglas-adams-author-hitchikers-guide-galaxy)* In Middleton, CT, from 19:00, you can taste a non-alcoholic version of the Pan Galactic Gargle Blaster at Back Again Board Game Cafe (484 Main St #11). Details [here](https://allevents.in/middletown/towel-day/200024603045322)* FOX 17 tweeted about [Towel Day](https://twitter.com/FOX17/status/1661699897014329345). Featured video: Mostly Harmless - a Hitchhiker's Guide to the Galaxy cocktail for Towel Day, by Angrycocktails Thank you for being part of this & always remember: [DON'T PANIC](dontpanic.html) This site is not endorsed by or associated with the Douglas Adams Estate, systemtoolbox.com, kojv.net, ZZ9 Plural Z Alpha, Pan MacMillan, Penguin Group, Hyperion Books, Flickr, YouTube or any other organisation. It is run by a bunch of Douglas Adams loving ape descendants who thought it was a shame that this domain was parked, and bought it. They are not liable for any incorrect information - the information on this site is provided in good faith, but may be inaccurate. Don't panic. info at towelday dot org | [PAST EDITIONS](archives/index.html) [FAQ](faq/index.html) function translate\_this\_page() { if (document.trans\_form.to\_language.value !== '') { <!-- OLD URL FORMAT, DOESN'T WORK ANYMORE location.href = 'http://www.google.com/translate?u=' + encodeURIComponent(location.href) + '&langpair=en%7C' + document.trans\_form.to\_language.value + '&hl=en&ie=UTF8'; --> location.href = 'https://translate.google.com/translate?u=' + encodeURIComponent(location.href) + '&hl=en&sl=en&tl=' + document.trans\_form.to\_language.value + '&ie=UTF8'; } } ...use a Babel fish AfrikaansAlbanianArabicBelarusianBulgarianCatalanChinese (Simplified)Chinese (Traditional)CroatianCzechDanishDutchEstonianFilipinoFinnishFrenchGalicianGermanGreekHebrewHindiHungarianIcelandicIndonesianIrishItalianJapaneseKoreanLatvianLithuanianMacedonianMalayMalteseNorwegianPersianPolishPortugueseRomanianRussianSerbianSlovakSlovenianSpanishSwahiliSwedishThaiTurkishUkrainianVietnameseWelshYiddish [Follow Towel Day on Facebook](http://www.facebook.com/towelday)   [Follow Towel Day on Twitter](http://www.twitter.com/towelday) [Live Traffic Feed](http://livetrafficfeed.com)[Live Traffic Feed](http://livetrafficfeed.com) JOIN [ZZ9 Plural Z Alpha](http://www.zz9.org) [ZZ9 logo](http://www.zz9.org) The Official Hitchhiker's Guide to the Galaxy Appreciation Society Galactic Hitchhikers Unofficial community | sc\_project=3702595; sc\_invisible=1; sc\_partition=44; sc\_security="59fee71b"; [![web stats analysis](http://c45.statcounter.com/3702595/0/59fee71b/1/)](http://www.statcounter.com/)
https://towelday.org/
<html> <head> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> <meta name="GENERATOR" content="Microsoft FrontPage 5.0"> <title>Andi's OPT Download Page</title> </head> <frameset rows="30,*"> <frame src="cap.htm" name="cap" frameborder="1" framespacing="0" border="0" marginwidth="0" bordercolor="#000000"> <frame src="main.htm" name="window" scrolling="auto"> <noframes> <body background="stars.gif" bgcolor="#000000" text="#CCCFFF" link="#9595FF" vlink="#800080"> <p align="center">&nbsp;</p> <p align="center"><font color="#8080FF" size="4" face="Arial"><strong>Andy's OPT Download Page</strong></font></p> <p align="center">Sorry - your Browser can't show frames .<br> <br> <a href="noframes.htm"><strong>Go HERE</strong></a></p> </body> </noframes> </frameset> </html>
Andi's OPT Download Page   **Andy's OPT Download Page** Sorry - your Browser can't show frames . [**Go HERE**](noframes.htm)
http://www.kroell-net.de/opt/
<HTML><HEAD><META NAME="description" CONTENT="This Web site was created at www.homestead.com. You can easily build a customized Web site for yourself or your business using our simple Web page building tools."> <TITLE>heaven1</TITLE> <SCRIPT LANGUAGE="JavaScript"> <!-- var isTopFrame = true; var location2 = document.location; function move(img_name,img_src){ document[img_name].src=img_src;} //--> </SCRIPT> </HEAD> <SCRIPT LANGUAGE="JavaScript"> <!-- var fSet = ''; //This Web site was created at www.homestead.com. You can easily build a customized Web site for yourself or your business using our simple Web page building tools. if (navigator.userAgent.indexOf("Mozilla/3") != -1) { fSet = fSet + '<frameset marginwidth="0" marginheight="0" border=no width=0 rows="100%,*">'; fSet = fSet + '<frame name="f1" src="heaven1~ns3.html">'; fSet = fSet + '<frame name="f2" noresize>'; fSet = fSet + '</frameset>'; fSet = fSet +'<NOFRAMES>'; } else if (navigator.userAgent.indexOf("Mozilla/4") != -1 || (navigator.userAgent.indexOf("Mozilla/5")!= -1)||(navigator.userAgent.indexOf("Mozilla/6")!= -1)) { fSet = fSet + '<frameset marginwidth="0" marginheight="0" border=no width=0 rows="100%,*">'; fSet = fSet + '<frame name="f1" src="heaven1~ns4.html" >'; fSet = fSet + '<frame name="f2" noresize>'; fSet = fSet + '</frameset>'; fSet = fSet +'<NOFRAMES>'; } document.write(fSet); //--> </SCRIPT> <NOSCRIPT> <FONT FACE="Arial, Helvetica" SIZE=+1><B>Javascript is either disabled or not supported by this browser. This page may not appear properly.</B></FONT> </NOSCRIPT> <BODY LINK=#3333cc VLINK=#6633cc BACKGROUND="../defaultUser/images/backgrounds/clouds.gif" onLoad="document.bgcolor='ffffff';"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=650><TR><TD> <DIV style="margin-top: 1px; margin-left: 1px"> <IMG SRC="http://track.homestead.com/~site/Scripts_Track/track.dll?H_H=8333743&H_P=1&H_A=10998961&H_I=0&H_U=6990364&E=51&E=464" WIDTH=80 HEIGHT=50 BORDER=0></DIV> <DIV style="margin-top: 37px; margin-left: 3px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=642><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=42><DIV align=center><FONT COLOR=#ff0033><FONT class="Arial-Black18" FACE="Arial Black" SIZE="5">Check out these Maverick and Comet Angels</FONT></FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 106px; margin-left: 171px"> <!-- Begin HTML51--><IMG SRC = "files/JunkYard71White2.jpg" WIDTH=381 HEIGHT=228 BORDER=0><!-- End HTML51--> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 339px; margin-left: 101px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=524><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=29><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">A 1971 Ford Maverick in a junk yard in Elroy, Texas.&nbsp; Picture courtesy of Doug Bauer</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 405px; margin-left: 75px"> <!-- Begin HTML51--><IMG SRC = "files/74OrangeGrabberJunk.jpg" WIDTH=536 HEIGHT=270 BORDER=0><!-- End HTML51--> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 635px; margin-left: 3px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=372><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=29><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">1974 Ford Maverick Grabber courtesy Doug Bauer</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 724px; margin-left: 241px"> <!-- Begin HTML51--><IMG SRC = "files/71gt.JPG" WIDTH=409 HEIGHT=140 ALT="1971 Mercury Comet GT" BORDER=0><!-- End HTML51--> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 734px; margin-left: 3px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=220><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=238><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">1971 Mercury Comet GT parked behind somebody's barn in a small town in Indiana.&nbsp; It features a V-8, bucket seats, sport mirrors, and a hoodscoop.&nbsp; The door is very rusty as you can see, and the frame is absolutely shot.&nbsp; It might not be in heaven yet, but it is on its way!!</FONT></DIV><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2"><BR></FONT></DIV><DIV align=left><B><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">Update:</FONT></B><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">&nbsp; I talked to the car's owner.&nbsp; He bought the car brand new!!&nbsp; It was black with silver stripes and a red interior.&nbsp; He refuses to sell the car and has plans to restore it.</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 1182px; margin-left: 125px"> <!-- Begin HTML51--><IMG SRC = "files/70GRAB-BAR.JPG" WIDTH=525 HEIGHT=288 ALT="1970 Ford Maverick Grabber" BORDER=0><!-- End HTML51--> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 1125px; margin-left: 3px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=101><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=286><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">1970 Ford Maverick Grabber located in Barnetts Auto Parts in Portland, Indiana.&nbsp; Originally a yellow car, it has been painted several times.&nbsp; The only way I recognized it as a 1970 Grabber was that it has the hood stripes barely visible in this picture.</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 1599px; margin-left: 126px"> <!-- Begin HTML51--><IMG SRC = "files/70mav.JPG" WIDTH=524 HEIGHT=283 ALT="1970 Ford Maverick" BORDER=0><!-- End HTML51--> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 1615px; margin-left: 3px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=110><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=222><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">1970 Ford Maverick put to rest in Barnett's Auto Parts in Portland, Indiana.&nbsp; This is is special because of the custom made &#034;tilt&#034; front-end.&nbsp; It tilts forward to display the massive and powerful 6 cyl. powerplant. </FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 1997px; margin-left: 193px"> <!-- Begin HTML51--><IMG SRC = "files/71grab.JPG" WIDTH=457 HEIGHT=245 ALT="1971 Ford Maverick Grabber in the weeds!!" BORDER=0><!-- End HTML51--> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 2011px; margin-left: 3px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=179><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=110><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">1971 Ford Maverick Grabber located at Hough's Auto Salvage in Bryant, Indiana.&nbsp; This car features bucket seats, weeds, sport mirrors, trees, and a vinyl top.</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 2350px; margin-left: 0px"> <!-- Begin HTML51--><IMG SRC = "files/71GRAB-BAR.JPG" WIDTH=492 HEIGHT=287 ALT="1971 Maverick Grabber " BORDER=0><!-- End HTML51--> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 2349px; margin-left: 503px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=144><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=238><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">Here's a 1971 Ford Maverick Grabber pushing down daisys in Barnett's Auto Parts in Portland, Indiana.&nbsp; This is a 6 cyl. car, but it featured an Automatic with floor shift, bucket seats, sport mirrors, and factory air conditioning.&nbsp; It sets next to a green 1968 Torino GT Fastback.&nbsp; Lots of rust and bondo here.</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 2723px; margin-left: 0px"> <!-- Begin HTML51--><IMG SRC = "files/71gt-bar.JPG" WIDTH=565 HEIGHT=357 ALT="1971 Mercury Comet GT" BORDER=0><!-- End HTML51--> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 2736px; margin-left: 576px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=71><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=286><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">Here's a 1971 Mercury Comet GT taking a dirt nap in Barnett's Auto Parts in Portland, Indiana.&nbsp; This was a V-8 car with a factory floor shift automatic and buckets seats.&nbsp; </FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 3180px; margin-left: 144px"> <!-- Begin HTML51--><IMG SRC = "files/72GRAB-BAR.JPG" WIDTH=506 HEIGHT=236 ALT="1972 Ford Maverick Grabber" BORDER=0><!-- End HTML51--> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 3186px; margin-left: 3px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=130><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=190><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">This 1972 Ford Maverick Grabber rests in peace (or should that be &#034;pieces&#034;) in Barnett's Auto Parts in Portland, Indiana.&nbsp; This car features buckets seats and a factory floor shift automatic.</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 3507px; margin-left: 139px"> <!-- Begin HTML51--><IMG SRC = "files/73GRAB-HOU.JPG" WIDTH=511 HEIGHT=199 ALT="1973 Ford Maverick Grabber Convertible...very rare!!" BORDER=0><!-- End HTML51--> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 3515px; margin-left: 3px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=135><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=126><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">1973 Ford Maverick Grabber made into a convertible by your's truly.&nbsp; You can see a picture of it back on my home page under &#034;My Mavericks&#034;.</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 3818px; margin-left: 0px"> <!-- Begin HTML51--><IMG SRC = "files/76STALLION.JPG" WIDTH=477 HEIGHT=236 ALT="Let's put some shoes on this Stallion!!" BORDER=0><!-- End HTML51--> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 3835px; margin-left: 481px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=166><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=174><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">A truly rare find....a 1976 Ford Maverick Stallion.&nbsp; It featured bucket seats and sport mirrors.&nbsp; This car still features the original paint, now slightly obscured by moss.&nbsp; It is now &#034;bark powered&#034; by the trees growing up in the engine bay.</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 4175px; margin-left: 0px"> <!-- Begin HTML51--><IMG SRC = "files/grab-hou.JPG" WIDTH=525 HEIGHT=274 ALT="Get off my back!!!" BORDER=0><!-- End HTML51--> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 4198px; margin-left: 530px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=117><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=238><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">This car rests six feet under........six feet under the Chrysler on top of it!! &nbsp; This is a 1972 Ford Maverick Grabber.&nbsp; This was a really neat car in it's day.&nbsp; V-8 powered, 3-speed with floor shift, bucket seats, sport mirrors and Lime paint!!&nbsp; </FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 1088px; margin-left: 46px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=550> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=153&g=204&b=255" WIDTH=544 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=4 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> </TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 1564px; margin-left: 46px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=550> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=153&g=204&b=255" WIDTH=544 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=4 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> </TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 1941px; margin-left: 23px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=550> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=153&g=204&b=255" WIDTH=544 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=4 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> </TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 2295px; margin-left: 53px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=550> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=153&g=204&b=255" WIDTH=544 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=4 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> </TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 2697px; margin-left: 53px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=550> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=153&g=204&b=255" WIDTH=544 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=4 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> </TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 3129px; margin-left: 56px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=550> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=153&g=204&b=255" WIDTH=544 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=4 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> </TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 3431px; margin-left: 149px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=484><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=46><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">What is really unique about this car is the brown with yellow and orange stripe color combination.....very unique</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 1894px; margin-left: 151px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=496><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=46><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">Lots of thought went into making this tilt front-end....as well as a lot of bondo and reinforcing shelving brackets.....NICE!!!</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 3096px; margin-left: 3px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=513><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=30><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">Some grave robbers already made off with the hood.</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 3474px; margin-left: 46px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=550> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=153&g=204&b=255" WIDTH=544 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=4 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> </TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 3762px; margin-left: 50px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=550> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=153&g=204&b=255" WIDTH=544 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=4 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> </TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 4109px; margin-left: 50px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=550> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=153&g=204&b=255" WIDTH=544 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=4 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> </TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 4596px; margin-left: 54px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=550> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=214&g=234&b=255" WIDTH=3 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=153&g=204&b=255" WIDTH=544 HEIGHT=4 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=4 BORDER=0></TD></TR></DIV> <DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetCornerGif&w=3&h=3&r=89&g=119&b=149&r2=214&g2=234&b2=255" WIDTH=3 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=544 HEIGHT=3 BORDER=0><IMG SRC="../~site/Scripts_Shapes/shapes.dll?CMD=GetRectangleGif&r=89&g=119&b=149" WIDTH=3 HEIGHT=3 BORDER=0></TD></TR></DIV> </TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 3725px; margin-left: 145px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=474><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=30><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">I put it in its final resting place in Hough's Auto Salvage in Bryant, Indiana</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 4316px; margin-left: 3px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=502><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=29><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2"><BR></FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> <DIV style="margin-top: 4471px; margin-left: 18px"> <TABLE BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH=510><DIV style="margin-top: 0px; margin-left: 0"><TR VALIGN=top><TD HEIGHT=94><DIV align=left><FONT class="Arial-Black10" FACE="Arial Black" SIZE="2">You can't see the lime paint now because it was painted silver....then blue....then grafitti.&nbsp; Somebody had big plans for this car....they replicated the lime paint on the front end just after they removed the shock towers and put in a Mustang II front-end.&nbsp; It's all gone now, as I ran it through my &#034;corral&#034; and stripped it blind.&nbsp; I put this car to rest in its final resting place at Hough's Auto Salvage in Bryant, Indiana.</FONT></DIV></TD></TR></DIV></TABLE> </DIV> <DIV style="margin-top: -5605px; margin-left: 0px"><IMG SRC=/tp.gif WIDTH=0 HEIGHT=0 BORDER=0></DIV> </TD></TR></TABLE> <BR><BR><HR><A HREF="http://www.homestead.com/Splash.html?315"><IMG SRC="/defaultUser/images/ChromeLogo.gif" WIDTH="180" HEIGHT="32" BORDER="0"></A></BODY> </NOFRAMES> </HTML>
heaven1 <!-- var isTopFrame = true; var location2 = document.location; function move(img\_name,img\_src){ document[img\_name].src=img\_src;} //--> <!-- var fSet = ''; //This Web site was created at www.homestead.com. You can easily build a customized Web site for yourself or your business using our simple Web page building tools. if (navigator.userAgent.indexOf("Mozilla/3") != -1) { fSet = fSet + '<frameset marginwidth="0" marginheight="0" border=no width=0 rows="100%,\*">'; fSet = fSet + '<frame name="f1" src="heaven1~ns3.html">'; fSet = fSet + '<frame name="f2" noresize>'; fSet = fSet + '</frameset>'; fSet = fSet +'<NOFRAMES>'; } else if (navigator.userAgent.indexOf("Mozilla/4") != -1 || (navigator.userAgent.indexOf("Mozilla/5")!= -1)||(navigator.userAgent.indexOf("Mozilla/6")!= -1)) { fSet = fSet + '<frameset marginwidth="0" marginheight="0" border=no width=0 rows="100%,\*">'; fSet = fSet + '<frame name="f1" src="heaven1~ns4.html" >'; fSet = fSet + '<frame name="f2" noresize>'; fSet = fSet + '</frameset>'; fSet = fSet +'<NOFRAMES>'; } document.write(fSet); //--> **Javascript is either disabled or not supported by this browser. This page may not appear properly.** | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | | | Check out these Maverick and Comet Angels | | A 1971 Ford Maverick in a junk yard in Elroy, Texas.  Picture courtesy of Doug Bauer | | 1974 Ford Maverick Grabber courtesy Doug Bauer | 1971 Mercury Comet GT | 1971 Mercury Comet GT parked behind somebody's barn in a small town in Indiana.  It features a V-8, bucket seats, sport mirrors, and a hoodscoop.  The door is very rusty as you can see, and the frame is absolutely shot.  It might not be in heaven yet, but it is on its way!!**Update:**  I talked to the car's owner.  He bought the car brand new!!  It was black with silver stripes and a red interior.  He refuses to sell the car and has plans to restore it. | 1970 Ford Maverick Grabber | 1970 Ford Maverick Grabber located in Barnetts Auto Parts in Portland, Indiana.  Originally a yellow car, it has been painted several times.  The only way I recognized it as a 1970 Grabber was that it has the hood stripes barely visible in this picture. | 1970 Ford Maverick | 1970 Ford Maverick put to rest in Barnett's Auto Parts in Portland, Indiana.  This is is special because of the custom made "tilt" front-end.  It tilts forward to display the massive and powerful 6 cyl. powerplant. | 1971 Ford Maverick Grabber in the weeds!! | 1971 Ford Maverick Grabber located at Hough's Auto Salvage in Bryant, Indiana.  This car features bucket seats, weeds, sport mirrors, trees, and a vinyl top. | 1971 Maverick Grabber | Here's a 1971 Ford Maverick Grabber pushing down daisys in Barnett's Auto Parts in Portland, Indiana.  This is a 6 cyl. car, but it featured an Automatic with floor shift, bucket seats, sport mirrors, and factory air conditioning.  It sets next to a green 1968 Torino GT Fastback.  Lots of rust and bondo here. | 1971 Mercury Comet GT | Here's a 1971 Mercury Comet GT taking a dirt nap in Barnett's Auto Parts in Portland, Indiana.  This was a V-8 car with a factory floor shift automatic and buckets seats.  | 1972 Ford Maverick Grabber | This 1972 Ford Maverick Grabber rests in peace (or should that be "pieces") in Barnett's Auto Parts in Portland, Indiana.  This car features buckets seats and a factory floor shift automatic. | 1973 Ford Maverick Grabber Convertible...very rare!! | 1973 Ford Maverick Grabber made into a convertible by your's truly.  You can see a picture of it back on my home page under "My Mavericks". | Let's put some shoes on this Stallion!! | A truly rare find....a 1976 Ford Maverick Stallion.  It featured bucket seats and sport mirrors.  This car still features the original paint, now slightly obscured by moss.  It is now "bark powered" by the trees growing up in the engine bay. | Get off my back!!! | This car rests six feet under........six feet under the Chrysler on top of it!!   This is a 1972 Ford Maverick Grabber.  This was a really neat car in it's day.  V-8 powered, 3-speed with floor shift, bucket seats, sport mirrors and Lime paint!!  | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | What is really unique about this car is the brown with yellow and orange stripe color combination.....very unique | | Lots of thought went into making this tilt front-end....as well as a lot of bondo and reinforcing shelving brackets.....NICE!!! | | Some grave robbers already made off with the hood. | | | | | | | | | | | | | | | | | | | | | | | | | | I put it in its final resting place in Hough's Auto Salvage in Bryant, Indiana | | | | You can't see the lime paint now because it was painted silver....then blue....then grafitti.  Somebody had big plans for this car....they replicated the lime paint on the front end just after they removed the shock towers and put in a Mustang II front-end.  It's all gone now, as I ran it through my "corral" and stripped it blind.  I put this car to rest in its final resting place at Hough's Auto Salvage in Bryant, Indiana. | | --- [![](/defaultUser/images/ChromeLogo.gif)](http://www.homestead.com/Splash.html?315)
http://maverickheaven.homestead.com/heaven1.html
<html> <head id="Head1" runat="server"> <title>rot8000.com - what is rot8000?</title> </head> <body> <form id="form1" runat="server"> <div> <h1>rot8000</h1> <p> \ˈrō-ˌtāt ˈthau̇-zən(d)\ (ro-tate-thousand) [Usenet: from "rotate alphabet 0x8000 places"], v. The simple Caesar-cypher encryption that replaces each Unicode character with the one 0x8000 places forward or back along the alphabet, so that "The butler did it!" becomes "籝籱籮 籫籾籽籵籮类 籭籲籭 籲籽簪" It is used to enclose the text in a sealed wrapper that the reader must choose to open - e.g. for posting things that might offend some readers, or spoilers. While rot13 is the self-inverse for a 26-character system, and rot47 for ANSI, the Basic Multilingual Plane of Unicode requires rot32768 (or 8000 in hex) for a reciprical cypher -- meaning that executing it twice restores the original text. It also bypasses 32 control characters, technically making it rotFFE0, sometimes with an additional offset. </p><p> rot8000 is based on <a href="https://en.wikipedia.org/wiki/Eric_S._Raymond">ESR</a>'s <a href="http://rot13.com">rot13.com</a> It's open-source, <a href="https://github.com/rottytooth/rot8000">code can be found on GitHub</a>. </p> <p> From <a href="http://danieltemkin.com">Daniel Temkin</a> for <a href="http://pl41nt3xt.master-list2000.com/">the pl41nt3xt pavillion of The Wrong</a> </p> <p> <a href="/index">Back</a> </p> </div> </form> </body> </html>
rot8000.com - what is rot8000? # rot8000 \ˈrō-ˌtāt ˈthau̇-zən(d)\ (ro-tate-thousand) [Usenet: from "rotate alphabet 0x8000 places"], v. The simple Caesar-cypher encryption that replaces each Unicode character with the one 0x8000 places forward or back along the alphabet, so that "The butler did it!" becomes "籝籱籮 籫籾籽籵籮类 籭籲籭 籲籽簪" It is used to enclose the text in a sealed wrapper that the reader must choose to open - e.g. for posting things that might offend some readers, or spoilers. While rot13 is the self-inverse for a 26-character system, and rot47 for ANSI, the Basic Multilingual Plane of Unicode requires rot32768 (or 8000 in hex) for a reciprical cypher -- meaning that executing it twice restores the original text. It also bypasses 32 control characters, technically making it rotFFE0, sometimes with an additional offset. rot8000 is based on [ESR](https://en.wikipedia.org/wiki/Eric_S._Raymond)'s [rot13.com](http://rot13.com) It's open-source, [code can be found on GitHub](https://github.com/rottytooth/rot8000). From [Daniel Temkin](http://danieltemkin.com) for [the pl41nt3xt pavillion of The Wrong](http://pl41nt3xt.master-list2000.com/) [Back](/index)
https://rot8000.com/info
<!DOCTYPE> <html xmlns:v="urn:schemas-microsoft-com:vml" xmlns:o="urn:schemas-microsoft-com:office:office" xmlns:w="urn:schemas-microsoft-com:office:word" xmlns="http://www.w3.org/TR/REC-html40"> <head> <script async src="https://pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <script> (adsbygoogle = window.adsbygoogle || []).push({ google_ad_client: "ca-pub-3292110464104686", enable_page_level_ads: true }); </script> <meta http-equiv=Content-Type content="text/html; charset=windows-1252"> <meta name=ProgId content=Word.Document> <meta name=Generator content="Microsoft Word 9"> <meta name=Originator content="Microsoft Word 9"> <link rel=File-List href="./index-original-Copy_files/filelist.xml"> <link rel=Edit-Time-Data href="./index-original-Copy_files/editdata.mso"> <!--[if !mso]> <style> v\:* {behavior:url(#default#VML);} o\:* {behavior:url(#default#VML);} w\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} </style> <![endif]--> <title>Lathes + Machine Tool Archive</title> </head> <body lang=EN-GB link=blue vlink=purple style='tab-interval:36.0pt'> <div class=Section1> <div align=center> <table border=0 cellpadding=0 width="82%" style='width:82.68%;mso-cellspacing: 1.5pt;mso-padding-alt:0cm 0cm 0cm 0cm'> <tr style='height:14.1pt;mso-row-margin-left:.15pt'> <td style='mso-cell-special:placeholder;border:none;padding:0cm 0cm 0cm 0cm' width=0><p class='MsoNormal'>&nbsp;</td> <td width=1398 colspan=11 style='width:1048.8pt;padding:.75pt .75pt .75pt .75pt; height:14.1pt'> <p align=center style='text-align:center'><br></span><span style='font-size:42.0pt;mso-bidi-font-size:36.0pt;font-family: Arial;color:red;letter-spacing:1.5pt'>LATHES.CO.UK<br> </span><span style='font-size:14.0pt;mso-bidi-font-size:36.0pt;font-family: Arial;letter-spacing:1.5pt'>- and <a href="https://store.lathes.co.uk/">store.lathes.co.uk</a> - where <a href="https://store.lathes.co.uk">Manuals,</a>&nbsp; <a href="https://store.lathes.co.uk/">Catalogues</a>&nbsp; <a href="https://store.lathes.co.uk/belts">Drive Belts</a>&nbsp; <a href="https://store.lathes.co.uk/books">Books</a>&nbsp; <a href="https://store.lathes.co.uk/parts">Accessories & Spares are listed <span style='font-size:42.0pt;mso-bidi-font-size:36.0pt;color:red'><o:p></o:p></span></a></span></p> <p align=center style='text-align:center'><strong><u><span style='font-size: 16.0pt;mso-bidi-font-size:36.0pt;font-family:Arial;letter-spacing:1.5pt'><a href="http://www.lathes.co.uk/page21.html">the world's largest MACHINE TOOL REFERENCE ARCHIVE pictures &amp; specifications</a> </span></u></strong><span style='font-size:16.0pt;mso-bidi-font-size:36.0pt;font-family:Arial; color:red;letter-spacing:1.5pt'><o:p></o:p></span></p> <p align=center style='text-align:center'><span style='font-size:4.0pt; mso-bidi-font-size:10.0pt;font-family:Arial; color:red'><br> </span><b><span style='font-size:14.0pt;mso-bidi-font-size:12.0pt;font-family: Arial'>Tony Griffiths Phone: 01298-871633 (from overseas: +44-1298-871633) from 09:00 to 23:00 <a href="https://time.is/United_Kingdom">UK time<br> email:</a><a href="mailto:%20tony@lathes.co.uk"> tony@lathes.co.uk </a>lathes.co.uk, Wardlow, BUXTON, Derbyshire, SK17 8RP<span style="mso-spacerun: yes">     </span></span></b><b><u><span style='font-size:14.0pt;mso-bidi-font-size:7.5pt;font-family:Arial'>Site Updated Wednesday 27th December 2023 </span></u></b><u><span style='font-size:14.0pt; mso-bidi-font-size:7.5pt;font-family:Arial'> </span></u></span><span style="mso-spacerun: yes"> </span><span style='mso-element:field-separator'></span></span></u></b><b><u><span style='font-size:10.0pt;font-family:Arial'><span style='mso-element:field-end'></span></span></u></b><b><span style='font-size:10.0pt;font-family:Arial'><o:p></o:p></span></b></p> <p class=MsoNormal style='mso-layout-grid-align:auto;punctuation-wrap:hanging; text-autospace:ideograph-other'><script type="text/javascript" src="http://www.google.co.uk/cse/brand?form=cse-search-box?=en"> </script><strong><span style='font-size:8.0pt;mso-bidi-font-size:10.0pt'><o:p></o:p></span></strong></p> </td> </tr> <tr style='height:8.45pt;mso-row-margin-left:.15pt'> <td style='mso-cell-special:placeholder;border:none;padding:0cm 0cm 0cm 0cm' width=0><p class='MsoNormal'>&nbsp;</td> <td width=385 colspan=3 style='width:288.7pt;padding:.75pt .75pt .75pt .75pt; height:8.45pt'> <p align=center style='text-align:center'><strong><u><span style='font-size: 11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial;color:windowtext; font-weight:normal;mso-bidi-font-weight:bold'><a href="http://www.lathes.co.uk/page3.html"><b><span style='color:windowtext'>For Sale &amp; Wanted</span></b></a></span></u></strong><b><u><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;color:windowtext'><o:p></o:p></span></u></b></p> </td> <td width=391 colspan=5 style='width:293.4pt;padding:.75pt .75pt .75pt .75pt; height:8.45pt'> <p align=center style='text-align:center'><strong><u><span style='font-size: 11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial;color:windowtext; font-weight:normal;mso-bidi-font-weight:bold'><a href="http://www.lathes.co.uk/page21.html"><b><span style='color:windowtext'>Machine-tool Data - scroll down for full list</span></b></a></span></u></strong><b><u><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;color:windowtext'><o:p></o:p></span></u></b></p> </td> <td width=618 colspan=3 style='width:463.7pt;padding:.75pt .75pt .75pt .75pt; height:8.45pt'> <p align=center style='text-align:center'><strong><u><span style='font-size: 11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial;color:windowtext; font-weight:normal;mso-bidi-font-weight:bold'><a href="http://www.lathes.co.uk/latheparts"><b><span style='color:windowtext'>Lathe Technical Guides</span></b></a></span></u></strong><b><u><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;color:windowtext'><o:p></o:p></span></u></b></p> </td> </tr> <tr style='height:10.55pt;mso-row-margin-left:.15pt'> <td style='mso-cell-special:placeholder;border:none;padding:0cm 0cm 0cm 0cm' width=0><p class='MsoNormal'>&nbsp;</td> <td width=385 colspan=3 style='width:288.7pt;padding:.75pt .75pt .75pt .75pt; height:10.55pt'> <p class=MsoNormal align=center style='text-align:center'><strong><span style='font-size:10.0pt;font-family:Arial;color:red;font-weight:normal'><a href="http://www.lathes.co.uk/page3.html"><b style='mso-bidi-font-weight: normal'><span style='color:red'>MACHINE TOOLS – SALES &amp; WANTS</span></b></a> </span></strong><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:Arial; color:red'><o:p></o:p></span></b></p> </td> <td width=391 colspan=5 style='width:293.4pt;padding:.75pt .75pt .75pt .75pt; height:10.55pt'> <p class=MsoNormal align=center style='text-align:center'><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/atlas/index.html">Atlas</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/boley/index.html">Boley</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/boxford/index.html">Boxford</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/bridgeport">Bridgeport</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/cincinnati">Cincinnati</a> <a href="http://www.lathes.co.uk/clausing/index.html">Clausing</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/colchester">Colchester</a></span><span style='font-size:9.0pt;mso-bidi-font-size:12.0pt'><o:p></o:p></span></p> </td> <td width=618 colspan=3 style='width:463.7pt;padding:.75pt .75pt .75pt .75pt; height:10.55pt'> <p class=MsoNormal align=center style='text-align:center'><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial'> <a href="http://www.lathes.co.uk/faq">FAQ</a><span style="mso-spacerun: yes">  </span> <a href="http://www.lathes.co.uk/page2.html">Buying Advice</a><span style="mso-spacerun: yes">  </span> <a href="http://www.lathes.co.uk/latheparts/index.html">How it Works - Parts &amp; Functions</a><span style="mso-spacerun: yes">  </span> <a href="http://www.lathes.co.uk/lifting-machine-tools">Lifting Machines</a></span><span style='font-size:9.0pt;mso-bidi-font-size:12.0pt'><o:p></o:p></span></p> </td> </tr> <tr style='height:9.7pt;mso-row-margin-left:.15pt'> <td style='mso-cell-special:placeholder;border:none;padding:0cm 0cm 0cm 0cm' width=0><p class='MsoNormal'>&nbsp;</td> <td width=385 colspan=3 style='width:288.7pt;padding:.75pt .75pt .75pt .75pt; height:9.7pt'> <p class=MsoNormal align=center style='text-align:center'><strong><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial; color:black;font-weight:normal'><a href="https://store.lathes.co.uk/"><b style='mso-bidi-font-weight:normal'>INSTRUCTION MANUALS</b><span style='mso-bidi-font-weight:bold'> </span></a></span></strong><strong><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial; color:black;font-weight:normal;mso-bidi-font-weight:bold'><span style="mso-spacerun: yes"> </span>&amp;<span style="mso-spacerun: yes">  </span></span></strong><b><span style='font-size:9.0pt;mso-bidi-font-size: 10.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/catalogues">CATALOGUES</a><span style='color:red'><a href="http://www.lathes.co.uk/page3.html"></a> </span></span></b><strong><u><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial; color:blue;font-weight:normal;mso-bidi-font-weight:bold'><a href="http://www.lathes.co.uk/manuals"></a></span></u></strong><b><span style='font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial'><o:p></o:p></span></b></p> </td> <td width=391 colspan=5 style='width:293.4pt;padding:0cm 0cm 0cm 0cm; height:9.7pt'> <p class=MsoNormal align=center style='text-align:center'><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/craftsman/index.html">Craftsman</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/delta%20metal/index.html">Delta/Rockwell</a> <a href="http://www.lathes.co.uk/drummond">Drummond</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/elliott">Elliott</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/emco/index.html">Emco</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/hendey">Hendey</a></span><span style='font-size:9.0pt;mso-bidi-font-size:12.0pt'><o:p></o:p></span></p> </td> <td width=618 colspan=3 style='width:463.7pt;padding:.75pt .75pt .75pt .75pt; height:9.7pt'> <p class=MsoNormal align=center style='text-align:center'><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/hints-and-tips">Lathe Use - Essential Hints & Tips</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/makers%20list/index.html"></a><span style="mso-spacerun: yes"> </span><a href="http://www.lathes.co.uk/oil-charts">Oil Conversion Charts</a><span style="mso-spacerun: yes">  </span> <a href="http://www.lathes.co.uk/latheparts/page13.html">Quick-change Toolposts</a> </span><span style='font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family: Arial'><o:p></o:p></span></p> </td> </tr> <tr style='height:9.45pt;mso-row-margin-left:.15pt'> <td style='mso-cell-special:placeholder;border:none;padding:0cm 0cm 0cm 0cm' width=0><p class='MsoNormal'>&nbsp;</td> <td width=385 colspan=3 style='width:288.7pt;padding:.75pt .75pt .75pt .75pt; height:9.45pt'> <p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight:normal'><span style='font-size:9.0pt;mso-bidi-font-size: 10.0pt;font-family:Arial'><a href="https://store.lathes.co.uk/belts">DRIVE BELTS – Flat, Round &amp; Link</a><span style="mso-spacerun: yes">    </span><a href="https://store.lathes.co.uk/books">Engineering Books</a></span></b><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial; mso-bidi-font-weight:bold'> <span style="mso-spacerun: yes"> </span></span><b style='mso-bidi-font-weight:normal'><span style='font-size:9.0pt;mso-bidi-font-size: 12.0pt;font-family:Arial'><o:p></o:p></span></b></p> </td> <td width=391 colspan=5 style='width:293.4pt;padding:0cm 0cm 0cm 0cm; height:9.45pt'> <p class=MsoNormal align=center style='text-align:center'><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/hardinge">Hardinge</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/harrison/index.html">Harrison</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/leblond/index.html">LeBlond</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/myford/index.html">Myford</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/raglan">Raglan</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/rivett/index.html">Rivett</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/sheldon/index.html">Sheldon</a><span style="mso-spacerun: yes">  </span></span><span style='font-size:9.0pt; mso-bidi-font-size:12.0pt'><o:p></o:p></span></p> </td> <td width=618 colspan=3 style='width:463.7pt;padding:.75pt .75pt .75pt .75pt; height:9.45pt'> <p class=MsoNormal align=center style='text-align:center'><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/latheparts/page6.html">Screwcutting</a><span style="mso-spacerun: yes">   </span><a href="http://www.lathes.co.uk/latheparts/page6.html">Screwcutting</a><span style="mso-spacerun: yes">   </span><a href="http://www.lathes.co.uk/latheparts/page8.html">Spindle-nose Fittings</a><span style="mso-spacerun: yes">   </span><a href="http://www.lathes.co.uk/collets">Collets</a><span style="mso-spacerun: yes">   </span><a href="http://www.lathes.co.uk/training">Training Courses</a><span style="mso-spacerun: yes">   </span><a href="http://www.lathes.co.uk/spring">Quill Springs</a></span><span style='font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial'><o:p></o:p></span></p> </td> </tr> <tr style='height:11.35pt;mso-row-margin-left:.15pt'> <td style='mso-cell-special:placeholder;border:none;padding:0cm 0cm 0cm 0cm' width=0><p class='MsoNormal'>&nbsp;</td> <td width=385 colspan=3 style='width:288.7pt;padding:.75pt .75pt .75pt .75pt; height:11.35pt'> <p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight:normal'><span style='font-size:9.0pt;mso-bidi-font-size: 10.0pt;font-family:Arial;color:red'><a href="https://store.lathes.co.uk/books">Engineering &amp; Wood-turning Books</a><span style="mso-spacerun: yes">     </span></span></b><b style='mso-bidi-font-weight:normal'><span style='font-size:9.0pt;mso-bidi-font-size: 10.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/wood-machinery"></a></span></b><b style='mso-bidi-font-weight:normal'><span style='font-size:9.0pt;mso-bidi-font-size: 12.0pt;font-family:Arial'><o:p></o:p></span></b></p> </td> <td width=391 colspan=5 style='width:293.4pt;padding:0cm 0cm 0cm 0cm; height:11.35pt'> <p class=MsoNormal align=center style='text-align:center'><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/southbend/index.html">South Bend</a><span style="mso-spacerun: yes">   </span><a href="http://www.lathes.co.uk/watchmaker">Watchmakers</a><span style="mso-spacerun: yes">   </span><a href="http://www.lathes.co.uk/page21.html">More Makers</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/smallenglishlathes">Small English Lathes</a> </span><span style='font-size:9.0pt;mso-bidi-font-size:12.0pt'><o:p></o:p></span></p> </td> <td width=618 colspan=3 style='width:463.7pt;padding:.75pt .75pt .75pt .75pt; height:11.35pt'> <p class=MsoNormal align=center style='text-align:center'><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/latheparts/page7.html">Fit a New Chuck</a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/stuck-chuck">Stuck Chuck </a><span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/latheparts/page3.html">Drive Systems & Speeds</a><span style="mso-spacerun: yes">   </span><a href="http://www.lathes.co.uk/page27.html">Electrics</a></span><span style='font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial'><o:p></o:p></span></p> </td> </tr> <tr style='height:7.55pt;mso-row-margin-left:.15pt'> <td style='mso-cell-special:placeholder;border:none;padding:0cm 0cm 0cm 0cm' width=0><p class='MsoNormal'>&nbsp;</td> <td width=1398 colspan=11 valign=top style='width:1048.8pt;background:white; padding:.75pt .75pt .75pt .75pt;height:7.55pt'> </td> </tr> <tr style='height:108.15pt;mso-row-margin-left:.15pt'> <td style='mso-cell-special:placeholder;border:none;padding:0cm 0cm 0cm 0cm' width=0><p class='MsoNormal'>&nbsp;</td> <td width=639 colspan=5 valign=top style='width:479.15pt;border:solid windowtext .5pt; border-bottom:none;background:white;padding:.75pt .75pt .75pt .75pt; height:108.15pt'> <p class=MsoNormal style='mso-layout-grid-align:auto;punctuation-wrap:hanging; text-autospace:ideograph-other'><br> <script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:728px;height:90px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> </script><span style='mso-bidi-font-size:12.0pt'><o:p></o:p></span></p> </td> <td width=758 colspan=6 style='width:568.15pt;border:solid windowtext .5pt; border-bottom:none;background:white;padding:0cm 0cm 0cm 0cm;height:108.15pt'> <script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:728px;height:90px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> <p class=MsoBodyText2 align=center style='text-align:center'><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt'> </td> </tr> <tr style='height:102.9pt;mso-row-margin-left:.15pt'> <td style='mso-cell-special:placeholder;border:none;padding:0cm 0cm 0cm 0cm' width=0><p class='MsoNormal'>&nbsp;</td> <td width=639 colspan=5 valign=top style='width:479.15pt;border:solid windowtext .5pt; background:white;padding:.75pt .75pt .75pt .75pt;height:102.9pt'> <p class=MsoNormal align=center style='text-align:center;mso-layout-grid-align: auto;punctuation-wrap:hanging;text-autospace:ideograph-other'><b><span style='font-size:8.0pt;mso-bidi-font-size:10.0pt;font-family:Arial; color:red'><a href="http://www.alexoil.co.uk/"></a><o:p></o:p></span></b></p> <div class=MsoNormal align=center style='text-align:center;mso-layout-grid-align: auto;punctuation-wrap:hanging;text-autospace:ideograph-other'><b><span style='mso-bidi-font-size:12.0pt'> <hr size=1 width="100%" align=center> </span></b></div> <p class=MsoNormal align=center style='font-family:arial;text-align:center;mso-layout-grid-align: auto;punctuation-wrap:hanging;text-autospace:ideograph-other'><b><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'> <a href="http://www.lathes.co.uk/faq">FAQs Frequently Asked Questions</a></span> &nbsp <a href="http://www.lathes.co.uk/search">Dedicated lathes.co.uk Search</a></span><br> <a href="http://www.lathes.co.uk/page3.html/">Machine Tools for Sale and Wanted</a></span> &nbsp;&nbsp;<a href="https://store.lathes.co.uk">Machine Tool Manuals</a> <br> <a href="http://www.lathes.co.uk/latheparts">The lathe - How it works. Parts and Functions</a> <br> <a href="https://store.lathes.co.uk/belts">Machine Tool Drive Belts: Flat, Round, Link and Vee</a> <o:p></o:p></b></p> </td> <td width=758 colspan=6 style='width:568.15pt;border:solid windowtext .5pt; background:white;padding:0cm 0cm 0cm 0cm;height:102.9pt'> <script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:728px;height:90px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> </td> </tr> <tr style='height:151.9pt'> <td width=1401 colspan=12 valign=top style='width:1050.45pt;background:white; padding:0cm 0cm 0cm 0cm;height:151.9pt'> <p class=MsoNormal align=center style='margin-bottom:0;text-align:center;mso-layout-grid-align: auto;punctuation-wrap:hanging;text-autospace:ideograph-other'><b><span style='font-size:22.0pt;mso-bidi-font-size:10.0pt;font-family:Arial; color:red'>Machine Tool</span></b><b><span style='font-size:30.0pt; mso-bidi-font-size:13.5pt;font-family:Arial;color:red'> </span></b><b><span style='font-size:22.0pt;mso-bidi-font-size:10.0pt;font-family:Arial; color:red'>REFERENCE ARCHIVE - lathes.co.uk</span></b><b><span style='font-family:Arial'><br> </span></b><b><span style='font-size:7.5pt;font-family:Arial'>This material written by and the copyright of Tony Griffiths (© Tony Griffiths), 1998 - 2023. All rights reserved, worldwide. Material may not be copied nor reproduced in whole or part without written permission from <a href="mailto:tony@lathes.co.uk">the author</a><o:p></o:p></span></b></p> <p class=MsoNormal align=center style='margin: 0 0 0.5em 0;text-align:center;mso-layout-grid-align:auto;punctuation-wrap:hanging;text-autospace:ideograph-other;'> <b><span style='font-size:7.5pt;font-family:Arial'><br> <script> (function() { var cx = '017230184032025420805:mutwx7agui4'; var gcse = document.createElement('script'); gcse.type = 'text/javascript'; gcse.async = true; gcse.src = (document.location.protocol == 'https:' ? 'https:' : 'http:') + '//cse.google.com/cse.js?cx=' + cx; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(gcse, s); })(); </script></span></b><b><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt; font-family:Arial'>December 2023:<span style="mso-spacerun: yes">  </span></span></b><b><span style='font-size:11.0pt;mso-bidi-font-size:7.5pt;font-family:Arial'>Individual visitors last 12 months = </span></b><b><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial'>7,000,000 + &nbsp; A full copy of the Archive is available on a 32GB pen drive and works as if on-line. <a href="https://store.lathes.co.uk/print/archive">To order, click here </a></span></b><b><span style='font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial'><o:p></o:p></span></b></p> <p class=MsoNormal><b><span style='font-size:12.0pt;font-family:Arial'>What’s new? December 2023:</span></b><span style='font-size:12.0pt;font-family: Arial'>: <a href="http://www.lathes.co.uk/shk">More on the SHK Drill Press and Picador<a href="http://www.lathes.co.uk/picador"></a> <span style="mso-spacerun: yes">  </span> <a href="http://www.lathes.co.uk/bickett">More on Bickett Millers (USA)</a> <span style="mso-spacerun: yes">  </span> <a href="http://lathes.co.uk/EMI-MEC">EMI-MEC Lathes</a> <span style="mso-spacerun: yes">  </span> <a href="http://www.lathes.co.uk/haedge-and-richter">Haedge and Richter (Germany)</a> <span style="mso-spacerun: yes">  </span> <a href="http://lathes.co.uk/karger-miller">Karger Milling Machine (Germany)</a> <span style="mso-spacerun: yes">  </span> <a href="http://lathes.co.uk/potisje">Potisje Lathes (Serbia)</a> <span style="mso-spacerun: yes">  </span> <a href="http://www.lathes.co.uk/lorchll">Lorch Model LL "tall feet" Clockmakers' Lathe</a> <span style="mso-spacerun: yes">  </span> <a href="http://www.lathes.co.uk/unknown183">Hahn & Klob (but unknown maker) Universal Milling Machine (Germany)</a> <span style="mso-spacerun: yes">  </span> </span></span><b><span style='font-size:12.0pt; mso-bidi-font-size:7.5pt;font-family:Arial'>Can you help to expand the Archive? Contibutions, corrections, etc. most welcome. <a href="mailto:help@lathes.co.uk">Please email if you can assist. </a> </span></b><span </a></span></b><b><span><br> Contributions to offset costs also very welcome. <a href="https://www.paypal.me/lathesuk"> Click to donate</a></b><span style='font-size:12.0pt;font-family:Arial'><o:p></o:p></</p> <p class=MsoNormal><span style='font-size:12.0pt;font-family:Arial'><span style="mso-spacerun: yes"> <b>Dedicated Archive Search: enter term in the box below. e.g. "watchmakers lathe" in inverted commas will produce around links arranged in sets of 10. Enter ""screwcutting" and links to how this is done and various systems will appear.<br> Site Updated Wednesday 27th December 2023 <script> (function() { var cx = '017230184032025420805:mutwx7agui4'; var gcse = document.createElement('script'); gcse.type = 'text/javascript'; gcse.async = true; gcse.src = (document.location.protocol == 'https:' ? 'https:' : 'http:') + '//cse.google.com/cse.js?cx=' + cx; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(gcse, s); })(); </script> <gcse:search></gcse:search> </script></p> </td> </tr> <tr style='height:211.9pt'> <td width=244 colspan=2 valign=top style='width:182.85pt;background:white; padding:0cm 0cm 0cm 0cm;height:211.9pt'> <p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; text-align:justify'><b><span style='font-size:11.0pt;font-family:Arial'>LATHES</span></b><span style='font-size:11.0pt;font-family:Arial'><br> <a href="http://www.lathes.co.uk/craftsman/index.html">AA109&nbsp; &amp; Craftsman 80 (USA)</a><br> <a href="http://www.lathes.co.uk/abeille">Abeille (France?)</a><br> <a href="http://www.lathes.co.uk/hogarth&amp;accura">Accura</a><br> <a href="http://www.lathes.co.uk/accuratool">Accuratool</a><br> <a href="http://www.lathes.co.uk/accuro">Accuro</a><br> <a href="http://www.lathes.co.uk/ace">Ace</a> <br> <a href="http://www.lathes.co.uk/perris/page2.html">Ace Minor by Perris</a> <br> <a href="http://www.lathes.co.uk/atlas/page9.html">Acorntools (Atlas)</a><br> <a href="http://www.lathes.co.uk/acme-power-equipment-lathe">Acme Power Equip.(USA)</a><br> <a href="http://www.lathes.co.uk/eaadams">Adams A.E. (USA)</a><br> <a href="http://www.lathes.co.uk/adamsbros">Adams Bros. (USA)</a><br> <a href="http://www.lathes.co.uk/george-adams/index.html">Adams (George)</a><br> <a href="http://www.lathes.co.uk/adcock&amp;shipleycombination/index.html">Adcock &amp; Shipley</a><br> <a href="http://www.lathes.co.uk/adept/index.html">Adept</a><br> <a href="http://www.lathes.co.uk/advance">Advance (Australia)</a><br> <a href="http://www.lathes.co.uk/aero">Aero Watchmakers’ (Swiss)</a><br> <a href="http://www.lathes.co.uk/aerolathefrance">Aero (France)</a><br> <a href="http://www.lathes.co.uk/af">AF (Albert Froidevaux - Swiss)</a><br> <a href="http://www.lathes.co.uk/agathon">Agathon (Swiss)</a><br> <a href="http://www.lathes.co.uk/ajax-lathes">Ajax</a><br> <a href="http://www.lathes.co.uk/ake">AKE Hofmann (Germany)</a><br> <a href="http://www.lathes.co.uk/alfeo">Alfeo (Italy)</a><br> <a href="http://www.lathes.co.uk/allanson">Allanson</a><br> <a href="http://www.lathes.co.uk/allenelectricequipment">Allen Elec. Equip. (USA)</a><br> <a href="http://www.lathes.co.uk/almkvist">Almkvist (Sweden)</a><br> <a href="http://www.lathes.co.uk/alpin">Alpin (Italy)</a><br> <a href="http://www.lathes.co.uk/altona">Altona</a><br> <a href="http://www.lathes.co.uk/damco">AM &amp; Damco</a><br> <p align=centre <br><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:230px;height:100px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'> <a href="http://www.lathes.co.uk/amann">Amann (French)</a><br> <a href="http://www.lathes.co.uk/unknown41">American Apotheosis</a><br> <a href="http://www.lathes.co.uk/us-patents-download-link">American Lathe Patents</a><br> <a href="http://www.lathes.co.uk/american-machine-tool-co/">American Machine & Tool Co. (USA)</a><br> <a href="http://www.lathes.co.uk/pacemaker/index.html">American Pacemaker(USA)</a><br> <a href="http://www.lathes.co.uk/americanwatchcasecompany">American Watch Case (USA)</a><br> <a href="http://www.lathes.co.uk/derbyshire">American Watch Tool Co (USA)</a><br> <a href="http://www.lathes.co.uk/ames/index.html">Ames (USA)</a><br> <a href="http://www.lathes.co.uk/ames-chicopee">Ames Chicopee (USA)</a><br> <a href="http://www.lathes.co.uk/amestriplex">Ames Triplex (USA)</a><br> <a href="http://www.lathes.co.uk/feeler">AML (Taiwan)</a><br> <a href="http://www.lathes.co.uk/amsa">AMSA (France)</a><br> <a href="http://www.lathes.co.uk/andra">Andrä &amp; Zwingenberger (Germany)</a><br> <a href="http://www.lathes.co.uk/andrychowska">Andrychowska (Poland)</a><br> <a href="http://www.lathes.co.uk/monofap">Anselmi MonoFap (Italy) </a><br> <a href="http://www.lathes.co.uk/apple">Apple</a><br> <a href="http://www.lathes.co.uk/arbeluxe">Arbeluxe</a><br> <a href="http://www.lathes.co.uk/arbor">Arbor (Italy)</a><br> <a href="http://www.lathes.co.uk/are">ARE (France)</a><br> <a href="http://www.lathes.co.uk/archdale/page3.html">Archdale</a><br> <a href="http://www.lathes.co.uk/ariston">Ariston (Germany)</a><br> <a href="http://www.lathes.co.uk/aristos-imami">Aristos-IMAMI (Italy)</a><br> <a href="http://www.lathes.co.uk/armstrongwhitworth">Armstrong Whitworth</a><br> <a href="http://www.lathes.co.uk/arrel">Arrel</a><br> <a href="http://www.lathes.co.uk/arrow">Arrow (Japan)</a><br> <a href="http://www.lathes.co.uk/arrow-watchmakers">Arrow (Germany/CZ?)</a><br> <a href="http://www.lathes.co.uk/ars">ARS Watchmakers' (France)</a><br> <a href="http://www.lathes.co.uk/artisan">Artisan (USA)</a><br> <a href="http://www.lathes.co.uk/asbrink">Asbrink (Sweden)</a><br> <a href="http://www.lathes.co.uk/aster">Aster</a><br> <a href="http://www.lathes.co.uk/meyerburger/index.html">Meyer-Burger UW1 (Swiss)</a><br> <a href="http://www.lathes.co.uk/astoba-universal">Astoba “Universal” (Swiss)</a><br> <a href="http://www.lathes.co.uk/atlas">Atlas Home Page (USA)</a><br> <a href="http://www.lathes.co.uk/atlas">Atlas 9”, 10” &amp; 12” (USA)</a><br> <a href="http://www.lathes.co.uk/atlas6inch">Atlas 6&quot; (USA)</a><br> <a href="http://www.lathes.co.uk/russian-watchmakers">ATM (Russia)</a><br> <a href="http://www.lathes.co.uk/auerbach">Auerbach (Germany)</a><br> <a href="http://www.lathes.co.uk/austic-layton-centamax">Austic-Layton Centamax</a><br> <a href="http://www.lathes.co.uk/australian">Australian makers</a><br> <a href="http://www.lathes.co.uk/azeta">Azeta (Italy)</a><br> <a href="http://www.lathes.co.uk/babygrand">Baby Grand (USA)</a><br> <a href="http://www.lathes.co.uk/balding/index.html">Balding Beaver</a><br> <a href="http://www.lathes.co.uk/baldwin">Baldwin(USA)</a><br> <a href="http://www.lathes.co.uk/wade/page8.html">Ballou (USA)</a><br> <a href="http://www.lathes.co.uk/bamford-chase">Bamford-Chase (USA)</a><br> <a href="http://www.lathes.co.uk/barbier-besson">Barbier Besson (France)</a><br> <a href="http://www.lathes.co.uk/barber-colman">Barber-Colman (USA)</a><br> <a href="http://www.lathes.co.uk/hardinge3/page4.html">Barer (Taiwan)</a><br> <a href="http://www.lathes.co.uk/barker/index.html">Barker Bar Bed</a><br> <a href="http://www.lathes.co.uk/barnes/index.html">Barnes (USA)</a><br> <a href="http://www.lathes.co.uk/barrow-hales/index.html">Barrow Hales</a><br> <a href="http://www.lathes.co.uk/bastler">Bastler (Germany)</a><br> <a href="http://www.lathes.co.uk/bausch&amp;lomb">Bausch &amp; Lomb (USA)</a><br> <a href="http://www.lathes.co.uk/bechler">Bechler (Swiss)</a><br> <a href="http://www.lathes.co.uk/belinglubke">Beling &amp; Lübke (Germany)</a><br> <a href="http://www.lathes.co.uk/benson">Benson </a><br> <a href="http://www.lathes.co.uk/bembi">Bembi (France) </a><br> <a href="http://www.lathes.co.uk/bergeon">Bergeon (Swiss)</a><br> <a href="http://www.lathes.co.uk/berlin">Berlin–Friedrich &amp; Söhne (Ger)</a><br> <a href="http://www.lathes.co.uk/louis-besse">Besse - Louis (France)</a><br> <a href="http://www.lathes.co.uk/beswick">Beswick</a><br> <a href="http://www.lathes.co.uk/bridgeford">Betts-Bridgeford (USA)</a><br> <a href="http://www.lathes.co.uk/benzinger">Benzinger (Germany)</a><br> <a href="http://www.lathes.co.uk/bing">Bing? (Germany)</a><br> <a href="http://www.lathes.co.uk/binnsberry/index.html">Binns &amp; Berry</a><br> <a href="http://www.lathes.co.uk/birch">Birch</a><br> <a href="http://www.lathes.co.uk/mellor">Birmel</a><br> <a href="http://www.lathes.co.uk/bite">BITE (Lithuania)</a><br> <a href="http://www.lathes.co.uk/black-and-decker">Black & Decker</a><br> <a href="http://www.lathes.co.uk/scinta">Bläsi (Swiss)</a><br> <a href="http://www.lathes.co.uk/blomqvist">Blomqvist (Sweden)</a><br> <a href="http://www.lathes.co.uk/blowerforge">Blower Forge (USA)</a><br> <a href="http://www.lathes.co.uk/boffelli&amp;finazzi">Boffelli &amp; Finazzi (Argentina) </a><br> <a href="http://www.lathes.co.uk/bolein">Bolein watchmakers</a><br> <a href="http://www.lathes.co.uk/boley/index.html">Boley (G.Boley) Germany </a><br> <a href="http://www.lathes.co.uk/leinen">Boley &amp; Leinen (Germany)</a><br> <a href="http://www.lathes.co.uk/bomey">Bomey (Germany)</a><br> <a href="http://www.lathes.co.uk/bondsmaximus">Bond's Maximus</a><br> <a href="http://www.lathes.co.uk/bonding">Bønding (Denmark)</a><br> <a href="http://www.lathes.co.uk/boothbrothers">Booth Brothers (Ireland)</a> <br> <a href="http://www.lathes.co.uk/murad/index.html">Bormilathe</a><br> <a href="http://www.lathes.co.uk/bosch">Bosch (Germany)</a><br> <a href="http://www.lathes.co.uk/bosworth">Bosworth (USA)</a><br> <a href="http://www.lathes.co.uk/bottum">Bottum (USA)</a><br> <a href="http://www.lathes.co.uk/bourke">Bourke A.J. (Australia)</a><br> <a href="http://www.lathes.co.uk/boxford/index.html">Boxford</a><br> <a href="http://www.lathes.co.uk/rebmann">Boy (Germany)</a><br> <a href="http://www.lathes.co.uk/schumacher&amp;boye/index.html">Boye &amp; Emmes (USA)</a><br> <a href="http://www.lathes.co.uk/brackenbury&amp;austin">Brackenbury &amp; Austin (Australia)</a><br> <a href="http://www.lathes.co.uk/bradford">Bradford (USA)</a><br> <a href="http://www.lathes.co.uk/bradley-pow-lathe">R.Bradley WW2</a><br> <a href="http://www.lathes.co.uk/bragonzi">Bragonzi (Italy)</a><br> <a href="http://www.lathes.co.uk/breda">Breda (Italy)</a><br> <a href="http://www.lathes.co.uk/breguet">Breguet Frères (Swiss)</a><br> <a href="http://www.lathes.co.uk/brenco">Brenco (Australia)</a><br> <a href="http://www.lathes.co.uk/bridgeford">Bridgeford (USA)</a><br> <a href="http://www.lathes.co.uk/briggs-lathe">Briggs (USA)</a><br> <a href="http://www.lathes.co.uk/britan">Britan Repetition</a><br> <a href="http://www.lathes.co.uk/britannia/index.html">Britannia</a><br> <a href="http://www.lathes.co.uk/broadbent">Broadbent-Schofield</a><br> <a href="http://www.lathes.co.uk/broadway">Broadway</a><br> <a href="http://www.lathes.co.uk/brown-dandy">Brown Machine Co. (USA)</a><br> <a href="http://lathes.co.uk/colchester1909">Brown Bros (London)</a> <br> <a href="http://lathes.co.uk/bryantsymons">Bryant Symons</a> <br> <a href="http://www.lathes.co.uk/bsw">B.S.W.</a><br> <a href="http://www.lathes.co.uk/btm/index.html">BTM Watchmakers</a><br> <a href="http://www.lathes.co.uk/buck">Joseph Buck</a><br> <a href="http://www.lathes.co.uk/bunting">Bunting</a><br> <a href="http://www.lathes.co.uk/burchhardt">Burchhardt (Germany)</a><br> <a href="http://www.lathes.co.uk/hercus/page2.html">Burden (Aus)</a><br> <a href="http://www.lathes.co.uk/burkhardt-weber">Burkhardt &amp; Weber (Germany)</a><br> <a href="http://www.lathes.co.uk/bursgreen-capstan-lathe">Bursgreen Capstan</a><br> <a href="http://www.lathes.co.uk/burtonrogers">Burton &amp; Rogers (USA)</a><br> <a href="http://www.lathes.co.uk/butler-lathes">Butler Vintage Lathes</a><br> <a href="http://www.lathes.co.uk/elliott/index.html">Butler Modern Lathes</a><br> <a href="http://www.lathes.co.uk/butterfield">Butterfield</a><br> <a href="http://www.lathes.co.uk/bwc">B.W.C.</a><br> <a href="http://www.lathes.co.uk/cabiati-mario">Cabiati Mario (Italy)</a><br> <a href="http://www.lathes.co.uk/cadillac">Cadillac (Taiwan)</a><br> <a href="http://www.lathes.co.uk/canedy-otto">Canedy-Otto (USA)</a><br> <a href="http://www.lathes.co.uk/elliott">Cardiff (Elliott)</a><br> <a href="http://www.lathes.co.uk/caladonia">Caladonia</a><br> <a href="http://www.lathes.co.uk/cantoni">Cantoni (Italy)</a><br> <a href="http://www.lathes.co.uk/cardinali">Cardinali (Argentina)</a><br> <a href="http://www.lathes.co.uk/carlstedt">Carlstedt (Sweden)</a><br> <a href="http://www.lathes.co.uk/carson">Carson</a><br> <a href="http://www.lathes.co.uk/carstens">Carstens (Germany)</a><br> <a href="http://www.lathes.co.uk/carteron">Carteron (France)</a><br> <a href="http://www.lathes.co.uk/caser">Caser (Italy)</a><br> <a href="http://www.lathes.co.uk/cataract/index.html">Cataract (USA)</a><br> <a href="http://www.lathes.co.uk/wade%20cva/index.html">CAV/Wade round bed</a><br> <a href="http://www.lathes.co.uk/cazeneuve">Cazeneuve (France)</a><br> <a href="http://www.lathes.co.uk/mondiale">Celtic (Mondiale, Belgium)</a><br> <a href="http://www.lathes.co.uk/centrixmicro">Centrix Micro</a><br> <a href="http://www.lathes.co.uk/ceriotti">Ceriotti (Italy)</a><br> <a href="http://www.lathes.co.uk/ceruti">Ceruti (Italy)</a><br> <a href="http://www.lathes.co.uk/challenger">Challenger</a><br> <a href="http://www.lathes.co.uk/champion">Champion (USA)</a><br> <a href="http://www.lathes.co.uk/chard/index.html">Chard (USA)</a><br> <a href="http://www.lathes.co.uk/chekko">Chekko (CZ)</a><br> <a href="http://www.lathes.co.uk/french-prototype-watchmakers-lathe">Chet Watch Lathe (France)</a><br> <a href="http://www.lathes.co.uk/relm">Cheltenham Works</a><br> <a href="http://www.lathes.co.uk/chien-yeh">Chien Yeh (Taiwan)</a><br> <a href="http://www.lathes.co.uk/childs-lathe">Childs (USA)</a><br> <a href="http://www.lathes.co.uk/chinese-watch-lathe">Chinese Watch lathe (China)</a><br> <a href="http://www.lathes.co.uk/chung">Michael Chung Watch Lathe (China)</a><br> <a href="http://www.lathes.co.uk/churchill-cub">Churchill Cub</a><br> <a href="http://www.lathes.co.uk/winkle">Cincinnati by Winkle(USA)</a><br> <a href="http://www.lathes.co.uk/cincinnati-tray-top-lathe">Cincinnati Tray Top (USA)</a><br> <a href="http://www.lathes.co.uk/claesson">Claesson (Sweden)</a><br> <a href="http://www.lathes.co.uk/clark-burtsal">Clark Burtsal</a><br> <a href="http://www.lathes.co.uk/clarks-engineering">Clark's Engineering</a><br> <a href="http://www.lathes.co.uk/claudiusash">Claudius Ash</a><br> <a href="http://www.lathes.co.uk/clausing/index.html">Clausing&nbsp; (USA)</a><br> <a href="http://www.lathes.co.uk/clement">Clement (USA)</a><br> <a href="http://www.lathes.co.uk/boleybevelledbed/page3.html">Clerkenwell</a><br> <a href="http://www.lathes.co.uk/clh">CLH Watchmakers’</a><br> <a href="http://www.lathes.co.uk/clisby/index.html">Clisby (Australia)</a><br> <a href="http://www.lathes.co.uk/cm">CM (New Zealand?)