Description.

The trifoliate orange is recognizable by the large thorns on the shoots, and its deciduous leaves with three (or rarely, five) leaflets, typically with the middle leaflet long, and the two side leaflets long. The flowers are white, with pink stamens, in diameter, larger than those of true citrus but otherwise closely resembling them, except that the scent is much less pronounced than with true citrus. As with true citrus, the leaves give off a spicy smell when crushed.  The fruits are green, ripening to yellow, and in diameter similar in size to a lime and resembling a small orange, but with a finely downy surface and having a fuzzy texture similar to a peach. The fruits also have distinctive smell from other citrus varieties and often contain a high concentration of seeds.

Uses.

Cultivation.

The cultivar "Flying Dragon" is dwarfed in size and has highly twisted, contorted stems. It makes an excellent barrier hedge due to its density and strong curved thorns. Such hedges have been grown for over 50 years at Oklahoma State University in Stillwater, and are highly student-proof. The plant is also highly deer resistant. In central London, mature Trifoliate Orange specimens can be seen in the gardens of St Paul's Cathedral.  Trifoliate orange and various hybrids of this plant are widely used as citrus rootstocks.  Recent studies have revealed that the trifoliate orange contains aurapten at a high concentration, which is one of the functional components having immunity against citrus tristeza virus (CTV).

As food.

The fruits are very bitter, due in part to their poncirin content. Most people consider them inedible fresh, but they can be made into marmalade. When dried and powdered, they can be used as a condiment.

Medicine.

Traditional medicine.

The fruits of the trifoliate orange are widely used in medical traditions of East Asia as a treatment for allergic inflammation.

Related cultivars.

A second species in "Poncirus" native to Yunnan (China) has been reported and named "P. polyandra". Were "Poncirus" to be subsumed into "Citrus", a renaming would be required since a distinct "C. polyandra" already exists: "Citrus polytrifolia" has been suggested. However, Zhang and Mabberley concluded this Yunnan cultivar is likely a hybrid between the Trifoliate orange and another "Citrus", which would make it "C. x polytrifolia".  The trifoliate orange does not naturally interbreed with core "Citrus" taxa due to different flowering times, but hybrids have been produced artificially between the Trifoliate orange and other citrus. In the Swingle system, where the trifoliate orange is place in "Poncirus", a hybrid genus name has been coined for these intra-generic crosses, "× "Citroncirus"". The most notable of these are the citrange, a cross between the trifoliate and sweet oranges, and the citrumelo, a hybrid of trifoliate orange and 'Duncan' grapefruit. Placing the trifoliate orange in "Citrus" would mean these hybrids would no longer be intergeneric, but instead hybrids within "Citrus".

The trifoliate orange, Citrus trifoliata or Poncirus trifoliata, is a member of the family Rutaceae. Whether the species should be considered to belong to its own genus, "Poncirus" or included in the genus "Citrus" is debated. The species is unusual among citrus for having deciduous, compound leaves and pubescent (downy) fruit.


Early life.

Princess Amelia was born at Herrenhausen Palace, Hanover, Germany, on 30 May 1711 (Old Style). At the time of her birth, her father was The Hereditary Prince of Brunswick-Lüneburg, the son of the Elector of Hanover. Her mother was Caroline of Ansbach, daughter of Johann Friedrich, Margrave of Brandenburg-Ansbach. She was known to her family as Emily.

Great Britain.

On 1 August 1714, Queen Anne of Great Britain died. Princess Amelia's grandfather succeeded her to become George I of Great Britain, in accordance with the provisions of the Act of Settlement 1701. Amelia's father, now heir apparent to the throne of Great Britain, was made Duke of Cornwall and created Prince of Wales on 27 September 1714. She moved to Great Britain with her family and they took up residence at St James's Palace in London.  Though comparatively healthy as an adult, Amelia was a sickly child and her mother employed Johann Georg Steigerthal and Hans Sloane to treat her as well as secretly asking advice from physician John Freind. In 1722, her mother, who had progressive ideas, had Amelia and her sister Caroline inoculated against smallpox by an early type of immunisation known as variolation, which had been brought to England from Constantinople by Lady Mary Wortley Montagu and Charles Maitland. On 11 June 1727, George I died and her father succeeded him as George II. She lived with her father until his death in 1760.  Amelia's aunt Sophia Dorothea, Queen in Prussia suggested Amelia as a suitable wife for her son Frederick (later known as Frederick the Great) but his father Frederick William I of Prussia forced his son to marry Elisabeth Christine of Brunswick-Bevern instead.  Amelia greatly enjoyed riding and hunting. She was disliked by artistic fops such as John, Lord Hervey, and Lady Pomfret considered her "one of the oddest princesses that ever was known; she has ears shut to flattery and her heart open to honesty."  Amelia may have been the mother of composer Samuel Arnold (1740–1802) through an affair with a commoner of the name Thomas Arnold.

Later life.

In 1751, Princess Amelia became ranger of Richmond Park after the death of Robert Walpole, 2nd Earl of Orford. Immediately afterwards, the Princess caused major public uproar by closing the park to the public, only allowing few close friends and those with special permits to enter.  This continued until 1758, when a local brewer, John Lewis, took the gatekeeper, who stopped him from entering the park, to court. The court ruled in favour of Lewis, citing the fact that, when Charles I enclosed the park in the 17th century, he allowed the public right of way in the park. Princess Amelia was forced to lift the restrictions.  The Princess was generous in her gifts to charitable organisations. In 1760 she donated £100 to the society for educating poor orphans of clergymen (later the Clergy Orphan Corporation) to help pay for a school for 21 orphan daughters of clergymen of the Church of England. In 1783 she agreed to become an annual subscriber of £25 to the new County Infirmary in Northampton.  In 1761, Princess Amelia became the owner of Gunnersbury Estate, Middlesex, purchased from the estate of Henry Furnese. Princess Amelia used Gunnersbury as her summer residence. She added a chapel and at some time between 1777 and 1784, she commissioned a bath house, extended as a folly by a subsequent owner of the land in the 19th century, which still stands today with a Grade II English Heritage listing and is known as "Princess Amelia's Bathhouse".  She also owned a property in Cavendish Square, Soho, London, where she died unmarried on 31 October 1786, at which time she was the last surviving child of King George II and Queen Caroline. A miniature of Prince Frederick of Prussia was found on her body. She was buried in the Henry VII Lady Chapel in Westminster Abbey.

Legacy.

Amelia Island in Florida, United States, is named for her, as is Amelia County in Virginia, United States.

Arms.

On 31 January 1719, as a grandchild of the sovereign, Amelia was granted use of the arms of the realm, differenced by a "label argent of five points ermine". On 30 August 1727, as a child of the sovereign, Amelia's difference changed to a "label argent of three points ermine".

Princess Amelia of Great Britain (Amelia Sophia Eleanor; 10 June 1711 (New Style) – 31 October 1786) was the second daughter of King George II of Great Britain and Queen Caroline.


Life.

Hélène Berr was born in Paris, France, a member of a Jewish family that had lived in France for several generations. She studied Russian and English literature at the Sorbonne university. She also played the violin. She was not able to pass her final exam at the university because the anti-Semitic laws of the Vichy regime prevented her from doing so. She was active in the "General Organization of Jews in France" (Union générale des israélites de France, UGIF). On 8 March 1944 Hélène and her parents were captured and taken to Drancy internment camp and from there were deported to the Auschwitz concentration camp on 27 March 1944. In early November 1944 Hélène was transferred to the Bergen-Belsen concentration camp, where she died in April 1945 just five days before the liberation of the camp.

Diary.

Hélène Berr began her notes on 7 April 1942 at the age of 21. At first the horrors of anti-Semitism and the war do not show in her diary. The landscape around Paris, her feelings for one young man, Gérard, and her friends at the Sorbonne are the topics of her diary. In addition to her studies, the reading and discussion of literature, and playing and listening to music comprise a significant part of her social and cultural life. She falls in love with Jean Morawiecki, who reciprocates, but ultimately decides he must leave Paris to join the Free French in late November 1942.  In her text, which has many literary citations including William Shakespeare, John Keats and Lewis Carroll, the war initially appears at most as an evil dream. But little by little she becomes more conscious of her situation. She reports about the yellow badge that Jews were ordered to wear and notes the expulsions from public parks, the curfews and arrests, as well as the abuse against her family members and friends.  The actions directed against the Jews become harsher and more painful to all of them, but the Final Solution itself is never made explicit to the public. Because of this, Berr, who does much volunteer work with orphans, initially finds it impossible to comprehend why women and especially children are included in the deportations to the camps. She hears rumours about the gas chambers and complains about her fear of the future: "We live from hour to hour, not even from day to day." A deported Jew tells her about the plans of the Nazis. The last entry in the diary is about a conversation with a former prisoner of war from Germany. The diary ends on 15 February 1944 with a citation from Shakespeare's 'Macbeth': "Horror! Horror! Horror!" The Diary, written in French, contains some English. It was translated by David Bellos and the entire diary has been translated besides 2 sentences. The first sentence appears on page 48 (of the English copy). "Refait l'Ancien dans la matinée." The meaning of this sentence has not been established. The second sentence that has not been translated was on page 261. "Nous serons de la même fournée." Madame Loewe says this sentence to reassure Hélène. In common tongue, this phrase means, "We'll be in the same boat." Madame Loewe is trying to reassure Hélène that she is not alone and that if they are taken they will be taken together. It was meant to reassure her. However, the literal translation of that sentence is, "We will be in the same oven." To quote David Bellos (the translator), "I cannot reproduce in English the hideous lurch into prophecy made by this phrase in French, and so I have left it alone."

Publication.

Berr ordered her notes to be released to her fiancé Jean Morawiecki after her death. Morawiecki later followed a career as a diplomat. In November 1992, Hélène Berr's niece, Mariette Job, decided to track down Morawiecki with a view to publishing the diary. He gave the diary that consists of 262 single pages to Job in April 1994. The diary has been stored at Paris' (Holocaust Memorial Museum) since 2002.  The book was published in France in January 2008. The "Libération" paper declared it as "the editorial event at the beginning of 2008" and reminded the readers of the lively discussions about the book of Jewish Irène Némirovsky. The first print of 24,000 copies was sold out after only two days.

Exhibition.

Opening of the exhibit "Hélène Berr, A Stolen Life - Exhibition from Mémorial de la Shoah, Paris France", was held at the Alliance Française d'Atlanta in Atlanta, Georgia USA, on Wednesday, 22 January 2014, at 7:00 PM. Speakers included the Consul Generals of France and Germany, Directors of the Alliance Française and the Goethe-Zentrum as well as the Executive Directors of the Memorial de la Shoah, Paris and the Georgia Commission on the Holocaust.

