Sunday, January 31, 2010

PLATE XX OF THE MANUSCRIPT TROANO (DRESDEN CODEX)

PLATE XX OF THE MANUSCRIPT TROANO (DRESDEN CODEX)Title: A Study of the Manuscript Troano. Author: Cyrus Thomas. Publisher: Classic Textbooks, 1882. Original from: the University of Michigan. Digitized: Jan 29, 2008. Length: 794 pages.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924 are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case the Pre-Columbian era ca.1492, and that most commonly runs for a period of 50 to 70 years from December 31 of that year.
EXPLANATION OF FIGURES AND CHARACTERS ON PLATES XX-XXIII OF THE MANUSCRIPT TROANO AND 25-28 OF THE DRESDEN CODEX.

"It was the custom in all the cities of Yucatan that there should be at each of the four entrances of the place—that is to say, the east, west, north, and south—two heaps of stone facing each other, intended for the celebration of two feasts of unlucky days. These feasts took place in the following manner:

"The year of which the dominical letter was Kan the omen was Hobnil, and, according to the belief of the Yucatecs, they both reigned in the region of the south. This year, therefore, they fabricated a hollow image qr figure of baked earth, of the idol which they called Kan-u-Uayeyab, and carried it to the heap of dry stones which was on the south side. They elected a chief from the citizens, at whose house they celebrated the feasts of these days. At this ceremony they made also the statue of another god, named Bolon-Zacab, which they placed in the house of the chief elect, in a spot where every one could approach.

"This done, the nobles, the priest, and the citizens assembled together. They returned, by a road swept and ornamented with arches and foliage, to the two piles of stone, where they found the statue, around which they gathered with much devotion. The priest then perfumed it with fortynine grains of bruised maize mixed with incense. The nobles placed their incense together in the censer of the idol and perfumed it in their turn. The maize mixed with the priest's incense is called zacah, and that which the nobles present is called chahalte. Having incensed the image, they cut off the head of a fowl and presented to it.

"When this was finished they placed the statue on a litter called Kante, and on its shoulders an 'angel' as an omen of water and the good year which they should have. As to these 'angels,' they were frightful in appearance.

"Then they carried the statue, dancing with much gaiety, to the house of the chief, where he found the other statue of Bolon-Zacab. While they were on the way one of them carried to the nobles and the priest a drink composed of four hundred and twenty-five grains of burnt maize, which they called Picula-Kakla, and all partook of it at the same time. Arrived at the chiefs house, they placed the image which they carried, face to face with the statue which was already there, and made many offerings of drinks and viands, of meat and fish. These offerings were afterwards divided among the strangers who were present, and they gave the priest only a leg of venison.

"Others drew blood from themselves by scarifying their ears, and anointed with it a stone which they had as an idol, called Kanal-Acantun.

They modeled a heart from the dough of their bread, and in the same way another loaf, of gourd seeds, which they presented to the idol Kan-u-Uayeyab. It was thus that they guarded this statue and the other during the unfavorable days, perfuming them with their incense and with incense mixed with grains of bruised maize. They believed that if they neglected these ceremonies they would be subject to the calamities which were the result of this year. The unlucky days having passed, they carried the statue of the god Bolon-Zacdb to the temple, and the image of the other to the eastern entrance of the city, in. order to have it for the next year. They left it there, and returning home each one occupied himself with preparations for the celebration of the new year.

Saturday, January 30, 2010

Mayan Vampire Headed Deity

Mayan Vampire Headed Deity

Mayan Vampire Headed Deity
Title: Mexican and Central American antiquities, calendar systems, and history Issue 28 of Bulletin, United States Bureau of American ethnology Issue 28 of Bulletin (Smithsonian Institution. Bureau of American Ethnology). Mexican and Central American Antiquities, Calendar Systems, and History, Charles Pickering Bowditch.

Authors: Eduard Seler, Ernst Wilhelm Förstemann, Paul Schellhas, Karl Sapper, Erwin Paul Dieseldorff. Editor: Charles Pickering Bowditch. Translated by: Selma Wesselhoeft, Alberta M. Parker. Publisher: U.S. Govt. Print. Off., 1904. Length: 682 pages.
This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924 are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case the Pre-Columbian era ca.1492, and that most commonly runs for a period of 50 to 70 years from December 31 of that year.

The accompanying drawing of the vampire god occurs on a clay vessel found buried with a dead person on the summit of a temple mound in Chama, together with an urn.