</a><br> <a href="http://www.lathes.co.uk/cmd">CMD Precision (France)</a><br> <a href="http://www.lathes.co.uk/ursus">C.M.T. Ursus (Italy)</a><br> <a href="http://www.lathes.co.uk/codima">Codima (France)</a><br> <a href="http://www.lathes.co.uk/colchester/index.html">Colchester</a><br> <a href="http://www.lathes.co.uk/granville">F.Cole</a><br> <a href="http://www.lathes.co.uk/myford-copies">Colt (Myford copy)</a><br> <a href="http://www.lathes.co.uk/conrik">Conrik (Australia)</a><br> <a href="http://www.lathes.co.uk/cook">Cook (W.Cook London)</a><br> <a href="http://www.lathes.co.uk/corbett">Corbett’s</a><br> <a href="http://www.lathes.co.uk/coronet-precision">Coronet Metal Precision</a><br> <a href="http://www.lathes.co.uk/coronetindia">Coronet India</a><br> <a href="http://www.lathes.co.uk/meccanica">Cortini (Meccanica Italy)</a><br> <a href="http://www.lathes.co.uk/craftsman/page4.html">Courlan (AA Co. USA)</a><br> <a href="http://www.lathes.co.uk/covmac">Covmac</a><br> <a href="http://www.lathes.co.uk/cowan">Cowan (Canada)</a>)<br> <a href="http://www.lathes.co.uk/cowellkitlathe">E.W.Cowell (kit lathes)</a><br> <a href="http://www.lathes.co.uk/cowells/index.html">Cowells</a><br> <a href="http://www.lathes.co.uk/craftsman/index.html">Craftsman&nbsp;(USA)</a><br> <a href="http://www.lathes.co.uk/craftsmanwood">Craftsman Woodlathes (USA)</a><br> <a href="http://www.lathes.co.uk/cromwell/index.html">Cromwell</a><br> <a href="http://www.lathes.co.uk/crosthwaite">Crosthwaite</a><br> <a href="http://www.lathes.co.uk/crown">Crown Watchmakers</a><br> <a href="http://www.lathes.co.uk/senecafalls">Crown (Seneca Falls USA)</a><br> <a href="http://www.lathes.co.uk/crowthorn">Crowthorn</a><br> <a href="http://www.lathes.co.uk/crouzet">Crouzet (France)</a><br> <a href="http://www.lathes.co.uk/crystallakelathe">Crystal Lake (USA)</a><br> <a href="http://www.lathes.co.uk/csepel">Csepel (Hungary)</a><br> <a href="http://www.lathes.co.uk/cuthbert">Cuthbert</a><br> <a href="http://www.lathes.co.uk/cva/index.html">CVA Toolroom</a><br> <a href="http://www.lathes.co.uk/cyclematic">Cyclematic (Taiwan)</a><br> <a href="http://www.lathes.co.uk/cyjax">CYJAX (Australia)</a><br> <a href="http://www.lathes.co.uk/daewoo-namsun">Daewoo(Korea)</a><br> <a href="http://www.lathes.co.uk/dainichi">Dainichi (Japan)</a><br> <a href="http://www.lathes.co.uk/dalgety">Dalgety</a><br> <a href="http://www.lathes.co.uk/dale">Dale</a><br> <a href="http://www.lathes.co.uk/dalton/index.html">Dalton (USA)</a><br> <a href="http://www.lathes.co.uk/dan">Dan (Christen &amp; Co.) Swiss</a><br> <a href="http://www.lathes.co.uk/brown-dandy">Dandy (USA)</a><br> <a href="http://www.lathes.co.uk/damco">Damco &amp; AM</a><br> <a href="http://www.lathes.co.uk/danish">Danish Machinery Co.</a><br> <a href="http://www.lathes.co.uk/darling-and-sellers">Darling & Sellers</a><br> <a href="http://www.lathes.co.uk/dashin">Dashin (Taiwan)</a><br> <a href="http://www.lathes.co.uk/davenport">Davenport (USA)</a><br> <a href="http://www.lathes.co.uk/david">David (UK)</a><br> <a href="http://www.lathes.co.uk/select">David (Taiwan)</a><br> <a href="http://www.lathes.co.uk/davla">DAVLA (unknown)</a><br> <a href="http://www.lathes.co.uk/unispan">DDR-UWG (Germany)</a><br> <a href="http://www.lathes.co.uk/dsg/index.html">Dean, Smith &amp; Grace</a> <br> <a href="http://www.lathes.co.uk/deem">Deem (India)</a><br> <a href="http://www.lathes.co.uk/delvo">Delvo (Italy)</a><br> <a href= "http://www.lathes.co.uk/demco-south-bend-copy"> Demco South Bend (Aus)</a><br> <a href="http://www.lathes.co.uk/demm">Demm (Italy)</a><br> <a href="http://www.lathes.co.uk/demoor">Demoor (Belgium)</a><br> <a href="http://www.lathes.co.uk/dennorske">Den Norske (Norway)</a><br> <a href="http://www.lathes.co.uk/viceroy/index.html">Denford (Viceroy)</a><br> <a href="http://www.lathes.co.uk/derbyshire">Derbyshire (USA)</a><br> <a href="http://www.lathes.co.uk/dell">Dell of Bristol</a><br> <a href="http://www.lathes.co.uk/delta%20metal/index.html">Delta Rockwell (USA)</a><br> <a href="http://www.lathes.co.uk/denbigh-lathes">Denbigh</a><br> <a href="http://www.lathes.co.uk/denham">Denham</a><br> <a href="http://www.lathes.co.uk/depoy">Depoy (USA)</a><br> <a href="http://www.lathes.co.uk/descours-cabaud">Descours & Cabaud (France)</a><br> <a href="http://www.lathes.co.uk/deshays">Deshays (France)</a><br> <a href="http://www.lathes.co.uk/deutsche-maschinen-werk">Deutsche-Maschinen-Werk (Germany)</a><br> <a href="http://www.lathes.co.uk/deutschlanddortmund">Deutschland Dortmund (Germany)</a><span style="mso-spacerun: yes">   </span></span><span style='font-size:11.0pt;font-family:Arial'><br> <a href="http://www.lathes.co.uk/devalliere">De Vallière (France)</a><br> <a href="http://www.lathes.co.uk/devon">Devon (Australia)</a><br> <a href="http://www.lathes.co.uk/diamondlathe">Diamond (USA)</a><br> <a href="http://www.lathes.co.uk/dignus">Dignus</a><br> <a href="http://www.lathes.co.uk/dimco">DIMCO (Italy)</a><br> <a href="http://www.lathes.co.uk/dimitar-bulgaria">Dimitar-Bulgaria Home-Made</a><br> <a href="http://www.lathes.co.uk/dixilathe">Dixi (Swiss)</a><br> <a href="http://www.lathes.co.uk/dixilathe">Dixi-Lemco-Barret</a><br> <a href="http://www.lathes.co.uk/dolze&amp;slotta">Dolze &amp; Slotta (Germany)</a><br> <a href="http://www.lathes.co.uk/dremel">Dremel (USA)</a><br> <p align=centre <br><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:230px;height:200px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'> <a href="http://www.lathes.co.uk/drummond/index.html">Drummond</a><br> <a href="http://www.lathes.co.uk/prudor">Dufour (France)</a><br> <a href="http://www.lathes.co.uk/craftsman/index.html">Dunlap (Craftsman) (USA)</a><br> <a href="http://www.lathes.co.uk/dwright-slate">Dwright Slate USA</a><br> <a href="http://www.lathes.co.uk/east-german">East German Watchmakers'</a><br> <a href="http://www.lathes.co.uk/echea">Echea Lathes (Spain)</a><br> <a href="http://www.lathes.co.uk/portass/page12.html">Eclipse</a><br> <a href="http://www.lathes.co.uk/edgar">Edgar</a><br> <a href="http://www.lathes.co.uk/edgwick">Edgwick</a><br> <a href="http://www.lathes.co.uk/edwards">Edwards</a><br> <a href="http://www.lathes.co.uk/eguro">Eguro (Japan)</a><br> <a href="http://www.lathes.co.uk/ehj">EHJ</a><br> <a href="http://www.lathes.co.uk/ehrlich">Ehrlich (Germany)</a><br> <a href="http://www.lathes.co.uk/eisfeld">Eisfeld (Gustaf Eisfeld Germany)</a><br> <a href="http://www.lathes.co.uk/Bomey">EKS (Ed. Korfhage & Söhne Germany)</a><br> <a href="http://www.lathes.co.uk/elffers">Elffers</a><br> <a href="http://www.lathes.co.uk/elgin/index.html">Elgin (USA)</a><br> <a href="http://www.lathes.co.uk/elgo">Elgo (Spain)</a><br> <a href="http://www.lathes.co.uk/elliott/index.html">Elliott</a><br> <a href="http://www.lathes.co.uk/ellis&amp;reeds">Ellis &amp; Reeds</a><br> <a href="http://www.lathes.co.uk/elmco">Elmco (USA)</a><br> <a href="http://www.lathes.co.uk/elson">Elson (USA)</a><br> <a href="http://www.lathes.co.uk/emco/index.html">Emco and Unimat </a><br> <a href="http://www.lathes.co.uk/EMI-MEC">EMI-MEC</a><br> <a href="http://www.lathes.co.uk/empire">Empire</a><br> <a href="http://www.lathes.co.uk/csepel">EMR (Hungary)</a><br> <a href="http://www.lathes.co.uk/emwee">EMWEE (Netherlands)</a><br> <a href="http://www.lathes.co.uk/swissuniversal">English Mandrel</a><br> <a href="http://www.lathes.co.uk/wade/page8.html">English (Natham) USA</a><br> <a href="http://www.lathes.co.uk/smallenglishlathes">English Small Lathes</a><br> <a href="http://www.lathes.co.uk/willson">Ensign</a><br> <a href="http://lathes.co.uk/epvj">EPVJ (Swiss?)</a><br> <a href="http://www.lathes.co.uk/eriksen-lathes">Alfred Eriksen (Germany)</a><br> <a href="http://www.lathes.co.uk/erik-eriksson-junior">Erik Eriksson Junior (Sweden)</a><br> <a href="http://www.lathes.co.uk/essaime">Essaime (Swiss)</a><br> <a href="http://www.lathes.co.uk/essbeco">Essbeco (Sweden)</a><br> <a href="http://www.lathes.co.uk/eta/index.html">ETA</a><br> <a href="http://www.lathes.co.uk/heivil">Etsco</a><br> <a href="http://www.lathes.co.uk/etzenberger">Etzenberger (French)</a><br> <a href="http://www.lathes.co.uk/evans">Evans Ornamental</a><br> <a href="http://www.lathes.co.uk/evelet">Evelet Lathe</a><br> <a href="http://www.lathes.co.uk/ew/index.html">EW</a><br> <a href="http://www.lathes.co.uk/exacta">Exacta</a><br> <a href="http://www.lathes.co.uk/excel">Excel</a><br> <a href="http://www.lathes.co.uk/exe/index.html">EXE</a><br> <a href="http://www.lathes.co.uk/faircut/index.html">Faircut</a><br> <a href="http://www.lathes.co.uk/falces">Falces (Spain)</a><br> <a href="http://www.lathes.co.uk/fam">FAM (Yugoslavia)</a><br> <a href="http://www.lathes.co.uk/famhexport">”Famhexport” (Spain)</a><br> <a href="http://www.lathes.co.uk/favorite/index.html">Favorite (Swiss)e</a><br> <a href="http://www.lathes.co.uk/fayscott/index.html">Fay &amp; Scott (USA)</a><br> <a href="http://www.lathes.co.uk/feeler">Feeler (Taiwan)</a><br> <a href="http://www.lathes.co.uk/feinbau">Feinbau (Germany)</a><br> <a href="http://www.lathes.co.uk/feinpruf-lathe">Feinpruf (Germany)</a><br> <a href="http://www.lathes.co.uk/ferval">Ferval (Spain)</a><br> <a href="http://www.lathes.co.uk/fielding">Fielding</a><br> <a href="http://www.lathes.co.uk/fimap">Fimap (Italy)</a><br> <a href="http://www.lathes.co.uk/firth">Firth (Arthur Firth)</a><br> <a href="http://www.lathes.co.uk/fischer">Fischer (Germany)</a><br> <a href="http://www.lathes.co.uk/flather">Flather (USA)</a><br> <a href="http://www.lathes.co.uk/fleck">Fleck (Germany)</a><br> <a href="http://www.lathes.co.uk/swissuniversal">Fleurier (Vauscher Jeanneret)</a><br> <a href="http://www.lathes.co.uk/flexy/index.html">Flexispeed</a><br> <a href="http://www.lathes.co.uk/vuilleumier-freres">FMO(France)</a><br> <a href="http://www.lathes.co.uk/fobco">Fobco Drills</a><br> <a href="http://www.lathes.co.uk/fonly">F'only</a><br> <a href="http://www.lathes.co.uk/fogg">Fogg Home-made 1919</a><br> <a href="http://www.lathes.co.uk/fortune-rushworth">Fortune & Rushworth</a><br> <a href="http://www.lathes.co.uk/fortis">Fortis</a><br> <p align=centre <br><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:230px;height:200px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'> <a href="http://www.lathes.co.uk/fraver">Fraver (Argentina)</a><br> <a href="http://www.lathes.co.uk/french">Robert French</a><br> <a href="http://www.lathes.co.uk/french-prototype-watchmakers-lathe">Prototype French Watch Lathe</a><br> <a href="http://www.lathes.co.uk/freres-roy">Roy Freres (France)</a><br> <a href="http://www.lathes.co.uk/friedrich">Friedrich - Georg (Germany)</a><br> <a href="http://www.lathes.co.uk/see-front-page">FSB &amp; SEE (Germany)</a><br> <a href="http://www.lathes.co.uk/fuchs">Fuchs (Germany)</a><br> <a href="http://www.lathes.co.uk/fulswyng">Fulswyng</a><br> <a href="http://www.lathes.co.uk/Levati-Fulvio">Fulvio (Levati Fulvio) Sculptures</a><br> <a href="http://www.lathes.co.uk/gage">Gage Swivel-head (USA)</a><br> <a href="http://www.lathes.co.uk/gale">W.Gale</a><br> <a href="http://www.lathes.co.uk/gamages">Gamages</a><br> <a href="http://www.lathes.co.uk/gamma">Gamma (Hungry)</a><br> <a href="http://www.lathes.co.uk/garage-special-lathe">Garage Special Lathe (USA)</a><br> <a href="http://www.lathes.co.uk/garvin">Garvin (USA)</a><br> <a href="http://www.lathes.co.uk/gaston-et-henri-venot">Gaston et Henri Venot (France)</a><br> <a href="http://www.lathes.co.uk/gauthier">Gauthier (Germany)</a><br> <a href="http://www.lathes.co.uk/wermelinger">Gazel (France)</a><br> <a href="http://www.lathes.co.uk/geja">Geja - Hamfa (Holland)</a><br> <a href="http://www.lathes.co.uk/gem">Gem (England)</a><br> <a href="http://www.lathes.co.uk/gem-lathe-australia">Gem (Australia)</a><br> <a href="http://www.lathes.co.uk/gemglorious">Gem Glorious (Swiss)</a><br> <a href="http://www.lathes.co.uk/george-adams/index.html">George Adams</a><br> <a href="http://www.lathes.co.uk/georgehatch">George Hatch</a><br> <a href="http://www.lathes.co.uk/unispan/page2.html">Gerat-Unispan DBF</a><br> <a href="http://www.lathes.co.uk/geslo">Geslo (Dutch)</a><br> <a href="http://www.lathes.co.uk/gildemeister">Gildemeister (Germany)</a><br> <a href="http://www.lathes.co.uk/gilman">Gilman (USA)</a><br> <a href="http://www.lathes.co.uk/glashutte">Glashütte Kreissig (Germany)</a><br> <a href="http://www.lathes.co.uk/glass">Gläss (Germany)</a><br> <a href="http://www.lathes.co.uk/globe-lathe">Globe (Australia)</a><br> <a href="http://www.lathes.co.uk/go-ahead/index.html">Go-ahead (USA)</a><br> <a href "http://www.lathes.co.uk/sebastian/index.html">Gold Seal Sebastian (USA)</a><br> <a href="http://www.lathes.co.uk/goodell-pratt/page3.html">Goodell&nbsp; A.D. (USA)</a><br> <a href="http://www.lathes.co.uk/goodell-pratt/index.html">Goodell-Pratt (USA)</a><br> <a href="http://www.lathes.co.uk/goodnow-and-wightman">"Goodnow & Wightman"</a><br> <a href="http://www.lathes.co.uk/goodwin">Goodwin</a><br> <a href="http://www.lathes.co.uk/gornati">Gornati (Italy)</a><br> <a href="http://www.lathes.co.uk/gosmeta">Gosmeta (Netherlands)</a><br> <a href="http://www.lathes.co.uk/gotz">Gotz (Gebr. Gotz Germany)</a><br> <a href="http://www.lathes.co.uk/goyen">Goyen</a><br> <a href="http://www.lathes.co.uk/gral">Gral (Swiss)</a><br> <a href="http://www.lathes.co.uk/granville/index.html">Granville</a><br> <a href="http://www.lathes.co.uk/graves/index.html">Graves</a><br> <a href="http://www.lathes.co.uk/grayson/index.html">Grayson</a><br> <a href="http://www.lathes.co.uk/graziano/index.html">Graziano (Italy)</a><br> <a href="http://www.lathes.co.uk/grazioli">Grazioli (Italy)</a><br> <a href="http://www.lathes.co.uk/conrik">Great Scot (Australia)</a><br> <a href="http://www.lathes.co.uk/greavesklusman">Greaves-Klusman (USA)</a><br> <a href="http://www.lathes.co.uk/greenly">Greenly</a><br> <a href="http://www.lathes.co.uk/greenwood-bros">Greenwood Bros.</a><br> ******* </span><span style="mso-spacerun: yes">  </span></p> </td> <td width=250 colspan=3 valign=top style='width:187.45pt;background:white; padding:0cm 0cm 0cm 0cm;height:211.9pt'> <p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; text-align:justify'><b><span style='font-size:11.0pt;font-family:Arial'>LATHES<br> </span></b><span style='font-size:11.0pt;font-family:Arial'><a <a href="http://www.lathes.co.uk/grigg">Grigg</a><br> <a href="http://www.lathes.co.uk/taig">Grimberg (Taig)</a><br> <a href="http://www.lathes.co.uk/haighton/index.html">Grindturn</a><br> <a href="http://www.lathes.co.uk/gromatic">Gromatic (Dutch)</a><br> <a href="http://www.lathes.co.uk/portass/page9.html">Grose (James)</a><br> <a href="http://www.lathes.co.uk/guilder">Guilder (USA)</a><br> <a href="http://www.lathes.co.uk/gurka">Gurka (Spain)</a><br> <a href="http://www.lathes.co.uk/gurutzpe">Gurutzpe (Spain)</a><br> <a href="http://www.lathes.co.uk/habegger/index.html">Habegger (Swiss)</a><br> <a href="http://www.lathes.co.uk/haedge-and-richter">Haedge and Richter (Germany)</a><br> <a href="http://www.lathes.co.uk/haighton/index.html">Haighton Cadet</a><br> <a href="http://www.lathes.co.uk/haithwaite">Haithwaite - Frederick</a><br> <a href="http://www.lathes.co.uk/atlas/page9.html">Halifax</a><br> <a href="http://www.lathes.co.uk/halls">Halls</a><br> <a href="http://www.lathes.co.uk/hamann">Hamann (Germany)</a><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'><a href="http://www.lathes.co.uk/geja">Hamfa &quot;Geja&quot; (Holland)</a></span><span style='font-size:11.0pt;font-family:Arial'><br> <a href="http://www.lathes.co.uk/hamilton">Hamilton Ohio (USA)</a><br> <a href="http://www.lathes.co.uk/hamiltonmaryland">Hamilton Maryland (USA)</a><br> <a href="http://www.lathes.co.uk/hammel-riglander">Hammel, Riglander &amp; Co. (USA)</a><br> <a href="http://www.lathes.co.uk/gilman/page2.html">Hannifin (USA)</a><br> <a href="http://www.lathes.co.uk/hansen">Hansen (Canada)</a><br> <a href="http://www.lathes.co.uk/hardinge/index.html">Hardinge (USA)</a><br> <a href="http://www.lathes.co.uk/hardie">Hardie Swing Head (USA)</a><br> <a href="http://www.lathes.co.uk/harmal/index.html">Harmal (Taiwan)</a><br> <a href="http://www.lathes.co.uk/harrington">Harrington (USA)</a><br> <a href="http://www.lathes.co.uk/harrison/index.html">Harrison L (older)</a><br> <a href="http://www.lathes.co.uk/harrison-m">Harrison M (newer)</a><br> <a href="http://www.lathes.co.uk/harvey">Harvey (G. &amp; A. Harvey)</a><br> <a href="http://www.lathes.co.uk/haulin">Haulin (France)</a> <br> <a href="http://www.lathes.co.uk/haulton">Haulton (USA)</a> <br> <a href="http://www.lathes.co.uk/hauser-lathe">Hauser (Swiss)</a> <br> <a href="http://www.lathes.co.uk/hayward">Hayward</a><br> <a href="http://www.lathes.co.uk/hazdent">Hazdent</a><br> <a href="http://www.lathes.co.uk/hazemeyer">Hazemeyer (Dutch)</a><br> <a href="http://www.lathes.co.uk/heathway">Heathway Glass</a><br> <a href="http://www.lathes.co.uk/hector">Hector</a><br> <a href="http://www.lathes.co.uk/heid">Heid (Germany)</a><br> <a href="http://www.lathes.co.uk/heinemann">Heinemann (Germany)</a><br> <a href="http://www.lathes.co.uk/heivil">Heivil</a><br> <a href="http://www.lathes.co.uk/hembrug">Hembrug (Dutch)</a><br> <a href="http://www.lathes.co.uk/hendey/index.html">Hendey (USA)</a><br> <a href="http://www.lathes.co.uk/herbert">Herbert Capstan Lathes (UK)</a><br> <a href="http://www.lathes.co.uk/herbertaustralia">Herbert Australia</a><br> <a href="http://www.lathes.co.uk/hercus/index.html">Hercus&nbsp; - Australia</a><br> <a href="http://www.lathes.co.uk/hessapp/">Hessapp "Titan" Fine Turning (Germany)</a><br> <a href="http://www.lathes.co.uk/hibernia">Hibernia</a><br> <a href="http://www.lathes.co.uk/hind">Hind - Edward &amp; Son</a><br> <a href="http://www.lathes.co.uk/hines">Hines</a><br> <a href="http://www.lathes.co.uk/hjorth/index.html">Hjorth (USA)</a><br> <a href="http://www.lathes.co.uk/goodell-pratt/page3.html">Hobbies</a><br> <a href="http://www.lathes.co.uk/hobbymat/index.html">Hobbymat (Germany)</a><br> <a href="http://www.lathes.co.uk/hobart">Hobart Bros. (USA)</a><br> <a href="http://www.lathes.co.uk/hobson/index.html">Hobson (Victa)</a> <br> <a href="http://www.lathes.co.uk/hodgson">Hodgson</a> <br> <a href="http://www.lathes.co.uk/hogarth&amp;accura">Hogarth</a><br> <a href="http://www.lathes.co.uk/hogbo-lathe">Hogbo (Sweden)</a><br> <a href="http://www.lathes.co.uk/holbrook/index.html">Holbrook</a><br> <a href="http://www.lathes.co.uk/briggs-lathe">Hollow Spindle (USA) <a href="http://www.lathes.co.uk/holmes">Holmes</a><br> <p align=centre <br><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:230px;height:200px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'> <a href="http://www.lathes.co.uk/holtzapffel">Holtzapffel</a><br> <a href="http://www.lathes.co.uk/homemadeprecision">Home-made Precision</a><br> <a href="http://www.lathes.co.uk/hommel">Hommel (Germany)</a><br> <a href="http://www.lathes.co.uk/honacast">Honacast (USA)</a><br> <a href="http://www.lathes.co.uk/hopkins">Hopkins (Van Norman) USA</a><br> <a href="http://www.lathes.co.uk/Steiner">Horia (Swiss)</a><br> <a href="Holtzapffel Lathe Chucks"> Holtzapffel Chucks</a><br> <a href="http://www.lathes.co.uk/josephhoughton">Houghton (USA)</a><br> <a href="http://www.lathes.co.uk/htc">HTC (New Zealand?)</a><br> <a href="http://www.lathes.co.uk/hth/index.html">Humpage, Hardy &amp; Thompson</a><br> <a href="http://www.lathes.co.uk/hughes&amp;fawcett">Hughes &amp; Fawcett</a><br> <a href="http://www.lathes.co.uk/humpagejacquespedersen">Humpage, Jacques &amp; Pedersen</a><br> <a href="http://www.lathes.co.uk/hungarianmultifunction">Hungarian Multi-function</a><br> <a href="http://www.lathes.co.uk/huron">Huron (Denmark)</a><br> <a href="http://www.lathes.co.uk/hydro-lathe">Hydro</a><br> <a href="http://www.lathes.co.uk/hynburn">Hynburn</a><br> <a href="http://www.lathes.co.uk/ideal/index.html">Ideal</a><br> <a href="http://www.lathes.co.uk/iec">IEC Chanana (India)</a><br> <a href="http://www.lathes.co.uk/ikegai">Ikegai (Japan)</a><br> <a href="http://www.lathes.co.uk/ime/index.html">IME</a><br> <a href="http://www.lathes.co.uk/metalmaster">Impetus</a><br> <a href="http://www.lathes.co.uk/scinta">INCA (Swiss)</a><br> <a href="http://www.lathes.co.uk/indexauto">INDEX Auto Lathes (Germany)</a><br> <a href="http://www.lathes.co.uk/ingers">Ingers (Italy)</a><br> <a href="http://www.lathes.co.uk/ixl/index.html">IXL</a><br> <a href="http://www.lathes.co.uk/georg-jacob">Georg Jacob (Germany)</a><br> <a href="http://www.lathes.co.uk/trident/page2.html">Jardine</a><br> <a href="http://www.lathes.co.uk/jarratt">J.T.Jarratt</a><br> <a href="http://www.lathes.co.uk/jashone">Jashöne (Spain)</a><br> <a href="http://www.lathes.co.uk/jason/index.html">Jason</a><br> <a href="http://www.lathes.co.uk/jenny">Jenny (France)</a><br> <a href="http://www.lathes.co.uk/jen-son">Jen-son</a><br> <a href="http://www.lathes.co.uk/johnston">Johnston (USA)</a><br> <a href="http://www.lathes.co.uk/southbend9-inch/page7.html">Joinville (Brazil)</a><br> <a href="http://www.lathes.co.uk/jones/index.html">Jones (USA)</a><br> <a href="http://www.lathes.co.uk/jonesburton">Jones &amp; Burton</a><br> <a href="http://www.lathes.co.uk/Beswick">Joyce C.H.</a> <br> <a href="http://www.lathes.co.uk/jr">JR (Jackson-Rigby)</a><br> <a href="http://www.lathes.co.uk/jr-micro-lathe">JR Micro Lathe (Canada)</a><br> <a href="http://www.lathes.co.uk/firth">JSB</a><br> <a href="http://www.lathes.co.uk/julson">Julson Lathe (France)</a><br> <a href="http://www.lathes.co.uk/portassjunior">Junior</a><br> <a href="http://www.lathes.co.uk/juvenia">Juvenia (Swiss)</a><br> <a href="http://www.lathes.co.uk/rudolf-kadner">Kadner, Rudolf (Germany)</a><br> <a href="http://www.lathes.co.uk/kampe">Kampe (USA)</a><br> <a href="http://www.lathes.co.uk/karat">Kart (Karat-Hungary)</a><br> <a href="http://www.lathes.co.uk/karger">Karger (Germany)</a><br> <p align=centre <br><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:230px;height:200px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'> <a href="http://www.lathes.co.uk/claesson">KBC Claesson Elite Lathe (Sweden)</a><br> <a href="http://www.lathes.co.uk/kearney&swart">Kearney & Swart (USA)</a><br> <a href="http://www.lathes.co.uk/keen">Keen (Australia)</a><br> <a href="http://www.lathes.co.uk/denham">Keighley Lifts</a><br> <a href="http://www.lathes.co.uk/kelson">Kelson</a><br> <a href="http://www.lathes.co.uk/kennan">Kennan (Ireland)</a><br> <a href="http://www.lathes.co.uk/kerry/index.html">Kerry</a><br> <a href="http://www.lathes.co.uk/keva">Keva</a><br> <a href="http://www.lathes.co.uk/kharkovski">Kharkovski (Ukraine)</a><br> <a href="http://www.lathes.co.uk/kitchenwade/index.html">Kitchen &amp; Wade</a><br> <a href="http://www.lathes.co.uk/kneller/index.html">Kneller Bar Bed</a><br> <a href="http://www.lathes.co.uk/knapp">Knapp Toy Mchn. Tools (USA)</a><br> <a href="http://www.lathes.co.uk/kok">KOK (Netherlands)</a><br> <a href="http://www.lathes.co.uk/kosmos">Kosmos (Germany)</a><br> <a href="http://www.lathes.co.uk/krause">Krause (Austria)</a><br> <a href="http://www.lathes.co.uk/glashutte">Kreissig (Germany)</a><br> <a href="http://www.lathes.co.uk/Kuhlmann">Kuhlmann (Germany)</a><br> <a href="http://www.lathes.co.uk/labormil">Labormil (Raglan based)</a><br> <a href="http://www.lathes.co.uk/lacfer">Lacfer (Spain)</a><br> <a href="http://www.lathes.co.uk/Lambercier">J.Lambercier & Cie (Swiss)</a><br> <a href="http://www.lathes.co.uk/wolfjahn">Lancaster</a><br> <a href="http://www.lathes.co.uk/lanco">Lanco (Australia)</a><br> <a href="http://www.lathes.co.uk/wizard/index.html">Lane</a><br> <a href="http://www.lathes.co.uk/lang">Lang</a><br> <a href="http://www.lathes.co.uk/lansing">Lansing</a><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'><a href="http://www.lathes.co.uk/taiwan/">Lantaine (Taiwan)</a></span><span style='font-size:11.0pt;font-family:Arial'><br> <a href="http://www.lathes.co.uk/largemachinetools">Large Machine Tools</a><br> <a href="http://www.lathes.co.uk/larvic">Larvic</a><br> <a href="http://www.lathes.co.uk/lathe-and-morse">Lathe & Morse (USA)</a><br> <a href="http://www.lathes.co.uk/wermelinger">Latimier (French)</a><br> <a href="http://www.lathes.co.uk/ixl">Leader - IXL</a><br> <a href="http://www.lathes.co.uk/leavitt">Leavitt (USA)</a><br> <a href="http://www.lathes.co.uk/leblond/index.html">LeBlond (USA)</a><br> <a href="http://www.lathes.co.uk/lee">Lee</a><br> <a href="http://www.lathes.co.uk/leiman">Leiman Bros.(USA)</a><br> <a href="http://www.lathes.co.uk/leinen/index.html">Leinen (Germany)<br> <a href="http://www.lathes.co.uk/leinweber">Leinweber Bar Bed (Austria)</a><br> <a href="http://www.lathes.co.uk/lempco">Lempco (USA)</a><br> <a href="http://www.lathes.co.uk/Lepont">Leopoldo, Pontiggia, Lepont (Italy)</a><br> <a href="http://www.lathes.co.uk/leinen/index.html">Leinen (Germany)</a><br> <a href="http://www.lathes.co.uk/scinta/index.html">Lesto/Scinta Bar Bed (Swiss)</a><br> <a href="http://www.lathes.co.uk/levin/index.html">Levin&nbsp; (USA)</a><br> <a href="http://www.lathes.co.uk/leyland">Leyland</a><br> <a href="http://www.lathes.co.uk/leylandbarlow">Leyland &amp; Barlow</a><br> <a href="http://www.lathes.co.uk/liberty-davis">Liberty-Davis (USA)</a><br> <a href="http://www.lathes.co.uk/liberty">Liberty (Taiwan)</a><br> <a href="http://www.lathes.co.uk/liebert-gurtler">Liebert &amp; Gürtler (Germany)</a><br> <a href="http://www.lathes.co.uk/lincoln">Lincoln</a><br> <a href="http://www.lathes.co.uk/lineker&amp;winfield">Lineker &amp; Winfield</a><br> <a href="http://www.lathes.co.uk/linhuan">Lin Huan (Taiwan)</a><br> <a href="http://www.lathes.co.uk/lip-lathe">LIP (France)</a><br> <a href="http://www.lathes.co.uk/portercable">W.C.Lipe (USA)</a><br> <a href="http://www.lathes.co.uk/gem">Little Gem Round Bed</a><br> <a href="http://www.lathes.co.uk/corbett">Little Jim</a><br> <a href="http://www.lathes.co.uk/lloyd-capstan-lathe">Lloyd Lathe</a><br> <a href="http://www.lathes.co.uk/lodgeshipley">Lodge &amp; Shipley (USA)</a><br> <a href="http://www.lathes.co.uk/logan/index.html">Logan (USA)</a><br> <a href="http://www.lathes.co.uk/logos">Logos (Italy)</a><br> <a href="http://www.lathes.co.uk/lombardo">Lombardo (Italy)</a><br> <a href="http://www.lathes.co.uk/lorch/index.html">Lorch (Germany)</a><br> <a href="http://www.lathes.co.uk/lorchschmidt">Lorch Schmidt (Germany)</a><br> <a href="http://www.lathes.co.uk/loudon-brothers">Loudon Brothers</a><br> <a href="http://www.lathes.co.uk/loughborough">Loughborough</a><br> <a href="http://www.lathes.co.uk/lyn">Lyn</a><br> <a href="http://www.lathes.co.uk/machinex">Machinex (USA)</a><br> <a href="https://madelathe.com/">MADE Ornamental (USA)</a><br> <a href="http://www.lathes.co.uk/magdeburg">Magdeburg (Germany)</a><br> <a href="http://www.lathes.co.uk/malcar">Malcar</a><br> <a href="http://www.lathes.co.uk/manhora">Manhora (France)</a><br> <a href="http://www.lathes.co.uk/mancuna">Mancuna</a><br> <a href="http://www.lathes.co.uk/toyo/index.html">Manix (Korea)</a><br> <a href="http://www.lathes.co.uk/mann">Mann (USA)</a><br> <a href="http://www.lathes.co.uk/manson/index.html">ManSon/Duo/Master Lathes (USA)</a><br> <a href="http://lathes.co.uk/peerless/page2.html">Marco (USA?)</a><br> <a href="http://lathes.co.uk/marf">MARF (France)</a><br> <a href="http://www.lathes.co.uk/marriott">Marriott</a><br> <a href="http://www.lathes.co.uk/peerless">Marshall (USA)</a><br> <a href="http://www.lathes.co.uk/mars">Mars (Australia)</a><br> <a href="http://www.lathes.co.uk/marsh">Marsh (USA)</a><br> <a href="http://www.lathes.co.uk/martin">Martin (Germany)</a><br> <a href="http://www.lathes.co.uk/mas">MAS (CZ)</a><br> <a href="http://www.lathes.co.uk/mashstroy">Mashstroy (Bulgaria)</a><br> <a href="http://www.lathes.co.uk/mason-home-built-lathe">Mason</a><br> <a href="http://www.lathes.co.uk/massachusetts">Massachussets Tool Co.(USA)</a><br> <a href="http://www.lathes.co.uk/mas">Matos (Slovakia)</a><br> <a href="http://www.lathes.co.uk/mateo">Mateo "Miniature" (Brazil)</a><br> <a href="http://www.lathes.co.uk/matra">Matra (Germany)</a><br> <a href="http://www.lathes.co.uk/matra/page3.html">Matra-LeBlond (Germany)</a><br> <a href="http://www.lathes.co.uk/matrix">Matrix</a><br> <a href="http://www.lathes.co.uk/vigor">Matt (USA)</a><br> <a href="http://www.lathes.co.uk/mattapan-iron-works">Mattapan Iron Works</a><br> <a href="http://www.lathes.co.uk/emco">Maximat (Emco, Austria)</a><br> <a href="http://www.lathes.co.uk/maxnovo">Maxnovo (Italy)</a><br> <a href="http://www.lathes.co.uk/mazak">Mazak (Japan)</a><br> <a href="http://www.lathes.co.uk/mcdougall">McDougall (Canada)</a><br> <a href="http://www.lathes.co.uk/vektor">Mecana (Swiss)</a><br> <a href="http://www.lathes.co.uk/meccanica">Meccanica Cortini (Italy)</a><br> <a href="http://www.lathes.co.uk/melcer">Melcer (France)</a><br> <a href="http://www.lathes.co.uk/melhuish">Melhuish</a><br> <a href="http://www.lathes.co.uk/mellor/index.html">Mellor</a><br> <a href="http://www.lathes.co.uk/mentor">Mentor (Italy)</a><br> <a href="http://www.lathes.co.uk/menziken">Menziken (Swiss)</a><br> <a href="http://www.lathes.co.uk/meriden">Meriden (USA)</a><br> <a href="http://www.lathes.co.uk/merli">Merli (Italy)</a><br> <a href="http://www.lathes.co.uk/mesoutil">Mesoutil (France)</a><br> <a href="http://www.lathes.co.uk/atlas/page7.html">Metalcraft (USA)</a><br> <a href="http://www.lathes.co.uk/norse-south-bend-inspired">Metallpakningsfabrikk (Norway)</a><br> <a href="http://www.lathes.co.uk/metalmaster">Metalmaster (Impetus)</a><br> <a href="http://www.lathes.co.uk/metalmasterusa">Metal Master (USA)</a><br> <a href="http://www.lathes.co.uk/metaubell">Metaubell (France)</a><br> <a href="http://www.lathes.co.uk/flexy/index.html">Meteor</a><br> <a href="http://www.lathes.co.uk/meuser">Meuser (Germany)</a><br> <a href="http://www.lathes.co.uk/meyerburger/index.html">Meyer &amp; Burger(Swiss)</a><br> <a href="http://www.lathes.co.uk/meytre">Meytre(Swiss)</a><br> <a href="http://www.lathes.co.uk/mi-bo">MI-BO (Italy)</a><br> <a href="http://www.lathes.co.uk/midget">&quot;Midget&quot; Home-made (USA)</a><br> <a href="http://www.lathes.co.uk/midwinter">Midwinter</a><br> <a href="http://www.lathes.co.uk/mikron">Mikron (Swiss)</a><br> <a href="http://www.lathes.co.uk/millen">Millen</a><br> <a href="http://www.lathes.co.uk/goodell-pratt/page3.html">Millers Falls (USA)</a><br> <a href="http://www.lathes.co.uk/milnes">Milnes</a><br> <a href="http://www.lathes.co.uk/minilor/index.html">Minilor (France)</a><br> <a href="http://www.lathes.co.uk/milro">Milro (Aus)</a><br> <a href="http://www.lathes.co.uk/minganti-myford">Minganti-Myford</a><br> <a href="http://www.lathes.co.uk/unknown41">Miniature Precision (USA)</a><br> <a href="http://www.lathes.co.uk/misal">Misal (Italy)</a><br> <a href="http://www.lathes.co.uk/woodhouse&mitchell">Mitchell</a><br> <a href="http://www.lathes.co.uk/mitsubishi">Mitsubishi (Japan)</a><br> <a href="http://www.lathes.co.uk/modern">Modern UK</a><br> <a href="http://www.lathes.co.uk/modiglathe">Modig (Sweden)</a><br> <a href="http://www.lathes.co.uk/monarch/index.html">Monarch (USA)</a><br> <a href="http://www.lathes.co.uk/mondiale">Mondiale (Belgium)</a><br> <a href="http://www.lathes.co.uk/logan/page3.html">Montgomery Ward (USA)</a> <br> <a href="http://www.lathes.co.uk/southbend9-inch/page4.html">Moody (Canada)</a><br> <a href="http://www.lathes.co.uk/morat">Morat (Germany)</a><br> <a href="http://www.lathes.co.uk/mori-seiki">Mori-Seiki (Japan)</a><br> <a href="http://www.lathes.co.uk/moseley">Moseley (USA)</a><br> <a href="http://www.lathes.co.uk/muckle">Muckle</a><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'><a href="http://www.lathes.co.uk/portercable/page2.html">Mulliner-Enlund (USA)</a></span><span style='font-size:11.0pt;font-family:Arial'><br> <a href="http://www.lathes.co.uk/multimachine">Multimachine (USA)</a><br> <a href="http://www.lathes.co.uk/multipro-minilor">Multipro Minilor France)</a><br> <a href="http://www.lathes.co.uk/muir/index.html">Muir William</a><br> <a href="http://www.lathes.co.uk/munro">Munro Ornamental</a><br> <a href="http://www.lathes.co.uk/murad/index.html">Murad</a><br> <a href="http://www.lathes.co.uk/myford/index.html">Myford</a><br> <a href="http://www.lathes.co.uk/myford-factory-archive">Myford Factory Archive</a><br> <a href="http://www.lathes.co.uk/drummond/index.html">Myford/Drummond M</a><br> <a href="http://www.lathes.co.uk/myford-copies">My Turn (Myford Copy)</a><br> <a href="http://www.lathes.co.uk/daewoo-namsun">Namsun (Korea)</a><br> <a href="http://www.lathes.co.uk/leylandpage2">R.A.Narbuch</a><br> <a href="http://www.lathes.co.uk/narragansett">Narragansett (USA)</a><br> <a href="http://www.lathes.co.uk/newall">Newall</a><br> <a href="http://www.lathes.co.uk/ndc">N.D.C. </a><br> <a href="http://www.lathes.co.uk/whnichols">W.H.Nichols (USA)</a><br> <a href="http://www.lathes.co.uk/niggle">Niggle (France)</a><br> <a href="http://www.lathes.co.uk/nissel">G.Nissel</a><br> <a href="http://www.lathes.co.uk/noble-and-lund">Noble & Lund</a><br> <a href="http://www.lathes.co.uk/southbend9-inch/page3.html">NSTG (USA)</a><br> <a href="http://www.lathes.co.uk/nordan">Nordan</a><br> <a href="http://www.lathes.co.uk/norfolk">Norfolk</a><br> <a href="http://www.lathes.co.uk/nw">NW</a><br> <a href="http://www.lathes.co.uk/nuttall">Nuttall (Aus)</a> <br> <a href="http://www.lathes.co.uk/ogawa-precimax">Ogawa Iron Works Precimax</a><br> <a href="http://www.lathes.co.uk/okuma">Okuma (Japan)</a><br> <a href="http://www.lathes.co.uk/oliver/index.html">Oliver (USA)</a><br> <a href="http://www.lathes.co.uk/wwoliver">Oliver W.W. (USA)</a><br> <a href="http://www.lathes.co.uk/olmar">Olmar</a></span><br> <span style='font-size:11.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/olympic">Olympic</a><br> <a href="http://www.lathes.co.uk/ommp">OMMP (Italy)</a><br> <a href="http://www.lathes.co.uk/onan">Onan (USA)</a><br> <a href="http://www.lathes.co.uk/ornmaskiner">Ornmaskiner (Sweden)</a><br> <a href="http://www.lathes.co.uk/colchester/page17.html">Osborne</a><br> <a href="http://www.lathes.co.uk/ous">OUS-1 (Poland)</a><br> <a href="http://www.lathes.co.uk/siame">L'Outilervé (France)</a><br> <a href="http://www.lathes.co.uk/owt">O.W.T. (USA)</a><br> <a href="http://www.lathes.co.uk/padana">Padana (Italy)</a><br> <a href="http://www.lathes.co.uk/panerai">Panerai &amp; Figli (Italy)</a><br> <a href="http://www.lathes.co.uk/panther">Panther (India)</a><br> <a href="http://www.lathes.co.uk/parr">Parr (Australia)</a><br> <a href="http://www.lathes.co.uk/parkanson">Parkanson (Australia)</a><br> <a href="http://www.lathes.co.uk/parker-mcknight">Parker McKnight (USA)</a><br> <a href="http://www.lathes.co.uk/parksonlathe">Parkson</a><br> <a href="http://www.lathes.co.uk/parmar">Parmar (India)</a><br> <a href="http://www.lathes.co.uk/parsons">Parsons C.E.</a><br> <a href="http://www.lathes.co.uk/pasquino">Pasquino (Italy)</a><br> <a href="http://www.lathes.co.uk/patrick">Patrick</a><br> <a href="http://www.lathes.co.uk/paulson">Paulson (USA)</a><br> <a href="http://www.lathes.co.uk/pbr">P.B.R. (Italy)</a><br> <a href="http://www.lathes.co.uk/pdf">PDF (Netherlands)</a><br> <a href="http://www.lathes.co.uk/pearce">Pearce (USA)</a><br> <a href="http://www.lathes.co.uk/taig">Peatol</a><br> <a href="http://www.lathes.co.uk/peerless">Peerless (USA)</a><br> <a href="http://www.lathes.co.uk/pegard">Pegard Machine Tools (Belgium)</a><br> <a href="http://www.lathes.co.uk/pennant">Pennant</a><br> <a href="http://www.lathes.co.uk/perfection">Perfection (Germany)</a><br> <a href="http://www.lathes.co.uk/perfecto/index.html">Perfecto</a><br> <a href="http://www.lathes.co.uk/perhays">Perhays</a><br> <a href="http://www.lathes.co.uk/perrenoud/index.html">Perrenoud (Swiss)</a><br> <a href="http://www.lathes.co.uk/perris">Perris</a><br> <a href="http://www.lathes.co.uk/perton">Perton (USA)</a><br> <a href="http://www.lathes.co.uk/petermann">Petermann (Swiss)</a><br> <a href="http://www.lathes.co.uk/petrie">Petrie</a><br> <a href="http://www.lathes.co.uk/pools/page3.html">Pexto (USA)</a><br> <a href="http://www.lathes.co.uk/pfeil">Pfeil</a><br> <a href="http://www.lathes.co.uk/picador">Picador</a><br> <a href="http://www.lathes.co.uk/piccolo">Piccolo (Swiss)</a><br> <a href="http://www.lathes.co.uk/piho">Piho (Germany)</a><br> <a href="http://www.lathes.co.uk/pinacho">Pinacho (Spain)</a><br> <a href="http://www.lathes.co.uk/pioneer">Pioneer watchmakers’</a><br> <a href="http://www.lathes.co.uk/pittler/index.html">Pittler (Germany)</a><br> <a href="http://www.lathes.co.uk/pitts">Pitt’s Yorkshire</a><br> <a href="http://www.lathes.co.uk/pixi">Pixi</a></span><br> <a href="http://www.lathes.co.uk/plauert"><span style='font-size:11.0pt; font-family:Arial'>Plauert (Germany)</span></a><br> <a href="http://www.lathes.co.uk/pond"><span style='font-size:11.0pt; font-family:Arial'>Pond (USA)</span></a><br> <a href="http://www.lathes.co.uk/pontiggia"><span style='font-size:11.0pt; font-family:Arial'>Pontiggia L/poldo (Italy)</span></a><br> <a href="http://www.lathes.co.uk/pools/index.html"><span style='font-size: 11.0pt;font-family:Arial'>Pools</span></a><br> <span style='font-size:11.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/portass/index.html">Portass</a><br> <a href="http://www.lathes.co.uk/portercable">Porter-Cable (USA)</a><br> <a href="http://lathes.co.uk/potisje">Potisje Lathes (Serbia)</a><br> <a href="http://www.lathes.co.uk/potter">Potter (USA)</a><br> <a href="http://www.lathes.co.uk/Myford-Copies">Prakash Atlas (Myford Copy)</a><br> <a href="http://www.lathes.co.uk/pratt&amp;whitney">Pratt &amp; Whitney (USA)</a><br> <a href="http://www.lathes.co.uk/pratt">F.Pratt</a><br> <a href="http://www.lathes.co.uk/prazima">Präzima (Germany)</a><br> <a href="http://www.lathes.co.uk/hobbymat/page3.html">Prazimat DLZ (Germany)</a><br> <a href="http://www.lathes.co.uk/precis">Precis (France)</a><br> <a href="http://www.lathes.co.uk/precision-bench-lathes-list">Precision Bench Lathes List</a><br> <a href="http://www.lathes.co.uk/veem">Premo (Australia)</a></span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial; color:red'> </span><b><span style='font-size:11.0pt;font-family:Arial; color:red'><br> </span></b><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt; font-family:Arial'> <a href="http://www.lathes.co.uk/progress-oslo">Progress-Oslo (Norway)</a><br> <a href="http://www.lathes.co.uk/toyo">Proxxon</a><br> <a href="http://www.lathes.co.uk/prudor">Prudor (France)</a><br> <a href="http://www.lathes.co.uk/pultra">P.T.A. (Pultra)</a><br> <a href="http://www.lathes.co.uk/pultra">Pultra</a><br> <a href="http://www.lathes.co.uk/purcell">Purcell (Aus)</a><br> <a href="http://www.lathes.co.uk/quality-engineering">Quality Engineering (Australia)</a><br> <a href="http://www.lathes.co.uk/qualos">Qualos (Australia)</a><br> <a href="http://www.lathes.co.uk/qualters-smith-lathes">Qualters &amp; Smith</a><br> <a href="http://www.lathes.co.uk/raglan/index.html">Raglan</a><br> <a href="http://www.lathes.co.uk/rahn-carpenter">Rahn-Carpenter (USA)</a><br> <a href="http://www.lathes.co.uk/rambold">Rambold (Germany)</a><br> <a href="http://www.lathes.co.uk/randa/index.html">Randa</a><br> <a href="http://www.lathes.co.uk/rawco">Rawco</a><br> <a href="http://www.lathes.co.uk/rebmann">Rebmann (Germany)</a><br> <a href="http://www.lathes.co.uk/record-lathe-france">Record (France)</a><br> <a href="http://www.lathes.co.uk/toyo/index.html">Record/Toyo (Japan)</a><br> <a href="http://www.lathes.co.uk/record">Record/Ehrlich (Germany)</a><br> <a href="http://www.lathes.co.uk/reese">Reese (USA)</a><br> <a href="http://www.lathes.co.uk/leblond/index.html">Regal LeBlond (USA)</a><br> <a href="http://www.lathes.co.uk/reiden">Reiden (Swiss)</a><br> <a href="http://www.lathes.co.uk/reliance-lathe">Reliance</a><br> <a href="http://www.lathes.co.uk/relm">Relm</a><br> <a href="http://www.lathes.co.uk/dremel">Dremel (USA)</a><br> <a href="http://www.lathes.co.uk/remington">Remington (USA)</a><br> <a href="http://www.lathes.co.uk/rew">REW (India)</a><br> <a href="http://www.lathes.co.uk/rexman">Rexman (Australia)</a><br> <a href="http://www.lathes.co.uk/rexvalter">Rexvalter (Sweden)</a><br> <a href="http://www.lathes.co.uk/richter">Richter (Austria)</a><br> <p align=centre <br><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:230px;height:200px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'> <a href="http://www.lathes.co.uk/riken">Riken (Japan)</a><br> <a href="http://www.lathes.co.uk/rindis">Rindis</a><br> <a href="http://www.lathes.co.uk/rivett">Rivett(USA)</a><br> <a href="http://www.lathes.co.uk/rizzi">Rizzi (Italy)</a><br> <a href="http://www.lathes.co.uk/roberts">Roberts</a><br> <a href="http://www.lathes.co.uk/robling">Robling (Germany)</a><br> <a href="http://www.lathes.co.uk/robot">Robot (CZ)</a><br> <a href="http://www.lathes.co.uk/rockford">Rockford (USA)</a><br> </span><span style="mso-spacerun: yes"> </span></p> </td> <td width=259 colspan=3 valign=top style='width:194.2pt;background:white; padding:0cm 0cm 0cm 0cm;height:211.9pt'> <p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; text-align:justify'><b><span style='font-size:11.0pt;font-family:Arial'>LATHES<br> </span></b><span style='font-size:11.0pt;font-family:Arial'><a <a href="http://www.lathes.co.uk/delta%20metal/index.html">Rockwell Delta (USA)</a><br> <a href="http://www.lathes.co.uk/artisan/page4.html">Rocky Mountain (USA)</a><br> <a href="http://www.lathes.co.uk/rofb">R.O.F.B.</a><br> <a href="http://www.lathes.co.uk/rolfe">Rolfe (Australia)</a><br> <a href="http://www.lathes.co.uk/rollo/index.html">Rollo</a><br> <a href="http://www.lathes.co.uk/rolls-royce">Rolls-Royce</a><br> <a href="http://www.lathes.co.uk/roper&amp;wreaks">Roper &amp; Wreaks</a><br> <a href="http://www.lathes.co.uk/wolfjahn">Roscoe</a><br> <a href="http://www.lathes.co.uk/rosemoor">Rosemoor (USA)</a><br> <a href="http://www.lathes.co.uk/rosenfors">Rosenfors (Sweden)</a><br> <a href="http://www.lathes.co.uk/rossbacher">Rossbacher (USA)</a><br> <a href="http://www.lathes.co.uk/rossia">Rossia</a><br> <a href="http://www.lathes.co.uk/roth">C.L.Roth (Germany)</a><br> <a href="http://www.lathes.co.uk/unimat/page15.html">Rowic (Argentina)</a><br> <a href="http://www.lathes.co.uk/rsb">RSB</a><br> <a href="http://www.lathes.co.uk/rundex">Rundex (Germany)</a><br> <a href="http://www.lathes.co.uk/russian">Russian Round-bed Lathe</a><br> <a href="http://www.lathes.co.uk/russian-watchmakers">Russian Watchmaker's Lathe</a><br> <a href="http://www.lathes.co.uk/adcock&amp;shipleycombination">Ryder (Thomas Ryder)</a><br> <a href="http://www.lathes.co.uk/saacke">Saacke (Germany)</a><br> <a href="http://www.lathes.co.uk/toyo/index.html">Sakai/Toyo (Japan)</a><br> <a href="http://www.lathes.co.uk/samoa">S.A.M.O.A. (France)</a><br> <a href="http://www.lathes.co.uk/southbend9-inch/page6.html">Sanches Blanes (Brazil)</a><br> <a href="http://www.lathes.co.uk/santaella">J.Santaella (France)</a><br> <a href="http://www.lathes.co.uk/jason">Sartglen Pixi</a><br> <a href="http://www.lathes.co.uk/satif">Satif (Portugal?)</a><br> <a href="http://www.lathes.co.uk/saupe">Saupe (Germany)</a><br> <a href="http://www.lathes.co.uk/savna">Savna (India)</a><br> <a href="http://www.lathes.co.uk/willson">SBW (Smith, Barker, Willson)</a><br> <a href="http://www.lathes.co.uk/schaffner">Schaffner (USA)</a><br> <a href="http://www.lathes.co.uk/schaublin">Schaublin (Swiss)</a><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'><a href="http://lathes.co.uk/scherzinger">Scherzinger (Germany)</a><span style="mso-spacerun: yes">   </span></span><span style='font-size:11.0pt; font-family:Arial'><br> <a href="http://www.lathes.co.uk/scheu">F.A.Scheu (Germany)</a><br> <a href="http://www.lathes.co.uk/schiessl">Schiessl (Austria)</a><br> <a href="http://www.lathes.co.uk/schlitt">Schlitt (Germany)</a><br> <a href="http://www.lathes.co.uk/scholze-and-aster">Scholze & Aster (Germany)</a><br> <a href="http://www.lathes.co.uk/schuchardt&amp;schutte">Schuchardt &amp; Schutte (Germany)</a><br> <a href="http://www.lathes.co.uk/schumacher&amp;boye/index.html">Schumacher &amp; Boye (USA)</a><br> <a href="http://www.lathes.co.uk/schubert">Schubert (Friedrich) (Germany)</a><br> <a href="http://www.lathes.co.uk/scinta/index.html">Scintilla/Scinta (Swiss)</a><br> <a href="http://www.lathes.co.uk/scomea">Scomea</a><br> <a href="http://www.lathes.co.uk/scope">Scope Bar Bed</a><br> <a href="http://www.lathes.co.uk/scott">Scott</a><br> <a href="http://www.lathes.co.uk/scott-homer">Scott-Homer</a><br> <a href="http://www.lathes.co.uk/sebastian/index.html">Sebastian Gold Seal (USA)</a><br> <a href="http://www.lathes.co.uk/see-front-page">SEE (FSB Germany)</a><br> <a href="http://www.lathes.co.uk/select">Select (Taiwan)</a><br> <a href="http://www.lathes.co.uk/unimat">Selecta</a><br> <a href="http://www.lathes.co.uk/seligsonnenthal/page2.html">Selig Sonnenthal</a><br> <a href="http://www.lathes.co.uk/selson">Selson</a><br> <a href="http://www.lathes.co.uk/senecafalls/index.html">Seneca Falls (Star USA) </a><br> <a href="http://www.lathes.co.uk/firth">Senior</a><br> <a href="http://www.lathes.co.uk/codima">SF2-Lyon Codima (France)</a><br> <a href="http://www.lathes.co.uk/hardinge3/page4.html">Sharp (Taiwan)</a><br> <a href="http://www.lathes.co.uk/sheane">Sheane Bros. (Ireland)</a><br> <a href="http://www.lathes.co.uk/shedd">Shedd (USA)</a><br> <a href="http://www.lathes.co.uk/lineker&amp;winfield">Sheen (Australia)</a><br> <a href="http://www.lathes.co.uk/sheldon/index.html">Sheldon&nbsp; (USA)</a><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'><a href="http://www.lathes.co.uk/shepard">Shepard Lathe & Morse (USA)</a><br> <a href="http://www.lathes.co.uk/shepardhl">Shepard H.L &amp; Co (Morse) (USA) </a></span><span style='font-size:11.0pt;font-family:Arial'><br> <a href="http://www.lathes.co.uk/sheraton">Sheraton (Australia)</a><br> <a href="http://www.lathes.co.uk/sherline/index.html">Sherline (USA)</a><br> <a href="http://www.lathes.co.uk/craftsman/page6.html">Sherman-Clark (USA)</a><br> <a href="http://www.lathes.co.uk/prudor">Shertlin (France)</a><br> <a href="http://www.lathes.co.uk/siame">SIAME (France)</a><br> <a href="http://www.lathes.co.uk/flexy/index.html">Simat</a><br> <a href="http://www.lathes.co.uk/sidney">Sidney (USA)</a><br> <a href="http://www.lathes.co.uk/simmons/index.html">Simmons (USA)</a><br> <a href="http://www.lathes.co.uk/simonet/index.html">Simonet (Swiss)</a><br> <a href="http://www.lathes.co.uk/simplex">Simplex (USA)</a><br> <a href="http://www.lathes.co.uk/mondiale/page6.html">Simplex (Mondiale)</a><br> <a href="http://www.lathes.co.uk/siome">Siome Covema (France)</a><br> <a href="http://www.lathes.co.uk/siome/page2.html">S.I.O.M.E. (France)</a><br> <a href="http://www.lathes.co.uk/sip/page6.html">SIP (Swiss)</a><br> <a href="http://www.lathes.co.uk/skarzysko">Skarzysko (Poland)</a><br> <a href="http://www.lathes.co.uk/sloan&amp;chace">Sloan &amp; Chace (USA)</a><br> <a href="http://www.lathes.co.uk/sl2a">SL2a (Germany)</a><br> <a href="http://www.lathes.co.uk/sm">SM (France)</a><br> <a href="http://www.lathes.co.uk/cromwell">Smallpiece - Cromwell</a><br> <a href="http://www.lathes.co.uk/smartbrown/index.html">Smart &amp; Brown</a><br> <a href="http://www.lathes.co.uk/smid">SMID (France)</a><br> <a href="http://www.lathes.co.uk/smith-drum">Smith-Drum (USA)</a><br> <a href="http://www.lathes.co.uk/socomo">Socomo (France)</a><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'><a href="http://www.lathes.co.uk/sombv">S.O.M.B.V. (France)</a><span style="mso-spacerun: yes">   </span></span><span style='font-size:11.0pt; font-family:Arial'><br> <a href="http://www.lathes.co.uk/southbend/index.html">South Bend (USA)</a><br> <a href="http://www.lathes.co.uk/southwark">Southwark</a><br> <a href="http://www.lathes.co.uk/universal-precision-parts">Sperry (USA)</a><br> <a href="http://www.lathes.co.uk/spencer">Spencer</a><br> <a href="http://www.lathes.co.uk/atlas/page9.html">Sphere</a><br> <a href="http://www.lathes.co.uk/toyo/page3.html">Spindle Star (Toyo ML1)</a><br> <a href="http://www.lathes.co.uk/springfield">Springfield (USA)</a><br> <a href="http://www.lathes.co.uk/sr80">SR80 (Denmark)</a><br> <a href="http://www.lathes.co.uk/stalwart/index.html">Stalwart</a><br> <a href="http://www.lathes.co.uk/mondiale">Standard (Mondiale) Belgium</a><br> <a href="http://www.lathes.co.uk/standardmodern">Standard Modern (Canada)</a><br> <a href="http://www.lathes.co.uk/russian">Stanko 3-inch (Russia)</a><br> <a href="http://www.lathes.co.uk/stankoimport">Stankoimport (Russia)</a><br> <a href="http://www.lathes.co.uk/stanley">Stanley</a><br> <a href="http://www.lathes.co.uk/star">Star (A.Gentil Swiss)</a><br> <a href="http://www.lathes.co.uk/senecafalls/index.html">Star (Seneca Falls USA)</a><br> <a href="http://www.lathes.co.uk/stark">Stark (USA)</a><br> <a href="http://www.lathes.co.uk/stb">STB Precision (Unknown)</a> <br> <a href="http://www.lathes.co.uk/stedall">Stedall</a> <br> <a href="http://www.lathes.co.uk/stehman-jenks-stehman-bench-precision">Stehman-Jenks-Stehman (USA)</a><br> <a href="http://www.lathes.co.uk/steiner">Steiner (Swiss)</a><br> <a href="http://www.lathes.co.uk/stepperhead">Stepperhead</a><br> <a href="http://www.lathes.co.uk/shepardhl">Sterling</a><br> <a href="http://www.lathes.co.uk/stewartry">Stewartry</a><br> <a href="http://www.lathes.co.uk/stimaamc">Stima-AMC (France)</a><br> <a href="http://www.lathes.co.uk/stickland-brothers">Stickland Brothers</a><br> <a href="http://www.lathes.co.uk/storebro">Storebro (Sweden)</a><br> <a href="http://www.lathes.co.uk/strube">H.Strube &amp; Son (France/Swiss)</a><br> <a href="http://www.lathes.co.uk/stuart">Stuart</a><br> <a href="http://www.lathes.co.uk/sugges">Sugges (France)</a><br> <a href="http://www.lathes.co.uk/seligsonnenthal/page3.html">Sundale</a><br> <a href="http://www.lathes.co.uk/superior">Superior (Canada)</a><br> <a href="http://www.lathes.co.uk/swartchild">Swartchild (USA)</a><br> <a href="http://www.lathes.co.uk/swaynerobinson">Swayne-Robinson Bar Bed (USA) </a><br> <a href="http://www.lathes.co.uk/swift">Swift</a><br> <a href="http://www.lathes.co.uk/swissuniversal">Swiss Universal/Mandrel</a><br> <a href="http://www.lathes.co.uk/carstens">Swisten (Germany)</a><br> <a href="http://www.lathes.co.uk/sypher">Sypher (USA)</a><br> <a href="http://www.lathes.co.uk/myford-copies">Tafenglon (Myford Copy)</a><br> <a href="http://www.lathes.co.uk/taig/index.html">Taig (USA)</a> <br> <a href="http://www.lathes.co.uk/taiwan">Taiwanese Generic</a><br> <a href="http://www.lathes.co.uk/taiwanese-1330-1340-1430-1440">Taiwanese Geared-head 1330 to 1440</a><br> <a href="http://www.lathes.co.uk/takisawa">Takisawa (Japan)</a><br> <a href="http://www.lathes.co.uk/tangyes">Tangyes</a><br> <a href="http://www.lathes.co.uk/target-copymax-attachment">Target Copymax Attachment</a><br> <a href="http://www.lathes.co.uk/taylor">Taylor</a><br> <a href="http://www.lathes.co.uk/taylor&amp;challen">Taylor &amp; Challen</a><br> <a href="http://www.lathes.co.uk/ttaylor">T.Taylor - Manchester</a><br> <a href="http://www.lathes.co.uk/boleybevelledbed">T.C. & M. (Boley)</a> <br> <a href="http://www.lathes.co.uk/tekno">Tekno - Toys (Denmark)</a><br> <a href="http://www.lathes.co.uk/boleybevelledbed/">Telco (Boley)</a><br> <a href="http://www.lathes.co.uk/teyssou">Teyssou (France)</a><br> <a href="http://www.lathes.co.uk/thum">Thum (French/Swiss)</a><br> <a href="http://www.lathes.co.uk/myford-copies/">Tiger Turn (Myford copies)</a><br> <a href="http://www.lathes.co.uk/tillico">Tillico (Australia)</a><br> <a href="http://www.lathes.co.uk/timbrellwright">Timbrell &amp; Wright</a><br> <a href="http://www.lathes.co.uk/tlm">T. &amp; L. M.</a><br> <a href="http://www.lathes.co.uk/tlv">TLV (Sweden)</a><br> <a href="http://www.lathes.co.uk/adept/page2.html">T.N.C. Adept (Australia)</a><br> <a href="http://www.lathes.co.uk/TNC-CamSon">T.N.C.-CamSon (Australia)</a><br> <a href="http://www.lathes.co.uk/tos-millers">TOS Lathes Links Page</a><br> <a href="http://www.lathes.co.uk/tos/index.html">TOS MN80 & SU16 (CZ)</a><br> <a href="http://www.lathes.co.uk/tos-S28">TOS S28 Toolroom (CZ)</a><br> <a href="http://www.lathes.co.uk/tos-book-page-1">TOS Factory Tour (CZ)</a><br> <a href="http://www.lathes.co.uk/toledo">Toledo (USA)</a><br> <a href="http://www.lathes.co.uk/torni">Torni Lathes (Italy)</a><br> <a href="http://www.lathes.co.uk/torrent">Torrent Tarragona (Spain)</a><br> <a href="http://www.lathes.co.uk/tovaglieri">Tovaglieri (Italy)</a><br> <a href="http://www.lathes.co.uk/woodhouse&amp;mitchell/index.html">Town Woodhouse</a><br> <a href="http://www.lathes.co.uk/toy-lathe">Toy Lathe</a><br> <a href="http://www.lathes.co.uk/toyo/index.html">Toyo/Sakai (Japan)</a><br> <a href="http://www.lathes.co.uk/traub-automatic-lathes">Traub Automatic Lathes</a><br> <a href="http://www.lathes.co.uk/traub-bench-precision">Traub Precision(Germany)</a><br> <a href="http://www.lathes.co.uk/trident">Trident</a><br> <a href="http://www.lathes.co.uk/troglia">Troglia (Italy)</a><br> <a href="http://www.lathes.co.uk/faircut/index.html">Truecut</a><br> <a href="http://www.lathes.co.uk/turnell-and-odell">Turnell & Odell</a><br> <a href="http://www.lathes.co.uk/turner">Turner</a><br> <a href="http://www.lathes.co.uk/cuthbert">TW Monoturn</a><br> <a href="http://www.lathes.co.uk/zyto">Tyzack (Zyto)</a><br> <a href="http://www.lathes.co.uk/southbend9-inch/page11.html">UFP (France)</a><br> <a href="http://www.lathes.co.uk/uma">UMA (Germany)</a><br> <a href="http://www.lathes.co.uk/und">U.N.D. (USA)</a><br> <a href="http://www.lathes.co.uk/dan">Unic (Swiss)</a><br> <p align=centre <br><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:230px;height:200px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'> <a href="http://www.lathes.co.uk/unimac">Unimac Universal (Australia)</a><br> <a href="http://www.lathes.co.uk/unimat">Unimat (Emco, Austria)</a><br> <a href="http://www.lathes.co.uk/unimilla">Unimilla Famup (Italy)</a><br> <a href="http://www.lathes.co.uk/union">Union (UK)</a><br> <a href="http://www.lathes.co.uk/union-werk">Union Werk (Germany)</a><br> <a href="http://www.lathes.co.uk/unispan">Unispan (Germany)</a><br> <a href="http://www.lathes.co.uk/unitor">Unitor (Italy)</a><br> <a href="http://www.lathes.co.uk/universal-precision-parts/index.html">Universal Precision Parts (USA)</a><br> <a href="http://www.lathes.co.uk/universo">Universo (France)</a><br> <a href="http://www.lathes.co.uk/unknown">UNKNOWN Lathes</a><br> <a href="http://www.lathes.co.uk/ursus">Ursus (Italy)</a><br> <a href="http://www.lathes.co.uk/prudor">Vachette (France)</a><br> <a href="http://www.lathes.co.uk/vannorman">Van Norman (USA)</a><br> <a href="http://www.lathes.co.uk/minilor/index.html">Vario-Lux 130 (France)</a><br> <a href="http://www.lathes.co.uk/swissuniversal">Vauscher G.Ve (Swiss)</a><br> <a href="http://www.lathes.co.uk/vdf">VDF (Germany)</a><br> <a href="http://www.lathes.co.uk/vdf-factory-tour">VDF Factory Tour (Germany)</a><br> <a href="http://www.lathes.co.uk/vector">Vector (China)</a><br> <a href="http://www.lathes.co.uk/veem">Veem (Australia)</a><br> <a href="http://www.lathes.co.uk/vef">VEF (Latvia)</a><br> <a href="http://www.lathes.co.uk/vektor">Vektor (Swiss)</a><br> <a href="http://www.lathes.co.uk/velox">Velox</a><br> <a href="http://www.lathes.co.uk/venot">Venot (France)</a><br> <a href="http://www.lathes.co.uk/vernier">Vernier (France)</a><br> <a href="http://www.lathes.co.uk/verschoyle/index.html">Verschoyle</a><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'><a href="http://www.lathes.co.uk/vesuv">Vesuv (Denmark)</a><span style="mso-spacerun: yes">   </span></span><span style='font-size:11.0pt; font-family:Arial'><br> <a href="http://www.lathes.co.uk/viceroy/index.html">Viceroy&nbsp; (Denford)</a><br> <a href="http://www.lathes.co.uk/vidal">Vidal</a><br> <a href="http://www.lathes.co.uk/vigor">Vigor (and Matt)</a><br> <a href="http://www.lathes.co.uk/villiers">&quot;Villiers&quot;</a><br> <a href="http://www.lathes.co.uk/VLG">VLG (Sweden)</a><br> <a href="http://www.lathes.co.uk/voest">Vöest (Germany)</a><br> <a href="http://www.lathes.co.uk/volman">Volman (TOS) CZ</a><br> <a href="http://www.lathes.co.uk/vuilleumier-freres">Vuilleumier Freres(France)</a><br> <a href="http://www.lathes.co.uk/wabeco">Wabeco (Germany)</a><br> <a href="http://www.lathes.co.uk/wade%20cva/index.html">Wade/CAV round bed</a><br> <a href="http://www.lathes.co.uk/wade/index.html">Wade Precision (USA)</a><br> <a href="http://www.lathes.co.uk/wahli">Wahli (Swiss)</a><br> <a href="http://www.lathes.co.uk/wakefield">Wakefield</a><br> <p align=centre <br><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:230px;height:200px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'> <a href="http://www.lathes.co.uk/walcott">Walcott (USA)</a><br> <a href="http://www.lathes.co.uk/walram">Walram Attachment</a><br> <a href="http://www.lathes.co.uk/waltham/index.html">Waltham (USA)</a><br> <a href="http://www.lathes.co.uk/walther">Walther (Germany)</a><br> <a href="http://www.lathes.co.uk/wandess">Wandess</a><br> <a href="http://www.lathes.co.uk/ward-50s">Ward Turret Lathes</a><br> <a href="http://www.lathes.co.uk/warwick/index.html">Warwick</a><br> <a href="http://www.lathes.co.uk/watchmaker">Watchmakers Lathes</a><br> <a href="http://www.lathes.co.uk/wcc">WCC (USA)</a><br> <a href="http://www.lathes.co.uk/webster-howarth">Webster &amp; Howarth</a><br> <a href="http://www.lathes.co.uk/derbyshire">Webster Whitcomb (USA)</a><br> <a href="http://www.lathes.co.uk/westernaircraft">Western Aircraft (USA)</a><br> <a href="http://www.lathes.co.uk/weidenhoff">Weidenhoff (USA)</a><br> <a href="http://www.lathes.co.uk/weiler">Weiler (Germany)</a><br> <a href="http://www.lathes.co.uk/weisser">Johann Weisser (Germany)</a><br> <a href="http://www.lathes.co.uk/eugenweisser">Eugen Weisser (Germany)</a><br> <a href="http://www.lathes.co.uk/welson">Welson</a><br> <a href="http://www.lathes.co.uk/wermelinger">Wermelinger Lathe (France)</a><br> <a href="http://www.lathes.co.uk/whippet">Whippet</a><br> <a href="http://www.lathes.co.uk/myford-copies">Whitecote (Myford copies)</a><br> <a href="http://www.lathes.co.uk/myford-copies">White Colt (Myford copies)</a><br> <a href="http://www.lathes.co.uk/whiting-pottery-lathe">Whiting Pottery Lathe (USA)</a><br> <a href="http://www.lathes.co.uk/wield">Wield J.</a><br> <p align=centre <br><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:230px;height:100px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'> <a href="http://www.lathes.co.uk/wilfin">Wilfin</a><br> <a href="http://www.lathes.co.uk/williams">Williams Watch Lathe (USA)</a><br> <a href="http://www.lathes.co.uk/ideal">Willimot</a><br> <a href="http://www.lathes.co.uk/willson/index.html">Willson</a><br> <a href="http://www.lathes.co.uk/seth-wilmarth">Wilmarth (Seth Wilmarth) USA</a><br> <a href="http://www.lathes.co.uk/winfield/index.html">Winfield</a> <br> <a href="http://www.lathes.co.uk/winkle">Winkle (USA)</a><br> <a href="http://www.lathes.co.uk/wiskum">Wiskum (Denmark)</a><br> <a href="http://www.lathes.co.uk/wizard/index.html">Wizard</a><br> <a href="http://www.lathes.co.uk/wolfjahn">Wolf Jahn (Germany)</a><br> <a href="http://www.lathes.co.uk/frankwood">Wood (Frank Wood USA)</a><br> <a href="http://www.lathes.co.uk/portass/page5.html">Woolner</a><br> <a href="http://www.lathes.co.uk/woodhouse&amp;mitchell">Woodhouse &amp; Mitchell</a><br> <a href="http://www.lathes.co.uk/worcester">Worcester (USA)</a><br> <a href="http://www.lathes.co.uk/wren">Wren</a><br> <a href="http://www.lathes.co.uk/von-wyck">Von Wyck (USA)</a><br> <a href="http://www.lathes.co.uk/wyvern">Wyvern</a><br> <a href="http://www.lathes.co.uk/mazak">Yamazaki (Japan)</a><br> <a href="http://www.lathes.co.uk/york">York</a><br> <a href="http://www.lathes.co.uk/earl-young-home-made-lathe">Earl Young Lathe</a><br> <a href="http://www.lathes.co.uk/zbrojovka">Zbrojovka (CZ)</a><br> <a href="http://www.lathes.co.uk/zdz">ZDZ (Poland)</a><br> <a href="http://www.lathes.co.uk/zimmerman">Zimmerman (USA)</a><br> <a href="http://www.lathes.co.uk/zkn">ZKD (Denmark)</a><br> <a href="http://www.lathes.co.uk/zkn">ZKN (Denmark)</a><br> <a href="http://www.lathes.co.uk/craftsman/page8.html">Zoerman-Clark (USA)</a><br> <a href="http://www.lathes.co.uk/zubi">Zubi (Spain)</a><br> <a href="http://www.lathes.co.uk/zyto/index.html">Zyto</a><br> </span><strong><a href="http://www.lathes.co.uk/unknown"><span style='font-size:11.0pt;font-family:Arial;mso-bidi-font-weight:bold'>UNKNOWN LATHES</span></a></strong></p> <p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; text-align:justify'><strong><span style='font-size:11.0pt;font-family:Arial'>COMBINATION MACHINES</span></strong><b><span style='font-size:11.0pt;font-family:Arial'><br> </span></b><span style='font-size:11.0pt;font-family:Arial'> <a href="http://www.lathes.co.uk/adcock&amp;shipleycombination/index.html">Adcock &amp; Shipley</a><br> <a href="http://www.lathes.co.uk/aldrin">Aldrin (Sweden)</a><br> <a href="http://www.lathes.co.uk/almkvist">Almkvist (Sweden)</a><br> <a href="http://www.lathes.co.uk/amestriplex">Ames Triplex (USA)</a><br> <a href="http://www.lathes.co.uk/arboga/page3.html">Arboga UM400 (Sweden)</a><br> <a href="http://www.lathes.co.uk/arbor">Arbor (Italy)</a><b><br> </b><a href="http://www.lathes.co.uk/astoba-universal">Astoba</a><br> <a href="http://www.lathes.co.uk/canedy-otto">Canedy-Otto (USA)</a><br> <a href="http://www.lathes.co.uk/carlstedt">Carlstedt (Sweden)</a><br> <a href="http://www.lathes.co.uk/cochrane-bly">Cochrane-Bly (USA)</a><br> <a href="http://www.lathes.co.uk/dainichi">Dainichi (Japan)</a><br> <a href="http://www.lathes.co.uk/dalton/index.html">Dalton (USA)</a><br> <a href="http://www.lathes.co.uk/fuchs">Fuchs (Germany)</a><br> <a href="http://www.lathes.co.uk/gilman/page2.html">Gilman (USA)</a><br> <a href="http://www.lathes.co.uk/gilman/page2.html">Hannifin (USA)</a><br> <a href="http://www.lathes.co.uk/hommel">Hommel (Germany)</a><br> <a href="http://www.lathes.co.uk/hungarianmultifunction">Hungarian One-off</a><br> <a href="http://www.lathes.co.uk/kitchenwade/index.html">Kitchen &amp; Wade</a><br> <a href="http://www.lathes.co.uk/kneller/index.html">Kneller</a><br> <a href="http://www.lathes.co.uk/krause">Krause (Austria)</a><br> <p align=centre <br><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:230px;height:200px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'> <a href="http://www.lathes.co.uk/labormil">Labormil (Raglan based)</a><br> <a href="http://www.lathes.co.uk/leinweber">Leinweber (Germany)</a><br> <a href="http://www.lathes.co.uk/metalmaster">Metalmaster (Impetus)</a><br> <a href="http://www.lathes.co.uk/meyerburger/index.html">Meyer &amp; Burger (Astoba)</a><br> <a href="http://www.lathes.co.uk/multimachine">Multimachine (USA)</a><br> <a href="http://www.lathes.co.uk/murad/page3.html">Murad Bormilathe</a><br> <a href="http://www.lathes.co.uk/ous">OUS-Oswiecim (Poland)</a><br> <a href="http://www.lathes.co.uk/siame">L'Outilervé (France)</a><br> <a href="http://www.lathes.co.uk/piho">Piho (Germany)</a><br> <a href="http://www.lathes.co.uk/rindis/index.html">Rindis</a><br> <a href="http://www.lathes.co.uk/adcock&amp;shipleycombination">Ryder (Thomas Ryder)</a><br> <a href="http://www.lathes.co.uk/saacke">Saacke (Germany)</a><br> <a href="http://www.lathes.co.uk/sacia">Sacia (Spain)</a><br> <a href="http://www.lathes.co.uk/schiessl">Schiessl (Austria)</a><br> <a href="http://www.lathes.co.uk/scope">Scope</a><br> <a href="http://www.lathes.co.uk/siome">Siome Covema (France)</a><br> <a href="http://www.lathes.co.uk/siome">Siome Covema (France)</a><br> <a href="http://www.lathes.co.uk/unimac">Unimac Universal (Australia)</a><br> <a href="http://www.lathes.co.uk/unispan">Unispan (Germany)</a><br> <a href="http://www.lathes.co.uk/hommel">UWG (Germany)</a></span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial'><br> <a href="http://www.lathes.co.uk/unispan">Unispan (Germany)</a><br> <a href="http://www.lathes.co.uk/Wahli">Wahlie (Swiss)</a></span></p> <p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; text-align:justify'><b><span style='font-size:11.0pt;font-family:Arial'>ORNAMENTAL TURNING</span></b><br> <span style='font-size:11.0pt;font-family:Arial'> <a href="http://www.lathes.co.uk/goyen">Goyen</a><br> <a href="http://www.lathes.co.uk/hayward">Hayward</a><br> <a href="http://www.lathes.co.uk/holtzapffel">Holtzapffel</a><br> <a href="https://madelathe.com/">MADE Ornamental (USA)</a><br> <a href="http://lathes.co.uk/massey">Massey</a><br> <a href="http://www.lathes.co.uk/muckle">Muckle</a><br> <a href="http://www.lathes.co.uk/munro">Munro</a><br> <a href="http://www.lathes.co.uk/evans">Evans</a><br> <p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; text-align:justify'><b><span style='font-size:11.0pt;font-family:Arial'>HOME-BUILT Machine Tools<br> </span></b><span style='font-size:11.0pt;font-family:Arial'> <a href="http://www.lathes.co.uk/home-made-bar-bed-lathe">Home-made Bar-bed Lathe</a><br> <a href="http://www.lathes.co.uk/bradley-pow-lathe">R.Bradley WW2 Lathe</a><br> <a href="http://www.lathes.co.uk/bornarel">Bornarel Cutter Grinder (France)</a><br> <a href="http://www.lathes.co.uk/delvo">Delvo Home-built Lathe (Italy)</a><br> <a href="http://www.lathes.co.uk/dimitar-bulgaria">Dimitar-Bulgaria Home-Made</a><br> <a href="http://www.lathes.co.uk/earl-young-home-made-lathe">Earl Young Lathe</a><br> <a href="http://www.lathes.co.uk/elffers">Elffers Lathe</a><br> <a href="http://www.lathes.co.uk/fogg">Fogg Home-made 1919</a><br> <a href="http://www.lathes.co.uk/fonly">F'only Lathe</a><br> <a href="http://www.lathes.co.uk/geslo">Geslo Lathe</a><br> <a href="http://www.lathes.co.uk/greenly">Greenly</a><br> <a href="http://www.lathes.co.uk/hansen">Hansen (Canada)</a><br> <a href="http://www.lathes.co.uk/homemadeprecision">Home-made Precision</a><br> <a href="http://www.lathes.co.uk/midget">&quot;Midget&quot; Home-made (USA)</a><br> <a href="http://www.lathes.co.uk/multimachine">Multimachine (USA)</a><br> <a href="http://www.lathes.co.uk/parr">Frank Parr (Australia)</a><br> <a href="http://www.lathes.co.uk/ron-passa-grinder">Ron Passa Grinder</a><br> <a href="http://www.lathes.co.uk/petrie">Petrie</a><br> <a href="http://www.lathes.co.uk/mason-home-built-lathe">Mason</a><br> <a href="http://www.lathes.co.uk/home-made-shaper">Shaper, hand-operated</a><br> <a href="http://www.lathes.co.uk/stepperhead">Stepperhead Multi-function</a><br> <a href="http://www.lathes.co.uk/fogg">Fogg Lathe 1919</a><br> <a href="http://www.lathes.co.uk/earl-young-home-made-lathe">Earl Young Lathe</a><br> <a href="http://www.lathes.co.uk/unimat-home-made">Unimat Copy No.1 (South Africa)</a><br> <a href="http://www.lathes.co.uk/unimat-home-made-2">Unimat Copy No.2</a><o:p></o:p></span></p> <p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; text-align:justify'><b><span style='font-size:11.0pt;font-family:Arial'>WATCHMAKER'S LATHES<br> </span></b><span style='font-size:11.