Hélène Berr (27 March 1921 – April 1945) was a French woman of Jewish ancestry and faith, who documented her life in a diary during the time of Nazi occupation of France. In France she is considered to be a "French Anne Frank".


Synopsis.

Adonis is a young man renowned for his incredible beauty. However, he is not interested at all in love; he only wants to go hunting. Venus is the goddess of love. When she sees Adonis, she falls in love with him, and comes down to earth, where she encounters him setting out on a hunt. She desires him to get off his horse, and speak to her. Adonis doesn't want to talk to any woman, not even a goddess. So she forces him, and then lies down beside him, gazes at him, and talks of love. She craves a kiss; he wants to leave and go hunting. He manages to get away, and he goes to get his horse.  At that moment, his horse becomes enamored of another horse, who at first resists, but soon the two animals gallop off together, which keeps Adonis from going hunting. Venus approaches him, and continues to speak to him of love. He listens for a bit, then turns away scornfully. This pains her, and she faints. Afraid he might have killed her, Adonis kneels beside her, strokes and kisses her. Venus recovers and requests one last kiss. He reluctantly gives in.  Venus wants to see him again; Adonis tells her that he cannot tomorrow, because he is going to hunt the wild boar. Venus has a vision, and warns him that if he does so, he will be killed by a boar. She then flings herself on him, tackling him to the ground. He prises himself loose, and lectures her on the topic of lust versus love. He then leaves; she cries.  The next morning Venus roams the woods searching for Adonis. She hears dogs and hunters in the distance. Thinking of her vision that he will be killed by the boar, she is afraid, and hurries to catch up with the hunt. She comes across hunting dogs that are injured. Then she finds Adonis, killed by a wild boar. Venus is devastated. Because this loss occurred to the goddess of love, she decrees that love will henceforth be mixed with suspicion, fear, and sadness. Adonis' body has grown cold and pale. His blood gives color to the plants all around him. A flower grows from the soil beneath him. It is white and purple, like blood on Adonis' flesh. Venus, bereft, leaves the Earth to hide her sadness where the gods live.

References.

Notes  Bibliography

Venus and Adonis is a narrative poem by William Shakespeare published in 1593. It is probably Shakespeare's first publication. The poem tells the story of Venus, the goddess of Love; of her unrequited love; and of her attempted seduction of Adonis, an extremely handsome young man, who would rather go hunting. The poem is pastoral, and at times erotic, comic, and tragic. It contains discourses on the nature of love, and observations of nature.


Family background.

Angelica Garnett was born at Charleston Farmhouse in East Sussex on Christmas Day 1918. She was the biological daughter of the painter Duncan Grant and Vanessa Bell; her aunt was Virginia Woolf.  Until the summer of 1937, when Garnett was 18, she believed her biological father was Clive Bell, Vanessa's husband, rather than the mostly homosexual Grant, although the reality was an open secret within their immediate Bloomsbury circle. In fact, although there was no formal separation or divorce, the Bells' marriage had come to an end in 1916. In that year, Vanessa rented Charleston Farmhouse from the Gage estate, so that Duncan Grant, with whom she had fallen in love, and his lover, David Garnett, could work there as farm labourers; both were conscientious objectors. Grant and Vanessa Bell continued to live together after the presumed end of their sexual relationship. Clive Bell would visit at weekends.  When Vanessa Bell informed her daughter of her true parentage she advised her not to talk about it. The deception avoided servant gossip and preserved the possibility of a legacy from Clive Bell's father who had settled allowances on his grandchildren. Angelica grew up believing that two of those grandchildren, Vanessa and Clive's sons, Julian Bell, who was killed in 1937 during the Spanish Civil War, and the art historian Quentin Bell, were her biological brothers, rather than her biological half-brothers. Vanessa comforted herself with the idea that her daughter had two fathers; "in reality," Angelica wrote, "I had none".

Education.

Angelica Garnett grew up at Charleston, indulged by her mother and surrounded by the artists, writers and intellectuals of the Bloomsbury Group. After her 14th birthday, Virginia Woolf gave Angelica a clothing budget of £100 a year.  At the age of ten she was sent to boarding school at Langford Grove in Essex. She left without any qualifications, spent several months living in Rome and in 1935 moved for a time to Paris, staying with the artist Zoum Walter and her writer husband Francois. In 1936 Angelica went to the London Theatre Studio to train, briefly, as an actress under Michel Saint-Denis and George Devine. She changed to the study of art at the Euston Road School, where she was taught by William Coldstream and Victor Pasmore, the latter of whom apparently reduced her to tears.

Marriage.

In 1942, aged 24, Angelica married David Garnett, by then an editor, reviewer and novelist whose mother was Constance Garnett, the noted translator of Russian literature. The relationship had begun in the spring of 1938, when Garnett was married to his first wife, Rachel "Ray" Marshall, who was dying of cancer. Angelica had four daughters with Garnett—Amaryllis, Henrietta, Nerissa, and Frances.  Garnett was a member of her parents' circle, a former lover of Duncan Grant who had also attempted to seduce Vanessa Bell. When Angelica was born, Garnett had written to Lytton Strachey saying of the baby: ""Its beauty is the remarkable thing... I think of marrying it; when she is 20 I shall be 46 – will it be scandalous?"" In fact Garnett was nearly 50 at the time of their marriage. Despite their consternation, Angelica's parents did not inform their daughter of these details of Garnett's past, although various associates of the family did attempt to warn her against the marriage: John Maynard Keynes had her to tea. Angelica lost her virginity to Garnett in H.G. Wells's spare bedroom.  The couple moved to Hilton Hall, Cambridgeshire, which David Garnett had bought in 1924. His novella, "Aspects of Love" (1955), dedicated to Angelica and involving similarly complicated domestic arrangements, was later adapted into a highly successful musical by Andrew Lloyd Webber. The Garnetts separated in 1967.  For a time Angelica was in love with George Bergen, a Russian-Jewish painter who had been another of Duncan Grant's lovers, but the relationship did not last.

Memoir.

In 1984 Angelica Garnett published her memoir, "Deceived with Kindness: A Bloomsbury Childhood". The book was direct and sharply critical in its description of her upbringing and relationship with her parents, revealing Bloomsbury's rather conventional inability to confront deep personal feelings. In those characteristics it was a departure from much of the coverage the Bloomsbury Group had received up to that time. In it Garnett wrote, ""My dream of the perfect father – unrealized – possessed me, and has done so for the rest of my life. My marriage was but a continuation of it, and almost engulfed me."" The memoir was awarded the J. R. Ackerley Prize for Autobiography in 1985.  Garnett was the author of a second memoir, "The Eternal Moment" (1998), and published a volume of autobiographical fiction entitled "The Unspoken Truth: A Quartet of Bloomsbury Stories" (2010). At the time of her death she had been working on an autobiography.

Later life and work.

After the end of her marriage, Angelica Garnett moved to Islington, north London. She moved back to Charleston after the death of Duncan Grant in 1978, before moving to nearby Ringmer and then to France. Garnett had spent long parts of her childhood staying in the south of France, mostly at Cassis, near Marseilles.  Garnett was actively involved in the efforts that saw Charleston restored and opened to the public as a museum. She advised on the reconstruction of its fabrics, and on the selection and application of pigments; also talking at festivals and giving fund-raising lectures, including in America. In 1994 she donated more than 8000 sketches and drawings by Duncan Grant and Vanessa Bell to The Charleston Trust.  Angelica Garnett continued to paint, developing a reputation, mostly for still lifes, and exhibiting in Europe and America. She also worked with mosaics, designed book jackets and textiles, decorated pots, and, in the 1980s, began to create sculptures using found objects and materials.  The last 30 years of her life were spent in Forcalquier in the south of France. Angelica Garnett died in Aix-en-Provence on 4 May 2012.

Biography.

"Bloomsbury's Outsider: A Life of David Garnett", Sarah Knights, Bloomsbury Reader, Paperback and Digital, (15 May 2015),, 632 pages.

Children.

With David Garnett, Angelica had four daughters: Amaryllis Virginia (1943–1973), an actress; Henrietta (1945–2019), a writer; Nerissa, called Nel (1946–2004), a painter, photographer and ceramics artist; and Nel's twin Frances, called Fanny (b. 1946), who farms in France.  When Henrietta Garnett was 17 she married Lytton Burgo Partridge, the son of Frances Partridge, who was the sister of David Garnett's first wife. Burgo Partridge died from a heart attack less than a year later, three weeks after the birth of their daughter, Sophie Vanessa. Amaryllis Garnett drowned in the Thames in 1973; she was 29. Nerissa Garnett died from a brain tumour in 2004.

Angelica Vanessa Garnett, née Bell (25 December 1918 – 4 May 2012), was a British writer, painter and artist. She was the author of the memoir "Deceived with Kindness" (1984), an account of her experience growing up at the heart of the Bloomsbury Group.


Biography.

