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Orlando Ramírez

Orlando Ramírez Leal (born December 18, 1951), nicknamed as "El Ñato" (Snub Nose), is a Colombian former Major League Baseball shortstop who played for the California Angels between 1974 and 1979. He was the first recognized Colombian-born player in major league history, following Luis Castro, who played 42 games for the Philadelphia Athletics in the 1902 season.

In his 143-game major league career, Ramírez batted .189 with 16 RBI, 24 runs, five doubles, one triple and 16 stolen bases. On the international stage, he led the Colombian national team at the Baseball World Cup and Pan American Games.

Professional career
Ramírez began his career with the Willard club from Barranquilla, Colombia in 1966 which was recognized as the top level of Colombian baseball.

Ramírez first played for the Shreveport Captains in the Texas League, the Double-A affiliate of the California Angels. He excelled and was transferred to the Idaho Falls Angels in the Pioneer Rookie League. From Idaho Falls, he was sent to the minors in 1973, playing for the Quad Cities Angels where he soon played Double-A again in 1974. A short time after playing Double-A, Ramírez was promoted to the majors.

International career
At the age of 17, Ramírez made the Colombian national team and debuted in his first game in the Amateur World Series held in Santo Domingo. He batted third and played third base on the Colombian national team. In the 1970 and 1971 Amateur World Series, Ramírez played shortstop and led all players in stolen bases. He led the Colombian national team to a silver medal in the 1971 tournament, held in Havana. He also won a bronze medal at the 1971 Pan American Games.

Colombian significance
Ramírez was inducted in the Colombian Baseball Hall of Fame in September 2009. He was the first Colombian to play in the Major Leagues. The Colombian Professional Baseball League Most Valuable Player award has been in his name since the winter of 2005-06.

title: Orlando Ramírez


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Category:Goth festivals

Festivals of the Goth subculture.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Category:Goth festivals


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Metropolitan Airports Commission

The Minneapolis-Saint Paul Metropolitan Airports Commission (MAC) is a state-level airport authority that operates the Minneapolis–Saint Paul International Airport and six reliever airports in the Twin Cities region, which primarily provide service to private individuals and businesses, but also have regional transportation service.

Background
The MAC is a governmental agency of the State of Minnesota. Twelve of its commissioners are appointed by the governor. The mayors of the cities of Minneapolis and St. Paul or their designees are also members of the commission. Four of the commissioners must be residents of outstate Minnesota (outside the Twin Cities metropolitan area).

Records
Surveys, studies, planning documents, brochures, proposals, and reports documenting aspects of the commission's activities are available for research use. They include information regarding initial planning, disaster preparedness, studies and proposals for a second major airport site, accessibility to airport facilities, airport noise, the downtown St. Paul airport, Minneapolis-St. Paul International Airport, deregulation, finance and bonding, personnel, parking and traffic potential, public relations, dual track airport planning, and relations with Northwest Airlines, particularly in relation to the public financing for construction of its Hibbing/Duluth repair facilities.

title: Metropolitan Airports Commission


text:
User talk:Calebcharles

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

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Good luck!

Calebcharles, hi, this is Shuffdog; very slick editing on my Churrascaria page, thanks. i like the clean-up and the separation of ideas. however - what did you mean when you wrote, "They have enjoyed increased popularity as of 2004"? I left it in, supposing that you might clarify.

I'll explain myself, too. I was down in Brazil all this past month, and reported on what i thought was an excellent type of restaurant. a quick google search brings up lots of churrascarias in the States, and my friend from Boston confirms that those restaurants exist in the brazilian part of town. is this legitimate for a wikipedia article? Or typically do you need something more solid? I feel 100% comfortable that what is written is true, either way.

take care,

- shuff 06:40, Jul 25, 2004 (UTC)

Aha, i got 'hooked' just recently, too. Sometimes i wonder what this project will amount to in the long run, and what it all means. But anyway. Churrascarias, as far as i can tell, have been around a while. If popularity were mentioned, maybe its popularity outside South America would be more pertinent since, from my experience, a Churrascaria there is like a burger joint here in the US. it's been popular forever there. And, if you're ever down south there, off the record, you DONT want to pass up a chance to eat at one, they're excellent ;) keep it real.

- shuff 20:58, Jul 26, 2004 (UTC)

Wikiproject Minnesota
Thanks for the excellent editing on Minnesota parks! I have written a few myself. You should consider joining WikiProject Minnesota. -Ravedave 17:29, 9 May 2007 (UTC)

title: User talk:Calebcharles


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Christ the Redeemer (statue)

Christ the Redeemer (Cristo Redentor, standard ) is an Art Deco statue of Jesus Christ in Rio de Janeiro, Brazil, created by French-Polish sculptor Paul Landowski and built by Brazilian engineer Heitor da Silva Costa, in collaboration with French engineer Albert Caquot. Romanian sculptor Gheorghe Leonida sculpted the face. Constructed between 1922 and 1931, the statue is 30 m high, excluding its 8 m pedestal. The arms stretch 28 m wide. It is made of reinforced concrete and soapstone. Christ The Redeemer differs considerably from its original design, as the initial plan was a large Christ with a globe in one hand and a cross in the other. Although the project organizers originally accepted the design, it later changed to the statue of today, with the arms spread out wide.

The statue weighs 635 metric tons (625 long, 700 short tons), and is located at the peak of the 700 m Corcovado mountain in the Tijuca National Park overlooking the city of Rio de Janeiro. This statue is the largest Art Deco–style sculpture in the world. A symbol of Christianity around the world, the statue has also become a cultural icon of both Rio de Janeiro and Brazil and was voted one of the New 7 Wonders of the World.

History
Vincentian priest Pedro Maria Boss first suggested placing a Christian monument on Mount Corcovado in the mid-1850s to honor Princess Isabel, regent of Brazil and the daughter of Emperor Pedro II, but the project was not approved. In 1889, the country became a republic, and owing to the separation of church and state, the proposed statue was dismissed.

The Catholic Circle of Rio made a second proposal for a landmark statue on the mountain in 1920. The group organized an event called Semana do Monumento ("Monument Week") to attract donations and collect signatures to support the building of the statue. The organization was motivated by what they perceived as "Godlessness" in the society. The donations came mostly from Brazilian Catholics. The designs considered for the "Statue of the Christ" included a representation of the Christian cross, a statue of Jesus with a globe in his hands, and a pedestal symbolizing the world. Eventually, the statue of Christ the Redeemer with open arms, a symbol of peace, was chosen.

Local engineer Heitor da Silva Costa and artist Carlos Oswald designed the statue. French sculptor Paul Landowski created the work.

In 1922, Landowski commissioned fellow Parisian Romanian sculptor Gheorghe Leonida, who studied sculpture at the Fine Arts Conservatory in Bucharest and in Italy. A group of engineers and technicians studied Landowski's submissions, and they felt building the structure out of reinforced concrete (designed by Albert Caquot) instead of steel was more suitable for the cross-shaped statue. The concrete making up the base was supplied from Limhamn, Sweden. The outer layers are soapstone, chosen for its enduring qualities and ease of use. Construction took nine years, from 1922 to 1931, and cost the equivalent of US$250000 1921 and the monument opened on October 12, 1931. During the opening ceremony, the statue was to be lit by a battery of floodlights turned on remotely by Italian shortwave radio inventor Guglielmo Marconi, stationed 9200 km away in Rome but because of bad weather, the lights were activated on site.

In October 2006, on the 75th anniversary of the statue's completion, Cardinal Eusebio Oscar Scheid, Archbishop of Rio, consecrated a chapel, named after Brazil's patron saint—Our Lady of the Apparition—under the statue, allowing Catholics to hold baptisms and weddings there.

Lightning struck the statue during a violent thunderstorm on February 10, 2008, causing some damage to the fingers, head and eyebrows. The Rio de Janeiro state government initiated a restoration effort to replace some of the outer soapstone layers and repair the lightning rods on the statue. Lightning damaged it again on January 17, 2014, dislodging a finger on the right hand. In 2010, a massive restoration of the statue began. Work included cleaning, replacing the mortar and soapstone on the exterior, restoring iron in the internal structure, and waterproofing the monument. Vandals attacked the statue during renovation, spraying paint along the arm. Mayor Eduardo Paes called the act "a crime against the nation". The culprits later apologized and presented themselves to the police.

In reference to Brazil striker Ronaldo's usual goal celebration of both arms outstretched, the Pirelli tyre company ran a 1998 commercial in which he replaced the statue while in an Inter Milan strip. The commercial was controversial with the Catholic Church.

Restoration
In 1990, several organizations, including the Archdiocese of Rio de Janeiro, media company Grupo Globo, oil company Shell do Brasil, environmental regulator of IBAMA, National Institute of Historic and Artistic Heritage, and the city government of Rio de Janeiro entered into an agreement to conduct restoration work.

More work on the statue and its environs was conducted in 2003 and early 2010. In 2003, a set of escalators, walkways, and elevator s were installed to facilitate access to the platform surrounding the statue. The four-month restoration in 2010 focused on the statue itself. The statue's internal structure was renovated and its soapstone mosaic covering was restored by removing a crust of fungi and other microorganisms and repairing small cracks. The lightning rods located in the statue's head and arms were also repaired, and new lighting fixtures were installed at the foot of the statue.

The restoration involved one hundred people and used more than 60,000 pieces of stone taken from the same quarry as the original statue. During the unveiling of the restored statue, it was illuminated with green-and-yellow lighting in support of the Brazil national football team playing in the 2010 FIFA World Cup.

Maintenance work needs to be conducted periodically because of the strong winds and erosion to which the statue is exposed, as well as lightning strikes. The original pale stone is no longer available in sufficient quantity, and replacement stones are increasingly darker in hue.