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/watchmaker">General Link</a></span></p> </span></b><strong><span style='font-size:11.0pt;font-family:Arial'>Machine Literature</span></strong><b><span style='font-size:11.0pt; font-family:Arial'><br> </span></b><strong><span style='font-size:11.0pt;font-family:Arial'><a href="https://store.lathes.co.uk/"><span style='mso-bidi-font-weight:bold'>Manuals</span></a></span></strong><b><span style='font-size:11.0pt; font-family:Arial'><br> </span></b><strong><span style='font-size:11.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/catalogues"><span style='mso-bidi-font-weight: bold'>Catalogues</span></a></span></strong><b><span style='font-size:11.0pt;font-family:Arial'><br> <br> </span></b><strong><span style='font-size:11.0pt;font-family:Arial'>Books for <a href="https://store.lathes.co.uk/books"><span style='mso-bidi-font-weight: bold'><br> </span><span style='mso-bidi-font-weight:bold'>Model &amp; Experimental Engineering</span></a></span><o:p></o:p></strong></p> <p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; text-align:justify'><b><span style='font-size:11.0pt;font-family:Arial'>BELTS – flat, round, link and V, etc.</span> <br> <a href="https://store.lathes.co.uk/belts"><span style='font-size:11.0pt; font-family:Arial'>Drive belts: flat, round, <br> link and V – all available</span></a></span><o:p></o:p></strong></p> </b></span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt; font-family:Arial'> <b>Gear Machinery</b><br> </b></span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt; font-family:Arial'> <a href="http://www.lathes.co.uk/barber-colman-gear-hobbers">Barber-Colman Hobbers (USA)</a><br> <a href="http://www.lathes.co.uk/drummond-maxicut-gear-shapers">Drummond Maxicut Gear Shapers</a><br> <a href="http://www.lathes.co.uk/edgwick-gear-machine">Edgwick Gear & Spine Cutter</a><br> <a href="http://www.lathes.co.uk/fellows-50th-anniversary">Fellows 50th Anniversary Book (USA)</a><br> <a href="http://www.lathes.co.uk/gauthier/page5.html">Gauthier Abwälz Räderfräs (Germany)</a><br> <a href="http://www.lathes.co.uk/hurth/page3.html">Hurth Gear Hobber (Germany)</a><br> <a href="http://www.lathes.co.uk/jacobs">Jacobs Gear Hobber</a><br> <a href="http://www.lathes.co.uk/koepfer-factory-tour">Koepfer Factory Tour (Germany)</a><br> <a href="http://www.lathes.co.uk/kuhlmann-machine-tools">Kuhlmann (Germany)</a><br> <a href="http://www.lathes.co.uk/maag">MAAG Gear Cutters (Swiss)</a><br> <a href="http://www.lathes.co.uk/mikron-type-79-gear-hobber">Mikron Gear Hobber (Swiss)</a><br> <a href="http://www.lathes.co.uk/pfauter">Pfauter Gear Hobbers (Germany)</a><br> <a href="http://www.lathes.co.uk/sunderland">Sunderland Gear Planers</a><br> </td> <td width=288 colspan=2 valign=top style='width:216.1pt;background:white; padding:0cm 0cm 0cm 0cm;height:211.9pt'> <p class=MsoNormal style='text-align:justify'><b><span style='font-size:11.0pt; font-family:Arial'>Milling Machines <br>Jig Borers</span></b><sparn style='font-size:11.0pt;font-family:Arial'><br> <a href="http://www.lathes.co.uk/abene">Abene . (Sweden)</a><br> <a href="http://www.lathes.co.uk/abwoodattachment">Abwood Attachment</a><br> <a href="http://www.lathes.co.uk/aciera/index.html">Aciera (Swiss)</a><br> <a href="http://www.lathes.co.uk/adcock&amp;shipleyhorizontal/index.html">Adcock &amp; Shipley</a><br> <a href="http://www.lathes.co.uk/adeka">Adeka (Swiss)</a><br> <a href="http://www.lathes.co.uk/aew">A.E.W.</a><br> <a href="http://www.lathes.co.uk/ajaxmillers">Ajax</a><br> <a href="http://www.lathes.co.uk/aldrin">Aldrin (Sweden)</a><br> <a href="http://www.lathes.co.uk/alexander/index.html">Alexander/Deckel</a><br> <a href="http://www.lathes.co.uk/alpine-miller">Alpine (Taiwan)</a><br> <a href="http://www.lathes.co.uk/americanwatchtoolmiller">American Watch Tool</a><br> <a href="http://www.lathes.co.uk/amesmiller/index.html">Ames (USA)</a><br> <a href="http://www.lathes.co.uk/amolco">Amolco</a><br> <a href="http://www.lathes.co.uk/anayak">Anayak</a><br> <a href="http://www.lathes.co.uk/arboga/index.html">Arboga (Sweden)</a><br> <a href="http://www.lathes.co.uk/archdale">Archdale</a><br> <a href="http://www.lathes.co.uk/armor">Armor (USA)</a><br> <p align=centre <br><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:230px;height:200px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> </span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family: Arial'> <a href="http://www.lathes.co.uk/arno">Arno (Italy)</a><br> <a href="http://www.lathes.co.uk/assa-jig-borer">Assa Mini Jig Borer (Swiss)</a><br> <a href="http://www.lathes.co.uk/astra/index.html">Astra</a><br> <a href="http://www.lathes.co.uk/atlantic">Atlantic (USA)</a><br> <a href="http://www.lathes.co.uk/atlasmiller/index.html">Atlas/Craftsman (USA)</a><br> <a href="http://www.lathes.co.uk/avia">Avia (Poland)</a><br> <a href="http://www.lathes.co.uk/axelson-millers">Axelson (USA)</a><br> <a href="http://www.lathes.co.uk/azetamiller">Azeta (Italy)</a><br> <a href="http://www.lathes.co.uk/bandini">Bandini (Italy)</a><br> <a href="http://www.lathes.co.uk/barkermiller">Barker (USA)</a><br> <a href="http://www.lathes.co.uk/bca/index.html">BCA (UK)</a><br> <a href="http://www.lathes.co.uk/beaver/">Beaver (UK)</a><br> <a href="http://www.lathes.co.uk/becker">Becker (USA)</a><br> <a href="http://www.lathes.co.uk/beichle-koelsch">Beichle Universal (Germany)</a> <br> <a href="http://www.lathes.co.uk/belinglubke/page2.html">Beling &amp; Lübke (Germany)</a><br> <a href="http://www.lathes.co.uk/duro">Benchmaster (USA)</a><br> <a href="http://www.lathes.co.uk/bensonmiller">Benson</a><br> <a href="http://www.lathes.co.uk/birch/page2.html">Birch</a><br> <a href="http://www.lathes.co.uk/bickett">Bickett (USA)</a><br> <a href="http://www.lathes.co.uk/blankbuxton">Blank &amp; Buxton (USA)</a><br> <a href="http://www.lathes.co.uk/blohm">Blohm (Germany)</a><br> <a href="http://www.lathes.co.uk/boko">Boko (Germany)</a><br> <a href="http://www.lathes.co.uk/boley-miller">Boley (Germany)</a><br> <a href="http://www.lathes.co.uk/bondsmaximus/page2.html">Bond's Maximus</a><br> <a href="http://www.lathes.co.uk/boxfordmiller/index.html">Boxford</a><br> <a href="http://www.lathes.co.uk/breguet/page2.html">Breguet Freres</a><br> <a href="http://www.lathes.co.uk/bridgeport">Bridgeport (USA)</a><br> <a href="http://www.lathes.co.uk/gooley-edlund">Briggs (USA)</a><br> <a href="http://www.lathes.co.uk/britannia/page4.html">Britannia</a><br> <a href="http://www.lathes.co.uk/omniversal">Brown &amp; Sharpe Omniversal(USA)</a><br> <a href="http://www.lathes.co.uk/brown-sharpe-1928-standard">Brown &amp; Sharpe Millers (USA)</a><br> <a href="http://www.lathes.co.uk/buffalo-miller">Buffalo (Taiwan)</a><br> <a href="http://www.lathes.co.uk/burke">Burke (USA)</a><br> <a href="http://www.lathes.co.uk/busch-millers">Busch (Germany)</a><br> <a href="http://www.lathes.co.uk/busybee">Busy-Bee(Valle Olona, Italy)</a><br> <a href="http://www.lathes.co.uk/elgamill">Butler Elgamill</a><br> <a href="http://www.lathes.co.uk/carstens/page6.html">Carstens (Germany)</a><br> <a href="http://www.lathes.co.uk/carterhakes">Carter &amp; Hakes USA</a><br> <a href="http://www.lathes.co.uk/cataract%20miller/index.html">Cataract ((USA)</a><br> <a href="http://www.lathes.co.uk/centec/index.html">Centec</a><br> <a href="http://www.lathes.co.uk/centex">Centex (USA)</a><br> <a href="http://www.lathes.co.uk/childs">Childs (USA)</a><br> <a href="http://www.lathes.co.uk/vernon/page2.html">Chin Tsan (Taiwan)</a><br> <a href="http://www.lathes.co.uk/christen">Christen (Swiss)</a><br> <a href="http://www.lathes.co.uk/cincinnati">Cincinnati (USA)</a><br> <a href="http://www.lathes.co.uk/clark-miller">Clark</a><br> <a href="http://www.lathes.co.uk/clausing%20vertical/index.html">Clausing (USA)</a><br> <a href="http://www.lathes.co.uk/cloud">Cloud (USA)</a><br> <a href="http://www.lathes.co.uk/cme-milling-machines">CME (Spain)</a><br> <a href="http://www.lathes.co.uk/cochrane-bly">Cochrane-bly (USA)</a><br> <a href="http://www.lathes.co.uk/columbia/index.html">Columbia (USA)</a><br> <a href="http://www.lathes.co.uk/correa">Correa (Spain)</a><br> <a href="http://www.lathes.co.uk/costilo-miller">J.E.Costilo(USA)</a><br> <a href="http://www.lathes.co.uk/cowards">Cowards Attachment</a><br> <a href="http://www.lathes.co.uk/cowells-miller">Cowells</a><br> <a href="http://www.lathes.co.uk/atlasmiller">Craftsman</a><br> <a href="http://www.lathes.co.uk/cross">Cross (USA)</a><br> <a href="http://www.lathes.co.uk/crouzet/page2.html">Crouzet (France)</a><br> <a href="http://www.lathes.co.uk/crowningshield">Crowningshield (USA)</a><br> <a href="http://www.lathes.co.uk/astra">CST (Italy)</a><br> <a href="http://www.lathes.co.uk/cunliffe-croom">Cunliffe &amp; Croom</a><br> <a href="http://www.lathes.co.uk/cvamiller/index.html">CVA</a><br> <script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- Tony Griffiths --> <ins class="adsbygoogle" style="display:inline-block;width:260px;height:250px" data-ad-client="ca-pub-3292110464104686" data-ad-slot="3128009651"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script><br> <a href="http://www.lathes.co.uk/Cygnet-miller">Cygnet (USA)</a><br> <a href="http://www.lathes.co.uk/daewoo-namsun">Daewoo(Korea)</a><br> <a href="http://www.lathes.co.uk/dalrae">Dalrae Attachment ((USA)</a><br> <a href="http://www.lathes.co.uk/davisegan">Davis &amp; Egan (USA)</a><br> <a href="http://www.lathes.co.uk/deckel/index.html">Deckel (Germany)</a><br> <a href="http://www.lathes.co.uk/rockwellmillers">Delta Rockwell (USA)</a><br> <a href="http://www.lathes.co.uk/denbigh">Denbigh</a><br> <a href="http://www.lathes.co.uk/derbyshiremicromill">Derbyshire (USA)</a><br> <a href="http://www.lathes.co.uk/devlieg">DeVlieg Jigmils (USA)</a><br> <a href="http://www.lathes.co.uk/diamond">Diamond (USA)</a><br> <a href="http://www.lathes.co.uk/dixi/">Dixi (Swiss)</a><br> <a href="http://www.lathes.co.uk/dore-westbury/index.html">Dore Westbury</a><br> <a href="http://www.lathes.co.uk/elliott-mini-jig/index.html">Downham Mini Jig Borer</a><br> <a href="http://www.lathes.co.uk/duff">Duff (USA)</a><br> <a href="http://www.lathes.co.uk/gaston-dufour">Dufour (Gaston Dufour France)</a><br> <a href="http://www.lathes.co.uk/duplomatic-fc1">Duplomatic FC1 (Italy)</a><br> <a href="http://www.lathes.co.uk/duro/index.html">Duro (USA)</a><br> <a href="http://www.lathes.co.uk/edgwick-miller">Edgwick</a><br> <a href="http://www.lathes.co.uk/elgin-vertical">Elgin (USA)</a><br> <a href="http://www.lathes.co.uk/elliott-mini-jig/index.html">Elliott Mini Jig Borer</a><br> <a href="http://www.lathes.co.uk/elliottmillers">Elliott Millers</a><br> <a href="http://www.lathes.co.uk/emcomiller">Emco (Austria)</a><br> <a href="http://www.lathes.co.uk/eme">E.M.E.</a><br> <a href="http://www.lathes.co.uk/emtoc">EMTOC Jig Borer</a><br> <a href="http://www.lathes.co.uk/enshu">Enshu</a><br> <a href="http://www.lathes.co.uk/arboga/index.html">”Energy” (India)</a><br> <a href="http://www.lathes.co.uk/epex">EPEX</a><br> <a href="http://www.lathes.co.uk/arboga/page5.html">Eskilstuna Tool (Sweden)</a><br> <a href="http://www.lathes.co.uk/everede">Everede Head (USA)</a><br> <a href="http://www.lathes.co.uk/elliott-20mini-jig">Excel</a><br> <a href="http://www.lathes.co.uk/excello">Ex-cell-o (Canada) </a><br> <a href="http://www.lathes.co.uk/famco">Famco (USA)</a><br> <a href="http://www.lathes.co.uk/famup">Famup (Italy)</a><br> <a href="http://www.lathes.co.uk/fehlmann">Fehlmann (Swiss)</a><br> <a href="http://www.lathes.co.uk/ferrari">Ferrari (Italy)</a><br> <a href="http://www.lathes.co.uk/flexispeedmiller">Flexispeed</a><br> <a href="http://www.lathes.co.uk/fobco">Fobco Drills</a><br> <a href="http://www.lathes.co.uk/fox">Fox (USA)</a><br> <a href="http://www.lathes.co.uk/fray">Fray (USA)</a><br> <a href="http://www.lathes.co.uk/gaitzsch">Gaitzsch (Germany)</a><br> <a href="http://www.lathes.co.uk/garvinmillers">Garvin (USA)</a><br> <a href="http://www.lathes.co.uk/globe">Globe Mill Attachment (USA)</a><br> </span><a href="http://www.lathes.co.uk/gobelems"><span style='font-size: 11.0pt;font-family:Arial;color:black'>Göbel EMS (Germany)</span></a><span style='color:red'> </span><span style='font-size:11.0pt;font-family:Arial; color:red'><br> </span><span style='font-size:11.0pt;font-family:Arial'><a href="http://www.lathes.co.uk/goodell-pratt/page4.html">Goodell Pratt (USA)</a><br> <a href="http://www.lathes.co.uk/gooley-edlund">Gooley &amp; Edlund (Briggs, USA)</a><br> <a href="http://www.lathes.co.uk/gorton-1963">Gorton (USA)</a><br> <a href="http://www.lathes.co.uk/beaver/page2.html">Grimston</a><br> <a href="http://www.lathes.co.uk/gutbrod">Gutbrod (Germany)</a><br> <a href="http://www.lathes.co.uk/bridgeport/page5.html">Halco (USA)</a><br> <a href="http://www.lathes.co.uk/metallwarenfabrik-mylau-variomat">Hahn &amp; Kolb Variomat (Ger) </a><br> <a href="http://www.lathes.co.uk/unknown183">Hahn & Klob Universal Miller (Ger)</a><br> <a href="http://www.lathes.co.uk/haighton/page4.html">Haighton</a><br> <a href="http://www.lathes.co.uk/hamiltonmaryland/page2.html">Hamilton (USA)</a><br> <a href="http://www.lathes.co.uk/cataract%20miller/index.html">Hardinge (USA)</a><br> <a href="http://www.lathes.co.uk/harrisonmiller/index.html">Harrison</a><br> <a href="http://www.lathes.co.uk/hauser">Hauser (Swiss)</a><br> <a href="http://www.lathes.co.uk/hayes">Hayes Diemaster</a><br> <a href="http://www.lathes.co.uk/heckler-and-koch/">Heckler & Koch(Germany)</a><br> <a href="http://www.lathes.co.uk/hercusmiller">Hercus (Australia)</a><br> <a href="http://www.lathes.co.uk/hermle">Hermle (Germany)</a><br> <a href="http://www.lathes.co.uk/hero">Hero (Denmark)</a><br> <a href="http://www.lathes.co.uk/hobbymat">Hobbymat (Germany)</a><br> <a href="http://www.lathes.co.uk/hogbo">Hogbo (Sweden)</a><br> <a href="http://www.lathes.co.uk/holke">Holke (Spain)</a><br> <a href="http://www.lathes.co.uk/holland">Holland (USA)</a><br> <a href="http://www.lathes.co.uk/hornamill">Hornamill Attachments</a><br> <a href="http://www.lathes.co.uk/hurth">Hurth V10a Precision (Germany)</a><br> <a href="http://www.lathes.co.uk/husky">Husky (Taiwan)</a><br> <a href="http://www.lathes.co.uk/huronmillers">Huron (France)</a><br> <a href="http://www.lathes.co.uk/index">Index (USA)</a><br> <a href="http://www.lathes.co.uk/induma-millers">Induma (Italy)</a><br> <a href="http://www.lathes.co.uk/industro-lite">Industro-lite (USA)</a><br> <a href="http://www.lathes.co.uk/ingers">Ingers (Italy)</a><br> <a href="http://www.lathes.co.uk/ixion">Ixion (Germany)</a><br> <a href="http://www.lathes.co.uk/jackson-miller">Jackson (USA)</a><br> <a href="http://www.lathes.co.uk/jaspar">Jaspar (Belgium)</a><br> <a href="http://www.lathes.co.uk/jerwag-milling-machine">Jerwag (Germany)</a><br> <a href="http://www.lathes.co.uk/jmb">JMB (Germany)</a><br> <a href="http://www.lathes.co.uk/jones/page3.html">Jones (USA)</a><br> <a href="http://www.lathes.co.uk/mattsson&amp;zetterlund">Junger (Sweden)</a><br> <a href="http://www.lathes.co.uk/kao-fong">Kao Fong (Taiwan)</a><br> <a href="http://www.lathes.co.uk/karger-miller">Karger(Germany)</a><br> <a href="http://www.lathes.co.uk/klopp-millers">Klopp (Germany)</a><br> <a href="http://www.lathes.co.uk/beichle-koelsch">Koelsch Universal (Germany)</a> <br> <a href="http://www.lathes.co.uk/kolb">Kolb Jig Borers (Germany)</a><br> <a href="http://www.lathes.co.uk/kondia">Kondia (Spain)</a><br> <a href="http://www.lathes.co.uk/leinenmicromill">Leinen Micro Mill/Drill (Germany)</a><br> <a href="http://www.lathes.co.uk/bca">Leinen Mini Jig Borer</a><br> <a href="http://www.lathes.co.uk/leinenmiller">Leinen Miller</a><br> <a href="http://www.lathes.co.uk/leitz-jig-borer">Leitz Jig Borer (Germany)</a><br> <a href="http://www.lathes.co.uk/leitz">Leitz B &amp; M (Germany)</a><br> <a href="http://www.lathes.co.uk/lewis/index.html">Lewis Kit Machines (USA)</a><br> <a href="http://www.lathes.co.uk/linley">Linley Jig Borer (USA)</a><br> <a href="http://www.lathes.co.uk/lip">LIP (France)</a><br> <a href="http://www.lathes.co.uk/luthy">Luthy (Swiss)</a><br> <a href="http://www.lathes.co.uk/prvomajskamacmon">Macmon (Germany)</a><br> <a href="http://www.lathes.co.uk/maho">Maho (Germany)</a><br> <a href="http://www.lathes.co.uk/makino-millers">Makino (Japan)</a><br> <a href="http://www.lathes.co.uk/malick-walkows">Malick &amp; Walkows</a><br> <a href="http://www.lathes.co.uk/wgm">Marf &amp; WGM (France)</a><br> <a href="http://www.lathes.co.uk/marlowmiller">Marlow</a><br> <a href="http://www.lathes.co.uk/atlasmiller/page2.html">Marvin Attachments (USA)</a><br> <a href="http://www.lathes.co.uk/matheys">Matheys Millers & Jig Borers (Belgium)</a><br> <a href="http://www.lathes.co.uk/mattsson&amp;zetterlund">Mattsson &amp;Zetterlund (Sweden)</a> <br> <a href="http://www.lathes.co.uk/meddingsmill/index.html">Meddings </a><br> <a href="http://www.lathes.co.uk/metallwarenfabrik-mylau-variomat">Metallwarenfabrik-Mylua Variomat (Ger)</a><br> <a href="http://www.lathes.co.uk/metba">Metba (Spain)</a><br> <a href="http://www.lathes.co.uk/meyer-kearney-and-trecker-autometric-jig-borer">Meyer (K & T) Jig Borer (USA)</a><br> <a href="http://www.lathes.co.uk/buffalo-miller">Microcut (USA/Taiwan)</a><br> <a href="http://www.lathes.co.uk/mikron-small-millers">Mikron Small Millers (Swiss)</a><br> <a href="http://www.lathes.co.uk/mikronmillers">Mikron Large Millers (Swiss)</a><br> <a href="http://www.lathes.co.uk/millrite">Millrite (USA)</a><br> <a href="http://www.lathes.co.uk/milnesmiller">Milnes</a><br> <a href="http://www.lathes.co.uk/mitsui-jig-borers"> Mitsui Jig Borers (Japan)</a><br> <a href="http://www.lathes.co.uk/modigmiller">Modig (Sweden)</a><br> <a href="http://www.lathes.co.uk/mondiale-viking-millers">Mondiale Viking (Belgium)</a><br> <a href="http://www.lathes.co.uk/moore">Moore Jig Borers & Grinders (USA)</a><br> <a href="http://www.lathes.co.uk/myfordmillers">Myford Millers</a><br> <a href="http://www.lathes.co.uk/naerok-mill-drill">Naerok (Korea)</a><br> <a href="http://www.lathes.co.uk/daewoo-namsun/page2.html">Namsun(Korea)</a><br> <a href="http://www.lathes.co.uk/sealey">NuTools (Taiwan)</a><br> <a href="http://www.lathes.co.uk/nichols">Nichols (USA)</a><br> <a href="http://www.lathes.co.uk/mattsson&amp;zetterlund">Nife-Jungner (Sweden)</a><br> <a href="http://www.lathes.co.uk/arno">Nomo/Arno (Italy)</a><br> <a href="http://www.lathes.co.uk/nora">Nora (Germany)</a><br> <a href="http://www.lathes.co.uk/omega-jig-borers">Omega Jig Borers (Italy)</a><br> <a href="http://www.lathes.co.uk/oerlikon">Oerlikon (Swiss)</a><br> <a href="http://www.lathes.co.uk/pallas">Pallas</a><br> <a href="http://www.lathes.co.uk/parkson">Parkson (Parkinson)</a><br> <a href="http://www.lathes.co.uk/pearson">Pearson (USA)</a><br> <a href="http://www.lathes.co.uk/pedersen-millers">Pedersen (Denmark)</a><br> <a href="http://www.lathes.co.uk/perfecto-miller">Perfecto Universal</a><br> <a href="http://www.lathes.co.uk/perronmontier">Perrin Montier Millers (Swiss)</a><br> <a href="http://www.lathes.co.uk/perrin-av-1">Perrin AV-1/AV-2 Jig Borers (Swiss)</a><br> <a href="http://www.lathes.co.uk/pinnacle">Pinnacle (Taiwan)</a><br> <a href="http://www.lathes.co.uk/avia">Polamco (Poland)</a>&nbsp;&nbsp; <br> <a href="http://www.lathes.co.uk/pools/page4.html">Pools</a><br> <a href="http://www.lathes.co.uk/portercableattachment">Porter-Cable Attachment (USA)</a><br> <a href="http://www.lathes.co.uk/portmac">Portmac</a><br> <a href="http://www.lathes.co.uk/potts">Potts Milling Attachment</a><br> <a href="http://www.lathes.co.uk/prattwhitneymiller">Pratt &amp; Whitney (USA)</a><br> <a href="http://www.lathes.co.uk/precise">Precise (USA)</a><br> <a href="http://www.lathes.co.uk/prvomajskamacmon">Prvomajska (Yugo)</a><br> <a href="http://www.lathes.co.uk/raglanmiller/index.html">Raglan</a><br> <a href="http://www.lathes.co.uk/rambaudi">Rambaudi (Italy)</a><br> <a href="http://www.lathes.co.uk/rawyler">Rawyler (Swiss)</a><br> <a href="http://www.lathes.co.uk/RBB">RBB(Germany?)</a><br> <a href="http://www.lathes.co.uk/relmil">&quot;Relmil&quot; Attachment</a><br> <a href="http://www.lathes.co.uk/richmond">Richmond (Midgley &amp; Sutcliffe)</a><br> <a href="http://www.lathes.co.uk/rindis/index.html">Rindis (Universal Tool)</a><br> <a href="http://www.lathes.co.uk/rishton/index.html">Rishton</a><br> <a href="http://www.lathes.co.uk/riva">Riva (Rigiva Italy)</a><br> <a href="http://www.lathes.co.uk/rivettmiller/index.html">Rivett Bench (USA)</a><br> <a href="http://www.lathes.co.uk/rockfordmillers">Rockford (USA)</a><br> <a href="http://www.lathes.co.uk/rockwellmillers">Rockwell Delta (USA)</a><br> <a href="http://www.lathes.co.uk/rodney">Rodney Attachment</a><br> <a href="http://www.lathes.co.uk/rosenforsmillers">Rosenfors (Sweden)</a><br> <a href="http://www.lathes.co.uk/rossi">Rossi S.I.M.A. (Italy)</a><br> <a href="http://www.lathes.co.uk/rotex">Rotex (USA)</a><br> <a href="http://www.lathes.co.uk/round-tower">Round Tower - Yun Fu (Taiwan)</a><br> <a href="http://www.lathes.co.uk/ruhla">Ruhla (Germany)</a><br> <a href="http://www.lathes.co.uk/rusnok/index.html">Rusnok (USA)</a><br> <a href="http://www.lathes.co.uk/rumag">Rumag (Germany)</a><br> <a href="http://www.lathes.co.uk/sabca">S.A.B.C.A. (Belgium)</a><br> <a href="http://www.lathes.co.uk/sachman">Sachman (Italy)</a><br> <a href="http://www.lathes.co.uk/sacia">Sacia (Spain)</a><br> <a href="http://www.lathes.co.uk/sadamel">S.A.D.A.M.E.L. Jig Borer (Swiss)</a><br> <a href="http://www.lathes.co.uk/sajo">Sajo (Sweden)</a><br> <a href="http://www.lathes.co.uk/schaffner-millers">Schaffner (Swiss)</a><br> <a href="http://www.lathes.co.uk/schaublinmiller/index.html">Schaublin (Swiss)</a><br> <a href="http://www.lathes.co.uk/schubert">Schubert (Germany)</a><br> <a href="http://www.lathes.co.uk/sealey">Sealey (Taiwan)</a><br> <a href="http://www.lathes.co.uk/semco">SEMCO</a><br> <a href="http://www.lathes.co.uk/servo">Servo Precision Mill/Drill (USA)</a><br> <a href="http://www.lathes.co.uk/senior/index.html">Senior</a><br> <a href="http://www.lathes.co.uk/sharpmiller">Sharp</a><br> <a href="http://www.lathes.co.uk/sheldon/page5.html">Sheldon (USA)</a><br> <a href="http://www.lathes.co.uk/shizuoka">Shizuoka (Japan)</a><br> <a href="http://www.lathes.co.uk/bca">Sigma</a><br> <a href="http://www.lathes.co.uk/simplon">Simplon (Italy)</a><br> <a href="http://www.lathes.co.uk/sinn">Sinn (Germany)</a><br> <a href="http://www.lathes.co.uk/sip">SIP Jig Borers (Swiss)</a><br> <a href="http://www.lathes.co.uk/sixis">Sixis (Swiss)</a><br> <a href="http://www.lathes.co.uk/sliven-miller">Sliven (Bulgaria)</a><br> <a href="http://www.lathes.co.uk/sloan-chace-miller">Sloan &amp; Chace (USA)</a><br> <a href="http://www.lathes.co.uk/smal">Smal (France)</a><br> <a href="http://www.lathes.co.uk/speck">Speck (Germany)</a><br> <a href="http://www.lathes.co.uk/stankoimport676">Stankoimport 676 (Russia)</a><br> <a href="http://www.lathes.co.uk/stanley">Stanley</a><br> <a href="http://www.lathes.co.uk/starkmiller">Stark (USA)</a><br> <a href="http://www.lathes.co.uk/stevens">Stevens</a><br> <a href="http://www.lathes.co.uk/tos-millers">Strojimport (CZ)</a><br> <a href="http://www.lathes.co.uk/sundstrand">Sundstrand (USA)</a><br> <a href="http://www.lathes.co.uk/syderic">Syderic (France)</a><br> <a href="http://www.lathes.co.uk/target">Target Milling Attachment</a><br> <a href="http://www.lathes.co.uk/taylormiller">Taylor (Geo. Taylor)</a><br> <a href="http://www.lathes.co.uk/thiel/index.html">Thiel (Germany)</a><br> <a href="http://www.lathes.co.uk/timbrell-wright-miller">Timbrell & Wright</a><br> <a href="http://www.lathes.co.uk/tlm/page2.html">T. &amp; L.M.</a><br> <a href="http://www.lathes.co.uk/de-tomasi">De-Tomasi (Italy)</a><br> <a href="http://www.lathes.co.uk/tos-millers">TOS Zbrojovka (CZ)</a><br> <a href="http://www.lathes.co.uk/tos-book-page-1">TOS Factory Tour (CZ)</a><br> <a href="http://www.lathes.co.uk/townwoodhouse369">Town Woodhouse 369</a><br> <a href="http://www.lathes.co.uk/bridgeport/page4.html">Tree Attachment (USA)</a><br> <a href="http://www.lathes.co.uk/pallas">Trident - Pallas</a><br> <a href="http://www.lathes.co.uk/amestriplex">Triplex (Ames) (USA)</a><br> <a href="http://www.lathes.co.uk/twin">Twin</a><br> <a href="http://www.lathes.co.uk/univertical">Univertical (USA)</a><br> <a href="http://www.lathes.co.uk/millrite">US-Burke ((USA))</a><br> <a href="http://www.lathes.co.uk/ultra-jig-borer">Ultra</a><br> <a href="http://www.lathes.co.uk/hommel">UWG (Germany)</a><br> <a href="http://www.lathes.co.uk/busybee">Valle Olona, Busy-Bee (Italy)</a><br> <a href="http://www.lathes.co.uk/vannorman">Van Norman (USA)</a><br> <a href="http://www.lathes.co.uk/varnamo-millers">Varnamo (Sweden)</a><br> <a href="http://www.lathes.co.uk/vernon">Vernon (USA)</a><br> <a href="http://www.lathes.co.uk/versamil">Versamil (USA)</a><br> <a href="http://www.lathes.co.uk/aew">Viceroy</a><br> <a href="http://www.lathes.co.uk/victoria/index.html">Victoria (Elliott)</a><br> <a href="http://www.lathes.co.uk/wabeco/page4.html">Wabeco (Germany)</a><br> <a href="http://www.lathes.co.uk/wade-bench-profiler">Wade Bench Profiler</a><br> <a href="http://www.lathes.co.uk/walthammiller/index.html">Waltham (USA)</a><br> <a href="http://www.lathes.co.uk/warco-mill-drill">Warco Mill-Drills</a><br> <a href="http://www.lathes.co.uk/index">Well-Index (USA)</a><br> <a href="http://www.lathes.co.uk/fritz-werner">Fritz Werner (Germany)</a><br> <a href="http://www.lathes.co.uk/mikronmillers">Wilhelm Grupp (Germany)</a><br> <a href="http://www.lathes.co.uk/WGM">Wirth Geruffat &amp; Maped (France)</a><br> <a href="http://www.lathes.co.uk/townwoodhouse369">Woodhouse &amp; Mitchell 369</a><br> <a href="http://www.lathes.co.uk/wolfjahnmiller/index.html">Wolf, Jahn (Germany)</a><br> <a href="http://www.lathes.co.uk/yamazen">Yamazen (Japan)</a><br> <a href="http://www.lathes.co.uk/yasda">Yasda Jigmaster (Japan)</a><br> <a href="http://www.lathes.co.uk/zenith">Zenith</a><br> <a href="http://www.lathes.co.uk/zyto/page4.html">Zyto</a><br> <p class=MsoNormal style='text-align:justify'><b><span style='font-size:11.0pt; font-family:Arial'>Milling Attachments & Slides</span></b><span style='font-size:11.0pt;font-family:Arial'><br> <a href="http://www.lathes.co.uk/abwoodattachment">Abwood</a><br> <a href="http://www.lathes.co.uk/ajax-universal-attachment">Ajax Universal</a><br> <a href="http://www.lathes.co.uk/amolco">Amolco</a><br> <a href="http://www.lathes.co.uk/atlas-lathe-accessories">Atlas (USA)</a><br> <a href="http://www.lathes.co.uk/boxford/page4.html">Boxford</a><br> <a href="http://www.lathes.co.uk/carstens/page8.html">Carstens</a><br> <a href="http://www.lathes.co.uk/cowards">Cowards</a><br> <a href="http://www.lathes.co.uk/cowells/page2.html">Cowells</a><br> <a href="http://www.lathes.co.uk/dalrae">Dalrae (USA)</a><br> <a href="http://www.lathes.co.uk/emcomiller">Emco</a><br> <a href="http://www.lathes.co.uk/globe">Globe (USA)</a><br> <a href="http://www.lathes.co.uk/hornamill">Hornamill</a><br> <a href="http://www.lathes.co.uk/marvin">Marvin (USA)</a><br> <a href="http://www.lathes.co.uk/meriden/page4.html">Meriden (USA)</a><br> <a href="http://www.lathes.co.uk/palmgren">Palmgren (USA)</a><br> <a href="http://www.lathes.co.uk/portercableattachment">Porter-Cable (USA)</a><br> <a href="http://www.lathes.co.uk/potts">Potts</a><br> <a href="http://www.lathes.co.uk/pratt&whitney/page3.html">Pratt & Whitney</a><br> <a href="http://www.lathes.co.uk/pultra/page7.html">Pultra</a><br> <a href="http://www.lathes.co.uk/relmil">Relmil</a><br> <a href="http://www.lathes.co.uk/rishton">Rishton</a><br> <a href="http://www.lathes.co.uk/rivett34/page2.html">Rivett (USA)</a><br> <a href="http://www.lathes.co.uk/rodney">Rodney</a><br> <a href="http://www.lathes.co.uk/rusnok">Rusnok (USA)</a><br> <a href="http://www.lathes.co.uk/schaublin/page5.html">Schaublin (Swiss)</a><br> <a href="http://www.lathes.co.uk/southbend/page10.html">South Bend (USA)</a><br> <a href="http://www.lathes.co.uk/myford/page18.html">Staines</a><br> <a href="http://www.lathes.co.uk/target">Target</a><br> <a href="http://www.lathes.co.uk/atlas-miller-unknown-attachment">Unknown Atlas Mounted (USA)</a><br><br> <b>Hacksaws and Bandsaws <br> </b><a href="http://www.lathes.co.uk/ajax-saws">Ajax Hacksaws</a><br> </b><a href="http://www.lathes.co.uk/denbigh-saw">Denbigh Hacksaws</a><br> </b><a href="http://www.lathes.co.uk/essex-bandsaws">Essex Bandsaw</a><br> <a href="http://www.lathes.co.uk/fortuna">Fortuna-Klaeger (UK/Germany) Saws</a><br> <a href="http://www.lathes.co.uk/habegger-bandsaw">Habegger Horizontal Bandsaw (Swiss)</a><br> <a href="http://www.lathes.co.uk/hampton-beebee">Hampton & Beebee Hacksaw</a><br> <a href="http://www.lathes.co.uk/taylor/page6.html">Kennedy “Hexacut” bench saws</a><br> <a href="http://www.lathes.co.uk/metalin">Metalin Horizontal Bandsaw</a><br> <a href="http://www.lathes.co.uk/nu-tools">Naerok & NuTools Bandsaws</a><br> <a href="http://www.lathes.co.uk/qualters-smith-saws">Qualters &amp; Smith Saws</a><br> <a href="http://www.lathes.co.uk/rapidor">Rapidor (Manchester Rapidor) Saws</a><br> <a href="http://www.lathes.co.uk/rucoco-saws">Rucoco Hacksaws (Germany)</a><br> <a href="http://www.lathes.co.uk/startrite-bandsaws">Startrite Bandsaws</a><br> <a href="http://www.lathes.co.uk/velox-saws">Velox (Elliott) Hacksaws </a><br> <a href="http://www.lathes.co.uk/wellsaw">Wellsaw Hacksaws</a><br> <a href="http://www.lathes.co.uk/wicksteed">Wicksteed Hacksaws </a><br> <a href="http://www.lathes.co.uk/willow-bandsaw">Willow Bandsaw </a><br> <a href="http://www.lathes.co.uk/wilmac">Wilmac Bandsaw </a><br><br> <b>Pantograph Engravers & Die Sinkers<br> </b><a href="http://www.lathes.co.uk/deckel-pantograph-machines">Deckel Engravers & Die Sinkers</a><br> <a href="http://www.lathes.co.uk/dowling-pantographs-and-tappers">Dowling Engravers & Tappers</a><br> <a href="http://www.lathes.co.uk/gorton-pantographs">Gorton "Pantomill" Engravers</a><br> <a href="http://www.lathes.co.uk/taylor-hobson-engravers">Taylor Hobson Engravers & Die Sinkers</a><br> <p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; text-align:justify'><b><span style='font-size:11.0pt;font-family:Arial'>Toolposts</b><br> </b></span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt; font-family:Arial'> <a href="http://www.lathes.co.uk/bergstrom">Bergstrom Quick-set Toolpost</a><br> </b> <a href="http://www.lathes.co.uk/burnerd-quick-set-toolpost-type-tp">Burnerd Quick-set Toolpost</a><br> </b> <a href="http://www.lathes.co.uk/latheparts/page13.html">Dickson Quick-set Toolpost</a><br> <a href="http://www.lathes.co.uk/drehblitz">Drehblitz Quick-set Toolpost (Germany)</a><br> <a href="http://www.lathes.co.uk/impero-toolpost">Impero Quick-set Toolpost (Italy)</a><br> <a href="http://www.lathes.co.uk/multifix">Multifix Quick-set Toolpost (Swiss)</a><br> <a href="http://lathes.co.uk/pewetoolposts/Special-features_pewetools.pdf.pdf">Pewe PWT quick-set Toolpost (Germany)</a><br> <a href="http://www.lathes.co.uk/parat">Parat Quick-set Toolpost (Germany)</a><br> <a href="http://www.lathes.co.uk/treman-toolpost">Treman Quick-set Toolpost (?)</a><br> <p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; text-align:justify'><b><span style='font-size:11.0pt;font-family:Arial'>Program to Calculate Metric/Imperial <br> Imperial/Metric Transposing Gears</b><br> </b></span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt; font-family:Arial'> <a href="http://www.lathes.co.uk/transposing-changewheels/">RideTheGearTrain.com</a> <br> </a><br></span></p> </span></p> </td> <td width=352 colspan=2 valign=top style='width:263.85pt;background:white; padding:0cm 0cm 0cm 0cm;height:211.9pt'> <p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto; text-align:justify'><b><span style='font-size:11.0pt;font-family:Arial'>This Column Includes:<br> Wood Lathes, Grinders<br> Planers, Drills, Slotters<br> Borers, Hacksaws, Pantographs, <br>Gear Machines, Toolposts, Tappers, <br> & Interesting Miscellaneous <br> </span></b><span style='font-size:11.0pt;font-family:Arial'> <a href="http://www.lathes.co.uk/arcade-wood-lathe">Arcade Wood (USA)</a><br> <a href="http://www.lathes.co.uk/ar-con">Ar-Con Wood (USA)</a><br> <a href="http://www.lathes.co.uk/arundel/index.html">Arundel Wood (UK)</a><br> <a href="http://www.lathes.co.uk/hobbymat">Al-Ko Wood (Hobbymat)</a><br> <a href="http://www.lathes.co.uk/atlaswood/index.html">Atlas 12 Wood&quot; (USA)</a><br> <a href="http://www.lathes.co.uk/black-and-decker">Black & Decker Wood</a><br> <a href="http://www.lathes.co.uk/bosch/page2.html">Bosch Wood (Germany)</a><br> <a href="http://www.lathes.co.uk/boicecrane">Boice Crane Wood (USA)</a><br> <a href="http://www.lathes.co.uk/atlaswood/page3.html">Brodhead &amp; Garret J-Line Wood(USA)</a><br> <a href="http://www.lathes.co.uk/brown">Brown Brs. London Wood</a><br> <a href="http://www.lathes.co.uk/buffaloforge">Buffalo Forge Wood (USA)</a><br> <a href="http://www.lathes.co.uk/caley">Caley Wood</a><br> <a href="http://www.lathes.co.uk/centrixwood">Centrix Wood</a><br> <a href="http://www.lathes.co.uk/childs/page3.html">Childs Wood (USA)</a><br> <a href="http://www.lathes.co.uk/craftsmanwood">Companion Wood (USA)</a><br> <a href="http://www.lathes.co.uk/conover">Conover Wood (USA)</a><br> <a href="http://www.lathes.co.uk/cooksley">Cooksley Wood</a><br> <a href="http://www.lathes.co.uk/coronet">Coronet Wood</a> <br> <a href="http://www.lathes.co.uk/craftsmanwood">Craftsman Wood (USA)</a><br> <a href="http://www.lathes.co.uk/cummins-woodworker">Cummins Wood (USA)</a><br> <a href="http://www.lathes.co.uk/dominion">Dominion Wood</a><u><br> <a href="http://www.lathes.co.uk/dominion-universal-machines">Dominion Universal Wood</a><u><br> <a href="http://www.lathes.co.uk/craftsmanwood">Dunlap Wood (USA)</a><br> <a href="http://www.lathes.co.uk/delta/index.html">Delta Wood (USA)</a><br> <a href="http://www.lathes.co.uk/dremel">Dremel (USA)</a><br> <a href="http://www.lathes.co.uk/walkerturner/page3.html">Driver-Add-A-Tool Wood (USA)</a><br> <a href="http://www.lathes.co.uk/emcodb5">Emco DB-5 Wood(Austria)</a><br> <a href="http://www.lathes.co.uk/fell-wood-lathes">W.F.Fell Wood</a><br> <a href="http://www.lathes.co.uk/ford">&quot;Ford&quot; Wood(USA)</a><br> <a href="http://www.lathes.co.uk/general">General Wood(Canada)</a><br> <a href="http://www.lathes.co.uk/harrisonwood/index.html">Graduate Wood</a><br> <a href="http://www.lathes.co.uk/guillietfils">Guilliet &amp; Fils Wood (France)</a><br> <a href="http://www.lathes.co.uk/harrisonwood/index.html">Harrison (Multico) Wood</a><br> <a href="http://www.lathes.co.uk/herberthomewoodworker">Herbert Home Wood Worker (Aus)</a><br> <a href="http://www.lathes.co.uk/herbertswoodwizard/">Herberts Wood Wizard (USA)</a><br> <a href="http://www.lathes.co.uk/hestonanderson/index.html">Heston &amp; Anderson Wood(USA)</a><br> <a href="http://www.lathes.co.uk/hobbymat/page6.html">Hobbymat Variant Wood (Ger)</a><br> <a href="http://www.lathes.co.uk/house">House Wood</a><br> <a href="http://www.lathes.co.uk/scinta">INCA Wood (Swiss)</a><br> <a href="http://www.lathes.co.uk/harrisonwood/page2.html">Jubilee Wood</a><br> <a href="http://www.lathes.co.uk/larvic">Larvic Wood</a><br> <a href="http://www.lathes.co.uk/lloyd">Lloyd Wood</a><br> <a href="http://www.lathes.co.uk/lumsden">Lumsden Wood</a><br> <a href="http://www.lathes.co.uk/marsh">Marsh Wood (USA)</a><br> <a href="http://www.lathes.co.uk/metalclad">Metalclad Wood</a><br> <a href="http://www.lathes.co.uk/meteor">Meteor Wood</a><br> <a href="http://www.lathes.co.uk/midsaw">Midsaw "All-in-One" Wood</a><br> <a href="http://www.lathes.co.uk/milford">Milford Wood</a><br> <a href="http://www.lathes.co.uk/montgomery-ward-wood">Montgomery Ward Wood (USA)</a><br> <a href="http://www.lathes.co.uk/tekny">Multico Wood</a><br> <a href="http://www.lathes.co.uk/myfordwood/index.html">Myford ML8 Wood</a><br> <a href="http://www.lathes.co.uk/myfordmystro">Myford Mystro Wood</a><br> <a href="http://www.lathes.co.uk/oliveruk">Oliver Wood (UK)</a><br> <a href="http://www.lathes.co.uk/oneway">Oneway Wood(Canada)</a><br> <a href="http://www.lathes.co.uk/perhays">Perhays Wood</a><br> <a href="http://www.lathes.co.uk/radford">Radford Wood</a><br> <a href="http://www.lathes.co.uk/raglan/page7.html">Raglan Wood</a><br> <a href="http://www.lathes.co.uk/coronet/page5.html">Record Wood</a><br> <a href="http://www.lathes.co.uk/rex">Rex Wood(Sweden)</a><br> <a href="http://www.lathes.co.uk/harrisonwood/page2.html">Sagar Wood</a><br> <a href="http://www.lathes.co.uk/sheldon-woodlathes">Sheldon Antique Wood</a><br> <a href="http://www.lathes.co.uk/sherwood">Sherwood Wood</a><br> <a href="http://www.lathes.co.uk/shopsmith">ShopSmith & Clones Wood</a><br> <a href="http://www.lathes.co.uk/sorby">Sorby Wood(UK)</a><br> <a href="http://www.lathes.co.uk/sypher/page2.html">Sypher Wood (USA)</a><br> <a href="http://www.lathes.co.uk/tekny">Tekny-Multico Wood</a><br> <a href="http://www.lathes.co.uk/tomlee">Tomlee Wood (USA)</a><br> <a href="http://www.lathes.co.uk/tyme">Tyme Wood</a><br> <a href="http://www.lathes.co.uk/harrisonwood/index.html">Union Wood (UK)</a><br> <a href="http://www.lathes.co.uk/valentin">Valentin Wood (France)</a><br> <a href="http://www.lathes.co.uk/viceroy/page2.html">Viceroy Wood (UK)</a><br> <a href="http://www.lathes.co.uk/victor">Victor Wood (USA)</a><br> <a href="http://www.lathes.co.uk/waco">Waco Wood (USA)</a><br> <a href="http://www.lathes.co.uk/wadkin">Wadkin Wood Lathes</a><br> <a href="http://www.lathes.co.uk/wadkin">Wadkin Wood Machinery</a><br> <a href="http://www.lathes.co.uk/walkerturner/index.html">Walker Turner Wood (USA)</a><br> <b>Shapers, Slotters,<br> Borers &amp; Vertical Lathes<br> </b><a href="http://www.lathes.co.uk/adeptshaper/index.html">Adept Shapers</a><br> <a href="http://www.lathes.co.uk/atlasshaper/index.html">Acorn Shaper</a><br> <a href="http://www.lathes.co.uk/Alba">Alba Shapers</a><br> <a href="http://www.lathes.co.uk/alexander-shaper">Alexander Shaper</a><br> <a href="http://www.lathes.co.uk/ammco/index.html">Ammco/Delta 62 Shaper (USA)</a><br> <a href="http://www.lathes.co.uk/arrowshaper">Arrow Shaper</a><br> <a href="http://www.lathes.co.uk/atlasshaper/index.html">Atlas Shaper(USA)</a><br> <a href="http://www.lathes.co.uk/atlasshaper/page2.html">Austolite Shaper(Aus)</a><br> <a href="http://www.lathes.co.uk/bellow">Bellow Shaper</a><br> <a href="http://www.lathes.co.uk/benson/page2.html">Benson Shaper</a><br> <a href="http://www.lathes.co.uk/boxfordshaper">Boxford Shaper</a><br> <a href="http://www.lathes.co.uk/boynton">Boynton Shaper</a><br> <a href="http://www.lathes.co.uk/bradley">Bradley Shaper</a><br> <a href="http://www.lathes.co.uk/britannia/page4.html">Britannia Shapers</a><br> <a href="http://www.lathes.co.uk/brodheadgarrett">Brodhead-Garrett Shapers(USA)</a><br> <a href="http://www.lathes.co.uk/newey-and-brook-newey-shapers">Brook Shapers</a><br> <a href="http://www.lathes.co.uk/butler-shapers">Butler</a><br> <a href="http://www.lathes.co.uk/clapham">Clapham Shaper</a><br> <a href="http://www.lathes.co.uk/corbettsshaper">Corbett’s Shaper</a><br> <a href="http://www.lathes.co.uk/cowell-shaper">Cowell (E.W.Cowell) Shaper</a><br> <a href="http://www.lathes.co.uk/devlieg">DeVlieg Jigmils (USA)</a><br> <a href="http://www.lathes.co.uk/atlasshaper/index.html">Craftsman Shaper (USA)</a><br> <a href="http://www.lathes.co.uk/crowthorn-shaper">Crowthorn Shaper</a><br> <a href="http://www.lathes.co.uk/douglasshaper">Douglas/Hercus Shaper(Australia)</a><br> <a href="http://www.lathes.co.uk/drummondshaper">Drummond Shaper</a><br> <a href="http://www.lathes.co.uk/alba">Elliott Shapers</a><br> <a href="http://www.lathes.co.uk/emrich">Emrich Shaper(Germany)</a><br> <a href="http://www.lathes.co.uk/eriksen-shaper">Eriksen (Germany)</a><br> <a href="http://www.lathes.co.uk/froriep">Froriep Vertical Lathes(Germany)</a><br> <a href="http://www.lathes.co.uk/Garavaglia">Garavaglia Shapers (Italy)</a><br> <a href="http://www.lathes.co.uk/Gastl">Gastl Shaper(Germany)</a><br> <a href="http://www.lathes.co.uk/gernetti">Gernetti Shapers(Italy)</a><br> <a href="http://www.lathes.co.uk/graham&amp;normanton">Graham &amp; Normanton Shaper</a><br> <a href="http://www.lathes.co.uk/gravesshaper/index.html">Graves Shaper</a><br> <a href="http://www.lathes.co.uk/heinemann-shapers">Heinemann Shapers (Germany)</a><br> <a href="http://www.lathes.co.uk/hendeyshaper">Hendey Shapers(USA)</a><br> <a href="http://www.lathes.co.uk/ingers">Ingers (Italy)</a><br> <a href="http://www.lathes.co.uk/jones/page2.html">Jones Shaper (USA)</a><br> <a href="http://www.lathes.co.uk/kennan/page3.html">Kennan Bench Planer (Ireland)</a><br> <a href="http://www.lathes.co.uk/klopp">Klopp (Germany)</a><br> <a href="http://www.lathes.co.uk/lewis/index.html">Lewis Kit Machines (USA)</a><br> <a href="http://www.lathes.co.uk/leylandbarlow">Leyland &amp; Barlow Shaper</a><br> <a href="http://www.lathes.co.uk/leytool">Leytool Slotter & Tools</a><br> <a href="http://www.lathes.co.uk/heskethwalker">Liverpool Castings &amp; Tool Supply Co.</a><br> <a href="http://www.lathes.co.uk/loganshaper/index.html">Logan Shapers(USA)</a><br> <a href="http://www.lathes.co.uk/lucas">Lucas Borer (Germany</a>)<br> <a href="http://www.lathes.co.uk/macgregorgourlay">MacGregor Gourley Shaper(Canada)</a><br> <a href="http://www.lathes.co.uk/mit-a-mit">Mit-A-Mit Shaper(Australia)</a><br> <a href="http://www.lathes.co.uk/nasmyth">Nasmyth Shaper</a><br> <a href="http://www.lathes.co.uk/newey-and-brook-newey-shapers">Newey Shapers</a><br> <a href="http://www.lathes.co.uk/ormerod">Ormerod Shaper</a><br> <a href="http://www.lathes.co.uk/perfecto/page2.html">Perfecto Shaper</a><br> <a href="http://www.lathes.co.uk/pinondo">Pinondo Shapers (Spain)</a><br> <a href="http://www.lathes.co.uk/george-adams-pittler-shaper">Pittler/George Adams Shaper</a><br> <a href="http://www.lathes.co.uk/alexander-shaper">Planos Shaper</a><br> <a href="http://www.lathes.co.uk/polygon">Polygon Shaper</a><br> <a href="http://www.lathes.co.uk/loganshaper/index.html">Porter Cable Shaper (USA)</a><br> <a href="http://www.lathes.co.uk/prema-shapers">Prema Shapers (Sweden)</a><br> <a href="http://www.lathes.co.uk/rapidelime">Rapide-Lime Shaper (France)</a><br> <a href="http://www.lathes.co.uk/rhodes">Rhodes Convertible Shaper/Slotter (USA)</a><br> <a href="http://www.lathes.co.uk/richardsbigborer">Richards Borer</a><br> <a href="http://www.lathes.co.uk/robblak">Robblak Shaper</a><br> <a href="http://www.lathes.co.uk/rothley">Rothley Slotter</a><br> <a href="http://www.lathes.co.uk/royalshaper">Royal Shaper</a><br> <a href="http://www.lathes.co.uk/ryder-verticalauto">Ryder Verticalauto</a><br> <a href="http://www.lathes.co.uk/samson">Samson Shaper (Germany)</a><br> <a href="http://www.lathes.co.uk/scott-sinclair">Scott Sinclair Shaper</a><br> <a href="http://www.lathes.co.uk/seniorshaperplaner">Senior (and Firth) Shapers</a><br> <a href="http://www.lathes.co.uk/shapemaster">Shapemaster (Young Eng Labs) USA</a><br> <a href="http://www.lathes.co.uk/smith-mills">Smith &amp; Mills Shapers(USA)</a><br> <a href="http://www.lathes.co.uk/southbendshaper">South Bend Shaper(USA)</a><br> <a href="http://www.lathes.co.uk/union-wmw-borers">UNION WMW Horizontal Borers (Germany)</a><br> <a href="http://www.lathes.co.uk/varnamo-shapers">Varnamo Shapers (Sweden)</a><br> <a href="http://www.lathes.co.uk/vernier-minishape">Vernier Shaper (France)</a><br> <a href="http://www.lathes.co.uk/royalshaper">Viceroy Shaper</a><br> <a href="http://www.lathes.co.uk/waveney">Waveney Shaper</a><br> <a href="http://www.lathes.co.uk/webster-bennett">Webster & Bennett Vertical Boring Turning</a><br> <a href="http://www.lathes.co.uk/klopp">Wickman (re-badged Klopp)</a><br> <b>Grinders: Surface, Cylindrical, Toolpost, Pivot Polishers, Lappers, Tool Sharpeners</b></span></b><span style='font-size:11.0pt;font-family: Arial'><br> <a href="http://www.lathes.co.uk/abwood-vertical-spindle-surface-grinders">Abwood V/Spindle Surface</a><br> <a href="http://www.lathes.co.uk/arkadia">Arkadia Surface Grinder</a><br> <a href="http://www.lathes.co.uk/beijer">Beijer Vertical Spindle (Sweden)</a><br> <a href="http://www.lathes.co.uk/belinglubke/page2.html">Beling &amp; Lübke (Germany)</a><br> <a href="http://www.lathes.co.uk/brown&amp;sharpeno2grinder">Brown &amp; Sharpe No.2 &amp; 2B Surface (USA)</a><br> <a href="http://www.lathes.co.uk/brown&amp;sharpeno2grinder/page2.html">Brown &amp; Sharpe Cyl. Indexing Attachment (USA)</a><br> <a href="http://www.lathes.co.uk/bulova-grinder">Bulova Surface Grinder (Swiss)</a><br> <a href="http://www.lathes.co.uk/burdett-grinders">Burdett Surface Grinders</a><br> <a href="http://www.lathes.co.uk/capco">Capco Surface Grinder</a><br> <a href="http://www.lathes.co.uk/churchill-grinders">Churchill Industrial</a><br> <a href="http://www.lathes.co.uk/churchill-50th-anniversary">Churchill Golden Jubilee</a><br> <a href="http://www.lathes.co.uk/crystallake">Crystal Lake Precision Grinder(USA)</a><br> <a href="http://www.lathes.co.uk/dumore-grinders">Dumore Toolpost Grinders</a><br> <a href="http://www.lathes.co.uk/duplex-toolpost-grinders">Duplex Toolpost Grinders</a><br> <a href="http://www.lathes.co.uk/burdett-grinders">Elliott Surface Grinders</a><br> <a href="http://www.lathes.co.uk/exe-grinder">EXE Bench Surface</a><br> <a href="http://www.lathes.co.uk/eagle">Eagle Surface Grinder</a><br> <a href="http://www.lathes.co.uk/elb-grinders">ELB Grinders (Germany)</a><br> <a href="http://www.lathes.co.uk/excel/page3.html">Excel Surface Grinders</a><br> <a href="http://www.lathes.co.uk/feinpruf">Feinprüf Surface Grinder (Germany)</a><br> <a href="http://www.lathes.co.uk/ger-grinders">GER Grinder</a><br> <a href="http://www.lathes.co.uk/harbots">Harbots Surface Grinder</a><br> <a href="http://www.lathes.co.uk/hauserpivotpolishers">Hauser Pivot Polishers (Swiss)</a><br> <a href="http://www.lathes.co.uk/herbertminiaturegrinder">Herbert Miniature Grinder</a><br> <a href="http://www.lathes.co.uk/herbert-junior-grinder">Herbert Junior Surface Grinder</a><br> <a href="http://www.lathes.co.uk/hobrough">Hobrough Surface Grinder</a><br> <a href="http://www.lathes.co.uk/jonesandshipman">Jones &amp; Shipman</a><br> <a href="http://www.lathes.co.uk/jung-internal-grinders">Jung (Germany)</a><br> <a href="http://www.lathes.co.uk/kuhlmann-machine-tools">Kuhlmann Grinders (Germany)</a><br> <a href="http://www.lathes.co.uk/leach-grinder">Leach Surface (USA)</a><br> <a href="http://www.lathes.co.uk/lip-515">LIP-515 Miniature Grinder (France)</a><br> <a href="http://www.lathes.co.uk/macson-grinder">Macson Miniature Grinder (Australia)</a><br> <a href="http://www.lathes.co.uk/mendip-drill-point-grinder">Mendip Drill Grinder</a><br> <a href="http://www.lathes.co.uk/mipsa">MIPSA (Swiss)</a><br> <a href="http://www.lathes.co.uk/nortonsurfacegrinder">Norton Surface (USA)</a><br> <a href="http://www.lathes.co.uk/pallas-surface-grinders">Pallas Surface Grinders</a><br> <a href="http://www.lathes.co.uk/reid-grinder">Read Surface (USA)</a><br> <a href="http://www.lathes.co.uk/reinigergebbertschall">Reiniger, Gebbert &amp; Schall (Germany)</a><br> <a href="http://www.lathes.co.uk/richyoung-grinder">Richyoung Surface Grinder (Taiwan)</a><br> <a href="http://www.lathes.co.uk/rollimat-pivot-polisher">Rollimat Pivot Polisher (Austria)</a><br> <a href="http://www.lathes.co.uk/sanford">Sanford Miniature Grinder (USA)</a><br> <a href="http://www.lathes.co.uk/scrivener">Scrivener (Wickman-Scrivener)</a><br> <a href="http://www.lathes.co.uk/studer-snap-gauge">Studer Snap Gauge Lapper (Swiss)</a><br> <a href="http://www.lathes.co.uk/superiorgrinder">Superior Surface Grinder</a><br> <a href="http://www.lathes.co.uk/tripet-grinders">Tripet Precision (Swiss)</a><br> <a href="http://www.lathes.co.uk/viceroy-sharpedge">Viceroy Sharpedge</a><br> <a href="http://www.lathes.co.uk/wolf-valve-grinder">Wolf Valve Grinder </a><br> <b>Tool, Cutter & Profile Grinders</b><br> </b></span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt; font-family:Arial'> <a href="http://www.lathes.co.uk/abwood-tool-grinders">Abwood Tool Grinders</a><br> <a href="http://www.lathes.co.uk/alexander/page2.html">Alexander</a><br> <a href="http://www.lathes.co.uk/astraar5e">Astra AR5_E Tool &amp; Cutter (Spain)</a><br> <a href="http://www.lathes.co.uk/bauerle">Bauerle Tool &amp; Cutter (Germany)</a><br> <a href="http://www.lathes.co.uk/boxford-g200-cutter-grinder">Boxford</a><br> <a href="http://www.lathes.co.uk/broadway-grinder">Broadway</a><br> <a href="http://www.lathes.co.uk/cabo">Cabo Tool &amp; Cutter (Italy)</a><br> <a href="http://www.lathes.co.uk/carson-tool-cutter-grinder">Carson (USA)</a><br> <a href="http://www.lathes.co.uk/cincinnati-tool-and-cutter-grinder-number-2">Cincinnati No.2</a><br> <a href="http://www.lathes.co.uk/cincinnati-monoset/">Cincinnati Monoset</a><br> <a href="http://www.lathes.co.uk/clarkson">Clarkson Tool &amp; Cutter</a><br> <a href="http://www.lathes.co.uk/deckel/page3.html">Deckel (Germany)</a><br> <a href="http://www.lathes.co.uk/devlieg-micropoint">DeVlieg Micropoint</a><br> <a href="http://www.lathes.co.uk/clarkson">DeVlieg-Clarkson</a><br> <a href="http://www.lathes.co.uk/dormer-model-53">Dormer Tool & Cutter Grinder</a><br> <a href="http://www.lathes.co.uk/dormer-108-drill-sharpener">Dormer 108 Drill Grinder</a><br> <a href="http://www.lathes.co.uk/dormer-multi-language-catalogue">Dormer All-Models Multi-language</a><br> <a href="http://www.lathes.co.uk/dowling-grinder">David Dowling</a><br> <a href="http://www.lathes.co.uk/eta/page3.html">ETA</a><br> <a href="http://www.lathes.co.uk/excel/page5.html">Excel (Elliott) Tool & Cutter</a><br> <a href="http://www.lathes.co.uk/frikla">Frikla (Germany)</a><br> <a href="http://www.lathes.co.uk/gorton-cutter-grinder">Gorton Tool & Cutter Grinders (USA)</a><br> <a href="http://www.lathes.co.uk/greenfield">Greenfield (USA)</a><br> <a href="Großenhainer-Webstuhl-und-Maschinen-Fabrik">Großenhainer Webstuhl u Machn-Fabrik</a><br> <a href="http://www.lathes.co.uk/haro">Haro Universal Tool & Cutter (Swiss)</a><br> <a href="http://www.lathes.co.uk/heald-no-3">Heald Tool Sharpener</a><br> <a href="http://www.lathes.co.uk/hercustool&amp;cuttergrinder">Hercus Tool and Cutter (Aus)</a><br> <a href="http://www.lathes.co.uk/imperia">Imperia Tool & Cutter (Belgium)</a><br> <a href="http://www.lathes.co.uk/jakobsent&amp;c">Jacobsen (Denmark)</a><br> <a href="http://www.lathes.co.uk/jonesandshipman/page2.html">Jones &amp; Shipman (Vintage)</a><br> <a href="http://www.lathes.co.uk/jones-shipman-1920s-1930s-grinders">Jones &amp: Shipman (Early)</a><br> <a href="http://lathes.co.uk/jones-shipman-toolroom-grinders-1/">Jones &amp; Shipman (Modern)</a><br> <a href="http://www.lathes.co.uk/jungner-tool-cutter-grinder">Jungner (Sweden)</a><br> <a href="http://www.lathes.co.uk/kamph-tool-cutter-grinder">Kamph (Germany)</a><br> <a href="http://www.lathes.co.uk/kennett">Kennett</a><br> <a href="http://www.lathes.co.uk/frikla">Klaiber (Germany)</a><br> <a href="http://www.lathes.co.uk/leblond-tool-and-cutter-grinder">LeBlond(USA)</a><br> <a href="http://www.lathes.co.uk/kolee">Lee (K.O.Lee USA)</a><br> <a href="http://www.lathes.co.uk/clarkson">March</a><br> <a href="http://www.lathes.co.uk/meddingstoolandcutter">Meddings Grinding &amp; Lapping Machine</a><br> <a href="http://www.lathes.co.uk/oerlikon-carbide-tool-grinder">Oerlikon-carbide-tool-grinder (Swiss)</a><br> <a href="http://www.lathes.co.uk/pedersen-tool-cutter-grinder">Pedersen Tool & Cutter Grinder (Denmark)</a><br> <a href="http://www.lathes.co.uk/perfecto-tool-cutter-grinder">Perfecto Tool & Cutter Grinder</a><br> <a href="http://www.lathes.co.uk/pinnacle-tool-cutter-grinder">Pinnacle Tool & Cutter Grinder</a><br> <a href="http://www.lathes.co.uk/quorn">Quorn Tool &amp; Cutter Grinder</a><br> <a href="http://www.lathes.co.uk/scripta">Scripta Tool &amp; Cutter</a><br> <a href="http://www.lathes.co.uk/clarkson">Smart &amp; Brown</a><br> <a href="http://www.lathes.co.uk/stent">Stent Tool &amp; Cutter Grinder</a><br> <a href="http://www.lathes.co.uk/studer-fs21">Studer Precision Form-Tool Grinder</a><br> <a href="http://www.lathes.co.uk/target">Target Tool Grinder</a><br> <a href="http://www.lathes.co.uk/turner-tool-cutter">Turner of Wolverhampton</a><br> <a href="http://www.lathes.co.uk/taylor-hobson-cutter-grinder">Taylor Hobson Cutter Grinder</a><br> <a href="http://www.lathes.co.uk/uniontool&amp;cuttergrinder">Union (Harrison) Tool and Cutter</a><br> <a href="http://www.lathes.co.uk/vernon/page4.html">Vernon Tool & Cutter Grinder</a><br> <a href="http://www.lathes.co.uk/vison">Vison Tool & Cutter Grinder</a><br> <a href="http://www.lathes.co.uk/wickman-optical-profile-grinder">Wickman Optical Profile Grinder</a><br> <a href="http://www.lathes.co.uk/zimmermann-tool-cutter-grinder">Zimmermann Tool & Cutter Grinder (Germany)</a><br> <b>Drills, Drill Grinders & Tappers</b><br> <a href="http://www.lathes.co.uk/aciera22">Aciera Types 22 and 23 (Swiss)</a><span style="mso-spacerun: yes"></span><br> <a href="http://www.lathes.co.uk/aciera-small-drills">Aciera Drills/Tappers (Swiss)</a><br> <a href="http://www.lathes.co.uk/ajax-drills">Ajax Drills</a><br> <a href="http://www.lathes.co.uk/amolco-drilling-machine">Amolco Drill</a><br> <a href="http://www.lathes.co.uk/arboga-drills-part-1">Arboga Drills (Sweden)</a><br> <a href="http://www.lathes.co.uk/oldak">Apex Drill Presses/Tappers</a><br> <a href="http://www.lathes.co.uk/arboga/page2.html">Arboga Drills (Sweden)</a><br> <a href="http://www.lathes.co.uk/archdale">Archdale Drills</a><br> <a href="http://www.lathes.co.uk/archdale-drill-grinders">Archdale Drill Grinders</a><br> <a href="http://www.lathes.co.uk/atlas-drills-31-32">Atlas Drills (USA)</a><br> <a href="http://www.lathes.co.uk/atlas-drill-grinder">Atlas Drill Grinder (USA)</a><br> <a href="http://www.lathes.co.uk/babygrand/page2.html">Baby Grand (USA)</a><br> <a href="http://www.lathes.co.uk/baldwin-glass-drills">Baldwin Glass Drills (USA)</a><br> <a href="http://www.lathes.co.uk/boxford-drills">Boxford Drills</a><br> <a href="http://www.lathes.co.uk/brierley-drill-grinders">Brierley Drill Grinders</a><br> <a href="http://www.lathes.co.uk/cameron-micro-drill-press">Cameron Micro Drills (USA)</a><br> <a href="http://www.lathes.co.uk/caser">Caser Radial-arm Drills (Italy)</a><br> <a href="http://www.lathes.co.uk/cawi-spiral">Cawi-Spiral Drill Grinder (Germany)</a><br> <a href="http://www.lathes.co.uk/champion-drill">Champion Drills</a><br> <a href="http://www.lathes.co.uk/christen-drill-grinders">Christen Drill Grinders (Swiss)</a><br> <a href="http://www.lathes.co.uk/craftsman-drill-presses">Craftsman/Companion/Dunlap Drills</a><br> <a href="http://www.lathes.co.uk/denbigh-drills">Denbigh Drills</a><br> <a href="http://www.lathes.co.uk/dowling-pantographs-and-tappers/page2.html">David Dowling Tappers</a><br> <a href="http://www.lathes.co.uk/drummondradialarmdrill">Drummond Radial-arm Drill</a><br> <a href="http://www.lathes.co.uk/dumore-grinders/page2.html">Dumore Drill Presses (USA)</a><br> <a href="http://www.lathes.co.uk/essex-tappers">Essex Tappers</a><br> <a href="http://www.lathes.co.uk/flott">Flott Drills (Germany)</a><br> <a href="http://www.lathes.co.uk/fobco">Fobco Drills</a><br> <a href="http://www.lathes.co.uk/james-george-machinery">James W. George Drill (USA)</a><br> <a href="http://www.lathes.co.uk/grimston-drills">Grimston Drills</a><br> <a href="http://www.lathes.co.uk/hamilton-drill">Hamilton Sensitive Drill (USA)</a><br> <a href="http://www.lathes.co.uk/hauser-drill">Hauser Watchmaker's (Swiss)</a><br> <a href="http://www.lathes.co.uk/herke-tappers">Herke Tappers</a><br> <a href="http://www.lathes.co.uk/hunt">Hunt, Churchill, Dormer, Herbert, Drill Grinders</a><br> <a href="http://www.lathes.co.uk/ime-drill">IME Precision</a><br> <a href="http://www.lathes.co.uk/JMB-Drill">JMB Drill (Germany)</a><br> <a href="http://www.lathes.co.uk/Jones-shipman-drills">Jones & Shipman Drills</a><br> <a href="http://www.lathes.co.uk/Jones-shipman-tappers-etc">Jones & Shipman Tappers, etc.</a><br> <a href="http://www.lathes.co.uk/Jones-shipman-tappers-etc">Jones & Shipman Drill Grinders</a><br> <a href="http://www.lathes.co.uk/Jones-shipman-tappers-etc">Jones & Shipman Presses & Misc.</a><br> <a href="http://www.lathes.co.uk/kerrysuper8">Kerry Belt-drive Drills</a><br> <a href="http://www.lathes.co.uk/kuhne">Kühne NC-Controlled Tapper (Germany)</a><br> <a href="http://lathes.co.uk/levin/page8.html">Levin Micro Drill Press (USA)</a><br> <a href="http://www.lathes.co.uk/luthy/page2.html">Luthy Precision Drill (Swiss)</a><br> <a href="http://www.lathes.co.uk/madler-drill">Mädler (Bruno Mädler) Drill Germany</a><br> <a href="http://www.lathes.co.uk/mancuna">Mancuna Hand-cranked Drills</a><br> <a href="http://www.lathes.co.uk/meca-tr-1">Meca TR-1 Turret Drill</a><br> <a href="http://www.lathes.co.uk/mecof">Mecof Drill (Italy)</a><br> <a href="http://www.lathes.co.uk/meddings-pacera">Meddings &quot;Pacera&quot;Drills</a><br> <a href="http://www.lathes.co.uk/meepos-drill">Meepos Drill (USA)</a><br> <a href="http://www.lathes.co.uk/mercer-drill">Mercer Drill</a><br> <a href="http://www.lathes.co.uk/meteor-drill-grinder">Meteor Drill Grinder (Swiss)</a><br> <a href="http://www.lathes.co.uk/micromeccanica">Micromeccanica Micro Drill (Italy)</a><br> <a href="http://www.lathes.co.uk/moore-radial-arm-drill">Moore "Miniature" Radial-arm Drill (USA)</a><br> <a href="http://www.lathes.co.uk/moser">Moser Precision Column Drill (Swiss)</a><br> <a href="http://www.lathes.co.uk/oldak">Oldak Precision Drills &amp; Tappers</a><br> <a href="http://www.lathes.co.uk/paco">Paco Drill</a><br> <a href="http://www.lathes.co.uk/perfecto/page5.html">Perfecto Drill</a><br> <a href="http://www.lathes.co.uk/pollard">Pollard "Corona" Drills</a><br> <a href="http://www.lathes.co.uk/pollard-tappers">Pollard Tapping Machines</a><br> <a href="http://www.lathes.co.uk/precise-drill-press">Precise Drill (USA)</a><br> <a href="http://www.lathes.co.uk/progress-drills">Progress-Elliott Drills</a><br> <a href="http://www.lathes.co.uk/qualters-smith-drills">Qualters &amp; Smith Drills</a><br> <a href="http://www.lathes.co.uk/qualters-smith-radial-arm-drills">Qualters &amp; Smith Radial Arm Drills </a><br> <a href="http://www.lathes.co.uk/reliance">Reliance-Draper-General<br>--Blue-Point - Spiralux-Picador Drill Grinders</a><br> <a href="http://www.lathes.co.uk/ruka-drill">Ruka Miniature "Optical" Drill (Germany)</a><br> <a href="http://www.lathes.co.uk/sallaz">Sallaz Tapper & Drills (Switzerland)</a><br> <a href="http://www.lathes.co.uk/schaublin-tapper">Schaublin Tapper (Swiss)</a><br> <a href="http://www.lathes.co.uk/servo">Servo Precision Mill/Drill (USA)</a><br> <a href="http://www.lathes.co.uk/sher">Sher Precision Drill (Australia)</a><br> <a href="http://www.lathes.co.uk/shk">SHK Drill Press</a><br> <a href="http://www.lathes.co.uk/south-bend-drill-presses">South Bend Drill Presses (USA)</a><br> <a href="http://www.lathes.co.uk/startrite-drills">Startrite Drills</a><br> <a href="http://www.lathes.co.uk/startrite-efi">Startrite EFI Drill</a><br> <a href="http://www.lathes.co.uk/superior-drills">Superior Drills</a><br> <a href="http://www.lathes.co.uk/viceroy/page5.html">Viceroy (Denford) Drills</a><br> <a href="http://www.lathes.co.uk/wa-co">WA-CO Miniature Drill</a><br> <a href="http://www.lathes.co.uk/wiest">Wiest Tappers (Germany)</a><br> <a href="http://www.lathes.co.uk/winslow">Winslow Drill Point Grinder (USA)</a><br> <b>Planing Machines</b></span></b><span style='font-size:11.0pt;font-family: Arial'><br> <a href="http://www.lathes.co.uk/heskethwalker">Alligator Planer</a><br> <a href="http://www.lathes.co.uk/britannia/page4.html">Britannia</a><br> <a href="http://www.lathes.co.uk/brittain">Brittain Planer</a><br> <a href="http://www.lathes.co.uk/fomm">Fomm Planer(Germany)</a><br> <a href="http://www.lathes.co.uk/hendeyshaper">Hendey Planers (USA)</a><br> <a href="http://www.lathes.co.uk/heskethwalker">Hesketh Walker Planer</a><br> <a href="http://www.lathes.co.uk/kennan">Kennan Planer (Ireland)</a><br> <a href="http://www.lathes.co.uk/melhuish-planer/index.html">Melhuish Planer</a><br> <a href="http://www.lathes.co.uk/milnesplaner/index.html">Milnes Planer</a><br> <a href="http://www.lathes.co.uk/plant-planer">Plant (Geo.) Planer</a><br> <a href="http://www.lathes.co.uk/seligsonnenthal">Selig Sonnenthal Planer</a><br> <a href="http://www.lathes.co.uk/seniorshaperplaner">Senior (and Firth) Planers</a><br> <a href="http://www.lathes.co.uk/taylor-planer">T.Taylor Planer</a><br> <a href="http://www.lathes.co.uk/unknownplaners">Unknown Hand Planers</a><br> <a href="http://www.lathes.co.uk/waldrich-planers">Waldrich-Siegen (Germany)</a><br> <a href="http://www.lathes.co.uk/klopp">Wickman (re-badged Klopp)</a><br> <a href="http://www.lathes.co.uk/wilsonplaner">Wilson Planer</a><br> <b>Interesting Miscellaneous</b><br> </b></span><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt; font-family:Arial'> <a href="http://www.lathes.co.uk/abwood-circular-dividing-machine">Abwood Circular Dividing Machine</a><br> <a href="http://www.lathes.co.uk/ainjest">Ainjest Quick-threader Attachment</a><br> <a href="http://www.lathes.co.uk/bowers-taper-turning-attachment">Bowers Taper-turning Attachment</a><br> <a href="http://www.lathes.co.uk/canma-cam-making-machine">Canma Cam-making Machine</a><br> <a href="http://www.lathes.co.uk/crawford-collets">Crawford Burnerd Collets & Chucks</a><br> <a href="http://www.lathes.co.uk/dandrea">D'Andrea Boring Heads (Italy)</a><br> <a href="http://www.lathes.co.uk/Eclipse-magnetic-chucks">Eclipse Magnetic Chucks</a><br> <a href="http://www.lathes.co.uk/epicyclic-gears">Epicyclic Speed-reducing Backgears</a><br> <a href="http://www.lathes.co.uk/everede">Everede Cherrying Head (USA)</a></span><span style='font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial'><br> <a href="http://www.lathes.co.uk/firth-hardness-testers">Firth Hardness Testers</a><br> <a href="http://www.lathes.co.uk/beltjoiners">Flat-belt Joining Systems</a><br> <a href="http://www.lathes.co.uk/fromag-keyseaters">Fromag Keyseaters (Germany)</a><br> <a href="http://www.lathes.co.uk/hornamill">Hornamill Attachments</a><br> <a href="http://www.lathes.co.uk/kamph-die-copier">Kamph Die-Mould Copying Mill (Germany)</a><br> <a href="http://www.lathes.co.uk/koepfer-factory-tour">Koepfer Factory Tour (Germany)</a><br> <a href="http://www.lathes.co.uk/lapmaster">Lapmaster Lapping Machines (USA)</a><br> <a href="http://www.lathes.co.uk/lees-bradner">Lees-Bradner Thread Miller</a><br> <a href="http://www.lathes.co.uk/limatic">Limatic Filing Machine (Italy)</a><br> <a href="http://www.lathes.co.uk/lunn-davis-keyseater">Lunn Davis Keyseater</a><br> <a href="http://www.lathes.co.uk/machine-tool-factories">Machine Tool Factories - Tours</a><br> <a href="http://www.lathes.co.uk/matrix/page2.html">Matrix Thread-Measuring Machines</a><br> <a href="http://www.lathes.co.uk/mitts-and-merrill">Mitts & Merrill Keyseaters (USA)</a><br> <a href="http://www.lathes.co.uk/moore/page6.html">Moore Diamond Turning (USA)</a><br> <a href="http://www.lathes.co.uk/reading-precision-instruments">Moore & Wright Precision Instruments</a><br> <a href="http://www.lathes.co.uk/newall-measuring-machine">Newall Measuring Machine</a><br> <a href="http://www.lathes.co.uk/omt">OMT Toolmakers Microscope</a><br> <a href="http://www.lathes.co.uk/opus">Opus Brevettata Filing Machines (Italy)</a><br> <a href="http://www.lathes.co.uk/palmgren/page2.html">Palmgren Rotary Table (USA)</a><br> <a href="http://www.lathes.co.uk/parkson-gear-tester">Parkson Gear Testing Machine</a><br> <a href="http://www.lathes.co.uk/pittsburg-hardness-tester">Pittsburg Hardness Tester</a><br> <a href="http://www.lathes.co.uk/Pivofix">pivofix Jacot Pivot Polisher</a><br> <a href="http://www.lathes.co.uk/pratt-whitney-precision-measuring-machines">P & W Measuring Machine (USA)</a><br> <a href="http://www.lathes.co.uk/precisionbenchlatheslist">Precision Bench Lathes List</a><br> <a href="http://www.lathes.co.uk/promecam">Promecam Press Brakes (France) </a><br> <a href="http://www.lathes.co.uk/pullmax">Pullmax Plate Workers (Sweden) </a><br> <a href="http://www.lathes.co.uk/rexos">Rexos Automatic Spanner (wrench)</a><br> <a href="http://www.lathes.co.uk/schiess-100-year-booklet">Schiess 100th Anniversary (Germany)</a><br> <a href="http://www.lathes.co.uk/shanks-slide-rest">Shanks' Slide Rest</a><br> <a href="http://www.lathes.co.uk/sigma">Sigma Flatness Tester<br> & Cutting Tool Dynamometer</a><br> <a href="http://www.lathes.co.uk/sunnen-honing-machines">Sunnen Honing Machines (USA)</a><br> <a href="http://www.lathes.co.uk/universal-thread-dial">Thread Dial Indicator (Universal Metric & Inch)</a><br> <a href="http://www.lathes.co.uk/target-copymax-attachment">Target "Copymax" Turning Attachment</a><br> <a href="http://www.lathes.co.uk/taylor/page3.html">Taylor Taper-scroll Chucks</a><br> <a href="http://www.lathes.co.uk/thiel-produro">Thiel Produro Filing Machines (Germany)</a><br> <a href="http://www.lathes.co.uk/trav-a-dial">Trav-A-Dial Length Indicator</a><br> <a href="http://www.lathes.co.uk/universal-thread-dial">Universal Thread Dial Indicator</a><br> <a href="http://www.lathes.co.uk/urk">URK Anderle Punch Shaper (Austria)</a><br> <a href="http://www.lathes.co.uk/valdor-drill">Val d'Or 2-speed Drill (France)</a><br> <a href="http://www.lathes.co.uk/wohlhaupter-upa-boring-heads">Wohlhaupter UPA Boring Heads</a><br> </span><b><span style='font-size: 11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial'><br> <br> </tr> <tr style='mso-row-margin-right:136.6pt'> <td width=314 colspan=3 style='width:235.65pt;background:white;padding:0cm 0cm 0cm 0cm'> <p class=MsoNormal style='mso-margin-top-alt:auto;mso-margin-bottom-alt:auto'><b><span style='font-size:12.0pt;font-family:Arial'>In response to many requests -<br> <span style='color:red'>A complete copy of the Archive and web site is now available on a 32GB pen drive. </span></span></b><span style='font-size: 12.0pt;font-family:Arial'>Once you have the unit the whole of the site becomes available immediately - the pictures load instantly and the hyperlinks all connect as if one-line. 25,000+ pages and over 257,000 images</span><span style='font-size:12.0pt'><br> </span><strong><span style='font-size:12.0pt;font-family:Arial'>All files are in HTML so work in both Macs and PCs</span></strong> <strong><span style='font-size:12.0pt;font-family:Arial'>£45</span></strong><b><span style='font-size:12.0pt;font-family:Arial'><br> <a href="https://store.lathes.co.uk/print/archive">To order, click here </a></span></b><span style='mso-bidi-font-size:12.0pt;color:black;mso-fareast-language:EN-GB'><o:p></o:p></span></p> </td> <td width=414 colspan=4 style='width:310.25pt;background:white;padding:0cm 0cm 0cm 0cm'> <p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt: auto;text-align:center'><strong><a href="http://www.lathes.co.uk/page3.html"><span style='font-family:Arial;color:red;mso-bidi-font-weight:bold'>MACHINE TOOLS – SALES &amp; WANTS</span></a></strong><span style='color:black;mso-fareast-language: EN-GB'><o:p></o:p></span></p> <p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt: auto;text-align:center'><a href="http://www.lathes.co.uk/page3.html"><b><span style='font-family:Arial;color:red'>Private &amp; Trade advertisements</span></b></a><span style='color:black;mso-fareast-language:EN-GB'><o:p></o:p></span></p> <p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt: auto;text-align:center'><a href="http://www.lathes.co.uk/"><b><span style='font-size:10.0pt;font-family:Arial;color:#0047FF'>lathes.co.uk home page</span></b></a><span style='mso-bidi-font-size:12.0pt;color:black; mso-fareast-language:EN-GB'><o:p></o:p></span></p> </td> <td width=485 colspan=4 style='width:363.45pt;background:white;padding:0cm 0cm 0cm 0cm'> <p class=MsoNormal align=center style='mso-margin-top-alt:auto;mso-margin-bottom-alt: auto;text-align:center'><b><span style='font-size:12.0pt;font-family:Arial; color:red'>ALWAYS WANTED</span></b><b><span style='font-size:12.0pt; font-family:Arial'><br> Original Machine Tool Literature of any age or type. </span></b><b><span style='font-family:Arial'><br> </span></b><b><span style='font-size:12pt;font-family:Arial'>If you have anything to sell, or material of special interest you would like to see featured on the Site, please do <a href="mailto:tony@lathes.co.uk">make contact</a><br><br> High-quality reproductions of thousands of <a href="https://store.lathes.co.uk">Handbooks, Manuals</a> and <a href="http://store.lathes.co.uk">Sales Literature</a> are available.