The pot is cylindric in form, about 55 centimeters in circumference, measured around the outer edge, and 15 centimeters in height. It was broken into many pieces, and the polish and painting are greatly damaged. It is to be noted that reddish black, droplike spots occur all over the pot, as if some resinous fluid had been sprinkled over it with a brush. I have also observed similar spots on pots from the Zacapa region.

In order to form a characteristic image of the vampire god we must direct our attention to his dress and to similar representations on the monuments of ancient Maya civilization.

The first tiling that strikes us is that he wears the collar of the death god, showing the three round balls, which also appear on the cloaklike wings, and which we may, no doubt correctly, assume to be human eyes.

That an ornament of this kind should be given to the death god is entirely in keeping with the fact that the extinction of the eyesight in approaching dissolution is one of the most striking phenomena of death.

In the temple at Copan which bounds the western court on the north, on the east side of the inner entrance, was the representation of a battle between the vampire god and Cukulcan, the god of light, which I am inclined to regard as morning twilight, the struggle between darkness and light. On the basis of this, supported by the fact that the vampire leaves his hiding place at twilight,

Wr regard the streams of breath that shoot from his mouth as a symbol of sunset. It seems to me certain that this does not mean wind, with Which rorce of nature this god has no connection, although I know that his glyph often occurs with Ben-Ik, which combination, however, refers to all birds, beasts, and gods whose life and dwelling is supposed to be in the air.

We may therefore regard the vampire god as the servant of death, the ruler of twilight.

The god Cukulcan, ruler of air and light, and therefore of life, is represented in almost all the temple pictures and on the monoliths of Copan, sometimes with a human body, more frequently as a bird, also as a double snake. I will not at present enter more deeply into the reasons which have led me to this decision localise the subject deserves treatment in a special paper.

The glyphs belonging to the picture on this vessel afford us no solution, since we do not understand them; the central glyphs of plaua probably denotes the vampire god, since the dots appearing on the forehead remind us of the representations at Copan, where they occur in a similar manner. The central glyph of plate b occurs in the Dresden codex, page 151, at the bottom.

I do not think that this clay vessel was prepared especially for burial, as I supposed in regard to the urns with a melon-shaped base. It seems to me rather to have served for religious purposes.

Friday, January 29, 2010

Oldest Known Form of the Chinese Dragon

Oldest Known Form of the Chinese DragonOldest Known Form of the Chinese Dragon, from the Aboriginal Tribes of Western China.

Title Encyclopaedia of superstitions, folklore, and the occult sciences of the world: a comprehensive library of human belief and practice in the mysteries of life, Volume 2.
Encyclopaedia of Superstitions, Folklore, and the Occult Sciences of the World: A Comprehensive Library of Human Belief and Practice in the Mysteries of Life, Charles McClellan Stevens.

Editors: Cora Linn Morrison Daniels, Charles McClellan Stevens. Publisher: J. H. Yewdale & sons co., 1903. Original from Harvard University. Digitized: Mar 27, 2006.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924 are now in the public domain.

Chinese dragons are legendary creatures in Chinese mythology and folklore. In Chinese art, dragons are typically portrayed as long, scaled, serpentine creatures with four legs.

Chinese dragons traditionally symbolize potent and auspicious powers, particularly control over water, rainfall, and floods. In yin and yang terminology, a dragon is yang (male) and complements a yin (female) fenghuang "Chinese phoenix". The Chinese Dragon is generally used as the symbol of culture. The dragon is also a symbol of power, strength, and good luck.

Wednesday, January 27, 2010

Happy Valentine's Day Hearts

Happy Valentine's Day HeartsHappy Valentine's Day Hearts. Holiday window on New York City's eastside, Third Avenue at 71st street.

Image License: I, (sookietex) the creator of this work, hereby release it into the public domain. This applies worldwide. In case this is not legally possible,
I grant any entity the right to use this work for any purpose, without any conditions, unless such conditions are required by law.

If This image is subject to copyright in your jurisdiction, i (sookietex) the copyright holder have irrevocably released all rights to it, allowing it to be freely reproduced, distributed, transmitted, used, modified, built upon, or otherwise exploited in any way by anyone for any purpose, commercial or non-commercial, with or without attribution of the author, as if in the public domain.

Tuesday, January 26, 2010

Valentine's Day Hearts and Streamers

Valentine's Day Hearts and StreamersValentine's Day Hearts and Streamers. Store window on 3d avenue at 72d street Manhatten, shows holiday spirit.

Image License: I, (sookietex) the creator of this work, hereby release it into the public domain. This applies worldwide. In case this is not legally possible,
I grant any entity the right to use this work for any purpose, without any conditions, unless such conditions are required by law.