Born at Kragujevac, he was educated at Belgrade, Heidelberg, Berlin and Paris. After failing to obtain a professorship at Belgrade's Grandes écoles, he was appointed in 1861 Serbian diplomatic agent at Constantinople. On his return from Constantinople, his brilliant intellectual qualities attracted the attention of the government. He soon became known as the most competent of the government officials. He was immediately offered a ministerial post by Prince Mihailo, who described him as his "right arm", but declined office, being opposed to the reactionary methods adopted by the prince's government. He had already become the recognized leader of the Liberal Party. As a politician, he saw all the dangers that would have to be faced should Serbia embark on a policy of land redemption. The Turkish army, always a formidable fighting force, would overwhelm the Serbs, if it could be wholly massed against them. A Serbian invasion of the rebellious provinces would also, if successful, mean a conflict with Austria-Hungary, in which Russia would probably not interfere, while France was then in no condition to support other nations' plights for freedom. Ristić's reputation was enhanced by the series of negotiations which ended in the peaceful withdrawal of the Turkish troops from the Serbian fortresses in 1867. After the assassination of Prince Mihailo in 1868, he was nominated member of the council of regency, and on 2 January 1869 the third Serbian constitution, which was mainly his creation, was promulgated. When the regency came to an end, and Prince MIlan attained his majority in 1872, Ristić became foreign minister; a few months later he was appointed prime minister, but resigned in the following autumn (1873). Later, Old Serbia broke into rebellion, and this was followed by a similar movement in Bulgaria. Ristić again became prime minister in April 1876, and was faced with a dilemma. If Serbia could only act quickly and establish herself in Bosnia-Herzegovina and Old Serbia, it would take time to dislodge her, and meanwhile the example of insurrection would probably spread far and wide over the whole of Turkey in Europe. Also Ristić, Stevča Mihailović, Ilija Garašanin, Nikola Hristić, Miloje Lješanin, Ljubomir Kaljević, Milivoje Petrović Blaznavac, Jovan Marinović, Milan Piroćanac, Sava Grujić, and other distinguished Serbian statesmen have been taught by long experience that with the Powers nothing succeeds like self-help. Possession is nine points of the law. Ristić was able to deduct, if Serbia could maintain a position, however precarious, in the "unredeemed" Serbian lands, the Serbs could look forward with confidence to being ultimately supported by Russia. Ristić therefore decided to act, and all Serbia was behind him. In that way he gained an international reputation as foreign minister on two important occasions (while prosecuting two wars against Turkey: July 1876; and March 1877 and December 1877; March 1878) by promoting an expansionist policy that he hoped would make Serbia the nucleus for a strong South Slav state. There were times when things looked dim. While Bulgaria was to obtain frontiers far beyond her wildest dreams, Serbia was to obtain little more than the merest rectification.  At the Congress of Berlin Ristić labored with some success to obtain greater advantages for Serbia than had been accorded to her by the Treaty of San Stefano. His personal secretary at the congress was poet and attorney Laza Kostić. The provisions of the Treaty of Berlin provided Serbia with no more than of new territory and a proclamation of complete independence from Turkey. This, however, disappointed the Serbians, owing to the obstacles now raised to the realization of the national program. The Ristić government became unpopular. He was forced to resign when he refused to sign a trade agreement with Austria-Hungary that he believed would make Serbia economically dependent on that country.  In 1887 King Milan I (who had assumed the royal title in 1882), alarmed at the threatening attitude of the Radical party, recalled Ristić to power at the head of a coalition cabinet; a new constitution was granted in 1889, and later that year the king abdicated in favor of his son, Prince Alexander. Ristić now became head of a council of regency, entrusted with power during the minority of the young king, and a Radical ministry was formed.  In 1892, however, Ristić transferred the government to the Liberal party, with which he had always been connected. This step and the subsequent conduct of the Liberal politicians caused serious discontent in the country. On 1 (13) April 1893 King Alexander, by a successful stratagem, imprisoned the regents and ministers in the palace, and, declaring himself of age, recalled the Radicals to office.  Ristić now retired into private life. He died in Belgrade on September 4, 1899. Though cautious and deliberate by temperament, he was a man of strong will and firm character.  He was awarded Order of the White Eagle and a number of other decorations.

Works.

He was the author of several major historical works:  Jovan Ristić was a member of the Serbian Royal Academy of Arts and Sciences and the Serbian Learned Society in Belgrade.

Legacy.

He is included in The 100 most prominent Serbs.

Jovan Ristić, or Ristitch (Serbian Cyrillic: Јован Ристић; 16 January 1831 – 4 September 1899) was a Serbian politician, diplomat and historian.


Biography.

Early life.

Amalia of Solms-Braunfels, born into the House of Solms, a ruling family with Imperial immediacy, spent her childhood at the parental castle at Braunfels.  She became part of the court of Elizabeth, wife of Frederick V, Elector Palatine, the "Winter King" of Bohemia. After imperial forces defeated Frederick V, she fled from Prague with the pregnant queen to the west. Shelter was denied to them along the way because the emperor forbade it as Frederick had been placed under an Imperial ban. Elizabeth went into labour during their flight and Amalia helped her with her delivery of Prince Maurice at Küstrin castle.  The end of their journey was The Hague, where stadtholder Maurice of Nassau, uncle of the elector gave them asylum in 1621. They often appeared at his court, where Maurice's younger half-brother Frederick Henry became infatuated with Amalia in 1622. She refused to become his lover and held out for marriage.  When Maurice of Nassau died, he made his half-brother Frederick Henry promise to wed. Frederick married Amalia on 4 April 1625.

Wife to the Stadtholder.

When Frederick Henry became stadtholder after the death of his half-brother Prince Maurice, his influence grew substantially, as did Amalia's. Together Frederick Henry and Amalia succeeded in expanding court life in The Hague. They had several palaces built, including Huis ten Bosch. Amalia was a great collector of art and amassed many jewels, which were inherited by her four surviving daughters. She was described as intelligent, arrogant and ambitious, not beautiful but with a fresh and appealing appearance.  Amalia was the prime mover of several royal marriages, including that of her son William II to Mary, Princess Royal of England and Scotland (daughter of King Charles I of England) and of their daughters with several German princes.  The relationship between Amalia and Frederik Hendrik was described as happy, and Amalia is acknowledged to have acted as his political adviser. From 1640 until his death in 1647, Frederik Hendrik's health (he suffered from gout and probably also from a form of Alzheimer's) made it increasingly difficult for him to participate in politics, and during these seven years, Amalia therefore effectively functioned as regent and stadtholder, maintaining diplomatic contacts and making political decisions on his behalf. Her de facto political position was acknowledged and diplomats, aware of this, tried to influence her decisions by costly presents. It was reportedly Amalia who was behind Frederik Hendrik's participation in the negotiations which was eventually to result in the Peace of Münster of 1648. As a recognition, King Philip IV of Spain granted her the seigniory and castle of Turnhout in 1649.  In 1647, her spouse died and was succeeded as stadtholder and prince of orange by their son William II, Prince of Orange.

Regency.

After the death of her son William II in 1650, her grandson William III (Prince William III of Orange and later also King William III of England) became prince of Orange. A regency council was appointed during her minority, and Amalia and her former daughter-in-law Mary Stuart fought over guardianship and thereby chairmanship of the regency council; the High Court of Holland and Zeeland finally granted both Mary and Amalia shared guardianship, and thereby shared part in the regency council of Orange.  Amalia was supported against Mary by her son-in-law, the Elector of Brandenburg, and she was on good terms with the Grand Pensionary Johan de Witt, a relationship which did not change with the Act of Exclusion of 1654, barring the prince from all ancestral offices. When Mary died in 1660, Amalia in practice took sole control of the regency of her grandson. She maintained good relations to De Witt even by the passing of the 1667 Eternal Edict, which abolished the office of stadholder entirely. During this time she lived in the Oude Hof on the Noordeinde, maintaining her court and diplomatic contacts with royalty.  In 1672, her grandson was declared adult and his regency council thereby dismissed. Amalia retired and witnessed him becoming stadholder of Holland, Zeeland, Utrecht, Gelderland and Overijssel and captain-general of the Union.

Tributes.

A wine from wine estate Solms-Delta in Franschhoek (South Africa) is named after Amalia of Solms-Braunfels. The wine honours the role played by her in Dutch political life. Her grandson, William III, King of England, provided refuge and support to thousands of French Huguenots after the revocation of the Edict of Nantes in 1685. Some 180 of these refugees, fleeing religious persecution, were relocated to the Cape and granted farms in Franschhoek. Here they laid the foundations of the modern South African wine industry.

Amalia of Solms-Braunfels (31 August 1602, Braunfels – 8 September 1675, The Hague), was Princess consort of Orange by marriage to Frederick Henry, Prince of Orange. She acted as the political adviser of her spouse during his reign, and acted as his de facto deputy and regent during his infirmity from 1640–47. She also served as chair of the regency council during the minority of her grandson William III, Prince of Orange from 1650 until 1672. She was the daughter of count John Albert I of Solms-Braunfels and countess Agnes of Sayn-Wittgenstein.


Description.

The images follow the processing of newly arrived Hungarian Jews from Carpatho-Ruthenia in the early summer of 1944. They document the disembarkation of the Jewish prisoners from the train boxcars, followed by the selection process, performed by doctors of the SS and wardens of the camp, which separated those who were considered fit for work from those who were to be sent to the gas chambers. The photographer followed groups of those selected for work, and those selected for death to a birch grove just outside the crematoria, where they were made to wait before being killed. The photographer also documented the workings of the "Canada" storage facilities, where the looted belongings of the prisoners were sorted before transport to Germany.  The album's survival is remarkable, given the strenuous efforts made by the Nazis to keep the "Final Solution" a secret. Also remarkable is the story of its discovery. Lili Jacob (later Lili Jacob-Zelmanovic Meier) was selected for work at Auschwitz-Birkenau, while the other members of her family were sent to the gas chambers. The Auschwitz camp was evacuated by the Nazis as the Soviet army approached. Jacob passed through various camps, finally arriving at the Dora concentration camp, where she was eventually liberated. Recovering from illness in a vacated barracks of the SS, Jacob found the album in a cupboard beside her bed. Inside, she found pictures of herself, her relatives, and others from her community. The coincidence was astounding, given that the Nordhausen-Dora camp was over away, and that over 1,100,000 people were killed at Auschwitz.  The album's existence had been known publicly since at least the 1960s, when it was used as evidence at the Frankfurt Auschwitz Trials. Nazi-hunter Serge Klarsfeld visited Lili in 1980 and convinced her to donate the album to Yad Vashem. The album's contents were first published that year in the book "The Auschwitz Album", edited by Klarsfeld.

The Auschwitz Album is a photographic record of the Holocaust during the Second World War. It and the "Sonderkommando" photographs are the only known pictorial evidence of the extermination process inside Auschwitz II-Birkenau, the German extermination camp in occupied Poland.


Life.