Similar structures

 * Christ the Protector in Encantado, Rio Grande do Sul, Brazil (43 m)
 * Christ the Redeemer in Rio Verde, Goiás, Brazil
 * Christ in the Mount in Pitangui, Minas Gerais, Brazil
 * Risen Christ statue on top of Tombol Hill in Rosario, Batangas, Philippines
 * Cristo del Otero in Palencia, Spain built in 1930 (21 m)
 * Sacred Heart of Jesus Monument, in Oviedo, Spain built in 1980 (30 m)
 * Cristo Rey located on the Cerro del Cubilete in Guanajuato, Mexico, inspired by Rio's Christ the Redeemer (23 m)
 * Cristo Rey in Tenancingo, México, México (30 m)
 * Christ Blessing in Manado, North Sulawesi, Indonesia (30 m)
 * Christ of Havana in Havana, Cuba, inspired by Christ the Redeemer (20 m)
 * Christ of the Abyss in various underwater locations
 * Christ of the Ozarks in Arkansas, United States, inspired by Rio's Christ the Redeemer (20 m)
 * Christ of Vũng Tàu in Vietnam (32 m)
 * Christ the King in Świebodzin, Poland (33 m)
 * Christ the Redeemer of the Andes (Argentina/Chile)
 * Christ the Sacred Heart of Jesus, Ibiza, Spain, inspired by Christ the Redeemer (23 m)
 * Cristo Blanco in Cusco, Peru
 * Cristo de la Concordia in Cochabamba, Bolivia (34 m)
 * Cristo de las Noas in Torreón, Mexico (22 m)
 * Cristo del Pacífico in Lima, Peru, erected in 2011 (37 m)
 * Patung Yesus Kristus in Mansinam Island, West Papua, Indonesia (30 m)
 * Cristo Redentore (Christ the Redeemer) of Maratea, Italy (21 m)
 * Cristo Rei (Christ the King) in Almada, Portugal (28 m)
 * Cristo Rei of Dili in Dili, Timor-Leste (27 m)
 * Cristo Rei, Madeira on Madeira island, completed in 1927 (15 m)
 * Cristo Rei in Lubango, Angola (14 m)
 * Statue of Cristo Luz in Balneário Camboriú, Santa Catarina, Brazil
 * Statue of Jesus Christ on the top of Sagrat Cor, Barcelona, Spain
 * Tas-Salvatur in Gozo, Malta (12 m)
 * Statue of Jesus Christ, Monte Urgull, Donostia-San Sebastian, Spain (12 m)
 * Jesus de Greatest in Imo, Nigeria, Africa's tallest statue of Jesus and fifth tallest statue on the continent (8.53 m)
 * Christ at El Picacho in Tegucigalpa, Honduras
 * Cristo Redentor, Puerto Plata, Dominican Republic
 * Christ the King in Lebanon
 * Another imitation statue of Christ the Redeemer is at Nellore, Andhra Pradesh, India (Shrish Patil)
 * Imitation at St. Joseph Shrine, Vizhinjam, near Trivandrum, Kerala, India
 * Imitation at Ecopark, Kolkata, India
 * Christ the Redeemer of Malacca is on the Portuguese Settlement Square in Melaka, Malaysia (20 ft tall)
 * Cristo Rey in Cali, Colombia (26 m)
 * Cristo Rey by Urbici Soler in Sunland Park, New Mexico (8.83 m)
 * Cristo Redentor in Barranca Province, Lima Region, Peru
 * Cristo Rey Tijuanense, at Iglesia de San Martín de Porres near Colonia Los Álamos, Tijuana, Baja California, México (23 m 30 cm)
 * Statue of Jesus Christ, Klin, Slovakia (9.5 m)
 * There is also a statue in Yungay, Peru.

title: Christ the Redeemer (statue)


text: User talk:12.47.93.2

title: User talk:12.47.93.2


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Basting

Basting, Baste, or Basted may refer to:

 * Baste, Palghar district, Maharashtra, India
 * Basting (cooking), a cooking technique
 * Basted, Kent, a hamlet in England
 * A type of stitch in sewing

People

 * Manuel Basté (1899–1977), Spanish water polo player
 * Pierre Baste (1768–1814), French admiral and general
 * Anne Basting, American gerontologist and professor
 * Johan Hendrik Christiaan Basting (1817–1870), Dutch surgeon and military personnel
 * Yvette Basting (born 1977), Dutch tennis player

title: Basting


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Troll bait

Troll bait may refer to:

 * The bait used in trolling, a fishing method where baited fishing lines are drawn through water
 * A flame bait, a provocative or offensive message meant to provoke an argument or an angry response

title: Troll bait


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Against the Dying of the Light

Against the Dying of the Light is a 2001 documentary film about the work of the National Screen and Sound Archive of Wales.

Film history
Consisting of interviews with Welsh directors, actors and public figures about the significance that film (particularly amateur film) has played in their lives, it achieved a limited UK cinema release in 2001.

The film was also shown at a handful of festivals and special screenings around the world, including two at the British Academy of Film and Television Arts in London. An intriguing gem, it is still occasionally to be seen at cinemas and film societies in the UK.

The film was directed by Jack Jewers, produced by Jack Jewers, Leo Brend and the (then) head of the archive, Iola Baines. It features interviews with William Lloyd-George, (grandson of David Lloyd George); the actors Rhys Ifans, Donna Edwards and Sue Rodderick; the directors Marc Evans and Karl Francis; and the author Kevin Brownlow.

Jewers described the commissioning of the film as follows: "Against the Dying of the Light was my first fully- [sic]commissioned professional film. It was a ten-minute short, for cinema release, funded by the BFI and the Arts Council. They had seen Labour of Love (the documentary I had made about a lost British feature film unearthed by the Welsh Film Archive, which subsequently won a Royal Television Society Award) and asked me to make a promotional film to go on limited release in UK cinemas. The film was to focus on the work of the same archive, but covering a much broader subject base – basically examining the whole argument for sustaining film archives and the value they bring to society as a whole."

Jewers recorded that he was struck by "the sheer power and historical value" of the Welsh Film Archive, and "astonished to discover" 8mm film of Hitler meeting David Lloyd George.

Jewers described his approach to the film as: "The number one rule, as far as I was concerned, was that this should be treated as a film first, documentary second. This was being made for a filmgoing audience, after all, and a sophisticated one at that. There would be no 'third person' voice over, and certainly no presenter.  Where the films were powerful enough to speak for themselves, they should be allowed to do so; when they needed context, this would take the form interviews with people who were personally connected to the material itself, be it emotionally or otherwise."

Title
The title of the film comes from a villanelle written for his dying father by the twentieth century Welsh poet Dylan Thomas, Do Not Go Gentle Into That Good Night.

title: Against the Dying of the Light


text: Category:Ramsey County, Minnesota

title: Category:Ramsey County, Minnesota


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Ludwigsburg Palace

Ludwigsburg Palace, nicknamed the "Versailles of Swabia", is a 452-room palace complex of 18 buildings located in Ludwigsburg, Baden-Württemberg, Germany. Its total area, including the gardens, is 32 ha – the largest palatial estate in the country. The palace has four wings: the northern wing, the Alter Hauptbau, is the oldest and was used as a residence of the Duke of Württemberg; the east and west wings were used for court purposes and housing guests and courtiers; the southern wing, the Neuer Hauptbau, was built to house more court functions and was later used as a residence.

Eberhard Louis, Duke of Württemberg, appointed Philipp Joseph Jenisch to direct the work, and construction began in 1704. In 1707, Jenisch was replaced by Johann Friedrich Nette, who completed most of the palace and surrounding gardens. Nette died in 1714, and Donato Giuseppe Frisoni finished much of the palace façades. In the final year of construction, Eberhard Louis died, and the Neue Hauptbau's interiors were left incomplete. Charles Eugene's court architect, Philippe de La Guêpière, completed and refurbished parts of the New Hauptbau in the Rococo style, especially the palace theatre. Charles Eugene abandoned the palace for Stuttgart in 1775. Duke Frederick II, later King Frederick I, began using Ludwigsburg as his summer residence in the last years of Charles Eugene's reign. Frederick and his wife Charlotte, Princess Royal, resided at Ludwigsburg and employed Nikolaus Friedrich von Thouret to renovate the palace in the Neoclassical style. Thouret converted much of Ludwigsburg's interiors over the reign of Frederick and the later life of Charlotte. As a result of each architect's work, Ludwigsburg is a combination of Baroque, Rococo, Neoclassical, and Empire style architecture.

The constitutions of the Kingdom and Free People's State of Württemberg were ratified at Ludwigsburg Palace, in 1819 and 1919 respectively. It was the residence for four of Württemberg's monarchs and some other members of the House of Württemberg and their families. The palace was opened to the public in 1918 and survived World War II intact. It underwent periods of restoration in the 1950s, 1960s, and 1990s and again for the palace's 300th anniversary in 2004. The palace had more than 350,000 visitors in 2017 and has hosted the Ludwigsburg Festival every year since 1947.

Surrounding the palace are the Blooming Baroque (Blühendes Barock) gardens, arranged in 1954 as they might have appeared in 1800. Nearby is Schloss Favorite, a hunting lodge built in 1717 by Frisoni. Within the palace are two museums operated by the Landesmuseum Württemberg dedicated to fashion and porcelain respectively.

History

"Ludwigsburg", meaning "Louis's castle", was named after its builder, Eberhard Louis, Duke of Württemberg, in 1705. It was built on the site of a hunting estate and lodge owned by the dukes of Württemberg. This was destroyed by invading French troops in 1692, during the Nine Years' War, and replaced by another lodge built from 1697 to 1701. The beginning in 1701 of another war, the War of the Spanish Succession, against France and Bavaria, interrupted construction of this lodge, though Württemberg deferred entering the war until late 1702. Württemberg was subsequently invaded by France and Bavaria, but in 1704, the Bavarian elector was defeated at the Battle of Blenheim and exiled, and Bavaria was occupied. Eberhard Louis, a participant of Blenheim and the subsequent occupation, spent the winter of 1705–06 at the elector's residence, Nymphenburg Palace. Eberhard Louis used these developments to press claims to Bavarian lands, but illegally occupied the claimed lands. He was further undone by another French invasion of Württemberg in 1707 that resulted in the destruction of his capital and the flight of his family to Switzerland. Eberhard Louis's designs were at last defeated by the Treaty of Utrecht in 1713, which restored the territory and title of the Bavarian elector. Unable to compete with Bavaria militarily or politically, and desiring to sideline the influence of the Estates of Württemberg, Eberhard Louis decided instead to compete culturally and build a new palace and town inspired by Versailles, which would be the center of his domestic society and diplomacy. Located 10 km from Stuttgart, Eberhard Louis could set up a court with his mistress, Wilhelmine von Grävenitz, and demonstrate his absolutist status as a monarch.

Construction of Ludwigsburg Palace had officially begun in May 1704 with the laying of the Alter Hauptbau's cornerstone by Eberhard Louis. The year before, he sent Philipp Joseph Jenisch to study architecture abroad, and himself studied architecture while staying at Nymphenburg. Upon Jenisch's return the next year, Eberhard Louis appointed him director of construction. Jenisch, however, only managed to finish the Alter Hauptbau's (Old main building) first floor and some of the southern garden before falling out of the duke's favor in 1707. Jenisch was replaced in 1707 with Johann Friedrich Nette, an engineer. By 1709, it had become apparent that the massive undertaking of the palace's construction eventually necessitated the building of a town, also known as Ludwigsburg. That cost of construction provoked financial consequences, opposition at court, and criticism from the populace.