</span></b><span style='mso-bidi-font-size:12.0pt; color:black;mso-fareast-language:EN-GB'><o:p></o:p></span></p> </td> <td style='mso-cell-special:placeholder;border:none;padding:0cm 0cm 0cm 0cm' width=182><p class='MsoNormal'>&nbsp;</td> </tr> <tr style='mso-row-margin-right:136.6pt'> <td width=1216 colspan=11 style='width:912.35pt;padding:0cm 0cm 0cm 0cm'> <p class=MsoNormal><![if !supportEmptyParas]>&nbsp;<![endif]><span style='mso-bidi-font-size:12.0pt;color:black;mso-fareast-language:EN-GB'><o:p></o:p></span></p> </td> <td style='mso-cell-special:placeholder;border:none;padding:0cm 0cm 0cm 0cm' width=182><p class='MsoNormal'>&nbsp;</td> </tr> <![if !supportMisalignedColumns]> <tr height=0> <td width=3 style='border:none'></td> <td width=244 style='border:none'></td> <td width=70 style='border:none'></td> <td width=73 style='border:none'></td> <td width=109 style='border:none'></td> <td width=145 style='border:none'></td> <td width=89 style='border:none'></td> <td width=27 style='border:none'></td> <td width=24 style='border:none'></td> <td width=266 style='border:none'></td> <td width=170 style='border:none'></td> <td width=185 style='border:none'></td> </tr> <![endif]> </table> </div> <pre><![if !supportEmptyParas]>&nbsp;<![endif]><o:p></o:p></pre> <p class=MsoBodyText align=left style='text-align:left;tab-stops:45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt'><span style='font-size:10.0pt'>The world's largest Machine Tool Reference Archive - a growing collection of articles about Manufacturers and Brands associated with lathes, millers, shapers, planers, grinders and other ordinary machine tools. If you find details of an “unknown” machine tool, please do send <a href="mailto:tony@lathes.co.uk"><span style='mso-bidi-font-size:7.5pt'>the writer</span></a> photographs and details.<br style='mso-special-character: line-break'> <![if !supportLineBreakNewLine]><br style='mso-special-character:line-break'> <![endif]><o:p></o:p></span></p> <p class=MsoBodyText align=left style='text-align:left;tab-stops:45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt'><strong><u><span style='font-size:10.0pt;mso-bidi-font-size:7.5pt;color:blue'>Lathe Lathes, Myford, Colchester, South Bend, Atlas Emco, Boxford, Harrison, Craftsman, LeBlond, Boley, Monarch, Toyo, Sakai, Drummond, AB AAsbrink,</span></u></strong><span style='font-size:10.0pt'> Abeille (possibly French), Abene, J.Abernethy (Aberdeen), Accro, Accuratool, ACE, Aciera,&nbsp;Acme USA, Acme Power Equipment, Kalamazoo, USA. ACME – Spain, Adams A.E., Adcock- Shipley, Adept,&nbsp;Advance, Aero, AEW, A.E.Adams, Adams Bros. Prov.R.I., Adira (Portugese), Ahcol (semi-auto millers), Aero Lyon, Ajax,&nbsp; Akebono Kikai Kogyo (Japan), Alcorn Machine Co., Alcorn &amp; Ames, Alcor (Italy), Aldriich &amp; hay, Aldrich, Warren, Aldrich, Tyng &amp; Co., Aldrin (Sweden), Alfeo, Allanson Engingeering (Ealing, London), Alldays &amp; Onions, Allen Elec. Co., Allen (William Allen of Manchester), Alessio Millers (Switzerland), R.Almkvist (Sweden), Alpin, AM, AMAG, American Machine and Tool Co., American-Tool-Works, American Junior, American-Pacemaker, American Tool &amp; Machine Co., American Tool Works, American Turret Lathe Co., American Watch Case Company, American Watch Tool Co, Ames Co. (Waltham), Ames Mfg. Co. Chicopee, Ameritech, Ammoco, Amolco, Amor &amp; Bowker, Amoskeag, Amtec, Andersen &amp; Krussand, Andra & Zwingenberger, Johannes Andresen A/S (Danish), John T. Andrews (Spalding), Andrychowska, A la Flotte d'Angleterre (Paris), Picco Angelo (millers, Italy), Antonio Anselmi (MonoFap), Arbeluxe (Robert Ballentine, Glasgow), Arboga, Arcade MFG Company - Wood lathes (USA). Archdale, Arex Millers (Italian Arno?),Armstrong Whitworth, Arno Krebs (millers, Germany), Arrel, Arrow, ARS, Artillerie-Inrichtingen, Artisan, Arundel, Ashot Ashkelon (Israel), Ashton, Asquith, Aster, Astoba, Ateliers-Stokvis, Harry F. Atkins - Peterborough, Atlantic, Atlas Engineering UK, ATOMIC, Automatic Rapid lathe Co., Avia, AVM (Angelini V. Macchine Company Italy), Axelson, Azeta Milling machines Italy, Azpiazu – Spain, Baby-Grand, Bacon &amp; Murray, Badger &amp; Co., Bagley, Baird Machinery Co., Baker Machinery Corp., Balding, N. H. Baldwin, Ballou Mfg. Co., Ballou &amp; Whitcomb, Balme Bros. &amp; Earnshaw of Halifax, Baloni, Bancroft &amp; Sellers, Bancroft &amp; Son, Bancroft &amp; Smith, Bancroft, Barbier Besson, Barber Coleman, Barber and Duffy, Barber-Meuser, Bardons &amp; Oliver, Barer, Bariquand &amp; Fils (Paris), Barker &amp; Co. (Fitchburg), Barker &amp; Starrett, Barker Lathes UK, Barker Milling Machines (USA), Barrett, Barnes, Allen Barton &amp; Co. (St. Helens Junction, lancs.),“Bastler A”, Battignolles, Bausch &amp; Lomb, Baye (The Baye), BCA, Beaver, Bechet (Franch-made Auto lathes - also made under licience in the UK by Dowding & Doll), Bechler, Becker, Becker-Brainard, Belcan, Beling &amp; Lübke (Berlin), Bement &amp; Doughty, Bement &amp; Son, Bement, Miles &amp; Co., Benchmaster, Bengoechea – Spain, Benson UK, Benson &amp; Russell, Bentley, Benzinger (Carl), Berdin (Spain), Bergeon, Beric, Berner (Swiss), Francis Berry &amp; Sons, John Bertram &amp; Sons Co. Ltd. Canada, Beru (watchmakers,), Bessboro, E &amp; A Betts, Betts-Bridgeford, Betts Machine Co., Beur (millers, Sweden), Beyer &amp; Peacock, Biddeford Machine Shop, E.Biglia (Spain),<span style="mso-spacerun: yes">  </span>Binns-Berry, G. Birch, Birfield, J.Birkenhead (USA), Björklund, BITE (Lithuania), Blank-Buxton, Blair, Joseph Blair, Blaisdell, Blaisdale &amp; Wood, Blakey &amp; Emmott (Halifax), Bleuler, Bliss, , Blom, Blohm Robert Hamburg, Blomqvist, J.G. Blount - Everett Mass., Blower-&amp;-Forge, Blue Star Wood Lathe (Iowa), BMP, Bodmer, Bogert, Bohner-Köhle, Böhringerm, Boice-Crane, Boley, Boley-Leinen, Bomy, Bonds, Bonny, Booth, Booth-Brothers Dublin, Bormilathe, Bottum, Bourke A.J. (Sydney, Australia), Bower, Boxford, Boye-Emmes, E.N.Boynton (maker of shapers, Mass. USA),Brackenbury &amp; Austin, Bradford Machine Tool Co., Bragonzi (Pegaso), Brainard Milling Machine Co., Breguet Freres &amp; Cie (Swiss), Bridgeford Machine Tools Works (Rochester (USA)), Bridgeford Machine Tool Works (Bridgeport (USA)), Breda, Bremco, Brenco, Brennan and Company, Bridgeford, Bridgeport, The Briggs (USA), Bristol Machine Tool Co. USA; Britan, Britannia, F.Brittain (London), Britton, Broadbent, Broadbent-Schofield, Brodrene Sundt (Norway), Brown Machine Co. (USA), Brown Bros. (Accrington) “Brownie” lathe, Brown &amp; Sharpe, Brunswick, BSA, B.T.M., George Buck (Tottenham Court Rd. London), Joseph Buck, M. Buck &amp; Sons (Bolton, Lancs), J.Buckton, Bullard, Bullock, Bunting (George Bunting Sheffield), Burchardt Neukölln, L. et J. Burdin (Lyon, France), Burke, Clark Burtsal & CO (London & Sheffield), Burr &amp; Sons, Burton-Rogers, John H. Bury (Oswaldtwistle), Costruzioni Meccaniche Buscate (C.M.B. Italy), Busch, Gebruder Buschmann (Darmstadt), Busy-Bee, Butler, F &amp; J Butterfield of Keighley, Butterworth, BWC, Caballeria – Spain, Turret Lathes, Cadillac, G.L. Cady, Cairo, Canada Machinery Corporation, Canedy-Otto (USA - multi-function machine, drill presses), Cantoni (Italy), C.A.R.D. (kit lathe), Cardiff, Caroll-Jamieson, Carrick &amp; Carron Co., Craig, Carson, Carstens, Carter &amp; Hakes (Winster, Conn.), Caser, Cataract, CAV-Wade, Cazeneuve, CECO, Cedar-Rapids, Cegielski, Celtic, Centec,&nbsp;Centrix, Ceriani (Italy), Ceriotti (Italy), Chace, Alfred Chadburn (Sheffield) ornamental lathes cira 1855 (?), Challenger, Champion UK, Champion Tool Works USA, Chanana Bros. (India) Chard,&nbsp;W.L.Chase, Cattin SA of La Chaux de Fonds, Switzerland, Checkko, C.H.E.M, Chicago Machine Tool Co., Childs, Chofum, Churchill-Redman, Cincinnati, B. Claesson (Huddinge, Sweden), Clark Engineering & Machine Tool Company (Luton), John Clark - Shipley UK, Claudius Ash Son &amp; Co., Clausing, H.B.Clay Birmingham, England, Clement, Cleveland (USA), CLH, Climax Machine Company (Lancaster, Pennsylvania), Clisby, Cloud Co. (millers), Clover, Clovis, C.M.C. (Canada Machinery Corporation), C.M.T., CMZ (Construcciones Mec. Zumarrage, Spain), Codima (France), Cohen Samuel & Son, London, Colchester, Cole, J.F.Collier, William Collier &amp; Co (Salford), Collstron, E.Colombo (Italy), Columbia Machine Tool Co., Comec (Italy), Condor, Conover, CONRIK, Converta, Conway Columbia, Columbian, Conradson, W.Cook Lathe and Toolmakers Vauxhall Works London, Thomas Cooke and Sons (York), Coombs, Cooper, Corntool, Coronet, Correa, Cosa (USA), Corsa Corporation of New York, Cortini, Coulter &amp; McKenzie, H.J. &amp; A, Coulthurst (Darwin, Lancs.), Cowan, E.W.Cowell (kit lathes), Cowells, Craven, Cromwell, Crouzet, Crown (USA), Crowningshield, Crowthorn, Cullman, Cumbre, Cunliffe &amp; Croom, CVA, Dainichi, Dalton, Danish-Machine Company, Danobat (Spain), Damaco, Darling-Bros, Darling &amp; Sellers, David (Irwin &amp; Jones ), George W. Davis, Davis &amp; Egan USA (milling machines), Samuel Davis, W.P.Davis, Davis &amp; Leyden (Dental), Davies (Davis?) Machine Co. Rochester NY, Dawson &amp; Goodwin, Dean-Smith-Grace,&nbsp; Death &amp; Ellwood (Leicester, England), Deber (Italy), Deckel, DeFray, E.A. Delano, Delisle &amp; Ziegele, Delta, Demas, Demoor, Dempster and Moore Ltd. Glasgow, Denbigh, Denford,&nbsp;E.G. Dengel, Denham, Depoy, Derbyshire, Descourse & Cabaud, Deshays Company Paris watchmakers' lathes,Deutsche Maschinen & Werkzeugfabrik, DeVallière, Devol &amp; Howl, Devon Ipswich Qld (Australia), E.A.Dexter, Dexter &amp; Co&nbsp; of High Wycombe (wood lathes), Diamond, Diamond Emery Wheel &amp; Machine Co. RI (later the Diamond Machine Co. RI), Diderot, Dietz, Dietz, Gang &amp; Co., Dietz, Schumacher, Dietz, Schumacher &amp; Boye, Dignus, Dixi, D&amp;M, DoAll, Dolze&amp;Slotta (Coswig, Saxonia), William Donaldson, Donaldson of Cincinnati (Acme), Douglas (Australia, shapers), Dowding &amp; Doll, Dracip, Draper, Dreses, Mueller, E.H.Druce - Coventry, Drummond, DSG, Paul Dubois - Paris, Dubied, Duff, Dunbar &amp; Cook, Dunlap, Duro, Dustin, Lewis Duvinge, DVD (France?), W.Eades &amp; Son (Birmingham), Earle, Easterbrook &amp; Allcard, Eccles & Davies (Los Angeles, CA), Economaster, Eddy, Eden (Edenbridge, Kent), Edgar, T.M. Edwards, Egan, Eguro (Japan), EHJ,&nbsp;Einhell, Gustav Eisfeld, Elgin Tool Works, Electric Machine Corporation, Ind. USA, Elliott, Ellis &amp; Reeds (Bradford), Elmco ((Electric Machine Corporation), Elson, EMAG, Emerling, Emco, EMTOC, Emwee, Engineering Appliances, Enox, Ensign, Eppinger, EPVJ, Ergoyen, Eriksen (Alfred Eriken), Erlicht, W.H. Ermentrout, Ermo, Henri Ernault, Ernault-Somua, Bernhard Escher AG (Sachsische Machine Tool Works), Essaime (Swiss), Esztergon (Hungary), Etsco, Essbeco, ETA, Eugene Iron Works, EW,&nbsp;Evans, Evelet Engineering Co. Loman St. London SE1, Ex-Cell-O, EXE, Exeter Machine Works, Facks (thread miller), Fairbanks Machine & Tool Co. Ohio, Fairbairn Macpherson &amp; Co, Fairbanks Machine Tool Co. Springfield Ohio, Fairburn, Naylor &amp; Macpherson, Faircut, Willian Farmer (London 1841-51), Famco, FAT, Favorite, J.A.Fay &amp; Co., Fay-Scott, Feeler, Feinbau, Fell (woodworking), Ferval, Josepth Fenn (Ornamental lathes), FEXAC, Fielding, Fieldhouse, Fifield, Fillsmith (USA), Fimap, William Findlay, Arthur Firth, Fischer, Fitchburg, Flather, Fleck U. Co. Charlottenburg, Flesch & Stein (Germany) - later owned by Friedrich See, Fletcher Bros. Halifax, Flexispeed, Foley, Forsaith, &nbsp;'Fortis Imperial', Fortune Brothers (Halifax) - formerly Fortune, Rushworth& Co.,Foster, G.H.Fox, Fragola (Italy), D.G.Francis (small, simple round-bed wood lathe),Fraser, Fratelli Troglia Tobino (Italy), Fray, French Robert (Kendal, England), Frisell, Carl Froh, AF (Albert Froidevaux - Switzerland), FVE Imperial, Gage (USA), C.E.Gaitzsch (Siegmar-Schonau), W.Gale (London), Gallien, Gamages; Gambey; Gamma; Garbagnate Lathes( Italy) C.G. Garrigus Machine Co.,Bristol Connecticut; Garvin,&nbsp; Gazel, Geja, George-Adams, Georg-Fischer,&nbsp;George-Hatch, Geller, Gem,&nbsp;Gem Glorious, Gemco, GEMA, Geminis (Spain), James W. George Machinery, Detroit Michigan, GER Grinders (Spain), Gfeller, G.H.S., Giddings-Lewis, Gill, Gillman, Gilman (precision capstan USA), Gisholt, Glaener & Perreaud (France), Gleason, Golay-Buchel - (FAVORITE watchmakers' lathes & equipment), Globe lathes, (Australia), Edgar EMS, Gold-Seal, Golk (USA), Goodell-Pratt, Goodnow and Wrightman (USA), Gorenewegen, Gornati, Gorton, Gosmeta, Gould-Eberhardt, Goyen ornamental, Grabo, Grant MiLathe, Granville, Graves, Grayson, Graziano, Grazioli, Greaves, Greaves-Klusman, Greenall &amp; Batley, Greenwood &amp; Greenwood Brothers of Halifax, Batley, Gridley, Grigg, Grindturn, G.S.P., Gudel - specialist production watch lathes Switzerland, Guilliet-Fils, Guilder, J. Guitel, Gurutzpe (Spain), Friedrich Gygi, Habegger, Haedge & Richter lathes (Hannover), Haigh of Oldham, Frederick Haithwaite (Leeds, England), Hakumag-Renard, Haighton, G &amp; A Harvey (Glasgow), Halifax, Halco, Halifax, Hamatu (Japan), August Hamann (Berlin), Hamilton, Hammel-Riglander, Hapfho, Hardinge, &nbsp;Harihar (India), Harrington, D. L. Harris &amp; Co. (Springfield, Mass), Harrison, Hartford, Hartness, Harvey G &amp; A (Govan, Scotland), Hasse &amp; Wrede, Max Hasse, Hasselquist (later Elgin Tool Works), Hatch, Haulin, Haulton (watchmekr's lathes),Hauser, Havier, A.Haworth (Sowerby Bridge), Hazdent Machine Tools - spinning lathes, Hazemeyer, Holland (later Holec then Eaton), Heller Millers, Hayes, Hayward (London 1800s), Heald E.W., W. Heap of Aston-under-Lyne, Hector, Heid (Sensitast). Heidenreich-und-Harbeck,&nbsp;Gebruder Heinemann (St.Georgen), Heira, Heivil, Helios (OM Lario, Italy). Heller, Hembrug, Hendey, Henley, Hepworth (USA), Hercules Ajax, Herbert (Alfred Herbert UK), Herbert - Australia, Herberts Wood Lathes (Los Angeles), Hercus, Hermle, Herreiz (Spain), Herson "Turri",Herter (Japan), H.E.S., Hestika, Hewes &amp; Phillips, Hey, Heyligenstaedt, Heymer &amp; Pilz (Germany), J & P Hill (London & Sheffield). Hill, Clark, Edward Hind &amp; Son Nottingham, Hille-Werke (Dresden) Lathes. Hines (Edward Hines ornamental lathes), Hispano Suiza, Hitachi, Hjorth, Hobart Bros. USA, Hobbymat,&nbsp;Hobson, George Hodgson (Cleckheaton), Hoffman &amp; Billings, Högbo, Högboholm, Holbrook,&nbsp;Hollingworth, Hollingsworth, Homac (USA), S.Holmes & Co. Bradford, Henry Holmes of Halifax, Holmes & Matthews, Hommell, Honorio Florez (Spain), Honsberg, Holtzapfel, Hopkins, Holroyd, Horstman, H.T.H., Joseph Houghton of Newark, N.J., Hounsell, Howa-Sanyo, HUDSON (New York), Hudson &amp; Griffith (Keighley), Hulot, Hulse W.W., Humpage Jacques &amp; Pedersen - Bristol, Huron, Hutton USA, J.Hutton – Glasgow, Hutton &amp; Macdonald Leeds, Hynburn (No.1 Lathe),Ideal, Ikegai, Imami (Aristos brand) Italy,&nbsp;I.M.E, IMOR, INDEX, INDEX-Werke, Were, Induma, Industro-Lite, Ingers (Incontrera &amp; Wenninger), Innovations (French),Irmscher & Witte (Dresden 1933 to 1945), Irwin and Jones (David and &quot;Fulswyng lathes), IXL, Jackson, Jackson-Rigby JR and JRC), Jafa, James-and-Son, James-Spencer, Jardine (Hong Kong), J.T.Jarratt (Leicester), Jashone – Spain, Jason, Jator- Spain, Jeffco, Jefferson (Cincinnati), Jenny (France), JEN-SON, John Bertram &amp; Sons, Johnston Mfg. Co, Arlington, N.J. USA, Johnstone, Jomar, Jones, Jones (J &amp; T Jones),EN-AU'> Jones Burton &amp; Co (Liverpool), Jones & Lamson, Jones-Shipman, Judson &amp; Jackson – London dealers?), Julson (France), Juvenia, J.E.Kampe (watchmakers lathe, Waltham, USA), Kansai Machine Tools Ltd Japan, Karat, Karger, Karlsson A, Karstens, KART (Kobanyai Szerszamcepcyar Budapest), Kearney &amp; Trecker, Keller & Deutsch Posen (Poznan in Poland), Fritz Kern K.G. Lorrach (Baden), Kearns (borers) , Keen (The Keen), Keighley-Lifts, Kellenberger (Swiss), Kempsmith, Kendall &amp; Gent, Kennan (Ireland), (Kennen – ornamental?), Kent-Owens, Kerpen, Kern, Kerry, Kharkovski, Kingsbury, Kitchen &amp; Wade, Klett (Gustav), Klett East Germany watchmakers’ lathes) Klippfeld, Engineer Klutzman (Israel), Kneller, Kondia, Köping, Köthen (Germany) Kramatorsk, Krak, Kress, Franz Kuhlmann, Ferdinan Kunad (Plagwitz Leipzig) precison lathes, Labormil, Lacfer – Spain, Lafayet – Spain, Lagun, L.A.P. (of unknown origin), Larvic, Lanco (Lane 7 Co. Australia), Landis Grinders, John Lang &amp; Sons, Lathe &amp; Morse Tool Co., Latimer-Wermelinger, Leach, Leavitt, LeBlond, Lebreton(France), Leckenby Benton & Co (Halifax England), Lee &amp; Hunt Nottingam, England. Lefebvre-et-Martin, Lempco, Leif, Leinweber, Leinen, Leitz (millers), Lennartsfors wood lathes, O.W.Leonard (New York), Leonard &amp; Clark (USA), LePont, Les Innovations Mecaniques, Lesto, Levin, Leyland &amp; Barlow, Libbey (Millholland Machine Co.), Lidköping, Lieber, Liebert &amp; Gürtler, Liebherr, Liechti, Lincoln George S., Linder, Linley, LIP (French watchmaker), W.C.Lipe, R. Lloyd (Birmingham), LMV, Lodge &amp; Davis, Lodge-Shipley, Loewe, Logan, Logos, London, London Lathe &amp; Toolm Co.,Lorch, Loudon Bros. Ltd. Glasgow, Lucas, Ludwig-Gack, Luke & Spencer (Manchester), Rev. James Lukin (Ornamental Lathes), Lumsden-Smart, Lund John of Crosshills, Keighley), Luthy, Lux, “Lyonite” French 3-inch precision bench, Lynd &amp; Farquar, Macdonald Swinburne, MacGregor-Goulay Co. Ltd. (Canada), Machinex,&nbsp;P &amp; W MacLellan (Glasgow), Macson, Magdeburg, MAH (Millers - Hunkemoller - Swiss), Maho, Malick &amp; Walkows, Mancuna, Manhora, Charles A. Mann&nbsp; (Providence R.I.), Mannaioni, Manning, ManSon, Manurhin, Mapre, Mardgaga TB &amp; Cie, Mario (LUX brand by Bolla Eligio Mario), Marlow, Marriott (St.Neots), Marsh, E.A.Marsh Round bed lathe(USA, Marshall,&nbsp; Martin, Henry B. Massey (Spalding, Lincs., ornamental lathes), Matheys, Alex Mathieson &amp; Son – Saracen Tool Works Glasgow, Matos, Matra, Matrix, Mattapan Iron Works Malden (MA), Matterson, Maud &amp; Turner (Halifax), McCabe, McDougall (R..McDougall, Canada), McKenzie (Canada), MDM Capstan, Mechanica, Mellor,&nbsp;Meng, Mengotti, Menziken, Meriden, Mesoutil, Paris (small lathe and tools), MetalCraft, Metalurgica Riosulense S.A. Brazil, Metallsvarv, Metalmaster, ETS Metaubell (Paris, France), Meteor, Metosa, Meuser, Meyer &amp; Burger,&nbsp;Myers Machine Tool Co., Wilh. Mezget, F.P. & J.MICHEL Makers Rochester NY, William Midwinter (and Midwinter Engineering &amp; Cycle Stamping Co. Birmingam UK), Mikron, Miley Machine Tool Co., E.Millen - Clerkenwell, London, precsion bench lathes, Millholland, Millrite, Milnes,&nbsp;Milwaukee,&nbsp;Minilor, Misal, Mit-a-Mit, Mitchell,&nbsp;F. Mitchell London, Mitsubishi, Modig, Monarch, Mondiale, Monfer (Italy), Antonio Anselmi Monofap (Antonio Anselmi Monofap), Moody, Moore, Morando, F. Morat &amp; Co,. Eisenbach (Black Forest) Germany, Morey Machinery NY, Morini and Bossi (Italy), Morris Machine Tool Co. Cincinnati, Mori-Seiki, Morse, Mossberg & Granville, Moseley, John Muckle (“ornamental”), W.R.Mudd & Co. (Leicester, England), Mueser, Muller-et-Presant, Muller Weipert, Mulliner-Enlund, Munktell Eskilstuna (Sweden), James Munro (Ornamental lathes, London), Mupen (Spain), Murad, Myers Machine Tool (Pennsylvania), Myford, Mysore Kirloskar (Enterprise), A. Nalls (Yarmouth), Namson, Napier, Narragansett, National Lathe Co. (USA), Neat (Charles Neat London), Nebel, Nebiolo (Torino), Nelson-Winther, New-Britain, New-Haven, Newall Precision Lathe – London), New-All, Newbold, New Hermes, New Peerless, Wew Wonder, Nichols,&nbsp;Niles Niles-Bement-Pond, George Nissel (UK special "back surface" lathes), NODO Lathes (Spain) Noble-Lund, Norden, North End Machine Shop (Ohio), Nosotti, Nuttall, Specialist Handle and Spoke lathes (USA), Oerlikon (Swiss), O.W.T. (Ohio Watch Tool Co.),Okuma, Olympia, Oliver,&nbsp;Omerod. Omega Tool and Engineering Pty. Ltd (Stubby wood lathes), O.M.G. Zanoletti (Italy), Onan, O.S.I.C. “MENG lathes” (Italy),Outlis-Bale, Overton, Pacemaker, Padmani (India), Padovani, Di Palo, PAMA (Italy), Parkanson (Theo. Park &amp; Son, Engineers, Melbourne) Parker McKnight, Parkinson, Parkson, Pasquino, Pama, Panther, C.E.Parsons (Capstan lathes, Leicester), F.R. Patch Mfg. Co. Rutland, Vermont, Paterson, Patrick, Paulson, PAV (Italy), P.B.R (or Perico/Baroni/Raimondi), Pearne-Wiburn, Pearson, Peatol, Peerless, New Pearless,Pennant (watchmakers lathes), Perfect machine Co. Galt, Canada, Perfecto,&nbsp;Perhays, F.S.Perkins (Lowell, Mass, USA), J.S.Perkins (Worcester, Mass, USA), Perico Baroni &amp; Raimondi, Perris, Petz, Pexto, Pfauter, Adolf Pfeifer, Pfeil, Phoenix (France), Picard (Henri Picard et Frere – horologcal), Pickersgill Bros. (Keighly)John Pickles and Son (Ransome), John Pickles &amp; Son (Hebden Bridge), Pinacho (Spain), Pioneer, Pitt, Pittler,&nbsp;Pitt’s Yorkshire Machine Tool Company, George Plant Kidsgrove (ornamental), Plauert (Germany), Ponar-Remo, Pitt’s Yorkshir Machine Co., Pixi, Plumier, D.W.Pond, Ponar, David W. Pond, Pont-a-Mousson (A.M.C.), Pontiggia, Pools, Poreba, Portass,&nbsp;Porter, Porter-McLeod, Portmac, Potisje, Potter, Powermatic, F.Pratt &amp; Co. briggs-lathe, Pratt-Whitney, Präwema, Prazimat, Präzisionsmaschinenbau</span></a>, Pre&#263;is, (Precise Millers, Racine, WI, USA), Precision, Precision Grinding, Precision Industries (Arbeluxe round-bed lathe), Precista (watchmaker), Prema, “PreMier”, Premo, Presto, W.M.Preston (Galt, Ontario, Canada), Price &amp; Coulty (Manchester), Prince (by Vesuv, Denmark), Principe Lathes (Italy), PROKOP, Progress-Oslo, Progressive, Proxxon, Pryibil, Pultra, Purnell & Odell, Putnam, S.W.Putmans’ Sons Ltd., Quality Eng &amp; Mfg Pty Ltd Melb, Qualos, Racine, Rafamet, Raglan,&nbsp;Rahn-Mayer-Carpenter, Rahn-Larmon, Ramatør Miniature Lathe (Danish),Rambold, RAMO, Randa, Ransomes, Rapide Lime, Rapson &amp; Dutton, Rasmuson (Denmark,&nbsp;Type SR80), Ravensburg, Rawco, Rawyler (millers, Switzerland), RBB (Brazzi Roberto, Italy) Realmeca, Rebmann (France), Record (USA and UK),&nbsp;Reed, Reed-Prentice,&nbsp;Reffolds, Regal,&nbsp;Reid (USA), Willian Reid (London &amp; Newcastle), Reiden, Reinecker, Reishhauer, Reliable-Lathe-Co, Reliance, Relm and Super-Relm,&nbsp;Relmac, Remmington, Republic-Lagun,&nbsp; Reese watchmaker's lathe by Thos. Hamilton of Johnstown, PA. Rex (various countries), Rexman, Rexvalter, , RHINO, Rhyn-Mayer-Carpenter, Richards (George Richards), Rigid (Swiss), Rigid Roku (Japan), RJS (Germany, high-precision milling machines), ROFB, Rolfe, Rollo, Romi, Rondolotti Spinning Lathes (Vincennes, France), Roscher &amp; Eichler West, Rosenfors, Rossia, Rotex, Rouchaud Limoges (milling machines?), C. Rowson, Royal (by Vesuv, Denmark), RSB (UK), Rumag, Rusnok, Ryder Thomas &amp; Son, Ryerson, Sachsische Werkzeug Maschinenfabrik), Sacia, Willi Sauer (Berlin), S.A.F.O.P., Saimo, Saimp, Sajo, Sakai, Salome, Samand Grinders (Halifax), Sant’Eustacchio, SARO, Satesa, Saut-du-Tarn (French), Sawyer-Weber Tool (commutator lathe), Schaerer, Schaffner, Schaublin, Scheerle &amp; Behuer, Ernst Scherzinger (Furtwangen), SCHEU (F.A.Scheu), Errnst Schiess (Dusseldorf), Georg Schlitt&nbsp; (Frankfurt/M), Schubert, Schubert-Fiedler, Schramm u. Lichner (Germany), Schumacher-Boye, Schwarz &amp; Co., Schweizer, Scinta, Scintilla, Scomea, Scope, Scott Brothers of Keighley, Scott Homer, “The Scrutton” (AustraliaRorschach, Riken (Japan), Rindis, Ripperger &amp; Schilling (Erfurt), Rishton, Rivett, Rizza, &nbsp;Robblak, Robey, Robbins &amp; Lawrence (USA), Robling, Robot,&nbsp; Rockford, Rockwell, Roku-), Friedrich Schubert milling machines (Swiss?), Scomea, Sculfort-Machines-Outils, Sebastian, Sebastian-May, SEE, Selbix, Selig-Sonenthal, SEMCO (Southern Engineering of Southampton – milling machines), Seneca-Falls, Senior, Senta, Sharp Stewart &amp; Co., Sharps, Shanks, Sharp, Shaw (early Watchmakers' lathe), Shedd (George F. Shedd), Sheene Bros. (Wicklow Ireland), Sheldon, Shellenback, Shepard, Lathe &amp; Co., Shepherd Hill &amp;Co of Leeds, Sheppard (Morris), Sherline, Shipman, Sicme, S.I.G. (cam-operated millers, cutter grinders, Swiss), SHW, SIAMP, Sibley, Sicmatic-Sauter, Sidley Ornamental lathes (London), Sidney, Siermo, Sigma, Simat, Simmons, Simonet,&nbsp; Simplex, S.I.O.M.E., Siome, Simplon, Skara Gjuteri, Skoda, Dwight Slate (front-way lathe), Sloan-Chace, Smart &amp; Brown, Smellie and Co (Brisbane), SMID, Smith, Smith- Beacock &amp; Tannett Leeds), Smith &amp; Coventry (Mqanchester), Smith & Brown, Smith-Drum (USA), Smith-Mills, Philip Smith Mfg. Co. of Sidney, Ohio (&quot;Filsmith&quot; lathe), SMT (Stevens Machine Tools), Socomo, Solberga (Sweden), Solsun, Solus, Sondermann & Stier (Pittler-like), S.O.M.B.V. (France), Spandau Grinders, Robert Speck (Switzerland), James Spencer of Manchester UK, Sphere, Springfield, Stalwart, Standard, Standard-Modern, Stanko, Stanley, Star (watch lathes), Star Tool Co. Providence RI., Stark, Stearns Rogers Mfg. Co (The Denver), Stedall, Stehman and Swan Lancaster Pa., Stehman-Jenks-Stehamn, Steinel, Steiner, Steinhauser, S.Stell &amp; Co. Keighley, Stepto, Steptoe & McFarlan, Stirk (lathes and borers, etc), Sterritt &amp; Stoer, Stitson, Storebro-Bruks-Aktiebolag, Stockbridge,&nbsp; Stoeckle, Stokes (Gordon Stokes), Charles Strelinger USA, Streparava (Italy), Strohm, Strickland Bros. (Brighton), Stuart, Stuart Utensilerie Macchine Italy, Succes Lyon, Sugges (France), Summer and Adams, of Cleveland Ohio, Summit, The Sundale, Sundstrand, Brødrene Sundt Verktøymaskinfabrikk(Brothers Sundt, Oslo, Norway), SuperAlpha (Italy),Super-matic (Tornitrici E. Copiatori), Suring (Indian?), Swasey, Swift, Swisten, Bryant Symons &amp; Co. (thread-correcting lathe), Sypher, Tacchi &amp; Tacchi-Copyst, Tadul – Spain, Taig, Takisawa, Tangyes (Birmingham England), Tangram, Tarrance, Taylor, Taylor &amp; Challen (spinning, beading and trimming lathes), T.C.&amp;M, T.Taylor of Manchester, Taylor-Hobson, Technoimpex, Tekny, Test, Theil, Thomas-Shanks,&nbsp; Thornley, Thum (Geneva), TIDA (Taiwan), Tillico, Timberell &amp; Wright Machine Tool Engineering Co Ltd B/Ham (small production lathes), Titan, Titania-Werk (Berlin), T.&amp;L.M., TLV (Ture Lind, Vimmerby, Sweden), Toledo, TOMP (Italy), Tona (Carl Tona), Tongil, TOR – Spain, Torgim (Italy), Torshälla, Torshalla, TOS,&nbsp;Tough Bros., Tovaglieri, TOV, Town-Woodhouse, Toyo, Traub, Tree, Trimbrell &amp; Wright, Tripit (Swiss), Troglia Italy, Truecut (19<sup>th</sup> century brass-finishers lathes), P.Trumel (Nanc, France), Tukasa, Tulloch, Turnell &amp; Odell, (Odell lathes), Turners-Motor, Turner Tanning (Milling machines),Turri (Argentina), Twin, Tyme, Tyzack, UBC, Unic Germany),Unimat,&nbsp;Union (Harrison UK), Union Lathe Works Co. York. Pa. USA, The United States Machine Tool Company (Cincinnati), Univertical, URPE – Spain, Ursus,&nbsp; U.S.A, US-Burke, UVB (milling machines), De Valliere, Varnarmo, Van-Norman, Vario-Lux, VDF, VEB Limbach Oberfrohna (watchmakers’),VEF (Valsts Electro-Techniska Fabrika, Riga, Latvia), Vektor “Speed Lathe” Swiss, Velox, Vernon, VersaMil, Verschoyle, Vesuv, Vibos Millers (Italy), Viceroy, Victa, Victoria, Vidal, Viking, VOA, Vöest, Vöest-Alpine, Vuilleumier Freres, Vulcan (Wards – Sheffield), “Vulcania” (possibly by Ehrlich), Aux Forges de Vulcain (From the Forge of Vulcan - Paris), Wabeco, Wade,&nbsp; Wadkin, A.P. Wagner, Wagner, Dortmund (Germany), Wahli, Walcott, Walcott &amp; Woods, Waldrich Siegen, Walker-Turner, Walter Bros., Wanderer, Veem, J.G.Weisser Sohne, Wermelinger, Wickman, VLG, Volman, Wakefield, Waltham, Wandess, Warco,&nbsp;Ward, Ward Haggas &amp; Smith, Warner-Swasey, Warwick, Wasino (Japan), Watson, A.D.Waymoth & Co. USA, Webster-Howarth, Webster-Whitcomb,&nbsp; Wecheco (Argentina), T. White &amp; Sons, D.E.Whiton Machine Tool Co. USA, Weigel (USA), F.C.,Weipert, Weipert, Wells, Wells &amp; Son, Wells-Index, Weidenhoff, Weiler, Weisser, Welson (Geo. Watkinson), Wermelinger, Western Aircraft &amp; Tool, J.S.Wheeler (Worcester, USA), Whipp machine Tool Co. (Shapers) Sidney Ohio, Whitcombe, Whitcomb-Blaisdell, J.D.White Whiton, Whitworth, Whitney, Wicksteed, Wickman, Wigdor Lathe - possibly by Selig of Berlin?, Wiedemann (punch presses), Richter Wien, Charles Wilder, Windsor, Wiskum, Wilfin, A.J. Wilkinson (Boston USA), Willard, William-Hussey, Williamson (UK), Willie (Germany), Willson, Winfield, Winkle, Wirth. Gruffat &amp; Maped (WGM), Wizard, , Wohlenberg, Wolf, Woodhouse &amp; Mitchell, Wolf,Jahn, Worcester Lathes (Mass.), Wren Tool Co., WW,&nbsp; Von Wyck (Roach &amp; Von Wyck), Wyvern, XEY (Spain), Yates, W.C. Young &amp; Co, Youngstown YC, Young Engiuneering Labs Inc. St Paul Mn USA (shapers),ZDZ, Zelenda, Zeus (de Bonfiglio &amp; Co. Italy), Zimmerman, ZMM, Zocca, Zubal, Zyto<o:p></o:p></span></p> <p align=center style='text-align:center;tab-stops:45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt'><a href="http://www.lathes.co.uk/"><span style="mso-spacerun: yes"> </span><span style='font-size:10.0pt;font-family:Arial'>Lathes.co.uk Home Page</span></a><span style="mso-spacerun: yes">   </span><span style='font-size:10.0pt;font-family: Arial'><span style="mso-spacerun: yes"> </span><a href="http://www.lathes.co.uk/page3.html">Machine Tools for Sale &amp; Wanted</a>&nbsp;&nbsp;&nbsp; <a href="http://www.lathes.co.uk/wood-machinery">Wood Lathes for Sale</a> &nbsp;&nbsp;<a href="http://www.lathes.co.uk/page2.html">Lathe Buying Advice</a> &nbsp; <a href="http://www.lathes.co.uk/latheparts/index.html">The Lathe - Parts Identification</a> &nbsp;<br clear=all style='page-break-before:always'> <a href="http://www.lathes.co.uk/hints-and-tips">Lathe Use - Essential Hints & Tips</a><span style="mso-spacerun: yes">    </span><a href="http://www.lathes.co.uk/page27.html">Electrical Matters</a><span style="mso-spacerun: yes">  </span>&nbsp; <a href="https://store.lathes.co.uk/">Instruction Books &amp; Manuals and Parts Lists</a><span style="mso-spacerun: yes">    </span><a href="http://www.lathes.co.uk/catalogues">Machine Tool Catalogues</a><span style="mso-spacerun: yes">   </span><a href="http://www.lathes.co.uk/page4.html">Flat, Round &amp; Link Belt Supplies</a> <br clear=all style='page-break-before:always'> &nbsp;<a href="https://store.lathes.co.uk/books">Lathe &amp; Home-workshop Books</a><span style="mso-spacerun: yes">   </span><a href="http://www.lathes.co.uk/page8.html">Lathe Accessories and Spares</a>&nbsp;<span style="mso-spacerun: yes">  </span><a href="http://www.lathes.co.uk/latheparts/page6.html">Screwcutting</a><span style="mso-spacerun: yes">  </span>&nbsp;<a href="http://www.lathes.co.uk/page13.html">Fitting a New Chuck</a></span><span style='font-size:10.0pt;mso-fareast-language:EN-GB'><o:p></o:p></span></p> <p align=center style='text-align:center;tab-stops:45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt'><b><span style='font-size:12.0pt;font-family:Arial;color:red'>The Best Ski School in <a href="http://www.europeansnowsport.com/">Verbier</a> &amp; <a href="http://www.europeansnowsport.com/">Zermatt</a> - Switzerland</span></b><b><span style='font-size:12.0pt;font-family:Arial;color:red;mso-fareast-language:EN-GB'><o:p></o:p></span></b></p> <p align=center style='text-align:center;tab-stops:45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt'><b><span style='font-size:12.0pt;font-family:Arial;color:red'><a href="http://www.europeansnowsport.com/">VERBIER SKI SCHOOL</a> and <a href="http://www.europeansnowsport.com/">ZERMATT SKI SCHOOL</a><br><br> </span></b><b><span style='font-size:12.0pt;font-family:Arial'><a href="http://www.europeansnowsport.com/">europeansnowsport.com</a> <br><br> professionally-qualified staff – many native English speakers</span></b><b><span style='font-size:12.0pt;font-family:Arial;mso-fareast-language:EN-GB'><o:p></o:p></span></b></p> <p align=center style='text-align:center;tab-stops:45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt'><b><span style='font-size:12.0pt;font-family:Arial'><a href="http://www.europeansnowsport.com/">VERBIER</a></span></b><b><span style='font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial'> </span></b><b><span style='font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-fareast-language: EN-GB'><o:p></o:p></span></b></p> <p class=MsoNormal style='tab-stops:45.8pt 91.6pt 137.4pt 183.2pt 229.0pt 274.8pt 320.6pt 366.4pt 412.2pt 458.0pt 503.8pt 549.6pt 595.4pt 641.2pt 687.0pt 732.8pt; mso-layout-grid-align:auto;punctuation-wrap:hanging;text-autospace:ideograph-other'><b><span style='font-size:9.0pt;mso-bidi-font-size:7.5pt;font-family:Arial'> <html> <head> <title>Current Date</title> <script> var today = new Date(); var day = today.toLocaleString('default', { weekday: 'long' }); var date = today.getDate(); var month = today.toLocaleString('default', { month: 'long' }); var year = today.getFullYear(); var currentDate = day + ", " + date + " " + month + " " + year; </script> </head> <body> <p>Site Updated <span id="currentDate"></span></p> <script> document.getElementById("currentDate").innerHTML = currentDate; </script> </body> </html> **
(adsbygoogle = window.adsbygoogle || []).push({ google\_ad\_client: "ca-pub-3292110464104686", enable\_page\_level\_ads: true }); Lathes + Machine Tool Archive | | | | --- | --- | |   | LATHES.CO.UK - and [store.lathes.co.uk](https://store.lathes.co.uk/) - where [Manuals,](https://store.lathes.co.uk)  [Catalogues](https://store.lathes.co.uk/)  [Drive Belts](https://store.lathes.co.uk/belts)  [Books](https://store.lathes.co.uk/books)  [Accessories & Spares are listed](https://store.lathes.co.uk/parts) **[the world's largest MACHINE TOOL REFERENCE ARCHIVE pictures & specifications](http://www.lathes.co.uk/page21.html)** **Tony Griffiths Phone: 01298-871633 (from overseas: +44-1298-871633) from 09:00 to 23:00 [UK time email:](https://time.is/United_Kingdom) [tony@lathes.co.uk](mailto:%20tony@lathes.co.uk) lathes.co.uk, Wardlow, BUXTON, Derbyshire, SK17 8RP** **Site Updated Wednesday 27th December 2023**   | |   | **[**For Sale & Wanted**](http://www.lathes.co.uk/page3.html)** | **[**Machine-tool Data - scroll down for full list**](http://www.lathes.co.uk/page21.html)** | **[**Lathe Technical Guides**](http://www.lathes.co.uk/latheparts)** | |   | **[**MACHINE TOOLS – SALES & WANTS**](http://www.lathes.co.uk/page3.html)** | [Atlas](http://www.lathes.co.uk/atlas/index.html)  [Boley](http://www.lathes.co.uk/boley/index.html)  [Boxford](http://www.lathes.co.uk/boxford/index.html)  [Bridgeport](http://www.lathes.co.uk/bridgeport)  [Cincinnati](http://www.lathes.co.uk/cincinnati) [Clausing](http://www.lathes.co.uk/clausing/index.html)  [Colchester](http://www.lathes.co.uk/colchester) | [FAQ](http://www.lathes.co.uk/faq)  [Buying Advice](http://www.lathes.co.uk/page2.html)  [How it Works - Parts & Functions](http://www.lathes.co.uk/latheparts/index.html)  [Lifting Machines](http://www.lathes.co.uk/lifting-machine-tools) | |   | **[**INSTRUCTION MANUALS**](https://store.lathes.co.uk/)** **&** **[CATALOGUES](http://www.lathes.co.uk/catalogues)** | [Craftsman](http://www.lathes.co.uk/craftsman/index.html)  [Delta/Rockwell](http://www.lathes.co.uk/delta%20metal/index.html) [Drummond](http://www.lathes.co.uk/drummond)  [Elliott](http://www.lathes.co.uk/elliott)  [Emco](http://www.lathes.co.uk/emco/index.html)  [Hendey](http://www.lathes.co.uk/hendey) | [Lathe Use - Essential Hints & Tips](http://www.lathes.co.uk/hints-and-tips)   [Oil Conversion Charts](http://www.lathes.co.uk/oil-charts)  [Quick-change Toolposts](http://www.lathes.co.uk/latheparts/page13.html) | |   | **[DRIVE BELTS – Flat, Round & Link](https://store.lathes.co.uk/belts)    [Engineering Books](https://store.lathes.co.uk/books)**   | [Hardinge](http://www.lathes.co.uk/hardinge)  [Harrison](http://www.lathes.co.uk/harrison/index.html)  [LeBlond](http://www.lathes.co.uk/leblond/index.html)  [Myford](http://www.lathes.co.uk/myford/index.html)  [Raglan](http://www.lathes.co.uk/raglan)  [Rivett](http://www.lathes.co.uk/rivett/index.html)  [Sheldon](http://www.lathes.co.uk/sheldon/index.html)  | [Screwcutting](http://www.lathes.co.uk/latheparts/page6.html)   [Screwcutting](http://www.lathes.co.uk/latheparts/page6.html)   [Spindle-nose Fittings](http://www.lathes.co.uk/latheparts/page8.html)   [Collets](http://www.lathes.co.uk/collets)   [Training Courses](http://www.lathes.co.uk/training)   [Quill Springs](http://www.lathes.co.uk/spring) | |   | **[Engineering & Wood-turning Books](https://store.lathes.co.uk/books)** | [South Bend](http://www.lathes.co.uk/southbend/index.html)   [Watchmakers](http://www.lathes.co.uk/watchmaker)   [More Makers](http://www.lathes.co.uk/page21.html)  [Small English Lathes](http://www.lathes.co.uk/smallenglishlathes) | [Fit a New Chuck](http://www.lathes.co.uk/latheparts/page7.html)  [Stuck Chuck](http://www.lathes.co.uk/stuck-chuck)   [Drive Systems & Speeds](http://www.lathes.co.uk/latheparts/page3.html)   [Electrics](http://www.lathes.co.uk/page27.html) | |   | | |   | (adsbygoogle = window.adsbygoogle || []).push({}); | (adsbygoogle = window.adsbygoogle || []).push({}); | |   | **---** **[FAQs Frequently Asked Questions](http://www.lathes.co.uk/faq)   [Dedicated lathes.co.uk Search](http://www.lathes.co.uk/search) [Machine Tools for Sale and Wanted](http://www.lathes.co.uk/page3.html/)   [Machine Tool Manuals](https://store.lathes.co.uk) [The lathe - How it works. Parts and Functions](http://www.lathes.co.uk/latheparts) [Machine Tool Drive Belts: Flat, Round, Link and Vee](https://store.lathes.co.uk/belts)** | (adsbygoogle = window.adsbygoogle || []).push({}); | | **Machine Tool****REFERENCE ARCHIVE - lathes.co.uk****This material written by and the copyright of Tony Griffiths (© Tony Griffiths), 1998 - 2023. All rights reserved, worldwide. Material may not be copied nor reproduced in whole or part without written permission from [the author](mailto:tony@lathes.co.uk)** **(function() { var cx = '017230184032025420805:mutwx7agui4'; var gcse = document.createElement('script'); gcse.type = 'text/javascript'; gcse.async = true; gcse.src = (document.location.protocol == 'https:' ? 'https:' : 'http:') + '//cse.google.com/cse.js?cx=' + cx; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(gcse, s); })();** **December 2023:** **Individual visitors last 12 months =** **7,000,000 +   A full copy of the Archive is available on a 32GB pen drive and works as if on-line. [To order, click here](https://store.lathes.co.uk/print/archive)** **What’s new? December 2023:**: [More on the SHK Drill Press and Picador   [More on Bickett Millers (USA)](http://www.lathes.co.uk/bickett)   [EMI-MEC Lathes](http://lathes.co.uk/EMI-MEC)   [Haedge and Richter (Germany)](http://www.lathes.co.uk/haedge-and-richter)   [Karger Milling Machine (Germany)](http://lathes.co.uk/karger-miller)   [Potisje Lathes (Serbia)](http://lathes.co.uk/potisje)   [Lorch Model LL "tall feet" Clockmakers' Lathe](http://www.lathes.co.uk/lorchll)   [Hahn & Klob (but unknown maker) Universal Milling Machine (Germany)](http://www.lathes.co.uk/unknown183)](http://www.lathes.co.uk/shk)**Can you help to expand the Archive? Contibutions, corrections, etc. most welcome. [Please email if you can assist.](mailto:help@lathes.co.uk)** **Contributions to offset costs also very welcome. [Click to donate](https://www.paypal.me/lathesuk)** **Dedicated Archive Search: enter term in the box below. e.g. "watchmakers lathe" in inverted commas will produce around links arranged in sets of 10. Enter ""screwcutting" and links to how this is done and various systems will appear. Site Updated Wednesday 27th December 2023 (function() { var cx = '017230184032025420805:mutwx7agui4'; var gcse = document.createElement('script'); gcse.type = 'text/javascript'; gcse.async = true; gcse.src = (document.location.protocol == 'https:' ? 'https:' : 'http:') + '//cse.google.com/cse.js?cx=' + cx; var s = document.getElementsByTagName('script')[0]; s.parentNode.insertBefore(gcse, s); })();** | | **LATHES** [AA109  & Craftsman 80 (USA)](http://www.lathes.co.uk/craftsman/index.html) [Abeille (France?)](http://www.lathes.co.uk/abeille) [Accura](http://www.lathes.co.uk/hogarth&accura) [Accuratool](http://www.lathes.co.uk/accuratool) [Accuro](http://www.lathes.co.uk/accuro) [Ace](http://www.lathes.co.uk/ace) [Ace Minor by Perris](http://www.lathes.co.uk/perris/page2.html) [Acorntools (Atlas)](http://www.lathes.co.uk/atlas/page9.html) [Acme Power Equip.(USA)](http://www.lathes.co.uk/acme-power-equipment-lathe) [Adams A.E. (USA)](http://www.lathes.co.uk/eaadams) [Adams Bros. (USA)](http://www.lathes.co.uk/adamsbros) [Adams (George)](http://www.lathes.co.uk/george-adams/index.html) [Adcock & Shipley](http://www.lathes.co.uk/adcock&shipleycombination/index.html) [Adept](http://www.lathes.co.uk/adept/index.html) [Advance (Australia)](http://www.lathes.co.uk/advance) [Aero Watchmakers’ (Swiss)](http://www.lathes.co.uk/aero) [Aero (France)](http://www.lathes.co.uk/aerolathefrance) [AF (Albert Froidevaux - Swiss)](http://www.lathes.co.uk/af) [Agathon (Swiss)](http://www.lathes.co.uk/agathon) [Ajax](http://www.lathes.co.uk/ajax-lathes) [AKE Hofmann (Germany)](http://www.lathes.co.uk/ake) [Alfeo (Italy)](http://www.lathes.co.uk/alfeo) [Allanson](http://www.lathes.co.uk/allanson) [Allen Elec. Equip. (USA)](http://www.lathes.co.uk/allenelectricequipment) [Almkvist (Sweden)](http://www.lathes.co.uk/almkvist) [Alpin (Italy)](http://www.lathes.co.uk/alpin) [Altona](http://www.lathes.co.uk/altona) [AM & Damco](http://www.lathes.co.uk/damco) (adsbygoogle = window.adsbygoogle || []).push({}); [Amann (French)](http://www.lathes.co.uk/amann) [American Apotheosis](http://www.lathes.co.uk/unknown41) [American Lathe Patents](http://www.lathes.co.uk/us-patents-download-link) [American Machine & Tool Co. (USA)](http://www.lathes.co.uk/american-machine-tool-co/) [American Pacemaker(USA)](http://www.lathes.co.uk/pacemaker/index.html) [American Watch Case (USA)](http://www.lathes.co.uk/americanwatchcasecompany) [American Watch Tool Co (USA)](http://www.lathes.co.uk/derbyshire) [Ames (USA)](http://www.lathes.co.uk/ames/index.html) [Ames Chicopee (USA)](http://www.lathes.co.uk/ames-chicopee) [Ames Triplex (USA)](http://www.lathes.co.uk/amestriplex) [AML (Taiwan)](http://www.lathes.co.uk/feeler) [AMSA (France)](http://www.lathes.co.uk/amsa) [Andrä & Zwingenberger (Germany)](http://www.lathes.co.uk/andra) [Andrychowska (Poland)](http://www.lathes.co.uk/andrychowska) [Anselmi MonoFap (Italy)](http://www.lathes.co.uk/monofap) [Apple](http://www.lathes.co.uk/apple) [Arbeluxe](http://www.lathes.co.uk/arbeluxe) [Arbor (Italy)](http://www.lathes.co.uk/arbor) [ARE (France)](http://www.lathes.co.uk/are) [Archdale](http://www.lathes.co.uk/archdale/page3.html) [Ariston (Germany)](http://www.lathes.co.uk/ariston) [Aristos-IMAMI (Italy)](http://www.lathes.co.uk/aristos-imami) [Armstrong Whitworth](http://www.lathes.co.uk/armstrongwhitworth) [Arrel](http://www.lathes.co.uk/arrel) [Arrow (Japan)](http://www.lathes.co.uk/arrow) [Arrow (Germany/CZ?)](http://www.lathes.co.uk/arrow-watchmakers) [ARS Watchmakers' (France)](http://www.lathes.co.uk/ars) [Artisan (USA)](http://www.lathes.co.uk/artisan) [Asbrink (Sweden)](http://www.lathes.co.uk/asbrink) [Aster](http://www.lathes.co.uk/aster) [Meyer-Burger UW1 (Swiss)](http://www.lathes.co.uk/meyerburger/index.html) [Astoba “Universal” (Swiss)](http://www.lathes.co.uk/astoba-universal) [Atlas Home Page (USA)](http://www.lathes.co.uk/atlas) [Atlas 9”, 10” & 12” (USA)](http://www.lathes.co.uk/atlas) [Atlas 6" (USA)](http://www.lathes.co.uk/atlas6inch) [ATM (Russia)](http://www.lathes.co.uk/russian-watchmakers) [Auerbach (Germany)](http://www.lathes.co.uk/auerbach) [Austic-Layton Centamax](http://www.lathes.co.uk/austic-layton-centamax) [Australian makers](http://www.lathes.co.uk/australian) [Azeta (Italy)](http://www.lathes.co.uk/azeta) [Baby Grand (USA)](http://www.lathes.co.uk/babygrand) [Balding Beaver](http://www.lathes.co.uk/balding/index.html) [Baldwin(USA)](http://www.lathes.co.uk/baldwin) [Ballou (USA)](http://www.lathes.co.uk/wade/page8.html) [Bamford-Chase (USA)](http://www.lathes.co.uk/bamford-chase) [Barbier Besson (France)](http://www.lathes.co.uk/barbier-besson) [Barber-Colman (USA)](http://www.lathes.co.uk/barber-colman) [Barer (Taiwan)](http://www.lathes.co.uk/hardinge3/page4.html) [Barker Bar Bed](http://www.lathes.co.uk/barker/index.html) [Barnes (USA)](http://www.lathes.co.uk/barnes/index.html) [Barrow Hales](http://www.lathes.co.uk/barrow-hales/index.html) [Bastler (Germany)](http://www.lathes.co.uk/bastler) [Bausch & Lomb (USA)](http://www.lathes.co.uk/bausch&lomb) [Bechler (Swiss)](http://www.lathes.co.uk/bechler) [Beling & Lübke (Germany)](http://www.lathes.co.uk/belinglubke) [Benson](http://www.lathes.co.uk/benson) [Bembi (France)](http://www.lathes.co.uk/bembi) [Bergeon (Swiss)](http://www.lathes.co.uk/bergeon) [Berlin–Friedrich & Söhne (Ger)](http://www.lathes.co.uk/berlin) [Besse - Louis (France)](http://www.lathes.co.uk/louis-besse) [Beswick](http://www.lathes.co.uk/beswick) [Betts-Bridgeford (USA)](http://www.lathes.co.uk/bridgeford) [Benzinger (Germany)](http://www.lathes.co.uk/benzinger) [Bing? (Germany)](http://www.lathes.co.uk/bing) [Binns & Berry](http://www.lathes.co.uk/binnsberry/index.html) [Birch](http://www.lathes.co.uk/birch) [Birmel](http://www.lathes.co.uk/mellor) [BITE (Lithuania)](http://www.lathes.co.uk/bite) [Black & Decker](http://www.lathes.co.uk/black-and-decker) [Bläsi (Swiss)](http://www.lathes.co.uk/scinta) [Blomqvist (Sweden)](http://www.lathes.co.uk/blomqvist) [Blower Forge (USA)](http://www.lathes.co.uk/blowerforge) [Boffelli & Finazzi (Argentina)](http://www.lathes.co.uk/boffelli&finazzi) [Bolein watchmakers](http://www.lathes.co.uk/bolein) [Boley (G.Boley) Germany](http://www.lathes.co.uk/boley/index.html) [Boley & Leinen (Germany)](http://www.lathes.co.uk/leinen) [Bomey (Germany)](http://www.lathes.co.uk/bomey) [Bond's Maximus](http://www.lathes.co.uk/bondsmaximus) [Bønding (Denmark)](http://www.lathes.co.uk/bonding) [Booth Brothers (Ireland)](http://www.lathes.co.uk/boothbrothers) [Bormilathe](http://www.lathes.co.uk/murad/index.html) [Bosch (Germany)](http://www.lathes.co.uk/bosch) [Bosworth (USA)](http://www.lathes.co.uk/bosworth) [Bottum (USA)](http://www.lathes.co.uk/bottum) [Bourke A.J. (Australia)](http://www.lathes.co.uk/bourke) [Boxford](http://www.lathes.co.uk/boxford/index.html) [Boy (Germany)](http://www.lathes.co.uk/rebmann) [Boye & Emmes (USA)](http://www.lathes.co.uk/schumacher&boye/index.html) [Brackenbury & Austin (Australia)](http://www.lathes.co.uk/brackenbury&austin) [Bradford (USA)](http://www.lathes.co.uk/bradford) [R.Bradley WW2](http://www.lathes.co.uk/bradley-pow-lathe) [Bragonzi (Italy)](http://www.lathes.co.uk/bragonzi) [Breda (Italy)](http://www.lathes.co.uk/breda) [Breguet Frères (Swiss)](http://www.lathes.co.uk/breguet) [Brenco (Australia)](http://www.lathes.co.uk/brenco) [Bridgeford (USA)](http://www.lathes.co.uk/bridgeford) [Briggs (USA)](http://www.lathes.co.uk/briggs-lathe) [Britan Repetition](http://www.lathes.co.uk/britan) [Britannia](http://www.lathes.co.uk/britannia/index.html) [Broadbent-Schofield](http://www.lathes.co.uk/broadbent) [Broadway](http://www.lathes.co.uk/broadway) [Brown Machine Co. (USA)](http://www.lathes.co.uk/brown-dandy) [Brown Bros (London)](http://lathes.co.uk/colchester1909) [Bryant Symons](http://lathes.co.uk/bryantsymons) [B.S.W.](http://www.lathes.co.uk/bsw) [BTM Watchmakers](http://www.lathes.co.uk/btm/index.html) [Joseph Buck](http://www.lathes.co.uk/buck) [Bunting](http://www.lathes.co.uk/bunting) [Burchhardt (Germany)](http://www.lathes.co.uk/burchhardt) [Burden (Aus)](http://www.lathes.co.uk/hercus/page2.html) [Burkhardt & Weber (Germany)](http://www.lathes.co.uk/burkhardt-weber) [Bursgreen Capstan](http://www.lathes.co.uk/bursgreen-capstan-lathe) [Burton & Rogers (USA)](http://www.lathes.co.uk/burtonrogers) [Butler Vintage Lathes](http://www.lathes.co.uk/butler-lathes) [Butler Modern Lathes](http://www.lathes.co.uk/elliott/index.html) [Butterfield](http://www.lathes.co.uk/butterfield) [B.W.C.](http://www.lathes.co.uk/bwc) [Cabiati Mario (Italy)](http://www.lathes.co.uk/cabiati-mario) [Cadillac (Taiwan)](http://www.lathes.co.uk/cadillac) [Canedy-Otto (USA)](http://www.lathes.co.uk/canedy-otto) [Cardiff (Elliott)](http://www.lathes.co.uk/elliott) [Caladonia](http://www.lathes.co.uk/caladonia) [Cantoni (Italy)](http://www.lathes.co.uk/cantoni) [Cardinali (Argentina)](http://www.lathes.co.uk/cardinali) [Carlstedt (Sweden)](http://www.lathes.co.uk/carlstedt) [Carson](http://www.lathes.co.uk/carson) [Carstens (Germany)](http://www.lathes.co.uk/carstens) [Carteron (France)](http://www.lathes.co.uk/carteron) [Caser (Italy)](http://www.lathes.co.uk/caser) [Cataract (USA)](http://www.lathes.co.uk/cataract/index.html) [CAV/Wade round bed](http://www.lathes.co.uk/wade%20cva/index.html) [Cazeneuve (France)](http://www.lathes.co.uk/cazeneuve) [Celtic (Mondiale, Belgium)](http://www.lathes.co.uk/mondiale) [Centrix Micro](http://www.lathes.co.uk/centrixmicro) [Ceriotti (Italy)](http://www.lathes.co.uk/ceriotti) [Ceruti (Italy)](http://www.lathes.co.uk/ceruti) [Challenger](http://www.lathes.co.uk/challenger) [Champion (USA)](http://www.lathes.co.uk/champion) [Chard (USA)](http://www.lathes.co.uk/chard/index.html) [Chekko (CZ)](http://www.lathes.co.uk/chekko) [Chet Watch Lathe (France)](http://www.lathes.co.uk/french-prototype-watchmakers-lathe) [Cheltenham Works](http://www.lathes.co.uk/relm) [Chien Yeh (Taiwan)](http://www.lathes.co.uk/chien-yeh) [Childs (USA)](http://www.lathes.co.uk/childs-lathe) [Chinese Watch lathe (China)](http://www.lathes.co.uk/chinese-watch-lathe) [Michael Chung Watch Lathe (China)](http://www.lathes.co.uk/chung) [Churchill Cub](http://www.lathes.co.uk/churchill-cub) [Cincinnati by Winkle(USA)](http://www.lathes.co.uk/winkle) [Cincinnati Tray Top (USA)](http://www.lathes.co.uk/cincinnati-tray-top-lathe) [Claesson (Sweden)](http://www.lathes.co.uk/claesson) [Clark Burtsal](http://www.lathes.co.uk/clark-burtsal) [Clark's Engineering](http://www.lathes.co.uk/clarks-engineering) [Claudius Ash](http://www.lathes.co.uk/claudiusash) [Clausing  (USA)](http://www.lathes.co.uk/clausing/index.html) [Clement (USA)](http://www.lathes.co.uk/clement) [Clerkenwell](http://www.lathes.co.uk/boleybevelledbed/page3.html) [CLH Watchmakers’](http://www.lathes.co.uk/clh) [Clisby (Australia)](http://www.lathes.co.uk/clisby/index.html) [CM (New Zealand?)](http://www.lathes.co.uk/cm) [CMD Precision (France)](http://www.lathes.co.uk/cmd) [C.M.T. Ursus (Italy)](http://www.lathes.co.uk/ursus) [Codima (France)](http://www.lathes.co.uk/codima) [Colchester](http://www.lathes.co.uk/colchester/index.html) [F.Cole](http://www.lathes.co.uk/granville) [Colt (Myford copy)](http://www.lathes.co.uk/myford-copies) [Conrik (Australia)](http://www.lathes.co.uk/conrik) [Cook (W.Cook London)](http://www.lathes.co.uk/cook) [Corbett’s](http://www.lathes.co.uk/corbett) [Coronet Metal Precision](http://www.lathes.co.uk/coronet-precision) [Coronet India](http://www.lathes.co.uk/coronetindia) [Cortini (Meccanica Italy)](http://www.lathes.co.uk/meccanica) [Courlan (AA Co. USA)](http://www.lathes.co.uk/craftsman/page4.html) [Covmac](http://www.lathes.co.uk/covmac) [Cowan (Canada)](http://www.lathes.co.uk/cowan)) [E.W.Cowell (kit lathes)](http://www.lathes.co.uk/cowellkitlathe) [Cowells](http://www.lathes.co.uk/cowells/index.html) [Craftsman (USA)](http://www.lathes.co.uk/craftsman/index.html) [Craftsman Woodlathes (USA)](http://www.lathes.co.uk/craftsmanwood) [Cromwell](http://www.lathes.co.uk/cromwell/index.html) [Crosthwaite](http://www.lathes.co.uk/crosthwaite) [Crown Watchmakers](http://www.lathes.co.uk/crown) [Crown (Seneca Falls USA)](http://www.lathes.co.uk/senecafalls) [Crowthorn](http://www.lathes.co.uk/crowthorn) [Crouzet (France)](http://www.lathes.co.uk/crouzet) [Crystal Lake (USA)](http://www.lathes.co.uk/crystallakelathe) [Csepel (Hungary)](http://www.lathes.co.uk/csepel) [Cuthbert](http://www.lathes.co.uk/cuthbert) [CVA Toolroom](http://www.lathes.co.uk/cva/index.html) [Cyclematic (Taiwan)](http://www.lathes.co.uk/cyclematic) [CYJAX (Australia)](http://www.lathes.co.uk/cyjax) [Daewoo(Korea)](http://www.lathes.co.uk/daewoo-namsun) [Dainichi (Japan)](http://www.lathes.co.uk/dainichi) [Dalgety](http://www.lathes.co.uk/dalgety) [Dale](http://www.lathes.co.uk/dale) [Dalton (USA)](http://www.lathes.co.uk/dalton/index.html) [Dan (Christen & Co.) Swiss](http://www.lathes.co.uk/dan) [Dandy (USA)](http://www.lathes.co.uk/brown-dandy) [Damco & AM](http://www.lathes.co.uk/damco) [Danish Machinery Co.](http://www.lathes.co.uk/danish) [Darling & Sellers](http://www.lathes.co.uk/darling-and-sellers) [Dashin (Taiwan)](http://www.lathes.co.uk/dashin) [Davenport (USA)](http://www.lathes.co.uk/davenport) [David (UK)](http://www.lathes.co.uk/david) [David (Taiwan)](http://www.lathes.co.uk/select) [DAVLA (unknown)](http://www.lathes.co.uk/davla) [DDR-UWG (Germany)](http://www.lathes.co.uk/unispan) [Dean, Smith & Grace](http://www.lathes.co.uk/dsg/index.html) [Deem (India)](http://www.lathes.co.uk/deem) [Delvo (Italy)](http://www.lathes.co.uk/delvo) [Demco South Bend (Aus)](http://www.lathes.co.uk/demco-south-bend-copy) [Demm (Italy)](http://www.lathes.co.uk/demm) [Demoor (Belgium)](http://www.lathes.co.uk/demoor) [Den Norske (Norway)](http://www.lathes.co.uk/dennorske) [Denford (Viceroy)](http://www.lathes.co.uk/viceroy/index.html) [Derbyshire (USA)](http://www.lathes.co.uk/derbyshire) [Dell of Bristol](http://www.lathes.co.uk/dell) [Delta Rockwell (USA)](http://www.lathes.co.uk/delta%20metal/index.html) [Denbigh](http://www.lathes.co.uk/denbigh-lathes) [Denham](http://www.lathes.co.uk/denham) [Depoy (USA)](http://www.lathes.co.uk/depoy) [Descours & Cabaud (France)](http://www.lathes.co.uk/descours-cabaud) [Deshays (France)](http://www.lathes.co.uk/deshays) [Deutsche-Maschinen-Werk (Germany)](http://www.lathes.co.uk/deutsche-maschinen-werk) [Deutschland Dortmund (Germany)](http://www.lathes.co.uk/deutschlanddortmund)   [De Vallière (France)](http://www.lathes.co.uk/devalliere) [Devon (Australia)](http://www.lathes.co.uk/devon) [Diamond (USA)](http://www.lathes.co.uk/diamondlathe) [Dignus](http://www.lathes.co.uk/dignus) [DIMCO (Italy)](http://www.lathes.co.uk/dimco) [Dimitar-Bulgaria Home-Made](http://www.lathes.co.uk/dimitar-bulgaria) [Dixi (Swiss)](http://www.lathes.co.uk/dixilathe) [Dixi-Lemco-Barret](http://www.lathes.co.uk/dixilathe) [Dolze & Slotta (Germany)](http://www.lathes.co.uk/dolze&slotta) [Dremel (USA)](http://www.lathes.co.uk/dremel) (adsbygoogle = window.adsbygoogle || []).push({}); [Drummond](http://www.lathes.co.uk/drummond/index.html) [Dufour (France)](http://www.lathes.co.uk/prudor) [Dunlap (Craftsman) (USA)](http://www.lathes.co.uk/craftsman/index.html) [Dwright Slate USA](http://www.lathes.co.uk/dwright-slate) [East German Watchmakers'](http://www.lathes.co.uk/east-german) [Echea Lathes (Spain)](http://www.lathes.co.uk/echea) [Eclipse](http://www.lathes.co.uk/portass/page12.html) [Edgar](http://www.lathes.co.uk/edgar) [Edgwick](http://www.lathes.co.uk/edgwick) [Edwards](http://www.lathes.co.uk/edwards) [Eguro (Japan)](http://www.lathes.co.uk/eguro) [EHJ](http://www.lathes.co.uk/ehj) [Ehrlich (Germany)](http://www.lathes.co.uk/ehrlich) [Eisfeld (Gustaf Eisfeld Germany)](http://www.lathes.co.uk/eisfeld) [EKS (Ed. Korfhage & Söhne Germany)](http://www.lathes.co.uk/Bomey) [Elffers](http://www.lathes.co.uk/elffers) [Elgin (USA)](http://www.lathes.co.uk/elgin/index.html) [Elgo (Spain)](http://www.lathes.co.uk/elgo) [Elliott](http://www.lathes.co.uk/elliott/index.html) [Ellis & Reeds](http://www.lathes.co.uk/ellis&reeds) [Elmco (USA)](http://www.lathes.co.uk/elmco) [Elson (USA)](http://www.lathes.co.uk/elson) [Emco and Unimat](http://www.lathes.co.uk/emco/index.html) [EMI-MEC](http://www.lathes.co.uk/EMI-MEC) [Empire](http://www.lathes.co.uk/empire) [EMR (Hungary)](http://www.lathes.co.uk/csepel) [EMWEE (Netherlands)](http://www.lathes.co.uk/emwee) [English Mandrel](http://www.lathes.co.uk/swissuniversal) [English (Natham) USA](http://www.lathes.co.uk/wade/page8.html) [English Small Lathes](http://www.lathes.co.uk/smallenglishlathes) [Ensign](http://www.lathes.co.uk/willson) [EPVJ (Swiss?)](http://lathes.co.uk/epvj) [Alfred Eriksen (Germany)](http://www.lathes.co.uk/eriksen-lathes) [Erik Eriksson Junior (Sweden)](http://www.lathes.co.uk/erik-eriksson-junior) [Essaime (Swiss)](http://www.lathes.co.uk/essaime) [Essbeco (Sweden)](http://www.lathes.co.uk/essbeco) [ETA](http://www.lathes.co.uk/eta/index.html) [Etsco](http://www.lathes.co.uk/heivil) [Etzenberger (French)](http://www.lathes.co.uk/etzenberger) [Evans Ornamental](http://www.lathes.co.uk/evans) [Evelet Lathe](http://www.lathes.co.uk/evelet) [EW](http://www.lathes.co.uk/ew/index.html) [Exacta](http://www.lathes.co.uk/exacta) [Excel](http://www.lathes.co.uk/excel) [EXE](http://www.lathes.co.uk/exe/index.html) [Faircut](http://www.lathes.co.uk/faircut/index.html) [Falces (Spain)](http://www.lathes.co.uk/falces) [FAM (Yugoslavia)](http://www.lathes.co.uk/fam) [”Famhexport” (Spain)](http://www.lathes.co.uk/famhexport) [Favorite (Swiss)e](http://www.lathes.co.uk/favorite/index.html) [Fay & Scott (USA)](http://www.lathes.co.uk/fayscott/index.html) [Feeler (Taiwan)](http://www.lathes.co.uk/feeler) [Feinbau (Germany)](http://www.lathes.co.uk/feinbau) [Feinpruf (Germany)](http://www.lathes.co.uk/feinpruf-lathe) [Ferval (Spain)](http://www.lathes.co.uk/ferval) [Fielding](http://www.lathes.co.uk/fielding) [Fimap (Italy)](http://www.lathes.co.uk/fimap) [Firth (Arthur Firth)](http://www.lathes.co.uk/firth) [Fischer (Germany)](http://www.lathes.co.uk/fischer) [Flather (USA)](http://www.lathes.co.uk/flather) [Fleck (Germany)](http://www.lathes.co.uk/fleck) [Fleurier (Vauscher Jeanneret)](http://www.lathes.co.uk/swissuniversal) [Flexispeed](http://www.lathes.co.uk/flexy/index.html) [FMO(France)](http://www.lathes.co.uk/vuilleumier-freres) [Fobco Drills](http://www.lathes.co.uk/fobco) [F'only](http://www.lathes.co.uk/fonly) [Fogg Home-made 1919](http://www.lathes.co.uk/fogg) [Fortune & Rushworth](http://www.lathes.co.uk/fortune-rushworth) [Fortis](http://www.lathes.co.uk/fortis) (adsbygoogle = window.adsbygoogle || []).push({}); [Fraver (Argentina)](http://www.lathes.co.uk/fraver) [Robert French](http://www.lathes.co.uk/french) [Prototype French Watch Lathe](http://www.lathes.co.uk/french-prototype-watchmakers-lathe) [Roy Freres (France)](http://www.lathes.co.uk/freres-roy) [Friedrich - Georg (Germany)](http://www.lathes.co.uk/friedrich) [FSB & SEE (Germany)](http://www.lathes.co.uk/see-front-page) [Fuchs (Germany)](http://www.lathes.co.uk/fuchs) [Fulswyng](http://www.lathes.co.uk/fulswyng) [Fulvio (Levati Fulvio) Sculptures](http://www.lathes.co.uk/Levati-Fulvio) [Gage Swivel-head (USA)](http://www.lathes.co.uk/gage) [W.Gale](http://www.lathes.co.uk/gale) [Gamages](http://www.lathes.co.uk/gamages) [Gamma (Hungry)](http://www.lathes.co.uk/gamma) [Garage Special Lathe (USA)](http://www.lathes.co.uk/garage-special-lathe) [Garvin (USA)](http://www.lathes.co.uk/garvin) [Gaston et Henri Venot (France)](http://www.lathes.co.uk/gaston-et-henri-venot) [Gauthier (Germany)](http://www.lathes.co.uk/gauthier) [Gazel (France)](http://www.lathes.co.uk/wermelinger) [Geja - Hamfa (Holland)](http://www.lathes.co.uk/geja) [Gem (England)](http://www.lathes.co.uk/gem) [Gem (Australia)](http://www.lathes.co.uk/gem-lathe-australia) [Gem Glorious (Swiss)](http://www.lathes.co.uk/gemglorious) [George Adams](http://www.lathes.co.uk/george-adams/index.html) [George Hatch](http://www.lathes.co.uk/georgehatch) [Gerat-Unispan DBF](http://www.lathes.co.uk/unispan/page2.html) [Geslo (Dutch)](http://www.lathes.co.uk/geslo) [Gildemeister (Germany)](http://www.lathes.co.uk/gildemeister) [Gilman (USA)](http://www.lathes.co.uk/gilman) [Glashütte Kreissig (Germany)](http://www.lathes.co.uk/glashutte) [Gläss (Germany)](http://www.lathes.co.uk/glass) [Globe (Australia)](http://www.lathes.co.uk/globe-lathe) [Go-ahead (USA)](http://www.lathes.co.uk/go-ahead/index.html) Gold Seal Sebastian (USA) [Goodell  A.D. (USA)](http://www.lathes.co.uk/goodell-pratt/page3.html) [Goodell-Pratt (USA)](http://www.lathes.co.uk/goodell-pratt/index.html) ["Goodnow & Wightman"](http://www.lathes.co.uk/goodnow-and-wightman) [Goodwin](http://www.lathes.co.uk/goodwin) [Gornati (Italy)](http://www.lathes.co.uk/gornati) [Gosmeta (Netherlands)](http://www.lathes.co.uk/gosmeta) [Gotz (Gebr. Gotz Germany)](http://www.lathes.co.uk/gotz) [Goyen](http://www.lathes.co.uk/goyen) [Gral (Swiss)](http://www.lathes.co.uk/gral) [Granville](http://www.lathes.co.uk/granville/index.html) [Graves](http://www.lathes.co.uk/graves/index.html) [Grayson](http://www.lathes.co.uk/grayson/index.html) [Graziano (Italy)](http://www.lathes.co.uk/graziano/index.html) [Grazioli (Italy)](http://www.lathes.co.uk/grazioli) [Great Scot (Australia)](http://www.lathes.co.uk/conrik) [Greaves-Klusman (USA)](http://www.lathes.co.uk/greavesklusman) [Greenly](http://www.lathes.co.uk/greenly) [Greenwood Bros.](http://www.lathes.co.uk/greenwood-bros) \*\*\*\*\*\*\*   | **LATHES**[Grigg](http://www.lathes.co.uk/grigg) [Grimberg (Taig)](http://www.lathes.co.uk/taig) [Grindturn](http://www.lathes.co.uk/haighton/index.html) [Gromatic (Dutch)](http://www.lathes.co.uk/gromatic) [Grose (James)](http://www.lathes.co.uk/portass/page9.html) [Guilder (USA)](http://www.lathes.co.uk/guilder) [Gurka (Spain)](http://www.lathes.co.uk/gurka) [Gurutzpe (Spain)](http://www.lathes.co.uk/gurutzpe) [Habegger (Swiss)](http://www.lathes.co.uk/habegger/index.html) [Haedge and Richter (Germany)](http://www.lathes.co.uk/haedge-and-richter) [Haighton Cadet](http://www.lathes.co.uk/haighton/index.html) [Haithwaite - Frederick](http://www.lathes.co.uk/haithwaite) [Halifax](http://www.lathes.co.uk/atlas/page9.html) [Halls](http://www.lathes.co.uk/halls) [Hamann (Germany)](http://www.lathes.co.uk/hamann) [Hamfa "Geja" (Holland)](http://www.lathes.co.uk/geja) [Hamilton Ohio (USA)](http://www.lathes.co.uk/hamilton) [Hamilton Maryland (USA)](http://www.lathes.co.uk/hamiltonmaryland) [Hammel, Riglander & Co. (USA)](http://www.lathes.co.uk/hammel-riglander) [Hannifin (USA)](http://www.lathes.co.uk/gilman/page2.html) [Hansen (Canada)](http://www.lathes.co.uk/hansen) [Hardinge (USA)](http://www.lathes.co.uk/hardinge/index.html) [Hardie Swing Head (USA)](http://www.lathes.co.uk/hardie) [Harmal (Taiwan)](http://www.lathes.co.uk/harmal/index.html) [Harrington (USA)](http://www.lathes.co.uk/harrington) [Harrison L (older)](http://www.lathes.co.uk/harrison/index.html) [Harrison M (newer)](http://www.lathes.co.uk/harrison-m) [Harvey (G. & A. Harvey)](http://www.lathes.co.uk/harvey) [Haulin (France)](http://www.lathes.co.uk/haulin) [Haulton (USA)](http://www.lathes.co.uk/haulton) [Hauser (Swiss)](http://www.lathes.co.uk/hauser-lathe) [Hayward](http://www.lathes.co.uk/hayward) [Hazdent](http://www.lathes.co.uk/hazdent) [Hazemeyer (Dutch)](http://www.lathes.co.uk/hazemeyer) [Heathway Glass](http://www.lathes.co.uk/heathway) [Hector](http://www.lathes.co.uk/hector) [Heid (Germany)](http://www.lathes.co.uk/heid) [Heinemann (Germany)](http://www.lathes.co.uk/heinemann) [Heivil](http://www.lathes.co.uk/heivil) [Hembrug (Dutch)](http://www.lathes.co.uk/hembrug) [Hendey (USA)](http://www.lathes.co.uk/hendey/index.html) [Herbert Capstan Lathes (UK)](http://www.lathes.co.uk/herbert) [Herbert Australia](http://www.lathes.co.uk/herbertaustralia) [Hercus  - Australia](http://www.lathes.co.uk/hercus/index.html) [Hessapp "Titan" Fine Turning (Germany)](http://www.lathes.co.uk/hessapp/) [Hibernia](http://www.lathes.co.uk/hibernia) [Hind - Edward & Son](http://www.lathes.co.uk/hind) [Hines](http://www.lathes.co.uk/hines) [Hjorth (USA)](http://www.lathes.co.uk/hjorth/index.html) [Hobbies](http://www.lathes.co.uk/goodell-pratt/page3.html) [Hobbymat (Germany)](http://www.lathes.co.uk/hobbymat/index.html) [Hobart Bros. (USA)](http://www.lathes.co.uk/hobart) [Hobson (Victa)](http://www.lathes.co.uk/hobson/index.html) [Hodgson](http://www.lathes.co.uk/hodgson) [Hogarth](http://www.lathes.co.uk/hogarth&accura) [Hogbo (Sweden)](http://www.lathes.co.uk/hogbo-lathe) [Holbrook](http://www.lathes.co.uk/holbrook/index.html) [Hollow Spindle (USA) [Holmes](http://www.lathes.co.uk/holmes) (adsbygoogle = window.adsbygoogle || []).push({});](http://www.lathes.co.uk/briggs-lathe) [Holtzapffel](http://www.lathes.co.uk/holtzapffel) [Home-made Precision](http://www.lathes.co.uk/homemadeprecision) [Hommel (Germany)](http://www.lathes.co.uk/hommel) [Honacast (USA)](http://www.lathes.co.uk/honacast) [Hopkins (Van Norman) USA](http://www.lathes.co.uk/hopkins) [Horia (Swiss)](http://www.lathes.co.uk/Steiner) [Holtzapffel Chucks](Holtzapffel Lathe Chucks) [Houghton (USA)](http://www.lathes.co.uk/josephhoughton) [HTC (New Zealand?)](http://www.lathes.co.uk/htc) [Humpage, Hardy & Thompson](http://www.lathes.co.uk/hth/index.html) [Hughes & Fawcett](http://www.lathes.co.uk/hughes&fawcett) [Humpage, Jacques & Pedersen](http://www.lathes.co.uk/humpagejacquespedersen) [Hungarian Multi-function](http://www.lathes.co.uk/hungarianmultifunction) [Huron (Denmark)](http://www.lathes.co.uk/huron) [Hydro](http://www.lathes.co.uk/hydro-lathe) [Hynburn](http://www.lathes.co.uk/hynburn) [Ideal](http://www.lathes.co.uk/ideal/index.html) [IEC Chanana (India)](http://www.lathes.co.uk/iec) [Ikegai (Japan)](http://www.lathes.co.uk/ikegai) [IME](http://www.lathes.co.uk/ime/index.html) [Impetus](http://www.lathes.co.uk/metalmaster) [INCA (Swiss)](http://www.lathes.co.uk/scinta) [INDEX Auto Lathes (Germany)](http://www.lathes.co.uk/indexauto) [Ingers (Italy)](http://www.lathes.co.uk/ingers) [IXL](http://www.lathes.co.uk/ixl/index.html) [Georg Jacob (Germany)](http://www.lathes.co.uk/georg-jacob) [Jardine](http://www.lathes.co.uk/trident/page2.html) [J.T.Jarratt](http://www.lathes.co.uk/jarratt) [Jashöne (Spain)](http://www.lathes.co.uk/jashone) [Jason](http://www.lathes.co.uk/jason/index.html) [Jenny (France)](http://www.lathes.co.uk/jenny) [Jen-son](http://www.lathes.co.uk/jen-son) [Johnston (USA)](http://www.lathes.co.uk/johnston) [Joinville (Brazil)](http://www.lathes.co.uk/southbend9-inch/page7.html) [Jones (USA)](http://www.lathes.co.uk/jones/index.html) [Jones & Burton](http://www.lathes.co.uk/jonesburton) [Joyce C.H.](http://www.lathes.co.uk/Beswick) [JR (Jackson-Rigby)](http://www.lathes.co.uk/jr) [JR Micro Lathe (Canada)](http://www.lathes.co.uk/jr-micro-lathe) [JSB](http://www.lathes.co.uk/firth) [Julson Lathe (France)](http://www.lathes.co.uk/julson) [Junior](http://www.lathes.co.uk/portassjunior) [Juvenia (Swiss)](http://www.lathes.co.uk/juvenia) [Kadner, Rudolf (Germany)](http://www.lathes.co.uk/rudolf-kadner) [Kampe (USA)](http://www.lathes.co.uk/kampe) [Kart (Karat-Hungary)](http://www.lathes.co.uk/karat) [Karger (Germany)](http://www.lathes.co.uk/karger) (adsbygoogle = window.adsbygoogle || []).push({}); [KBC Claesson Elite Lathe (Sweden)](http://www.lathes.co.uk/claesson) [Kearney & Swart (USA)](http://www.lathes.co.uk/kearney&swart) [Keen (Australia)](http://www.lathes.co.uk/keen) [Keighley Lifts](http://www.lathes.co.uk/denham) [Kelson](http://www.lathes.co.uk/kelson) [Kennan (Ireland)](http://www.lathes.co.uk/kennan) [Kerry](http://www.lathes.co.uk/kerry/index.html) [Keva](http://www.lathes.co.uk/keva) [Kharkovski (Ukraine)](http://www.lathes.co.uk/kharkovski) [Kitchen & Wade](http://www.lathes.co.uk/kitchenwade/index.html) [Kneller Bar Bed](http://www.lathes.co.uk/kneller/index.html) [Knapp Toy Mchn. Tools (USA)](http://www.lathes.co.uk/knapp) [KOK (Netherlands)](http://www.lathes.co.uk/kok) [Kosmos (Germany)](http://www.lathes.co.uk/kosmos) [Krause (Austria)](http://www.lathes.co.uk/krause) [Kreissig (Germany)](http://www.lathes.co.uk/glashutte) [Kuhlmann (Germany)](http://www.lathes.co.uk/Kuhlmann) [Labormil (Raglan based)](http://www.lathes.co.uk/labormil) [Lacfer (Spain)](http://www.lathes.co.uk/lacfer) [J.Lambercier & Cie (Swiss)](http://www.lathes.co.uk/Lambercier) [Lancaster](http://www.lathes.co.uk/wolfjahn) [Lanco (Australia)](http://www.lathes.co.uk/lanco) [Lane](http://www.lathes.co.uk/wizard/index.html) [Lang](http://www.lathes.co.uk/lang) [Lansing](http://www.lathes.co.uk/lansing) [Lantaine (Taiwan)](http://www.lathes.co.uk/taiwan/) [Large Machine Tools](http://www.lathes.co.uk/largemachinetools) [Larvic](http://www.lathes.co.uk/larvic) [Lathe & Morse (USA)](http://www.lathes.co.uk/lathe-and-morse) [Latimier (French)](http://www.lathes.co.uk/wermelinger) [Leader - IXL](http://www.lathes.co.uk/ixl) [Leavitt (USA)](http://www.lathes.co.uk/leavitt) [LeBlond (USA)](http://www.lathes.co.uk/leblond/index.html) [Lee](http://www.lathes.co.uk/lee) [Leiman Bros.