Anna d'Este was born on 16 November 1531, the eldest daughter of the Duke of Ferrara Ercole II (son of Lucrezia Borgia and grandson of Pope Alexander VI) and his wife, Renée of France (daughter of King Louis XII of France). She grew up in Ferrara, where she received an excellent education. The future writer and scholar Olympia Fulvia Morata was chosen as one of her companions at court.  In 1548, after long and difficult negotiations, her marriage was arranged with the French prince Francis, Duke of Aumale, son of the Duke of Guise. The contract was signed in Ferrara on 28 September and the marriage was held in Saint-Germain-en-Laye near Paris on 16 December. The princess was never to return to Italy. Anna was the granddaughter of the French king Louis XII and therefore related to Henry II and his sons.  By her marriage she had become a member of the powerful Guise family, and because of her Italian roots she had especially close ties to the queen and later queen-mother, Catherine de' Medici. For these reasons, her position at court was outstanding. Duchess of Guise after the death of her father-in-law in 1550, she governed the family estates and the enormous fortunes of the Guise with the help of her mother-in-law, Antoinette de Bourbon. She was active on behalf of her father and acted as mediator between the courts of France and of Ferrara. She gave birth to seven children, four of whom reached adulthood. In February 1563 Francis, Duke of Guise, was assassinated. While the murderer was seized and immediately put to death, Anna took all possible steps to sue the leader of the French Huguenots, Gaspard de Coligny, whom she held responsible. During the next three years, the widow put pressure on the king and his courts of justice with her petitions, but in January 1566 the king's council declared the admiral of Coligny innocent and imposed eternal silence in the matter. Consequently, most of her contemporaries held the widow of the Duke of Guise responsible for the shot which was fired on Coligny on 22 August 1572 and which became the starting signal for the St. Bartholomew's Day massacre. On 29 April 1566, Anna married Jacques of Savoy, Duke of Nemours and Genevois. Henceforth, the princess spent most of her time in Annecy or on the road between her duchy of Genevois and the court of France. In politically difficult situations she acted as mediator between her husband and the Duke of Savoy, and in the meantime she held her position at the court of France. Anna promoted her sons' careers, she helped her clients to make their living, and she claimed a prominent place in official ceremonies at court. After the death of her second husband in 1585, Anna lived in Paris, in her Hôtel de Nemours, on the left bank of the Seine, in what is today Rue Séguier. With the formation of the Catholic League, in which her sons played a prominent part, her importance increased considerably.  In December 1588 Henry III ordered the murder of her two oldest sons and the imprisonment of Anna d'Este. Although the sources tell us nothing about the deeds of the Duchess after her liberation, some contemporaries held her responsible for the assassination of the king. During the siege of Paris by Henry IV, Anna was declared "queen-mother" by the League, but after the Bourbon's conversion back to Catholicism she recognized him as king and tried to convince her rebellious sons to take the same step. In 1594 Anna traveled to Paris to pay homage to Henry IV. Anna spent her last years in the highly respectable position of "superintendante de la maison" of the queen, Marie de' Medici, but also in growing indebtedness and in constant worry about the financial situation of her children and grandchildren.

Death.

When she died on 17 May 1607, the value of her movable goods came to little more than 4000 livres. The entrails and the heart of the Duchess were interred in Paris and in Joinville while her body was brought to Annecy, where it was buried next to her second husband. None of the tombs remain.

Significance.

With regard to the confessional disputes, Anna's life does not differ much from those of other princesses of her time. Her mother was a Calvinist, her father, husbands, and sons were more or less radical Catholics. Although she didn't abjure Catholicism, she never gave away her "true" beliefs. In other regards, she held a special position at the court of France, which can be seen from the numerous lawsuits she was involved in. Although the entanglement in legal proceedings even for minor causes was quite common for the French aristocracy of the early modern period, it was Anna and her mother who contested the king's right to Brittany, and in doing so they referred to their positions as daughter and granddaughter of a French king.

Family.

Children from the marriage with Francis, Duke of Guise (1519–1563):  Children of the marriage with Jacques de Savoie (1531–1585):

Anna d'Este (16 November 1531 – 17 May 1607) was an important princess with considerable influence at the court of France and a central figure in the French Wars of Religion. In her first marriage she was Duchess of Aumale, then of Guise, in her second marriage Duchess of Nemours and Genevois.


Design and development.

Between 1932 and 1936, Nieuport-Delage had been developing a two-seat dive bomber, the Nieuport Ni.140, for the "Aéronautique Navale", the aviation arm of the French Navy. It was renamed Loire-Nieuport LN.140 after the Nieuport company was absorbed into Loire-Nieuport, in 1933. The first of two prototypes, the LN.140-01, was flown on 12 March 1935, but had crashed in July during a forced landing, not being repaired. Flight testing continued with the second prototype, the LN.140-02, until development was abandoned after, that too, crashed in July 1936.  Development efforts were then concentrated on the LN.40 project which benefited from experience with the LN.140, but was a new, and aerodynamically more refined design, replacing the fixed and spatted undercarriage of the LN.140 with rearward retracting main gear legs, and dispensing with the second crewman. In the second half of 1937 an order was received for a prototype, followed by orders for seven production aircraft for the aircraft carrier "Béarn" and three more for operational evaluation by the air force. The French Air Force had expressed interest in a land-based derivative of the LN.40, designated the LN.41. Initial plans were for 184 to equip six dive bomber squadrons with 18 aircraft each, plus reserves.  The prototype made its first flight on 6 July 1938, the second followed in January 1939, and the third in May. Four of the pre-series LN.40 dive bombers were delivered in July, and it passed its carrier trials aboard the "aircraft carrier Béarn". Nevertheless, the flight tests found that the dive brakes were ineffective, which led to their being removed in favour of using the extended landing gear doors as air brakes. The LN.40 also could not carry out diving attacks with full fuel tanks. The aircraft was too slow for the air force which requested the development of a faster dive bomber, which would become the Loire-Nieuport LN.42.  In July 1939, Loire-Nieuport had received orders for 36 LN.401 production dive bombers for the Navy, and 36 LN.411 aircraft for the Army. The LN.411 was almost identical to the LN.401, except for the deletion of the arrestor hook, the wing folding mechanism and the emergency floatation devices. The first LN.411s were delivered in September which coincided with an order from the air force for 270 more but in October they were refused, and the LN.411s were sent to the Navy.  Loire-Nieuport also attempted to develop a faster version, by substituting an Hispano-Suiza 12Y-31 for the Hispano-Suiza 12Xcrs engine of the LN.401. This LN.402 made its first flight on 18 November 1939. Further development of the LN.402 was prevented by the French defeat in May 1940 and the following armistice.  The final development was the LN.42 dispensed with the inverted gull wing and elevator endplates and used the much more powerful Hispano-Suiza 12Y-51 engine but was too late for the Second World War, making only a few short hops before France fell during the 1940 invasion of France when it was hidden from the Germans for the duration of the war. Flight trials resumed on 24 August 1945 and ran until 1947, however no interest was forthcoming of the now obsolete type and only one example was built.

Operational history.

Two "escadrilles" of the Aéronautique Navale, designated as AB2 and AB4, converted to the LN.401/411 between late 1939 and early 1940. AB2 received its first LN.401 dive bombers in November 1939, while AB4 received the LN.411 dive bombers rejected by the Air Force from February 1940 onwards. The dive bombers rejected by the Air Force were a welcome reinforcement to the Navy, as the production of the LN.401 was very slow.  Both used the type in combat during the Battle of France in ground attacks against German motorized columns and troop concentrations. Losses were heavy. One attack on 19 May resulted in the loss of 10 out of 20 dive bombers committed, while seven of the survivors were sufficiently damaged to be no longer airworthy. The production rate of the LN.401 and LN.411 was insufficient to replace losses, and in about a month of fighting the two squadrons lost two-thirds of their strength.  After the armistice with Germany, Loire-Nieuport dive bombers were retired from service and the two "escadrilles" were re-equipped with the Glenn-Martin 167-F level bomber.

The Loire-Nieuport LN.40 aircraft were a family of French naval dive-bombers for the Aeronavale in the late 1930s, which saw service during World War II.


Use by humans.

During the 1970s and 1980s, it was promoted as a "miracle tree" for its multiple uses. It has also been described as a "conflict tree" because it is used for forage production but spreads like a weed in some places.  The legume is promoted in several countries of Southeast Asia (at least Burma, Cambodia, Laos, and Thailand), most importantly as a source of quality animal feed, but also for residual use for firewood or charcoal production.

Forage and fodder.

The legume provides an excellent source of high-protein cattle fodder. However, the fodder contains mimosine, a toxic amino acid. Horses and donkeys which are fed it lose their hair.  In many cases this acid is metabolized by ruminants to goitrogenic DHP [3-hydroxy-4(1H) pyridone] in the rumen, but in some geographical areas, ruminants lack the organisms (such as Synergistes jonesii) that can degrade DHP.  In such cases, toxicity problems from ingestion of Leucaena have sometimes been overcome by infusing susceptible animals with rumen fluid from ruminants that possess such organisms, and more recently by inoculating cattle rumina with such organisms cultured in vitro.  Such measures have facilitated Leucaena use for fodder in Australia and elsewhere.

Green manure and biomass production.

"Leucaena leucocephala" has been considered for biomass production because its reported yield of foliage corresponds to a dried mass of kg/ha/year, and that of wood 30–40 m3/ha/year, with up to twice those amounts in favorable climates. In India it is being promoted for both fodder and energy..  It is also efficient in nitrogen fixation, at more than 500 kg/ha/year.  It has a very fast growth rate: young trees reach a height of more than 20 ft in two to three years.

Food for humans.

The young pods are edible and occasionally eaten in Javanese vegetable salad with spicy peanut sauce, and spicy fish wrapped in papaya or taro leaves in Indonesia, and in papaya salad in Laos and Thailand, where they are known as "phak krathin" (). In Mexico it is eaten in soups and also inside tacos, it is known as "guaje". Additionally, the state of Oaxaca in Mexico derives its name from the Nahuatl word "huaxyacac", the name for "Leucaena leucocephala" trees that are found around Oaxaca City.

Pulpwood for paper industry.

Recently, the wood part of the Subabul tree is used for making pulp in the pulp and paper industry. In the southern and central states of India, Subabul is the most important pulpwood species for making pulp. It has huge positive socio-economic impact on the livelihood of the small farmers where Subabul is grown as an industrial crop. This provides an alternate crop choice to the farmers of Andhra Pradesh and Telangana states of India where they are also growing cotton and chillies.

Invasive properties.

"L. leucocephala" is considered one of the 100 worst invasive species by the Invasive Species Specialist Group of the IUCN Species Survival Commission.  It is a highly invasive species in the arid parts of Taiwan, The Bahamas, the Hawaiian Islands, Fiji, Puerto Rico, Hong Kong, South Africa, and northern Australia, as well as in South America and Europe.  The plant is also found in parts of the U.S., including California, Arizona, Texas, and Florida. It grows quickly and forms dense thickets that crowd out all native vegetation.  In urban areas, it is an especially unwanted species, growing along arid roadsides, in carparks, and on abandoned land.

Other limitations.

This species is susceptible to insect infestations. In the 1980s, a widespread loss in Southeast Asia was due to pest attack by psyllids.  In India, this tree was initially promoted for afforestation due to its fast-growing nature. However, it is now considered unsuitable for urban planting because of its tendency to get uprooted in rain and wind. Eight of every ten trees uprooted by wind in Pune are "L. leucocephala".  The seeds contain mimosine, an amino acid known to be toxic to nonruminant vertebrates.