Construction

Nette was now charged with building a complete Baroque palace from Jenisch's central corps de logis, to which an east wing and a west wing were to be added, aligned at 11°. Nette based his plans on those of Jenisch, enabling him to complete his design for a three-wing palace in the same year as his appointment. The galleries of the Alter Hauptbau were completed in 1707, then the corps de logis the next year. The Ordensbau and Riesenbau were constructed from 1709 to 1713, and their interiors were completed in 1714. Nette began the interior of the Alter Hauptbau, which he would never finish. Construction of the building's pavilions dragged on into 1722. Nette made two trips to Prague and his native Brandenburg to expand his pool of talent. He hired Johann Jakob Stevens von Steinfels, Tomasso Soldati, and Donato Giuseppe Frisoni in 1708, Andreas Quitainner in 1709, and then Luca Antonio Colomba, Riccardo Retti and Diego Francesco Carlone. Nette fled to Paris from an accusation of embezzlement from Jenisch's allies but was ordered back to Ludwigsburg by Eberhard Louis. On his return trip, he died suddenly of a stroke on 9 December 1714 in Nancy at the age of 41. At the time of his death, most of the northern section of the modern palace and its northern garden was complete.

Eberhard Louis thwarted an attempt by Jenisch to get the director job again and replaced Nette in 1715 with Frisoni. Frisoni, although having no formal training in architecture, enjoyed the support of the court chamberlain and impressed the duke with his stucco work in the Alter Hauptbau. Frisoni resumed construction with the palace's churches, beginning the Schlosskapelle in 1716 and the Ordenskapelle in 1720, then finished the Kavalierbauten in 1722. Frisoni also added the mansard roof to the top of the Alter Hauptbau, as its flat roof was prone to water damage. This had become a common issue with Nette's work because of the pressure the duke placed on him to finish the palace as soon as possible. Frisoni's work thus far led him to believe that he did not have a large enough talent pool to satisfy the duke's desires for the palace and town, so Frisoni brought in Giacomo Antonio Corbellini and Paolo Retti, his brother and son-in-law respectively, who were followed by Diego Francesco Carlone in 1718.

In 1721, the duke began to run out of room in the Alter Hauptbau for the functions of his court and Frisoni began planning to enlarge it. The duke dismissed the idea in 1724 and ordered Frisoni to construct the Neuer Hauptbau. Frisoni designed a four-story structure, double the height of the existing palace, but plans changed several times after construction began in 1725 atop the first terrace of the south garden. Frisoni settled on a three-story building that still afforded Eberhard Louis six rooms for his suite to the three in the Alter Hauptbau. To connect the Neuer Hauptbau to the existing palace, Frisoni built the Bildergalerie and Festinbau on the west side, and the Ahnengalerie and Schlosstheater (Palace theater) on the east. The Bildergalerie and Ahnengalerie were decorated from 1731 to 1733. With the exception of the interiors of the Neuer Hauptbau and Schlosstheater, all work was finished in 1733, but Eberhard Louis died that same year. Only a few rooms in the west end of the Neuer Hauptbau had been completed when he died. Construction of the Neuer Hauptbau and its connecting galleries cost 465,000 guilders and was managed by Paolo Retti, who at times had more than 650 stone masons, cutters, and basic laborers working on the facades between 1726 and 1728. Construction of Ludwigsburg Palace cost the Duchy of Württemberg 3,000,000 florins.

Residence

Eberhard Louis left no heirs and was succeeded by Charles Alexander. Charles Alexander ended funding for the palace, dismissed its staff, and moved the capital back to Stuttgart in 1733 to modernize Württemberg's army and fortifications. As central figures in the construction of what was now decried as the "sin palace", Frisoni and Paolo Retti were arrested in 1733 on fraudulent charges of embezzlement. The two men were acquitted in 1735 after they paid a hefty fine to the ducal treasury, despite attempted intervention by Charles William Frederick, Margrave of Brandenburg-Ansbach to free them earlier. Frisoni died in Ludwigsburg on 29 November 1735. Charles Alexander himself died suddenly two years later on 12 March 1737 as he prepared to leave Ludwigsburg Palace to inspect the duchy's fortresses. After his death, the nine-year-old Charles Eugene became Duke, beginning a regency that lasted until 1744.

Charles Eugene began the construction of a new palace in Stuttgart in 1746 but unofficially used Ludwigsburg as his residence until 1775. The function of certain rooms at Ludwigsburg changed frequently; Johann Christoph David von Leger converted the Ordenskapelle to a Lutheran church from 1746 to 1748 for Duchess Elisabeth Fredericka Sophie. Beginning in 1757 and lasting into the next year, the suites of the beletage were extensively modified by Philippe de La Guêpière. La Guêpière completed the Schlosstheater in 1758–59, adding a stage, machinery, and the auditorium. A wooden opera house, adorned with mirrors, was constructed in 1764–65, located east of the Alter Hauptbau. Although Charles Eugene officially declared Ludwigsburg Palace his residence in 1764, he made no further modifications after 1770. The palace that had hosted a court that Giacomo Casanova called "the most magnificent in Europe" began a steady decline. Charles Eugene died without a legitimate heir in 1793 and was succeeded by his brother, Frederick II Eugene, who was succeeded by his son Frederick II in 1797. Ludwigsburg Palace had already been Frederick II's summer residence since 1795, and he continued to use it as such with Duchess Charlotte after marrying her on 18 May 1797.

Napoleon's armies occupied Württemberg from 1800 to 1801, forcing the duke and duchess to flee to Vienna. The royals returned when Frederick II agreed in 1803 to pledge allegiance to Napoleon and part with Württemberg's territory on the Left Bank of the Rhine, an area of 388 km2. In exchange, according to the Treaty of Lunéville, Frederick II was named a Prince-elector and given 1609 km2 of mediatised Right Bank territory. Frederick II, now Elector Frederick I, tasked his court architect Nikolaus Friedrich von Thouret with renovating the palace in the Neoclassical style. Thouret started in the Ahengalerie and the Ordensbau, working there from 1803 to 1806. For two days in October 1805, Napoleon visited Ludwigsburg to coerce Frederick I into joining the Confederation of the Rhine and thus becoming his ally, compensating Württemberg with neighboring territories in the Holy Roman Empire and Frederick I with the title of king. Frederick I again tasked Thouret with a remodeling, from 1808 to 1811, of the Ordenskapelle and the king's apartment. The final modernizations ordered by the king took place from 1812 to 1816 in the Schlosstheater and Marble Hall. During this time, the ceiling frescoes of the Guard Room and the main staircases of the Neuer Hauptbau were repainted. By the time Frederick I died in 1816, the majority of the palace had been converted to reflect the latest style.

Following her husband's death, Charlotte continued to reside at Ludwigsburg, receiving visitors such as her siblings. She tasked Thouret with the renovation of her own apartment, which was carried out between 1816 and 1824. The dowager queen died at the palace on 5 October 1828 following a bout of apoplexy. Charlotte was the last ruler of Württemberg to reside at Ludwigsburg, as Frederick's son and successor, William I, and future kings did not show any interest in the palace. Members of the House of Württemberg continued to reside at the palace into the early 20th century, while the Württembergs moved to Bebenhausen Abbey after the abolition of the monarchy in 1918.

Later history
In 1817, ownership of Ludwigsburg Palace passed from the House of Württemberg to the government of the Kingdom of Württemberg, which established offices there the next year. King William I chose the Order Hall, the throne room of his father, for the ratification of the kingdom's constitution in 1819. The palace's first restoration took place at the Alter Hauptbau in 1865.

On 9 November 1918, the Kingdom of Württemberg was dissolved with the abdication of King William II. Ludwigsburg Palace was opened to the public that same year and a new constitution was ratified for the Free People's State of Württemberg on 12 January 1919. At this time, two apartments at Ludwigsburg Palace were still occupied by members of the House of Württemberg, Duke Ulrich and Princess Olga. The new state ordered them vacated until 1 April for the ratification. Ulrich moved out of Ludwigsburg in January, but Olga rented a new suite in the Neuer Hauptbau in February. She continued to reside at Ludwigsburg in her apartment with her family until her death in 1932.

The Schlosstheater hosted the Württemberg State Theatre for a production of Handel's Rodelinda in 1923, the first musical performance at the palace since 1853. In the early 1930s, Wilhelm Krämer (musician) began hosting the Ludwigsburger Schloßkonzerte (Ludwigsburg Palace Concerts), which comprised six to ten concerts annually from 1933 to 1939. The palace survived World War II unscathed, though its furnishings were removed in 1944–45 and held at the monasteries at Alpirsbach and Lorch. It was chosen as the site of the Borkum Island war crimes trial in 1946. The concerts resumed in 1947 with 34 performances, a record that would not be broken until 1979. In 1952, the concerts were packed into a single week as the Ludwigsburger Schloßtage ("Palace Days"). They gained national significance when President Theodor Heuss attended a production of Mozart's Titus two years later. The concerts were named Ludwigsburger Schloßfestspiele in 1966, and were internationally known as the Ludwigsburg Festival. In 1980, the state of Baden-Württemberg made the festival an official state event. On 9 September 1962, French President Charles de Gaulle delivered his "speech to the German youth" in the courtyard of Ludwigsburg Palace to 20,000 people.

Restorations were undertaken in the 1950s and 1960s and again in the 1990s, in time for the palace's tricentenary in 2004. The anniversary was commemorated by the state government with three new museums. On 19 October 2011, Minister-President Winfried Kretschmann hosted a reception for the U.S. Army's 21st Theater Sustainment Command at the palace, which was attended by John D. Gardner, former deputy commander of EUCOM, and Gert Wessels, commander of all German troops in Baden-Württemberg. Ludwigsburg appeared again on Federal postage stamps in the Burgen und Schlösser series. The 50th anniversary of Charles de Gaulle's speech at Ludwigsburg was celebrated on 22 September 2012 and included appearances by German Chancellor Angela Merkel, Minister-President Kretschmann, and French President François Hollande. Merkel and Hollande both spoke at the event, the former directly referencing de Gaulle's speech in French. A painting of Frederick the Great on display was found to be a rare original by Antoine Pesne in November 2017. Michael Hörrmann – the director of the Staatliche Schlösser und Gärten Baden-Württemberg – valued the portrait at a minimum of €1 million. Baden-Württemberg's Minister of Finance, Edith Sitzmann visited Ludwigsburg to see the painting and attend a press conference, where she spoke about the cultural importance of Ludwigsburg Palace.

In 2017, 350,642 people visited Ludwigsburg Palace. By March 2020, Staatliche Schlösser und Gärten Baden-Württemberg plans to have spent €4 million to furnish the Neuer Hauptbau as it would have been during the reign of King Frederick I. To this end, about 500 paintings, 400 pieces of furniture, and 500 lamps, clocks, and sculptures – will be sourced, sorted, and restored.