(USA)](http://www.lathes.co.uk/leiman) [Leinen (Germany) [Leinweber Bar Bed (Austria)](http://www.lathes.co.uk/leinweber) [Lempco (USA)](http://www.lathes.co.uk/lempco) [Leopoldo, Pontiggia, Lepont (Italy)](http://www.lathes.co.uk/Lepont) [Leinen (Germany)](http://www.lathes.co.uk/leinen/index.html) [Lesto/Scinta Bar Bed (Swiss)](http://www.lathes.co.uk/scinta/index.html) [Levin  (USA)](http://www.lathes.co.uk/levin/index.html) [Leyland](http://www.lathes.co.uk/leyland) [Leyland & Barlow](http://www.lathes.co.uk/leylandbarlow) [Liberty-Davis (USA)](http://www.lathes.co.uk/liberty-davis) [Liberty (Taiwan)](http://www.lathes.co.uk/liberty) [Liebert & Gürtler (Germany)](http://www.lathes.co.uk/liebert-gurtler) [Lincoln](http://www.lathes.co.uk/lincoln) [Lineker & Winfield](http://www.lathes.co.uk/lineker&winfield) [Lin Huan (Taiwan)](http://www.lathes.co.uk/linhuan) [LIP (France)](http://www.lathes.co.uk/lip-lathe) [W.C.Lipe (USA)](http://www.lathes.co.uk/portercable) [Little Gem Round Bed](http://www.lathes.co.uk/gem) [Little Jim](http://www.lathes.co.uk/corbett) [Lloyd Lathe](http://www.lathes.co.uk/lloyd-capstan-lathe) [Lodge & Shipley (USA)](http://www.lathes.co.uk/lodgeshipley) [Logan (USA)](http://www.lathes.co.uk/logan/index.html) [Logos (Italy)](http://www.lathes.co.uk/logos) [Lombardo (Italy)](http://www.lathes.co.uk/lombardo) [Lorch (Germany)](http://www.lathes.co.uk/lorch/index.html) [Lorch Schmidt (Germany)](http://www.lathes.co.uk/lorchschmidt) [Loudon Brothers](http://www.lathes.co.uk/loudon-brothers) [Loughborough](http://www.lathes.co.uk/loughborough) [Lyn](http://www.lathes.co.uk/lyn) [Machinex (USA)](http://www.lathes.co.uk/machinex) [MADE Ornamental (USA)](https://madelathe.com/) [Magdeburg (Germany)](http://www.lathes.co.uk/magdeburg) [Malcar](http://www.lathes.co.uk/malcar) [Manhora (France)](http://www.lathes.co.uk/manhora) [Mancuna](http://www.lathes.co.uk/mancuna) [Manix (Korea)](http://www.lathes.co.uk/toyo/index.html) [Mann (USA)](http://www.lathes.co.uk/mann) [ManSon/Duo/Master Lathes (USA)](http://www.lathes.co.uk/manson/index.html) [Marco (USA?)](http://lathes.co.uk/peerless/page2.html) [MARF (France)](http://lathes.co.uk/marf) [Marriott](http://www.lathes.co.uk/marriott) [Marshall (USA)](http://www.lathes.co.uk/peerless) [Mars (Australia)](http://www.lathes.co.uk/mars) [Marsh (USA)](http://www.lathes.co.uk/marsh) [Martin (Germany)](http://www.lathes.co.uk/martin) [MAS (CZ)](http://www.lathes.co.uk/mas) [Mashstroy (Bulgaria)](http://www.lathes.co.uk/mashstroy) [Mason](http://www.lathes.co.uk/mason-home-built-lathe) [Massachussets Tool Co.(USA)](http://www.lathes.co.uk/massachusetts) [Matos (Slovakia)](http://www.lathes.co.uk/mas) [Mateo "Miniature" (Brazil)](http://www.lathes.co.uk/mateo) [Matra (Germany)](http://www.lathes.co.uk/matra) [Matra-LeBlond (Germany)](http://www.lathes.co.uk/matra/page3.html) [Matrix](http://www.lathes.co.uk/matrix) [Matt (USA)](http://www.lathes.co.uk/vigor) [Mattapan Iron Works](http://www.lathes.co.uk/mattapan-iron-works) [Maximat (Emco, Austria)](http://www.lathes.co.uk/emco) [Maxnovo (Italy)](http://www.lathes.co.uk/maxnovo) [Mazak (Japan)](http://www.lathes.co.uk/mazak) [McDougall (Canada)](http://www.lathes.co.uk/mcdougall) [Mecana (Swiss)](http://www.lathes.co.uk/vektor) [Meccanica Cortini (Italy)](http://www.lathes.co.uk/meccanica) [Melcer (France)](http://www.lathes.co.uk/melcer) [Melhuish](http://www.lathes.co.uk/melhuish) [Mellor](http://www.lathes.co.uk/mellor/index.html) [Mentor (Italy)](http://www.lathes.co.uk/mentor) [Menziken (Swiss)](http://www.lathes.co.uk/menziken) [Meriden (USA)](http://www.lathes.co.uk/meriden) [Merli (Italy)](http://www.lathes.co.uk/merli) [Mesoutil (France)](http://www.lathes.co.uk/mesoutil) [Metalcraft (USA)](http://www.lathes.co.uk/atlas/page7.html) [Metallpakningsfabrikk (Norway)](http://www.lathes.co.uk/norse-south-bend-inspired) [Metalmaster (Impetus)](http://www.lathes.co.uk/metalmaster) [Metal Master (USA)](http://www.lathes.co.uk/metalmasterusa) [Metaubell (France)](http://www.lathes.co.uk/metaubell) [Meteor](http://www.lathes.co.uk/flexy/index.html) [Meuser (Germany)](http://www.lathes.co.uk/meuser) [Meyer & Burger(Swiss)](http://www.lathes.co.uk/meyerburger/index.html) [Meytre(Swiss)](http://www.lathes.co.uk/meytre) [MI-BO (Italy)](http://www.lathes.co.uk/mi-bo) ["Midget" Home-made (USA)](http://www.lathes.co.uk/midget) [Midwinter](http://www.lathes.co.uk/midwinter) [Mikron (Swiss)](http://www.lathes.co.uk/mikron) [Millen](http://www.lathes.co.uk/millen) [Millers Falls (USA)](http://www.lathes.co.uk/goodell-pratt/page3.html) [Milnes](http://www.lathes.co.uk/milnes) [Minilor (France)](http://www.lathes.co.uk/minilor/index.html) [Milro (Aus)](http://www.lathes.co.uk/milro) [Minganti-Myford](http://www.lathes.co.uk/minganti-myford) [Miniature Precision (USA)](http://www.lathes.co.uk/unknown41) [Misal (Italy)](http://www.lathes.co.uk/misal) [Mitchell](http://www.lathes.co.uk/woodhouse&mitchell) [Mitsubishi (Japan)](http://www.lathes.co.uk/mitsubishi) [Modern UK](http://www.lathes.co.uk/modern) [Modig (Sweden)](http://www.lathes.co.uk/modiglathe) [Monarch (USA)](http://www.lathes.co.uk/monarch/index.html) [Mondiale (Belgium)](http://www.lathes.co.uk/mondiale) [Montgomery Ward (USA)](http://www.lathes.co.uk/logan/page3.html) [Moody (Canada)](http://www.lathes.co.uk/southbend9-inch/page4.html) [Morat (Germany)](http://www.lathes.co.uk/morat) [Mori-Seiki (Japan)](http://www.lathes.co.uk/mori-seiki) [Moseley (USA)](http://www.lathes.co.uk/moseley) [Muckle](http://www.lathes.co.uk/muckle)](http://www.lathes.co.uk/leinen/index.html)[Mulliner-Enlund (USA)](http://www.lathes.co.uk/portercable/page2.html) [Multimachine (USA)](http://www.lathes.co.uk/multimachine) [Multipro Minilor France)](http://www.lathes.co.uk/multipro-minilor) [Muir William](http://www.lathes.co.uk/muir/index.html) [Munro Ornamental](http://www.lathes.co.uk/munro) [Murad](http://www.lathes.co.uk/murad/index.html) [Myford](http://www.lathes.co.uk/myford/index.html) [Myford Factory Archive](http://www.lathes.co.uk/myford-factory-archive) [Myford/Drummond M](http://www.lathes.co.uk/drummond/index.html) [My Turn (Myford Copy)](http://www.lathes.co.uk/myford-copies) [Namsun (Korea)](http://www.lathes.co.uk/daewoo-namsun) [R.A.Narbuch](http://www.lathes.co.uk/leylandpage2) [Narragansett (USA)](http://www.lathes.co.uk/narragansett) [Newall](http://www.lathes.co.uk/newall) [N.D.C.](http://www.lathes.co.uk/ndc) [W.H.Nichols (USA)](http://www.lathes.co.uk/whnichols) [Niggle (France)](http://www.lathes.co.uk/niggle) [G.Nissel](http://www.lathes.co.uk/nissel) [Noble & Lund](http://www.lathes.co.uk/noble-and-lund) [NSTG (USA)](http://www.lathes.co.uk/southbend9-inch/page3.html) [Nordan](http://www.lathes.co.uk/nordan) [Norfolk](http://www.lathes.co.uk/norfolk) [NW](http://www.lathes.co.uk/nw) [Nuttall (Aus)](http://www.lathes.co.uk/nuttall) [Ogawa Iron Works Precimax](http://www.lathes.co.uk/ogawa-precimax) [Okuma (Japan)](http://www.lathes.co.uk/okuma) [Oliver (USA)](http://www.lathes.co.uk/oliver/index.html) [Oliver W.W. (USA)](http://www.lathes.co.uk/wwoliver) [Olmar](http://www.lathes.co.uk/olmar) [Olympic](http://www.lathes.co.uk/olympic) [OMMP (Italy)](http://www.lathes.co.uk/ommp) [Onan (USA)](http://www.lathes.co.uk/onan) [Ornmaskiner (Sweden)](http://www.lathes.co.uk/ornmaskiner) [Osborne](http://www.lathes.co.uk/colchester/page17.html) [OUS-1 (Poland)](http://www.lathes.co.uk/ous) [L'Outilervé (France)](http://www.lathes.co.uk/siame) [O.W.T. (USA)](http://www.lathes.co.uk/owt) [Padana (Italy)](http://www.lathes.co.uk/padana) [Panerai & Figli (Italy)](http://www.lathes.co.uk/panerai) [Panther (India)](http://www.lathes.co.uk/panther) [Parr (Australia)](http://www.lathes.co.uk/parr) [Parkanson (Australia)](http://www.lathes.co.uk/parkanson) [Parker McKnight (USA)](http://www.lathes.co.uk/parker-mcknight) [Parkson](http://www.lathes.co.uk/parksonlathe) [Parmar (India)](http://www.lathes.co.uk/parmar) [Parsons C.E.](http://www.lathes.co.uk/parsons) [Pasquino (Italy)](http://www.lathes.co.uk/pasquino) [Patrick](http://www.lathes.co.uk/patrick) [Paulson (USA)](http://www.lathes.co.uk/paulson) [P.B.R. (Italy)](http://www.lathes.co.uk/pbr) [PDF (Netherlands)](http://www.lathes.co.uk/pdf) [Pearce (USA)](http://www.lathes.co.uk/pearce) [Peatol](http://www.lathes.co.uk/taig) [Peerless (USA)](http://www.lathes.co.uk/peerless) [Pegard Machine Tools (Belgium)](http://www.lathes.co.uk/pegard) [Pennant](http://www.lathes.co.uk/pennant) [Perfection (Germany)](http://www.lathes.co.uk/perfection) [Perfecto](http://www.lathes.co.uk/perfecto/index.html) [Perhays](http://www.lathes.co.uk/perhays) [Perrenoud (Swiss)](http://www.lathes.co.uk/perrenoud/index.html) [Perris](http://www.lathes.co.uk/perris) [Perton (USA)](http://www.lathes.co.uk/perton) [Petermann (Swiss)](http://www.lathes.co.uk/petermann) [Petrie](http://www.lathes.co.uk/petrie) [Pexto (USA)](http://www.lathes.co.uk/pools/page3.html) [Pfeil](http://www.lathes.co.uk/pfeil) [Picador](http://www.lathes.co.uk/picador) [Piccolo (Swiss)](http://www.lathes.co.uk/piccolo) [Piho (Germany)](http://www.lathes.co.uk/piho) [Pinacho (Spain)](http://www.lathes.co.uk/pinacho) [Pioneer watchmakers’](http://www.lathes.co.uk/pioneer) [Pittler (Germany)](http://www.lathes.co.uk/pittler/index.html) [Pitt’s Yorkshire](http://www.lathes.co.uk/pitts) [Pixi](http://www.lathes.co.uk/pixi) [Plauert (Germany)](http://www.lathes.co.uk/plauert) [Pond (USA)](http://www.lathes.co.uk/pond) [Pontiggia L/poldo (Italy)](http://www.lathes.co.uk/pontiggia) [Pools](http://www.lathes.co.uk/pools/index.html) [Portass](http://www.lathes.co.uk/portass/index.html) [Porter-Cable (USA)](http://www.lathes.co.uk/portercable) [Potisje Lathes (Serbia)](http://lathes.co.uk/potisje) [Potter (USA)](http://www.lathes.co.uk/potter) [Prakash Atlas (Myford Copy)](http://www.lathes.co.uk/Myford-Copies) [Pratt & Whitney (USA)](http://www.lathes.co.uk/pratt&whitney) [F.Pratt](http://www.lathes.co.uk/pratt) [Präzima (Germany)](http://www.lathes.co.uk/prazima) [Prazimat DLZ (Germany)](http://www.lathes.co.uk/hobbymat/page3.html) [Precis (France)](http://www.lathes.co.uk/precis) [Precision Bench Lathes List](http://www.lathes.co.uk/precision-bench-lathes-list) [Premo (Australia)](http://www.lathes.co.uk/veem) [Progress-Oslo (Norway)](http://www.lathes.co.uk/progress-oslo) [Proxxon](http://www.lathes.co.uk/toyo) [Prudor (France)](http://www.lathes.co.uk/prudor) [P.T.A. (Pultra)](http://www.lathes.co.uk/pultra) [Pultra](http://www.lathes.co.uk/pultra) [Purcell (Aus)](http://www.lathes.co.uk/purcell) [Quality Engineering (Australia)](http://www.lathes.co.uk/quality-engineering) [Qualos (Australia)](http://www.lathes.co.uk/qualos) [Qualters & Smith](http://www.lathes.co.uk/qualters-smith-lathes) [Raglan](http://www.lathes.co.uk/raglan/index.html) [Rahn-Carpenter (USA)](http://www.lathes.co.uk/rahn-carpenter) [Rambold (Germany)](http://www.lathes.co.uk/rambold) [Randa](http://www.lathes.co.uk/randa/index.html) [Rawco](http://www.lathes.co.uk/rawco) [Rebmann (Germany)](http://www.lathes.co.uk/rebmann) [Record (France)](http://www.lathes.co.uk/record-lathe-france) [Record/Toyo (Japan)](http://www.lathes.co.uk/toyo/index.html) [Record/Ehrlich (Germany)](http://www.lathes.co.uk/record) [Reese (USA)](http://www.lathes.co.uk/reese) [Regal LeBlond (USA)](http://www.lathes.co.uk/leblond/index.html) [Reiden (Swiss)](http://www.lathes.co.uk/reiden) [Reliance](http://www.lathes.co.uk/reliance-lathe) [Relm](http://www.lathes.co.uk/relm) [Dremel (USA)](http://www.lathes.co.uk/dremel) [Remington (USA)](http://www.lathes.co.uk/remington) [REW (India)](http://www.lathes.co.uk/rew) [Rexman (Australia)](http://www.lathes.co.uk/rexman) [Rexvalter (Sweden)](http://www.lathes.co.uk/rexvalter) [Richter (Austria)](http://www.lathes.co.uk/richter) (adsbygoogle = window.adsbygoogle || []).push({}); [Riken (Japan)](http://www.lathes.co.uk/riken) [Rindis](http://www.lathes.co.uk/rindis) [Rivett(USA)](http://www.lathes.co.uk/rivett) [Rizzi (Italy)](http://www.lathes.co.uk/rizzi) [Roberts](http://www.lathes.co.uk/roberts) [Robling (Germany)](http://www.lathes.co.uk/robling) [Robot (CZ)](http://www.lathes.co.uk/robot) [Rockford (USA)](http://www.lathes.co.uk/rockford)   | **LATHES**[Rockwell Delta (USA)](http://www.lathes.co.uk/delta%20metal/index.html) [Rocky Mountain (USA)](http://www.lathes.co.uk/artisan/page4.html) [R.O.F.B.](http://www.lathes.co.uk/rofb) [Rolfe (Australia)](http://www.lathes.co.uk/rolfe) [Rollo](http://www.lathes.co.uk/rollo/index.html) [Rolls-Royce](http://www.lathes.co.uk/rolls-royce) [Roper & Wreaks](http://www.lathes.co.uk/roper&wreaks) [Roscoe](http://www.lathes.co.uk/wolfjahn) [Rosemoor (USA)](http://www.lathes.co.uk/rosemoor) [Rosenfors (Sweden)](http://www.lathes.co.uk/rosenfors) [Rossbacher (USA)](http://www.lathes.co.uk/rossbacher) [Rossia](http://www.lathes.co.uk/rossia) [C.L.Roth (Germany)](http://www.lathes.co.uk/roth) [Rowic (Argentina)](http://www.lathes.co.uk/unimat/page15.html) [RSB](http://www.lathes.co.uk/rsb) [Rundex (Germany)](http://www.lathes.co.uk/rundex) [Russian Round-bed Lathe](http://www.lathes.co.uk/russian) [Russian Watchmaker's Lathe](http://www.lathes.co.uk/russian-watchmakers) [Ryder (Thomas Ryder)](http://www.lathes.co.uk/adcock&shipleycombination) [Saacke (Germany)](http://www.lathes.co.uk/saacke) [Sakai/Toyo (Japan)](http://www.lathes.co.uk/toyo/index.html) [S.A.M.O.A. (France)](http://www.lathes.co.uk/samoa) [Sanches Blanes (Brazil)](http://www.lathes.co.uk/southbend9-inch/page6.html) [J.Santaella (France)](http://www.lathes.co.uk/santaella) [Sartglen Pixi](http://www.lathes.co.uk/jason) [Satif (Portugal?)](http://www.lathes.co.uk/satif) [Saupe (Germany)](http://www.lathes.co.uk/saupe) [Savna (India)](http://www.lathes.co.uk/savna) [SBW (Smith, Barker, Willson)](http://www.lathes.co.uk/willson) [Schaffner (USA)](http://www.lathes.co.uk/schaffner) [Schaublin (Swiss)](http://www.lathes.co.uk/schaublin) [Scherzinger (Germany)](http://lathes.co.uk/scherzinger)   [F.A.Scheu (Germany)](http://www.lathes.co.uk/scheu) [Schiessl (Austria)](http://www.lathes.co.uk/schiessl) [Schlitt (Germany)](http://www.lathes.co.uk/schlitt) [Scholze & Aster (Germany)](http://www.lathes.co.uk/scholze-and-aster) [Schuchardt & Schutte (Germany)](http://www.lathes.co.uk/schuchardt&schutte) [Schumacher & Boye (USA)](http://www.lathes.co.uk/schumacher&boye/index.html) [Schubert (Friedrich) (Germany)](http://www.lathes.co.uk/schubert) [Scintilla/Scinta (Swiss)](http://www.lathes.co.uk/scinta/index.html) [Scomea](http://www.lathes.co.uk/scomea) [Scope Bar Bed](http://www.lathes.co.uk/scope) [Scott](http://www.lathes.co.uk/scott) [Scott-Homer](http://www.lathes.co.uk/scott-homer) [Sebastian Gold Seal (USA)](http://www.lathes.co.uk/sebastian/index.html) [SEE (FSB Germany)](http://www.lathes.co.uk/see-front-page) [Select (Taiwan)](http://www.lathes.co.uk/select) [Selecta](http://www.lathes.co.uk/unimat) [Selig Sonnenthal](http://www.lathes.co.uk/seligsonnenthal/page2.html) [Selson](http://www.lathes.co.uk/selson) [Seneca Falls (Star USA)](http://www.lathes.co.uk/senecafalls/index.html) [Senior](http://www.lathes.co.uk/firth) [SF2-Lyon Codima (France)](http://www.lathes.co.uk/codima) [Sharp (Taiwan)](http://www.lathes.co.uk/hardinge3/page4.html) [Sheane Bros. (Ireland)](http://www.lathes.co.uk/sheane) [Shedd (USA)](http://www.lathes.co.uk/shedd) [Sheen (Australia)](http://www.lathes.co.uk/lineker&winfield) [Sheldon  (USA)](http://www.lathes.co.uk/sheldon/index.html) [Shepard Lathe & Morse (USA)](http://www.lathes.co.uk/shepard) [Shepard H.L & Co (Morse) (USA)](http://www.lathes.co.uk/shepardhl) [Sheraton (Australia)](http://www.lathes.co.uk/sheraton) [Sherline (USA)](http://www.lathes.co.uk/sherline/index.html) [Sherman-Clark (USA)](http://www.lathes.co.uk/craftsman/page6.html) [Shertlin (France)](http://www.lathes.co.uk/prudor) [SIAME (France)](http://www.lathes.co.uk/siame) [Simat](http://www.lathes.co.uk/flexy/index.html) [Sidney (USA)](http://www.lathes.co.uk/sidney) [Simmons (USA)](http://www.lathes.co.uk/simmons/index.html) [Simonet (Swiss)](http://www.lathes.co.uk/simonet/index.html) [Simplex (USA)](http://www.lathes.co.uk/simplex) [Simplex (Mondiale)](http://www.lathes.co.uk/mondiale/page6.html) [Siome Covema (France)](http://www.lathes.co.uk/siome) [S.I.O.M.E. (France)](http://www.lathes.co.uk/siome/page2.html) [SIP (Swiss)](http://www.lathes.co.uk/sip/page6.html) [Skarzysko (Poland)](http://www.lathes.co.uk/skarzysko) [Sloan & Chace (USA)](http://www.lathes.co.uk/sloan&chace) [SL2a (Germany)](http://www.lathes.co.uk/sl2a) [SM (France)](http://www.lathes.co.uk/sm) [Smallpiece - Cromwell](http://www.lathes.co.uk/cromwell) [Smart & Brown](http://www.lathes.co.uk/smartbrown/index.html) [SMID (France)](http://www.lathes.co.uk/smid) [Smith-Drum (USA)](http://www.lathes.co.uk/smith-drum) [Socomo (France)](http://www.lathes.co.uk/socomo) [S.O.M.B.V. (France)](http://www.lathes.co.uk/sombv)   [South Bend (USA)](http://www.lathes.co.uk/southbend/index.html) [Southwark](http://www.lathes.co.uk/southwark) [Sperry (USA)](http://www.lathes.co.uk/universal-precision-parts) [Spencer](http://www.lathes.co.uk/spencer) [Sphere](http://www.lathes.co.uk/atlas/page9.html) [Spindle Star (Toyo ML1)](http://www.lathes.co.uk/toyo/page3.html) [Springfield (USA)](http://www.lathes.co.uk/springfield) [SR80 (Denmark)](http://www.lathes.co.uk/sr80) [Stalwart](http://www.lathes.co.uk/stalwart/index.html) [Standard (Mondiale) Belgium](http://www.lathes.co.uk/mondiale) [Standard Modern (Canada)](http://www.lathes.co.uk/standardmodern) [Stanko 3-inch (Russia)](http://www.lathes.co.uk/russian) [Stankoimport (Russia)](http://www.lathes.co.uk/stankoimport) [Stanley](http://www.lathes.co.uk/stanley) [Star (A.Gentil Swiss)](http://www.lathes.co.uk/star) [Star (Seneca Falls USA)](http://www.lathes.co.uk/senecafalls/index.html) [Stark (USA)](http://www.lathes.co.uk/stark) [STB Precision (Unknown)](http://www.lathes.co.uk/stb) [Stedall](http://www.lathes.co.uk/stedall) [Stehman-Jenks-Stehman (USA)](http://www.lathes.co.uk/stehman-jenks-stehman-bench-precision) [Steiner (Swiss)](http://www.lathes.co.uk/steiner) [Stepperhead](http://www.lathes.co.uk/stepperhead) [Sterling](http://www.lathes.co.uk/shepardhl) [Stewartry](http://www.lathes.co.uk/stewartry) [Stima-AMC (France)](http://www.lathes.co.uk/stimaamc) [Stickland Brothers](http://www.lathes.co.uk/stickland-brothers) [Storebro (Sweden)](http://www.lathes.co.uk/storebro) [H.Strube & Son (France/Swiss)](http://www.lathes.co.uk/strube) [Stuart](http://www.lathes.co.uk/stuart) [Sugges (France)](http://www.lathes.co.uk/sugges) [Sundale](http://www.lathes.co.uk/seligsonnenthal/page3.html) [Superior (Canada)](http://www.lathes.co.uk/superior) [Swartchild (USA)](http://www.lathes.co.uk/swartchild) [Swayne-Robinson Bar Bed (USA)](http://www.lathes.co.uk/swaynerobinson) [Swift](http://www.lathes.co.uk/swift) [Swiss Universal/Mandrel](http://www.lathes.co.uk/swissuniversal) [Swisten (Germany)](http://www.lathes.co.uk/carstens) [Sypher (USA)](http://www.lathes.co.uk/sypher) [Tafenglon (Myford Copy)](http://www.lathes.co.uk/myford-copies) [Taig (USA)](http://www.lathes.co.uk/taig/index.html) [Taiwanese Generic](http://www.lathes.co.uk/taiwan) [Taiwanese Geared-head 1330 to 1440](http://www.lathes.co.uk/taiwanese-1330-1340-1430-1440) [Takisawa (Japan)](http://www.lathes.co.uk/takisawa) [Tangyes](http://www.lathes.co.uk/tangyes) [Target Copymax Attachment](http://www.lathes.co.uk/target-copymax-attachment) [Taylor](http://www.lathes.co.uk/taylor) [Taylor & Challen](http://www.lathes.co.uk/taylor&challen) [T.Taylor - Manchester](http://www.lathes.co.uk/ttaylor) [T.C. & M. (Boley)](http://www.lathes.co.uk/boleybevelledbed) [Tekno - Toys (Denmark)](http://www.lathes.co.uk/tekno) [Telco (Boley)](http://www.lathes.co.uk/boleybevelledbed/) [Teyssou (France)](http://www.lathes.co.uk/teyssou) [Thum (French/Swiss)](http://www.lathes.co.uk/thum) [Tiger Turn (Myford copies)](http://www.lathes.co.uk/myford-copies/) [Tillico (Australia)](http://www.lathes.co.uk/tillico) [Timbrell & Wright](http://www.lathes.co.uk/timbrellwright) [T. & L. M.](http://www.lathes.co.uk/tlm) [TLV (Sweden)](http://www.lathes.co.uk/tlv) [T.N.C. Adept (Australia)](http://www.lathes.co.uk/adept/page2.html) [T.N.C.-CamSon (Australia)](http://www.lathes.co.uk/TNC-CamSon) [TOS Lathes Links Page](http://www.lathes.co.uk/tos-millers) [TOS MN80 & SU16 (CZ)](http://www.lathes.co.uk/tos/index.html) [TOS S28 Toolroom (CZ)](http://www.lathes.co.uk/tos-S28) [TOS Factory Tour (CZ)](http://www.lathes.co.uk/tos-book-page-1) [Toledo (USA)](http://www.lathes.co.uk/toledo) [Torni Lathes (Italy)](http://www.lathes.co.uk/torni) [Torrent Tarragona (Spain)](http://www.lathes.co.uk/torrent) [Tovaglieri (Italy)](http://www.lathes.co.uk/tovaglieri) [Town Woodhouse](http://www.lathes.co.uk/woodhouse&mitchell/index.html) [Toy Lathe](http://www.lathes.co.uk/toy-lathe) [Toyo/Sakai (Japan)](http://www.lathes.co.uk/toyo/index.html) [Traub Automatic Lathes](http://www.lathes.co.uk/traub-automatic-lathes) [Traub Precision(Germany)](http://www.lathes.co.uk/traub-bench-precision) [Trident](http://www.lathes.co.uk/trident) [Troglia (Italy)](http://www.lathes.co.uk/troglia) [Truecut](http://www.lathes.co.uk/faircut/index.html) [Turnell & Odell](http://www.lathes.co.uk/turnell-and-odell) [Turner](http://www.lathes.co.uk/turner) [TW Monoturn](http://www.lathes.co.uk/cuthbert) [Tyzack (Zyto)](http://www.lathes.co.uk/zyto) [UFP (France)](http://www.lathes.co.uk/southbend9-inch/page11.html) [UMA (Germany)](http://www.lathes.co.uk/uma) [U.N.D. (USA)](http://www.lathes.co.uk/und) [Unic (Swiss)](http://www.lathes.co.uk/dan) (adsbygoogle = window.adsbygoogle || []).push({}); [Unimac Universal (Australia)](http://www.lathes.co.uk/unimac) [Unimat (Emco, Austria)](http://www.lathes.co.uk/unimat) [Unimilla Famup (Italy)](http://www.lathes.co.uk/unimilla) [Union (UK)](http://www.lathes.co.uk/union) [Union Werk (Germany)](http://www.lathes.co.uk/union-werk) [Unispan (Germany)](http://www.lathes.co.uk/unispan) [Unitor (Italy)](http://www.lathes.co.uk/unitor) [Universal Precision Parts (USA)](http://www.lathes.co.uk/universal-precision-parts/index.html) [Universo (France)](http://www.lathes.co.uk/universo) [UNKNOWN Lathes](http://www.lathes.co.uk/unknown) [Ursus (Italy)](http://www.lathes.co.uk/ursus) [Vachette (France)](http://www.lathes.co.uk/prudor) [Van Norman (USA)](http://www.lathes.co.uk/vannorman) [Vario-Lux 130 (France)](http://www.lathes.co.uk/minilor/index.html) [Vauscher G.Ve (Swiss)](http://www.lathes.co.uk/swissuniversal) [VDF (Germany)](http://www.lathes.co.uk/vdf) [VDF Factory Tour (Germany)](http://www.lathes.co.uk/vdf-factory-tour) [Vector (China)](http://www.lathes.co.uk/vector) [Veem (Australia)](http://www.lathes.co.uk/veem) [VEF (Latvia)](http://www.lathes.co.uk/vef) [Vektor (Swiss)](http://www.lathes.co.uk/vektor) [Velox](http://www.lathes.co.uk/velox) [Venot (France)](http://www.lathes.co.uk/venot) [Vernier (France)](http://www.lathes.co.uk/vernier) [Verschoyle](http://www.lathes.co.uk/verschoyle/index.html) [Vesuv (Denmark)](http://www.lathes.co.uk/vesuv)   [Viceroy  (Denford)](http://www.lathes.co.uk/viceroy/index.html) [Vidal](http://www.lathes.co.uk/vidal) [Vigor (and Matt)](http://www.lathes.co.uk/vigor) ["Villiers"](http://www.lathes.co.uk/villiers) [VLG (Sweden)](http://www.lathes.co.uk/VLG) [Vöest (Germany)](http://www.lathes.co.uk/voest) [Volman (TOS) CZ](http://www.lathes.co.uk/volman) [Vuilleumier Freres(France)](http://www.lathes.co.uk/vuilleumier-freres) [Wabeco (Germany)](http://www.lathes.co.uk/wabeco) [Wade/CAV round bed](http://www.lathes.co.uk/wade%20cva/index.html) [Wade Precision (USA)](http://www.lathes.co.uk/wade/index.html) [Wahli (Swiss)](http://www.lathes.co.uk/wahli) [Wakefield](http://www.lathes.co.uk/wakefield) (adsbygoogle = window.adsbygoogle || []).push({}); [Walcott (USA)](http://www.lathes.co.uk/walcott) [Walram Attachment](http://www.lathes.co.uk/walram) [Waltham (USA)](http://www.lathes.co.uk/waltham/index.html) [Walther (Germany)](http://www.lathes.co.uk/walther) [Wandess](http://www.lathes.co.uk/wandess) [Ward Turret Lathes](http://www.lathes.co.uk/ward-50s) [Warwick](http://www.lathes.co.uk/warwick/index.html) [Watchmakers Lathes](http://www.lathes.co.uk/watchmaker) [WCC (USA)](http://www.lathes.co.uk/wcc) [Webster & Howarth](http://www.lathes.co.uk/webster-howarth) [Webster Whitcomb (USA)](http://www.lathes.co.uk/derbyshire) [Western Aircraft (USA)](http://www.lathes.co.uk/westernaircraft) [Weidenhoff (USA)](http://www.lathes.co.uk/weidenhoff) [Weiler (Germany)](http://www.lathes.co.uk/weiler) [Johann Weisser (Germany)](http://www.lathes.co.uk/weisser) [Eugen Weisser (Germany)](http://www.lathes.co.uk/eugenweisser) [Welson](http://www.lathes.co.uk/welson) [Wermelinger Lathe (France)](http://www.lathes.co.uk/wermelinger) [Whippet](http://www.lathes.co.uk/whippet) [Whitecote (Myford copies)](http://www.lathes.co.uk/myford-copies) [White Colt (Myford copies)](http://www.lathes.co.uk/myford-copies) [Whiting Pottery Lathe (USA)](http://www.lathes.co.uk/whiting-pottery-lathe) [Wield J.](http://www.lathes.co.uk/wield) (adsbygoogle = window.adsbygoogle || []).push({}); [Wilfin](http://www.lathes.co.uk/wilfin) [Williams Watch Lathe (USA)](http://www.lathes.co.uk/williams) [Willimot](http://www.lathes.co.uk/ideal) [Willson](http://www.lathes.co.uk/willson/index.html) [Wilmarth (Seth Wilmarth) USA](http://www.lathes.co.uk/seth-wilmarth) [Winfield](http://www.lathes.co.uk/winfield/index.html) [Winkle (USA)](http://www.lathes.co.uk/winkle) [Wiskum (Denmark)](http://www.lathes.co.uk/wiskum) [Wizard](http://www.lathes.co.uk/wizard/index.html) [Wolf Jahn (Germany)](http://www.lathes.co.uk/wolfjahn) [Wood (Frank Wood USA)](http://www.lathes.co.uk/frankwood) [Woolner](http://www.lathes.co.uk/portass/page5.html) [Woodhouse & Mitchell](http://www.lathes.co.uk/woodhouse&mitchell) [Worcester (USA)](http://www.lathes.co.uk/worcester) [Wren](http://www.lathes.co.uk/wren) [Von Wyck (USA)](http://www.lathes.co.uk/von-wyck) [Wyvern](http://www.lathes.co.uk/wyvern) [Yamazaki (Japan)](http://www.lathes.co.uk/mazak) [York](http://www.lathes.co.uk/york) [Earl Young Lathe](http://www.lathes.co.uk/earl-young-home-made-lathe) [Zbrojovka (CZ)](http://www.lathes.co.uk/zbrojovka) [ZDZ (Poland)](http://www.lathes.co.uk/zdz) [Zimmerman (USA)](http://www.lathes.co.uk/zimmerman) [ZKD (Denmark)](http://www.lathes.co.uk/zkn) [ZKN (Denmark)](http://www.lathes.co.uk/zkn) [Zoerman-Clark (USA)](http://www.lathes.co.uk/craftsman/page8.html) [Zubi (Spain)](http://www.lathes.co.uk/zubi) [Zyto](http://www.lathes.co.uk/zyto/index.html) **[UNKNOWN LATHES](http://www.lathes.co.uk/unknown)** **COMBINATION MACHINES** [Adcock & Shipley](http://www.lathes.co.uk/adcock&shipleycombination/index.html) [Aldrin (Sweden)](http://www.lathes.co.uk/aldrin) [Almkvist (Sweden)](http://www.lathes.co.uk/almkvist) [Ames Triplex (USA)](http://www.lathes.co.uk/amestriplex) [Arboga UM400 (Sweden)](http://www.lathes.co.uk/arboga/page3.html) [Arbor (Italy)](http://www.lathes.co.uk/arbor)[Astoba](http://www.lathes.co.uk/astoba-universal) [Canedy-Otto (USA)](http://www.lathes.co.uk/canedy-otto) [Carlstedt (Sweden)](http://www.lathes.co.uk/carlstedt) [Cochrane-Bly (USA)](http://www.lathes.co.uk/cochrane-bly) [Dainichi (Japan)](http://www.lathes.co.uk/dainichi) [Dalton (USA)](http://www.lathes.co.uk/dalton/index.html) [Fuchs (Germany)](http://www.lathes.co.uk/fuchs) [Gilman (USA)](http://www.lathes.co.uk/gilman/page2.html) [Hannifin (USA)](http://www.lathes.co.uk/gilman/page2.html) [Hommel (Germany)](http://www.lathes.co.uk/hommel) [Hungarian One-off](http://www.lathes.co.uk/hungarianmultifunction) [Kitchen & Wade](http://www.lathes.co.uk/kitchenwade/index.html) [Kneller](http://www.lathes.co.uk/kneller/index.html) [Krause (Austria)](http://www.lathes.co.uk/krause) (adsbygoogle = window.adsbygoogle || []).push({}); [Labormil (Raglan based)](http://www.lathes.co.uk/labormil) [Leinweber (Germany)](http://www.lathes.co.uk/leinweber) [Metalmaster (Impetus)](http://www.lathes.co.uk/metalmaster) [Meyer & Burger (Astoba)](http://www.lathes.co.uk/meyerburger/index.html) [Multimachine (USA)](http://www.lathes.co.uk/multimachine) [Murad Bormilathe](http://www.lathes.co.uk/murad/page3.html) [OUS-Oswiecim (Poland)](http://www.lathes.co.uk/ous) [L'Outilervé (France)](http://www.lathes.co.uk/siame) [Piho (Germany)](http://www.lathes.co.uk/piho) [Rindis](http://www.lathes.co.uk/rindis/index.html) [Ryder (Thomas Ryder)](http://www.lathes.co.uk/adcock&shipleycombination) [Saacke (Germany)](http://www.lathes.co.uk/saacke) [Sacia (Spain)](http://www.lathes.co.uk/sacia) [Schiessl (Austria)](http://www.lathes.co.uk/schiessl) [Scope](http://www.lathes.co.uk/scope) [Siome Covema (France)](http://www.lathes.co.uk/siome) [Siome Covema (France)](http://www.lathes.co.uk/siome) [Unimac Universal (Australia)](http://www.lathes.co.uk/unimac) [Unispan (Germany)](http://www.lathes.co.uk/unispan) [UWG (Germany)](http://www.lathes.co.uk/hommel) [Unispan (Germany)](http://www.lathes.co.uk/unispan) [Wahlie (Swiss)](http://www.lathes.co.uk/Wahli) **ORNAMENTAL TURNING** [Goyen](http://www.lathes.co.uk/goyen) [Hayward](http://www.lathes.co.uk/hayward) [Holtzapffel](http://www.lathes.co.uk/holtzapffel) [MADE Ornamental (USA)](https://madelathe.com/) [Massey](http://lathes.co.uk/massey) [Muckle](http://www.lathes.co.uk/muckle) [Munro](http://www.lathes.co.uk/munro) [Evans](http://www.lathes.co.uk/evans) **HOME-BUILT Machine Tools** [Home-made Bar-bed Lathe](http://www.lathes.co.uk/home-made-bar-bed-lathe) [R.Bradley WW2 Lathe](http://www.lathes.co.uk/bradley-pow-lathe) [Bornarel Cutter Grinder (France)](http://www.lathes.co.uk/bornarel) [Delvo Home-built Lathe (Italy)](http://www.lathes.co.uk/delvo) [Dimitar-Bulgaria Home-Made](http://www.lathes.co.uk/dimitar-bulgaria) [Earl Young Lathe](http://www.lathes.co.uk/earl-young-home-made-lathe) [Elffers Lathe](http://www.lathes.co.uk/elffers) [Fogg Home-made 1919](http://www.lathes.co.uk/fogg) [F'only Lathe](http://www.lathes.co.uk/fonly) [Geslo Lathe](http://www.lathes.co.uk/geslo) [Greenly](http://www.lathes.co.uk/greenly) [Hansen (Canada)](http://www.lathes.co.uk/hansen) [Home-made Precision](http://www.lathes.co.uk/homemadeprecision) ["Midget" Home-made (USA)](http://www.lathes.co.uk/midget) [Multimachine (USA)](http://www.lathes.co.uk/multimachine) [Frank Parr (Australia)](http://www.lathes.co.uk/parr) [Ron Passa Grinder](http://www.lathes.co.uk/ron-passa-grinder) [Petrie](http://www.lathes.co.uk/petrie) [Mason](http://www.lathes.co.uk/mason-home-built-lathe) [Shaper, hand-operated](http://www.lathes.co.uk/home-made-shaper) [Stepperhead Multi-function](http://www.lathes.co.uk/stepperhead) [Fogg Lathe 1919](http://www.lathes.co.uk/fogg) [Earl Young Lathe](http://www.lathes.co.uk/earl-young-home-made-lathe) [Unimat Copy No.1 (South Africa)](http://www.lathes.co.uk/unimat-home-made) [Unimat Copy No.2](http://www.lathes.co.uk/unimat-home-made-2) **WATCHMAKER'S LATHES**[General Link](http://www.lathes.co.uk/watchmaker) **Machine Literature****[Manuals](https://store.lathes.co.uk/)****[Catalogues](http://www.lathes.co.uk/catalogues)****Books for [Model & Experimental Engineering](https://store.lathes.co.uk/books)** **BELTS – flat, round, link and V, etc. [Drive belts: flat, round, link and V – all available](https://store.lathes.co.uk/belts)** **Gear Machinery** [Barber-Colman Hobbers (USA)](http://www.lathes.co.uk/barber-colman-gear-hobbers) [Drummond Maxicut Gear Shapers](http://www.lathes.co.uk/drummond-maxicut-gear-shapers) [Edgwick Gear & Spine Cutter](http://www.lathes.co.uk/edgwick-gear-machine) [Fellows 50th Anniversary Book (USA)](http://www.lathes.co.uk/fellows-50th-anniversary) [Gauthier Abwälz Räderfräs (Germany)](http://www.lathes.co.uk/gauthier/page5.html) [Hurth Gear Hobber (Germany)](http://www.lathes.co.uk/hurth/page3.html) [Jacobs Gear Hobber](http://www.lathes.co.uk/jacobs) [Koepfer Factory Tour (Germany)](http://www.lathes.co.uk/koepfer-factory-tour) [Kuhlmann (Germany)](http://www.lathes.co.uk/kuhlmann-machine-tools) [MAAG Gear Cutters (Swiss)](http://www.lathes.co.uk/maag) [Mikron Gear Hobber (Swiss)](http://www.lathes.co.uk/mikron-type-79-gear-hobber) [Pfauter Gear Hobbers (Germany)](http://www.lathes.co.uk/pfauter) [Sunderland Gear Planers](http://www.lathes.co.uk/sunderland) | **Milling Machines Jig Borers** [Abene . (Sweden)](http://www.lathes.co.uk/abene) [Abwood Attachment](http://www.lathes.co.uk/abwoodattachment) [Aciera (Swiss)](http://www.lathes.co.uk/aciera/index.html) [Adcock & Shipley](http://www.lathes.co.uk/adcock&shipleyhorizontal/index.html) [Adeka (Swiss)](http://www.lathes.co.uk/adeka) [A.E.W.](http://www.lathes.co.uk/aew) [Ajax](http://www.lathes.co.uk/ajaxmillers) [Aldrin (Sweden)](http://www.lathes.co.uk/aldrin) [Alexander/Deckel](http://www.lathes.co.uk/alexander/index.html) [Alpine (Taiwan)](http://www.lathes.co.uk/alpine-miller) [American Watch Tool](http://www.lathes.co.uk/americanwatchtoolmiller) [Ames (USA)](http://www.lathes.co.uk/amesmiller/index.html) [Amolco](http://www.lathes.co.uk/amolco) [Anayak](http://www.lathes.co.uk/anayak) [Arboga (Sweden)](http://www.lathes.co.uk/arboga/index.html) [Archdale](http://www.lathes.co.uk/archdale) [Armor (USA)](http://www.lathes.co.uk/armor) (adsbygoogle = window.adsbygoogle || []).push({}); [Arno (Italy)](http://www.lathes.co.uk/arno) [Assa Mini Jig Borer (Swiss)](http://www.lathes.co.uk/assa-jig-borer) [Astra](http://www.lathes.co.uk/astra/index.html) [Atlantic (USA)](http://www.lathes.co.uk/atlantic) [Atlas/Craftsman (USA)](http://www.lathes.co.uk/atlasmiller/index.html) [Avia (Poland)](http://www.lathes.co.uk/avia) [Axelson (USA)](http://www.lathes.co.uk/axelson-millers) [Azeta (Italy)](http://www.lathes.co.uk/azetamiller) [Bandini (Italy)](http://www.lathes.co.uk/bandini) [Barker (USA)](http://www.lathes.co.uk/barkermiller) [BCA (UK)](http://www.lathes.co.uk/bca/index.html) [Beaver (UK)](http://www.lathes.co.uk/beaver/) [Becker (USA)](http://www.lathes.co.uk/becker) [Beichle Universal (Germany)](http://www.lathes.co.uk/beichle-koelsch) [Beling & Lübke (Germany)](http://www.lathes.co.uk/belinglubke/page2.html) [Benchmaster (USA)](http://www.lathes.co.uk/duro) [Benson](http://www.lathes.co.uk/bensonmiller) [Birch](http://www.lathes.co.uk/birch/page2.html) [Bickett (USA)](http://www.lathes.co.uk/bickett) [Blank & Buxton (USA)](http://www.lathes.co.uk/blankbuxton) [Blohm (Germany)](http://www.lathes.co.uk/blohm) [Boko (Germany)](http://www.lathes.co.uk/boko) [Boley (Germany)](http://www.lathes.co.uk/boley-miller) [Bond's Maximus](http://www.lathes.co.uk/bondsmaximus/page2.html) [Boxford](http://www.lathes.co.uk/boxfordmiller/index.html) [Breguet Freres](http://www.lathes.co.uk/breguet/page2.html) [Bridgeport (USA)](http://www.lathes.co.uk/bridgeport) [Briggs (USA)](http://www.lathes.co.uk/gooley-edlund) [Britannia](http://www.lathes.co.uk/britannia/page4.html) [Brown & Sharpe Omniversal(USA)](http://www.lathes.co.uk/omniversal) [Brown & Sharpe Millers (USA)](http://www.lathes.co.uk/brown-sharpe-1928-standard) [Buffalo (Taiwan)](http://www.lathes.co.uk/buffalo-miller) [Burke (USA)](http://www.lathes.co.uk/burke) [Busch (Germany)](http://www.lathes.co.uk/busch-millers) [Busy-Bee(Valle Olona, Italy)](http://www.lathes.co.uk/busybee) [Butler Elgamill](http://www.lathes.co.uk/elgamill) [Carstens (Germany)](http://www.lathes.co.uk/carstens/page6.html) [Carter & Hakes USA](http://www.lathes.co.uk/carterhakes) [Cataract ((USA)](http://www.lathes.co.uk/cataract%20miller/index.html) [Centec](http://www.lathes.co.uk/centec/index.html) [Centex (USA)](http://www.lathes.co.uk/centex) [Childs (USA)](http://www.lathes.co.uk/childs) [Chin Tsan (Taiwan)](http://www.lathes.co.uk/vernon/page2.html) [Christen (Swiss)](http://www.lathes.co.uk/christen) [Cincinnati (USA)](http://www.lathes.co.uk/cincinnati) [Clark](http://www.lathes.co.uk/clark-miller) [Clausing (USA)](http://www.lathes.co.uk/clausing%20vertical/index.html) [Cloud (USA)](http://www.lathes.co.uk/cloud) [CME (Spain)](http://www.lathes.co.uk/cme-milling-machines) [Cochrane-bly (USA)](http://www.lathes.co.uk/cochrane-bly) [Columbia (USA)](http://www.lathes.co.uk/columbia/index.html) [Correa (Spain)](http://www.lathes.co.uk/correa) [J.E.Costilo(USA)](http://www.lathes.co.uk/costilo-miller) [Cowards Attachment](http://www.lathes.co.uk/cowards) [Cowells](http://www.lathes.co.uk/cowells-miller) [Craftsman](http://www.lathes.co.uk/atlasmiller) [Cross (USA)](http://www.lathes.co.uk/cross) [Crouzet (France)](http://www.lathes.co.uk/crouzet/page2.html) [Crowningshield (USA)](http://www.lathes.co.uk/crowningshield) [CST (Italy)](http://www.lathes.co.uk/astra) [Cunliffe & Croom](http://www.lathes.co.uk/cunliffe-croom) [CVA](http://www.lathes.co.uk/cvamiller/index.html) (adsbygoogle = window.adsbygoogle || []).push({}); [Cygnet (USA)](http://www.lathes.co.uk/Cygnet-miller) [Daewoo(Korea)](http://www.lathes.co.uk/daewoo-namsun) [Dalrae Attachment ((USA)](http://www.lathes.co.uk/dalrae) [Davis & Egan (USA)](http://www.lathes.co.uk/davisegan) [Deckel (Germany)](http://www.lathes.co.uk/deckel/index.html) [Delta Rockwell (USA)](http://www.lathes.co.uk/rockwellmillers) [Denbigh](http://www.lathes.co.uk/denbigh) [Derbyshire (USA)](http://www.lathes.co.uk/derbyshiremicromill) [DeVlieg Jigmils (USA)](http://www.lathes.co.uk/devlieg) [Diamond (USA)](http://www.lathes.co.uk/diamond) [Dixi (Swiss)](http://www.lathes.co.uk/dixi/) [Dore Westbury](http://www.lathes.co.uk/dore-westbury/index.html) [Downham Mini Jig Borer](http://www.lathes.co.uk/elliott-mini-jig/index.html) [Duff (USA)](http://www.lathes.co.uk/duff) [Dufour (Gaston Dufour France)](http://www.lathes.co.uk/gaston-dufour) [Duplomatic FC1 (Italy)](http://www.lathes.co.uk/duplomatic-fc1) [Duro (USA)](http://www.lathes.co.uk/duro/index.html) [Edgwick](http://www.lathes.co.uk/edgwick-miller) [Elgin (USA)](http://www.lathes.co.uk/elgin-vertical) [Elliott Mini Jig Borer](http://www.lathes.co.uk/elliott-mini-jig/index.html) [Elliott Millers](http://www.lathes.co.uk/elliottmillers) [Emco (Austria)](http://www.lathes.co.uk/emcomiller) [E.M.E.](http://www.lathes.co.uk/eme) [EMTOC Jig Borer](http://www.lathes.co.uk/emtoc) [Enshu](http://www.lathes.co.uk/enshu) [”Energy” (India)](http://www.lathes.co.uk/arboga/index.html) [EPEX](http://www.lathes.co.uk/epex) [Eskilstuna Tool (Sweden)](http://www.lathes.co.uk/arboga/page5.html) [Everede Head (USA)](http://www.lathes.co.uk/everede) [Excel](http://www.lathes.co.uk/elliott-20mini-jig) [Ex-cell-o (Canada)](http://www.lathes.co.uk/excello) [Famco (USA)](http://www.lathes.co.uk/famco) [Famup (Italy)](http://www.lathes.co.uk/famup) [Fehlmann (Swiss)](http://www.lathes.co.uk/fehlmann) [Ferrari (Italy)](http://www.lathes.co.uk/ferrari) [Flexispeed](http://www.lathes.co.uk/flexispeedmiller) [Fobco Drills](http://www.lathes.co.uk/fobco) [Fox (USA)](http://www.lathes.co.uk/fox) [Fray (USA)](http://www.lathes.co.uk/fray) [Gaitzsch (Germany)](http://www.lathes.co.uk/gaitzsch) [Garvin (USA)](http://www.lathes.co.uk/garvinmillers) [Globe Mill Attachment (USA)](http://www.lathes.co.uk/globe) [Göbel EMS (Germany)](http://www.lathes.co.uk/gobelems) [Goodell Pratt (USA)](http://www.lathes.co.uk/goodell-pratt/page4.html) [Gooley & Edlund (Briggs, USA)](http://www.lathes.co.uk/gooley-edlund) [Gorton (USA)](http://www.lathes.co.uk/gorton-1963) [Grimston](http://www.lathes.co.uk/beaver/page2.html) [Gutbrod (Germany)](http://www.lathes.co.uk/gutbrod) [Halco (USA)](http://www.lathes.co.uk/bridgeport/page5.html) [Hahn & Kolb Variomat (Ger)](http://www.lathes.co.uk/metallwarenfabrik-mylau-variomat) [Hahn & Klob Universal Miller (Ger)](http://www.lathes.co.uk/unknown183) [Haighton](http://www.lathes.co.uk/haighton/page4.html) [Hamilton (USA)](http://www.lathes.co.uk/hamiltonmaryland/page2.html) [Hardinge (USA)](http://www.lathes.co.uk/cataract%20miller/index.html) [Harrison](http://www.lathes.co.uk/harrisonmiller/index.html) [Hauser (Swiss)](http://www.lathes.co.uk/hauser) [Hayes Diemaster](http://www.lathes.co.uk/hayes) [Heckler & Koch(Germany)](http://www.lathes.co.uk/heckler-and-koch/) [Hercus (Australia)](http://www.lathes.co.uk/hercusmiller) [Hermle (Germany)](http://www.lathes.co.uk/hermle) [Hero (Denmark)](http://www.lathes.co.uk/hero) [Hobbymat (Germany)](http://www.lathes.co.uk/hobbymat) [Hogbo (Sweden)](http://www.lathes.co.uk/hogbo) [Holke (Spain)](http://www.lathes.co.uk/holke) [Holland (USA)](http://www.lathes.co.uk/holland) [Hornamill Attachments](http://www.lathes.co.uk/hornamill) [Hurth V10a Precision (Germany)](http://www.lathes.co.uk/hurth) [Husky (Taiwan)](http://www.lathes.co.uk/husky) [Huron (France)](http://www.lathes.co.uk/huronmillers) [Index (USA)](http://www.lathes.co.uk/index) [Induma (Italy)](http://www.lathes.co.uk/induma-millers) [Industro-lite (USA)](http://www.lathes.co.uk/industro-lite) [Ingers (Italy)](http://www.lathes.co.uk/ingers) [Ixion (Germany)](http://www.lathes.co.uk/ixion) [Jackson (USA)](http://www.lathes.co.uk/jackson-miller) [Jaspar (Belgium)](http://www.lathes.co.uk/jaspar) [Jerwag (Germany)](http://www.lathes.co.uk/jerwag-milling-machine) [JMB (Germany)](http://www.lathes.co.uk/jmb) [Jones (USA)](http://www.lathes.co.uk/jones/page3.html) [Junger (Sweden)](http://www.lathes.co.uk/mattsson&zetterlund) [Kao Fong (Taiwan)](http://www.lathes.co.uk/kao-fong) [Karger(Germany)](http://www.lathes.co.uk/karger-miller) [Klopp (Germany)](http://www.lathes.co.uk/klopp-millers) [Koelsch Universal (Germany)](http://www.lathes.co.uk/beichle-koelsch) [Kolb Jig Borers (Germany)](http://www.lathes.co.uk/kolb) [Kondia (Spain)](http://www.lathes.co.uk/kondia) [Leinen Micro Mill/Drill (Germany)](http://www.lathes.co.uk/leinenmicromill) [Leinen Mini Jig Borer](http://www.lathes.co.uk/bca) [Leinen Miller](http://www.lathes.co.uk/leinenmiller) [Leitz Jig Borer (Germany)](http://www.lathes.co.uk/leitz-jig-borer) [Leitz B & M (Germany)](http://www.lathes.co.uk/leitz) [Lewis Kit Machines (USA)](http://www.lathes.co.uk/lewis/index.html) [Linley Jig Borer (USA)](http://www.lathes.co.uk/linley) [LIP (France)](http://www.lathes.co.uk/lip) [Luthy (Swiss)](http://www.lathes.co.uk/luthy) [Macmon (Germany)](http://www.lathes.co.uk/prvomajskamacmon) [Maho (Germany)](http://www.lathes.co.uk/maho) [Makino (Japan)](http://www.lathes.co.uk/makino-millers) [Malick & Walkows](http://www.lathes.co.uk/malick-walkows) [Marf & WGM (France)](http://www.lathes.co.uk/wgm) [Marlow](http://www.lathes.co.uk/marlowmiller) [Marvin Attachments (USA)](http://www.lathes.co.uk/atlasmiller/page2.html) [Matheys Millers & Jig Borers (Belgium)](http://www.lathes.co.uk/matheys) [Mattsson &Zetterlund (Sweden)](http://www.lathes.co.uk/mattsson&zetterlund) [Meddings](http://www.lathes.co.uk/meddingsmill/index.html) [Metallwarenfabrik-Mylua Variomat (Ger)](http://www.lathes.co.uk/metallwarenfabrik-mylau-variomat) [Metba (Spain)](http://www.lathes.co.uk/metba) [Meyer (K & T) Jig Borer (USA)](http://www.lathes.co.uk/meyer-kearney-and-trecker-autometric-jig-borer) [Microcut (USA/Taiwan)](http://www.lathes.co.uk/buffalo-miller) [Mikron Small Millers (Swiss)](http://www.lathes.co.uk/mikron-small-millers) [Mikron Large Millers (Swiss)](http://www.lathes.co.uk/mikronmillers) [Millrite (USA)](http://www.lathes.co.uk/millrite) [Milnes](http://www.lathes.co.uk/milnesmiller) [Mitsui Jig Borers (Japan)](http://www.lathes.co.uk/mitsui-jig-borers) [Modig (Sweden)](http://www.lathes.co.uk/modigmiller) [Mondiale Viking (Belgium)](http://www.lathes.co.uk/mondiale-viking-millers) [Moore Jig Borers & Grinders (USA)](http://www.lathes.co.uk/moore) [Myford Millers](http://www.lathes.co.uk/myfordmillers) [Naerok (Korea)](http://www.lathes.co.uk/naerok-mill-drill) [Namsun(Korea)](http://www.lathes.co.uk/daewoo-namsun/page2.html) [NuTools (Taiwan)](http://www.lathes.co.uk/sealey) [Nichols (USA)](http://www.lathes.co.uk/nichols) [Nife-Jungner (Sweden)](http://www.lathes.co.uk/mattsson&zetterlund) [Nomo/Arno (Italy)](http://www.lathes.co.uk/arno) [Nora (Germany)](http://www.lathes.co.uk/nora) [Omega Jig Borers (Italy)](http://www.lathes.co.uk/omega-jig-borers) [Oerlikon (Swiss)](http://www.lathes.co.uk/oerlikon) [Pallas](http://www.lathes.co.uk/pallas) [Parkson (Parkinson)](http://www.lathes.co.uk/parkson) [Pearson (USA)](http://www.lathes.co.uk/pearson) [Pedersen (Denmark)](http://www.lathes.co.uk/pedersen-millers) [Perfecto Universal](http://www.lathes.co.uk/perfecto-miller) [Perrin Montier Millers (Swiss)](http://www.lathes.co.uk/perronmontier) [Perrin AV-1/AV-2 Jig Borers (Swiss)](http://www.lathes.co.uk/perrin-av-1) [Pinnacle (Taiwan)](http://www.lathes.co.uk/pinnacle) [Polamco (Poland)](http://www.lathes.co.uk/avia)   [Pools](http://www.lathes.co.uk/pools/page4.html) [Porter-Cable Attachment (USA)](http://www.lathes.co.uk/portercableattachment) [Portmac](http://www.lathes.co.uk/portmac) [Potts Milling Attachment](http://www.lathes.co.uk/potts) [Pratt & Whitney (USA)](http://www.lathes.co.uk/prattwhitneymiller) [Precise (USA)](http://www.lathes.co.uk/precise) [Prvomajska (Yugo)](http://www.lathes.co.uk/prvomajskamacmon) [Raglan](http://www.lathes.co.uk/raglanmiller/index.html) [Rambaudi (Italy)](http://www.lathes.co.uk/rambaudi) [Rawyler (Swiss)](http://www.lathes.co.uk/rawyler) [RBB(Germany?)](http://www.lathes.co.uk/RBB) ["Relmil" Attachment](http://www.lathes.co.uk/relmil) [Richmond (Midgley & Sutcliffe)](http://www.lathes.co.uk/richmond) [Rindis (Universal Tool)](http://www.lathes.co.uk/rindis/index.html) [Rishton](http://www.lathes.co.uk/rishton/index.html) [Riva (Rigiva Italy)](http://www.lathes.co.uk/riva) [Rivett Bench (USA)](http://www.lathes.co.uk/rivettmiller/index.html) [Rockford (USA)](http://www.lathes.co.uk/rockfordmillers) [Rockwell Delta (USA)](http://www.lathes.co.uk/rockwellmillers) [Rodney Attachment](http://www.lathes.co.uk/rodney) [Rosenfors (Sweden)](http://www.lathes.co.uk/rosenforsmillers) [Rossi S.I.M.A. (Italy)](http://www.lathes.co.uk/rossi) [Rotex (USA)](http://www.lathes.co.uk/rotex) [Round Tower - Yun Fu (Taiwan)](http://www.lathes.co.uk/round-tower) [Ruhla (Germany)](http://www.lathes.co.uk/ruhla) [Rusnok (USA)](http://www.lathes.co.uk/rusnok/index.html) [Rumag (Germany)](http://www.lathes.co.uk/rumag) [S.A.B.C.A. (Belgium)](http://www.lathes.co.uk/sabca) [Sachman (Italy)](http://www.lathes.co.uk/sachman) [Sacia (Spain)](http://www.lathes.co.uk/sacia) [S.A.D.A.M.E.L. Jig Borer (Swiss)](http://www.lathes.co.uk/sadamel) [Sajo (Sweden)](http://www.lathes.co.uk/sajo) [Schaffner (Swiss)](http://www.lathes.co.uk/schaffner-millers) [Schaublin (Swiss)](http://www.lathes.co.uk/schaublinmiller/index.html) [Schubert (Germany)](http://www.lathes.co.uk/schubert) [Sealey (Taiwan)](http://www.lathes.co.uk/sealey) [SEMCO](http://www.lathes.co.uk/semco) [Servo Precision Mill/Drill (USA)](http://www.lathes.co.uk/servo) [Senior](http://www.lathes.co.uk/senior/index.html) [Sharp](http://www.lathes.co.uk/sharpmiller) [Sheldon (USA)](http://www.lathes.co.uk/sheldon/page5.html) [Shizuoka (Japan)](http://www.lathes.co.uk/shizuoka) [Sigma](http://www.lathes.co.uk/bca) [Simplon (Italy)](http://www.lathes.co.uk/simplon) [Sinn (Germany)](http://www.lathes.co.uk/sinn) [SIP Jig Borers (Swiss)](http://www.lathes.co.uk/sip) [Sixis (Swiss)](http://www.lathes.co.uk/sixis) [Sliven (Bulgaria)](http://www.lathes.co.uk/sliven-miller) [Sloan & Chace (USA)](http://www.lathes.co.uk/sloan-chace-miller) [Smal (France)](http://www.lathes.co.uk/smal) [Speck (Germany)](http://www.lathes.co.uk/speck) [Stankoimport 676 (Russia)](http://www.lathes.co.uk/stankoimport676) [Stanley](http://www.lathes.co.uk/stanley) [Stark (USA)](http://www.lathes.co.uk/starkmiller) [Stevens](http://www.lathes.co.uk/stevens) [Strojimport (CZ)](http://www.lathes.co.uk/tos-millers) [Sundstrand (USA)](http://www.lathes.co.uk/sundstrand) [Syderic (France)](http://www.lathes.co.uk/syderic) [Target Milling Attachment](http://www.lathes.co.uk/target) [Taylor (Geo. Taylor)](http://www.lathes.co.uk/taylormiller) [Thiel (Germany)](http://www.lathes.co.uk/thiel/index.html) [Timbrell & Wright](http://www.lathes.co.uk/timbrell-wright-miller) [T. & L.M.](http://www.lathes.co.uk/tlm/page2.html) [De-Tomasi (Italy)](http://www.lathes.co.uk/de-tomasi) [TOS Zbrojovka (CZ)](http://www.lathes.co.uk/tos-millers) [TOS Factory Tour (CZ)](http://www.lathes.co.uk/tos-book-page-1) [Town Woodhouse 369](http://www.lathes.co.uk/townwoodhouse369) [Tree Attachment (USA)](http://www.lathes.co.uk/bridgeport/page4.html) [Trident - Pallas](http://www.lathes.co.uk/pallas) [Triplex (Ames) (USA)](http://www.lathes.co.uk/amestriplex) [Twin](http://www.lathes.co.uk/twin) [Univertical (USA)](http://www.lathes.co.uk/univertical) [US-Burke ((USA))](http://www.lathes.co.uk/millrite) [Ultra](http://www.lathes.co.uk/ultra-jig-borer) [UWG (Germany)](http://www.lathes.co.uk/hommel) [Valle Olona, Busy-Bee (Italy)](http://www.lathes.co.uk/busybee) [Van Norman (USA)](http://www.lathes.co.uk/vannorman) [Varnamo (Sweden)](http://www.lathes.co.uk/varnamo-millers) [Vernon (USA)](http://www.lathes.co.uk/vernon) [Versamil (USA)](http://www.lathes.co.uk/versamil) [Viceroy](http://www.lathes.co.uk/aew) [Victoria (Elliott)](http://www.lathes.co.uk/victoria/index.html) [Wabeco (Germany)](http://www.lathes.co.uk/wabeco/page4.html) [Wade Bench Profiler](http://www.lathes.co.uk/wade-bench-profiler) [Waltham (USA)](http://www.lathes.co.uk/walthammiller/index.html) [Warco Mill-Drills](http://www.lathes.co.uk/warco-mill-drill) [Well-Index (USA)](http://www.lathes.co.uk/index) [Fritz Werner (Germany)](http://www.lathes.co.uk/fritz-werner) [Wilhelm Grupp (Germany)](http://www.lathes.co.uk/mikronmillers) [Wirth Geruffat & Maped (France)](http://www.lathes.co.uk/WGM) [Woodhouse & Mitchell 369](http://www.lathes.co.uk/townwoodhouse369) [Wolf, Jahn (Germany)](http://www.lathes.co.uk/wolfjahnmiller/index.html) [Yamazen (Japan)](http://www.lathes.co.uk/yamazen) [Yasda Jigmaster (Japan)](http://www.lathes.co.uk/yasda) [Zenith](http://www.lathes.co.uk/zenith) [Zyto](http://www.lathes.co.uk/zyto/page4.html) **Milling Attachments & Slides** [Abwood](http://www.lathes.co.uk/abwoodattachment) [Ajax Universal](http://www.lathes.co.uk/ajax-universal-attachment) [Amolco](http://www.lathes.co.uk/amolco) [Atlas (USA)](http://www.lathes.co.uk/atlas-lathe-accessories) [Boxford](http://www.lathes.co.uk/boxford/page4.html) [Carstens](http://www.lathes.co.uk/carstens/page8.html) [Cowards](http://www.lathes.co.uk/cowards) [Cowells](http://www.lathes.co.uk/cowells/page2.html) [Dalrae (USA)](http://www.lathes.co.uk/dalrae) [Emco](http://www.lathes.co.uk/emcomiller) [Globe (USA)](http://www.lathes.co.uk/globe) [Hornamill](http://www.lathes.co.uk/hornamill) [Marvin (USA)](http://www.lathes.co.uk/marvin) [Meriden (USA)](http://www.lathes.co.uk/meriden/page4.html) [Palmgren (USA)](http://www.lathes.co.uk/palmgren) [Porter-Cable (USA)](http://www.lathes.co.uk/portercableattachment) [Potts](http://www.lathes.co.uk/potts) [Pratt & Whitney](http://www.lathes.co.uk/pratt&whitney/page3.html) [Pultra](http://www.lathes.co.uk/pultra/page7.html) [Relmil](http://www.lathes.co.uk/relmil) [Rishton](http://www.lathes.co.uk/rishton) [Rivett (USA)](http://www.lathes.co.uk/rivett34/page2.html) [Rodney](http://www.lathes.co.uk/rodney) [Rusnok (USA)](http://www.lathes.co.uk/rusnok) [Schaublin (Swiss)](http://www.lathes.co.uk/schaublin/page5.html) [South Bend (USA)](http://www.lathes.co.uk/southbend/page10.html) [Staines](http://www.lathes.co.uk/myford/page18.html) [Target](http://www.lathes.co.uk/target) [Unknown Atlas Mounted (USA)](http://www.lathes.co.uk/atlas-miller-unknown-attachment) **Hacksaws and Bandsaws**[Ajax Hacksaws](http://www.lathes.co.uk/ajax-saws) [Denbigh Hacksaws](http://www.lathes.co.uk/denbigh-saw) [Essex Bandsaw](http://www.lathes.co.uk/essex-bandsaws) [Fortuna-Klaeger (UK/Germany) Saws](http://www.lathes.co.uk/fortuna) [Habegger Horizontal Bandsaw (Swiss)](http://www.lathes.co.uk/habegger-bandsaw) [Hampton & Beebee Hacksaw](http://www.lathes.co.uk/hampton-beebee) [Kennedy “Hexacut” bench saws](http://www.lathes.co.uk/taylor/page6.html) [Metalin Horizontal Bandsaw](http://www.lathes.co.uk/metalin) [Naerok & NuTools Bandsaws](http://www.lathes.co.uk/nu-tools) [Qualters & Smith Saws](http://www.lathes.co.uk/qualters-smith-saws) [Rapidor (Manchester Rapidor) Saws](http://www.lathes.co.uk/rapidor) [Rucoco Hacksaws (Germany)](http://www.lathes.co.uk/rucoco-saws) [Startrite Bandsaws](http://www.lathes.co.uk/startrite-bandsaws) [Velox (Elliott) Hacksaws](http://www.lathes.co.uk/velox-saws) [Wellsaw Hacksaws](http://www.lathes.co.uk/wellsaw) [Wicksteed Hacksaws](http://www.lathes.co.uk/wicksteed) [Willow Bandsaw](http://www.lathes.co.uk/willow-bandsaw) [Wilmac Bandsaw](http://www.lathes.co.uk/wilmac) **Pantograph Engravers & Die Sinkers**[Deckel Engravers & Die Sinkers](http://www.lathes.co.uk/deckel-pantograph-machines) [Dowling Engravers & Tappers](http://www.lathes.co.uk/dowling-pantographs-and-tappers) [Gorton "Pantomill" Engravers](http://www.lathes.co.uk/gorton-pantographs) [Taylor Hobson Engravers & Die Sinkers](http://www.lathes.co.uk/taylor-hobson-engravers) **Toolposts** [Bergstrom Quick-set Toolpost](http://www.lathes.co.uk/bergstrom) [Burnerd Quick-set Toolpost](http://www.lathes.co.uk/burnerd-quick-set-toolpost-type-tp) [Dickson Quick-set Toolpost](http://www.lathes.co.uk/latheparts/page13.html) [Drehblitz Quick-set Toolpost (Germany)](http://www.lathes.co.uk/drehblitz) [Impero Quick-set Toolpost (Italy)](http://www.lathes.co.uk/impero-toolpost) [Multifix Quick-set Toolpost (Swiss)](http://www.lathes.co.uk/multifix) [Pewe PWT quick-set Toolpost (Germany)](http://lathes.co.uk/pewetoolposts/Special-features_pewetools.pdf.pdf) [Parat Quick-set Toolpost (Germany)](http://www.lathes.co.uk/parat) [Treman Quick-set Toolpost (?)](http://www.lathes.co.uk/treman-toolpost) **Program to Calculate Metric/Imperial Imperial/Metric Transposing Gears** [RideTheGearTrain.com](http://www.lathes.co.uk/transposing-changewheels/) | **This Column Includes: Wood Lathes, Grinders Planers, Drills, Slotters Borers, Hacksaws, Pantographs, Gear Machines, Toolposts, Tappers, & Interesting Miscellaneous** [Arcade Wood (USA)](http://www.lathes.co.uk/arcade-wood-lathe) [Ar-Con Wood (USA)](http://www.lathes.co.uk/ar-con) [Arundel Wood (UK)](http://www.lathes.co.uk/arundel/index.html) [Al-Ko Wood (Hobbymat)](http://www.lathes.co.uk/hobbymat) [Atlas 12 Wood" (USA)](http://www.lathes.co.uk/atlaswood/index.html) [Black & Decker Wood](http://www.lathes.co.uk/black-and-decker) [Bosch Wood (Germany)](http://www.lathes.co.uk/bosch/page2.html) [Boice Crane Wood (USA)](http://www.lathes.co.uk/boicecrane) [Brodhead & Garret J-Line Wood(USA)](http://www.lathes.co.uk/atlaswood/page3.html) [Brown Brs. London Wood](http://www.lathes.co.uk/brown) [Buffalo Forge Wood (USA)](http://www.lathes.co.uk/buffaloforge) [Caley Wood](http://www.lathes.co.uk/caley) [Centrix Wood](http://www.lathes.co.uk/centrixwood) [Childs Wood (USA)](http://www.lathes.co.uk/childs/page3.html) [Companion Wood (USA)](http://www.lathes.co.uk/craftsmanwood) [Conover Wood (USA)](http://www.lathes.co.uk/conover) [Cooksley Wood](http://www.lathes.co.uk/cooksley) [Coronet Wood](http://www.lathes.co.uk/coronet) [Craftsman Wood (USA)](http://www.lathes.co.uk/craftsmanwood) [Cummins Wood (USA)](http://www.lathes.co.uk/cummins-woodworker) [Dominion Wood](http://www.lathes.co.uk/dominion) [Dominion Universal Wood](http://www.lathes.co.uk/dominion-universal-machines) [Dunlap Wood (USA)](http://www.lathes.co.uk/craftsmanwood) [Delta Wood (USA)](http://www.lathes.co.uk/delta/index.html) [Dremel (USA)](http://www.lathes.co.uk/dremel) [Driver-Add-A-Tool Wood (USA)](http://www.lathes.co.uk/walkerturner/page3.html) [Emco DB-5 Wood(Austria)](http://www.lathes.co.uk/emcodb5) [W.F.Fell Wood](http://www.lathes.co.uk/fell-wood-lathes) ["Ford" Wood(USA)](http://www.lathes.co.uk/ford) [General Wood(Canada)](http://www.lathes.co.uk/general) [Graduate Wood](http://www.lathes.co.uk/harrisonwood/index.html) [Guilliet & Fils Wood (France)](http://www.lathes.co.uk/guillietfils) [Harrison (Multico) Wood](http://www.lathes.co.uk/harrisonwood/index.html) [Herbert Home Wood Worker (Aus)](http://www.lathes.co.uk/herberthomewoodworker) [Herberts Wood Wizard (USA)](http://www.lathes.co.uk/herbertswoodwizard/) [Heston & Anderson Wood(USA)](http://www.lathes.co.uk/hestonanderson/index.html) [Hobbymat Variant Wood (Ger)](http://www.lathes.co.uk/hobbymat/page6.html) [House Wood](http://www.lathes.co.uk/house) [INCA Wood (Swiss)](http://www.lathes.co.uk/scinta) [Jubilee Wood](http://www.lathes.co.uk/harrisonwood/page2.html) [Larvic Wood](http://www.lathes.co.uk/larvic) [Lloyd Wood](http://www.lathes.co.uk/lloyd) [Lumsden Wood](http://www.lathes.co.uk/lumsden) [Marsh Wood (USA)](http://www.lathes.co.uk/marsh) [Metalclad Wood](http://www.lathes.co.uk/metalclad) [Meteor Wood](http://www.lathes.co.uk/meteor) [Midsaw "All-in-One" Wood](http://www.lathes.co.uk/midsaw) [Milford Wood](http://www.lathes.co.uk/milford) [Montgomery Ward Wood (USA)](http://www.lathes.co.uk/montgomery-ward-wood) [Multico Wood](http://www.lathes.co.uk/tekny) [Myford ML8 Wood](http://www.lathes.co.uk/myfordwood/index.html) [Myford Mystro Wood](http://www.lathes.co.uk/myfordmystro) [Oliver Wood (UK)](http://www.lathes.co.uk/oliveruk) [Oneway Wood(Canada)](http://www.lathes.co.uk/oneway) [Perhays Wood](http://www.lathes.co.uk/perhays) [Radford Wood](http://www.lathes.co.uk/radford) [Raglan Wood](http://www.lathes.co.uk/raglan/page7.html) [Record Wood](http://www.lathes.co.uk/coronet/page5.html) [Rex Wood(Sweden)](http://www.lathes.co.uk/rex) [Sagar Wood](http://www.lathes.co.uk/harrisonwood/page2.html) [Sheldon Antique Wood](http://www.lathes.co.uk/sheldon-woodlathes) [Sherwood Wood](http://www.lathes.co.uk/sherwood) [ShopSmith & Clones Wood](http://www.lathes.co.uk/shopsmith) [Sorby Wood(UK)](http://www.lathes.co.uk/sorby) [Sypher Wood (USA)](http://www.lathes.co.uk/sypher/page2.html) [Tekny-Multico Wood](http://www.lathes.co.uk/tekny) [Tomlee Wood (USA)](http://www.lathes.co.uk/tomlee) [Tyme Wood](http://www.lathes.co.uk/tyme) [Union Wood (UK)](http://www.lathes.co.uk/harrisonwood/index.html) [Valentin Wood (France)](http://www.lathes.co.uk/valentin) [Viceroy Wood (UK)](http://www.lathes.co.uk/viceroy/page2.html) [Victor Wood (USA)](http://www.lathes.co.uk/victor) [Waco Wood (USA)](http://www.lathes.co.uk/waco) [Wadkin Wood Lathes](http://www.lathes.co.uk/wadkin) [Wadkin Wood Machinery](http://www.lathes.co.uk/wadkin) [Walker Turner Wood (USA)](http://www.lathes.co.uk/walkerturner/index.html) **Shapers, Slotters, Borers & Vertical Lathes**[Adept Shapers](http://www.lathes.co.uk/adeptshaper/index.html) [Acorn Shaper](http://www.lathes.co.uk/atlasshaper/index.html) [Alba Shapers](http://www.lathes.co.uk/Alba) [Alexander Shaper](http://www.lathes.co.uk/alexander-shaper) [Ammco/Delta 62 Shaper (USA)](http://www.lathes.co.uk/ammco/index.html) [Arrow Shaper](http://www.lathes.co.uk/arrowshaper) [Atlas Shaper(USA)](http://www.lathes.co.uk/atlasshaper/index.html) [Austolite Shaper(Aus)](http://www.lathes.co.uk/atlasshaper/page2.html) [Bellow Shaper](http://www.lathes.co.uk/bellow) [Benson Shaper](http://www.lathes.co.uk/benson/page2.html) [Boxford Shaper](http://www.lathes.co.uk/boxfordshaper) [Boynton Shaper](http://www.lathes.co.uk/boynton) [Bradley Shaper](http://www.lathes.co.uk/bradley) [Britannia Shapers](http://www.lathes.co.uk/britannia/page4.html) [Brodhead-Garrett Shapers(USA)](http://www.lathes.co.uk/brodheadgarrett) [Brook Shapers](http://www.lathes.co.uk/newey-and-brook-newey-shapers) [Butler](http://www.lathes.co.uk/butler-shapers) [Clapham Shaper](http://www.lathes.co.uk/clapham) [Corbett’s Shaper](http://www.lathes.co.uk/corbettsshaper) [Cowell (E.W.Cowell) Shaper](http://www.lathes.co.uk/cowell-shaper) [DeVlieg Jigmils (USA)](http://www.lathes.co.uk/devlieg) [Craftsman Shaper (USA)](http://www.lathes.co.uk/atlasshaper/index.html) [Crowthorn Shaper](http://www.lathes.co.uk/crowthorn-shaper) [Douglas/Hercus Shaper(Australia)](http://www.lathes.co.uk/douglasshaper) [Drummond