If This image is subject to copyright in your jurisdiction, i (sookietex) the copyright holder have irrevocably released all rights to it, allowing it to be freely reproduced, distributed, transmitted, used, modified, built upon, or otherwise exploited in any way by anyone for any purpose, commercial or non-commercial, with or without attribution of the author, as if in the public domain.

Sunday, January 24, 2010

Minnesota Vikings Cheerleaders

Vikings Cheerleaders Visit Bagram Air Base. Office of the Secretary of Defense Public Affairs. Date: 05.19.2008, Posted: 05.20.2008 12:24. Photo ID: 89629. VIRIN: 080520-O-9999X-004. Location: BAGRAM AIR BASE, AF.Minnesota Viking cheerleaders Jessie, Sarah, Amanda, Peyton and Bailey perform a dance routine during the Viking cheerleaders' tour at Bagram Airfield, Afghanistan, May 19. The ladies visited BAF with a promise to give their all and to help pump up the spirits of deployed servicemembers. (U.S. Army photo/Tech. Sgt. Kevin Wallace)

The Digital Video and Imagery Distribution System (DVIDS) is provided as a public service operated by Third Army/U.S. Army Central (ARCENT) on behalf of the Department of the Army in support of all branches of the U.S. military (Navy, Air Force, Marines) and its Coalition partners serving in the U.S. Forces Central Command (CENTCOM) area of responsibility.

Information presented on or via DVIDS is considered public information and may be distributed or copied unless otherwise specified. Use of appropriate byline/photo/image credits is requested.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

Minnesota Vikings Cheerleaders

New York Jets cheerleaders "Flight Crew"

New York Jets cheerleaders091103-M-0761B-093 NEW YORK (Nov. 3, 2009) New York Jets cheerleaders tour the amphibious transport dock ship Pre-Commissioning Unit (PCU) New York (LPD 21). The ship has 7.5 tons of steel from the World Trade Center in her bow and will be commissioned Nov. 7 in New York City. (U.S. Marine Corps photo by Sgt. Danielle M. Bacon/Released)
The purpose of this website is to provide information and news about the United States Navy to the general public. All information on this site is considered public information and may be distributed or copied unless otherwise specified. Use of appropriate byline/photo/image credits is requested.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

RELATED:

Drew Brees

Drew Brees

Drew Brees
New Orleans Saints QB Drew Brees Headlines NFL Players Visit to Kuwait, 40th Public Affairs Detachment. Photo by Sgt. Thomas Day. Date: 04.18.2007, Posted: 04.18.2007 09:06, Photo ID: 41316, VIRIN: Location: Camp Arifjan, KW.

Kansas City Chiefs linebacker Donnie Edwards (left) and New Orleans Saints quarterback Drew Brees (right) pose for a photo with Petty Officer 3rd Class Corey Adam at the Expeditionary Medical Force - Kuwait hospital on camp Thursday. Adam, a Houma, La., native and Navy medical corpsman, said his dad, Delwin, is a diehard Saints fan and wanted to send a photo to him with the Saints quarterback. The NFL stars are touring the Middle East as a part of the Active NFL Players Tour sponsored by the USO.

The Digital Video and Imagery Distribution System (DVIDS) is provided as a public service operated by Third Army/U.S. Army Central (ARCENT) on behalf of the Department of the Army in support of all branches of the U.S. military (Navy, Air Force, Marines) and its Coalition partners serving in the U.S. Forces Central Command (CENTCOM) area of responsibility.


Information presented on or via DVIDS is considered public information and may be distributed or copied unless otherwise specified. Use of appropriate byline/photo/image credits is requested.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

Peyton Manning

Peyton Manning Public Domain ClipArt Stock Photos and Images. Peyton Manning reached an agreement with the Broncos on a five-year contract worth $96 million on March 20, 2012. Although No. 18 is retired in honor of Frank Tripucka, he gave Manning permission to wear it. Manning was born in New Orleans, Louisiana, the son of Olivia (née Williams) and NFL quarterback Elisha Archibald "Archie" Manning III.

Peyton Manning No. 18 Denver Broncos Quarterback. Personal information: Date of birth: March 24, 1976 (age 37) Place of birth: New Orleans, Louisiana. Height: 6 ft 5 in (1.96 m) Weight: 230 lb (104 kg) Career information. High school: New Orleans (LA) Newman. College: Tennessee. NFL Draft: 1998 / Round: 1 / Pick: 1. Debuted in 1998 for the Indianapolis Colts. Career history: Indianapolis Colts (1998–2011) Denver Broncos (2012–present) Roster status: Active

Peyton Manning

Peyton Manning

060212-N-9076B-303 Pearl Harbor, Hawaii (Feb. 12, 2005) – Hawaii Governor, Linda Lingle, prepares to toss the coin to start the 40th annual National Football League (NFL) Pro Bowl game.