Potential as bioherbicidal agent.

"L. leucocephala" is an allelopathic tree. Phytotoxic allelochemicals, such as mimosine and certain phenolic compounds, including p-hydroxycinnamic acid, protocatechuic acid, and gallic acid, have been identified in the leaves of the species. Bioherbicidal activity of "L. leucocephala" on terrestrial plants and aquatic weed water hyacinth were reported.

Leucaena leucocephala is a small fast-growing mimosoid tree native to southern Mexico and northern Central America (Belize and Guatemala) and is now naturalized throughout the tropics.


Science Goal.

The Interstellar Boundary Explorer (IBEX) mission science goal is to discover the nature of the interactions between the solar wind and the interstellar medium at the edge of our solar system. IBEX has achieved this goal by generating full sky maps of the intensity (integrated over the line-of-sight) of ENAs in a range of energies every six months. Most of these ENAs are generated in the heliosheath, which is the region of interaction.

Mission.

Launch.

The IBEX satellite was mated to its Pegasus XL rocket at Vandenberg Air Force Base, California, and the combined vehicle was then suspended below the Lockheed L-1011 "Stargazer" mother airplane and flown to Kwajalein Atoll in the Central Pacific Ocean. "Stargazer" arrived at Kwajalein on Sunday, October 12, 2008.  The IBEX satellite was carried into space on October 19, 2008, by the Pegasus XL rocket. The rocket was released from "Stargazer", which took off from Kwajalein, at 17:47:23 UTC. By launching from this site close to the Equator, the Pegasus rocket lifted as much as more mass to orbit than it would have with a launch from the Kennedy Space Center in Florida.

Mission profile.

The IBEX satellite, initially launched into a highly-elliptical transfer orbit with a low perigee, used a solid fuel rocket motor as its final boost stage at apogee, in order to raise its perigee greatly and to achieve its desired high-altitude elliptical orbit.  IBEX is in a highly-eccentric elliptical terrestrial orbit, which ranges from a perigee of about to an apogee of about. Its original orbit was about —that is, about 80% of the distance to the Moon—which has changed primarily due to an intentional adjustment to prolong the spacecraft's useful life (see Orbit adjusted below).  This very high orbit allows the IBEX satellite to move out of the Earth's magnetosphere when making scientific observations. This extreme altitude is critical due to the amount of charged-particle interference that would occur while taking measurements within the magnetosphere. When within the magnetosphere of the Earth (), the satellite also performs other functions, including telemetry downlinks.

Orbit adjusted.

In June 2011 IBEX shifted to a new orbit that raised its perigee to more than. The new orbit has a period of one third of a lunar month, which, with the correct phasing, avoids taking the spacecraft too close to the Moon, whose gravity can negatively affect IBEX's orbit. Now the spacecraft uses less fuel to maintain a stable orbit, increasing its useful lifespan to more than 40 years.

Instruments.

The heliospheric boundary of the Solar System is being imaged by measuring the location and magnitude of charge-exchange collisions occurring in all directions. The satellite's payload consists of two energetic neutral atom (ENA) imagers, IBEX-Hi and IBEX-Lo. Each consists of a collimator that limits their fields-of-view, a conversion surface to convert neutral hydrogen and oxygen into ions, an electrostatic analyzer (ESA) to suppress ultraviolet light and to select ions of a specific energy range, and a detector to count particles and identify the type of each ion. Both of these sensors are a single-pixel camera with a field-of-view of roughly 7° x 7°. The IBEX-Hi instrument is recording particle counts in a higher energy band (300 eV to 6 keV) than the IBEX-Lo energy band (10 eV to 2 keV). The scientific payload also includes a Combined Electronics Unit (CEU) that controls the voltages on the collimator and the ESA, and it reads and records data from the particle detectors of each sensor.

Communication.

Compared to other space observatories, IBEX has a low data transfer rate due to the limited requirements of the mission.

Data collection.

IBEX is collecting energetic neutral atom (ENA) emissions that are traveling through the Solar System to Earth that cannot be measured by conventional telescopes. These ENAs are created on the boundary of our Solar System by the interactions between solar wind particles and interstellar medium particles.  On the average IBEX-Hi detects about 500 particles per day, and IBEX-Lo, less than 100. By 2012, over 100 scientific papers related to IBEX were published, described by the PI as "an incredible scientific harvest".

Data Availability.

As the IBEX data is validated, the IBEX data is made available in a series of data releases on the SWRI IBEX Public Data website (see External Links below). In addition, the data is periodically sent to the NASA Space Physics Data Facility (SPDF), which is the official archive site for IBEX data. SPDF data can be searched at the Heliophysics Data Portal (see External Links below).

Science results.

Initial data revealed a previously unpredicted "very narrow ribbon that is two to three times brighter than anything else in the sky". Initial interpretations suggest that "the interstellar environment has far more influence on structuring the heliosphere than anyone previously believed". It is unknown what is creating the ENA (energetic neutral atoms) ribbon. The Sun is currently traveling through the Local Interstellar Cloud, and the heliosphere's size and shape are key factors in determining its shielding power from cosmic rays. Should IBEX detect changes in the shape of the ribbon, that could show how the heliosphere is interacting with the Local Fluff. It has also observed ENAs from the Earth's magnetosphere.  In October 2010, significant changes were detected in the ribbon after six months, based on the second set of IBEX observations.  It went on to detect neutral atoms from outside the Solar System, which were found to differ in composition from the Sun. Surprisingly, IBEX discovered that the heliosphere has no bow shock, and it measured its speed relative to the local interstellar medium (LISM) as, improving on the previous measurement of by "Ulysses". Those speeds equate to 25% less pressure on the Sun's heliosphere than previously thought.  In July 2013, IBEX results revealed a 4-lobed tail on the Solar System's heliosphere.

Interstellar Boundary Explorer (IBEX) is a NASA satellite in Earth orbit that uses Energetic Neutral Atoms (ENAs) to image the interaction region between the Solar System and interstellar space. The mission is part of NASA's Small Explorer program and was launched with a Pegasus-XL rocket on October 19, 2008.


Methods.

The most commonly used method is based on a single x-ray of the left hand, fingers, and wrist. A hand is easily x-rayed with minimal radiation and shows many bones in a single view. The bones in the x-ray are compared to the bones of a standard atlas, usually "Greulich and Pyle".  A more complex method also based on hand x-rays is the "TW2" or the "TW3" method (TW = Tanner Whitehouse) method.  An atlas based on knee maturation has also been compiled.  Bone age rating is a procedure well-suited for automation by computer. The main advantage is the elimination of the variability of rating between different human raters. The BoneXpert method is the most prominent example of a completely automated method.  The hands of infants do not change much in the first year of life and if precise bone age assessment is desired, an x-ray of approximately half of the skeleton (a "hemiskeleton" view) may be obtained to assess some of the areas such as shoulders and pelvis which change more in infancy.  Lamparski (1972) utilized the cervical vertebrae and found them to be as reliable and valid as the hand-wrist area for assessing skeletal age. He developed a series of standards for assessment of skeletal age for both males and females. This method has the advantage of eliminating the need for an additional radiographic exposure since the vertebrae are already recorded on the lateral cephalometric radiographic.  Hassel & Farman (1995) developed an index based on the second, third, and fourth cervical vertebrae (C2, C3, C4) and proved that atlas maturation was highly correlated with skeletal maturation of the hand-wrist. Several smartphone applications have been developed to facilitate the use of vertebral methods such as "Easy Age".

Height prediction.

Statistics have been compiled to indicate the percentage of height growth remaining at a given bone age. By simple arithmetic, a predicted adult height can be computed from a child's height and bone age. Separate tables are used for boys and girls because of the sex difference in timing of puberty, and slightly different percentages are used for children with unusually advanced or delayed bone maturation. These tables, the Bayley-Pinneau tables, are included as an appendix in the Greulich and Pyle atlas. In 2009, the Bayley-Pinneau method was modernized as part of the BoneXpert for automated bone age determination. It has the option of including parental height and menarche, and there is a special version for Asian children. The method is implemented as an interactive web-page  The average girl begins puberty at 10 years. On average, she completely stops growing at a bone age of 15 or 16 years. The average boy begins puberty at 12 years. The average boy grows for approximately 3 more years than the average girl so he completely stops growing at a bone age of 18-19 years.  In a number of conditions involving atypical growth, bone age height predictions are less accurate. For example, in children born small for gestational age who remain short after birth, the bone age is a poor predictor of adult height.

Clinical application of bone age readings.

An advanced or delayed bone age does not always indicate disease or "pathologic" growth. Conversely, the bone age may be normal in some conditions of abnormal growth. Children do not mature at exactly the same time. Just as there is wide variation among the normal population in age of losing teeth or experiencing the first menstrual period, the bone age of a healthy child may be a year or two advanced or delayed. Those with an advanced bone age typically hit a growth spurt early on but stop growing at an earlier age. Consequently, when a naturally short child has an advanced bone age, it stunts their growth at an early age leaving them even shorter than they would have been. Because of this, those who are short with an advanced bone age, need medical attention before their bones fully fuse.  An "advanced" bone age is common when a child has had prolonged elevation of sex steroid levels, as in precocious puberty or congenital adrenal hyperplasia.The bone age is often marginally advanced with premature adrenarche, when a child is overweight from a young age or when a child has lipodystrophy. Those with an advanced bone age typically hit a growth spurt early on but stop growing at an earlier age.Bone age may be significantly advanced in genetic overgrowth syndromes, such as Sotos syndrome, Beckwith-Wiedemann syndrome and Marshall-Smith syndrome.  Bone maturation is "delayed" with the variation of normal development termed Constitutional delay of growth and puberty, but delay also accompanies growth failure due to growth hormone deficiency and hypothyroidism.  Recent studies show that organs like liver can also be used to estimate age and sex, because of the unique feature of liver. Liver weight increases with age and is different between males and females. Thus, liver can be employed in special medico-legal cases of skeletal deformities or mutilation.

Bone age is the degree of maturation of a child's bones. As a person grows from fetal life through childhood, puberty, and finishes growth as a young adult, the bones of the skeleton change in size and shape. These changes can be seen by x-ray. The "bone age" of a child is the average age at which children reach this stage of bone maturation. A child's current height and bone age can be used to predict adult height. For most people, their bone age is the same as their biological age but for some individuals, their bone age is a couple of years older or younger. Those with advanced bone ages typically hit a growth spurt early on but stop growing sooner, while those with delayed bone ages hit their growth spurt later than normal. Children who are below average height do not necessarily have a delayed bone age; in fact their bone age could actually be advanced which if left untreated, will stunt their growth.