Shaper](http://www.lathes.co.uk/drummondshaper) [Elliott Shapers](http://www.lathes.co.uk/alba) [Emrich Shaper(Germany)](http://www.lathes.co.uk/emrich) [Eriksen (Germany)](http://www.lathes.co.uk/eriksen-shaper) [Froriep Vertical Lathes(Germany)](http://www.lathes.co.uk/froriep) [Garavaglia Shapers (Italy)](http://www.lathes.co.uk/Garavaglia) [Gastl Shaper(Germany)](http://www.lathes.co.uk/Gastl) [Gernetti Shapers(Italy)](http://www.lathes.co.uk/gernetti) [Graham & Normanton Shaper](http://www.lathes.co.uk/graham&normanton) [Graves Shaper](http://www.lathes.co.uk/gravesshaper/index.html) [Heinemann Shapers (Germany)](http://www.lathes.co.uk/heinemann-shapers) [Hendey Shapers(USA)](http://www.lathes.co.uk/hendeyshaper) [Ingers (Italy)](http://www.lathes.co.uk/ingers) [Jones Shaper (USA)](http://www.lathes.co.uk/jones/page2.html) [Kennan Bench Planer (Ireland)](http://www.lathes.co.uk/kennan/page3.html) [Klopp (Germany)](http://www.lathes.co.uk/klopp) [Lewis Kit Machines (USA)](http://www.lathes.co.uk/lewis/index.html) [Leyland & Barlow Shaper](http://www.lathes.co.uk/leylandbarlow) [Leytool Slotter & Tools](http://www.lathes.co.uk/leytool) [Liverpool Castings & Tool Supply Co.](http://www.lathes.co.uk/heskethwalker) [Logan Shapers(USA)](http://www.lathes.co.uk/loganshaper/index.html) [Lucas Borer (Germany](http://www.lathes.co.uk/lucas)) [MacGregor Gourley Shaper(Canada)](http://www.lathes.co.uk/macgregorgourlay) [Mit-A-Mit Shaper(Australia)](http://www.lathes.co.uk/mit-a-mit) [Nasmyth Shaper](http://www.lathes.co.uk/nasmyth) [Newey Shapers](http://www.lathes.co.uk/newey-and-brook-newey-shapers) [Ormerod Shaper](http://www.lathes.co.uk/ormerod) [Perfecto Shaper](http://www.lathes.co.uk/perfecto/page2.html) [Pinondo Shapers (Spain)](http://www.lathes.co.uk/pinondo) [Pittler/George Adams Shaper](http://www.lathes.co.uk/george-adams-pittler-shaper) [Planos Shaper](http://www.lathes.co.uk/alexander-shaper) [Polygon Shaper](http://www.lathes.co.uk/polygon) [Porter Cable Shaper (USA)](http://www.lathes.co.uk/loganshaper/index.html) [Prema Shapers (Sweden)](http://www.lathes.co.uk/prema-shapers) [Rapide-Lime Shaper (France)](http://www.lathes.co.uk/rapidelime) [Rhodes Convertible Shaper/Slotter (USA)](http://www.lathes.co.uk/rhodes) [Richards Borer](http://www.lathes.co.uk/richardsbigborer) [Robblak Shaper](http://www.lathes.co.uk/robblak) [Rothley Slotter](http://www.lathes.co.uk/rothley) [Royal Shaper](http://www.lathes.co.uk/royalshaper) [Ryder Verticalauto](http://www.lathes.co.uk/ryder-verticalauto) [Samson Shaper (Germany)](http://www.lathes.co.uk/samson) [Scott Sinclair Shaper](http://www.lathes.co.uk/scott-sinclair) [Senior (and Firth) Shapers](http://www.lathes.co.uk/seniorshaperplaner) [Shapemaster (Young Eng Labs) USA](http://www.lathes.co.uk/shapemaster) [Smith & Mills Shapers(USA)](http://www.lathes.co.uk/smith-mills) [South Bend Shaper(USA)](http://www.lathes.co.uk/southbendshaper) [UNION WMW Horizontal Borers (Germany)](http://www.lathes.co.uk/union-wmw-borers) [Varnamo Shapers (Sweden)](http://www.lathes.co.uk/varnamo-shapers) [Vernier Shaper (France)](http://www.lathes.co.uk/vernier-minishape) [Viceroy Shaper](http://www.lathes.co.uk/royalshaper) [Waveney Shaper](http://www.lathes.co.uk/waveney) [Webster & Bennett Vertical Boring Turning](http://www.lathes.co.uk/webster-bennett) [Wickman (re-badged Klopp)](http://www.lathes.co.uk/klopp) **Grinders: Surface, Cylindrical, Toolpost, Pivot Polishers, Lappers, Tool Sharpeners** [Abwood V/Spindle Surface](http://www.lathes.co.uk/abwood-vertical-spindle-surface-grinders) [Arkadia Surface Grinder](http://www.lathes.co.uk/arkadia) [Beijer Vertical Spindle (Sweden)](http://www.lathes.co.uk/beijer) [Beling & Lübke (Germany)](http://www.lathes.co.uk/belinglubke/page2.html) [Brown & Sharpe No.2 & 2B Surface (USA)](http://www.lathes.co.uk/brown&sharpeno2grinder) [Brown & Sharpe Cyl. Indexing Attachment (USA)](http://www.lathes.co.uk/brown&sharpeno2grinder/page2.html) [Bulova Surface Grinder (Swiss)](http://www.lathes.co.uk/bulova-grinder) [Burdett Surface Grinders](http://www.lathes.co.uk/burdett-grinders) [Capco Surface Grinder](http://www.lathes.co.uk/capco) [Churchill Industrial](http://www.lathes.co.uk/churchill-grinders) [Churchill Golden Jubilee](http://www.lathes.co.uk/churchill-50th-anniversary) [Crystal Lake Precision Grinder(USA)](http://www.lathes.co.uk/crystallake) [Dumore Toolpost Grinders](http://www.lathes.co.uk/dumore-grinders) [Duplex Toolpost Grinders](http://www.lathes.co.uk/duplex-toolpost-grinders) [Elliott Surface Grinders](http://www.lathes.co.uk/burdett-grinders) [EXE Bench Surface](http://www.lathes.co.uk/exe-grinder) [Eagle Surface Grinder](http://www.lathes.co.uk/eagle) [ELB Grinders (Germany)](http://www.lathes.co.uk/elb-grinders) [Excel Surface Grinders](http://www.lathes.co.uk/excel/page3.html) [Feinprüf Surface Grinder (Germany)](http://www.lathes.co.uk/feinpruf) [GER Grinder](http://www.lathes.co.uk/ger-grinders) [Harbots Surface Grinder](http://www.lathes.co.uk/harbots) [Hauser Pivot Polishers (Swiss)](http://www.lathes.co.uk/hauserpivotpolishers) [Herbert Miniature Grinder](http://www.lathes.co.uk/herbertminiaturegrinder) [Herbert Junior Surface Grinder](http://www.lathes.co.uk/herbert-junior-grinder) [Hobrough Surface Grinder](http://www.lathes.co.uk/hobrough) [Jones & Shipman](http://www.lathes.co.uk/jonesandshipman) [Jung (Germany)](http://www.lathes.co.uk/jung-internal-grinders) [Kuhlmann Grinders (Germany)](http://www.lathes.co.uk/kuhlmann-machine-tools) [Leach Surface (USA)](http://www.lathes.co.uk/leach-grinder) [LIP-515 Miniature Grinder (France)](http://www.lathes.co.uk/lip-515) [Macson Miniature Grinder (Australia)](http://www.lathes.co.uk/macson-grinder) [Mendip Drill Grinder](http://www.lathes.co.uk/mendip-drill-point-grinder) [MIPSA (Swiss)](http://www.lathes.co.uk/mipsa) [Norton Surface (USA)](http://www.lathes.co.uk/nortonsurfacegrinder) [Pallas Surface Grinders](http://www.lathes.co.uk/pallas-surface-grinders) [Read Surface (USA)](http://www.lathes.co.uk/reid-grinder) [Reiniger, Gebbert & Schall (Germany)](http://www.lathes.co.uk/reinigergebbertschall) [Richyoung Surface Grinder (Taiwan)](http://www.lathes.co.uk/richyoung-grinder) [Rollimat Pivot Polisher (Austria)](http://www.lathes.co.uk/rollimat-pivot-polisher) [Sanford Miniature Grinder (USA)](http://www.lathes.co.uk/sanford) [Scrivener (Wickman-Scrivener)](http://www.lathes.co.uk/scrivener) [Studer Snap Gauge Lapper (Swiss)](http://www.lathes.co.uk/studer-snap-gauge) [Superior Surface Grinder](http://www.lathes.co.uk/superiorgrinder) [Tripet Precision (Swiss)](http://www.lathes.co.uk/tripet-grinders) [Viceroy Sharpedge](http://www.lathes.co.uk/viceroy-sharpedge) [Wolf Valve Grinder](http://www.lathes.co.uk/wolf-valve-grinder) **Tool, Cutter & Profile Grinders** [Abwood Tool Grinders](http://www.lathes.co.uk/abwood-tool-grinders) [Alexander](http://www.lathes.co.uk/alexander/page2.html) [Astra AR5\_E Tool & Cutter (Spain)](http://www.lathes.co.uk/astraar5e) [Bauerle Tool & Cutter (Germany)](http://www.lathes.co.uk/bauerle) [Boxford](http://www.lathes.co.uk/boxford-g200-cutter-grinder) [Broadway](http://www.lathes.co.uk/broadway-grinder) [Cabo Tool & Cutter (Italy)](http://www.lathes.co.uk/cabo) [Carson (USA)](http://www.lathes.co.uk/carson-tool-cutter-grinder) [Cincinnati No.2](http://www.lathes.co.uk/cincinnati-tool-and-cutter-grinder-number-2) [Cincinnati Monoset](http://www.lathes.co.uk/cincinnati-monoset/) [Clarkson Tool & Cutter](http://www.lathes.co.uk/clarkson) [Deckel (Germany)](http://www.lathes.co.uk/deckel/page3.html) [DeVlieg Micropoint](http://www.lathes.co.uk/devlieg-micropoint) [DeVlieg-Clarkson](http://www.lathes.co.uk/clarkson) [Dormer Tool & Cutter Grinder](http://www.lathes.co.uk/dormer-model-53) [Dormer 108 Drill Grinder](http://www.lathes.co.uk/dormer-108-drill-sharpener) [Dormer All-Models Multi-language](http://www.lathes.co.uk/dormer-multi-language-catalogue) [David Dowling](http://www.lathes.co.uk/dowling-grinder) [ETA](http://www.lathes.co.uk/eta/page3.html) [Excel (Elliott) Tool & Cutter](http://www.lathes.co.uk/excel/page5.html) [Frikla (Germany)](http://www.lathes.co.uk/frikla) [Gorton Tool & Cutter Grinders (USA)](http://www.lathes.co.uk/gorton-cutter-grinder) [Greenfield (USA)](http://www.lathes.co.uk/greenfield) [Großenhainer Webstuhl u Machn-Fabrik](Großenhainer-Webstuhl-und-Maschinen-Fabrik) [Haro Universal Tool & Cutter (Swiss)](http://www.lathes.co.uk/haro) [Heald Tool Sharpener](http://www.lathes.co.uk/heald-no-3) [Hercus Tool and Cutter (Aus)](http://www.lathes.co.uk/hercustool&cuttergrinder) [Imperia Tool & Cutter (Belgium)](http://www.lathes.co.uk/imperia) [Jacobsen (Denmark)](http://www.lathes.co.uk/jakobsent&c) [Jones & Shipman (Vintage)](http://www.lathes.co.uk/jonesandshipman/page2.html) [Jones &: Shipman (Early)](http://www.lathes.co.uk/jones-shipman-1920s-1930s-grinders) [Jones & Shipman (Modern)](http://lathes.co.uk/jones-shipman-toolroom-grinders-1/) [Jungner (Sweden)](http://www.lathes.co.uk/jungner-tool-cutter-grinder) [Kamph (Germany)](http://www.lathes.co.uk/kamph-tool-cutter-grinder) [Kennett](http://www.lathes.co.uk/kennett) [Klaiber (Germany)](http://www.lathes.co.uk/frikla) [LeBlond(USA)](http://www.lathes.co.uk/leblond-tool-and-cutter-grinder) [Lee (K.O.Lee USA)](http://www.lathes.co.uk/kolee) [March](http://www.lathes.co.uk/clarkson) [Meddings Grinding & Lapping Machine](http://www.lathes.co.uk/meddingstoolandcutter) [Oerlikon-carbide-tool-grinder (Swiss)](http://www.lathes.co.uk/oerlikon-carbide-tool-grinder) [Pedersen Tool & Cutter Grinder (Denmark)](http://www.lathes.co.uk/pedersen-tool-cutter-grinder) [Perfecto Tool & Cutter Grinder](http://www.lathes.co.uk/perfecto-tool-cutter-grinder) [Pinnacle Tool & Cutter Grinder](http://www.lathes.co.uk/pinnacle-tool-cutter-grinder) [Quorn Tool & Cutter Grinder](http://www.lathes.co.uk/quorn) [Scripta Tool & Cutter](http://www.lathes.co.uk/scripta) [Smart & Brown](http://www.lathes.co.uk/clarkson) [Stent Tool & Cutter Grinder](http://www.lathes.co.uk/stent) [Studer Precision Form-Tool Grinder](http://www.lathes.co.uk/studer-fs21) [Target Tool Grinder](http://www.lathes.co.uk/target) [Turner of Wolverhampton](http://www.lathes.co.uk/turner-tool-cutter) [Taylor Hobson Cutter Grinder](http://www.lathes.co.uk/taylor-hobson-cutter-grinder) [Union (Harrison) Tool and Cutter](http://www.lathes.co.uk/uniontool&cuttergrinder) [Vernon Tool & Cutter Grinder](http://www.lathes.co.uk/vernon/page4.html) [Vison Tool & Cutter Grinder](http://www.lathes.co.uk/vison) [Wickman Optical Profile Grinder](http://www.lathes.co.uk/wickman-optical-profile-grinder) [Zimmermann Tool & Cutter Grinder (Germany)](http://www.lathes.co.uk/zimmermann-tool-cutter-grinder) **Drills, Drill Grinders & Tappers** [Aciera Types 22 and 23 (Swiss)](http://www.lathes.co.uk/aciera22) [Aciera Drills/Tappers (Swiss)](http://www.lathes.co.uk/aciera-small-drills) [Ajax Drills](http://www.lathes.co.uk/ajax-drills) [Amolco Drill](http://www.lathes.co.uk/amolco-drilling-machine) [Arboga Drills (Sweden)](http://www.lathes.co.uk/arboga-drills-part-1) [Apex Drill Presses/Tappers](http://www.lathes.co.uk/oldak) [Arboga Drills (Sweden)](http://www.lathes.co.uk/arboga/page2.html) [Archdale Drills](http://www.lathes.co.uk/archdale) [Archdale Drill Grinders](http://www.lathes.co.uk/archdale-drill-grinders) [Atlas Drills (USA)](http://www.lathes.co.uk/atlas-drills-31-32) [Atlas Drill Grinder (USA)](http://www.lathes.co.uk/atlas-drill-grinder) [Baby Grand (USA)](http://www.lathes.co.uk/babygrand/page2.html) [Baldwin Glass Drills (USA)](http://www.lathes.co.uk/baldwin-glass-drills) [Boxford Drills](http://www.lathes.co.uk/boxford-drills) [Brierley Drill Grinders](http://www.lathes.co.uk/brierley-drill-grinders) [Cameron Micro Drills (USA)](http://www.lathes.co.uk/cameron-micro-drill-press) [Caser Radial-arm Drills (Italy)](http://www.lathes.co.uk/caser) [Cawi-Spiral Drill Grinder (Germany)](http://www.lathes.co.uk/cawi-spiral) [Champion Drills](http://www.lathes.co.uk/champion-drill) [Christen Drill Grinders (Swiss)](http://www.lathes.co.uk/christen-drill-grinders) [Craftsman/Companion/Dunlap Drills](http://www.lathes.co.uk/craftsman-drill-presses) [Denbigh Drills](http://www.lathes.co.uk/denbigh-drills) [David Dowling Tappers](http://www.lathes.co.uk/dowling-pantographs-and-tappers/page2.html) [Drummond Radial-arm Drill](http://www.lathes.co.uk/drummondradialarmdrill) [Dumore Drill Presses (USA)](http://www.lathes.co.uk/dumore-grinders/page2.html) [Essex Tappers](http://www.lathes.co.uk/essex-tappers) [Flott Drills (Germany)](http://www.lathes.co.uk/flott) [Fobco Drills](http://www.lathes.co.uk/fobco) [James W. George Drill (USA)](http://www.lathes.co.uk/james-george-machinery) [Grimston Drills](http://www.lathes.co.uk/grimston-drills) [Hamilton Sensitive Drill (USA)](http://www.lathes.co.uk/hamilton-drill) [Hauser Watchmaker's (Swiss)](http://www.lathes.co.uk/hauser-drill) [Herke Tappers](http://www.lathes.co.uk/herke-tappers) [Hunt, Churchill, Dormer, Herbert, Drill Grinders](http://www.lathes.co.uk/hunt) [IME Precision](http://www.lathes.co.uk/ime-drill) [JMB Drill (Germany)](http://www.lathes.co.uk/JMB-Drill) [Jones & Shipman Drills](http://www.lathes.co.uk/Jones-shipman-drills) [Jones & Shipman Tappers, etc.](http://www.lathes.co.uk/Jones-shipman-tappers-etc) [Jones & Shipman Drill Grinders](http://www.lathes.co.uk/Jones-shipman-tappers-etc) [Jones & Shipman Presses & Misc.](http://www.lathes.co.uk/Jones-shipman-tappers-etc) [Kerry Belt-drive Drills](http://www.lathes.co.uk/kerrysuper8) [Kühne NC-Controlled Tapper (Germany)](http://www.lathes.co.uk/kuhne) [Levin Micro Drill Press (USA)](http://lathes.co.uk/levin/page8.html) [Luthy Precision Drill (Swiss)](http://www.lathes.co.uk/luthy/page2.html) [Mädler (Bruno Mädler) Drill Germany](http://www.lathes.co.uk/madler-drill) [Mancuna Hand-cranked Drills](http://www.lathes.co.uk/mancuna) [Meca TR-1 Turret Drill](http://www.lathes.co.uk/meca-tr-1) [Mecof Drill (Italy)](http://www.lathes.co.uk/mecof) [Meddings "Pacera"Drills](http://www.lathes.co.uk/meddings-pacera) [Meepos Drill (USA)](http://www.lathes.co.uk/meepos-drill) [Mercer Drill](http://www.lathes.co.uk/mercer-drill) [Meteor Drill Grinder (Swiss)](http://www.lathes.co.uk/meteor-drill-grinder) [Micromeccanica Micro Drill (Italy)](http://www.lathes.co.uk/micromeccanica) [Moore "Miniature" Radial-arm Drill (USA)](http://www.lathes.co.uk/moore-radial-arm-drill) [Moser Precision Column Drill (Swiss)](http://www.lathes.co.uk/moser) [Oldak Precision Drills & Tappers](http://www.lathes.co.uk/oldak) [Paco Drill](http://www.lathes.co.uk/paco) [Perfecto Drill](http://www.lathes.co.uk/perfecto/page5.html) [Pollard "Corona" Drills](http://www.lathes.co.uk/pollard) [Pollard Tapping Machines](http://www.lathes.co.uk/pollard-tappers) [Precise Drill (USA)](http://www.lathes.co.uk/precise-drill-press) [Progress-Elliott Drills](http://www.lathes.co.uk/progress-drills) [Qualters & Smith Drills](http://www.lathes.co.uk/qualters-smith-drills) [Qualters & Smith Radial Arm Drills](http://www.lathes.co.uk/qualters-smith-radial-arm-drills) [Reliance-Draper-General--Blue-Point - Spiralux-Picador Drill Grinders](http://www.lathes.co.uk/reliance) [Ruka Miniature "Optical" Drill (Germany)](http://www.lathes.co.uk/ruka-drill) [Sallaz Tapper & Drills (Switzerland)](http://www.lathes.co.uk/sallaz) [Schaublin Tapper (Swiss)](http://www.lathes.co.uk/schaublin-tapper) [Servo Precision Mill/Drill (USA)](http://www.lathes.co.uk/servo) [Sher Precision Drill (Australia)](http://www.lathes.co.uk/sher) [SHK Drill Press](http://www.lathes.co.uk/shk) [South Bend Drill Presses (USA)](http://www.lathes.co.uk/south-bend-drill-presses) [Startrite Drills](http://www.lathes.co.uk/startrite-drills) [Startrite EFI Drill](http://www.lathes.co.uk/startrite-efi) [Superior Drills](http://www.lathes.co.uk/superior-drills) [Viceroy (Denford) Drills](http://www.lathes.co.uk/viceroy/page5.html) [WA-CO Miniature Drill](http://www.lathes.co.uk/wa-co) [Wiest Tappers (Germany)](http://www.lathes.co.uk/wiest) [Winslow Drill Point Grinder (USA)](http://www.lathes.co.uk/winslow) **Planing Machines** [Alligator Planer](http://www.lathes.co.uk/heskethwalker) [Britannia](http://www.lathes.co.uk/britannia/page4.html) [Brittain Planer](http://www.lathes.co.uk/brittain) [Fomm Planer(Germany)](http://www.lathes.co.uk/fomm) [Hendey Planers (USA)](http://www.lathes.co.uk/hendeyshaper) [Hesketh Walker Planer](http://www.lathes.co.uk/heskethwalker) [Kennan Planer (Ireland)](http://www.lathes.co.uk/kennan) [Melhuish Planer](http://www.lathes.co.uk/melhuish-planer/index.html) [Milnes Planer](http://www.lathes.co.uk/milnesplaner/index.html) [Plant (Geo.) Planer](http://www.lathes.co.uk/plant-planer) [Selig Sonnenthal Planer](http://www.lathes.co.uk/seligsonnenthal) [Senior (and Firth) Planers](http://www.lathes.co.uk/seniorshaperplaner) [T.Taylor Planer](http://www.lathes.co.uk/taylor-planer) [Unknown Hand Planers](http://www.lathes.co.uk/unknownplaners) [Waldrich-Siegen (Germany)](http://www.lathes.co.uk/waldrich-planers) [Wickman (re-badged Klopp)](http://www.lathes.co.uk/klopp) [Wilson Planer](http://www.lathes.co.uk/wilsonplaner) **Interesting Miscellaneous** [Abwood Circular Dividing Machine](http://www.lathes.co.uk/abwood-circular-dividing-machine) [Ainjest Quick-threader Attachment](http://www.lathes.co.uk/ainjest) [Bowers Taper-turning Attachment](http://www.lathes.co.uk/bowers-taper-turning-attachment) [Canma Cam-making Machine](http://www.lathes.co.uk/canma-cam-making-machine) [Crawford Burnerd Collets & Chucks](http://www.lathes.co.uk/crawford-collets) [D'Andrea Boring Heads (Italy)](http://www.lathes.co.uk/dandrea) [Eclipse Magnetic Chucks](http://www.lathes.co.uk/Eclipse-magnetic-chucks) [Epicyclic Speed-reducing Backgears](http://www.lathes.co.uk/epicyclic-gears) [Everede Cherrying Head (USA)](http://www.lathes.co.uk/everede) [Firth Hardness Testers](http://www.lathes.co.uk/firth-hardness-testers) [Flat-belt Joining Systems](http://www.lathes.co.uk/beltjoiners) [Fromag Keyseaters (Germany)](http://www.lathes.co.uk/fromag-keyseaters) [Hornamill Attachments](http://www.lathes.co.uk/hornamill) [Kamph Die-Mould Copying Mill (Germany)](http://www.lathes.co.uk/kamph-die-copier) [Koepfer Factory Tour (Germany)](http://www.lathes.co.uk/koepfer-factory-tour) [Lapmaster Lapping Machines (USA)](http://www.lathes.co.uk/lapmaster) [Lees-Bradner Thread Miller](http://www.lathes.co.uk/lees-bradner) [Limatic Filing Machine (Italy)](http://www.lathes.co.uk/limatic) [Lunn Davis Keyseater](http://www.lathes.co.uk/lunn-davis-keyseater) [Machine Tool Factories - Tours](http://www.lathes.co.uk/machine-tool-factories) [Matrix Thread-Measuring Machines](http://www.lathes.co.uk/matrix/page2.html) [Mitts & Merrill Keyseaters (USA)](http://www.lathes.co.uk/mitts-and-merrill) [Moore Diamond Turning (USA)](http://www.lathes.co.uk/moore/page6.html) [Moore & Wright Precision Instruments](http://www.lathes.co.uk/reading-precision-instruments) [Newall Measuring Machine](http://www.lathes.co.uk/newall-measuring-machine) [OMT Toolmakers Microscope](http://www.lathes.co.uk/omt) [Opus Brevettata Filing Machines (Italy)](http://www.lathes.co.uk/opus) [Palmgren Rotary Table (USA)](http://www.lathes.co.uk/palmgren/page2.html) [Parkson Gear Testing Machine](http://www.lathes.co.uk/parkson-gear-tester) [Pittsburg Hardness Tester](http://www.lathes.co.uk/pittsburg-hardness-tester) [pivofix Jacot Pivot Polisher](http://www.lathes.co.uk/Pivofix) [P & W Measuring Machine (USA)](http://www.lathes.co.uk/pratt-whitney-precision-measuring-machines) [Precision Bench Lathes List](http://www.lathes.co.uk/precisionbenchlatheslist) [Promecam Press Brakes (France)](http://www.lathes.co.uk/promecam) [Pullmax Plate Workers (Sweden)](http://www.lathes.co.uk/pullmax) [Rexos Automatic Spanner (wrench)](http://www.lathes.co.uk/rexos) [Schiess 100th Anniversary (Germany)](http://www.lathes.co.uk/schiess-100-year-booklet) [Shanks' Slide Rest](http://www.lathes.co.uk/shanks-slide-rest) [Sigma Flatness Tester & Cutting Tool Dynamometer](http://www.lathes.co.uk/sigma) [Sunnen Honing Machines (USA)](http://www.lathes.co.uk/sunnen-honing-machines) [Thread Dial Indicator (Universal Metric & Inch)](http://www.lathes.co.uk/universal-thread-dial) [Target "Copymax" Turning Attachment](http://www.lathes.co.uk/target-copymax-attachment) [Taylor Taper-scroll Chucks](http://www.lathes.co.uk/taylor/page3.html) [Thiel Produro Filing Machines (Germany)](http://www.lathes.co.uk/thiel-produro) [Trav-A-Dial Length Indicator](http://www.lathes.co.uk/trav-a-dial) [Universal Thread Dial Indicator](http://www.lathes.co.uk/universal-thread-dial) [URK Anderle Punch Shaper (Austria)](http://www.lathes.co.uk/urk) [Val d'Or 2-speed Drill (France)](http://www.lathes.co.uk/valdor-drill) [Wohlhaupter UPA Boring Heads](http://www.lathes.co.uk/wohlhaupter-upa-boring-heads) | | **In response to many requests - A complete copy of the Archive and web site is now available on a 32GB pen drive.** Once you have the unit the whole of the site becomes available immediately - the pictures load instantly and the hyperlinks all connect as if one-line. 25,000+ pages and over 257,000 images **All files are in HTML so work in both Macs and PCs** **£45****[To order, click here](https://store.lathes.co.uk/print/archive)** | **[MACHINE TOOLS – SALES & WANTS](http://www.lathes.co.uk/page3.html)** [**Private & Trade advertisements**](http://www.lathes.co.uk/page3.html) [**lathes.co.uk home page**](http://www.lathes.co.uk/) | **ALWAYS WANTED****Original Machine Tool Literature of any age or type.** **If you have anything to sell, or material of special interest you would like to see featured on the Site, please do [make contact](mailto:tony@lathes.co.uk) High-quality reproductions of thousands of [Handbooks, Manuals](https://store.lathes.co.uk) and [Sales Literature](http://store.lathes.co.uk) are available.** |   | | if !supportEmptyParas endif |   | if !supportMisalignedColumns| | | | | | | | | | | | | endif ``` if !supportEmptyParas endif ``` The world's largest Machine Tool Reference Archive - a growing collection of articles about Manufacturers and Brands associated with lathes, millers, shapers, planers, grinders and other ordinary machine tools. If you find details of an “unknown” machine tool, please do send [the writer](mailto:tony@lathes.co.uk) photographs and details. if !supportLineBreakNewLine endif **Lathe Lathes, Myford, Colchester, South Bend, Atlas Emco, Boxford, Harrison, Craftsman, LeBlond, Boley, Monarch, Toyo, Sakai, Drummond, AB AAsbrink,** Abeille (possibly French), Abene, J.Abernethy (Aberdeen), Accro, Accuratool, ACE, Aciera, Acme USA, Acme Power Equipment, Kalamazoo, USA. ACME – Spain, Adams A.E., Adcock- Shipley, Adept, Advance, Aero, AEW, A.E.Adams, Adams Bros. Prov.R.I., Adira (Portugese), Ahcol (semi-auto millers), Aero Lyon, Ajax,  Akebono Kikai Kogyo (Japan), Alcorn Machine Co., Alcorn & Ames, Alcor (Italy), Aldriich & hay, Aldrich, Warren, Aldrich, Tyng & Co., Aldrin (Sweden), Alfeo, Allanson Engingeering (Ealing, London), Alldays & Onions, Allen Elec. Co., Allen (William Allen of Manchester), Alessio Millers (Switzerland), R.Almkvist (Sweden), Alpin, AM, AMAG, American Machine and Tool Co., American-Tool-Works, American Junior, American-Pacemaker, American Tool & Machine Co., American Tool Works, American Turret Lathe Co., American Watch Case Company, American Watch Tool Co, Ames Co. (Waltham), Ames Mfg. Co. Chicopee, Ameritech, Ammoco, Amolco, Amor & Bowker, Amoskeag, Amtec, Andersen & Krussand, Andra & Zwingenberger, Johannes Andresen A/S (Danish), John T. Andrews (Spalding), Andrychowska, A la Flotte d'Angleterre (Paris), Picco Angelo (millers, Italy), Antonio Anselmi (MonoFap), Arbeluxe (Robert Ballentine, Glasgow), Arboga, Arcade MFG Company - Wood lathes (USA). Archdale, Arex Millers (Italian Arno?),Armstrong Whitworth, Arno Krebs (millers, Germany), Arrel, Arrow, ARS, Artillerie-Inrichtingen, Artisan, Arundel, Ashot Ashkelon (Israel), Ashton, Asquith, Aster, Astoba, Ateliers-Stokvis, Harry F. Atkins - Peterborough, Atlantic, Atlas Engineering UK, ATOMIC, Automatic Rapid lathe Co., Avia, AVM (Angelini V. Macchine Company Italy), Axelson, Azeta Milling machines Italy, Azpiazu – Spain, Baby-Grand, Bacon & Murray, Badger & Co., Bagley, Baird Machinery Co., Baker Machinery Corp., Balding, N. H. Baldwin, Ballou Mfg. Co., Ballou & Whitcomb, Balme Bros. & Earnshaw of Halifax, Baloni, Bancroft & Sellers, Bancroft & Son, Bancroft & Smith, Bancroft, Barbier Besson, Barber Coleman, Barber and Duffy, Barber-Meuser, Bardons & Oliver, Barer, Bariquand & Fils (Paris), Barker & Co. (Fitchburg), Barker & Starrett, Barker Lathes UK, Barker Milling Machines (USA), Barrett, Barnes, Allen Barton & Co. (St. Helens Junction, lancs.),“Bastler A”, Battignolles, Bausch & Lomb, Baye (The Baye), BCA, Beaver, Bechet (Franch-made Auto lathes - also made under licience in the UK by Dowding & Doll), Bechler, Becker, Becker-Brainard, Belcan, Beling & Lübke (Berlin), Bement & Doughty, Bement & Son, Bement, Miles & Co., Benchmaster, Bengoechea – Spain, Benson UK, Benson & Russell, Bentley, Benzinger (Carl), Berdin (Spain), Bergeon, Beric, Berner (Swiss), Francis Berry & Sons, John Bertram & Sons Co. Ltd. Canada, Beru (watchmakers,), Bessboro, E & A Betts, Betts-Bridgeford, Betts Machine Co., Beur (millers, Sweden), Beyer & Peacock, Biddeford Machine Shop, E.Biglia (Spain),  Binns-Berry, G. Birch, Birfield, J.Birkenhead (USA), Björklund, BITE (Lithuania), Blank-Buxton, Blair, Joseph Blair, Blaisdell, Blaisdale & Wood, Blakey & Emmott (Halifax), Bleuler, Bliss, , Blom, Blohm Robert Hamburg, Blomqvist, J.G. Blount - Everett Mass., Blower-&-Forge, Blue Star Wood Lathe (Iowa), BMP, Bodmer, Bogert, Bohner-Köhle, Böhringerm, Boice-Crane, Boley, Boley-Leinen, Bomy, Bonds, Bonny, Booth, Booth-Brothers Dublin, Bormilathe, Bottum, Bourke A.J. (Sydney, Australia), Bower, Boxford, Boye-Emmes, E.N.Boynton (maker of shapers, Mass. USA),Brackenbury & Austin, Bradford Machine Tool Co., Bragonzi (Pegaso), Brainard Milling Machine Co., Breguet Freres & Cie (Swiss), Bridgeford Machine Tools Works (Rochester (USA)), Bridgeford Machine Tool Works (Bridgeport (USA)), Breda, Bremco, Brenco, Brennan and Company, Bridgeford, Bridgeport, The Briggs (USA), Bristol Machine Tool Co. USA; Britan, Britannia, F.Brittain (London), Britton, Broadbent, Broadbent-Schofield, Brodrene Sundt (Norway), Brown Machine Co. (USA), Brown Bros. (Accrington) “Brownie” lathe, Brown & Sharpe, Brunswick, BSA, B.T.M., George Buck (Tottenham Court Rd. London), Joseph Buck, M. Buck & Sons (Bolton, Lancs), J.Buckton, Bullard, Bullock, Bunting (George Bunting Sheffield), Burchardt Neukölln, L. et J. Burdin (Lyon, France), Burke, Clark Burtsal & CO (London & Sheffield), Burr & Sons, Burton-Rogers, John H. Bury (Oswaldtwistle), Costruzioni Meccaniche Buscate (C.M.B. Italy), Busch, Gebruder Buschmann (Darmstadt), Busy-Bee, Butler, F & J Butterfield of Keighley, Butterworth, BWC, Caballeria – Spain, Turret Lathes, Cadillac, G.L. Cady, Cairo, Canada Machinery Corporation, Canedy-Otto (USA - multi-function machine, drill presses), Cantoni (Italy), C.A.R.D. (kit lathe), Cardiff, Caroll-Jamieson, Carrick & Carron Co., Craig, Carson, Carstens, Carter & Hakes (Winster, Conn.), Caser, Cataract, CAV-Wade, Cazeneuve, CECO, Cedar-Rapids, Cegielski, Celtic, Centec, Centrix, Ceriani (Italy), Ceriotti (Italy), Chace, Alfred Chadburn (Sheffield) ornamental lathes cira 1855 (?), Challenger, Champion UK, Champion Tool Works USA, Chanana Bros. (India) Chard, W.L.Chase, Cattin SA of La Chaux de Fonds, Switzerland, Checkko, C.H.E.M, Chicago Machine Tool Co., Childs, Chofum, Churchill-Redman, Cincinnati, B. Claesson (Huddinge, Sweden), Clark Engineering & Machine Tool Company (Luton), John Clark - Shipley UK, Claudius Ash Son & Co., Clausing, H.B.Clay Birmingham, England, Clement, Cleveland (USA), CLH, Climax Machine Company (Lancaster, Pennsylvania), Clisby, Cloud Co. (millers), Clover, Clovis, C.M.C. (Canada Machinery Corporation), C.M.T., CMZ (Construcciones Mec. Zumarrage, Spain), Codima (France), Cohen Samuel & Son, London, Colchester, Cole, J.F.Collier, William Collier & Co (Salford), Collstron, E.Colombo (Italy), Columbia Machine Tool Co., Comec (Italy), Condor, Conover, CONRIK, Converta, Conway Columbia, Columbian, Conradson, W.Cook Lathe and Toolmakers Vauxhall Works London, Thomas Cooke and Sons (York), Coombs, Cooper, Corntool, Coronet, Correa, Cosa (USA), Corsa Corporation of New York, Cortini, Coulter & McKenzie, H.J. & A, Coulthurst (Darwin, Lancs.), Cowan, E.W.Cowell (kit lathes), Cowells, Craven, Cromwell, Crouzet, Crown (USA), Crowningshield, Crowthorn, Cullman, Cumbre, Cunliffe & Croom, CVA, Dainichi, Dalton, Danish-Machine Company, Danobat (Spain), Damaco, Darling-Bros, Darling & Sellers, David (Irwin & Jones ), George W. Davis, Davis & Egan USA (milling machines), Samuel Davis, W.P.Davis, Davis & Leyden (Dental), Davies (Davis?) Machine Co. Rochester NY, Dawson & Goodwin, Dean-Smith-Grace,  Death & Ellwood (Leicester, England), Deber (Italy), Deckel, DeFray, E.A. Delano, Delisle & Ziegele, Delta, Demas, Demoor, Dempster and Moore Ltd. Glasgow, Denbigh, Denford, E.G. Dengel, Denham, Depoy, Derbyshire, Descourse & Cabaud, Deshays Company Paris watchmakers' lathes,Deutsche Maschinen & Werkzeugfabrik, DeVallière, Devol & Howl, Devon Ipswich Qld (Australia), E.A.Dexter, Dexter & Co  of High Wycombe (wood lathes), Diamond, Diamond Emery Wheel & Machine Co. RI (later the Diamond Machine Co. RI), Diderot, Dietz, Dietz, Gang & Co., Dietz, Schumacher, Dietz, Schumacher & Boye, Dignus, Dixi, D&M, DoAll, Dolze&Slotta (Coswig, Saxonia), William Donaldson, Donaldson of Cincinnati (Acme), Douglas (Australia, shapers), Dowding & Doll, Dracip, Draper, Dreses, Mueller, E.H.Druce - Coventry, Drummond, DSG, Paul Dubois - Paris, Dubied, Duff, Dunbar & Cook, Dunlap, Duro, Dustin, Lewis Duvinge, DVD (France?), W.Eades & Son (Birmingham), Earle, Easterbrook & Allcard, Eccles & Davies (Los Angeles, CA), Economaster, Eddy, Eden (Edenbridge, Kent), Edgar, T.M. Edwards, Egan, Eguro (Japan), EHJ, Einhell, Gustav Eisfeld, Elgin Tool Works, Electric Machine Corporation, Ind. USA, Elliott, Ellis & Reeds (Bradford), Elmco ((Electric Machine Corporation), Elson, EMAG, Emerling, Emco, EMTOC, Emwee, Engineering Appliances, Enox, Ensign, Eppinger, EPVJ, Ergoyen, Eriksen (Alfred Eriken), Erlicht, W.H. Ermentrout, Ermo, Henri Ernault, Ernault-Somua, Bernhard Escher AG (Sachsische Machine Tool Works), Essaime (Swiss), Esztergon (Hungary), Etsco, Essbeco, ETA, Eugene Iron Works, EW, Evans, Evelet Engineering Co. Loman St. London SE1, Ex-Cell-O, EXE, Exeter Machine Works, Facks (thread miller), Fairbanks Machine & Tool Co. Ohio, Fairbairn Macpherson & Co, Fairbanks Machine Tool Co. Springfield Ohio, Fairburn, Naylor & Macpherson, Faircut, Willian Farmer (London 1841-51), Famco, FAT, Favorite, J.A.Fay & Co., Fay-Scott, Feeler, Feinbau, Fell (woodworking), Ferval, Josepth Fenn (Ornamental lathes), FEXAC, Fielding, Fieldhouse, Fifield, Fillsmith (USA), Fimap, William Findlay, Arthur Firth, Fischer, Fitchburg, Flather, Fleck U. Co. Charlottenburg, Flesch & Stein (Germany) - later owned by Friedrich See, Fletcher Bros. Halifax, Flexispeed, Foley, Forsaith,  'Fortis Imperial', Fortune Brothers (Halifax) - formerly Fortune, Rushworth& Co.,Foster, G.H.Fox, Fragola (Italy), D.G.Francis (small, simple round-bed wood lathe),Fraser, Fratelli Troglia Tobino (Italy), Fray, French Robert (Kendal, England), Frisell, Carl Froh, AF (Albert Froidevaux - Switzerland), FVE Imperial, Gage (USA), C.E.Gaitzsch (Siegmar-Schonau), W.Gale (London), Gallien, Gamages; Gambey; Gamma; Garbagnate Lathes( Italy) C.G. Garrigus Machine Co.,Bristol Connecticut; Garvin,  Gazel, Geja, George-Adams, Georg-Fischer, George-Hatch, Geller, Gem, Gem Glorious, Gemco, GEMA, Geminis (Spain), James W. George Machinery, Detroit Michigan, GER Grinders (Spain), Gfeller, G.H.S., Giddings-Lewis, Gill, Gillman, Gilman (precision capstan USA), Gisholt, Glaener & Perreaud (France), Gleason, Golay-Buchel - (FAVORITE watchmakers' lathes & equipment), Globe lathes, (Australia), Edgar EMS, Gold-Seal, Golk (USA), Goodell-Pratt, Goodnow and Wrightman (USA), Gorenewegen, Gornati, Gorton, Gosmeta, Gould-Eberhardt, Goyen ornamental, Grabo, Grant MiLathe, Granville, Graves, Grayson, Graziano, Grazioli, Greaves, Greaves-Klusman, Greenall & Batley, Greenwood & Greenwood Brothers of Halifax, Batley, Gridley, Grigg, Grindturn, G.S.P., Gudel - specialist production watch lathes Switzerland, Guilliet-Fils, Guilder, J. Guitel, Gurutzpe (Spain), Friedrich Gygi, Habegger, Haedge & Richter lathes (Hannover), Haigh of Oldham, Frederick Haithwaite (Leeds, England), Hakumag-Renard, Haighton, G & A Harvey (Glasgow), Halifax, Halco, Halifax, Hamatu (Japan), August Hamann (Berlin), Hamilton, Hammel-Riglander, Hapfho, Hardinge,  Harihar (India), Harrington, D. L. Harris & Co. (Springfield, Mass), Harrison, Hartford, Hartness, Harvey G & A (Govan, Scotland), Hasse & Wrede, Max Hasse, Hasselquist (later Elgin Tool Works), Hatch, Haulin, Haulton (watchmekr's lathes),Hauser, Havier, A.Haworth (Sowerby Bridge), Hazdent Machine Tools - spinning lathes, Hazemeyer, Holland (later Holec then Eaton), Heller Millers, Hayes, Hayward (London 1800s), Heald E.W., W. Heap of Aston-under-Lyne, Hector, Heid (Sensitast). Heidenreich-und-Harbeck, Gebruder Heinemann (St.Georgen), Heira, Heivil, Helios (OM Lario, Italy). Heller, Hembrug, Hendey, Henley, Hepworth (USA), Hercules Ajax, Herbert (Alfred Herbert UK), Herbert - Australia, Herberts Wood Lathes (Los Angeles), Hercus, Hermle, Herreiz (Spain), Herson "Turri",Herter (Japan), H.E.S., Hestika, Hewes & Phillips, Hey, Heyligenstaedt, Heymer & Pilz (Germany), J & P Hill (London & Sheffield). Hill, Clark, Edward Hind & Son Nottingham, Hille-Werke (Dresden) Lathes. Hines (Edward Hines ornamental lathes), Hispano Suiza, Hitachi, Hjorth, Hobart Bros. USA, Hobbymat, Hobson, George Hodgson (Cleckheaton), Hoffman & Billings, Högbo, Högboholm, Holbrook, Hollingworth, Hollingsworth, Homac (USA), S.Holmes & Co. Bradford, Henry Holmes of Halifax, Holmes & Matthews, Hommell, Honorio Florez (Spain), Honsberg, Holtzapfel, Hopkins, Holroyd, Horstman, H.T.H., Joseph Houghton of Newark, N.J., Hounsell, Howa-Sanyo, HUDSON (New York), Hudson & Griffith (Keighley), Hulot, Hulse W.W., Humpage Jacques & Pedersen - Bristol, Huron, Hutton USA, J.Hutton – Glasgow, Hutton & Macdonald Leeds, Hynburn (No.1 Lathe),Ideal, Ikegai, Imami (Aristos brand) Italy, I.M.E, IMOR, INDEX, INDEX-Werke, Were, Induma, Industro-Lite, Ingers (Incontrera & Wenninger), Innovations (French),Irmscher & Witte (Dresden 1933 to 1945), Irwin and Jones (David and "Fulswyng lathes), IXL, Jackson, Jackson-Rigby JR and JRC), Jafa, James-and-Son, James-Spencer, Jardine (Hong Kong), J.T.Jarratt (Leicester), Jashone – Spain, Jason, Jator- Spain, Jeffco, Jefferson (Cincinnati), Jenny (France), JEN-SON, John Bertram & Sons, Johnston Mfg. Co, Arlington, N.J. USA, Johnstone, Jomar, Jones, Jones (J & T Jones),EN-AU'> Jones Burton & Co (Liverpool), Jones & Lamson, Jones-Shipman, Judson & Jackson – London dealers?), Julson (France), Juvenia, J.E.Kampe (watchmakers lathe, Waltham, USA), Kansai Machine Tools Ltd Japan, Karat, Karger, Karlsson A, Karstens, KART (Kobanyai Szerszamcepcyar Budapest), Kearney & Trecker, Keller & Deutsch Posen (Poznan in Poland), Fritz Kern K.G. Lorrach (Baden), Kearns (borers) , Keen (The Keen), Keighley-Lifts, Kellenberger (Swiss), Kempsmith, Kendall & Gent, Kennan (Ireland), (Kennen – ornamental?), Kent-Owens, Kerpen, Kern, Kerry, Kharkovski, Kingsbury, Kitchen & Wade, Klett (Gustav), Klett East Germany watchmakers’ lathes) Klippfeld, Engineer Klutzman (Israel), Kneller, Kondia, Köping, Köthen (Germany) Kramatorsk, Krak, Kress, Franz Kuhlmann, Ferdinan Kunad (Plagwitz Leipzig) precison lathes, Labormil, Lacfer – Spain, Lafayet – Spain, Lagun, L.A.P. (of unknown origin), Larvic, Lanco (Lane 7 Co. Australia), Landis Grinders, John Lang & Sons, Lathe & Morse Tool Co., Latimer-Wermelinger, Leach, Leavitt, LeBlond, Lebreton(France), Leckenby Benton & Co (Halifax England), Lee & Hunt Nottingam, England. Lefebvre-et-Martin, Lempco, Leif, Leinweber, Leinen, Leitz (millers), Lennartsfors wood lathes, O.W.Leonard (New York), Leonard & Clark (USA), LePont, Les Innovations Mecaniques, Lesto, Levin, Leyland & Barlow, Libbey (Millholland Machine Co.), Lidköping, Lieber, Liebert & Gürtler, Liebherr, Liechti, Lincoln George S., Linder, Linley, LIP (French watchmaker), W.C.Lipe, R. Lloyd (Birmingham), LMV, Lodge & Davis, Lodge-Shipley, Loewe, Logan, Logos, London, London Lathe & Toolm Co.,Lorch, Loudon Bros. Ltd. Glasgow, Lucas, Ludwig-Gack, Luke & Spencer (Manchester), Rev. James Lukin (Ornamental Lathes), Lumsden-Smart, Lund John of Crosshills, Keighley), Luthy, Lux, “Lyonite” French 3-inch precision bench, Lynd & Farquar, Macdonald Swinburne, MacGregor-Goulay Co. Ltd. (Canada), Machinex, P & W MacLellan (Glasgow), Macson, Magdeburg, MAH (Millers - Hunkemoller - Swiss), Maho, Malick & Walkows, Mancuna, Manhora, Charles A. Mann  (Providence R.I.), Mannaioni, Manning, ManSon, Manurhin, Mapre, Mardgaga TB & Cie, Mario (LUX brand by Bolla Eligio Mario), Marlow, Marriott (St.Neots), Marsh, E.A.Marsh Round bed lathe(USA, Marshall,  Martin, Henry B. Massey (Spalding, Lincs., ornamental lathes), Matheys, Alex Mathieson & Son – Saracen Tool Works Glasgow, Matos, Matra, Matrix, Mattapan Iron Works Malden (MA), Matterson, Maud & Turner (Halifax), McCabe, McDougall (R..McDougall, Canada), McKenzie (Canada), MDM Capstan, Mechanica, Mellor, Meng, Mengotti, Menziken, Meriden, Mesoutil, Paris (small lathe and tools), MetalCraft, Metalurgica Riosulense S.A. Brazil, Metallsvarv, Metalmaster, ETS Metaubell (Paris, France), Meteor, Metosa, Meuser, Meyer & Burger, Myers Machine Tool Co., Wilh. Mezget, F.P. & J.MICHEL Makers Rochester NY, William Midwinter (and Midwinter Engineering & Cycle Stamping Co. Birmingam UK), Mikron, Miley Machine Tool Co., E.Millen - Clerkenwell, London, precsion bench lathes, Millholland, Millrite, Milnes, Milwaukee, Minilor, Misal, Mit-a-Mit, Mitchell, F. Mitchell London, Mitsubishi, Modig, Monarch, Mondiale, Monfer (Italy), Antonio Anselmi Monofap (Antonio Anselmi Monofap), Moody, Moore, Morando, F. Morat & Co,. Eisenbach (Black Forest) Germany, Morey Machinery NY, Morini and Bossi (Italy), Morris Machine Tool Co. Cincinnati, Mori-Seiki, Morse, Mossberg & Granville, Moseley, John Muckle (“ornamental”), W.R.Mudd & Co. (Leicester, England), Mueser, Muller-et-Presant, Muller Weipert, Mulliner-Enlund, Munktell Eskilstuna (Sweden), James Munro (Ornamental lathes, London), Mupen (Spain), Murad, Myers Machine Tool (Pennsylvania), Myford, Mysore Kirloskar (Enterprise), A. Nalls (Yarmouth), Namson, Napier, Narragansett, National Lathe Co. (USA), Neat (Charles Neat London), Nebel, Nebiolo (Torino), Nelson-Winther, New-Britain, New-Haven, Newall Precision Lathe – London), New-All, Newbold, New Hermes, New Peerless, Wew Wonder, Nichols, Niles Niles-Bement-Pond, George Nissel (UK special "back surface" lathes), NODO Lathes (Spain) Noble-Lund, Norden, North End Machine Shop (Ohio), Nosotti, Nuttall, Specialist Handle and Spoke lathes (USA), Oerlikon (Swiss), O.W.T. (Ohio Watch Tool Co.),Okuma, Olympia, Oliver, Omerod. Omega Tool and Engineering Pty. Ltd (Stubby wood lathes), O.M.G. Zanoletti (Italy), Onan, O.S.I.C. “MENG lathes” (Italy),Outlis-Bale, Overton, Pacemaker, Padmani (India), Padovani, Di Palo, PAMA (Italy), Parkanson (Theo. Park & Son, Engineers, Melbourne) Parker McKnight, Parkinson, Parkson, Pasquino, Pama, Panther, C.E.Parsons (Capstan lathes, Leicester), F.R. Patch Mfg. Co. Rutland, Vermont, Paterson, Patrick, Paulson, PAV (Italy), P.B.R (or Perico/Baroni/Raimondi), Pearne-Wiburn, Pearson, Peatol, Peerless, New Pearless,Pennant (watchmakers lathes), Perfect machine Co. Galt, Canada, Perfecto, Perhays, F.S.Perkins (Lowell, Mass, USA), J.S.Perkins (Worcester, Mass, USA), Perico Baroni & Raimondi, Perris, Petz, Pexto, Pfauter, Adolf Pfeifer, Pfeil, Phoenix (France), Picard (Henri Picard et Frere – horologcal), Pickersgill Bros. (Keighly)John Pickles and Son (Ransome), John Pickles & Son (Hebden Bridge), Pinacho (Spain), Pioneer, Pitt, Pittler, Pitt’s Yorkshire Machine Tool Company, George Plant Kidsgrove (ornamental), Plauert (Germany), Ponar-Remo, Pitt’s Yorkshir Machine Co., Pixi, Plumier, D.W.Pond, Ponar, David W. Pond, Pont-a-Mousson (A.M.C.), Pontiggia, Pools, Poreba, Portass, Porter, Porter-McLeod, Portmac, Potisje, Potter, Powermatic, F.Pratt & Co. briggs-lathe, Pratt-Whitney, Präwema, Prazimat, Präzisionsmaschinenbau, Prećis, (Precise Millers, Racine, WI, USA), Precision, Precision Grinding, Precision Industries (Arbeluxe round-bed lathe), Precista (watchmaker), Prema, “PreMier”, Premo, Presto, W.M.Preston (Galt, Ontario, Canada), Price & Coulty (Manchester), Prince (by Vesuv, Denmark), Principe Lathes (Italy), PROKOP, Progress-Oslo, Progressive, Proxxon, Pryibil, Pultra, Purnell & Odell, Putnam, S.W.Putmans’ Sons Ltd., Quality Eng & Mfg Pty Ltd Melb, Qualos, Racine, Rafamet, Raglan, Rahn-Mayer-Carpenter, Rahn-Larmon, Ramatør Miniature Lathe (Danish),Rambold, RAMO, Randa, Ransomes, Rapide Lime, Rapson & Dutton, Rasmuson (Denmark, Type SR80), Ravensburg, Rawco, Rawyler (millers, Switzerland), RBB (Brazzi Roberto, Italy) Realmeca, Rebmann (France), Record (USA and UK), Reed, Reed-Prentice, Reffolds, Regal, Reid (USA), Willian Reid (London & Newcastle), Reiden, Reinecker, Reishhauer, Reliable-Lathe-Co, Reliance, Relm and Super-Relm, Relmac, Remmington, Republic-Lagun,  Reese watchmaker's lathe by Thos. Hamilton of Johnstown, PA. Rex (various countries), Rexman, Rexvalter, , RHINO, Rhyn-Mayer-Carpenter, Richards (George Richards), Rigid (Swiss), Rigid Roku (Japan), RJS (Germany, high-precision milling machines), ROFB, Rolfe, Rollo, Romi, Rondolotti Spinning Lathes (Vincennes, France), Roscher & Eichler West, Rosenfors, Rossia, Rotex, Rouchaud Limoges (milling machines?), C. Rowson, Royal (by Vesuv, Denmark), RSB (UK), Rumag, Rusnok, Ryder Thomas & Son, Ryerson, Sachsische Werkzeug Maschinenfabrik), Sacia, Willi Sauer (Berlin), S.A.F.O.P., Saimo, Saimp, Sajo, Sakai, Salome, Samand Grinders (Halifax), Sant’Eustacchio, SARO, Satesa, Saut-du-Tarn (French), Sawyer-Weber Tool (commutator lathe), Schaerer, Schaffner, Schaublin, Scheerle & Behuer, Ernst Scherzinger (Furtwangen), SCHEU (F.A.Scheu), Errnst Schiess (Dusseldorf), Georg Schlitt  (Frankfurt/M), Schubert, Schubert-Fiedler, Schramm u. Lichner (Germany), Schumacher-Boye, Schwarz & Co., Schweizer, Scinta, Scintilla, Scomea, Scope, Scott Brothers of Keighley, Scott Homer, “The Scrutton” (AustraliaRorschach, Riken (Japan), Rindis, Ripperger & Schilling (Erfurt), Rishton, Rivett, Rizza,  Robblak, Robey, Robbins & Lawrence (USA), Robling, Robot,  Rockford, Rockwell, Roku-), Friedrich Schubert milling machines (Swiss?), Scomea, Sculfort-Machines-Outils, Sebastian, Sebastian-May, SEE, Selbix, Selig-Sonenthal, SEMCO (Southern Engineering of Southampton – milling machines), Seneca-Falls, Senior, Senta, Sharp Stewart & Co., Sharps, Shanks, Sharp, Shaw (early Watchmakers' lathe), Shedd (George F. Shedd), Sheene Bros. (Wicklow Ireland), Sheldon, Shellenback, Shepard, Lathe & Co., Shepherd Hill &Co of Leeds, Sheppard (Morris), Sherline, Shipman, Sicme, S.I.G. (cam-operated millers, cutter grinders, Swiss), SHW, SIAMP, Sibley, Sicmatic-Sauter, Sidley Ornamental lathes (London), Sidney, Siermo, Sigma, Simat, Simmons, Simonet,  Simplex, S.I.O.M.E., Siome, Simplon, Skara Gjuteri, Skoda, Dwight Slate (front-way lathe), Sloan-Chace, Smart & Brown, Smellie and Co (Brisbane), SMID, Smith, Smith- Beacock & Tannett Leeds), Smith & Coventry (Mqanchester), Smith & Brown, Smith-Drum (USA), Smith-Mills, Philip Smith Mfg. Co. of Sidney, Ohio ("Filsmith" lathe), SMT (Stevens Machine Tools), Socomo, Solberga (Sweden), Solsun, Solus, Sondermann & Stier (Pittler-like), S.O.M.B.V. (France), Spandau Grinders, Robert Speck (Switzerland), James Spencer of Manchester UK, Sphere, Springfield, Stalwart, Standard, Standard-Modern, Stanko, Stanley, Star (watch lathes), Star Tool Co. Providence RI., Stark, Stearns Rogers Mfg. Co (The Denver), Stedall, Stehman and Swan Lancaster Pa., Stehman-Jenks-Stehamn, Steinel, Steiner, Steinhauser, S.Stell & Co. Keighley, Stepto, Steptoe & McFarlan, Stirk (lathes and borers, etc), Sterritt & Stoer, Stitson, Storebro-Bruks-Aktiebolag, Stockbridge,  Stoeckle, Stokes (Gordon Stokes), Charles Strelinger USA, Streparava (Italy), Strohm, Strickland Bros. (Brighton), Stuart, Stuart Utensilerie Macchine Italy, Succes Lyon, Sugges (France), Summer and Adams, of Cleveland Ohio, Summit, The Sundale, Sundstrand, Brødrene Sundt Verktøymaskinfabrikk(Brothers Sundt, Oslo, Norway), SuperAlpha (Italy),Super-matic (Tornitrici E. Copiatori), Suring (Indian?), Swasey, Swift, Swisten, Bryant Symons & Co. (thread-correcting lathe), Sypher, Tacchi & Tacchi-Copyst, Tadul – Spain, Taig, Takisawa, Tangyes (Birmingham England), Tangram, Tarrance, Taylor, Taylor & Challen (spinning, beading and trimming lathes), T.C.&M, T.Taylor of Manchester, Taylor-Hobson, Technoimpex, Tekny, Test, Theil, Thomas-Shanks,  Thornley, Thum (Geneva), TIDA (Taiwan), Tillico, Timberell & Wright Machine Tool Engineering Co Ltd B/Ham (small production lathes), Titan, Titania-Werk (Berlin), T.&L.M., TLV (Ture Lind, Vimmerby, Sweden), Toledo, TOMP (Italy), Tona (Carl Tona), Tongil, TOR – Spain, Torgim (Italy), Torshälla, Torshalla, TOS, Tough Bros., Tovaglieri, TOV, Town-Woodhouse, Toyo, Traub, Tree, Trimbrell & Wright, Tripit (Swiss), Troglia Italy, Truecut (19th century brass-finishers lathes), P.Trumel (Nanc, France), Tukasa, Tulloch, Turnell & Odell, (Odell lathes), Turners-Motor, Turner Tanning (Milling machines),Turri (Argentina), Twin, Tyme, Tyzack, UBC, Unic Germany),Unimat, Union (Harrison UK), Union Lathe Works Co. York. Pa. USA, The United States Machine Tool Company (Cincinnati), Univertical, URPE – Spain, Ursus,  U.S.A, US-Burke, UVB (milling machines), De Valliere, Varnarmo, Van-Norman, Vario-Lux, VDF, VEB Limbach Oberfrohna (watchmakers’),VEF (Valsts Electro-Techniska Fabrika, Riga, Latvia), Vektor “Speed Lathe” Swiss, Velox, Vernon, VersaMil, Verschoyle, Vesuv, Vibos Millers (Italy), Viceroy, Victa, Victoria, Vidal, Viking, VOA, Vöest, Vöest-Alpine, Vuilleumier Freres, Vulcan (Wards – Sheffield), “Vulcania” (possibly by Ehrlich), Aux Forges de Vulcain (From the Forge of Vulcan - Paris), Wabeco, Wade,  Wadkin, A.P. Wagner, Wagner, Dortmund (Germany), Wahli, Walcott, Walcott & Woods, Waldrich Siegen, Walker-Turner, Walter Bros., Wanderer, Veem, J.G.Weisser Sohne, Wermelinger, Wickman, VLG, Volman, Wakefield, Waltham, Wandess, Warco, Ward, Ward Haggas & Smith, Warner-Swasey, Warwick, Wasino (Japan), Watson, A.D.Waymoth & Co. USA, Webster-Howarth, Webster-Whitcomb,  Wecheco (Argentina), T. White & Sons, D.E.Whiton Machine Tool Co. USA, Weigel (USA), F.C.,Weipert, Weipert, Wells, Wells & Son, Wells-Index, Weidenhoff, Weiler, Weisser, Welson (Geo. Watkinson), Wermelinger, Western Aircraft & Tool, J.S.Wheeler (Worcester, USA), Whipp machine Tool Co. (Shapers) Sidney Ohio, Whitcombe, Whitcomb-Blaisdell, J.D.White Whiton, Whitworth, Whitney, Wicksteed, Wickman, Wigdor Lathe - possibly by Selig of Berlin?, Wiedemann (punch presses), Richter Wien, Charles Wilder, Windsor, Wiskum, Wilfin, A.J. Wilkinson (Boston USA), Willard, William-Hussey, Williamson (UK), Willie (Germany), Willson, Winfield, Winkle, Wirth. Gruffat & Maped (WGM), Wizard, , Wohlenberg, Wolf, Woodhouse & Mitchell, Wolf,Jahn, Worcester Lathes (Mass.), Wren Tool Co., WW,  Von Wyck (Roach & Von Wyck), Wyvern, XEY (Spain), Yates, W.C. Young & Co, Youngstown YC, Young Engiuneering Labs Inc. St Paul Mn USA (shapers),ZDZ, Zelenda, Zeus (de Bonfiglio & Co. Italy), Zimmerman, ZMM, Zocca, Zubal, Zyto [Lathes.co.uk Home Page](http://www.lathes.co.uk/)    [Machine Tools for Sale & Wanted](http://www.lathes.co.uk/page3.html)    [Wood Lathes for Sale](http://www.lathes.co.uk/wood-machinery)   [Lathe Buying Advice](http://www.lathes.co.uk/page2.html)   [The Lathe - Parts Identification](http://www.lathes.co.uk/latheparts/index.html)   [Lathe Use - Essential Hints & Tips](http://www.lathes.co.uk/hints-and-tips)    [Electrical Matters](http://www.lathes.co.uk/page27.html)    [Instruction Books & Manuals and Parts Lists](https://store.lathes.co.uk/)    [Machine Tool Catalogues](http://www.lathes.co.uk/catalogues)   [Flat, Round & Link Belt Supplies](http://www.lathes.co.uk/page4.html)  [Lathe & Home-workshop Books](https://store.lathes.co.uk/books)   [Lathe Accessories and Spares](http://www.lathes.co.uk/page8.html)   [Screwcutting](http://www.lathes.co.uk/latheparts/page6.html)   [Fitting a New Chuck](http://www.lathes.co.uk/page13.html) **The Best Ski School in [Verbier](http://www.europeansnowsport.com/) & [Zermatt](http://www.europeansnowsport.com/) - Switzerland** **[VERBIER SKI SCHOOL](http://www.europeansnowsport.com/) and [ZERMATT SKI SCHOOL](http://www.europeansnowsport.com/)****[europeansnowsport.com](http://www.europeansnowsport.com/) professionally-qualified staff – many native English speakers** **[VERBIER](http://www.europeansnowsport.com/)** **Current Date var today = new Date(); var day = today.toLocaleString('default', { weekday: 'long' }); var date = today.getDate(); var month = today.toLocaleString('default', { month: 'long' }); var year = today.getFullYear(); var currentDate = day + ", " + date + " " + month + " " + year; Site Updated document.getElementById("currentDate").innerHTML = currentDate; \*\***
http://lathes.co.uk/
<!DOCTYPE html> <html lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <title>Compucolor II Tribute</title> <link rel="stylesheet" type="text/css" href="css/site.css" /> <!--[if lt IE 9]> <script src="scripts/html5shiv.js"></script> <![endif]--> </head> <body id="index"> <div id="container"> <header> <h1> <a href="http://www.compucolor.org"><span id="sitename">Compucolor.org</span></a> &ndash; Home</h1> </header> <nav> <h2>Navigation Menu</h2> <ul> <li class="here"><a href="index.html">Home</a></li> <li><a href="news.html">News</a></li> <li><a href="docs.html">Documents</a></li> <li><a href="tech.html">Technical</a></li> <li><a href="emu.html">Emulator</a></li> <li><a href="vmedia.html">Disk Images</a></li> <li><a href="links.html">Links</a></li> <li><a href="gbook.html">Guestbook</a></li> <li><a href="iproperty.html">Disclaimer</a></li> <li><a href="thanks.html">Thanks</a></li> </ul> </nav> <div id="content"> <p class="intro">A Tribute to the Compucolor II</p> <figure> <a href="images/frontview-startrek-1280.jpg"> <img class="centered" src="images/frontview-startrek-640.jpg" width="640" height="467" alt="(Image of Compucolor II emulator running Star Trek)" /> </a> <figcaption>Startrek on a Compucolor II computer</figcaption> </figure> <h2>The Compucolor II</h2> <p> The Compucolor II computer was produced by Intelligent Systems Corp. (ISC), of Norcross, GA. It was a personal computer version of an earlier computer aimed at the professional market, the Compucolor 8001. </p> <p> The Compucolor II was powered by an Intel 8080 CPU running near 2 MHz, and came configured with 8 KB, 16 KB, or 32 KB of RAM. The most distinguishing thing about this 1978-era product is that the computer was built in the housing of a small color television body, giving it the ability to generate eight color combinations of text and character-block graphics. Another significant feature was an integrated 5.25" floppy disk. </p> <p> You'll find more information about the Compucolor on the other pages of this website. </p> <h2>Why Memorialize the Compucolor II?</h2> <p> Back when I was 14, I had just started learning about computing and computers, using the high school's <a href="http://wang2200.org/">Wang 2200</a> computers. These were reliable machines with an extensive BASIC dialect, but they were very buttoned down: monochrome, 64x16 display of the standard ASCII character set. Most of us wrote games, but there is only so much you can do with 8 KB of memory and that boring CRT. </p> <p> Very colorful ads for the Compucolor II showed up in Byte Magazine, Popular Computing, and other similar magazines. The Compucolor was sexy! BASIC in ROM, integrated CRT, built in floppy drive, and color (!) at an attractive price. I spent a lot of time contemplating how I would ever save $1500 to get one for myself. </p> <p> As a 14 year old mowing lawns for $3 per lawn, I never did save enough money to fulfill the dream, and after a couple years, the Compucolor II faded from the scene as well. </p> <p> I finally obtained a Compucolor II of my own in 2002, courtesy of a gentleman named David Jeppeson. The machine worked only intermittently, but it did contain a ROM that I could capture. Years of haunting ebay turned up more Compucolor documents and floppy disks. Finally, I had enough to write an emulator for the machine, but every time I committed myself to the project, something always interceded. It took only 11 years to finally do it. </p> <p> This website holds scans of most of those <a href="docs.html">documents</a>; there are a few books which are scanned and waiting to be posted, but I'm hoping to get approval from the authors of these works before I do. It also has an <a href="emu.html">emulator</a>, written in javascript, that you can play with right in your browser without installing any software on your computer. Eventually I will be able to capture the contents of all the Compucolor floppy disks that I have, but there are technical hurdles preventing that from happening presently. </p> <p> Please explore the website, and <a href="mailto:jim@thebattles.net">contact me</a> if you have anything to add. There is also a <a href="gbook.html">guest book</a> if you want to share a memory about the Compucolor II. </p> <h2 id="feedback">Feedback&nbsp;<a class="sectionlink" href="#feedback">(link)</a></h2> <p> If you want to contact me for whatever reason, try me at <a href="mailto:jim@thebattles.net">jim@thebattles.net</a>. </p> <p> Please contact me if you have any brochures, manuals, media that isn't already archived here. I'm more than happy to pay shipping for anything you are willing to donate. </p> </div> <footer> <p>Contact: <a href="mailto:Jim Battle%20&lt;jim@thebattles.net&gt;">jim@thebattles.net</a> (Jim Battle)</p> <p>Last update: March 30, 2013</p> </footer> </div> </body> </html>
Compucolor II Tribute # [Compucolor.org](http://www.compucolor.org) – Home ## Navigation Menu * [Home](index.html) * [News](news.html) * [Documents](docs.html) * [Technical](tech.html) * [Emulator](emu.html) * [Disk Images](vmedia.html) * [Links](links.html) * [Guestbook](gbook.html) * [Disclaimer](iproperty.html) * [Thanks](thanks.html) A Tribute to the Compucolor II [![(Image of Compucolor II emulator running Star Trek)](images/frontview-startrek-640.jpg)](images/frontview-startrek-1280.jpg) Startrek on a Compucolor II computer ## The Compucolor II The Compucolor II computer was produced by Intelligent Systems Corp. (ISC), of Norcross, GA. It was a personal computer version of an earlier computer aimed at the professional market, the Compucolor 8001. The Compucolor II was powered by an Intel 8080 CPU running near 2 MHz, and came configured with 8 KB, 16 KB, or 32 KB of RAM. The most distinguishing thing about this 1978-era product is that the computer was built in the housing of a small color television body, giving it the ability to generate eight color combinations of text and character-block graphics. Another significant feature was an integrated 5.25" floppy disk. You'll find more information about the Compucolor on the other pages of this website. ## Why Memorialize the Compucolor II? Back when I was 14, I had just started learning about computing and computers, using the high school's [Wang 2200](http://wang2200.org/) computers. These were reliable machines with an extensive BASIC dialect, but they were very buttoned down: monochrome, 64x16 display of the standard ASCII character set. Most of us wrote games, but there is only so much you can do with 8 KB of memory and that boring CRT. Very colorful ads for the Compucolor II showed up in Byte Magazine, Popular Computing, and other similar magazines. The Compucolor was sexy! BASIC in ROM, integrated CRT, built in floppy drive, and color (!) at an attractive price. I spent a lot of time contemplating how I would ever save $1500 to get one for myself. As a 14 year old mowing lawns for $3 per lawn, I never did save enough money to fulfill the dream, and after a couple years, the Compucolor II faded from the scene as well. I finally obtained a Compucolor II of my own in 2002, courtesy of a gentleman named David Jeppeson. The machine worked only intermittently, but it did contain a ROM that I could capture. Years of haunting ebay turned up more Compucolor documents and floppy disks. Finally, I had enough to write an emulator for the machine, but every time I committed myself to the project, something always interceded. It took only 11 years to finally do it. This website holds scans of most of those [documents](docs.html); there are a few books which are scanned and waiting to be posted, but I'm hoping to get approval from the authors of these works before I do. It also has an [emulator](emu.html), written in javascript, that you can play with right in your browser without installing any software on your computer. Eventually I will be able to capture the contents of all the Compucolor floppy disks that I have, but there are technical hurdles preventing that from happening presently. Please explore the website, and [contact me](mailto:jim@thebattles.net) if you have anything to add. There is also a [guest book](gbook.html) if you want to share a memory about the Compucolor II. ## Feedback [(link)](#feedback) If you want to contact me for whatever reason, try me at [jim@thebattles.net](mailto:jim@thebattles.net). Please contact me if you have any brochures, manuals, media that isn't already archived here. I'm more than happy to pay shipping for anything you are willing to donate. Contact: [jim@thebattles.net](mailto:Jim Battle%20<jim@thebattles.net>) (Jim Battle) Last update: March 30, 2013
http://compucolor.org/
<!-- This document was created with HomeSite 2.5 --> <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2 Final//EN"> <HTML> <HEAD> <TITLE>Pete's Gateway</TITLE> <META HTTP-EQUIV="imagetoolbar" CONTENT="no"> <script language="JavaScript"> <!-- function namosw_init_clock() { var type, i, top, obj, clocks; clocks = new Array(); for (i = 0, top = 0; i < namosw_init_clock.arguments.length; i += 2) { obj = eval('document.'+namosw_init_clock.arguments[i]); if (obj == null) continue; if ((type = namosw_init_clock.arguments[i+1]) < 1 && 11 < type) continue; clocks[top++] = obj; clocks[top++] = type; } clocks.months = new Array('January', 'February', 'March', 'April', 'May', 'June', 'July', 'August', 'September', 'October', 'November', 'December'); clocks.days = new Array('Sunday', 'Monday', 'Tuesday', 'Wednesday', 'Thursday', 'Friday', 'Saturday'); clocks.k_days = new Array('ÀÏ', '¿ù', 'È­', '¼ö', '¸ñ', '±Ý', 'Åä'); clocks.ampm_str = new Array('AM', 'PM'); clocks.k_ampm_str = new Array('¿ÀÀü', '¿ÀÈÄ'); if (top > 0) { document.namosw_clocks = clocks; namosw_clock(); } } function namosw_clock() { var i, type, clocks, next_call, str, hour, ampm, now, year2, year4; clocks = document.namosw_clocks; if (clocks == null) return; next_call = false; for (i = 0; i < clocks.length; i += 2) { obj = clocks[i]; type = clocks[i+1]; now = new Date(); year2 = now.getYear(); year4 = year2; if (year2 < 1000) year4 = 1900 + year2; if (year2 >= 100) year2 = year4; if (type == 1 || type == 2) { obj.value = clocks.months[now.getMonth()] + ' ' + now.getDate() + ', ' + year4; if (type == 2) obj.value = clocks.days[now.getDay()] + ', ' + obj.value; } else if (type == 3 || type == 4) { obj.value = year2 + '/' + (now.getMonth()+1) + '/' + now.getDate(); } else if (type == 5 || type == 6) { obj.value = (now.getMonth()+1) + '/' + now.getDate() + '/' + year2; } else if (type == 8 || type == 9 || type == 10 || type == 11) { obj.value = year4 + '³â ' + (now.getMonth()+1) + '¿ù ' + now.getDate() + 'ÀÏ'; if (type == 9) obj.value += ' ' + clocks.k_days[now.getDay()] + '¿äÀÏ'; } if (type == 4 || type == 6 || type == 7 || type == 10 || type == 11) { hour = now.getHours(); ampm = 0; if (hour >= 12) { if (hour > 12) hour -= 12; ampm = 1; } if (type == 10 || type == 11) { str = clocks.k_ampm_str[ampm] +' '+ hour+'½Ã '+ now.getMinutes() +'ºÐ'; if (type == 11) str += ' ' + now.getSeconds() +'ÃÊ'; } else { str = hour +':'+ ((now.getMinutes() < 10) ? '0'+now.getMinutes():now.getMinutes()) +':'+ ((now.getSeconds() < 10) ? '0'+now.getSeconds():now.getSeconds()) +' '+ clocks.ampm_str[ampm]; } if (type == 7) obj.value = str; else obj.value += ' ' + str; } if (type == 4 || type == 6 || type == 7 || type == 10 || type == 11) next_call = true; } if (next_call) window.setTimeout("namosw_clock();", 1000); } // --> </script> </HEAD> <BODY BGCOLOR="Blue" OnLoad="namosw_init_clock('time.textclock1', 2, 'time.textclock2', 7)"> <CENTER><TABLE WIDTH=625 CELLPADDING=5 CELLSPACING=5 BORDER=10 BORDERCOLOR="#8000FF" ALIGN="CENTER" VALIGN="MIDDLE" BGCOLOR="White"> <TR> <TD> <CENTER><TABLE WIDTH=625 CELLPADDING=20 CELLSPACING=5 BORDER=0 BORDERCOLOR="Navy" ALIGN="CENTER" VALIGN="MIDDLE" BGCOLOR="White"> <TR> <TD> <!-- MAIN BODY STARTS HERE --> <CENTER><TABLE WIDTH=625 CELLPADDING=0 CELLSPACING=0 BORDER=0 BORDERCOLOR="Navy" ALIGN="CENTER" VALIGN="MIDDLE" BGCOLOR="White"> <TR> <TD><FORM NAME="time"><INPUT TYPE="text" NAME="textclock1" SIZE="30" STYLE="font-family:Arial; font-weight:bold; font-size:medium; text-align:center; margin-top:2; margin-right:0; margin-bottom:2; margin-left:0; padding:2; border-width:2; border-color:#8000FF; border-style:groove;"></TD> <TD WIDTH="10">&nbsp;</TD> <TD><INPUT TYPE="text" NAME="textclock2" SIZE="30" STYLE="font-family:Arial; font-weight:bold; font-size:medium; text-align:center; margin-top:2; margin-right:0; margin-bottom:2; margin-left:0; padding:2; border-width:2; border-color:#8000FF; border-style:groove;"></TD> </TR> </TABLE></CENTER> <CENTER><TABLE CELLPADDING=0 CELLSPACING=10 BORDER=0 ALIGN="LEFT" VALIGN="MIDDLE"> <TR> <TD>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<IMG SRC="images/pete_gateway_qs.jpg" WIDTH=378 HEIGHT=253 BORDER=0 ALT=""></TD> <TD WIDTH=10>&nbsp;</TD> <TD><script menumaker src="images/gateway_button.js"></script></TD> </TR> </TABLE></CENTER> </TD> <CENTER><TABLE CELLPADDING=0 CELLSPACING=0 BORDER=10 BORDERCOLOR="#8000FF" ALIGN="CENTER" VALIGN="MIDDLE" BGCOLOR="#8000FF"> <TR> <TD> <SCRIPT LANGUAGE="javascript"> <!-- var b1dis = "<a href=\""; var bdis = "\"><img src=\""; var edis = " width=\"450\" height=\"336\" border=\"0\" alt=\"Photos by Pete Loeser\" border=\"0\"></a>"; var rnumb = ""; var img = ""; rnumb += Math.floor(Math.random()*11); img = rnumb; if (img == "0") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide1.jpg\"" +edis); } if (img == "1") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide2.jpg\"" +edis); } if (img == "2") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide3.jpg\"" +edis); } if (img == "3") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide4.jpg\"" +edis); } if (img == "4") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide5.jpg\"" +edis); } if (img == "5") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide6.jpg\"" +edis); } if (img == "6") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide7.jpg\"" +edis); } if (img == "7") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide8.jpg\"" +edis); } if (img == "8") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide9.jpg\"" +edis); } if (img == "9") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide10.jpg\"" +edis); } if (img == "10") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide0.jpg\"" +edis); } // --> </SCRIPT> </TD> </TR> </TABLE></CENTER> <BR></TD> <!-- END MAIN BODY --> </TD> </TR> </TABLE></CENTER> </TD> </TR> </TABLE></CENTER> </BODY> </HTML>