The Pro Bowl, features All-Star players from the National Football Conference (NFC) and the American Football Conference (AFC) in a game, which will be played for the 27th consecutive year at Aloha Stadium in Honolulu, Hawaii. U.S. Navy photo by Chief Photographer’s Mate Don Bray (RELEASED)

The purpose of this website is to provide information and news about the United States Navy to the general public. All information on this site is considered public information and may be distributed or copied unless otherwise specified. Use of appropriate byline/photo/image credits is requested.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

Peyton Manning

AFC quarterback Peyton Manning, of the Indianapolis Colts, looks down field for a open man.

This image or file is in the public domain because it contains materials that originally came from the United States Marine Corps. As a work of the U.S. federal government, the image is in the public domain. Author: Cpl. Michelle M. Dickson

KEYWORDS: Peyton Manning. Football, Indianapolis Colts

Friday, January 22, 2010

The phylacteries or Tefillin

The phylacteries or TefillinTitle: Descriptive catalogue of a collection of objects of Jewish ceremonial deposited in the U.S. National Museum by Hadji Ephraim Benguiat. Authors: Cyrus Adler, Immanuel Moses Casanowicz. Publisher: Govt. Print. Off., 1901. Original from: Harvard University. Digitized: Jul 11, 2008. Length: 23 pages
This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924 are now in the public domain.

Phylacteries (feßliri).— (Plate 11, fig. 1, U.S.N.M. No. 154583.) The phylacteries, or Tefillin, are two square boxes of parchment. The boxes are fastened to a kind of a base made of thick parchment with a loop on one side, so as to let a narrow leather strap pass through (Plate 10, fig. 1). Into these boxes are inserted the following passages from the Pentateuch, written on strips of parchment: Exodus xiii, 1-10; Exodus xiii, 11-16; Deuteronomy vi, 4-9, and Deuteronomy xi, 13-21. By means of the straps the boxea are bound around the arm and head and worn by all male Jews who have attained religious majority—i. e., passed the thirteenth year of age—during morning prayers of week days; hence their Hebrew name ttffllin, from tefillah, prayer. The name phylacteries is derived from the Greek (frvkaiKTripia (phylacteria), which is used in the New Testament,1 meaning, properly, things that guard—i. e., amulets, talismans, which the Jewish tefittin are not. The New Testament name may be based upon an external resemblance between the fafillin and the Greek phylacterin. The obligation to wear tiffillin is derived from the command included in the extracts mentioned above: "And you shall bind them as a sign upon your hand and for frontlets between your eyes.""

The teßlla for the head is embossed on two sides of the exterior with the Hebrew letter W nJiin. (sh), and inside is divided into four compartments, in each of which one of the four extracts from the Pentateuch is put, and the strap is tied at such a distance as to fit the head of the wearer, forming a knot shaped in the form of the Hebrew "1 daleth (d). The tefilla for the hand or arm has no letter impressed on the outside and no divisions inside, and the four passages it contains are written continuously on one strip of parchment. One end of the strap is made into a small noose, with a knot resembling the Hebrew > yod (y or i). The three letters thus exhibited on the outside of the tefillin constitute the Hebrew name of God ч*тФ Shaddai, rendered by the English versions: "Almighty."3 The materials used in making the tefittin must come from a clean animal, and the extracts from the Pen tateuch are written in the same manner as the Torah scroll.

In " laying the teflllm" (hanohath tefill/n) that of the arm is put on first. The box is fastened on the naked left arm above the elbow, and the strap is wound seven times around the arm below the elbow. Then that of the head is put on so that the box comes to rest on the forehead below the hair and between the eyes, the knot being at the root of the neck, while the ends of the ¡strap pass over the shoulders and hang down on either side, Next, the end of the strap of the tenUo of the arm is wound thrice around the middle ringer and around the hand. Each of these performances is accompanied by appropriate benedictions and the recitation of passages from the Scriptures. In taking off the Tefillin that of the head is removed first, then that of the arm. The straps are folded around the bases (Plate 10, fig. 2), and the Tefillin are reverently put into a bag, which is sometimes included in another, so that the sacred objects may be more carefully protected.

Thursday, January 21, 2010

King Louis XVI

King Louis XVILouis XVI of France (23 August 1754 – 21 January 1793) King of France and Navarre from 1774 until 1791, King of the French from 1791 to 1792. Suspended and arrested during the Insurrection of 10 August 1792, he was tried by the National Convention, found guilty of treason, and executed by guillotine on 21 January 1793.