As a result of the 2019-20 coronavirus pandemic, Staatliche Schlösser und Garten announced on 17 March 2020 the closure of all its monuments and cancellation of all events until 3 May. Monuments began reopening in early May, from 1 May to 17 May.

Architecture

Ludwigsburg Palace's Baroque architecture was built under Eberhard Louis from 1704 to 1733 and is characterized by a great deal of Austrian and Czech Baroque influence. This is most evident in the two churches, which resemble the Kuks Hospital Church of Kuks and the Sanctuary of the Christkindl Church, Steyr of Steyr. The palace's two Baroque architects, Johann Friedrich Nette and Donato Frisoni, were educated and worked in Bohemia and hired staff experienced in the Bohemian style. Frisoni even knew or was related to some of the artisans who worked at the Steyr church. French influence is also present, for example in the mirror halls in both the corps de logis and the palace's many mansard roofs. The combination of work by Germans (Philipp Jenisch and Nette) and Italians (Frisoni, Diego and Carlo Carlone, Giuseppe Baroffio, Scotti and Luca Antonio Colomba) produced a strong resemblance to late 17th century works in Prague and Vienna. Charles Eugene brought the Rococo style to Ludwigsburg in 1747 and his court architect, Philippe de La Guêpière, worked in that style until 1775.

Nikolaus Friedrich von Thouret, working with Antonio Isopi, renovated much of Ludwigsburg Palace for Frederick I and Charlotte Mathilde from 1797 to 1824. Thouret's work was heavily influenced by the French Imperial and Renaissance styles, the work of Charles Percier and Pierre François Léonard Fontaine, and Egyptian motifs that became popular in Europe with Napoleon's three-year Egyptian campaign. Isopi would simplify Thouret's plans, which were then carried out by the Biedermeier woodworker Johannes Klinckerfuß and court painter Jean Pernaux. As a result, the palace's Neoclassical architecture does not reflect a single style or correspond to any one designer.

North wing (Alter Hauptbau)

The north wing, referred to as the Alter Hauptbau (Old Main building), is the oldest portion of the palace. It was originally built to house the apartments of Eberhard Louis and Princess Henrietta Maria. Its facade was built from 1705 to 1708 and its interiors were mostly completed by 1715, although work inside its pavilions lasted into 1722. In 1809, and from 1826 to 1828, the rooms facing the courtyard in the beletage (main floor) were remodeled in the Neoclassical style, but their Baroque frescoes were revealed in 1865. The corps de logis opens with a wide vestibule, decorated by Frisoni in 1712, that terminates in an unadorned staircase. At the top of the stairs is a guard room and the four suites on the beletage. These follow the French Baroque model of a living room, audience chamber, and bedroom. Eberhard Louis's apartment features a hall of mirrors decorated with stucco by Frisoni and a hidden staircase, since removed, into the room of his mistress Wilhelmine von Grävenitz. The third floor, finished in 1708, houses two galleries. The first takes up most of the south wall and served as a portrait gallery and ahnentafel (table of ancestors), with stucco portraits of Eberhard Louis and his ancestors created by Frisoni and Soldati in 1713. The ceiling frescoes were lost in the 1808 renovation that divided into smaller rooms. The gallery was restored between 2000 and 2004. Above the third floor is a mansard roof that now houses Zwiefalten Abbey's original clockwork, taken by King Frederick I in 1809.

The two pavilions to the west and east of the corps de logis are connected to it by arcaded galleries, completed in 1713 and 1715 respectively, that close off the northern edge of the cour d'honneur. The western gallery celebrates peace with stucco statuary, medallions, and reliefs of the Judgement of Paris, Aeneas fleeing Troy, Hercules and Omphale, and Apollo and Daphne. Its terminus, the Jagdpavillon (Hunting pavilion), contains the Marmorsaletta (Little marble hall) decorated with scagliola by Riccardo Retti and frescoes by Luca Antonio Colomba. Adjoined to the hall are three cabinet rooms, the first and third of which are decorated with Turkish and Chinese imagery respectively. The eastern gallery celebrates war with stucco trophy captives and weapons, reliefs of Eberhard Louis's monogram, and depictions of the cardinal virtues and the classical elements. Spanning the entire gallery is Colomba's ceiling fresco of the war between the Olympian gods and the giants. At the end of the gallery is the Spielpavillon, completed in 1716, whose center is a rounded, cruciform hall with four corner rooms that contain imitation Delftware images of Jacques Callot's Grotesque Dwarves. The dome fresco by Colomba and Emanuel Wohlhaupter depicts the four seasons and their corresponding zodiac signs.

East wing

The first structure of the eastern wing is the Riesenbau (Giants' building), built by Johann Friedrich Nette in 1712–13. The vestibule, decorated by Andreas Quittainer and Colomba, prominently features two sphinxes and four giants as the atlases under the staircase to the beletage. Originally, these stairs led up to a room for the Hunting Order, which was segregated into residences from 1720 to 1723. Ahead of the giants is a statue of Minerva, and the frescoes on the ceiling above the staircase show Justitia and Fortitudo, the four seasons, and the four classical elements. In 1810, the rooms on the beletage were remodeled in the Neoclassical style, but they were restored to the Baroque style and opened as a museum in the 1950s. The apartments of Frederick Louis and Charles Alexander were decorated by Frisoni and Colomba, but Charles Alexander's apartment also features a landscape painting by Adolf Friedrich Harper.

Directly south of the Riesenbau is the Östlicher Kavalierbau (East Cavaliers' Building), built from 1715 to 1719 for housing courtiers. It contains four apartments on both floors, decorated with stucco ornament by Riccardo Retti and an original fresco on the ceiling of the beletage by Leopoldo Retti. The southwestern apartment on the second floor contains a museum dedicated to the Schlosstheater (Palace theater), attached by a gallery to the Östlicher Kavalierbau and the Schlosskapelle. Europe's oldest theater was constructed by Frisoni from 1729 to 1733 but was first furnished in 1758–59 by La Guêpière, who added the stage, auditorium, and machinery. Thouret remodeled the Schlosstheater in Neoclassical in 1811–12. Casanova is known to have visited the Schlosstheater, making notes on the performances held there.

The Schlosskapelle (Palace chapel) was built from 1716 to 1724. The chapel is made up of a rotunda with three semi-domes and a private box for the duke and his family, accessed from the second floor. The box was painted around 1731 with the story of David and given its red velvet wallpaper and a ceiling fresco by Livio Retti. The chapel was painted by Frisoni, Colomba, and Carlo Carlone, who were restricted by Protestant doctrine to illustrations of biblical topics, such as the Apostles and scenes from the Old Testament. A crypt under the chapel is the burial site of all rulers of Württemberg from Duke Eberhard Louis to King Frederick I. The Schlosskapelle did not receive any major remodeling in the 19th century.

The southernmost part of the east wing is the Ahnengalerie, built in 1729 and 490 ft long. The original ceiling frescoes by Carlo Carlone, which illustrate the story of Achilles, were moved to the Bildergalerie after their completion in 1732. Instead, Carlone painted an homage to Eberhard Louis from 1731 to 1733, glorifying his reign with depictions of Alexander the Great, Apelles, Venus, Mars, Apollo, Phobos, and the Muses, among others. Frederick I had Thouret remodel the Ahnengalerie in 1805–06, retaining Carlone's frescoes and adding stucco to the two antechambers. The portraits in the Ahnengalerie trace the lineage of the rulers of Württemberg from Eberhard I the Bearded, the first Duke of Württemberg, to Wilhelm II, the last King of Württemberg.

West wing

The first building of the west wing is the Ordensbau (Order building, in reference to the ducal Order of the Golden Eagle), containing three apartments on the ground floor and the banquet hall. The vestibule features a ceiling fresco of Pheme with a genius. Pictures of Hercules adorn its walls and continue into the stairwell. The antechamber of the Order Hall is decorated with stucco reliefs of cherubs, masks, birds, and weapons by Tomasso Soldati and Frisoni. The Order Hall's stucco was also by Soldati and Frisoni, but the ceiling fresco is a later repainting by Scotti and Baroffio in 1731, as the original by Colomba was damaged by water and removed. King Frederick I had the Hall renovated into a throne room in 1805–06 and moved the ceremonies of the Order to the Ordenskapelle. Thouret designed the king's throne and baldachin, opposite Johann Baptist Seele's 1808 portrait of the king. It was in the Order Hall that the constitutions of the Kingdom and the Free People's State of Württemberg were ratified in 1819 and 1919, respectively.

Immediately southwest of the Ordensbau is the oval Ordenskapelle (Order chapel), built from 1715 to 1723. The Ordenskapelle was remodeled from 1746 to 1748 by Johann Christoph David von Leger on behalf of Duke Charles Eugene for Duchess Elisabeth Fredericka. Leger removed the floor between the chapel and a second-floor Order hall and reused existing pilasters for new Rococo decor by Pietro Brilli. Retti painted scenes from the life of Jesus on the ceiling. On the second floor is the duchess's box, decorated in 1747–48 with stucco and frescoes of the birth of Christ and allegories of faith, hope, and love. In 1798, Frederick I moved the Ordenskapelle's church functions to the Schlosskapelle. Nine years later, he designated it for use by the Order of the Golden Eagle and tasked Thouret with remodeling it in the Empire style. Thouret walled up the first-floor windows in 1807–08 for additional seating room and for the king's canopied throne under its star-studded semidome.

The Westlicher Kavalierbau (West Cavaliers' building) is attached to the Ordenskapelle, identical in layout and design to its eastern counterpart. It was built in 1719–20, and retains some original stucco and ceiling frescoes by Riccardo and Retti. The Festinbau, attached to the Westlicher Kavalierbau, was originally designed as a kitchen built from 1729 to 1733, and used from 1770 to 1775 as a theater. Since 2004, the Westlicher Kavalierbau and Festinbau have housed a fashion museum. The actual kitchen, the Küchenbau, was built separate from the palace to its west, to keep odors and possible fires at bay. Inside are seven hearths, a bakery, a butcher's shop, several pantries, and the quarters for the servant staff in the attic and on the first floor.

The Bildergalerie (Picture gallery), the southernmost part of the west wing, was built by Frisoni in 1731–32. The only remaining Baroque decor is Scotti's ceiling fresco depicting the life of Achilles, which first adorned the ceiling of the Ahnengalerie. Thouret renovated the Bildergalerie in Tuscan Neoclassicism from 1803 to 1805, adding a fireplace by Isopi and a statue of Apollo opposite it. The frescoes in the Bildergalerie's antechambers were painted in 1730 by either Scotti or Carlo Carlone.