Pete's Gateway <!-- function namosw\_init\_clock() { var type, i, top, obj, clocks; clocks = new Array(); for (i = 0, top = 0; i < namosw\_init\_clock.arguments.length; i += 2) { obj = eval('document.'+namosw\_init\_clock.arguments[i]); if (obj == null) continue; if ((type = namosw\_init\_clock.arguments[i+1]) < 1 && 11 < type) continue; clocks[top++] = obj; clocks[top++] = type; } clocks.months = new Array('January', 'February', 'March', 'April', 'May', 'June', 'July', 'August', 'September', 'October', 'November', 'December'); clocks.days = new Array('Sunday', 'Monday', 'Tuesday', 'Wednesday', 'Thursday', 'Friday', 'Saturday'); clocks.k\_days = new Array('ÀÏ', '¿ù', 'È­', '¼ö', '¸ñ', '±Ý', 'Åä'); clocks.ampm\_str = new Array('AM', 'PM'); clocks.k\_ampm\_str = new Array('¿ÀÀü', '¿ÀÈÄ'); if (top > 0) { document.namosw\_clocks = clocks; namosw\_clock(); } } function namosw\_clock() { var i, type, clocks, next\_call, str, hour, ampm, now, year2, year4; clocks = document.namosw\_clocks; if (clocks == null) return; next\_call = false; for (i = 0; i < clocks.length; i += 2) { obj = clocks[i]; type = clocks[i+1]; now = new Date(); year2 = now.getYear(); year4 = year2; if (year2 < 1000) year4 = 1900 + year2; if (year2 >= 100) year2 = year4; if (type == 1 || type == 2) { obj.value = clocks.months[now.getMonth()] + ' ' + now.getDate() + ', ' + year4; if (type == 2) obj.value = clocks.days[now.getDay()] + ', ' + obj.value; } else if (type == 3 || type == 4) { obj.value = year2 + '/' + (now.getMonth()+1) + '/' + now.getDate(); } else if (type == 5 || type == 6) { obj.value = (now.getMonth()+1) + '/' + now.getDate() + '/' + year2; } else if (type == 8 || type == 9 || type == 10 || type == 11) { obj.value = year4 + '³â ' + (now.getMonth()+1) + '¿ù ' + now.getDate() + 'ÀÏ'; if (type == 9) obj.value += ' ' + clocks.k\_days[now.getDay()] + '¿äÀÏ'; } if (type == 4 || type == 6 || type == 7 || type == 10 || type == 11) { hour = now.getHours(); ampm = 0; if (hour >= 12) { if (hour > 12) hour -= 12; ampm = 1; } if (type == 10 || type == 11) { str = clocks.k\_ampm\_str[ampm] +' '+ hour+'½Ã '+ now.getMinutes() +'ºÐ'; if (type == 11) str += ' ' + now.getSeconds() +'ÃÊ'; } else { str = hour +':'+ ((now.getMinutes() < 10) ? '0'+now.getMinutes():now.getMinutes()) +':'+ ((now.getSeconds() < 10) ? '0'+now.getSeconds():now.getSeconds()) +' '+ clocks.ampm\_str[ampm]; } if (type == 7) obj.value = str; else obj.value += ' ' + str; } if (type == 4 || type == 6 || type == 7 || type == 10 || type == 11) next\_call = true; } if (next\_call) window.setTimeout("namosw\_clock();", 1000); } // --> | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | | | | | | | --- | --- | --- | | | | | | | | | | --- | --- | --- | | | | | | | | | --- | | <!-- var b1dis = "<a href=\""; var bdis = "\"><img src=\""; var edis = " width=\"450\" height=\"336\" border=\"0\" alt=\"Photos by Pete Loeser\" border=\"0\"></a>"; var rnumb = ""; var img = ""; rnumb += Math.floor(Math.random()\*11); img = rnumb; if (img == "0") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide1.jpg\"" +edis); } if (img == "1") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide2.jpg\"" +edis); } if (img == "2") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide3.jpg\"" +edis); } if (img == "3") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide4.jpg\"" +edis); } if (img == "4") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide5.jpg\"" +edis); } if (img == "5") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide6.jpg\"" +edis); } if (img == "6") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide7.jpg\"" +edis); } if (img == "7") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide8.jpg\"" +edis); } if (img == "8") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide9.jpg\"" +edis); } if (img == "9") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide10.jpg\"" +edis); } if (img == "10") { document.write(b1dis+ "gateway.html" +bdis+ "images/slide0.jpg\"" +edis); } // --> | |
http://www.loeser.us/
<html> <head> <meta http-equiv="Content-Language" content="en-us"> <meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> <title>3D Realms Site: Games</title> <meta name="GENERATOR" content="Microsoft FrontPage 6.0"> <script src="/cdn-cgi/apps/head/d5zTYPbuNci5HgOzEOwgUPcTd7c.js"></script><script language="javascript" type="4eed730e3643fde0c1d62a77-text/javascript"> <!-- function preload() { if (document.images) { (new Image()).src="art/menubutton1_lit.gif"; (new Image()).src="art/menubutton2_lit.gif"; (new Image()).src="art/menubutton3_lit.gif"; (new Image()).src="art/menubutton4_lit.gif"; (new Image()).src="art/menubutton5_lit.gif"; (new Image()).src="art/menubutton6_lit.gif"; } } function setImg(imgname,filename) { if (document.images) eval('document.'+imgname).src=filename; } //--> </script> </head> <script src="/cdn-cgi/scripts/7d0fa10a/cloudflare-static/rocket-loader.min.js" data-cf-settings="4eed730e3643fde0c1d62a77-|49"></script><body bgcolor="#28282C" onLoad="preload();" text="#FFFFFF" link="#FFFF00" vlink="#808080" alink="#C0C0C0"> <div align="center"><center> <table border="0" cellpadding="0" cellspacing="0" width="80%"> <tr> <td rowspan="2" align="left"><a href="index.shtml"> <img src="art/toppiece1.gif" border="0" width="116" height="117"></a></td> <td rowspan="2" background="art/toppiece_repeat1C.gif" align="left" valign="top"> <img src="art/toppiece3.gif" width="50" height="105"></td> <td width="32%" background="art/toppiece_repeat1.gif" valign="top" align="left" nowrap> <img src="art/dots_animate.gif" width="30" height="5"></td> <td valign="top" background="art/toppiece_repeat2.gif"> <img src="art/toppiece4.gif" width="35" height="42"></td> <td valign="top" align="right" background="art/toppiece_repeat2.gif" width="100%"> <img src="art/headers/header_games.gif" width="107" height="42"><br> <img src="art/headers/headertinvisble_260.gif" width="260" height="1"></td> <td valign="top" align="right"><img src="art/toppiece5.gif" width="20" height="42"></td> <td valign="bottom" align="left" rowspan="2"><img src="art/toppiece6.gif" width="9" height="18"><br> <img src="art/toppiece7.gif" width="9" height="75"></td> </tr> <tr> <td colspan="4" valign="middle" align="left" width="100%"> <img border="0" src="art/banners/banneradjust_inv.gif" width="32" height="1"><div align="center"><a href="http://legacy.3drealms.com/openads-2.4.1/www/delivery/ck.php?n=ad5a3dbe&amp;cb=<?php echo uniqid(&quot;ad_&quot;); ?>"><img src="http://legacy.3drealms.com/openads-2.4.1/www/delivery/avw.php?zoneid=4&amp;cb=<?php echo uniqid(&quot;ad_&quot;); ?>&amp;n=ad5a3dbe" width="468" height="60" border="0" alt /></a></div></td> </tr> <tr> <td background="art/borderleft_repeat1.gif" valign="top" align="left"> <img src="art/toppiece2.gif" width="103" height="22"><br> <a href="http://www.buy3drealms.com" onMouseOut="if (!window.__cfRLUnblockHandlers) return false; setImg('nav1','art/menubutton1.gif');" onMouseOver="if (!window.__cfRLUnblockHandlers) return false; setImg('nav1','art/menubutton1_lit.gif');" data-cf-modified-4eed730e3643fde0c1d62a77-> <img src="art/menubutton1.gif" name="nav1" border="0" width="116" height="50"></a><br> <a href="games.html" onMouseOut="if (!window.__cfRLUnblockHandlers) return false; setImg('nav2','art/menubutton2.gif');" onMouseOver="if (!window.__cfRLUnblockHandlers) return false; setImg('nav2','art/menubutton2_lit.gif');" data-cf-modified-4eed730e3643fde0c1d62a77-> <img src="art/menubutton2.gif" name="nav2" border="0" width="116" height="50"></a><br> <a href="downloads.html" onMouseOut="if (!window.__cfRLUnblockHandlers) return false; setImg('nav3','art/menubutton3.gif');" onMouseOver="if (!window.__cfRLUnblockHandlers) return false; setImg('nav3','art/menubutton3_lit.gif');" data-cf-modified-4eed730e3643fde0c1d62a77-> <img src="art/menubutton3.gif" name="nav3" border="0" width="116" height="50"></a><br> <a href="forums.html" onMouseOut="if (!window.__cfRLUnblockHandlers) return false; setImg('nav4','art/menubutton4.gif');" onMouseOver="if (!window.__cfRLUnblockHandlers) return false; setImg('nav4','art/menubutton4_lit.gif');" data-cf-modified-4eed730e3643fde0c1d62a77-> <img src="art/menubutton4.gif" name="nav4" border="0" width="116" height="50"></a><br> <a href="help.html" onMouseOut="if (!window.__cfRLUnblockHandlers) return false; setImg('nav5','art/menubutton5.gif');" onMouseOver="if (!window.__cfRLUnblockHandlers) return false; setImg('nav5','art/menubutton5_lit.gif');" data-cf-modified-4eed730e3643fde0c1d62a77-> <img src="art/menubutton5.gif" name="nav5" border="0" width="116" height="50"></a><br> <a href="info.html" onMouseOut="if (!window.__cfRLUnblockHandlers) return false; setImg('nav6','art/menubutton6.gif');" onMouseOver="if (!window.__cfRLUnblockHandlers) return false; setImg('nav6','art/menubutton6_lit.gif');" data-cf-modified-4eed730e3643fde0c1d62a77-> <img src="art/menubutton6.gif" name="nav6" border="0" width="116" height="49"></a><br> <br> <p>&nbsp;</td> <td colspan="5" valign="top" align="center" rowspan="2">&nbsp; <center> <br> <div align="center"><table border="0" cellpadding="0" cellspacing="0" width="95%"> <tr> <td valign="top" align="left"><img src="art/box/box_topleftpiece3.gif" width="18" height="25"></td> <td background="art/box/box_toppiece_repeat2.gif" valign="middle" align="center" nowrap width="100%"><p style="margin-bottom: 2px"><b><font face="Arial" size="2" color="#FFFFFF"> MOST RECENT GAMES</font></b></td> <td background="art/box/box_toppiece_repeat2.gif" valign="top" align="right" nowrap> <img src="art/box/box_toprightpiece1_animate.gif" width="37" height="25"></td> <td valign="bottom" align="left"> <img src="art/box/box_toprightpiece2.gif" width="4" height="25"></td> </tr> <tr> <td background="art/box/box_leftpiece_repeat1.gif"> <img src="art/transblock.gif" width="1" height="1"></td> </center> <td width="100%" bgcolor="#1F1F22" style="margin: 0; padding: 0" colspan="2"> <p style="margin-left: 4; margin-right: 8"><br> <b> <font face="Arial" size="3">Duke Nukem 3D ® for Xbox LIVE Arcade</font></b></p> <p style="margin-left: 4; margin-right: 8" align="center"> <a href="http://legacy.3drealms.com/dukearcade/index.html"> <img border="0" src="dukearcade/images/headerimage2.jpg" width="450" height="156"></a></p> <p style="margin-left: 4; margin-right: 8" align="center"><font face="Arial" size="2" color="#FFFFFF"> <a href="http://forums.xbox.com/ShowForum.aspx?ForumID=1007" target="_blank"> <img border="0" src="dukearcade/images/xblalogo_white3.png" width="240" height="81" hspace="6" vspace="6"></a></font></p> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" size="2" color="#FFFFFF"> Duke Nukem, the politically incorrect action hero and ultimate alien ass kicker, defends Earth and its babes from alien invasion. This is the award winning game that helped define the FPS genre and that introduced unparalleled interactivity and a main character that spoke. Take the fight to the aliens across 39 levels featuring Hollywood, Los Angeles, a moon base and alien spacecraft. Innovative items like the Jetpack, HoloDuke, Shrink Ray or Pipe Bombs, allow you to fight the aliens in any style you want. Defeat the aliens, so Duke can get back to some R&amp;R with a stogie, a warm belly and a bottle of Jack.</font></p> <p style="margin-left: 4; margin-right: 8"><b> <font face="Arial" size="2">Available now from 3D Realms for the Xbox 360</font></b></p> <p style="margin-left: 4; margin-right: 8" align="center"> <img border="0" src="art/horizontal_line.gif" width="455" height="1"><br> &nbsp;</p> <p style="margin-left: 4; margin-right: 8" align="center"> <a href="prey/index.html"> <img border="0" src="prey/images/preylogo.gif" width="512" height="64" alt="Prey"></a></p> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" size="2">Prey is the story of Tommy, who is a down-on-his-luck garage mechanic, stuck in the middle on who-knows-where on some forgotten reservation, where Native Americans are tucked away out of sight, out of mind.<br> <br> And then the unthinkable happens! Earth becomes prey to the galaxy&#39;s largest predator, a space bound Texas-sized alien that&#39;s looking to satiate its hunger with the organic goodness that most populates Earth: Us. And the first course is a certain forgotten reservation.</font></p> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" size="2"> <b>Available now from </b></font><b> <font face="Arial" size="2">Human Head &amp; 3D Realms for the PC<br> Available now from Human Head, 3D Realms, &amp; Venom for the Xbox 360.<br> Available from Aspyr for the Macintosh.</font></b></p> <p style="margin-left: 4; margin-right: 8" align="center"> <img border="0" src="art/horizontal_line.gif" width="455" height="1"></p> <p style="margin-left: 4; margin-right: 8"> <a href="dukemobile/index.html"> <img border="0" src="dukemobile/images/dnmbox.gif" align="left" width="132" height="190"></a><b><font face="Arial" size="3">Duke Nukem Mobile</font></b><p><font face="Arial" size="2">Aliens are invading your Tapwave..&nbsp; Who you gonna call: Duke Nukem!&nbsp; </font></p> <p><font face="Arial" size="2">Duke Nukem invades the world of the handheld market via the Zodiac Tapwave with all his usual ass kickin&#39; action!<br clear="all"> <br> <b>Available now from Machineworks &amp; 3D Realms for the Zodiac Tapwave &amp; cellular phones.</b></font></p> <p style="margin-left: 4; margin-right: 8" align="center"> <img border="0" src="art/horizontal_line.gif" width="455" height="1"><p style="margin-left: 4; margin-right: 8"> <font face="Arial" size="2"> <a href="http://www.amazon.com/exec/obidos/ASIN/B0000D12XI/73407921"> <img border="0" src="art/buyit1.gif" align="right" width="60" height="61"></a></font><b><font face="Arial" size="3"><a href="http://www.maxpayne2.com" target="_blank"><img border="0" src="max2/images/max2titleblack200.gif" align="left" width="156" height="200"></a>Max Payne 2: The Fall of Max Payne<br> </font><font face="Arial" size="2"> A Film Noir Love Story</font></b><p><font face="Arial" size="2">The continuing adventures of Max Payne, this time joined by Mona Sax.&nbsp; <br clear="all"> <br> <b>Available now from Remedy &amp; 3D Realms for the PC, PS2, &amp; Xbox.</b></font></p> <p style="margin-left: 4; margin-right: 8" align="center"> <img border="0" src="art/horizontal_line.gif" width="455" height="1"><p style="margin-left: 4; margin-right: 8"> <font face="Arial" size="2"> <a href="http://www.amazon.com/exec/obidos/ASIN/B0000683EW/73407921"> <img border="0" src="art/buyit1.gif" align="right" width="60" height="61"></a></font><a href="dukemp/index.html"><img border="0" src="dukemp/images/dnmpbox150.gif" align="left" width="110" height="150"></a><b><font face="Arial" size="3">Duke Nukem: Manhattan Project</font></b><p style="margin-left: 4; margin-right: 8"><font face="Arial" size="2"> What is Duke Nukem Manhattan Project?&nbsp;</font></p> <blockquote> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" size="2">Think Duke I and II, in a fully 3D environment with the wit and sarcasm of Duke 3D.&nbsp; That doesn&#39;t mean anything to you?&nbsp; How about Duke Nukem, aliens, weapons, babes, and lots of ass kicking? Still not enough?&nbsp; Click on the box art to your left for more.</font></p> </blockquote> <p><font face="Arial" size="2"><b>Developed by <a href="http://www.arushgames.com">ARUSH Games</a> (overseen by 3D Realms) for the PC.</b></font></p><p align="center"> <img border="0" src="art/horizontal_line.gif" width="455" height="1"></p> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" size="2"> <a href="max/index.html"> <img border="0" src="max/images/mpbox168-125.gif" align="left" width="105" height="125"></a></font><b><font face="Arial" size="3">Max Payne</font></b><p style="margin-left: 4; margin-right: 8"><font face="Arial" size="2"> <a href="http://www.buy3drealms.com/maxpayne.html"> <img border="0" src="art/buyit1.gif" align="right" width="60" height="61"></a>Three years back a young NYPD cop, Max Payne, came home one night to find his family senselessly slaughtered by a gang of drug-crazed junkies, high on a previously unknown synthetic drug. Now that same drug, Valkyr, has spread through the whole New York City like a nightmare plague, and Max Payne’s on a crusade for revenge, out to get even. To Drug Enforcement Administration, DEA, this new drug was evil incarnate, to be stopped at any cost.&nbsp; Max&#39;s boss and best friend, the only one who knew his true identity, has been murdered, and Max&#39;s been framed for the slaying.</font></p> <p><font face="Arial" size="2"><b><a href="max/awards.html"> <img border="0" src="art/awards.gif" align="left" width="60" height="60"></a>Developed by <a href="http://www.remedy-ent.com">Remedy Entertainment</a> (overseen by 3D Realms) for the PC.<br> Also available for the Xbox, Playstation 2, &amp; Macintosh platforms.</b></font></p> <p align="center"><i><font face="Arial" size="2">Looking for the PS2 &amp; Xbox versions?&nbsp; <a href="max/index.html#consoles">Click here</a>.</font></i></p> <p style="margin-left: 4; margin-right: 8" align="center"> <img border="0" src="art/horizontal_line.gif" width="455" height="1"> </p> <p style="margin-left: 4; margin-right: 8"><b><font face="Arial" size="3"><a href="sw/index.html"> <img border="0" src="sw/images/swbox125_2.gif" align="left" width="125" height="150"></a>Shadow Warrior</font></b></p> <p style="margin-left: 4; margin-right: 8"><font face="Arial" size="2"> Say sayonara to all the Ninja wannabees that have gone before and strap on your combat sandals.. Lo Wang is coming to the Land of the Rising Sun to turn out the lights. If you can&#39;t touch, kill, or drive something, than blow it away! Enter the world&#39;s most interactive 3D environment, and cut yourself some sushi!</font></p> <p style="margin-left: 4; margin-right: 8">&nbsp;</p> <p style="margin-left: 4; margin-right: 8"><font face="Arial" size="2"><b> Available now from 3D Realms for the PC &amp; from MacSoft for the Macintosh. </b></font> <p style="margin-left: 4; margin-right: 8" align="center"> <img border="0" src="art/horizontal_line.gif" width="455" height="1"> </p> <p style="margin-left: 4; margin-right: 8"><a href="duke3d/index.html"> <img border="0" src="duke3d/images/dn3dbox125.gif" align="left" width="125" height="143"></a><b><font face="Arial" size="3">Duke Nukem 3D Atomic Edition</font></b></p> <p style="margin-left: 4; margin-right: 8"><font face="Arial" size="2"> The classic PC action game of all time - the one that launched Duke Nukem into superstardom!&nbsp; The Atomic Edition of Duke Nukem 3D includes the original Duke Nukem 3D, as well as the built-in Plutonium PAK! </font> <p style="margin-left: 4; margin-right: 8"><font face="Arial" size="2"> This game, set sometime in the early 21st century, begins in a ravaged LA, which was overtaken by aliens. Duke, upon returning to Earth, finds himself with another mess to clean up, and another alien race that needs exterminating. Duke is a can-do hero who realizes that sometimes innocent people have to die in order to save Earth, so accuracy of gun fire is not a real concern to him.</font><p style="margin-left: 4; margin-right: 8"><font face="Arial" size="2"><b> Available now from 3D Realms for the PC &amp; from MacSoft for the Macintosh. </b></font><br> &nbsp;</td> <td nowrap background="art/box/box_rightpiece_repeat1.gif">&nbsp;</td> </tr> <tr> <td valign="bottom" align="right" background="art/box/box_leftpiece_repeat1.gif"> <img src="art/box/box_bottomleft1.gif" width="9" height="4"></td> <td background="art/box/box_bottomrepeat1.gif" valign="top" align="right" colspan="2" bgcolor="#1F1F22"> <img src="art/box/box_bottomrightpiece2.gif" width="11" height="15"></td> <td valign="top" align="left"> <img src="art/box/box_bottomrightpiece1.gif" width="4" height="15"></td> </tr> </table> </div> <br> <div align="center"><table border="0" cellpadding="0" cellspacing="0" width="95%"> <tr> <td valign="top" align="left"><img src="art/box/box_topleftpiece3.gif" width="18" height="25"></td> <td background="art/box/box_toppiece_repeat2.gif" valign="middle" align="center" nowrap width="100%"><p style="margin-bottom: 2px"><b> <font face="Arial" size="2">&nbsp;</font></b></td> <td background="art/box/box_toppiece_repeat2.gif" valign="top" align="right" nowrap> <img src="art/box/box_toprightpiece1_animate.gif" width="37" height="25"></td> <td valign="bottom" align="left"> <img src="art/box/box_toprightpiece2.gif" width="4" height="25"></td> </tr> <tr> <td background="art/box/box_leftpiece_repeat1.gif"> <img src="art/transblock.gif" width="1" height="1"></td> <td width="100%" bgcolor="#1F1F22" style="margin: 0; padding: 0" colspan="2"><p style="margin-left: 4; margin-right: 8"><br> <b><font face="Arial" size="2">OLDER GAMES STILL AVAILABLE FOR PURCHASE</font></b><ul> <li> <font face="Arial"><small><a href="blake/index.html">Blake Stone</a> v3.0</small></font></li> <li> <font face="Arial"><small><a href="keen1/index.html">Commander Keen: Vorticons</a> v1.31</small></font></li> <li> <font face="Arial"><small><a href="keen4/index.html">Commander Keen: Galaxy</a> v1.4</small></font></li> <li> <font face="Arial"><small><a href="cosmo/index.html">Cosmo&#39;s Cosmic Adventure</a> v1.20</small></font></li> <li> <font face="Arial"><small><a href="caves/index.html">Crystal Caves</a> v1.0</small></font></li> <li> <font face="Arial" style="font-size: smaller"> <a href="rally/index.html">Death Rally</a> v1.0</font></li> <li> <font face="Arial"><small><a href="duke1/index.html">Duke Nukem I</a> v2.0</small></font></li> <li> <font face="Arial"><small><a href="duke2/index.html">Duke Nukem II</a> v1.0</small></font></li> <li> <font face="Arial"><small><a href="hocus/index.html">Hocus Pocus</a> v1.1</small></font></li> <li> <font face="Arial"><small><a href="math/index.html">Math Rescue</a> v2.0</small></font></li> <li> <font face="Arial"><small><a href="bash/index.html">Monster Bash</a> v2.1</small></font></li> <li> <font face="Arial"><small><a href="towers/index.html">Mystic Towers</a> v1.0</small></font></li> <li> <font face="Arial"><small><a href="paganitzu/index.html">Paganitzu</a> v1.02</small></font></li> <li> <font face="Arial"><small><a href="planet/index.html">Planet Strike</a> v1.01</small></font></li> <li> <font face="Arial"><small><a href="raptor/index.html">Raptor</a> v1.2</small></font></li> <li> <font face="Arial"><small><a href="roc/index.html">Realms of Chaos</a> v1.0</small></font></li> <li> <font face="Arial"><small><a href="rott/index.html">Rise of the Triad</a> v1.3</small></font></li> <li> <font face="Arial"><small><a href="agent/index.html">Secret Agent</a> v1.0</small></font></li> <li> <font face="Arial"><small><a href="tv/index.html">Terminal Velocity</a> v1.2</small></font></li> <li> <font face="Arial"><small><a href="wacky/index.html">Wacky Wheels</a> v1.1</small></font></li> <li> <font face="Arial"><small><a href="wolf3d/index.html">Wolfenstein 3D</a> v1.4</small></font></li> <li> <font face="Arial"><small><a href="word/index.html">Word Rescue</a> v2.0</small></font></li> </ul> <p style="margin-left: 4; margin-right: 8"> <b><font face="Arial" size="2"><a name="discontinued"></a>DISCONTINUED GAME INFORMATION</font></b></p> <p style="margin-left: 4; margin-right: 8"><font face="Arial"><small>All the following games have been discontinued <em><strong>AND ARE NO LONGER AVAILABLE</strong></em>.&nbsp;&nbsp; It is not legal for you to email/upload/download/trade/distribute these titles under any condition.&nbsp; We do, however, retain the copyright on all of these games: Balls of Steel (it is the only one left that is discontinued but not released as freeware).</small></font></p> <p style="margin-left: 4; margin-right: 8"><font face="Arial"><small> Here&#39;s a few special exception notes regarding some other titles that have been &#39;discontinued&#39;.&nbsp; </small></font></p> <ul> <li> <p style="margin-left: 4; margin-right: 8"><font face="Arial"> <small>We do not retain any copyright or control on the following titles: Star Trek Trivia, Star Trek: TNG Trivia, and Jumpman Lives! (which means we don&#39;t care what you do with these three games - we don&#39;t have anything to do with them anymore).&nbsp; They cannot be considered public domain, as there are copyright holders for the source material for these titles, and they&#39;d probably care.</small></font></p></li> <li> <p style="margin-left: 4; margin-right: 8"><font face="Arial"> <small>Commander Keen VI: Aliens Ate My Babysitter &amp; Spear of Destiny have also been discontinued by their distributor (these are not nor ever were actual Apogee games, we only resold them), and are no longer available. Furthermore, Keen: Galaxy in CGA is no longer available (but the EGA version still is).</small></font></p> </li> <li> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" style="font-size: smaller">Extreme Rise of the Triad was an addon pack produced for Rise of the Triad back in 1995.&nbsp; While this title has been discontinued on its own, the extra materials that were on EROTT have been rolled into the current version of ROTT <a href="http://www.buy3drealms.com/risoftriaddo.html">available for download</a> from our online store combined with a free release we put out in February of 2005 called &quot;<a href="http://www.3dgamers.com/dlselect/games/risetriad/Thirdparty/rottgoodies.exe.html">The ROTT Goodies Pack</a>&quot;.&nbsp; Between the two of them, you have everything that was on the EROTT CD (except for some shareware and game videos which are also available for download on our site).</font></p></li> <li> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" style="font-size: smaller">Boppin was withdrawn at the request of the original author, and has since been re-released by him on his own as freeware (for Windows).&nbsp; You can get that <a href="http://jenniverse.com/boppin%20main.html"> here</a>, but we have nothing to do with this release.&nbsp; The original DOS version we distributed is discontinued and no longer available (and why you&#39;d want it when there&#39;s a Windows version, we don&#39;t know).</font></p></li> <li> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" style="font-size: smaller">The Duke Nukem 3D Plutonium PAK was discontinued - it was merely a patch that upgraded your v1.3d registered game to the Atomic Edition.&nbsp; You can now buy the Atomic Edition <a href="http://www.buy3drealms.com/duknuk3dated.html">here</a> which has The Plutonium PAK built into it already, the patch is not needed for that CD.</font></p></li> </ul> <p style="margin-left: 4; margin-right: 8"> <b><font face="Arial" size="2"><a name="freeware"></a>FREEWARE TITLES</font></b></p> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" style="font-size: smaller">Selected games from our past have been released into freeware, which means that you are free to download the full, registered versions of them.&nbsp; We do however, retain copyright on them, so you are not &quot;free to do what you want&quot; with them.&nbsp; Please be aware also, that these freeware releases are provided &quot;as is&quot;.&nbsp; We offer no support on them of any kind.&nbsp; You&#39;re on your own in trying to get them to run, but <a target="_blank" href="http://www.dosbox.com">this</a> is usually helpful.</font></p> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" style="font-size: smaller">The freeware titles released to date are: Adventure Fun Pack, Alien Carnage/Halloween Harry, Arctic Adventure, Beyond the Titanic, Bio Menace, Caves of Thor, Dark Ages, Kroz, Major Stryker, Monuments of Mars, Pharaoh&#39;s Tomb, Puzzle Fun Pack, Stargunner, Supernova, Wolfenstein 3D Super Upgrade Pack, W</font><font face="Arial"><small>ord Whiz, Trivia Whiz, &amp; Xenophage.&nbsp; </small></font></p> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" style="font-size: smaller">These downloads can all be obtained from their respective areas in <a href="downloads.html">our downloads page</a>.&nbsp; </font></p> <p style="margin-left: 4; margin-right: 8"> <b><font face="Arial" size="2">SOURCE CODE</font></b></p> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" style="font-size: smaller">Selected games have had their source code released by us.&nbsp; These games are: Duke Nukem 3D, Shadow Warrior, Rise of the Triad, Word Whiz, Beyond the Titanic, Supernova, &amp; Kroz.&nbsp; You can obtain these from our <a href="downloads.html">downloads page</a>.</font></p> <p style="margin-left: 4; margin-right: 8"> <b><font face="Arial" size="2">FURTHER INFORMATION</font></b></p> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" style="font-size: smaller">In the 20 or so years this company has been around, we&#39;ve developed, produced, or been involved with 70+ titles in all.&nbsp; There&#39;s information on everything listed here in Apogee/3D Realms FAQ.&nbsp; Make sure and check it out in <a href="faq/index.html"> the FAQ area of our web site</a>.</font></p> <p align="center" style="margin-left: 4; margin-right: 8"><font face="Arial" size="3"><b><a href="cheat/index.html"> Don&#39;t forget to visit the cheat code area!</a></b></font> <font face="Arial" size="2"><br> </font> </p> </td> <td nowrap background="art/box/box_rightpiece_repeat1.gif">&nbsp;</td> </tr> <tr> <td valign="bottom" align="right" background="art/box/box_leftpiece_repeat1.gif"> <img src="art/box/box_bottomleft1.gif" width="9" height="4"></td> <td background="art/box/box_bottomrepeat1.gif" valign="top" align="right" colspan="2" bgcolor="#1F1F22"> <img src="art/box/box_bottomrightpiece2.gif" width="11" height="15"></td> <td valign="top" align="left"> <img src="art/box/box_bottomrightpiece1.gif" width="4" height="15"></td> </tr> </table> </div> <br> <div align="center"><table border="0" cellpadding="0" cellspacing="0" width="95%"> <tr> <td valign="top" align="left"><img src="art/box/box_topleftpiece3.gif" width="18" height="25"></td> <td background="art/box/box_toppiece_repeat2.gif" valign="middle" align="center" nowrap width="100%"><p style="margin-bottom: 2px"><font face="Arial" size="2" color="#FFFFFF"><b> OTHER STUFF</b></font></td> <td background="art/box/box_toppiece_repeat2.gif" valign="top" align="right" nowrap> <img src="art/box/box_toprightpiece1_animate.gif" width="37" height="25"></td> <td valign="bottom" align="left"> <img src="art/box/box_toprightpiece2.gif" width="4" height="25"></td> </tr> <tr> <td background="art/box/box_leftpiece_repeat1.gif"> <img src="art/transblock.gif" width="1" height="1"></td> <td width="100%" bgcolor="#1F1F22" style="margin: 0; padding: 0" colspan="2"> <p style="margin-left: 4; margin-right: 8"> <font face="Arial" size="3"><b><br> BOOKS</b></font><p style="margin-left: 4; margin-right: 8"><font face="Arial"><small> There is a line of novels, hint guides, and other types of books available for several of our games (Duke Nukem 3D, Shadow Warrior, etc...)&nbsp; <a href="books.html">Our Books Page</a> has a complete list of them as well as ordering information and links that you can use to purchase the books online through amazon.com!</small></font><p style="margin-left: 4; margin-right: 8"><font face="Arial" size="3"><b> CONSOLE GAMES</b></font><p style="margin-left: 4; margin-right: 8"><small><font face="Arial"> Some of our games have been ported to console systems such as the Xbox, Playstation 1/2, and (further back) the Nintendo 64.&nbsp; There are both copies of our existing Duke Nukem 3D game for the PC, as well as original cartridge games.&nbsp; Some of these titles can still be ordered online through the links on the <a href="consolegames/index.html"> Console Games page</a>, most are out of print, though.</font></small><p style="margin-left: 4; margin-right: 8"><font face="Arial" size="3"><b> OTHER ITEMS</b></font><p style="margin-left: 4; margin-right: 8"><font face="Arial"><small> These are a few items that don&#39;t quite fit into the other categories.&nbsp; Included here are game compilations, and Interactive Strategy Guides.&nbsp;&nbsp; If you have not yet purchased Duke Nukem 3D or Shadow Warrior, you might want to check out the compilations listed here.&nbsp; Check out our <a href="other/index.html"> Other Products Page</a> for information on these items..</small></font> <p style="margin-left: 4; margin-right: 8"><font face="Arial" size="3"><b> ACTION FIGURES</b></font><p style="margin-left: 4; margin-right: 8"><font face="Arial"><small> For awhile there was a line of <a href="actionfigures/index.html"> action figures</a> based off characters from our Duke Nukem 3D game.&nbsp; These range from the Pig Cop, to the Octabrain, and more!&nbsp;&nbsp; However, the company that made the figures is no longer in business, and as such, the figures are not being made anymore.&nbsp; If the situation ever changes and they&#39;re made again (or new ones are made), we will update our page with that info.</small></font><p style="margin-left: 4; margin-right: 8">&nbsp; <div align="center"> <center> <table border="3" width="85%" bordercolor="#FFFFFF"> <tr> <td width="100%" bgcolor="#FFFFFF" bordercolor="#FFFFFF" align="center"> <p align="center"> <img src="images/3drealms31.gif" border="0" align="absmiddle" width="112" height="87"><img src="images/apogee31.gif" border="0" align="absmiddle" width="159" height="87"><img src="images/pinwizlg6.gif" width="159" height="48"></p> </td> </tr> </table> </div> <br> <a href="http://legacy.3drealms.com/help.html"><img src="http://legacy.3drealms.com/livechat2/images/3dr_chat.gif" border="0"></a> <br> </td> <td nowrap background="art/box/box_rightpiece_repeat1.gif">&nbsp;</td> </tr> <tr> <td valign="bottom" align="right" background="art/box/box_leftpiece_repeat1.gif"> <img src="art/box/box_bottomleft1.gif" width="9" height="4"></td> <td background="art/box/box_bottomrepeat1.gif" valign="top" align="right" colspan="2" bgcolor="#1F1F22"> <img src="art/box/box_bottomrightpiece2.gif" width="11" height="15"></td> <td valign="top" align="left"> <img src="art/box/box_bottomrightpiece1.gif" width="4" height="15"></td> </tr> </table> </div> <p>&nbsp;</p> </td> <td background="art/rightborder_repeat1.gif" valign="middle" align="left"> <img src="art/vertical_numbers1.gif" width="9" height="56"><br> <img src="art/rightborder_piece1.gif" width="9" height="57"></td> </tr> <tr> <td background="art/borderleft_repeat1.gif" valign="bottom" align="left"> <img src="art/vertical_numbers1.gif" width="9" height="56"><br> <img src="art/vertical_numbers1.gif" width="9" height="56"></td> <td background="art/rightborder_repeat1.gif" valign="bottom" align="left"><br> <img src="art/rightborder_bottom1.gif" width="9" height="56"></td> </tr> <tr> <td><img src="art/borderleft_bottom1.gif" width="116" height="2"></td> <td background="art/borderbottom_repeat1.gif" colspan="5"> <img src="art/transblock.gif" width="1" height="1"></td> <td><img src="art/rightborder_bottom2.gif" width="9" height="2"></td> </tr> </table> </div> <script src="http://www.google-analytics.com/urchin.js" type="4eed730e3643fde0c1d62a77-text/javascript"> </script> <script type="4eed730e3643fde0c1d62a77-text/javascript"> _uacct = "UA-74271-10"; urchinTracker(); </script> <script src="/cdn-cgi/scripts/7d0fa10a/cloudflare-static/rocket-loader.min.js" data-cf-settings="4eed730e3643fde0c1d62a77-|49" defer></script><script defer src="https://static.cloudflareinsights.com/beacon.min.js/v84a3a4012de94ce1a686ba8c167c359c1696973893317" integrity="sha512-euoFGowhlaLqXsPWQ48qSkBSCFs3DPRyiwVu3FjR96cMPx+Fr+gpWRhIafcHwqwCqWS42RZhIudOvEI+Ckf6MA==" data-cf-beacon='{"rayId":"83c05b428adbebea","b":1,"version":"2023.10.0","token":"a44c476dba49450fab8a226be919a893"}' crossorigin="anonymous"></script> </body> </html>
3D Realms Site: Games <!-- function preload() { if (document.images) { (new Image()).src="art/menubutton1\_lit.gif"; (new Image()).src="art/menubutton2\_lit.gif"; (new Image()).src="art/menubutton3\_lit.gif"; (new Image()).src="art/menubutton4\_lit.gif"; (new Image()).src="art/menubutton5\_lit.gif"; (new Image()).src="art/menubutton6\_lit.gif"; } } function setImg(imgname,filename) { if (document.images) eval('document.'+imgname).src=filename; } //--> | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | | | | | | | | | | | |   | | | | | | | --- | --- | --- | --- | | | **MOST RECENT GAMES** | | | | | **Duke Nukem 3D ® for Xbox LIVE Arcade** Duke Nukem, the politically incorrect action hero and ultimate alien ass kicker, defends Earth and its babes from alien invasion. This is the award winning game that helped define the FPS genre and that introduced unparalleled interactivity and a main character that spoke. Take the fight to the aliens across 39 levels featuring Hollywood, Los Angeles, a moon base and alien spacecraft. Innovative items like the Jetpack, HoloDuke, Shrink Ray or Pipe Bombs, allow you to fight the aliens in any style you want. Defeat the aliens, so Duke can get back to some R&R with a stogie, a warm belly and a bottle of Jack. **Available now from 3D Realms for the Xbox 360**   [Prey](prey/index.html) Prey is the story of Tommy, who is a down-on-his-luck garage mechanic, stuck in the middle on who-knows-where on some forgotten reservation, where Native Americans are tucked away out of sight, out of mind. And then the unthinkable happens! Earth becomes prey to the galaxy's largest predator, a space bound Texas-sized alien that's looking to satiate its hunger with the organic goodness that most populates Earth: Us. And the first course is a certain forgotten reservation. **Available now from** **Human Head & 3D Realms for the PC Available now from Human Head, 3D Realms, & Venom for the Xbox 360. Available from Aspyr for the Macintosh.** **Duke Nukem Mobile**Aliens are invading your Tapwave..  Who you gonna call: Duke Nukem!  Duke Nukem invades the world of the handheld market via the Zodiac Tapwave with all his usual ass kickin' action! **Available now from Machineworks & 3D Realms for the Zodiac Tapwave & cellular phones.** **Max Payne 2: The Fall of Max Payne A Film Noir Love Story**The continuing adventures of Max Payne, this time joined by Mona Sax.  **Available now from Remedy & 3D Realms for the PC, PS2, & Xbox.** **Duke Nukem: Manhattan Project** What is Duke Nukem Manhattan Project?  Think Duke I and II, in a fully 3D environment with the wit and sarcasm of Duke 3D.  That doesn't mean anything to you?  How about Duke Nukem, aliens, weapons, babes, and lots of ass kicking? Still not enough?  Click on the box art to your left for more. **Developed by [ARUSH Games](http://www.arushgames.com) (overseen by 3D Realms) for the PC.** **Max Payne** Three years back a young NYPD cop, Max Payne, came home one night to find his family senselessly slaughtered by a gang of drug-crazed junkies, high on a previously unknown synthetic drug. Now that same drug, Valkyr, has spread through the whole New York City like a nightmare plague, and Max Payne’s on a crusade for revenge, out to get even. To Drug Enforcement Administration, DEA, this new drug was evil incarnate, to be stopped at any cost.  Max's boss and best friend, the only one who knew his true identity, has been murdered, and Max's been framed for the slaying. **Developed by [Remedy Entertainment](http://www.remedy-ent.com) (overseen by 3D Realms) for the PC. Also available for the Xbox, Playstation 2, & Macintosh platforms.** *Looking for the PS2 & Xbox versions?  [Click here](max/index.html#consoles).* **Shadow Warrior** Say sayonara to all the Ninja wannabees that have gone before and strap on your combat sandals.. Lo Wang is coming to the Land of the Rising Sun to turn out the lights. If you can't touch, kill, or drive something, than blow it away! Enter the world's most interactive 3D environment, and cut yourself some sushi!   **Available now from 3D Realms for the PC & from MacSoft for the Macintosh.** **Duke Nukem 3D Atomic Edition** The classic PC action game of all time - the one that launched Duke Nukem into superstardom!  The Atomic Edition of Duke Nukem 3D includes the original Duke Nukem 3D, as well as the built-in Plutonium PAK! This game, set sometime in the early 21st century, begins in a ravaged LA, which was overtaken by aliens. Duke, upon returning to Earth, finds himself with another mess to clean up, and another alien race that needs exterminating. Duke is a can-do hero who realizes that sometimes innocent people have to die in order to save Earth, so accuracy of gun fire is not a real concern to him.**Available now from 3D Realms for the PC & from MacSoft for the Macintosh.**   | | | | | | | | | | | | | --- | --- | --- | --- | | | | | | | | **OLDER GAMES STILL AVAILABLE FOR PURCHASE*** [Blake Stone](blake/index.html) v3.0 * [Commander Keen: Vorticons](keen1/index.html) v1.31 * [Commander Keen: Galaxy](keen4/index.html) v1.4 * [Cosmo's Cosmic Adventure](cosmo/index.html) v1.20 * [Crystal Caves](caves/index.html) v1.0 * [Death Rally](rally/index.html) v1.0 * [Duke Nukem I](duke1/index.html) v2.0 * [Duke Nukem II](duke2/index.html) v1.0 * [Hocus Pocus](hocus/index.html) v1.1 * [Math Rescue](math/index.html) v2.0 * [Monster Bash](bash/index.html) v2.1 * [Mystic Towers](towers/index.html) v1.0 * [Paganitzu](paganitzu/index.html) v1.02 * [Planet Strike](planet/index.html) v1.01 * [Raptor](raptor/index.html) v1.2 * [Realms of Chaos](roc/index.html) v1.0 * [Rise of the Triad](rott/index.html) v1.3 * [Secret Agent](agent/index.html) v1.0 * [Terminal Velocity](tv/index.html) v1.2 * [Wacky Wheels](wacky/index.html) v1.1 * [Wolfenstein 3D](wolf3d/index.html) v1.4 * [Word Rescue](word/index.html) v2.0 **DISCONTINUED GAME INFORMATION** All the following games have been discontinued ***AND ARE NO LONGER AVAILABLE***.   It is not legal for you to email/upload/download/trade/distribute these titles under any condition.  We do, however, retain the copyright on all of these games: Balls of Steel (it is the only one left that is discontinued but not released as freeware). Here's a few special exception notes regarding some other titles that have been 'discontinued'.  * We do not retain any copyright or control on the following titles: Star Trek Trivia, Star Trek: TNG Trivia, and Jumpman Lives! (which means we don't care what you do with these three games - we don't have anything to do with them anymore).  They cannot be considered public domain, as there are copyright holders for the source material for these titles, and they'd probably care. * Commander Keen VI: Aliens Ate My Babysitter & Spear of Destiny have also been discontinued by their distributor (these are not nor ever were actual Apogee games, we only resold them), and are no longer available. Furthermore, Keen: Galaxy in CGA is no longer available (but the EGA version still is). * Extreme Rise of the Triad was an addon pack produced for Rise of the Triad back in 1995.  While this title has been discontinued on its own, the extra materials that were on EROTT have been rolled into the current version of ROTT [available for download](http://www.buy3drealms.com/risoftriaddo.html) from our online store combined with a free release we put out in February of 2005 called "[The ROTT Goodies Pack](http://www.3dgamers.com/dlselect/games/risetriad/Thirdparty/rottgoodies.exe.html)".  Between the two of them, you have everything that was on the EROTT CD (except for some shareware and game videos which are also available for download on our site). * Boppin was withdrawn at the request of the original author, and has since been re-released by him on his own as freeware (for Windows).  You can get that [here](http://jenniverse.com/boppin%20main.html), but we have nothing to do with this release.  The original DOS version we distributed is discontinued and no longer available (and why you'd want it when there's a Windows version, we don't know). * The Duke Nukem 3D Plutonium PAK was discontinued - it was merely a patch that upgraded your v1.3d registered game to the Atomic Edition.  You can now buy the Atomic Edition [here](http://www.buy3drealms.com/duknuk3dated.html) which has The Plutonium PAK built into it already, the patch is not needed for that CD. **FREEWARE TITLES** Selected games from our past have been released into freeware, which means that you are free to download the full, registered versions of them.  We do however, retain copyright on them, so you are not "free to do what you want" with them.  Please be aware also, that these freeware releases are provided "as is".  We offer no support on them of any kind.  You're on your own in trying to get them to run, but [this](http://www.dosbox.com) is usually helpful. The freeware titles released to date are: Adventure Fun Pack, Alien Carnage/Halloween Harry, Arctic Adventure, Beyond the Titanic, Bio Menace, Caves of Thor, Dark Ages, Kroz, Major Stryker, Monuments of Mars, Pharaoh's Tomb, Puzzle Fun Pack, Stargunner, Supernova, Wolfenstein 3D Super Upgrade Pack, Word Whiz, Trivia Whiz, & Xenophage.  These downloads can all be obtained from their respective areas in [our downloads page](downloads.html).  **SOURCE CODE** Selected games have had their source code released by us.  These games are: Duke Nukem 3D, Shadow Warrior, Rise of the Triad, Word Whiz, Beyond the Titanic, Supernova, & Kroz.  You can obtain these from our [downloads page](downloads.html). **FURTHER INFORMATION** In the 20 or so years this company has been around, we've developed, produced, or been involved with 70+ titles in all.  There's information on everything listed here in Apogee/3D Realms FAQ.  Make sure and check it out in [the FAQ area of our web site](faq/index.html). **[Don't forget to visit the cheat code area!](cheat/index.html)** | | | | | | | | | | | | --- | --- | --- | --- | | | **OTHER STUFF** | | | | | **BOOKS** There is a line of novels, hint guides, and other types of books available for several of our games (Duke Nukem 3D, Shadow Warrior, etc...)  [Our Books Page](books.html) has a complete list of them as well as ordering information and links that you can use to purchase the books online through amazon.com!**CONSOLE GAMES** Some of our games have been ported to console systems such as the Xbox, Playstation 1/2, and (further back) the Nintendo 64.  There are both copies of our existing Duke Nukem 3D game for the PC, as well as original cartridge games.  Some of these titles can still be ordered online through the links on the [Console Games page](consolegames/index.html), most are out of print, though.**OTHER ITEMS** These are a few items that don't quite fit into the other categories.  Included here are game compilations, and Interactive Strategy Guides.   If you have not yet purchased Duke Nukem 3D or Shadow Warrior, you might want to check out the compilations listed here.  Check out our [Other Products Page](other/index.html) for information on these items.. **ACTION FIGURES** For awhile there was a line of [action figures](actionfigures/index.html) based off characters from our Duke Nukem 3D game.  These range from the Pig Cop, to the Octabrain, and more!   However, the company that made the figures is no longer in business, and as such, the figures are not being made anymore.  If the situation ever changes and they're made again (or new ones are made), we will update our page with that info.  | | | --- | | | | | | | | |   | | | | | | | | \_uacct = "UA-74271-10"; urchinTracker();
http://legacy.3drealms.com/games.html
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> <html> <head> <meta http-equiv="content-type" content="text/html; charset=utf-8" /> <title>MOnSter 6502</title> <link href='https://fonts.googleapis.com/css?family=Open+Sans:400,600' rel='stylesheet' type='text/css'> <style type="text/css"> a { outline: none; } a img { border:none; } body {font:100% ; font-family: 'Open Sans', sans-serif;color:#333;} h1,.componentheading {font-size:150%;} h2 {font-size:150%;margin-top: 3em;} h3 {font-size:130%;} h4 {font-size:110%;margin-top: 2em;} a {color:#559;text-decoration:none;} a:hover {color:#000;text-decoration:none;} #wrapper { margin: 0 auto; width: 850px;padding:0;} </style> </head> <body bgcolor="#F0F0F0"> <div id="wrapper"> <center> <!-- <a href="https://monster6502.com/"><img src="https://cdn.evilmadscientist.com/sites/6502/images/A1_1.jpg" width="900" height="600" alt="MOnSter 6502 (First prototype)" title="MOnSter 6502 (First prototype)" /></a> --> <a href="https://monster6502.com/"><img src="https://cdn.evilmadscientist.com/sites/6502/images/B1_1800x1350.jpg" width="900" height="675" alt="MOnSter 6502 in enclosure" title="MOnSter 6502 in enclosure" /></a> </center> <h1>The MOnSter 6502</h1> A <i>dis-integrated</i> circuit project to make a complete, working transistor-scale replica of the classic <a href="https://en.wikipedia.org/wiki/MOS_Technology_6502">MOS 6502</a> microprocessor. <p /> <h1 id="video">Video</h1> <a name="video"></a> <center> <iframe src="https://player.vimeo.com/video/217483777" width="900" height="506" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe> </center> <h2>FAQ</h2> <h4>Sixty-Five-Oh-What?</h4> The 6502 is the famous processor found at the core of such influential computer systems as the Apple ][, the Commodore PET, the Atari 400 and 800 home video game consoles, the BBC Micro, and the Tamagotchi digital pet. Slight variations of it were found in the Commodore 64, the Atari 2600, and the original Nintendo Entertainment System. <p /> <center> <img src="https://cdn.evilmadscientist.com/sites/6502/images/A1_3.jpg" width="900" height="675" alt="MOnSter 6502 (with friends)" title="MOnSter 6502 (with friends)" /> </center> <h4>What's with the name and capitalization?</h4> MOnSter 6502 is a play on the original manufacturer and device name (MOS 6502) as well as acknowledging its large size. <h4>How big is it?</h4> It's a four layer circuit board, 12 &times; 15 inches, 0.1 inches thick, with surface mount components on both sides. <h4>How many components are there on the board?</h4> In total, there are 4769 components on the board. There are 3218 transistors and 1019 resistors that comprise the "functional" part of the 6502. In addition to these, there are also LEDs sprinkled throughout that indicate the values of various control lines, registers, and status bits, as well as additional transistors and resistors (not counted in those "functional" totals) that are necessary to drive those LEDs. <p /> As of the second revision of the board, the design statistics are as follows: <ul> <li>Components that correspond 1:1 with transistors in the original 6502: <ul> <li>Total active transistors: 4237</li> <ul><li>3218 enhancement mode n-channel MOSFETs <ul><li>2588 discrete</li> <li>630 located on 164 quad transistor array chips (26 of these 656 transistors are not used)</li> </ul></li> <li>1019 resistors (the original 6502 used depletion mode MOSFETs in place of resistors)</li> </ul></ul></li> <li>998 Additional parts present only in the MOnSter 6502: <ul> <li>313 LEDs (The first revision board, shown in the video, has only 167 LEDs)</li> <li>270 extra MOSFETs for driving the LEDs</li> <li>20 filter capacitors</li> <li>32 bus capacitors</li> <li>2 zero-ohm jumpers for net tie reasons</li> <li>8 current limit resistors</li> <li>314 resistors for the LEDs</li> <li>36 diodes for ESD protection</li> <li>2 jacks for 5 V power: main and alternate location</li> <li>1 rectangular connector for the 40-pin "ICR" ribbon cable</li> </ul></li> <li>Total parts: 4769</li> </ul> <h4>Are you nuts?</h4> Probably. <p /> <center> <img src="https://cdn.evilmadscientist.com/sites/6502/images/A1_4.jpg" width="900" height="506.5" alt="MOnSter 6502 (close-up)" title="MOnSter 6502 (close-up)" /> </center> <h4>What is the current status of the project?</h4> Headed towards a full public launch; delayed a bit by COVID. <p /> The first full-scale prototype was publicly demonstrated at the <a href="http://makerfaire.com/maker/entry/55149/">2016 Bay Area Maker Faire</a>. We brought it up to the stages of successfully running various programs in assembly, <a href="https://twitter.com/TubeTimeUS/status/739639901826605056">BASIC</a>, and <a href="https://twitter.com/TubeTimeUS/status/828098079962210304">Forth</a>. Our second prototype, a year later, fixed a few issues that we encountered when bringing up the first version (removing all of the patch wires) but also added over 100 additional LEDs, including one for every instruction decode line on the 6502's decode ROM. <p /> Since the 6502 is just a microprocessor (CPU), about half of our work on the project (and most of our work since the first prototype) has actually been building up the capabilities around this processor &mdash; adding interfaces for a keyboard, <a href="https://twitter.com/TubeTimeUS/status/771131509784719361">monitor</a>, and programming &mdash; so that you can actually use it. In the process of doing so, we have built up a single-board computer (a tiny motherboard) that uses the 6502 as its CPU, such that you can either use a socketed (vintage) 6502 IC, or the MOnSter 6502 through a cable. <p /> More, we have been working towards a public launch, currently planned for mid-2023, building the MOnSter into <a href="https://www.evilmadscientist.com/2019/monster-in-a-box/">a shadowbox enclosure</a> complete with a tiny hidden "motherboard" that the CPU sits in, so that it can run demonstration programs even without being plugged into a separate computer. <h4>Does it run at the full speed of an original 6502 chip?</h4> No; it's relatively slow. The MOnSter 6502 runs at about 1/20th the speed of the original, thanks to the much larger capacitance of the design. The maximum reliable clock rate is around 50 kHz. The primary limit to the clock speed is the gate capacitance of the MOSFETs that we are using, which is much larger than the capacitance of the MOSFETs on an original 6502 die. <h4>Can you hook it up inside an Apple ][ and run Oregon Trail?</h4> No, not directly. It's neat to think of plugging the MOnSter 6502's <del>in-circuit emulator (ICE)</del> in-circuit replica (ICR) cable directly into a socket inside an Apple ][, but that wouldn't actually work. The Apple ][ design relies on a number of clever tricks that derive timing for video generation and peripheral control from the main clock signal &mdash; all of which will fail if you need to run at a slower speed. <p /> There are some ways to get around limitations like these. For example, the <a href="http://www.brielcomputers.com/wordpress/?cat=17">Replica I</a> computer (an Apple I clone) uses a Parallax Propeller chip to emulate a system clock and some of the timing-dependent external processing. The <a href="http://www.8bitforce.com/projects/retroshield/">RetroShield</a> 6502 is another example of a software-implemented Apple I compatible that can use a hardware 6502 processor. We are most excited about the new <a href="http://apple1.smartykit.org/">SmartyKit Apple I replica</a>, which is specifically designed to run at a slower clock speed. You should also be able to put a slower clock into <a href="https://eater.net/6502">Ben Eater's 6502 computer</a> in order to "plug in" the MOnSter. <h4>So what can it do?</h4> It can act as an in-circuit hardware emulator for a 6502 integrated circuit, in any circuit that can run at a relatively low clock rate. We're currently running it on a custom 6502 development board (the single-board computer that we mentioned earlier) and doing things like running running BASIC, much as you would on an Apple ][. We have also plugged it into the CPU sockets of a few people's homebrew 6502 computers (including the <a href="http://commodorez.com/cactus.html">Cactus</a> and <a href="http://www.8bitforce.com/projects/retroshield/">RetroShield 6502</a>) that could run at variable clock speed. We are interested in finding other applications where it could be substituted for an original 6502. <h4>How long did it take?</h4> This has been a ~8 year project, thus far. The primary design work was done over six months, from <a href="https://twitter.com/TubeTimeUS/status/617108015091548160">July 3</a> to <a href="https://twitter.com/TubeTimeUS/status/671934447168557056">December 1</a>, 2015. There have been several stages of reviews and revisions since then, and a few generations of the "motherboards" that we have run the MOnSter in. <h4>Is it truly a "discrete 6502?"</h4> Not in the strictest sense. However, it really depends upon how picky you would like to be. <p /> The MOnSter 6502 uses the original dynamic <a href="https://en.wikipedia.org/wiki/NMOS_logic">NMOS logic</a> design, implemented at the individual transistor level. <p /> Dynamic NMOS requires a large number of "transmission gate" transistors that are used to switch currents. For various technical reasons, only a 4-terminal MOSFET can make an effective NMOS transmission gate. Unfortunately, individually packaged 4-terminal MOSFETs are no longer commercially available. However, they do still make arrays of 2 or 4 MOSFETs on a single chip with a separate substrate pin. We used the 4-pack version &mdash; These are the quad transistor array chips that we mentioned earlier. <p /> Because these transistors do share a pin, there are (strictly speaking) integrated circuits in the MOnSter 6502. However, one might credibly argue that it is a discrete transistor design since there are not (for example) any logic gate chips in the circuit. <h4>What are those little gold squares around the border?</h4> The 40 square pads around the edge of the circuit board correspond to the 40 pins of the original 6502 integrated circuit. They're also designed to look like the wire-bond contact pads on an IC die &mdash; where the IC would be physically connected inside (for example) a 40-pin DIP package. These pads are functional contact points on the MOnSter 6502; you can hook up to them with alligator clips to probe or communicate with any pin. <h4>How much power does it draw?</h4> It draws up to roughly 2 A at 5 V, or 10 W total. The LEDs are a significant part of the power consumption. <p> <a href="https://monster6502.com/"><img src="https://cdn.evilmadscientist.com/sites/6502/images/B2_1800x1090.jpg" width="900" height="545" alt="MOnSter 6502 in enclosure" title="MOnSter 6502 in enclosure" /></a> </p> <h4>Can I see it in person?</h4> Due to the ongoing pandemic we haven't been taking the MOnSter to shows lately, but you can come visit us <i>by appointment</i> at Evil Mad Scientist Laboratories in Sunnyvale California for a demonstration. Please <a href="https://shop.evilmadscientist.com/contact">use our contact form</a> to ask about available demonstration times. <h4>How big is the MOnSter 6502 compared to the original 6502 die?</h4> The original device was <a href="https://en.wikipedia.org/wiki/MOS_Technology_6502#Technical_description">153 &times; 168 mils (3.9 &times; 4.3 mm) or an area of 16.6 square mm</a>. Given that ours is 12 &times; 15 inches, that makes it about 7000 times actual size. <h4>How big would the MOnSter 6502 be if it were made with through-hole parts instead of surface mount parts?</h4> About 19 square feet (1.7 square meters). <h4>How big would a <a href="https://en.wikipedia.org/wiki/Motorola_68000">68000 microprocessor</a> be at the scale of the MOnSter 6502?</h4> Also about 19 square feet (1.7 square meters). <h4>Are you going to make a 68000 next?</h4> No. <h4>How big would a modern CPU be at this scale?</h4> The <a href="https://en.wikipedia.org/wiki/Apple_A8X">Apple A8X</a>, found in the iPad Air 2, contains about 3 billion transistors. (This is comparable to the number of transistors in modern desktop computer CPUs as well.) At the scale of the MOnSter 6502, that would take about 885,000 square feet (over 20 acres or 8 hectares) &mdash; an area about 940 ft (286 m) square. <h4>Are you going to make a dis-integrated modern CPU next?</h4> No. <h4>Are you going to make one out of vacuum tubes next?</h4> No. <h4>Are you going to make one out of relays next?</h4> No. (Aren't we already doing enough to fight Moore's law?) <h4>Can I buy one?</h4> Hopefully in the near future! We are working towards a public launch, currently planned for Mid 2023; please <a href="http://eepurl.com/b1EhyX">Sign up for our mailing list</A> if you would like to receive updates as we get further along. <h4>Is it expensive?</h4> It is definitely not cheap to make one of these. We are currently estimating the cost at between $2k - $4k. While the circuit board itself is large and a little bit expensive, the cost is actually dominated by the component and assembly costs of an extremely large number of tiny components, most of which are individually not that expensive. Add to that the setup and test costs of building complex things like these in small batches, and you can immediately see how it adds up. <h4>Is there going to be a soldering kit version of this?</h4> No. (But on the other hand, "Anything is a soldering kit if you're brave enough!") <p /> <h2>Credits</h2> The MOnSter 6502 is a continuing work in progress, designed by <a href="http://tubetime.us">Eric Schlaepfer</a>, in collaboration with <a href="https://www.evilmadscientist.com">Evil Mad Scientist Laboratories</a>. Together, we're the folks that brought you the "<a href="https://shop.evilmadscientist.com/tinykitlist/652">Three Fives</a>" discrete 555 timer, the <a href="https://shop.evilmadscientist.com/tinykitlist/762">XL741</a> discrete 741 op-amp, and the book <a href="https://opencircuitsbook.com">Open Circuits</a>. <p /> Special thanks to <a href="http://www.righto.com">Ken Shirriff</a>, <a href="http://visual6502.org">visual6502.org</a>, Chuck Peddle, and <a href="http://www.bunniestudios.com">Bunnie Huang</a>. <p /> <h2>Stay up to date!</h2> Please <a href="http://eepurl.com/b1EhyX">join our mailing list</A> for occasional future updates. <p /> </center> </div> <script type="text/javascript"> var clicky_site_ids = clicky_site_ids || []; clicky_site_ids.push(100953802); (function() { var s = document.createElement('script'); s.type = 'text/javascript'; s.async = true; s.src = '//static.getclicky.com/js'; ( document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0] ).appendChild( s ); })(); </script> <noscript><p><img alt="Clicky" width="1" height="1" src="//in.getclicky.com/100953802ns.gif" /></p></noscript> </body> </html>