This image is a faithful reproduction of a two-dimensional work of art and thus not copyrightable in itself in the U.S. as per Bridgeman Art Library v. Corel Corp.; the same is also true in many other countries. The original two-dimensional work shown in this image is free contentbecause: This image (or other media file) is in the public domain because its copyright has expired.
This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924 are now in the public domain and also in countries that figure copyright from the date of death of the artist (post mortem auctoris) in this case Antoine-François Callet (1741-1823) and that most commonly run for a period of 50 to 70 years from December 31st of that year.

Wednesday, January 20, 2010

Federal Hall

Federal Hall

Federal Hall

Federal Hall
The Birthplace of American Government.

26 Wall Street was the site of New York City's 18th-century City Hall. Here John Peter Zenger was jailed, tried, and acquitted of libel for exposing government corruption in his newspaper - an early victory for freedom of the press. City Hall hosted the Stamp Act Congress, which assembled in October 1765 to protest "taxation without representation." After the American Revolution, the Continental Congress met at City Hall and, in 1787, adopted the Northwest Ordinance, establishing procedures for creating new states.

When the Constitution was ratified in 1788, New York remained the national capital. Pierre L'Enfant was commissioned to remodel the City Hall for the new federal government. The First Congress met in the now Federal Hall and wrote the Bill of Rights. George Washington was inaugurated here as the country's first President on April 30, 1789. When the capital moved to Philadelphia in 1790, the building again housed city government until 1812, when Federal Hall was demolished.

The current structure on the site was built as a Customs House, opening in 1842. In 1862, Customs moved to 55 Wall Street, and the building became the US Sub-Treasury.
Millions of dollars of gold and silver were kept in the basement vaults, until the Federal Reserve Bank replaced the Sub-Treasury system in 1920.

Image License: I, (sookietex) the creator of this work, hereby release it into the public domain. This applies worldwide. In case this is not legally possible, I grant any entity the right to use this work for any purpose, without any conditions, unless such conditions are required by law.

If This image is subject to copyright in your jurisdiction, i (sookietex) the copyright holder have irrevocably released all rights to it, allowing it to be freely reproduced, distributed, transmitted, used, modified, built upon, or otherwise exploited in any way by anyone for any purpose, commercial or non-commercial, with or without attribution of the author, as if in the public domain.

Sunday, January 17, 2010

Terry Bradshaw

Terry Bradshaw

Terry Bradshaw
030811-N-9693M-001 Arlington, Va. (Aug. 11, 2003)-- Lt. Cdr. Paul Jensen, Deputy Director of Navy Visual News Service, shows Terry Bradshaw photos of Bradshaw’s visit to the fast-attack submarine USS Pittsburgh (SSN 720) while visiting the Pentagon. Bradshaw, a National Football League (NFL) Hall of Fame quarterback, and members of the Fitz-Bradshaw racing team were visiting the Pentagon promoting their NASCAR Busch Series Race Car. U.S. Navy photo by Photographer’s Mate 2nd Class Damon J. Moritz. (RELEASED)

The purpose of this website is to provide information and news about the United States Navy to the general public. All information on this site is considered public information and may be distributed or copied unless otherwise specified. Use of appropriate byline/photo/image credits is requested.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

Saturday, January 16, 2010

Topiary Horse Tavern on the Green

Topiary Horse Tavern on the Green

Topiary Horse Tavern on the Green

Topiary Horse Tavern on the Green
The restaurant is located in New York City's Central Park at Central Park West and West 67th Street on Manhattan's Upper West Side. It was originally the sheepfold that housed the sheep that grazed Sheep Meadow, built to a design by Calvert Vaux in 1870. It became a restaurant as part of a 1934 renovation of the park under Robert Moses, New York City's Commissioner of Parks.

Topiary is the art of creating sculptures in the medium of clipped trees, shrubs and sub-shrubs. The word derives from the Latin word for an ornamental landscape gardener, topiarius, creator of topia or "places", a Greek word that Romans applied also to fictive indoor landscapes executed in fresco.

Image License: I, (sookietex) the creator of this work, hereby release it into the public domain. This applies worldwide. In case this is not legally possible, I grant any entity the right to use this work for any purpose, without any conditions, unless such conditions are required by law.
If This image is subject to copyright in your jurisdiction, i (sookietex) the copyright holder have irrevocably released all rights to it, allowing it to be freely reproduced, distributed, transmitted, used, modified, built upon, or otherwise exploited in any way by anyone for any purpose, commercial or non-commercial, with or without attribution of the author, as if in the public domain.