South wing (Neuer Hauptbau)
The south wing, the Neuer Hauptbau (New Main building), was designed and constructed by Frisoni on the order of Duke Eberhard Louis, who found that the Alter Hauptbau was too small to serve the needs of his court. Frisoni planned for a four-story building in 1725 but wound up building three stories. Eberhard Louis died before he could move into the Neuer Hauptbau, leaving its interiors unfinished until Duke Charles Eugene finished them in 1747, but abandoned the palace in 1775. The next royals to reside there were Württemberg's first King and Queen, Frederick I and Charlotte Mathilde, who extensively remodeled parts of the palace in the Neoclassical style from 1802 to 1824. The building was used in 1944–45 to store furnishings recovered from the recently destroyed New Palace in Stuttgart.

The Neuer Hauptbau opens with an oval vestibule decorated by Carlo Carlone. It houses a statue of Duke Eberhard Louis, surrounded by terms supporting the ceiling. In the niches behind the columns are statues of Apollo, a woman and a sphinx, and two maenads with a satyr. A vaulted passageway decorated with two figures of Hercules leads into a salon, featuring a ceiling fresco by Diego Carlone and statues of Roman deities in niches. The King's and Queen's Staircases bookend the vestibule and lead up to the Neuer Hauptbau's beletage. The King's Staircase has statuary themed after unhappy romances, and the cavettos above are adorned with stucco depictions of the seasons personified and medals bearing Eberhard Louis's initials. The Queen's Staircase is a mirror of the King's, but the statuary depicts virtues and the ribbonwork above displays Apollo, Artemis, and the four classical elements.

Two galleries lead from the stairs to a guardroom decorated by Diego Carlone in 1730 with stucco weapon trophies and fresco. Thouret covered over Carlone's work with Neoclassical ornamentation in 1815. The guardroom leads into the Marble Hall (Marmorsaal), the palatial dining hall once used to receive Francis II of Austria and Alexander I of Russia. Thouret began work here in 1813–14 by installing a new, curved ceiling and finished two years later with the Marble Hall's scagliola walls. Pilasters and windows form the lower wall, decorated with stucco garlands and candelabras by Antonio Isopi. Reproductions of the Medusa Rondanini, Hermes Ludovisi, and the Medici Vase are present around the doors. Above the hall is a walkway in the attica, divided by pillars clad with caryatids holding plates and pitchers designed by Johann Heinrich von Dannecker. The ceiling fresco, by Pernaux, is of a partly cloudy blue sky that contains an eagle and four smaller birds that each hoist a chandelier. The roof above the Marble Hall, though curved, has no visible supports. This was achieved by cantilevering its weight upon the entablatures at the top of the walls of the Marble Hall.

To the east of the Marble Hall is Queen Charlotte's apartment, originally the suites intended to house Prince Frederick Louis and Princess Henrietta Maria. When Charlotte joined Frederick I in residence at Ludwigsburg in 1798, the separating walls were removed to form one suite. Thouret only made small changes to the queen's suite from 1802 to 1806, principally adding damask to the primary antechamber and to the assembly and audience rooms. Extensive renovations, lasting from 1816 to 1824, came after the queen fully established herself at Ludwigsburg. Charlotte's audience chamber contains her throne, red silk walls, and paintings of Cybele, Minerva, and personified virtues by Viktor Heideloff over the doors and in the lunettes of the mirrors. The adjacent bedroom was remodeled in 1824 with marbled green pilasters and an alcove containing red silk from 1760. The study is unusual for a Neoclassical interior because of its large mirrors. Finally, there is the summer study and the queen's library, remodeled in 1818 with blue damask and Rococo overdoors that carry over into the library to the west. The entire apartment is furnished in the Biedermeier style by Johannes Klinckerfuß, whose work Charlotte herself covered with embroidery.

The king's apartment, to the west of Charlotte's, was to house Duke Eberhard Louis and Wilhelmine von Grävenitz, and later Johanna Elisabeth of Baden-Durlach. Charles Eugene became the first to reside here in 1744 with his wife. When Frederick I took up residence, he had Thouret remodel his 12-room suite from 1802 to 1811. The suite opens with the antechamber, containing decorations dated to 1785, likely taken from Hohenheim Palace, and an original ceiling fresco by Carlo Carlone of Bacchus and Venus. Adjacent to it is the audience chamber, decorated with Baroque red damask and Neoclassical borders. The room contains Frederick's throne and furniture by Isopi, embellished with griffins in relief. Past the conference room and its Rococo overdoors by Heideloff are the king's bedchambers. The Baroque wooden wall paneling and overdoors survived the room's 1811 remodeling. The walls and furnishings of the king's office are Neoclassical, decorated with the heads of Greek gods and cornucopias, but the ceiling fresco is a Guibal original from 1779 of Chronos and Clio.

Duke Charles Eugene moved into the Neuer Hauptbau in 1757 and tasked La Guêpière with the apartment's decoration. Two years later, La Guêpière completed the entire suite except for the bedchamber, as the Duke occupied his wife's former suite in 1760 for his actual residence. The rest of the suite was used for social functions until it was emptied of furnishings in the next decade. A staircase and antechamber lead to the entrance of today's apartment, a gallery decorated by Ludovico Bossi. The initial rooms are the first and second antechambers, clad in green damask with portraits by Antoine Pesne and paneling by Michel Fressancourt, overdoors by Matthäus Günther, boiserie flooring, and furniture by Jacques-Philippe Carel and Jean-Baptiste Hédouin that Charles Eugene acquired around 1750. The Assembly Room, restored in 2003, prominently features overdoors by Adolf Friedrich Harper and trophies of musical instruments above the windows. Charles Eugene's third-floor residence begins with the Corner Room, again painted by Harper, which feeds into a cabinet room and then finally the bedchamber, completed in 1770. Bossi created the ceiling's stucco in 1759–60, but the room and its two closets took another decade to complete. Additional rooms on the third floor housed relatives of the rulers of Württemberg and these have been occupied by the Ceramics Museum since 2004.

Grounds and gardens

The gardens were to be centered in the north with an Italian terraced garden and were largely completed when Eberhard Louis turned his attention to the south garden. There he laid out a large symmetrical French garden. Charles Eugene filled in the terraces in 1749 to replace them with a large broderie. He then reorganized and expanded the south garden over the next decade. Frederick I again reorganized the south garden in 1797 in a Neoclassical style and Mediterranean theme. He retained the original pathways, but added a canal and fountain to the garden's center. The south garden was divided into four equally sized lawns, with hillocks in their center topped with a large vase crafted by Antonio Isopi. Frederick also expanded the garden east to form an English landscape garden (Lower east) and demolished Charles Eugene's opera house to form a medieval-themed landscape garden (Upper east). Two additional gardens, for Frederick and Charlotte, were laid out adjacent to their palace suites. Also in the fantasy garden is the Emichsburg, a folly built from 1798 to 1802 and named after the fabled ancestor of the House of Württemberg, a knight of the House of Hohenstaufen. William I abandoned Ludwigsburg for Rosenstein Palace in Stuttgart and opened the south garden to the public in 1828. The canal was filled in and an orchard planted on the southern lawns, later used to grow potatoes.

In 1947, Albert Schöchle, Director of the State Parks and Gardens Authority, was charged with maintaining the gardens. After visiting the 1951 Bundesgartenschau in Hanover, he decided to restore the gardens. Schöchle convinced Baden-Württemberg's Minister of Finance Karl Frank to help fund the venture in 1952 on the condition that the town of Ludwigsburg also assisted. Ludwigsburg's mayor, Elmar Doch, and the town council agreed to this stipulation. Frank approved the start of work on 23 March 1953, but it lasted late into the year. The restoration of the garden required the moving of 100,000 m3 of earth by bulldozers supplied and operated by American soldiers and the planting of tens of thousands of trees and hedges, 22,000 roses, and 400,000 other flowers. The Blooming Baroque (Blühendes Barock) gardens were opened on 23 April 1954 as a special horticultural show and attracted more than 500,000 visitors by the end of May, among them President Theodor Heuss. When the show closed in the fall of 1954, it had recouped all but 150,000 Deutsche Marks of the investment in the restoration of the gardens and became a permanent landmark. The opening of the Fairy-Tale Garden and its recreations of fairy-tales in 1959 was also an immediate success and increased revenue by 50% for that year. The Blooming Baroque gardens, covering an area of 32 ha, attract 520,000 to 550,000 visitors annually.

Schloss Favorite

By 1710 Eberhard Louis had decided to use Ludwigsburg as his main residence, but he still desired a hunting retreat. Inspired by a garden palace he had seen in Vienna, he tasked Frisoni with the design of a new Rococo palace on a hill to the north of Ludwigsburg. Frisoni largely completed Favorite within that year but was unable to complete his extensive plans for its grounds. Only the roads to the main palace and to Monrepos Palace were laid out. In 1800, the interior was remodeled by Thouret for Frederick I. Only one room, in the western half of the building, retains its original baroque appearance. When Frederick was appointed an elector in 1803 and then a king in 1806, he chose both times to celebrate the occasion at Schloss Favorite. Favorite fell into disrepair in the 20th century but was extensively restored from 1972 to 1982.

Museums
On the first and third floors of the Alter Hauptbau is the Baroque Gallery (Barockgalerie), a subsidiary museum of the Staatsgalerie Stuttgart opened in 2004. It displays 120 paintings, some of which are originals from a purchase Duke Charles Alexander made in 1736 of about 400 paintings from Gustav Adolf von Gotter. Examples of German and Italian Baroque paintings on display include Martin van Meytens's portrait of Charles Alexander, works by Johann Heinrich Schönfeld, Carl Borromäus Andreas Ruthart, Johann Heiss, and Katharina Treu, as well as works that formerly were in the collection of Cosimo III, Grand Duke of Tuscany.

The Landesmuseum Württemberg maintains two subsidiary museums at Ludwigsburg Palace, the Ceramics Museum and Fashion Museum (Keramikmuseum and Modemuseum, respectively), both opened in 2004. The first of these takes up all of the third floor of the Neuer Hauptbau except the apartment of Duke Charles Eugene, a space of 2000 m2 containing more than 4,500 exhibits of porcelain, ceramics, faience and pottery, and of their history, making it one of the largest collections of ceramics in Europe. It includes 2,000 pieces of original Ludwigsburg porcelain and 800 pieces of maiolica, purchased by Charles Eugene from dealers in Augsburg and Nuremberg. It also includes porcelain from the manufactories at Meissen, Berlin, Sèvres, and Vienna, and 20th century Art Nouveau pieces purchased from six countries since 1950. The Fashion Museum, housed in the Festinbau and West Kavalierbau, displays about 700 pieces of clothing and accessories from the 1750s to the 1960s, including works by Charles Frederick Worth, Paul Poiret, Christian Dior, and Issey Miyake.