Early life and education.

Uri Zvi Greenberg was born in the Galician town Bilyi Kamin, in Austria-Hungary, into a prominent Hasidic family. He was raised in Lemberg (Lwów) where he received a traditional Jewish religious education.  In 1915, he was drafted into the Austrian army and fought in the First World War. His experience at the fording of the Save River, where many of his comrades in arms died or were severely wounded, affected him deeply, and appeared in his future writings for years to come. After returning to Lemberg, he was witness to the pogroms of November 1918. Greenberg and his family miraculously escaped being shot by Polish soldiers, celebrating their victory over the Ukrainians, an experience which convinced him that all Jews living in the “Kingdom of the Cross” faced physical annihilation.  Greenberg moved to Warsaw in 1920, where he wrote for the radical literary publications of young Jewish poets. After a brief stay in Berlin, he immigrated to Mandatory Palestine (the Land of Israel) in 1923.  Greenberg spent most of the 1930s in Poland, working as a Revisionist-Zionist activist until the time when the Second World War erupted in 1939. At the outset of the war, Greenberg was able to escape and return home to Mandatory Palestine. His parents and sisters remained behind and were subsequently murdered during the Holocaust.

Personal.

In 1950, Greenberg married Aliza, with whom he had two daughters and three sons. He added "Tur-Malka" to the family name, but continued to use "Greenberg" to honor family members who perished in the Holocaust.

Literary career.

Some of his poems in Yiddish and Hebrew were published when he was 16. His first works were published in 1912 in the Labor Zionist weekly "Der yudisher arbayter" (The Jewish Laborer) in Lemberg and in Hebrew in "Hashiloah" (The Shiloach) in Odessa. His first book, in Yiddish, was published in Lwów while he was fighting on the Serbian front. In 1920, Greenberg moved to Warsaw, with its lively Jewish cultural scene. He was one of the founders of the Chaliastra (literally, the "gang"), a group of young Yiddish writers that included Melech Ravitch. He also edited a Yiddish literary journal, "Albatros". In the wake of his iconoclastic depictions of Jesus in the second issue of Albatros, particularly his prose poem "Royte epl fun veybeymer" (Red Apples from the Trees of Pain), the journal was banned by the Polish censors and Grinberg fled to Berlin to escape prosecution in November 1922. The magazine incorporated avant-garde elements both in content and typography, taking its cue from German periodicals like "Die Aktion" and "Der Sturm". Greenberg published the last two issues of "Albatros" in Berlin before renouncing European society and immigrating to Palestine in December 1923.  In his early days in Palestine, Greenberg wrote for "Davar", one of the main newspapers of the Labour Zionist movement. In his poems and articles he warned of the fate in store for the Jews of the Diaspora. After the Holocaust, he mourned the fact that his terrible prophecies had come true. His works represent a synthesis of traditional Jewish values and an individualistic lyrical approach to life and its problems. They draw on Jewish sources such as the Bible, the Talmud and the prayer book, but are also influenced by European literature.

Literary motifs.

In the second and third issues of Albatros, Greenberg invokes pain as a key marker of the modern era. This theme is illustrated in "Royte epl fun vey beymer" and "Veytikn-heym af slavisher erd" (Pain-Home on Slavic Ground).

Political activism.

In 1930, Greenberg joined the Revisionist camp, representing the Revisionist movement at several Zionist congresses and in Poland. After the 1929 Hebron massacre, he became more militant. With Abba Ahimeir and Joshua Yeivin, he founded "Brit HaBirionim", a clandestine, self-declared fascist faction of the Revisionist movement which adopted an activist policy of violating British mandatory regulations. In the early 1930s, the members of Brit Habirionim group disrupted a British-sponsored census, sounded the shofar in prayer at the Western Wall despite a British prohibition, held a protest rally when a British colonial official visited Tel Aviv, and tore down Nazi flags from German offices in Jerusalem and Tel Aviv. When the British arrested hundreds of its members the organization effectively ceased to exist.  He believed that the Holocaust was a 'tragic but almost inevitable outcome of Jewish indifference to their destiny.' As early as 1923, Greenberg "envisioned and warned of the destruction of European Jewry."  Following Israeli independence in 1948, he joined Menachem Begin's Herut movement. In 1949, he was elected to the first Knesset. He lost his seat in the 1951 elections. After the Six-Day War he joined the Movement for Greater Israel, which advocated Israeli sovereignty over the West Bank.

Uri Zvi Greenberg (; September 22, 1896 – May 8, 1981) was an acclaimed Israeli poet and journalist who wrote in Yiddish and Hebrew.


Early life.

Sheetrit was born in Ksar es Souk (now Errachidia), Morocco. His family immigrated to Israel in 1957. He earned a BA and an MA in Public Policy from Bar-Ilan University.

Political career.

Likud.

Sheetrit began his political career in 1974 as mayor of the city of Yavne, a position he held until 1987.  He was first elected to the Knesset in 1981 on the Likud list. He was re-elected in 1984, but lost his seat in 1988. That year he was elected treasurer of the Jewish Agency and served in this position until 1992, when he returned to the Knesset. In 1998 he was appointed Minister of Finance, serving until the fall of Benjamin Netanyahu's first government in 1999. He returned to the cabinet in 2001 as Minister of Justice. After being re-elected in 2003, he was appointed Minister in the Ministry of Finance, where he worked closely with then Minister of Finance Netanyahu who was spearheading a sweeping privatization reform. He was appointed Minister of Transportation in 2004, and later served as Minister of Education, Culture and Sport until 2006.

Kadima.

In 2005, Sheetrit left Likud and joined Ariel Sharon's new Kadima party. He was re-elected in 2006 and appointed Minister of Housing and Construction, a post he held until July 2007, when he was appointed Minister of Internal Affairs. Between 23 August and 29 November 2006, he also served as Acting Justice Minister following Haim Ramon's resignation on 18 August over an indecent assault indictment. Sheetrit was replaced in the Justice portfolio by Tzipi Livni, who also continued to serve as Foreign Minister.  In February 2008, whilst Israeli airstrikes in Gaza were ongoing, Sheetrit told Army Radio that: "If it were up to me, I would hit everything that moves with weapons and ammunition", adding: "I don't think we have to show pity for anyone who wants to kill us."  Following Ehud Olmert's resignation as party leader, Sheetrit ran for the party chairmanship. However, he came third out of the four candidates in the election, receiving only 8.5% of the vote. Placed seventh on the party's list, he retained his seat in the 2009 elections  In early 2011, he and another MK sprayed air freshener in the Knesset, complaining about the "stench of bad politics". Both MKs were escorted out and speaker Reuven Rivlin condemned the actions.  As head of the Knesset Science and Technology Committee, he spoke at the international Wikimania conference held in Haifa in 2011.

Hatnuah.

On 1 December 2012, Sheetrit joined Tzipi Livni's new party, Hatnuah. He disagreed with Livni's decision to run as part of the joint Zionist Union list with the Labor Party in the 2015 elections, opted not to contest the elections.

Meir Sheetrit (, born 10 October 1948) is an Israeli politician. He served as a member of the Knesset in two spells for Likud between 1981 and 1988, and again from 1992 until 2005, when he joined Kadima. He remained a Knesset member for Kadima until joining Hatnuah in 2012, for whom he served until 2015. He also held several ministerial posts, including being Minister of the Interior, Minister of Housing & Construction, Minister of Finance, Minister of Justice, Minister of Transportation and Minister of Education, Culture & Sport. He was also candidate for President of Israel in 2014.


Life.

Jan Boeckhorst was born in Münster, Westphalia as the second oldest of twelve children. His family belonged to Münster’s highly respected citizens (Honoratioren) and his father Heinrich was for a while the mayor of Münster. Jan Boeckhorst became a canon in the Jesuit order at age 17. He only started his artistic study when he was about twenty-two years of age.  In the mid 1620s Boeckhorst moved to Antwerp apparently to study with Peter Paul Rubens. There is no firm evidence that Boeckhorst actually studied under Rubens, only a statement by Rubens’ nephew Philip to that effect. However, a close relationship between the artists during the 1630s is documented. Boeckhorst likely also briefly trained with Jordaens during Rubens' stay in London in the late 1620s. In Antwerp, Boeckhorst was known as "Lange Jan" (Tall John) because of his tall stature.  From 1626 to 1635 Boeckhorst worked on a commission paid for by the devout merchant Lodewijk De Roomer to complete 26 works for a chapel in the Falcon monastery in central Antwerp (or for St. Joseph’s chapel in the Antwerp convent of St. Augustine). These works on which he collaborated with Jan Wildens are now lost. Between 1627 and 1632 he likely worked closely with Anthony van Dyck who was during that period back in Antwerp after a long stay abroad. The two artists collaborated on individual works of art while Boeckhorst also produced copies after van Dyck. Jan Boeckhorst became a master in the Antwerp Guild of Saint Luke in 1633–1634. He was a regular collaborator with Rubens in the mid 1630s. He first worked on the decorations for the 1635 Joyous Entry (the so-called 'Pompa Introitus') into Antwerp of the new governor of the Habsburg Netherlands Cardinal-Infante Ferdinand. Rubens was in overall charge of this project. For the Pompa Introitus Broeckhorst contributed architectural elements on the 'Arch of Isabella' and the figures of 'Securitas' and 'Salus publica' in collaboration with Gerard Seghers and Jan Borchgraef.  Boeckhorst traveled to Italy in 1635. He returned to Antwerp and in the period 1636–1638 he collaborated with Rubens’ workshop on a large commission to make mythological decorations for the hunting pavilion Torre de la Parada of the Spanish king Philip IV near Madrid. For this project Jan Boeckhorst painted decorations after oil sketches by Rubens.  In 1639 Boeckhorst traveled to Italy again where he resided in Rome. In Rome he likely joined the circle of Dutch and Flemish artists in Rome known as the Bentvueghels. It was the custom among the Bentvueghels to adopt a nickname. Boeckhorst's nickname was possibly "Doctor Faustus".  The date of his return to Antwerp is not known with certainty and estimates vary from 1639 to 1649. It is known that he completed a few unfinished works of Rubens' after Rubens' death in 1640. After his return to Antwerp he received multiple commissions from religious institutions in Flanders including for the Saint James Church in Bruges and the Saint Michael's Church and Saint James Church in Ghent.  Jan Boeckhorst died on 21 April 1668 in Antwerp where he was buried in the Saint James Church. His large collection was sold after his death in a sale which lasted six days and raised the considerable sum of 6,026 guilders. His collection included a complete set of early drawings of Rubens.