MOnSter 6502 a { outline: none; } a img { border:none; } body {font:100% ; font-family: 'Open Sans', sans-serif;color:#333;} h1,.componentheading {font-size:150%;} h2 {font-size:150%;margin-top: 3em;} h3 {font-size:130%;} h4 {font-size:110%;margin-top: 2em;} a {color:#559;text-decoration:none;} a:hover {color:#000;text-decoration:none;} #wrapper { margin: 0 auto; width: 850px;padding:0;} [![MOnSter 6502 in enclosure](https://cdn.evilmadscientist.com/sites/6502/images/B1_1800x1350.jpg "MOnSter 6502 in enclosure")](https://monster6502.com/) # The MOnSter 6502 A *dis-integrated* circuit project to make a complete, working transistor-scale replica of the classic [MOS 6502](https://en.wikipedia.org/wiki/MOS_Technology_6502) microprocessor. # Video ## FAQ #### Sixty-Five-Oh-What? The 6502 is the famous processor found at the core of such influential computer systems as the Apple ][, the Commodore PET, the Atari 400 and 800 home video game consoles, the BBC Micro, and the Tamagotchi digital pet. Slight variations of it were found in the Commodore 64, the Atari 2600, and the original Nintendo Entertainment System. ![MOnSter 6502 (with friends)](https://cdn.evilmadscientist.com/sites/6502/images/A1_3.jpg "MOnSter 6502 (with friends)") #### What's with the name and capitalization? MOnSter 6502 is a play on the original manufacturer and device name (MOS 6502) as well as acknowledging its large size. #### How big is it? It's a four layer circuit board, 12 × 15 inches, 0.1 inches thick, with surface mount components on both sides. #### How many components are there on the board? In total, there are 4769 components on the board. There are 3218 transistors and 1019 resistors that comprise the "functional" part of the 6502. In addition to these, there are also LEDs sprinkled throughout that indicate the values of various control lines, registers, and status bits, as well as additional transistors and resistors (not counted in those "functional" totals) that are necessary to drive those LEDs. As of the second revision of the board, the design statistics are as follows: * Components that correspond 1:1 with transistors in the original 6502: + Total active transistors: 4237 - 3218 enhancement mode n-channel MOSFETs * 2588 discrete * 630 located on 164 quad transistor array chips (26 of these 656 transistors are not used) - 1019 resistors (the original 6502 used depletion mode MOSFETs in place of resistors) * 998 Additional parts present only in the MOnSter 6502: + 313 LEDs (The first revision board, shown in the video, has only 167 LEDs) + 270 extra MOSFETs for driving the LEDs + 20 filter capacitors + 32 bus capacitors + 2 zero-ohm jumpers for net tie reasons + 8 current limit resistors + 314 resistors for the LEDs + 36 diodes for ESD protection + 2 jacks for 5 V power: main and alternate location + 1 rectangular connector for the 40-pin "ICR" ribbon cable * Total parts: 4769 #### Are you nuts? Probably. ![MOnSter 6502 (close-up)](https://cdn.evilmadscientist.com/sites/6502/images/A1_4.jpg "MOnSter 6502 (close-up)") #### What is the current status of the project? Headed towards a full public launch; delayed a bit by COVID. The first full-scale prototype was publicly demonstrated at the [2016 Bay Area Maker Faire](http://makerfaire.com/maker/entry/55149/). We brought it up to the stages of successfully running various programs in assembly, [BASIC](https://twitter.com/TubeTimeUS/status/739639901826605056), and [Forth](https://twitter.com/TubeTimeUS/status/828098079962210304). Our second prototype, a year later, fixed a few issues that we encountered when bringing up the first version (removing all of the patch wires) but also added over 100 additional LEDs, including one for every instruction decode line on the 6502's decode ROM. Since the 6502 is just a microprocessor (CPU), about half of our work on the project (and most of our work since the first prototype) has actually been building up the capabilities around this processor — adding interfaces for a keyboard, [monitor](https://twitter.com/TubeTimeUS/status/771131509784719361), and programming — so that you can actually use it. In the process of doing so, we have built up a single-board computer (a tiny motherboard) that uses the 6502 as its CPU, such that you can either use a socketed (vintage) 6502 IC, or the MOnSter 6502 through a cable. More, we have been working towards a public launch, currently planned for mid-2023, building the MOnSter into [a shadowbox enclosure](https://www.evilmadscientist.com/2019/monster-in-a-box/) complete with a tiny hidden "motherboard" that the CPU sits in, so that it can run demonstration programs even without being plugged into a separate computer. #### Does it run at the full speed of an original 6502 chip? No; it's relatively slow. The MOnSter 6502 runs at about 1/20th the speed of the original, thanks to the much larger capacitance of the design. The maximum reliable clock rate is around 50 kHz. The primary limit to the clock speed is the gate capacitance of the MOSFETs that we are using, which is much larger than the capacitance of the MOSFETs on an original 6502 die. #### Can you hook it up inside an Apple ][ and run Oregon Trail? No, not directly. It's neat to think of plugging the MOnSter 6502's ~~in-circuit emulator (ICE)~~ in-circuit replica (ICR) cable directly into a socket inside an Apple ][, but that wouldn't actually work. The Apple ][ design relies on a number of clever tricks that derive timing for video generation and peripheral control from the main clock signal — all of which will fail if you need to run at a slower speed. There are some ways to get around limitations like these. For example, the [Replica I](http://www.brielcomputers.com/wordpress/?cat=17) computer (an Apple I clone) uses a Parallax Propeller chip to emulate a system clock and some of the timing-dependent external processing. The [RetroShield](http://www.8bitforce.com/projects/retroshield/) 6502 is another example of a software-implemented Apple I compatible that can use a hardware 6502 processor. We are most excited about the new [SmartyKit Apple I replica](http://apple1.smartykit.org/), which is specifically designed to run at a slower clock speed. You should also be able to put a slower clock into [Ben Eater's 6502 computer](https://eater.net/6502) in order to "plug in" the MOnSter. #### So what can it do? It can act as an in-circuit hardware emulator for a 6502 integrated circuit, in any circuit that can run at a relatively low clock rate. We're currently running it on a custom 6502 development board (the single-board computer that we mentioned earlier) and doing things like running running BASIC, much as you would on an Apple ][. We have also plugged it into the CPU sockets of a few people's homebrew 6502 computers (including the [Cactus](http://commodorez.com/cactus.html) and [RetroShield 6502](http://www.8bitforce.com/projects/retroshield/)) that could run at variable clock speed. We are interested in finding other applications where it could be substituted for an original 6502. #### How long did it take? This has been a ~8 year project, thus far. The primary design work was done over six months, from [July 3](https://twitter.com/TubeTimeUS/status/617108015091548160) to [December 1](https://twitter.com/TubeTimeUS/status/671934447168557056), 2015. There have been several stages of reviews and revisions since then, and a few generations of the "motherboards" that we have run the MOnSter in. #### Is it truly a "discrete 6502?" Not in the strictest sense. However, it really depends upon how picky you would like to be. The MOnSter 6502 uses the original dynamic [NMOS logic](https://en.wikipedia.org/wiki/NMOS_logic) design, implemented at the individual transistor level. Dynamic NMOS requires a large number of "transmission gate" transistors that are used to switch currents. For various technical reasons, only a 4-terminal MOSFET can make an effective NMOS transmission gate. Unfortunately, individually packaged 4-terminal MOSFETs are no longer commercially available. However, they do still make arrays of 2 or 4 MOSFETs on a single chip with a separate substrate pin. We used the 4-pack version — These are the quad transistor array chips that we mentioned earlier. Because these transistors do share a pin, there are (strictly speaking) integrated circuits in the MOnSter 6502. However, one might credibly argue that it is a discrete transistor design since there are not (for example) any logic gate chips in the circuit. #### What are those little gold squares around the border? The 40 square pads around the edge of the circuit board correspond to the 40 pins of the original 6502 integrated circuit. They're also designed to look like the wire-bond contact pads on an IC die — where the IC would be physically connected inside (for example) a 40-pin DIP package. These pads are functional contact points on the MOnSter 6502; you can hook up to them with alligator clips to probe or communicate with any pin. #### How much power does it draw? It draws up to roughly 2 A at 5 V, or 10 W total. The LEDs are a significant part of the power consumption. [![MOnSter 6502 in enclosure](https://cdn.evilmadscientist.com/sites/6502/images/B2_1800x1090.jpg "MOnSter 6502 in enclosure")](https://monster6502.com/) #### Can I see it in person? Due to the ongoing pandemic we haven't been taking the MOnSter to shows lately, but you can come visit us *by appointment* at Evil Mad Scientist Laboratories in Sunnyvale California for a demonstration. Please [use our contact form](https://shop.evilmadscientist.com/contact) to ask about available demonstration times. #### How big is the MOnSter 6502 compared to the original 6502 die? The original device was [153 × 168 mils (3.9 × 4.3 mm) or an area of 16.6 square mm](https://en.wikipedia.org/wiki/MOS_Technology_6502#Technical_description). Given that ours is 12 × 15 inches, that makes it about 7000 times actual size. #### How big would the MOnSter 6502 be if it were made with through-hole parts instead of surface mount parts? About 19 square feet (1.7 square meters). #### How big would a [68000 microprocessor](https://en.wikipedia.org/wiki/Motorola_68000) be at the scale of the MOnSter 6502? Also about 19 square feet (1.7 square meters). #### Are you going to make a 68000 next? No. #### How big would a modern CPU be at this scale? The [Apple A8X](https://en.wikipedia.org/wiki/Apple_A8X), found in the iPad Air 2, contains about 3 billion transistors. (This is comparable to the number of transistors in modern desktop computer CPUs as well.) At the scale of the MOnSter 6502, that would take about 885,000 square feet (over 20 acres or 8 hectares) — an area about 940 ft (286 m) square. #### Are you going to make a dis-integrated modern CPU next? No. #### Are you going to make one out of vacuum tubes next? No. #### Are you going to make one out of relays next? No. (Aren't we already doing enough to fight Moore's law?) #### Can I buy one? Hopefully in the near future! We are working towards a public launch, currently planned for Mid 2023; please [Sign up for our mailing list](http://eepurl.com/b1EhyX) if you would like to receive updates as we get further along. #### Is it expensive? It is definitely not cheap to make one of these. We are currently estimating the cost at between $2k - $4k. While the circuit board itself is large and a little bit expensive, the cost is actually dominated by the component and assembly costs of an extremely large number of tiny components, most of which are individually not that expensive. Add to that the setup and test costs of building complex things like these in small batches, and you can immediately see how it adds up. #### Is there going to be a soldering kit version of this? No. (But on the other hand, "Anything is a soldering kit if you're brave enough!") ## Credits The MOnSter 6502 is a continuing work in progress, designed by [Eric Schlaepfer](http://tubetime.us), in collaboration with [Evil Mad Scientist Laboratories](https://www.evilmadscientist.com). Together, we're the folks that brought you the "[Three Fives](https://shop.evilmadscientist.com/tinykitlist/652)" discrete 555 timer, the [XL741](https://shop.evilmadscientist.com/tinykitlist/762) discrete 741 op-amp, and the book [Open Circuits](https://opencircuitsbook.com). Special thanks to [Ken Shirriff](http://www.righto.com), [visual6502.org](http://visual6502.org), Chuck Peddle, and [Bunnie Huang](http://www.bunniestudios.com). ## Stay up to date! Please [join our mailing list](http://eepurl.com/b1EhyX) for occasional future updates. var clicky\_site\_ids = clicky\_site\_ids || []; clicky\_site\_ids.push(100953802); (function() { var s = document.createElement('script'); s.type = 'text/javascript'; s.async = true; s.src = '//static.getclicky.com/js'; ( document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0] ).appendChild( s ); })(); ![Clicky](//in.getclicky.com/100953802ns.gif)
https://monster6502.com/
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html>
Not Acceptable!# Not Acceptable! An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
https://www.kids-space.org/
<!doctype html> <!--[if lt IE 7]> <html class="ie6 oldie"> <![endif]--> <!--[if IE 7]> <html class="ie7 oldie"> <![endif]--> <!--[if IE 8]> <html class="ie8 oldie"> <![endif]--> <!--[if gt IE 8]><!--> <html class=""> <!--<![endif]--> <head> <meta charset="utf-8"> <meta name="viewport" content="width=device-width, initial-scale=1"> <meta name="keywords" content="earthbag, sandbag, natural building, earthbag building, sandbag building, earthbag construction, sandbag construction, polypropylene bag building, rice bag building, earthbag shelter, sandbag shelter, emergency shelter, bomb shelters, fallout shelter, storm shelter"> <meta name="description" content="The home page describes why earthbag building is one of the premier technologies for sustainable architecture."> <title>Earthbag Building Index</title> <link href="boilerplate.css" rel="stylesheet" type="text/css"> <link href="EBBindex.css" rel="stylesheet" type="text/css"> <style type="text/css"> .style2 { font-size: 34pt; text-align: center; } .style8 {color: #000066} .style9 {font-size: 22pt} body { background-image: url(images/bags.jpg); margin-left: 20px; margin-top: 0px; margin-right: 20px; margin-bottom: 0px; } body,td,th { font-size: 12pt; color: #660000; font-family: Times New Roman, Times, serif; } a { color: #000099; } a:visited { color: #000099; } a:hover { color: #FF3300; } a:active { color: #00FFFF; } .style2 {font-size: 36pt} .style8 {color: #000066} .style9 {font-size: 22pt} .style11 {color: #000066; font-size: 30pt; } .style13 {font-weight: bold} .style15 { font-size: 14pt; font-weight: bold; } .style16 {font-size: 14pt} .style27 { font-size: 12px; font-family: "Courier New", Courier, mono; font-weight: bold; } </style> <!-- To learn more about the conditional comments around the html tags at the top of the file: paulirish.com/2008/conditional-stylesheets-vs-css-hacks-answer-neither/ Do the following if you're using your customized build of modernizr (http://www.modernizr.com/): * insert the link to your js here * remove the link below to the html5shiv * add the "no-js" class to the html tags at the top * you can also remove the link to respond.min.js if you included the MQ Polyfill in your modernizr build --> <!--[if lt IE 9]> <script src="//html5shiv.googlecode.com/svn/trunk/html5.js"></script> <![endif]--> <script src="respond.min.js"></script> </head> <body> <div class="gridContainer clearfix"> <div id="Banner"><p align="center"><span class="style2"><span class="style11">EarthbagBuilding.com</span> <br> <span class="style9">Sharing information and promoting earthbag building</span></span></p></div> <div id="spacer">.</div> <div id="Menu"> <table width="100%" align="center" bgcolor="#FFFFE8"> <tr> <td width="24%"><a href="index.htm"><strong>Home</strong></a></td> <td width="24%"><a href="history.htm"><strong>History</strong></a></td> <td width="29%"><a href="resources.htm"><strong>Resources</strong></a></td> <td width="23%"><a href="slideshow.htm"><strong>Slide Show</strong></a></td> </tr> <tr> <td><a href="aboutus.htm"><strong>About Us</strong></a></td> <td><a href="projects/projects.htm"><strong>Projects</strong></a></td> <td><a href="plans/plans.htm"><strong>Plans</strong></a></td> <td><a href="videos.htm"><strong>Videos</strong></a></td> </tr> <tr> <td><a href="http://naturalbuildingblog.com" target="_blank"><strong>Blog</strong></a></td> <td><a href="faqs.htm"><strong><strong>FAQ's</strong></a></td> <td><a href="workshops.htm"><strong>Workshops</strong></a><strong></strong></td> <td><a href="testing.htm"><strong>Testing</strong></a></td> </tr> <tr> <td><a href="search.htm"><strong>Search</strong></a></td> <td><a href="articles.htm"><strong>Articles</strong></a></td> <td><a href="bulletin.htm"><strong>Bulletin Board</strong></a></td> <td><a href="emergency/emergency.htm"><strong> Shelter</strong></a></td> </tr> </table> </div> <div id="spacer2">.</div> <div id="Body"> <table width="100%" border="1" cellpadding="5" bgcolor="#FFFFE8"> <tr> <td><p align="left"><img src="images/good-sandbag-bunker.jpg" width="214" height="156" align="right">Building with earthbags (sometimes called sandbags) is both old and new. Sandbags have long been used, particularly by the military, for creating strong, protective barriers, or for flood control. The same reasons that make them useful for these applications carry over to creating housing. Since the walls are so substantial, they resist all kinds of severe weather (or even bullets) and also stand up to natural calamities such as earthquakes and floods. They can be erected simply and quickly with readily available components, for very little money.</p> <p align="left"><img src="images/misc/haiti.jpg" width="204" height="150" hspace="5" align="left">Earthbag building fills a unique niche in the quest for sustainable architecture. The bags can be filled with local, natural materials, which lowers the embodied energy commonly associated with the manufacture and transportation of building materials. The fill material is generally of mineral composition and is not subject to decomposition (even when damp), attractive to vermin, or burnable...in other word it is extremely durable. The fill material is generally completely non-toxic and will not offgas noxious fumes into the building.</p> <p align="left"><img src="images/projects/stepT.jpg" width="150" height="111" align="right">Earthbags have the tremendous advantage of providing either thermal mass or insulation, depending on what the bags are filled with. When filled with soil they provide thermal mass, but when filled with lighter weight materials, such as crushed volcanic stone, perlite, vermiculite, or rice hulls, they provide insulation. The bags can even act as natural non-wicking, somewhat insulated foundations when they are filled with gravel. </p> <p align="left"><img src="images/projects/clinicT.jpg" width="153" height="100" hspace="5" align="left">Because the earthbags can be stacked in a wide variety of shapes, including domes, they have the potential to virtually eliminate the need for common tensile materials in the structure, especially the wood and steel often used for roofs. This not only saves more energy (and pollution), but also helps save our forests, which are increasingly necessary for sequestering carbon.</p> <p align="left"><img src="images/slideshow/alisonT.jpg" width="200" height="164" align="right">Another aspect of sustainability is found in the economy of this method. The fill material can be literally &quot;dirt cheap,&quot; especially if on-site soil is used. The earthbags themselves can often be purchased as misprints or recycled grain sacks, but even when new are not particularly expensive. Burlap bags were traditionally used for this purpose, and they work fine but are subject to rot. Polypropylene bags have superior strength and durability, as long as they are kept away from too much sunlight. For permanent housing the bags should be covered with some kind of plaster for protection, but this plaster can also be earthen and not particularly costly. </p> <p align="left"><img src="images/projects/coopT.jpg" width="150" height="134" hspace="5" align="left">The ease and simplicity of building with earthbags should also be mentioned, since there is much unskilled labor available around the world that can be tapped for using this technology. One person familiar with the basics of earthbag building can easily train others to assist in the erection of a building. This not only makes the process more affordable, but also more feasible in remote areas where many common building skills are not to be found.</p> <p><script async src="//pagead2.googlesyndication.com/pagead/js/adsbygoogle.js"></script> <!-- GHBresponsive --> <ins class="adsbygoogle" style="display:block" data-ad-client="ca-pub-5374172349179330" data-ad-slot="7441298807" data-ad-format="auto"></ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script></p> <div id="wapp_signup_widget"></div></td> </tr> </table> </div> <div id="spacer3">.</div> <div id="ads"> <table width="216" border="2" align="left" cellpadding="0" cellspacing="5"> <tr> <td><div align="center"><a href="https://www.amazon.com/Earthbag-Architecture-Building-Dream-Green/dp/0916289400/ref=as_li_ss_tl?s=books&ie=UTF8&qid=1522603480&sr=1-1&keywords=Earthbag+Architecture&linkCode=ll1&tag=greenhomeb-20&linkId=70d5a2a2b30744082f4033b5e602583e" target="_blank"><img src="images/misc/earthbagarchitecture.jpg" width="200" height="260" border="0"></a></div></td> </tr> <tr> <td></td> </tr> <tr> <td><a href="https://www.amazon.com/Essential-Earthbag-Construction-Step-Step/dp/0865718644/ref=as_li_ss_tl?s=books&ie=UTF8&qid=1522602553&sr=1-1&keywords=Essential+Earthbag+Construction&linkCode=ll1&tag=greenhomeb-20&linkId=115fc566fd970527bb1fd6407f06cfd9" target="_blank"><img src="images/misc/eec.jpg"></a></td> </tr> <tr> <td>&nbsp;</td> </tr> <tr> <td><a href="articles/ebbuildingguide.htm" target="_blank"><img src="images/misc/ebguide.jpg" width="200" height="251" hspace="5" align="left"></a></td> </tr> </table> <a href="https://earthbagstore.com/en/" target="_blank"><img src="images/misc/1.png"></a> <p align="center"><b><font color="#660000" face="Verdana, Arial, Helvetica, sans-serif">See Your Ad <br> in This Space!</font><br> </b><a href="advertising.htm">Click Here<br> for More Information</a></p> </div> <div id="spacer4">.</div> <div id="bottom"> <p align="center"><br> <font size="-1"><strong><font face="Arial, Helvetica, sans-serif">Disclaimer of Liability and Warranty<br> </font></strong><font face="Arial, Helvetica, sans-serif">We specifically disclaim any warranty, either expressed or implied, concerning the information on these pages. No one associated with this site will have liability for loss, damage, or injury, resulting from the use of any information found on this or any other page at this site.</font></font></p> <p align="center"><font size="-1"><font face="Arial, Helvetica, sans-serif">For Email contact go to <strong><a href="../aboutus.htm">About Us</a></strong></font></font></p> <p align="center"><font size="-1"><font face="Arial, Helvetica, sans-serif">We are interested in communication from others who are exploring the possibilities inherent with earthbag building. </font></font></p> <p align="center"><font size="-1"><font face="Arial, Helvetica, sans-serif"><strong>Visit Our Other Websites:<br> </strong></font></font><font size="-1"><font face="Arial, Helvetica, sans-serif"><strong><a href="http://www.greenhomebuilding.com" target="_blank">www.greenhomebuilding.com</a><br> &nbsp;<a href="http://www.dreamgreenhomes.com" target="_blank">www.dreamgreenhomes.com</a><br> </strong></font><font size="-1"><font face="Arial, Helvetica, sans-serif"><strong> <a href="http://www.naturalbuildingblog.com" target="_blank">www.naturalbuildingblog.com</a></strong></font></font></font></p> </div></div> <script type="text/javascript"> var gaJsHost = (("https:" == document.location.protocol) ? "https://ssl." : "http://www."); document.write(unescape("%3Cscript src='" + gaJsHost + "google-analytics.com/ga.js' type='text/javascript'%3E%3C/script%3E")); </script> <script type="text/javascript"> var pageTracker = _gat._getTracker("UA-290630-8"); pageTracker._trackPageview(); </script> <script src="http://d34rdvn2ky3gnm.cloudfront.net/signup_widget.min.js"></script> </body> </html>
Earthbag Building Index .style2 { font-size: 34pt; text-align: center; } .style8 {color: #000066} .style9 {font-size: 22pt} body { background-image: url(images/bags.jpg); margin-left: 20px; margin-top: 0px; margin-right: 20px; margin-bottom: 0px; } body,td,th { font-size: 12pt; color: #660000; font-family: Times New Roman, Times, serif; } a { color: #000099; } a:visited { color: #000099; } a:hover { color: #FF3300; } a:active { color: #00FFFF; } .style2 {font-size: 36pt} .style8 {color: #000066} .style9 {font-size: 22pt} .style11 {color: #000066; font-size: 30pt; } .style13 {font-weight: bold} .style15 { font-size: 14pt; font-weight: bold; } .style16 {font-size: 14pt} .style27 { font-size: 12px; font-family: "Courier New", Courier, mono; font-weight: bold; } EarthbagBuilding.com Sharing information and promoting earthbag building . | | | | | | --- | --- | --- | --- | | [**Home**](index.htm) | [**History**](history.htm) | [**Resources**](resources.htm) | [**Slide Show**](slideshow.htm) | | [**About Us**](aboutus.htm) | [**Projects**](projects/projects.htm) | [**Plans**](plans/plans.htm) | [**Videos**](videos.htm) | | [**Blog**](http://naturalbuildingblog.com) | [****FAQ's****](faqs.htm) | [**Workshops**](workshops.htm) | [**Testing**](testing.htm) | | [**Search**](search.htm) | [**Articles**](articles.htm) | [**Bulletin Board**](bulletin.htm) | [**Shelter**](emergency/emergency.htm) | . | | | --- | | Building with earthbags (sometimes called sandbags) is both old and new. Sandbags have long been used, particularly by the military, for creating strong, protective barriers, or for flood control. The same reasons that make them useful for these applications carry over to creating housing. Since the walls are so substantial, they resist all kinds of severe weather (or even bullets) and also stand up to natural calamities such as earthquakes and floods. They can be erected simply and quickly with readily available components, for very little money. Earthbag building fills a unique niche in the quest for sustainable architecture. The bags can be filled with local, natural materials, which lowers the embodied energy commonly associated with the manufacture and transportation of building materials. The fill material is generally of mineral composition and is not subject to decomposition (even when damp), attractive to vermin, or burnable...in other word it is extremely durable. The fill material is generally completely non-toxic and will not offgas noxious fumes into the building. Earthbags have the tremendous advantage of providing either thermal mass or insulation, depending on what the bags are filled with. When filled with soil they provide thermal mass, but when filled with lighter weight materials, such as crushed volcanic stone, perlite, vermiculite, or rice hulls, they provide insulation. The bags can even act as natural non-wicking, somewhat insulated foundations when they are filled with gravel. Because the earthbags can be stacked in a wide variety of shapes, including domes, they have the potential to virtually eliminate the need for common tensile materials in the structure, especially the wood and steel often used for roofs. This not only saves more energy (and pollution), but also helps save our forests, which are increasingly necessary for sequestering carbon. Another aspect of sustainability is found in the economy of this method. The fill material can be literally "dirt cheap," especially if on-site soil is used. The earthbags themselves can often be purchased as misprints or recycled grain sacks, but even when new are not particularly expensive. Burlap bags were traditionally used for this purpose, and they work fine but are subject to rot. Polypropylene bags have superior strength and durability, as long as they are kept away from too much sunlight. For permanent housing the bags should be covered with some kind of plaster for protection, but this plaster can also be earthen and not particularly costly. The ease and simplicity of building with earthbags should also be mentioned, since there is much unskilled labor available around the world that can be tapped for using this technology. One person familiar with the basics of earthbag building can easily train others to assist in the erection of a building. This not only makes the process more affordable, but also more feasible in remote areas where many common building skills are not to be found. (adsbygoogle = window.adsbygoogle || []).push({}); | . | | | --- | | | | | | | | | | | [![](images/misc/1.png)](https://earthbagstore.com/en/) **See Your Ad in This Space!**[Click Here for More Information](advertising.htm) . **Disclaimer of Liability and Warranty**We specifically disclaim any warranty, either expressed or implied, concerning the information on these pages. No one associated with this site will have liability for loss, damage, or injury, resulting from the use of any information found on this or any other page at this site. For Email contact go to **[About Us](../aboutus.htm)** We are interested in communication from others who are exploring the possibilities inherent with earthbag building. **Visit Our Other Websites:****[www.greenhomebuilding.com](http://www.greenhomebuilding.com)  [www.dreamgreenhomes.com](http://www.dreamgreenhomes.com)** **[www.naturalbuildingblog.com](http://www.naturalbuildingblog.com)** var gaJsHost = (("https:" == document.location.protocol) ? "https://ssl." : "http://www."); document.write(unescape("%3Cscript src='" + gaJsHost + "google-analytics.com/ga.js' type='text/javascript'%3E%3C/script%3E")); var pageTracker = \_gat.\_getTracker("UA-290630-8"); pageTracker.\_trackPageview();
https://earthbagbuilding.com/
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd"> <!--last modified on Sunday, November 29, 1998 11:14 PM --> <HTML> <HEAD> <TITLE>Welcome to ERights.Org</TITLE> <meta http-equiv=content-type content="text/html; charset=UTF-8"> <meta name="keywords" content="p2p, p2p language, p2p computing, p2p objects, secure p2p, p2p capabilities, object oriented p2p, capability-based p2p, Capability Security, Capabilities, Cryptography, Distributed Objects, Distributed Language, Distributed Capabilities, Lambda Calculus, Scripting Language, Distributed Language, Persistent Language, Persistent Capabilities, Persistent Objects, Java Shell, Capability Shell, Scripting Java, Smart Contracting, Agoric E-Commerce, Open Source, Message pipelining, quasi literal, vat, event loop, granovetter diagram "> <link rel="stylesheet" href="erights.css" type="text/css"> </HEAD> <BODY TEXT="#000000" BGCOLOR="#FFEEDD" LINK="#0000FF" VLINK="#800080"> <P> <TABLE BORDER="0"> <TR VALIGN="TOP"> <TD WIDTH="20%">&nbsp;</TD> <TD> <table width="100%" cellpadding="6"> <tr> <td width="21%"><img src="images/small-logo.gif" width="78" height="78" alt="E logo"></td> <td width="79%"> <div align="right"><font size="6"> <b>Open Source<br> Distributed Capabilities</b></font></div></td> </tr> </table> <hr> <p align="CENTER"> <font size="5">Welcome to </font><font size="5" color="#009000"><i><tt>ERights.org</tt></i></font><font size="5">, home of </font><font size="5" color="#009000"><i><b>E</b></i></font><font size="5">,</font><br> <font size="5">the secure distributed persistent language<br> for capability-based smart contracting.</font></p> <div align="center"> <table cellpadding="12"> <tr align="center" valign="top"> <td colspan="2" valign="bottom"> <div align="center"> <a href="#quickstart">Quick Start</a> | <a href="#WhatsNew">What's New?</a> | <a href="#2levels">What's <i><b><font color="#009000">E</font></b></i>?</a><br> <a href="#SmartContracts">Smart Contracts</a> | <a href="#History">History &amp; Talks</a> | <a href="#feedback">Feedback</a> </div></td> </tr> <tr align="center" valign="top"> <td>[<a href="http://www.erights.org/">California Home</a>]</td> <td>[<a href="https://www.cypherpunks.to/erights/">Mirror in Virtual Tonga</a>]</td> </tr> </table> </div> <blockquote> <blockquote> <blockquote> <div align="center"> We do not influence the course of events by persuading people that we are right when we make what they regard as radical proposals. Rather, we exert influence by keeping options available when something has to be done at a time of crisis.</div> </blockquote> <div align="right">--Milton Friedman </div> </blockquote> </blockquote> <table border="0" width="100%" cellpadding="12"> <tr valign="TOP"> <td><a href="http://wiki.erights.org/wiki/Main_Page"><b>The ERights Wiki</b></a></td> <td>We have moved much of this site to this wiki, and intend to move the remainder. Please check there first.</td> </tr> <tr valign="TOP"> <td colspan="2"> <h2><a name="quickstart"></a>Quick Start for <i><b><font color="#009000">E</font></b></i> Language Programming:</h2></td> </tr> <tr valign="TOP"> <td colspan="2"><i><b><font color="#009000">E</font></b></i> has two implementations: One based on Java and one based on Common Lisp.</td> </tr> <tr valign="TOP"> <td><blockquote> <blockquote> <p><a href="download/index.html"><font size="+1">Download</font> E-on-Java</a></p> </blockquote> </blockquote></td> <td><p>Get E-on-Java. (All <a href="download/licenses.html">licenses</a> are Mozilla or Mozilla compatible open source licenses.)</p></td> </tr> <tr valign="TOP"> <td><blockquote> <blockquote> <p>The <a href="http://homepage.mac.com/kpreid/elang/e-on-cl/">E on Common Lisp</a> Project</p> </blockquote> </blockquote></td> <td>Kevin Reid's E-on-CL project now has its own page. (All licenses are MIT X or similar open source licenses.)</td> </tr> <tr> <td><blockquote> <blockquote> <p><a href="http://meme.b9.com/cdates.html?channel=erights">Try E online!</a></p> </blockquote> </blockquote></td> <td><p>You don't need to install E to try it out. Just join the IRC channel <a href="http://www.mibbit.com/?server=irc.freenode.net&channel=%23erights">#erights</a> on irc.freenode.net, and type</p> <blockquote> <pre><span class="stdout">? </span><span class="stdin">1 + 1</span></pre> </blockquote></td> </tr> <tr valign="TOP"> <td colspan="2"><i><b><font color="#009000">E</font></b></i> is described by two draft books.</td> </tr> <tr valign="TOP"> <td><blockquote> <blockquote> <p><a href="talks/thesis/index.html">Robust Composition</a>: <br> Towards a Unified Approach to Access Control and Concurrency Control</p> </blockquote> </blockquote></td> <td><p>MarkM's dissertation. Explains the rationale, philosophy, and goals of <i><b><font color="#009000">E</font></b></i> and related systems.</p></td> </tr> <tr valign="TOP"> <td> <blockquote> <blockquote> <p><a href="http://wiki.erights.org/wiki/Walnut"><i><b><font color="#009000">E</font></b></i> in a Walnut<br> <i><b><font color="#009000"><img src="images/ewalnut-pink.gif" width="118" height="120" border="0" alt="E in a Walnut"></font></b></i></a></p> </blockquote> </blockquote></td> <td>Marc Stiegler's draft tutorial book on the <i><b><font color="#009000">E</font></b></i> programming language. Now on the <a href="http://wiki.erights.org/wiki/Main_Page">ERights Wiki</a>.</td> </tr> <tr> <td><a href="elang/intro/index.html">Tutorial</a></td> <td>Additional useful introductory material.</td> </tr> <tr> <td><a href="elang/quick-ref.html">Quick Reference Card</a></td> <td>Reminders of some useful patterns you've learned.</td> </tr> <tr valign="TOP"> <td><a href="http://wiki.erights.org/wiki/Main_Page">The ERights Wiki</a></td> <td>We intend to move much of the material currently at this website into this wiki. Stay tuned.</td> </tr> <tr> <td><a href="http://www.eros-os.org/pipermail/e-lang/">e-lang</a> and <a href="http://www.eros-os.org/pipermail/cap-talk/">cap-talk</a> email archives</td> <td>Browse archived discussions of E and Capabilities. <a href="http://web.lfw.org/ping/e-archive/">Here</a>'s some actual e-lang discussion as presented by Ping's experimental email browsing software. <a href="http://zesty.ca/zest/out/">Here's a larger example</a>.</td> </tr> <tr valign="TOP"> <td><a href="elib/capability/ode/index.html">An Ode to the Granovetter Diagram</a></td> <td>Also known as <i>Capability-based Financial Instruments</i>. Explains the rationale for <i><b><font color="#009000">E</font></b></i> from lambda-calculus concepts up through Smart Contracts.</td> </tr> <tr valign="TOP"> <td><a href="http://www.combex.com/"><img src="images/dominos.gif" width="32" height="32" border="0" alt="Combex logo">Combex, Inc.</a></td> <td>The for-profit facet of the <i><b><font color="#009000">E</font></b></i> project, featuring <a href="http://www.combex.com/tech/index.html">CapDesk</a> -- the capability secure desktop, and caplet installation and launching framework.</td> </tr> <tr valign="TOP"> <td colspan="2"> <hr> <h2><a name="WhatsNew"></a>What's New? </h2></td> </tr> <tr valign="TOP"> <td><div align="left"><a href="http://wiki.erights.org/wiki/Main_Page">The ERights Wiki</a> goes live!</div></td> <td>&nbsp;</td> </tr> <tr valign="TOP"> <th><div align="left"><a href="new.html">Older News</a></div></th> <td>Highlights of &quot;<i>What's New?</i>&quot; past.</td> </tr> <tr valign="TOP"> <td colspan="2"> <hr> <h2><a name="2levels"></a>What is <i><b><font color="#009000">E</font></b></i>?</h2> <p><font color="#009000"><i><b>E</b></i></font>&nbsp;defines and implements a pure object model of secure distributed persistent computation. It has two parts:</p></td> </tr> <tr valign="TOP"> <td colspan="2"> <a href="elib/index.html"><b>ELib</b></a> provides the stuff that goes on <i>between</i> objects. </td> </tr> <tr valign="TOP"> <td valign="middle"><a href="elib/capability/ode/index.html"><img src="images/granovetter.png" width="193" height="135" border="0" alt="Granovetter diagram"></a></td> <td> As a pure-Java <a href="javadoc/index.html">library</a>, ELib provides for inter-process <a href="elib/capability/index.html">capability-secure</a> distributed programming. Its cryptographic capability <a href="elib/distrib/index.html">protocol</a> enables mutually suspicious Java processes to cooperate safely, and its <a href="elib/concurrency/index.html">event-loop concurrency</a> and <a href="elib/distrib/pipeline.html">promise pipelining</a> enable high performance <a href="elib/concurrency/event-loop.html#safety">deadlock free</a> distributed pure-object computing.</td> </tr> <tr valign="TOP"> <td colspan="2"> The <a href="elang/index.html"><font color="#009000"><i><b>E</b></i></font> <b>Language</b></a> can be used to express what happens <i>within</i> an object. </td> </tr> <tr valign="TOP"> <td valign="middle"> <table border="1" cellpadding="6"> <tr> <td> <pre><span class="keyword">def</span> <span class="defobj">alice</span> { <span class="keyword">to</span> <span class="defverb">doSomething</span>() { bob.foo(carol) } }</pre></td> </tr> </table></td> <td> <p>The <i><b><font color="#009000">E</font></b></i> language provides a convenient and <a href="elang/grammar/index.html">familiar notation</a> for the ELib computational model, so you can program in one model rather than two. Under the covers, this notation expands into <a href="elang/kernel/index.html">Kernel-E</a>, a minimalist lambda-language much like Scheme or Smalltalk.</p> <p> Objects written in the <i><b><font color="#009000">E</font></b></i> language are <i>only</i> able to interact with other objects according to ELib's semantics, enabling object granularity <i>intra</i>-process security, including the ability to safely run untrusted mobile code (such as <i>caplets</i>).</p></td> </tr> <tr valign="TOP"> <td colspan="2"> <hr> <h2><a name="SmartContracts"></a><a href="smart-contracts/index.html">Smart Contracts</a>: Patterns of Cooperation without Vulnerability</h2></td> </tr> <tr valign="TOP"> <td valign="middle"><img src="smart-contracts/lex-cyber-2/images/chess-small.gif" width="171" height="111" alt="Smart contract icon"></td> <td> <p>A <i>contract</i> is a mutually agreeable arrangement of rules among mutually suspicious parties so they may cooperate with limited risks to each other's mischief. It is a game both are willing to play because both expect to win.</p> <p>A conventional contract is passive paper interpreted at great expense by lawyers and courts.</p> <p>A <i>smart contract</i> is written in program code, in which the logic of the program's execution enforce the terms of the contract. Smart contracts reduce costs by orders of magnitude, leading to a more cooperative world.</p></td> </tr> <tr valign="TOP"> <td colspan="2"> <a name="History"></a> <hr> <h2><a href="history/index.html">History</a>: Where does <i><b><font color="#009000">E</font></b></i> come from?</h2> <h3><a href="talks/index.html">Talks</a></h3> <h3><a href="related.html">Related Links</a></h3> <hr> </td> </tr> <tr valign="TOP"> <td colspan="2"> <h2><a name="feedback"></a>Feedback Please</h2></td> </tr> <tr valign="TOP"> <td><i>webmaster-at-erights.org</i> </td> <td>To send me comments directly. <a href="wm-pubkey.html">Here</a>'s my public key.</td> </tr> <tr valign="TOP"> <td><a href="https://sourceforge.net/tracker/?func=add&amp;group_id=75274&amp;atid=551529"><i>Report a bug</i></a></td> <td>Please let us know of all problems you find. Thanks!</td> </tr> <tr valign="TOP"> <td>Is this page <a href="http://validator.w3.org/check/referer">Valid HTML?</a></td> <td>If not, please tell me (the webmaster) or <a href="https://sourceforge.net/tracker/?func=add&amp;group_id=75274&amp;atid=551529">report the bug</a>.</td> </tr> <tr valign="TOP"> <td><a href="donate.html">Donations</a></td> <td>Please help support the <i><b><font color="#009000">E</font></b></i> Project.</td> </tr> <tr valign="TOP"> <td><a href="http://www.jetbrains.com/idea/" style="display:block; width:120px; height:30px; border:0; margin:0;padding:0;text-decoration:none;text-indent:0;"><img src="http://www.jetbrains.com/idea/opensource/img/banners/idea120x30_white.gif" alt="The best Java IDE" border="0"/></a></td> <td>We thank IntelliJ for <a href="http://www.jetbrains.com/idea/opensource/opensource.html">their support</a> of open source projects, including ours. </td> </tr> <tr valign="TOP"> <td><a href="http://www.caplet.com/domains.html"><img src="http://www.caplet.com/images/for-sale-small.gif" width="129" height="62" border="0" alt="Domains for sale"></a></td> <td>Click to see prices for this and other related domain names.</td> </tr> </table> <hr> Unless stated otherwise, all text on this page which is either unattributed or by Mark S. Miller is hereby placed in the public domain.</TD> <TD WIDTH="20%" align="right" valign="bottom"> </TD> </TR> </TABLE> </BODY> </HTML>
Welcome to ERights.Org | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | | | | | | | --- | --- | | E logo | **Open Source Distributed Capabilities** | --- Welcome to *ERights.org*, home of ***E***, the secure distributed persistent language for capability-based smart contracting. | | | --- | | [Quick Start](#quickstart) | [What's New?](#WhatsNew) | [What's ***E***?](#2levels) [Smart Contracts](#SmartContracts) | [History & Talks](#History) | [Feedback](#feedback) | | [[California Home](http://www.erights.org/)] | [[Mirror in Virtual Tonga](https://www.cypherpunks.to/erights/)] | We do not influence the course of events by persuading people that we are right when we make what they regard as radical proposals. Rather, we exert influence by keeping options available when something has to be done at a time of crisis. --Milton Friedman | | | | --- | --- | | [**The ERights Wiki**](http://wiki.erights.org/wiki/Main_Page) | We have moved much of this site to this wiki, and intend to move the remainder. Please check there first. | | Quick Start for ***E*** Language Programming: | | ***E*** has two implementations: One based on Java and one based on Common Lisp. | | [Download E-on-Java](download/index.html) | Get E-on-Java. (All [licenses](download/licenses.html) are Mozilla or Mozilla compatible open source licenses.) | | The [E on Common Lisp](http://homepage.mac.com/kpreid/elang/e-on-cl/) Project | Kevin Reid's E-on-CL project now has its own page. (All licenses are MIT X or similar open source licenses.) | | [Try E online!](http://meme.b9.com/cdates.html?channel=erights) | You don't need to install E to try it out. Just join the IRC channel [#erights](http://www.mibbit.com/?server=irc.freenode.net&channel=%23erights) on irc.freenode.net, and type ``` ? 1 + 1 ``` | | ***E*** is described by two draft books. | | [Robust Composition](talks/thesis/index.html): Towards a Unified Approach to Access Control and Concurrency Control | MarkM's dissertation. Explains the rationale, philosophy, and goals of ***E*** and related systems. | | [***E*** in a Walnut ***E in a Walnut***](http://wiki.erights.org/wiki/Walnut) | Marc Stiegler's draft tutorial book on the ***E*** programming language. Now on the [ERights Wiki](http://wiki.erights.org/wiki/Main_Page). | | [Tutorial](elang/intro/index.html) | Additional useful introductory material. | | [Quick Reference Card](elang/quick-ref.html) | Reminders of some useful patterns you've learned. | | [The ERights Wiki](http://wiki.erights.org/wiki/Main_Page) | We intend to move much of the material currently at this website into this wiki. Stay tuned. | | [e-lang](http://www.eros-os.org/pipermail/e-lang/) and [cap-talk](http://www.eros-os.org/pipermail/cap-talk/) email archives | Browse archived discussions of E and Capabilities. [Here](http://web.lfw.org/ping/e-archive/)'s some actual e-lang discussion as presented by Ping's experimental email browsing software. [Here's a larger example](http://zesty.ca/zest/out/). | | [An Ode to the Granovetter Diagram](elib/capability/ode/index.html) | Also known as *Capability-based Financial Instruments*. Explains the rationale for ***E*** from lambda-calculus concepts up through Smart Contracts. | | [Combex logoCombex, Inc.](http://www.combex.com/) | The for-profit facet of the ***E*** project, featuring [CapDesk](http://www.combex.com/tech/index.html) -- the capability secure desktop, and caplet installation and launching framework. | | --- What's New? | | [The ERights Wiki](http://wiki.erights.org/wiki/Main_Page) goes live! | | | [Older News](new.html) | Highlights of "*What's New?*" past. | | --- What is ***E***? ***E*** defines and implements a pure object model of secure distributed persistent computation. It has two parts: | | [**ELib**](elib/index.html) provides the stuff that goes on *between* objects. | | [Granovetter diagram](elib/capability/ode/index.html) | As a pure-Java [library](javadoc/index.html), ELib provides for inter-process [capability-secure](elib/capability/index.html) distributed programming. Its cryptographic capability [protocol](elib/distrib/index.html) enables mutually suspicious Java processes to cooperate safely, and its [event-loop concurrency](elib/concurrency/index.html) and [promise pipelining](elib/distrib/pipeline.html) enable high performance [deadlock free](elib/concurrency/event-loop.html#safety) distributed pure-object computing. | | The [***E*** **Language**](elang/index.html) can be used to express what happens *within* an object. | | | | | --- | | ``` def alice { to doSomething() { bob.foo(carol) } } ``` | | The ***E*** language provides a convenient and [familiar notation](elang/grammar/index.html) for the ELib computational model, so you can program in one model rather than two. Under the covers, this notation expands into [Kernel-E](elang/kernel/index.html), a minimalist lambda-language much like Scheme or Smalltalk. Objects written in the ***E*** language are *only* able to interact with other objects according to ELib's semantics, enabling object granularity *intra*-process security, including the ability to safely run untrusted mobile code (such as *caplets*). | | --- [Smart Contracts](smart-contracts/index.html): Patterns of Cooperation without Vulnerability | | Smart contract icon | A *contract* is a mutually agreeable arrangement of rules among mutually suspicious parties so they may cooperate with limited risks to each other's mischief. It is a game both are willing to play because both expect to win. A conventional contract is passive paper interpreted at great expense by lawyers and courts. A *smart contract* is written in program code, in which the logic of the program's execution enforce the terms of the contract. Smart contracts reduce costs by orders of magnitude, leading to a more cooperative world. | | --- [History](history/index.html): Where does ***E*** come from? [Talks](talks/index.html) [Related Links](related.html) --- | | Feedback Please | | *webmaster-at-erights.org* | To send me comments directly. [Here](wm-pubkey.html)'s my public key. | | [*Report a bug*](https://sourceforge.net/tracker/?func=add&group_id=75274&atid=551529) | Please let us know of all problems you find. Thanks! | | Is this page [Valid HTML?](http://validator.w3.org/check/referer) | If not, please tell me (the webmaster) or [report the bug](https://sourceforge.net/tracker/?func=add&group_id=75274&atid=551529). | | [Donations](donate.html) | Please help support the ***E*** Project. | | [The best Java IDE](http://www.jetbrains.com/idea/) | We thank IntelliJ for [their support](http://www.jetbrains.com/idea/opensource/opensource.html) of open source projects, including ours. | | [Domains for sale](http://www.caplet.com/domains.html) | Click to see prices for this and other related domain names. | --- Unless stated otherwise, all text on this page which is either unattributed or by Mark S. Miller is hereby placed in the public domain. | |
http://erights.org/
<HTML> <!-- Jerry Seinfeld show, Kenny Kramer NY Reality Tour, Michael Richards Elaine Benes George Castanza, Soup Nazi Attraction and Entertainment --> <HEAD> <META NAME="GENERATOR" CONTENT="Adobe PageMill 2.0 Mac"> <TITLE>Kenny Kramer's Home Page</TITLE> <META NAME="keywords" CONTENT="jerry seinfeld show, kenny kramer ny reality tour, michael richards elaine benes george castanza, soup nazi attraction and entertainment"> <META NAME="description" CONTENT="Kenny Kramer's Reality Tour is New York's finest attraction. LIVE the Seinfeld show with the REAL Kramer on an unforgettable tour."> </HEAD> <BODY BACKGROUND="kramback.jpg" BGCOLOR="#d2d8fd" VLINK="#264dd5" TEXT= "#03060f"> <H1><CENTER><A HREF="home.html%2F713"><IMG SRC="banner2" ALIGN="BOTTOM"><BR> <BR> </A><IMG SRC="%20kramehed.gif" ALIGN="BOTTOM" ALT="Jerry Seinfeld show, Kenny Kramer NY Reality Tour, Michael Richards Elaine Benes George Castanza, Soup Nazi Attraction and Entertainment"><IMG SRC= "5percmdt.gif" ALIGN="BOTTOM" ALT="Jerry Seinfeld show, Kenny Kramer NY Reality Tour, Michael Richards Elaine Benes George Castanza, Soup Nazi Attraction and Entertainment"><BR> I'M KENNY KRAMER<BR> WELCOME TO MY WEBSITE</CENTER> </H1> <H2><CENTER>I hope you will enjoy my ever-evolving home page. <BR> I maintain the site myself. <BR> I am the master of this domain.<BR> <BR> I answer all my own e-mail. Just write to me at<BR> <BR> <A HREF="mailto:kramer@kennykramer.com">E-mail to: kramer@kennykramer.com</A></CENTER> </H2> <H3><CENTER><BR> <HR></CENTER> </H3> <H1><CENTER><A HREF="reservation1.html"><BR> Click Here for Kramer's Reality Tour <BR> Information and On-Line Booking <BR> </A><IMG SRC="bussmall.gif" ALIGN="BOTTOM"><HR><A HREF="//www.tripadvisor.com/Attraction_Review-g60763-d2469669-Reviews-Kramer_s_Reality_Tour-New_York_City_New_York.html">TRIP ADVISOR REVIEWS</A><BR> <BR> <BR> <IMG SRC="dvdpurchase%20Files/COVERDVD1.jpg" WIDTH="750" HEIGHT="517" ALIGN= "BOTTOM" NATURALSIZEFLAG="3"><BR> <HR>Reverend Kramer<BR> Read All About It. <BR> <BR> <A HREF="http://www.nydailynews.com/entertainment/prototype-kramer-minister-article-1.1395156?localLinksEnabled=false">CLICK HERE</A><BR> <BR> <HR><A HREF="weddings.html">Click Here For More Info<BR> <BR> WEDDINGS BY KRAMER<BR> <BR> FORGET FAKE 'ELVIS'! <BR> GET MARRIED BY<BR> THE REAL KRAMER.</A><BR> <HR><A HREF="http://www.krameronseinfeld.com/">KRAMER ON SEINFELD</A></CENTER> </H1> <H3><CENTER><A HREF="http://www.krameronseinfeld.com/">THE MULTI-MEDIA STAGE VERSION OF THE REALITY TOUR THAT TRAVELS TO THEATERS AND COLLEGES THROUGHOUT THE WORLD</A></CENTER> </H3> <H1><CENTER><BR> <HR>CURB YOUR ENTHUSIASM MERCHANDISE<BR> JUST CLICK ON THE LINK<BR> <A HREF="http://www.doodlebugtees.com/curbyourkenny/">merchandise schmerchandise link</A><BR> <BR> <IMG SRC="prettygood.jpg" WIDTH="500" HEIGHT="337" ALIGN="BOTTOM" NATURALSIZEFLAG= "3"><BR> <BR> <HR><FONT face="Verdana, Arial, Helvetica, sans-serif" size="7" color="#FF0000">NOW ON SALE!</FONT><BR> <BR> KRAMER'S REALITY TOUR<BR> HOME VIDEO AND DVD!<BR> <A HREF="dvdpurchase.html">CLICK HERE</A> TO PURCHASE!</CENTER> </H1> <B><HR></B> <H1><CENTER><HR><A HREF="http://www.myxer.com/get/artist/13193787/"><IMG SRC= "../../ringtones.jpg" ALIGN="BOTTOM"></A><BR> <A HREF="http://www.myxer.com/get/artist/13193787/">That's right, my own ring tones now available click here.<BR> <BR> </A><A HREF="http://mediastore.verizonwireless.com/onlineContentStore/index.html#searchTerm=kenny kramer">Verizon users click here.</A></CENTER> </H1> <H2><CENTER><BR> <HR><A HREF="larryt.html">Larry Thomas a/k/a/ The Soup Nazi<BR> takes The Kramer Reality Tour<BR> </A><IMG SRC="../../larrythomas1.jpg" ALIGN="BOTTOM"><BR> <BR> <HR><A HREF="michaelrichardsincident.html">REGARDING THE MICHAEL RICHARDS &quot;INCIDENT&quot;</A></CENTER> </H2> <H1><CENTER><HR><A HREF="kramerbio.html">Kenny Kramer's Biography</A> <BR> <BR> <HR><A HREF="Ashirtpage.html">REAL KRAMER T-SHIRT NOW AVAILABLE</A><BR> <HR></CENTER> </H1> <H2><CENTER><BR> <BR> <IMG SRC="LGE-AU%7E1.GIF" WIDTH="161" HEIGHT="85" NATURALSIZEFLAG="0" ALIGN= "RIGHT" BORDER="0"> <IMG SRC="LGE-AU%7E1.GIF" WIDTH="161" HEIGHT="85" NATURALSIZEFLAG= "0" ALIGN="LEFT"> <BR> <BR> <A HREF="http://www.kennykramer.com/aussi1.html">KENNY KRAMER'S 2004 AUSTRALIAN TOUR<BR> KRAMER ON SEINFELD.<BR> FEBRUARY, MARCH, APRIL, MAY<BR> CLICK HERE FOR DATES AND VENUES</A></CENTER> </H2> <P><CENTER>&nbsp;</CENTER> <H2><CENTER>MAT JONES, A VERY TALENTED ARTIST IN AUSTRALIA DID THIS CARICATURE<BR> <BR> <IMG SRC="seinfeldc.jpg" ALIGN="BOTTOM" WIDTH="275" HEIGHT="353" NATURALSIZEFLAG= "3"><BR> <BR> <A HREF="matjones.html">TO SEE THE ONE MAT DID OF ME CLICK HERE</A><BR> <HR><HR><HR></CENTER> </H2> <H3><CENTER><IMG SRC="mayor2.jpg" ALIGN="BOTTOM"><BR> Mayor Giuliani congratulates Kenny and Bobby Allen Brooks, for creating <STRONG>KRAMER'S REALITY TOUR, </STRONG>&quot;... a valuable entertainment and cultural venture.&quot;<!-- Begin AIM Remote --><!-- End AIM Remote --> <!--start of code--><!--end of code--></CENTER> </H3> <H1><CENTER>&nbsp;</CENTER> </H1> <HR ALIGN="LEFT"><BR> <P><CENTER><A HREF="home.html%2F713"><IMG SRC="homepage.jpg" ALIGN="BOTTOM"></A><A HREF="RealityTourText.html"><IMG SRC= "reality.jpg" ALIGN="BOTTOM"></A><A HREF="MediaSlut.html"><IMG SRC="media.jpg" ALIGN="BOTTOM"></A><A HREF="site.html"><IMG SRC="site.jpg" ALIGN="BOTTOM"></A><BR> <A HREF="Archive.html"><IMG SRC="archive.jpg" ALIGN="BOTTOM"></A><A HREF="AskKramer.html"><IMG SRC= "ask.jpg" ALIGN="BOTTOM"></A><A HREF="/addresslist.cgi"><IMG SRC="fan.jpg" ALIGN="BOTTOM"></A><A HREF="cooks.html"><IMG SRC="cooks.jpg" ALIGN="BOTTOM" ALT="Jerry Seinfeld show, Kenny Kramer NY Reality Tour, Michael Richards Elaine Benes George Castanza, Soup Nazi Attraction and Entertainment"></A><BR> <HR></CENTER> <P>&nbsp; <H1><CENTER><A HREF="Gift.html">REALITY TOUR GIFT CERTIFICATES</A><BR> <BR> <HR><IMG SRC="kmart.jpg" ALIGN="BOTTOM"><A HREF="Kramart1.html"><BR> ONE STOP GIFT SHOPPING FOR SEINFANS AT KRA-MART</A></CENTER> </H1> <H2><CENTER><HR><A HREF="ontourphotos.html">BEEN ON THE TOUR, LOOKING FOR THE PHOTO?<BR> CLICK HERE</A><HR></CENTER> </H2> <H1><CENTER>READ ABOUT<BR> KRAMER'S REALITY TOUR</CENTER> </H1> <H2><CENTER><BR> <A HREF="http://www.carousel-press.com/travel_articles.html">Travel Article by Carole Terwilliger Meyers</A> <BR> <BR> <A HREF="unsolicited.html">E-mail from people who took the tour 1996-1997-1998.<BR> <BR> </A><A HREF="evenmorereviews.html">E-mail from people who took the tour 1998-1999<BR> <BR> </A><A HREF="evenmore1999.html">E-mail from people who took the tour 1999<BR> <BR> </A><A HREF="99and00reviews.html">E-mail from people who took the tour 1999/2000<BR> </A><BR> <A HREF="reviews0001.html">E-mail from people who took the tour 2000/2001<BR> <BR> </A><A HREF="evenmore2002.html">E-mail from people who took the tour 2002</A><BR> <BR> <HR>Tour information at:<A HREF="RealityTourText.html"><IMG SRC="reality.jpg" ALIGN="BOTTOM"></A></CENTER> </H2> <H1><CENTER><HR><A HREF="Ashirtpage.html">REAL KRAMER T-SHIRT NOW AVAILABLE</A><HR></CENTER> </H1> <P><CENTER><A HREF="home.html%2F713"><IMG SRC="homepage.jpg" ALIGN="BOTTOM"></A><A HREF="RealityTourText.html"><IMG SRC= "reality.jpg" ALIGN="BOTTOM"></A><A HREF="MediaSlut.html"><IMG SRC="media.jpg" ALIGN="BOTTOM"></A><A HREF="site.html"><IMG SRC="site.jpg" ALIGN="BOTTOM"></A><BR> <A HREF="Archive.html"><IMG SRC="archive.jpg" ALIGN="BOTTOM"></A><A HREF="AskKramer.html"><IMG SRC= "ask.jpg" ALIGN="BOTTOM"></A><A HREF="/addresslist.cgi"><IMG SRC="fan.jpg" ALIGN="BOTTOM"></A><A HREF="cooks.html"><IMG SRC="cooks.jpg" ALIGN="BOTTOM"></A><HR></CENTER> <P>&nbsp; <H2><CENTER><BR> <A HREF="http://www.kennykramer.com/mayor/home.html">KRAMER FOR MAYOR</A><BR> <IMG SRC="kfm.jpg" ALIGN="BOTTOM"></CENTER> </H2> <H3><HR ALIGN="LEFT"></H3> <H3><CENTER><BR> <BR> After you visit and read through my site you will know a quite a bit about me. How about telling me about you? Tell me where you're from, what you do, and how you found this page.<BR> <A HREF="mailto:kramer@kennykramer.com">Kramer@kennykramer.com</A><BR> <BR> <HR></CENTER> </H3> <H2><CENTER><HR></CENTER> </H2> <H3><CENTER><BR> <IMG SRC="rp.JPG" ALIGN="BOTTOM"></CENTER> </H3> <H2><CENTER>PORTRAIT OF KENNY BY RANDY SWANN. THIS WORK OF ART WAS DRAWN ONE PIXEL AT A TIME. RANDY IS AN AMAZING TALENT.<BR> CHECK OUT HIS WEBSITE AT</CENTER> </H2> <H3><CENTER>-<A HREF="http://www.shining-armor.com/fun-dimensions/artist.htm">http://www.shining-armor.com/fun-dimensions/artist.htm</A><BR> <BR> <BR> <IMG SRC="joey.jpg" ALIGN="BOTTOM"><BR> Larry David, Kenny and Joey Reynolds after appearing <BR> on TheJoey Reynolds Show<BR> 1/21/97<HR><IMG SRC="rossndean.jpg" ALIGN="BOTTOM"><HR>Kenny with Ross and Dean hosts of the breakfast show<BR> Radio 3AW Melbourne broadcasting from WOR NY<BR> December 2nd 1999</CENTER> </H3> <H1><CENTER><HR>KRAMER'S REALITY TOUR</CENTER> </H1> <H3>January 27th was the First Anniversary of Kramer's Reality Tour. Seems like a short while ago Bobby Allen Brooks and I started the tour. Man, time do fly when you is having fun!!!</H3> <H3><CENTER><IMG SRC="1stshow.jpg" ALIGN="BOTTOM"><BR> January 27, 1996<BR> <BR> <A HREF="1stan.html">January 27, 1997</A></CENTER> </H3> <P><CENTER><HR></CENTER> <P>&nbsp; <H1><CENTER><A HREF="http://www.weather.com/weather/us/zips/10036.html">Click here to find out the weather in NYC</A><HR><!-- Begin AIM Remote --><!-- End AIM Remote --></CENTER> </H1> <P><CENTER><BR> <HR><A HREF="home.html%2F713"><IMG SRC="homepage.jpg" ALIGN="BOTTOM"></A><A HREF="RealityTourText.html"><IMG SRC= "reality.jpg" ALIGN="BOTTOM"></A><A HREF="MediaSlut.html"><IMG SRC="media.jpg" ALIGN="BOTTOM"></A><A HREF="site.html"><IMG SRC="site.jpg" ALIGN="BOTTOM"></A><BR> <A HREF="Archive.html"><IMG SRC="archive.jpg" ALIGN="BOTTOM"></A><A HREF="AskKramer.html"><IMG SRC= "ask.jpg" ALIGN="BOTTOM"></A><A HREF="/addresslist.cgi"><IMG SRC="fan.jpg" ALIGN="BOTTOM"></A><A HREF="cooks.html"><IMG SRC="cooks.jpg" ALIGN="BOTTOM"></A><BR> <BR> <BR> <BR> <A HREF="http://www.rmwilliams.com.au/"><IMG SRC="rmwilliams.jpg" ALIGN= "BOTTOM"></A></CENTER> <P>&nbsp;<HR ALIGN="LEFT"> <H3><CENTER><A HREF="http://www.rmwilliams.com.au/">R.M. WILLIAMS OF AUSTRALIA <BR> IS THE OFFICIAL CLOTHIER OF <BR> KRAMER'S REALITY TOUR</A><HR><A HREF="http://tksanders.com/">My friend TOM SANDERS is a very talented Writer/Producer/Journalist<BR> <BR> He has a website with some great short stories as well as interesting photos and content.<BR> <BR> Check him out at: http://tksanders.com</A></CENTER> </H3> <P><CENTER><B><BR> <BR> <IMG SRC="../tomnude.jpg" ALIGN="BOTTOM"></B></CENTER> <H3><CENTER><BR> <HR>My very good friend, (wink ,wink ) Marcie Castro is a very talented singer/pianist/composer<BR> <IMG SRC="mcsm.jpg" ALIGN="BOTTOM" WIDTH="144" HEIGHT="159" NATURALSIZEFLAG= "3"><BR> <BR> In person she is a fabulous entertainer.<BR> you can check out her music at:<BR> <BR> <A HREF="http://www.marciecastro.com/">marciecastro.com</A><BR> <BR> <BR> <HR>MY PAL JOHN MOLLICA JUST RELEASED <BR> A BOX SET OF HIS MUSIC.<BR> JOHN IS A GOOD FRIEND AND A GREAT TALENT. <BR> A FINE HUMAN BEING AND A HELL OF A ROCK N ROLLER. <BR> CHECK OUT HIS WEBSITE AND HIS MUSIC<BR> <A HREF="http://www.mollicaentertainment.com/">MOLLICAENTERTAINMENT.COM</A><BR> <HR>Make Corporate Functions Hip, Fun, And<BR> More Effective By Delivering Your Company's<BR> Message Through Customized Entertainment.<BR> Check out my pal Zach Waldman<BR> <BR> <A HREF="http://www.ceospecialevent.com/">http://www.ceospecialevent.com</A><BR> <BR> <HR></CENTER> </H3> <P><CENTER><BR> <BR> <A HREF="http://www.jewelite.com/"><IMG SRC="jewelite.gif" ALIGN="BOTTOM"><BR> Jewelite<B> </B></A><B>is the official Sign Manufacturer of Kramer's Reality Tour. For any of your Signage needs,; indoor, outdoor or wherever, give Bobby Banks a call at </B></CENTER> <H3><CENTER>(212) NY-SIGNS (697--4467). He's a good guy.<HR><STRONG>My analog friend <A HREF="http://www.bway.net/~erikb/">Erik Bryan Slaven</A> helped to design this page. Check out his <A HREF="http://www.bway.net/~erikb/">Multimedia</A> offerings. </STRONG>If you want SHOCKWAVE click <A HREF="http://www.Macromedia.com/">here</A>. .<HR></CENTER> </H3> <H4><CENTER>Thanks to my net-friend Jim Gilhooly who is continually searching for my typos and correcting my punctuation and atrocious spelling.<BR> <BR> Thanks to MaliVai Washington and The MaliVai Washington Foundation for inviting me to their celebrity golf and tennis gala to raise money for programs at the Boys and Girls Clubs in Northern Florida. Mal is a great guy and a fine role model for kids. Check out his site at: <A HREF="http://www.malwashington.com/">http://www.malwashington.com/</A><HR><A HREF="http://www.jazzvibe.com/">My buddy Mike Freeman and his band Spellbound just put up a home page<BR> designed by another buddy of mine Gary Fall. Lots of great music there. <BR> http://www.vibe.smartweb.net CHECK IT OUT!!!</A><HR><A HREF="PA.html">Peter Anthony <BR> WHERE ARE YOU?</A><HR><A HREF="al.html">There is a soup shop </A><HR></CENTER> </H4> <H2><CENTER>I have a great NYC based service Provider: <A HREF="http://www.bway.net/">bway.net</A>. <BR> Check em out, they're cool people. <BR> <BR> Folder contents &copy; Kenny Kramer 1996</CENTER> </H2> <P><CENTER>May not be Cached by commercial entities without written permission<BR> <BR> <BR> <A HREF="http://www.nycvisit.com/"><IMG SRC="nycvb.gif%7F%7F" ALIGN="BOTTOM" ALT="http://www.nycvisit.com/home.html"><BR> <BR> KRAMER'S REALITY TOUR IS A MEMBER OF <BR> NEW YORK CONVENTION &amp; VISITORS BUREAU</A><BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <BR> <A HREF="oldhome.html">Old Home Page<BR> </A>VISIT NUMBER <BR> <A HREF="oldhome.html"><IMG SRC="http://www.bway.net/bin/Count.cgi?df=sample.dat" ALIGN="ABSMIDDLE"><BR> since 311/02<!-- Jerry Seinfeld show, Kenny Kramer NY Reality Tour, Michael Richards Elaine Benes George Castanza, Soup Nazi Attraction and Entertainment --></A> </CENTER> </BODY> </HTML>
Kenny Kramer's Home Page # Jerry Seinfeld show, Kenny Kramer NY Reality Tour, Michael Richards Elaine Benes George Castanza, Soup Nazi Attraction and EntertainmentJerry Seinfeld show, Kenny Kramer NY Reality Tour, Michael Richards Elaine Benes George Castanza, Soup Nazi Attraction and Entertainment I'M KENNY KRAMER WELCOME TO MY WEBSITE ## I hope you will enjoy my ever-evolving home page. I maintain the site myself. I am the master of this domain. I answer all my own e-mail. Just write to me at [E-mail to: kramer@kennykramer.com](mailto:kramer@kennykramer.com) ### --- # [Click Here for Kramer's Reality Tour Information and On-Line Booking](reservation1.html) --- [TRIP ADVISOR REVIEWS](//www.tripadvisor.com/Attraction_Review-g60763-d2469669-Reviews-Kramer_s_Reality_Tour-New_York_City_New_York.html) --- Reverend Kramer Read All About It. [CLICK HERE](http://www.nydailynews.com/entertainment/prototype-kramer-minister-article-1.1395156?localLinksEnabled=false) --- [Click Here For More Info WEDDINGS BY KRAMER FORGET FAKE 'ELVIS'! GET MARRIED BY THE REAL KRAMER.](weddings.html) --- [KRAMER ON SEINFELD](http://www.krameronseinfeld.com/) ### [THE MULTI-MEDIA STAGE VERSION OF THE REALITY TOUR THAT TRAVELS TO THEATERS AND COLLEGES THROUGHOUT THE WORLD](http://www.krameronseinfeld.com/) # --- CURB YOUR ENTHUSIASM MERCHANDISE JUST CLICK ON THE LINK [merchandise schmerchandise link](http://www.doodlebugtees.com/curbyourkenny/) --- NOW ON SALE! KRAMER'S REALITY TOUR HOME VIDEO AND DVD! [CLICK HERE](dvdpurchase.html) TO PURCHASE! **---** # --- [That's right, my own ring tones now available click here.](http://www.myxer.com/get/artist/13193787/)[Verizon users click here.](http://mediastore.verizonwireless.com/onlineContentStore/index.html#searchTerm=kenny kramer) ## --- [Larry Thomas a/k/a/ The Soup Nazi takes The Kramer Reality Tour](larryt.html) --- [REGARDING THE MICHAEL RICHARDS "INCIDENT"](michaelrichardsincident.html) # --- [Kenny Kramer's Biography](kramerbio.html) --- [REAL KRAMER T-SHIRT NOW AVAILABLE](Ashirtpage.html) --- ## [KENNY KRAMER'S 2004 AUSTRALIAN TOUR KRAMER ON SEINFELD. FEBRUARY, MARCH, APRIL, MAY CLICK HERE FOR DATES AND VENUES](http://www.kennykramer.com/aussi1.html)   ## MAT JONES, A VERY TALENTED ARTIST IN AUSTRALIA DID THIS CARICATURE [TO SEE THE ONE MAT DID OF ME CLICK HERE](matjones.html) --- --- --- ### Mayor Giuliani congratulates Kenny and Bobby Allen Brooks, for creating **KRAMER'S REALITY TOUR,** "... a valuable entertainment and cultural venture." # --- [![](homepage.jpg)](home.html%2F713)[![](reality.jpg)](RealityTourText.html)[![](media.jpg)](MediaSlut.html)[![](site.jpg)](site.html) [![](archive.jpg)](Archive.html)[![](ask.jpg)](AskKramer.html)[![](fan.jpg)](/addresslist.cgi)[![Jerry Seinfeld show, Kenny Kramer NY Reality Tour, Michael Richards Elaine Benes George Castanza, Soup Nazi Attraction and Entertainment](cooks.jpg)](cooks.html) ---   # [REALITY TOUR GIFT CERTIFICATES](Gift.html) --- [ONE STOP GIFT SHOPPING FOR SEINFANS AT KRA-MART](Kramart1.html) ## --- [BEEN ON THE TOUR, LOOKING FOR THE PHOTO? CLICK HERE](ontourphotos.html) --- # READ ABOUT KRAMER'S REALITY TOUR ## [Travel Article by Carole Terwilliger Meyers](http://www.carousel-press.com/travel_articles.html) [E-mail from people who took the tour 1996-1997-1998.](unsolicited.html)[E-mail from people who took the tour 1998-1999](evenmorereviews.html)[E-mail from people who took the tour 1999](evenmore1999.html)[E-mail from people who took the tour 1999/2000](99and00reviews.html) [E-mail from people who took the tour 2000/2001](reviews0001.html)[E-mail from people who took the tour 2002](evenmore2002.html) --- Tour information at: # --- [REAL KRAMER T-SHIRT NOW AVAILABLE](Ashirtpage.html) --- [![](homepage.jpg)](home.html%2F713)[![](reality.jpg)](RealityTourText.html)[![](media.jpg)](MediaSlut.html)[![](site.jpg)](site.html) [![](archive.jpg)](Archive.html)[![](ask.jpg)](AskKramer.html)[![](fan.jpg)](/addresslist.cgi)[![](cooks.jpg)](cooks.html) ---   ## [KRAMER FOR MAYOR](http://www.kennykramer.com/mayor/home.html) ### --- ### After you visit and read through my site you will know a quite a bit about me. How about telling me about you? Tell me where you're from, what you do, and how you found this page. [Kramer@kennykramer.com](mailto:kramer@kennykramer.com) --- ## --- ### ## PORTRAIT OF KENNY BY RANDY SWANN. THIS WORK OF ART WAS DRAWN ONE PIXEL AT A TIME. RANDY IS AN AMAZING TALENT. CHECK OUT HIS WEBSITE AT ### -<http://www.shining-armor.com/fun-dimensions/artist.htm> Larry David, Kenny and Joey Reynolds after appearing on TheJoey Reynolds Show 1/21/97 --- --- Kenny with Ross and Dean hosts of the breakfast show Radio 3AW Melbourne broadcasting from WOR NY December 2nd 1999 # --- KRAMER'S REALITY TOUR ### January 27th was the First Anniversary of Kramer's Reality Tour. Seems like a short while ago Bobby Allen Brooks and I started the tour. Man, time do fly when you is having fun!!! ### January 27, 1996 [January 27, 1997](1stan.html) ---   # [Click here to find out the weather in NYC](http://www.weather.com/weather/us/zips/10036.html) --- --- [![](homepage.jpg)](home.html%2F713)[![](reality.jpg)](RealityTourText.html)[![](media.jpg)](MediaSlut.html)[![](site.jpg)](site.html) [![](archive.jpg)](Archive.html)[![](ask.jpg)](AskKramer.html)[![](fan.jpg)](/addresslist.cgi)[![](cooks.jpg)](cooks.html) [![](rmwilliams.jpg)](http://www.rmwilliams.com.au/)   --- ### [R.M. WILLIAMS OF AUSTRALIA IS THE OFFICIAL CLOTHIER OF KRAMER'S REALITY TOUR](http://www.rmwilliams.com.au/) --- [My friend TOM SANDERS is a very talented Writer/Producer/Journalist He has a website with some great short stories as well as interesting photos and content. Check him out at: http://tksanders.com](http://tksanders.com/) **![](../tomnude.jpg)** ### --- My very good friend, (wink ,wink ) Marcie Castro is a very talented singer/pianist/composer In person she is a fabulous entertainer. you can check out her music at: [marciecastro.com](http://www.marciecastro.com/) --- MY PAL JOHN MOLLICA JUST RELEASED A BOX SET OF HIS MUSIC. JOHN IS A GOOD FRIEND AND A GREAT TALENT. A FINE HUMAN BEING AND A HELL OF A ROCK N ROLLER. CHECK OUT HIS WEBSITE AND HIS MUSIC [MOLLICAENTERTAINMENT.COM](http://www.mollicaentertainment.com/) --- Make Corporate Functions Hip, Fun, And More Effective By Delivering Your Company's Message Through Customized Entertainment. Check out my pal Zach Waldman [http://www.ceospecialevent.com](http://www.ceospecialevent.com/) --- [![](jewelite.gif) Jewelite](http://www.jewelite.com/)**is the official Sign Manufacturer of Kramer's Reality Tour. For any of your Signage needs,; indoor, outdoor or wherever, give Bobby Banks a call at** ### (212) NY-SIGNS (697--4467). He's a good guy. --- **My analog friend [Erik Bryan Slaven](http://www.bway.net/~erikb/) helped to design this page. Check out his [Multimedia](http://www.bway.net/~erikb/) offerings.** If you want SHOCKWAVE click [here](http://www.Macromedia.com/). . --- #### Thanks to my net-friend Jim Gilhooly who is continually searching for my typos and correcting my punctuation and atrocious spelling. Thanks to MaliVai Washington and The MaliVai Washington Foundation for inviting me to their celebrity golf and tennis gala to raise money for programs at the Boys and Girls Clubs in Northern Florida. Mal is a great guy and a fine role model for kids. Check out his site at: <http://www.malwashington.com/> --- [My buddy Mike Freeman and his band Spellbound just put up a home page designed by another buddy of mine Gary Fall. Lots of great music there. http://www.vibe.smartweb.net CHECK IT OUT!!!](http://www.jazzvibe.com/) --- [Peter Anthony WHERE ARE YOU?](PA.html) --- [There is a soup shop](al.html) --- ## I have a great NYC based service Provider: [bway.net](http://www.bway.net/). Check em out, they're cool people. Folder contents © Kenny Kramer 1996 May not be Cached by commercial entities without written permission [![http://www.nycvisit.com/home.html](nycvb.gif%7F%7F) KRAMER'S REALITY TOUR IS A MEMBER OF NEW YORK CONVENTION & VISITORS BUREAU](http://www.nycvisit.com/) [Old Home Page](oldhome.html)VISIT NUMBER [![](http://www.bway.net/bin/Count.cgi?df=sample.dat) since 311/02](oldhome.html)
http://www.kennykramer.com/home.html