On the ground floor of the Neuer Hauptbau is a lapidarium, housing original Baroque statuary by Andreas Quittainer, Johann Wilhelm Beyer and Pierre François Lejeune. Charles Eugene's apartment houses the Princess Olga Cabinet Exhibition, exploring the lives of Princess Olga and her family at Ludwigsburg from 1901 to 1932.

Kinderreich (Children's Kingdom) is an interactive museum that educates children four years and older about life at the court of the Duke of Württemberg. In the Palace Theatre, about 140 original set pieces and props from the 18th and 19th centuries are preserved that were discovered during restoration of the theatre, such as oil lamps used for stage lighting. These items were extensively restored to their original condition from 1987 to 1995, and since 1995 one of the original stage pieces, a winter background, has been used for the Junge Bühne (Young stage).

Web sources

 * German Federal and Baden-Württemberg State governments (in German)

 * City of Ludwigsburg

 * Süddeutscher Barock (in German)

title: Ludwigsburg Palace


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Churrasco

Churrasco is the Portuguese and Spanish name for grilled beef prominent in South American and Iberian cuisines, and in particular in Bolivia, Brazil, Uruguay,  and Argentina. The term is also used in other Spanish- and Portuguese-speaking countries for a variety of different meat products.

The related Brazilian term churrascaria (or churrasquería) is mostly understood to be a steakhouse restaurant serving grilled meat, many offering as much as one can eat: servers move around the restaurant with skewers, slicing meat onto the customer's plate. This serving style is called espeto corrido or rodízio, and is quite popular in Brazil, especially in southern states like Rio Grande do Sul, Paraná, and Santa Catarina.

Churrasco by country
In Brazil, churrasco is the term for a barbecue (similar to the Argentine and Uruguayan asado) which originated in southern Brazil. It uses a variety of meats, pork, sausage and chicken which may be cooked on a purpose-built churrasqueira, a barbecue grill, often with supports for spits or skewers. Portable churrasqueiras are similar to those used to prepare the Argentine and Uruguayan asado, with a grill support, but many Brazilian churrasqueiras do not have grills, only the skewers above the embers. The meat may alternatively be cooked on large metal or wood skewers resting on a support or stuck into the ground and roasted with the embers of charcoal (wood may also be used, especially in the state of Rio Grande do Sul).

In Nicaragua, the first immigrant group to introduce the term for this cut of beef to the United States restaurant scene in Miami, Florida as early as the 1950s, it refers to a skirt steak prepared grilled and served with a traditional chimichurri sauce made with macerated parsley, garlic, peppers, and olive oil sauce.

In Argentina and Uruguay, a churrasco refers to any boneless cut of beef that is sliced slightly thin as a steak and grilled over hot coals or on a very hot skillet.

In the Dominican Republic and Puerto Rico, it always refers to skirt steak, cooked on a barbecue grill. The chimichurri sauce is optional, since the meat is very savory with just a slight hint of sea salt that is sprinkled over the meat during cooking. In Puerto Rico, it is also customary to replace chimichurri sauce with a guava rum sauce made with spices and 7up or Ajilimójili sauce.

In Ecuador churrasco is a staple food of the Coast Region, especially Guayaquil. The dish's main ingredient is the grilled steak that is seasoned with chimichurri, it is served with plantains, white rice, French fries, a fried egg, and slices of avocado.

In Guatemala, churrasco is regarded as a typical dish, often eaten in familiar gatherings and festive occasions. It is usually served topped with chirmol, a red sauce containing chopped tomatoes and onions, and accompanied by corn, guacamole, grilled potatoes, stewed black beans, rice, and tortillas.

In Chile, churrasco refers to a thin cut of steak which varies depending on the desired quality of the sandwich. The slices are grilled and served in a -sometimes warmed-local bun (called marraqueta, or pan batido in Valparaíso), usually accompanied with tomato, avocado, and mayonnaise, in the case of a churrasco italiano. Another popular dish, churrasco a lo pobre ("poor man's churrasco"), consists of a churrasco served with French fries, fried egg, and caramelized onions.

In Portugal, frango de churrasco with piri piri (a kind of salty roasted chicken cooked on the churrasqueira, spiced with hot red chili sauce, garlic, and paprika) is very popular. Portuguese churrasco and chicken dishes are very popular in countries with Portuguese communities, such as Canada, Australia, the United States, Venezuela and South Africa. The term churrasco is also used in former Portuguese colonies; a churrasco moçambicano is a grilled meat dish from Mozambique, for instance.

In Galicia, churrasco refers almost exclusively to grilled pork or beef spare ribs. Galicians who emigrated to America in the 20th century took with them the recipe for churrasco. Nowadays, many Galicians of all social classes prepare a churrascada.

In the mainland United States, churrasco-style restaurants have grown in popularity since the 1990s, fueled by the success of various chains, including Rodizio Grill, Texas de Brazil, Fogo de Chão, and Tucanos, as well as stand-alone Brazilian barbecue restaurants.

In the mainland United States, "Churrasco" is a registered trademark for rotisserie/grills manufactured by Hickory Industries, Inc. of Fort Lee, New Jersey.

title: Churrasco


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Bermuda National Trust

The Bermuda National Trust is a charitable organization which works to preserve and protect the heritage of Bermuda.

According to its website, the organization has the following purposes:

"The Bermuda National Trust is a charity, established in 1970 to preserve natural, architectural and historic treasures and to encourage public appreciation of them.

The Trust's programmes and activities are focused in the key areas of Preservation, Education and Advocacy. Its purpose is to ensure that Bermuda's unique heritage remains protected for future generations."

The Bermuda National Trust cares for 82 properties throughout the territory, covering 250 acres (1 km2) and representing much of the best of Bermuda's heritage. These include a number of different historic houses, islands, gardens, cemeteries, nature reserves and coastline. The Trust also runs three museums displaying a collection of artefacts owned and made by Bermudians showing the development of the territory, as well as an education programme, focussing on the island's history and what it means to our future.

The Trust has reciprocal agreements with heritage organizations across Africa, Asia, Caribbean, Europe and across the Pacific allowing its members to use the facilities of its partners. This also allows members of other National Trusts to visit sites in Bermuda. The Bermuda National Trust's predecessor was the Bermuda Historical Monuments Trust. This organization existed from its establishment in 1937 to 1970. The Trust collaborated with other organisations, including the government Departments of Conservation Services, Environmental Protection, Parks and Environmental Health, as well as the Bermuda Aquarium, Museum and Zoo, Bermuda Audubon Society and Keep Bermuda Beautiful. The Trust is governed by a 13-member council.

title: Bermuda National Trust


text:
Gregory Mcdonald

Gregory Mcdonald (February 15, 1937 – September 7, 2008) was an American writer best known for his mystery adventures featuring investigative reporter Irwin Maurice "Fletch" Fletcher.

Two of the Fletch books earned Edgar Awards from the Mystery Writers of America: Fletch was named Best First Novel in 1975, and Confess, Fletch won for Best Paperback Original in 1977. This is the only time a novel and its sequel won back-to-back Edgars. Mcdonald would go on to write seven more novels in the Fletch series, as well as spinoffs and other standalone novels. The original book became a 1985 movie of the same name starring Chevy Chase.

Career
Mcdonald was born in Shrewsbury, Massachusetts and attended Harvard. While working as a high school teacher, he wrote and published his first novel, Running Scared (1964), a dramatic story of a college student's suicide. His credential as a published novelist helped him get a job as a journalist for the Boston Globe in the late 1960s.

His first mystery novel, Fletch, published in 1974, introduced the titular character, an ex-Marine who becomes a wisecracking, womanizing California-based investigative reporter adept at undercover work. In the second Fletch novel, Confess, Fletch (1976), Mcdonald introduced his second signature protagonist, Inspector Francis Xavier Flynn, a brilliant but eccentric Boston Police homicide detective, who would go on to appear in four of his own spin-off novels. The Fletch series also spawned the Son of Fletch series, in which Mcdonald introduced the character of Jack Faoni, the illegitimate son of Irwin Maurice Fletcher. In addition, Mcdonald wrote two mysteries set in Tennessee in the Skylar series and a number of non-series (and non-mystery) novels.

Most of Mcdonald's mysteries mixed doses of humor and satire alongside the adventure and whodunit plots. Three of the later Fletch novels, Fletch and the Widow Bradley, Fletch Won and Fletch Too were prequels set in a period in which Fletch was still a struggling young journalist, rather than the wealthy adventurer/troubleshooter he became after the events of Fletch.

Adaptations
A 1972 British film co-written and directed by David Hemmings was adapted from Mcdonald's first novel, Running Scared.

In 1985, the first novel in the Fletch series was adapted into a movie with Chevy Chase playing the irreverent investigative reporter. Although Mcdonald had never seen Chevy Chase perform in anything substantial, he readily agreed to the casting of the actor in the role, and had nothing but praise for his performance. Chase would reprise his role in the 1989 sequel Fletch Lives (based on the Fletch character, but not adapted from any Mcdonald novel). There were no further Fletch films until the series was rebooted years after Mcdonald's death with Confess, Fletch (2022) starring Jon Hamm.

His 1991 neo-western novel The Brave was adapted into an unsuccessful 1997 film directed by and starring Johnny Depp.

Personal life
In the mid-1980s, he moved to Pulaski, Tennessee, where he bought an antebellum farm and became involved in local politics, specifically anti-Klan work. (Pulaski was the birthplace of the KKK.)

He died at his home from prostate cancer in 2008. Aside from his wife, Cheryle Higgins, whom he married in 2001, Mcdonald was survived by a sister, two children, three stepsons and grandchildren. His first marriage ended in divorce.