Thursday, January 14, 2010

Portrait of Albert Schweitzer

Portrait of Albert SchweitzerAlbert Schweitzer (14 January 1875 – 4 September 1965)

Digital ID: cph 3a31206 Source: b&w film copy neg. Reproduction Number: LC-USZ62-30537 (b&w film copy neg.) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve uncompressed archival TIFF version (1,857 kilobytes)

TITLE: Portrait of Albert Schweitzer, CALL NUMBER: FP - XX - H471, no. 220 (B size) [P&P]. REPRODUCTION NUMBER: LC-USZ62-30537 (b&w film copy neg.)
RIGHTS INFORMATION: No known restrictions on publication.

MEDIUM: 1 print : etching ; 30.2 x 25.1 cm. CREATED/PUBLISHED: [195-], CREATOR: Arthur William Heintzelman 1891-1965, artist. NOTES: Not in Guiot. Artist's proof. Signed in pencil. DLC Title and other information from Beall.

American prints in the Library of Congress : a catalog of the collection / compiled by Karen F. Beall... Baltimore : John Hopkins Press, 1970, p. 205. Gift.

REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. DIGITAL ID: (b&w film copy neg.) cph 3a31206 http://hdl.loc.gov/loc.pnp/cph.3a31206. CONTROL #: 2003667269

Tuesday, January 12, 2010

Joseph Smith, Jr. leaves Kirtland, Ohio

Joseph Smith, Jr.Joseph Smith, Jr. (December 23, 1805 – June 27, 1844) was the founder of the Latter Day Saint movement. On January 12, 1838, he left Kirtland, Ohio: After his bank fails in the Panic of 1837, he avoids arrest and heads for Missouri to rebuild his religious community.

Description: Joseph Smith, Jr. portrait owned by Joseph Smith III.jpg. Painting by an unknown painter, circa 1842. The original is owned by the Community of Christ archives. It is on display at the Community of Christ headquarters in Independence Missouri, where its provenance is explained.
The painting was originally in the possession of Joseph Smith III (died 1914), who is recorded as commenting on the painting. The c. 1842 date is given by the Community of Christ, the painting's owner.

Date: ca. 1842(1842). Source: unknown. Author: unknown.

This image is a faithful reproduction of a two-dimensional work of art and thus not copyrightable in itself in the U.S. as per Bridgeman Art Library v. Corel Corp.; the same is also true in many other countries. The original two-dimensional work shown in this image is free contentbecause: This image (or other media file) is in the public domain because its copyright has expired.

This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924 are now in the public domain and also in countries that figure copyright from the date of death of the artist (post mortem auctoris) and that most commonly run for a period of 50 to 70 years from December 31st of that year.

Sunday, January 10, 2010

The Knight And The Devil.

The Knight And The DevilTitle: The history of the devil and the idea of evil: from the earliest times to the present day. ATLA monograph preservation program. Author: Paul Carus. Publisher: Open Court, 1899. Original: from Harvard University. Digitized: Nov 28, 2007. Length: 496 pages. Image: (Old German Print.)
This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924 are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris and that most commonly runs for a period of 50 to 70 years from December 31 of that year.

One reason why there were always so many who in spite of their fear of eternal damnation tried to make contracts with the Prince of Darkness was the prevalent idea illustrated in many old legends that it was quite possible to shirk one's obligations; indeed God and all the saints were supposed to be always ready to assist people in cheating the Devil out of his own. As an instance that characterises this belief, quite common in the Middle Ages, we quote the legend of St. Gertrude, an Old-German poem of unknown authorship.

Middle Ages, we quote the legend of St. Gertrude, an Old-German poem of unknown authorship.

"A knight was stricken by poverty great,

His goods he all had wasted,
And gone from him was his whole estate ;
Such bitter want he'd tasted

That to take his life he intended.

"He rode to the forest dark and dim,

But there, the Devil awaited
The knight and said to him :
'Thou shalt be reinstated
If thou wilt assist me in secret.'

" 'I'll give thee chests full of glittering gold
In exchange for thy loving maiden, Then canst thou live well and free and bold, Until thou diest. Well laden

With joys shalt thou be while living.'

"And happy was the maiden fair,

The new wealth her heart delighted ; 'But say, my Lord,' she asked, 'from where Do the riches come?' Then affrighted Was the knight at her look and her query.

" 'O, lady dear wilt thou ride with me

Through a forest green and pleasant? The birds of the forest there play in glee, And the songs are now heard incessant Which gaily the birds are singing.'

"Together a green forest they reached ;

And near the road was standing
A little chapel, where men beseeched
Mary, whose arms were expanding
To all: our worthy mother, our lady.