Work.

General.

Boeckhorst was a versatile painter who produced history paintings on religious and mythological subjects, allegorical works, genre scenes and portraits. Boeckhorst also worked as a designer of cartoons for tapestries. He is known to have designed eight tapestries on the myths of Apollo. The Musée Mont-de-Piété in Bergues preserves 8 preliminary drawings for this Apollo series of tapestries.  Boeckhorst also provided designs for the Antwerp publishers. In the early 1650s he provided several designs for the Breviarium Romanum and 9 for the Missale Romanum, all engraved by Cornelis Galle the Younger and published by the Plantin Press in Antwerp.  There only exist three signed and dated paintings (dated between 1646 and c. 1660) and five that are dated only from 1659-1666. The first signed painting, a "Madonna and Child with Saint John" is dated 1646, about 20 years after his arrival in Antwerp. Because of the few number of signed paintings it has been difficult to attribute works to Boeckhorst with certainty and some attributions are contested among art historians.

Collaborations.

As was common practice among Antwerp painters, Boeckhorst often collaborated as a figure painter on compositions with landscape painters Jan Wildens and Jan Brueghel the Younger and still life painter Frans Snyders. An example is the "" (Rubenshuis, Antwerp) on which he collaborated with Frans Snyders. This genre scene, which also acts as an allegory of the four elements, is of a monumentally large scale at 217.5 cm in height and 272.5 cm in width. The work shows the influence of Jordaens' genre paintings. Boeckhorst may have collaborated on devotional garland paintings. Garland paintings are a special type of still life developed in Antwerp by Jan Brueghel the Elder in collaboration with the Italian cardinal Federico Borromeo at the beginning of the 17th century. The genre was initially connected to the visual imagery of the Counter-Reformation movement and typically involved a collaboration between a figure painter and a still life painter. No collaborations with Boeckhorst on garland paintings have been attributed with certainty.  Boeckhorst is believed to have made changes to works by Rubens. He did so with a tronie painted by Rubens around 1613 called "" (Städel, Frankfurt am Main). The second Rubens tronie of c. 1616/17, which Boeckhorst transformed around 1640/41 into a bust-length format was the "" (Christie’s, London, 2 July 2013, lot 30). He possibly also enlarged Rubens’ "Rise of the Blessed" at the request of Jan Wildens in order to form a pendant with the "Fall of the Damned" then in Wildens’ own collection. After the late 1630s Boeckhorst's collaborations appear to have ceased.

Portraits.

Boeckhorst's portraits are influenced by Anthony van Dyck and Cornelis de Vos, the two leading portrait painters in the first half of the 17th century. He occasionally painted lively group portraits. Some of his large group portraits, such as the "Portrait of a Family" (Alte Pinakothek, Munich), are in the style of Cornelis de Vos but with more liveliness and spontaneity.  Central in his group portraits is the emphasis on the virtue of strong family bonds, the so-called 'Concordia familiae'. Boeckhorst was skilled in depicting his models in a spontaneous and lively manner. His portraits are of an informal character. He also used backdrop draperies, which in imitation of Jordaens, were represented very vividly.

Later works.

His later works from the 1650s and 1660s include numerous altarpieces for churches throughout Flanders and designs of cartoons for tapestries. The expressiveness of van Dyck's figures and use of colors, such as in "Ulysses discovers Achilles dressed up as a girl" (Alte Pinakothek, Munich), is also noticeable in works from this period.

Jan Boeckhorst or Johann Bockhorst (c. 1604 – 21 April 1668), was a German-born Flemish Baroque painter and draughtsman. He was a versatile artist who produced history paintings, genre scenes and portraits in a style influenced by the trio of leading Baroque painters in Antwerp Peter Paul Rubens, Anthony van Dyck and Jacob Jordaens. Boeckhorst also worked as a designer of cartoons for tapestries.


Description.

The intention expressed by the text of this bull was "to restore" the calendar so that seasonal events critical for the calculation of Easter dates would be back in their "proper places" and would be prevented from being moved away again. The idea of reform as such is not otherwise mentioned. The bull identifies "three necessary" things for the correct determination of Easter dates: correct placement of the northern vernal equinox; correct identification of the "14th day of the moon" (effectively full moon) that happens on or next after the vernal equinox, and the first Sunday that follows that full moon. The first two items were the ones that received attention; the third, about choosing the next following Sunday, was not identified as causing any problem, and was not further mentioned.  By "restore", Gregory meant two things. First, he adjusted the calendar so that the vernal equinox was near March 21, where it had been during the Council of Nicaea (May 20 – August 25, 325). This required removing ten days of drift. Second, he made the tabular 14th day of the moon correspond with the real full moon, removing "four days and more" of drift. This would restore the dates of Easter to near where they were at the time of the Council of Nicaea, although that council had not specified where in the calendar the vernal equinox should fall and had not adopted any particular type of lunar tables. The practices of the Roman Catholic Church that had become traditional by 1582 for calculating the Easter and lunar calendars became settled when Dionysius Exiguus translated the rules of the Church of Alexandria from Greek into Latin in 525. (Northumbria adopted them at Whitby in 664, the Welsh around 768, and France around 775. Before this, France and Rome had used Victorius's less exact 457 translation of the Alexandrian calendar; Britain and Rome before Victorius had used Augustalis's 84-year cycle.)  Gregory also made changes to the calendar rules, intending to ensure that, in the future, the equinox and the 14th day of the Paschal moon, and consequently Easter Sunday, would not move away again from what the bull called their proper places.  The changes (relative to the Julian calendar) were as follows:  The name of the bull consists of the first two words of the bull, which starts: ""Inter gravissimas pastoralis officii nostri curas..."" ("Among the most serious duties of our pastoral office...").  The bull refers to "the explanation of our calendar" and to a canon related to the dominical letter. To accompany the bull there were six chapters of explanatory rules ('canons'), and some of these (canons 1, 2, 4) refer to a book entitled "Liber novæ rationis restituendi calendarii Romani" for a fuller explanation of the tables than that contained in the canons (or the bull). Because the bull and canons refer to each other, they must have been written at roughly the same time, printed at the same time (March 1), and distributed to the several countries together.  These canons enabled the computation of Easter dates in the reformed ('restored') Gregorian calendar, and gave two calendar-listings saints' days, one for the 'year of correction' (1582) and another for the entire new Gregorian year. The bull, canons, and calendars were reprinted as part of the principal book explaining and defending the Gregorian calendar, Christoph Clavius, "Romani calendarii a Gregorio XIII. P. M. restituti explicatio" (1603), which is tome V in his collected works "Opera Mathematica" (1612).

Date.

The version of "Inter gravissimas" included by Christoph Clavius in his work explaining the Gregorian calendar contained these dating clauses: "Anno Incarnationis Dominicae M. D. LXXXI. Sexto Calend. Martij, Pontificatus nostri Anno Decimo.... Anno à Natiuitate Domini nostri Iesu Christi Millesimo Quingentesimo Octuagesimo secundo Indictione decima,". These clauses include four years: All of these years agree that the bull was dated February 24, 1582, using the modern beginning of the year.

Adoption.

Gregory's reform was enacted in the most solemn of forms available to the Church, but the bull had no authority beyond the Catholic Church and the Papal States. The changes which Gregory was proposing included changes to the civil calendar over which Gregory had no authority (except in the Papal States). The text of the bull recognized this by giving what amounted to orders to the clergy and those "presiding over churches": but in contrast, where the text addresses the civil authorities ("kings, princes and republics"), it "asks", "exhorts" and "recommends" the new calendar changes. The changes required adoption by the civil authorities in each country to have legal effect.  The bull "Inter gravissimas" was immediately adopted by the major Catholic powers of Europe, but the Protestant countries refused to adopt it until the 18th century, and Eastern European countries adopted it only during or after World War I (the last European country to adopt it was Greece, in 1923).  Most Eastern Orthodox Churches and Oriental Orthodox Churches have not adopted it at all and continue to reckon their ecclesiastical years by the Julian calendar, even though their home countries use the Gregorian calendar for civil purposes.

Inter gravissimas (English: "Among the most serious...") was a papal bull issued by Pope Gregory XIII on February 24, 1582. The document, written in Latin, reformed the Julian calendar. The reform came to be regarded as a new calendar in its own right and came to be called the Gregorian calendar, which is used in most countries today.


Biography.

Leah Goldberg was born to a Jewish Lithuanian family from Kaunas, however her mother traveled to the nearby German city of Königsberg (today, Russian Kaliningrad) in order to give birth in better medical conditions. When asked about her place of birth, Goldberg often stated "Kaunas" rather than Königsberg.  When the First World War broke out, three-year-old Goldberg had to escape with her parents to the Russian Empire, where they spent a year in hard conditions. In Russia, her mother gave birth to a baby boy, Immanuel, who died before reaching his first birthday.  According to Goldberg's autobiographical account, in 1938, when the family traveled back to Kaunas in 1919, a Lithuanian border patrol stopped them and accused her father of being a "Bolshevik spy". They locked the father in a nearby abandoned stable, and abused him by preparing his execution every morning for about a week and cancelling it at the last moment. When the border guards finally let the family go, Goldberg's father was in a serious mental state. He eventually lost his ability to function normally and left Kaunas and his family to receive treatment, though it is unclear what his fate was and why he never returned to his family. Goldberg and her mother became very close and lived together until Leah Goldberg's death.  Goldberg's parents spoke several languages, though Hebrew was not one of them. However, Goldberg learned Hebrew at a very young age, as she received her elementary education in a Jewish Hebrew-language school. She began keeping a diary in Hebrew when she was 10 years old. Her first diaries still show limited fluency in Hebrew and the influence of Russian language, but she was determined to write in Hebrew and mastered the language within a short period of time. Even though she was fluent and literate in various European languages, Goldberg wrote her published works, as well as her personal notes, only in Hebrew. In 1926, when she was 15 years old, she wrote in her personal diary, "The unfavourable condition of the Hebrew writer is no secret to me [...] Writing in a different language than Hebrew is the same to me as not writing at all. And yet I want to be a writer [...] This is my only objective."  Goldberg received a PhD from the Universities of Berlin and Bonn in Semitic languages and German. Her erudition and renown was such that a leading newspaper in Palestine excitedly reported her plans to immigrate to that country. In 1935, she settled in Tel Aviv, where she joined a group of Zionist Hebrew poets of Eastern-European origin known as "Yachdav" ( "together"). This group was led by Avraham Shlonsky and was characterised by adhering to Symbolism especially in its Russian Acmeist form, and rejecting the style of Hebrew poetry that was common among the older generation, particularly that of Haim Nachman Bialik.  She never married and lived with her mother, first in Tel Aviv and later in Jerusalem. Goldberg was a heavy smoker, and in her late years she became aware of the damage in this habit, as reflected in her poem "About the Damage of Smoking". In the spring of 1969, she was diagnosed with breast cancer. After removing one of her breasts, her physicians were optimistic. Goldberg went on a short visit to Switzerland, but returned in a bad physical condition, as the cancer spread through her body. She died on 15 January 1970. Goldberg received the Israel Prize posthumously, her mother took the prize in her name.