Irwin Maurice "Fletch" Fletcher series

 * Fletch (1974)
 * Confess, Fletch (1976)
 * Fletch's Fortune (1978)
 * Fletch and the Widow Bradley (1981)
 * Fletch's Moxie (1982)
 * Fletch and the Man Who (1983)
 * Carioca Fletch (1984)
 * Fletch Won (1985)
 * Fletch, Too (1986)

Son of Fletch series

 * Son of Fletch (1993)
 * Fletch Reflected (1994)

Francis Xavier Flynn series

 * Flynn (1977)
 * The Buck Passes Flynn (1981)
 * Flynn's In (1984)
 * Flynn's World (1999 as e-book; 2003 on paper)

Skylar series

 * Skylar (1995)
 * Skylar in Yankeeland (1997)

Standalone novels

 * Running Scared (1964)
 * Love Among the Mashed Potatoes aka Dear M.E. (1978)
 * Who Took Toby Rinaldi? (US title)/Snatched (UK title) (1980)
 * Safekeeping (1985)
 * A World Too Wide (1987)
 * Exits and Entrances (1988)
 * Merely Players (1988)
 * The Brave (1991)
 * Wise Saws (unpublished)

Other

 * The Education of Gregory Mcdonald: Sketches from the Sixties. Writings About America, 1966-1973 (1985)
 * Souvenirs of a Blown World: Sketches from the Sixties: Writings About America, 1966-1973, Seven Stories Press, 2009; collection of his writings for the Boston Globe

Film adaptations

 * Running Scared (1972) starring Robert Powell and Gayle Hunnicutt
 * Fletch (1985) starring Chevy Chase
 * Fletch Lives (1989) starring Chevy Chase (original screenplay by Leon Capetanos based on the Mcdonald character)
 * The Brave (1997) starring Johnny Depp and Marlon Brando
 * Confess, Fletch (2022) starring Jon Hamm

title: Gregory Mcdonald


text:
Agnew

Agnew may refer to:

People

 * Agnew (surname)
 * Agnew baronets, a title in Scotland and England
 * Clan Agnew, a Scottish lowland clan

Australia

 * Agnew, Western Australia
 * Agnew Gold Mine, a gold mine in Western Australia

United States

 * Agnew, Michigan
 * Agnew, Nebraska
 * Agnew, Washington
 * Agnew, West Virginia
 * Agnew's Village, California
 * Agnew Depot

Other uses

 * Agnew, a type of black box (telephone hacking device)

title: Agnew


text: User talk:81.69.41.183

title: User talk:81.69.41.183


text:
Marc Evans

Marc Evans (born 1963) is a Welsh director of film and television, whose credits include the films House of America, Resurrection Man and My Little Eye.

Biography
Evans was born in 1963 in Cardiff, Wales. He studied for a history of art degree at the University of Cambridge, and then took a year out before taking a one-year course in film at the University of Bristol, where one of his contemporaries was Michael Winterbottom.

Career
Evans worked as a runner for a commercials company in London, before beginning directing on TV dramas, starting out with Welsh-medium productions for S4C, and worked on episodes of The Ruth Rendell Mysteries.

He then switched to film, with House of America (1997) about a young immigrant coming from Wales to the United States, who falls foul of the American dream. In 1998 controversy started over his Resurrection Man, an extreme horror period drama set amid sectarian violence in Northern Ireland.

The later films of Marc Evans show a shift from an exploration of the relationships between national identity and myth, to an innovative reworking of the horror genre in the critically acclaimed My Little Eye, which tapped into the Zeitgeist via its embedded critique of the extremities of reality television and the internet. His first box office hit was the Big Brother-inspired horror film My Little Eye. In 2004 he directed Trauma starring Colin Firth, Mena Suvari and Brenda Fricker; script written by Richard Smith, which reprised the darker elements of My Little Eye via a chilling psychological study of amnesia and despair.

In 2006, he directed the Canadian feature film Snow Cake, starring Sigourney Weaver and Alan Rickman. His documentary In Prison My Whole Life, about death row inmate Mumia Abu-Jamal, premiered at the 2007 London Film Festival and was selected for the Sundance Film Festival in 2008.

Evans, in an interview at Cineworld Cinema in Cardiff, declared that he is working on a musical set in Swansea of the year 1976, with Catherine Zeta-Jones attached, which then changed to become Minnie Driver. The film, Hunky Dory, premiered at the 55th BFI London Film Festival and was released on 2 March 2012, in the UK and Ireland. The film also stars Kimberley Nixon and Aneurin Barnard, the West End Actor of Spring Awakening.

He appeared in A Life in the Death of Joe Meek, an independent documentary about the British record producer Joe Meek, which he was initially slated to direct.

Also in 2012, Marc Evans directed the ITV produced Doors Open, a television adaptation of a book by the crime novelist Ian Rankin. The film tells the story of a self-made millionaire, an art professor and a banker, who come together to undertake an audacious art heist. The TV movie is starring Douglas Henshall and Stephen Fry.

Evans also directed the upcoming documentary feature titled Jack to a King – The Swansea Story, about the rise of Swansea City Football Club to the Premier League for the past decade. It is produced by YJB Films and was released on 12 September 2014. During the documentary production, Evans admitted that, “The thing that appealed to me the most was that it was something totally outside my experience and a story I’d not heard before. It was a film without any adult supervision – it was there for the taking as no one said how it had to be made. We were free to make the kind of film we felt we could make.”

Evans directed Cassy and Jude, a romantic comedy film based on the novel Cassandra at the Wedding by Dorothy Baker. The film is produced by Sam Taylor and Mike Downey of Film & Music Entertainment Ltd, and is executive produced by Stephen Daldry.

It is rumoured, that Marc Evans will direct another musical film, entitled Once Upon a Time in Wigan, about the northern soul scene in Wigan Casino set in the 1970s. However, he is said to direct the Israeli-Palestinian comedy Birthright, produced by New York-based BoomGen Studios. The film tells the story of a shy Jewish-American boy, who follows the girl of his dreams on a trip to Israel, only to wind up lost in Palestine. The script for this movie was written by Ari Issler and Ben Snyder, after they had been on a trip to Israel.

Evans is a visiting professor at the University of Glamorgan's creative arts school ATRiuM.

Personal life
Marc Evans is married to actress Nia Roberts; the couple lives in Cardiff, and have a daughter, Edith.

Films
Director

Executive producer
 * Cymru Fach (2008)

Television
TV movies
 * Le jeu du roi (1991)
 * Thicker than Water (1994)
 * Bliss (1995)
 * Doors Open (2012)

TV series
 * East of the Moon (1988)
 * Letters from Patagonia (1988)
 * The Gift (1990, mini-series, co-director)
 * Friday on My Mind (1992)
 * The Ruth Rendell Mysteries: "Master of the Moor" Parts 1, 2 and 3 (1994)
 * Collision (2009, mini-series)
 * Playhouse Presents: "Gifted" (2013)
 * Hinterland: "Devil's Bridge" (2013)
 * Safe House (2017)
 * The Pembrokeshire Murders (2021)
 * Steeltown Murders (2023)

title: Marc Evans


text:
Sgùrr Choinnich

Sgùrr Choinnich is a mountain with a height of 999 m in the Northwest Highlands of Scotland. Classed as a Munro, it is in the Achnashellach Forest area between Glen Carron and Loch Monar. It has mostly steep, grassy slopes, with a narrow summit ridge that runs east–west. There are crags on the northern side of this ridge, looking down into the corrie of Coire Choinnich.

From the summit there are fine views of the Coulin and Torridon peaks to the north, whilst southward lies a large expanse of wilderness around Loch Monar.

The hill is often climbed along with the neighbouring Sgùrr a' Chaorachain, to the east, as the pair are linked by a high bealach at the head of Coire Choinnich. The most normal route of ascent starts from the north, near Craig, a small village in Glen Carron. A good track leads up the side of the Allt a' Chonais burn, and once across the burn one possible route of ascent is the north ridge of Sgùrr a' Chaorachain. From the summit of this peak one may continue west onto the summit of Sgùrr Choinnich. From the east, a well defined ridge leads to the bealach of Bealach Bhearnais; here a stalkers track leads from the glen of Allt a' Chonais is met, thus a circular route is possible. Alternatively from Bealach Bhearnais one may choose to ascend the neighbouring peaks of Beinn Tharsuinn and Sgùrr nan Feartaig.

title: Sgùrr Choinnich


text:
National Trust of Fiji

The National Trust of Fiji is a statutory organization in Fiji devoted to conservation of public resources. The trust was created in 1970 by the National Trust for Fiji Act.

It administers parks and various historical sites. The parks are Sigatoka Sandunes National Park, Sovi Basin, JH Garrick Memorial Park, Waisali Forest Reserve, Momi Battery Historic Park, and Yaduataba Crested Iguana Sanctuary.

The National Trust's primary purposes are preservation of historic and natural resources; promotion and augmentation of the amenities to those resources; conservation of flora and fauna; and provision of access to the historic and natural resources for the public.

In 2000, the National Trust of Fiji campaigned for awareness about the diminishing number of indigenous birds, such as the kaka and kula.

title: National Trust of Fiji


text:
User:Dmr2

 Barnstars

title: User:Dmr2


text:
Wikipedia:Featured article candidates/Tynwald Day/archive1

Tynwald Day
(Uncontested -- 15 July) This is a self-nomination. It would have been nice for me to have thought of this last month, so that objections could have been resolved and the article displayed on the main page on Tynwald Day (July 5), but since I did not, I presume we will have to wait until next year. -- Emsworth 19:31, 15 Jul 2004 (UTC)
 * Support. If Emsworth wants to singlehandedly dominate FA for years to come, who am I to stop him? [[User:Meelar|Meelar (talk)]] 19:41, 15 Jul 2004 (UTC)
 * Object. Generally a good article, but some repetition needs tidying up. Foor example, these three facts are stated twice: Monday if the 5th is a weekend day, hill is artificial, flag bears three leg symbol. Also, should the flag image be placed by the 1st mention to clarify the symbol right away? If these are fixed, I'll Now support. Bmills 13:51, 16 Jul 2004 (UTC)
 * Okay, I've addressed these issues. -- Emsworth 17:03, 16 Jul 2004 (UTC)
 * Support. Great article about something I had never heard of until today. Jeronimo 10:55, 17 Jul 2004 (UTC)
 * Support. Excellent article with one nit: maybe its just me that wants see also's but I feel strongly it connects the wikipedia material better, and I usually want to read more about an interesting topic like this. For example, links to History of the Isle of Man, Government of the Isle of Man would help along with others.  I've already started it, but I'm commenting here because I think it should be a standard feature of featured articles. - Taxman 14:08, Jul 17, 2004 (UTC)
 * Support. Obscure stuff like this is what Wikipedia is best at.  Bacchiad 03:56, 21 Jul 2004 (UTC)


text:
Bambino

Bambino is the Italian masculine form for "child". The feminine is bambina. The plural forms are bambinos in English and bambini in Italian. These words can refer to:

Sports

 * Babe Ruth (1895–1948), Hall-of-Fame Major League Baseball player nicknamed "the Bambino"
 * Héctor Veira (born 1946), Argentine retired footballer and manager
 * The "Curse of the Bambino", a superstition regarding the Boston Red Sox baseball team
 * Gianluca Lapadula, an Italian-Peruvian footballer

Music

 * "Bambino", first hit song by Dalida, which holds record for longest time spent on number 1 chart position, a total of 45 weeks.
 * Héctor el Father or "Hector El Bambino", Puerto Rican former reggaeton recording artist and producer Héctor Delgado Román (born 1978)
 * Tito El Bambino (born 1981), Puerto Rican singer
 * "Bambina" (Idoli song)
 * "Bambino (Napoli Lullaby)", a song recorded by The Springfields
 * "Bambina", a song in Nue (Lara Fabian album)
 * Nickname given to the singing and rapping duo Bars and Melody's fans

Other

 * Bambino, Bud Spencer's character in the film They Call Me Trinity and in the sequel Trinity Is Still My Name
 * Bambino, a male character in The Bridge, a 1969 Yugoslav war film
 * Bambino!, a Japanese manga
 * "Bambina," the nickname given in the anime La storia della Arcana Famiglia to Felicita
 * "Orient Bambino", a line of automatic wrist watches by Japanese manufacturer "Orient Watch"
 * "Hello Bambinos", was the greeting used by patriarch Martin Goodman (Paul Ritter) towards his sons in Friday Night Dinner

Wine grapes

 * Bambino (grape), another name for the Italian wine grape Bombino bianco
 * Bombino nero, another wine grape that is also known as Bambino
 * Cesanese Comune, another wine grape that is also known as Bambino

Other uses

 * Il Bambino, the name given in art to the image of the infant Jesus
 * Bambino cat, an experimental crossbreed of domestic cat
 * Fiat 500, known in Australia as "Bambino"
 * Bambino (ice-cream), Polish

title: Bambino


text:
File:Oahubowllogo.jpg

Summary
Oahu Classic logo

title: File:Oahubowllogo.jpg


text:
Courvoisier

Courvoisier is a brand of cognac, with production based in the town of Jarnac in the Charente region of France. It is the youngest and smallest of the "big four" cognac houses (the others are Hennessy, Rémy Martin, and Martell).