"To the knight the maiden said: 'Let me
Here stop in pious feeling

In the chapel to pray an Ave Marie.'
At the altar she was kneeling

With her arms acrosswise folded.

"She there fell asleep, forgetting her care,
And Mary stepped forth from the altar
And to the knight she came blooming fair,
In her hand bearing rosary and psalter,
And mounted, as if 'twere the maiden.

"They both reached soon, in the forest dense,

The cross-road where the Devil was standing,
His rage on seeing them was intense.

'Thou hast cheated me !' he was demanding,
'Thou treacherous liar, thou trickster!

" 'Thou hast promised to bring here thy lady fair,

And thou bringest the Queen of Heaven I
With her I cannot my conquests share,
From her presence I must be driven
Yea, driven from her forever.'

"Said Mary:

" 'Thou evil spirit, away with thee,

To thy fellows thou shalt be piven,
The lady thou must leave with me !
My Son's kingdom she shall live in,
Now and forever! Amen.

Friday, January 08, 2010

Macbeth Consulting the Witches


Macbeth Consulting the WitchesTitle: The history of the devil and the idea of evil: from the earliest times to the present day. ATLA monograph preservation program. Author: Paul Carus. Publisher: Open Court, 1899. Original: from Harvard University. Digitized: Nov 28, 2007. Length: 496 pages. Image by Godefroy Engelmann (August 17, 1788 - April 25, 1839)

The Protestant Devil became somewhat more cultured than the Catholic Devil, for the advancement noticeable in the civilisation of Protestant countries extended also to him. Says Mephistopheles in Faust:

"Culture which smooth the whole world licks

Also unto the Devil sticks."

To note the progress, let us compare Wyntoun who wrote early in the fifteenth century and Shakespeare. Wyntoun's witches are ugly, old hags; Shakespeare's, although by no means beautiful, are yet interesting and poetical; they are " so withered and so wild in their attire that look not like the inhabitants o' th' earth and yet are on it." It is a poetical fiction representing temptation. And in this same sense the very word Devil is frequently used by Shakespeare. We are told, "'tis the eye of childhood that fears a painted Devil," and one fiend, as we read in Shakespeare, is the invisible spirit of wine. "The Devil," we read in Hamlet, "hath power to assume a pleasing shape." And the meaning of this sentence is plainly psychological, as we learn from another passage in which Polonius says to his daughter:

"With devotion's visage
And pious action we do sugar o'er
The Devil himself."

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924 are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case Godefroy Engelmann (August 17, 1788 - April 25, 1839), and that most commonly runs for a period of 50 to 70 years from December 31 of that year.

Thursday, January 07, 2010

Ragnarok (the twilight of the gods)



Ragnarok (the twilight of the gods). Title: The history of the devil and the idea of evil: from the earliest times to the present day. ATLA monograph preservation program. Author: Paul Carus. Publisher: Open Court, 1899. Original: from Harvard University. Digitized: Nov 28, 2007. Length: 496 pages. Image by Johannes Gehrts (1855 – 1921)

The most remarkable feature of Teutonic mythology is the conception of doomsday or Ragnarok (the twilight of the gods), boding a final destruction of the world, including all the gods. At present the powers of evil are fettered and subdued, but the time will come when they will be set loose. Loki, the Fenris wolf, the Midgard serpent, and Hel, with their army of frost giants and other evil beings, will approach.

Heimdall, the watchman of the gods, will blow his horn, and the Asas prepare for battle. The combat on the field Vigrid will be internecine, for the Asas are to die while killing the monsters of wickedness whom they encounter, and the flames of Muspil will devour the wrecks of the universe.

Ragnarok (the twilight of the gods)

Ragnarok (the twilight of the gods)

The world had a beginning, it therefore must come to an end; but when the world is destroyed a new heaven and a new earth will rise from the wreck of the old one, and the new world will be better than the old one. Leifthraser and his wife Lif (representing the desire for Life and potential Life) remained concealed during the catastrophe in Hodmimer's grove and were not harmed by the flames. They now become the parents of a new race that will inhabit the new abode, called Gimel (the German Himmet), and among them will be found Odhiu with his sons, Thor, Baldur, Fro, and all the other Asas.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924 are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case Johannes Gehrts (1855 – 1921), and that most commonly runs for a period of 50 to 70 years from December 31 of that year.

Wednesday, January 06, 2010

Braille Alphabet and Apparatus



Braille Alphabet and Apparatus. Title Encyclopedia Britannica, Volume 4 of The Encyclopaedia Britannica: A Dictionary of Arts, Sciences, Literature and General Information, Hugh Chisholm
Author Hugh Chisholm, Edition 11. Publisher: Encyclopaedia Britannica, 1910, Original from: Harvard University. Digitized: Jul 24, 2008.