Literary career.

Goldberg worked as a high-school teacher and earned a living writing rhymed advertisements until she was hired as an editor by the Hebrew newspapers Davar and Al HaMishmar. She also worked as a children’s book editor at Sifriyat Po'alim publishing house, while also writing theatre reviews and literary columns. In 1954 she became a literature lecturer at the Hebrew University of Jerusalem, advancing to senior lecturer in 1957 and full professor in 1963, when she was appointed head of the university's Department of Comparative Literature.  Goldberg wrote Hebrew poetry, drama, and children's literature. Goldberg's books for children, among them "A Flat for Rent" ("דירה להשכיר", "dira lehaskir") and "Miracles and Wonders" (ניסים ונפלאות, "nisim veniflaot"), have become classics of Hebrew-language children's literature.  With exemplary knowledge of seven languages, Goldberg also translated numerous foreign literary works exclusively into Modern Hebrew from Russian, Lithuanian, German, Italian, French, and English. Of particular note is her "magnum opus" of translation, Tolstoy's epic novel "War and Peace", as well as translations of Rilke, Thomas Mann, Chekhov, Akhmatova, Shakespeare, and Petrarch, plus many other works including reference books and works for children.

Novel.

In 1946, Goldberg published her first novel, והוא האור (Hebrew: "Vehu ha'or", literally: "And he is the light"). The novel had a strong autobiographical basis, and has been received as shedding much light on the rest of her work. The book opens with symbolic patricide: the protagonist, Nora, is pressed by someone she meets to describe her parents. She does not want to disclose the fact her father is at a psychiatric hospital and tries to evade the questions, but the other person wouldn't let go, until Nora explodes: "I have no father! My father is dead! Do you hear? Dead!". Despite this attempt, the specter of mental illness continues to haunt her throughout the novel.

Literary style and influences.

Goldberg was widely read in Russian, German, and French poetry. Symbolism and Acmeism were strong influences on her style. Her poetry is notable for coherence and clarity, and for an emphasis on ideas over baroque forms.  Goldberg's poetics perceive the general in the specific: a drop of dew represents vast distances and the concrete reflects the abstract. Her poetry has been described as "a system of echoes and mild reverberations, voices and whispers," that recognizes the limitations of the poem and language. Her work is minor and modest, taking a majestic landscape like the Jerusalem hills and focusing on a stone, a thorn, one yellow butterfly, a single bird in the sky.  Unlike many of her contemporary peers, most notably Nathan Alterman, Goldberg avoided outright political poetry, and did not contribute occasional poetry to Hebrew periodicals with overt current-affairs discourse.

Critical acclaim.

Goldberg received in 1949 the Ruppin Prize (for the volume "Al Haprikhá") and, in 1970, the Israel Prize for literature.  The American Hebraist, Gabriel Preil, wrote a poem about Goldberg: "Leah's Absence".  In 2011, Goldberg was announced as one of four great Israeli poets who would appear on Israel's currency (together with Rachel Bluwstein, Shaul Tchernichovsky, and Natan Alterman).

Leah Goldberg or Lea Goldberg (; May 29, 1911, Königsberg – January 15, 1970, Jerusalem) was a prolific Hebrew-language poet, author, playwright, literary translator, and comparative literary researcher.


The original play.

In the last decade of the 19th century, Oscar Blumenthal, a theatre director from Berlin, Germany, was on holiday in Lauffen (now part of Bad Ischl), a small town in the vicinity of St. Wolfgang. There, at the inn where he was staying, Blumenthal happened to witness the head waiter's painful wooing of his boss, a widow. Amused, Blumenthal used the story as the basis of a comedy—without music—which he co-authored with actor Gustav Kadelburg. However, Blumenthal and Kadelburg relocated the action from Lauffen to the much more prominent St. Wolfgang, where the Gasthof Weißes Rößl had actually existed since 1878. Having thus chanced upon a suitable title, the authors went to work, and "Im weißen Rößl" eventually premiered in Berlin in 1897.  The play was an immediate success. The Berlin audience would laugh at the comic portrayal of well-to-do city dwellers such as Wilhelm Giesecke, a producer of underwear, and his daughter Ottilie, who have travelled all the way from Berlin to St. Wolfgang and now, on holiday, cannot help displaying many of the characteristics of the nouveaux-riches. "Wär' ick bloß nach Ahlbeck jefahren"—"If only I had gone to Ahlbeck", Giesecke sighs as he considers his unfamiliar surroundings and the strange dialect spoken by the wild mountain people that inhabit the Salzkammergut. At the same time the play promoted tourism in Austria, especially in and around St. Wolfgang, with a contemporary edition of the Baedeker praising the natural beauty of the region and describing the White Horse Inn as nicely situated at the lakefront next to where the steamboat can be taken for a romantic trip across the Wolfgangsee. The White Horse Inn was even awarded a Baedeker star.  Sydney Rosenfeld, a prolific American adapter of foreign plays, debuted an English version of the play titled "At the White Horse Tavern" at Wallack's Theatre in 1899, with a cast including Amelia Bingham and Leo Ditrichstein.

The musical comedy.

Just as the play was about to be forgotten—a silent film "The White Horse Inn" directed by Richard Oswald and starring Liane Haid had been made in Germany in 1926—it was revived, again in Berlin, and this time as a musical comedy. During a visit to the Salzkammergut, the actor Emil Jannings told Berlin theatre manager Erik Charell about the comedy. Charell was interested and commissioned a group of prominent authors and composers to come up with a musical show based on Blumenthal and Kadelburg's play. They were Ralph Benatzky, Robert Stolz and Bruno Granichstaedten (music), Robert Gilbert (lyrics), Hans Müller-Einigen and Charell himself.  The show premiered in Berlin on November 8, 1930. Immediately afterwards it became a success around the world, with long runs in cities like London, Paris, Vienna, Munich and New York. During the Third Reich the comedy was marginalized and not performed (Goebbels called it "eine Revue, die uns heute zum Hals heraushängt"—"the kind of entertainment we find boring and superfluous today"), whereas people in the 1950s, keen on harmony and shallow pleasures, eagerly greeted revivals of the show. German-language films based on the musical comedy were made in 1935, 1952 and 1960.

Synopsis.

It is summertime at the Wolfgangsee. Josepha Vogelhuber, the young, attractive but resolute owner of the White Horse Inn, has been courted for some time by her head waiter, Leopold Brandmeyer. While appreciating his aptness for the job, she mistrusts all men as potential gold-diggers, rejects Leopold's advances and longingly waits for the arrival of Dr Siedler, a lawyer who has been one of her regular guests for many years. This year, Josepha hopes, Siedler might eventually propose to her.  When Siedler arrives, he finds himself in the very same place with Wilhelm Giesecke, his client Sülzheimer's business rival, and immediately falls in love with Giesecke's beautiful daughter Ottilie. As it happens, Sülzheimer's son Sigismund, a would-be beau, also arrives at the White Horse Inn. Angry at first about that person's presence at the same inn, Giesecke soon has the idea of marrying off his daughter to Sigismund Sülzheimer, thus turning a pending lawsuit into an advantageous business merger. However, Siedler's love is reciprocated by Ottilie, who adamantly refuses to marry Sigismund, while Sigismund himself has fallen for Klärchen Hinzelmann, a naive beauty who accompanies her professorial father on a tour through the Salzkammergut.  Seeing all this, Leopold Brandmeyer decides that he has had enough and quits his job. Josepha has also done a lot of thinking in the meantime, reconsiders her head waiter's proposal of marriage, and can persuade him to stay—not just as an employee but also as boss. Love gets its way with the other two couples as well, and the play ends with the prospect of a triple marriage.

Film adaptations.

A post-war Argentinian movie in Spanish, "La Hostería del caballito blanco", was directed by Benito Perojo and released in 1948. A Danish film of 1964 by Erik Balling, "Sommer i Tyrol" (although the Tyrol is not the original setting), starred Dirch Passer and Susse Wold.  In addition, the musical triggered a number of spin-offs such as the 1961 Austrian comedy film "Im schwarzen Rößl" ("The Black Horse Inn"), directed by Franz Antel, about a young woman (surprisingly, it was Karin Dor again, who had just played Giesecke's daughter in the 1960 version) who inherits a dilapidated hotel on the shores of the Wolfgangsee. As a matter of fact, a number of hotels in St. Wolfgang do use similar names (Black Horse, White Stag, etc.).  Most recently, a new musical film adaptation of "Im Weissen Rössl" came out in November 2013 with the German title "" from director Christian Theede. Unlike its predecessors, however, the movie was not filmed on location at the Hotel Im Weissen Rössl in St. Wolfgang, Austria.

A note on the spelling.

According to the German spelling reform of the 1990s, which curbed the use of the letter "ß", "Rößl", which has a diminutive suffix added to the noun "Roß" ("horse", "steed"), now has to be spelt "Rössl" (just as it is "Ross" now instead of "Roß"). Therefore, both "Rößl" and "Rössl" can be seen nowadays, depending on when a particular text was written.

White Horse Inn (or "The White Horse Inn"), (German title: Im weißen Rößl), is an operetta or musical comedy by Ralph Benatzky and Robert Stolz in collaboration with a number of other composers and writers, set in the picturesque Salzkammergut region of Upper Austria. It is about the head waiter of the White Horse Inn in St. Wolfgang who is desperately in love with the owner of the inn, a resolute young woman who at first only has eyes for one of her regular guests. Sometimes classified as an operetta, the show enjoyed huge successes both on Broadway and in the West End (651 performances at the Coliseum starting 8 April 1931) and was filmed several times. In a way similar to "The Sound of Music" and the three "" movies, the play and its film versions have contributed to the image of Austria as an alpine idyll—the kind of idyll tourists have been seeking for almost a century now. Today, "Im weißen Rößl" is mainly remembered for its songs, many of which have become popular classics.