Louis Braille, a pupil and afterwards a professor of the Institution Nationale dcs Jeunes Aveugles, Paris, studied all the various methods in which arbitrary characters were used. Barbicr's letter, although it gave a large number of combinations, was too long to be covered by the finger in reading, and Louis Braille reduced the number of dots. In 1834 Braille perfected his system. Dr Armitage considered it was the greatest advance that had ever been made in the education of the blind.

The Braille alphabet consists of varying combinations of six dots in an oblong, of which the vertical side contains three, and the horizontal two dots. There are 63 possible combinations of these six dots, and after the letters of the alphabet have been supplied, the remaining signs are used for punctuation, contractions, etc.

Braille Alphabet and Apparatus

This image is in the public domain in the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924 are now in the public domain.

Tuesday, January 05, 2010

The Lost Book of Nostradamus Female Priests

The Lost Book of Nostradamus Female PriestsThe Lost Book of Nostradamus Female Priests. The origin of the work the 13-14th century Vaticinia de Summis Pontificibus. Vaticinia Nostradami (The Prophecies of Nostradamus) for short, is a collection of eighty watercolor images compiled as an illustrated codex
Lost Book of Nostradamus, The Prophecies of Michel Nostradamus on the Future Vicars of Christ to Cesar his son, as expounded by Lord Abbot Joachim, or Vaticinia Nostradami Image 44 illustration in Vaticinia Nostradami by 14th century artist Anito Efesio.

This image is in the public domain in the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924 are now in the public domain.

and also in countries that figure copyright from the date of death of the artist (post mortem auctoris, in this case 14th century artist Anito Efesio) and that most commonly run for a period of 50 to 70 years from December 31st of that year.

Monday, January 04, 2010

The Lost Book of Nostradamus

The Lost Book of NostradamusLost Book of Nostradamus, The Prophecies of Michel Nostradamus on the Future Vicars of Christ to Cesar his son, as expounded by Lord Abbot Joachim, or Vaticinia Nostradami PLATE 27 illustration in Vaticinia Nostradami by 14th century artist Anito Efesio.

This image is in the public domain in the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924 are now in the public domain.
and also in countries that figure copyright from the date of death of the artist (post mortem auctoris, in this case 14th century artist Anito Efesio) and that most commonly run for a period of 50 to 70 years from December 31st of that year.

Sunday, January 03, 2010

Brett Favre

Brett Favre

Brett Favre
081107-N-2022D-033 N.J. (Nov. 7, 2008) New York Jets quarterback Brett Favre takes time after the team's practice in Florham Park to sign an autograph for Storekeeper 1st Class Louis Lopez, a recruiter assigned to Navy Recruiting District New York. The Jets invited service members to the practice as part of their Military Appreciation Weekend. (U.S. Navy photo by Chief Mass Communication Specialist Eric Durie/Released)

The purpose of this website is to provide information and news about the United States Navy to the general public. All information on this site is considered public information and may be distributed or copied unless otherwise specified. Use of appropriate byline/photo/image credits is requested.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

RELATED:

Saturday, January 02, 2010

Mercedes Benz 190 SL

Mercedes-Benz 190 SLThe Mercedes-Benz 190SL was a two door grand touring convertible with a removable hardtop. It was produced by Mercedes-Benz between May 1955 and February 1963.

I (Garitzko), the copyright holder of this work, hereby release it into the public domain. This applies worldwide.
In case this is not legally possible: I (Garitzko) grant anyone the right to use this work for any purpose, without any conditions, unless such conditions are required by law.

Friday, January 01, 2010

Happy New Year

Happy New Year
Wishing all a joyful new year, members of the Cassini-Huygens team offer us their views of Saturn and the Cassini spacecraft. Cassini-Huygens, a cooperative project of NASA, the European Space Agency and the Italian Space Agency,
which is managed by the Jet Propulsion Laboratory, a division of the California Institute of Technology in Pasadena, for NASA. The Cassini orbiter (pictured at the top right of this image) and its two onboard cameras were designed, developed and assembled at JPL. The imaging operations center is based at the Space Science Institute in Boulder, Colo.

Image Credit: NASA/JPL

NASA Copyright Notification: Photographs are not protected by copyright unless noted. If not copyrighted, photographs may be reproduced and distributed without further permission from NASA. NASA makes every attempt to use media on our web pages (e.g., graphics, artwork, sounds), that is free for use or in the public domain.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.