Courvoisier has also been described as the most untypical of the big four. It controls every step of its production process but does no distilling of its own, changes the process for different vintages and regional variations in eaux-de-vie, and has never owned vines. In 2019, it exported approximately 1.4 million nine-litre cases of its cognacs.

The brand has been owned by several companies in recent years from Allied Domecq in the 1990's, Beam Global (later Beam Suntory) thereafter, and most recently Campari Group since May 2024.

History
in 1835, Frenchman Emmanuel Courvoisier started a wine and spirit company in the Parisian suburb of Bercy with Louis Gallois, then the mayor of Bercy. Originally, the pair would act as traders for the best cognacs of the region. Eventually they decided that the only way they could guarantee the very finest cognac was relocate to the region and become producers themselves. The 200-year-old crafting process has not changed since Courvoisier's establishment in Bercy.

Emperor of the French Napoleon Bonaparte visited Bercy in 1811 as documented in a historic painting by Etienne Bouhot, and later was credited with saying he wanted his artillery companies to have a ration of cognac during the Napoleonic Wars. Legend has it that Napoleon I later took several barrels of cognac with him to St Helena, a treat much appreciated by the English officers on the ship, who named it "the Cognac of Napoleon". In 1869, Napoleon's heir Napoleon III personally requested Courvoisier and bestowed the honourable title of "Official Supplier to the Imperial Court" which is still displayed at the Courvoisier museum in Jarnac.

In 1828, Felix Courvoisier and Jules Gallois, the sons of Emmanuel and Louis, wanted to improve the quality of cognac, moving the company to the heart of the Cognac region in the town of Jarnac. After Felix's passing in 1866, his nephews, the Curlier brothers, took over the management of the business. By 1909, the business was sold to the Simon family from England, but still maintained its production and headquarters in the Jarnac region.

Located ten minutes from the town of Cognac, the main Courvoisier business operations still operate from the Château on the banks of the Charente river which was established in the 1870s. Courvoisier sources eaux-de-vie from the following crus to create its blends: Grande Champagne, Petite Champagne, Borderies and Fin Bois. The harvest season begins in October, followed up by distillation from November to March. Courvoisier cognac is aged in barrels handmade from 200-year-old oak sourced from the Tronçais forest in France.

Courvoisier headquarters are still stationed in Jarnac, about ten minutes from the Cognac region. Courvoisier is run from the original Château Felix Courvoisier and Jules Gallois moved to in 1828. Today, the Courvoisier Château has a boutique and museum, offering private tastings and exclusive tours. The museum features several items linked to Napoleon I.

In December 2023, Campari Group made an agreement to acquire the company that owned the brand. On May 1, 2024, it was announced that this transaction had been completed.

Marketing
Courvoisier launched the Joséphine bottle in 1951, named after Napoleon's first wife. The shape of the bottle, with a thin neck and wide base, has become synonymous with Courvoisier, and speculation still exists whether the shape is meant to mimic Josephine's love of corsets or an inverted replica of early brandy glasses.

Courvoisier was the first cognac brand to appear on TV with an advertisement on UK television broadcast to nine million viewers. In 2009, Courvoisier was the first alcohol brand to release a 3D advertisement, titled "Cognac With Another Dimension", on TV and in cinemas, ahead of the viewing of the biggest-grossing film of all time, Avatar. A special iPod app was created to teach consumers how to use Courvoisier as an ingredient in cocktails as part of the "Mixability" promotion.

In 2009 Courvoisier created an "Architectural Punchbowl" in conjunction with Bompas & Parr. It was intended as immersive brand experience, featuring cocktails served from a structure filled with 4,000 litres of a punch containing Courvoisier. The event was a homage to Admiral Edward Russell, who in 1694 created a large punchbowl that had to be served by a boy rowing across it.

Le Nez de Courvoisier, one of the first examples of sensory marketing, recognised the dominant aromas in each of the Courvoisier cognacs and used them to deliver food pairing initiatives in partnership with leading chefs and music.

In 1988, famed Art Deco designer Erté was commissioned to create limited edition Courvoisier bottles containing Grande Champagne cognac dating back to the year of his birth, 1892. The seven unique designs represented various stages of the cognac distillation process interpreted by Erté's unique designs.

Courvoisier's next fashion partnership was in 2005 with English designer Vivienne Westwood. Sold exclusively at Harvey Nichols, The Courvoisier XO dressed by Vivienne Westwood only released 150 limited edition bottles.

The oldest bottle of Courvoisier, with liquid dating back to 1789, was unveiled at Harrod's for the Alchimie L'Atelier event. Discovered in Dutch collector Bay van der Bunt's vault, the bottle went on sale for €90,000.

Products

 * C by Courvoisier
 * Courvoisier VS
 * Courvoisier VSOP Fine Cognac
 * Courvoisier VSOP Exclusif
 * Courvoisier Napoleon Fine Champagne
 * Courvoisier XO
 * Courvoisier XO ROYAL
 * Courvoisier Emperor
 * Courvoisier Initiale Extra
 * Courvoisier 12
 * Courvoisier 21
 * Courvoisier Premier Reserve
 * Courvoisiser Mizunara Cognac
 * L'Essence De Courvoisier
 * L'Esprit de Courvoisier
 * Courvoisier Succession JS
 * Courvoisier Cour Imperiale Grand Champagne
 * Courvoisier Gold (US Only)
 * Courvoisier Rose (US Only)

Accolades
Courvoisier was granted the 'Prestige de la France' in 1984 for providing quality products in France and remains the only cognac house to have received the award. Liquor ratings aggregator Proof66 lists the Courvoisier 21 among the Top 20 rated brandies/cognacs in the world.

title: Courvoisier


text:
Jackie Gutiérrez

Joaquín Fernando "Jackie" Gutiérrez (born June 27, 1960) is a Colombian former professional baseball shortstop. He played in Major League Baseball (MLB) with the Boston Red Sox, Baltimore Orioles, and Philadelphia Phillies, and was the first Colombian MLB player to play for these teams. Listed at 5 ft and 175 lb, he batted and threw right-handed.

Biography
Gutiérrez began his professional baseball career in 1978 with the Elmira Pioneers, a farm team of the Boston Red Sox. He reached the Triple-A level in 1983.

Gutiérrez reached the major leagues with Boston in 1983, playing in parts of three seasons with the Red Sox, including a career-high 151 games in 1984. The third native Colombian to play in MLB, he was the Red Sox's starting shortstop in 1984 and into the first two months of the following campaign. A knee injury sustained in a 10–3 loss to the Texas Rangers at Arlington Stadium on May 25, 1985 led to him being supplanted by Glenn Hoffman and unable to reclaim the position as he ended 1985 with 23 errors and a .218 batting average that was 45 points lower than from the previous year.

He was traded from the Red Sox to the Orioles for Sammy Stewart on December 17, 1985. Upon hearing reports that Gutiérrez was released by two winter ball teams in the Dominican Republic and Venezuela because of erratic behavior which involved frequent fights, the Orioles attempted to have the transaction restructured or voided, alleging that the Red Sox had prior knowledge of any such issues. American League president Bobby Brown upheld the deal on March 11, 1986, ruling that it was made in "good faith, with neither club knowingly misrepresenting the facts" and that "the Orioles' request to rescind the trade has been denied."

Entering the 1986 season, the Orioles' expectations for Gutiérrez was for him to become the starting third baseman, allowing Floyd Rayford to replace Rick Dempsey as catcher. Gutiérrez's fWAR of -1.7 was the lowest among all MLB players in the 1986 season.

Gutiérrez last played in MLB with the Philadelphia Phillies in 1988.

In parts of six major league seasons, Gutiérrez batted .237 with four home runs, 63 RBI, 106 runs, 24 doubles, five triples and 25 stolen bases in 356 games.

Gutiérrez continued his minor league career through 1990, last playing with the unaffiliated Miami Miracle. His final season playing professionally was 1993, when he played for the China Times Eagles in the Chinese Professional Baseball League.

During his time with the Boston Red Sox he was known as "The Whistler" for his constant whistling between pitches which could be heard all around every ballpark.

Gutiérrez's father, Elias Gutiérrez, represented Colombia at the 1936 Summer Olympics as a sprinter and javelin thrower.

title: Jackie Gutiérrez


text:
Talk:Tynwald Day

I don't want to mess with perfection and I feel really stupid saying anything, but I think most people would recognize the heraldic term of lymphad more readily as a Viking longship. Both the FOTW's site and the Tynwald's site show an unmistakable caricature of Vikings, worth noting possibly, because of the Island's history. Cha nel mee madyral mie ny sie (good or bad, it's the same to me). Khirad 04:28, 13 September 2005 (UTC)

When I came across this page someone (a "Seb" with a geocites web page) had vandlised it. Somehow they added a "visit my homepage" message with some refrences to pokemon to the text. I visited the "edit this page" and the extra text didn't appear in the edit window, however it kept appearing in the article. Not sure how he managed this. Of course I haven't mucgh of a clue about Wikipedia so it is possible I was missing the obvious. I managed to delete it by saving the edit. There are some idiots out there. Seb you are a childish twat. Anon 14:30 13 Sept 2005 (GMT)

Thank you. The Seb junk was very rude and annoying.

External links modified
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title: Talk:Tynwald Day


text:
Värmdö (island)

Värmdö is an island in the innermost region of the Stockholm archipelago and covers an area of 181.40 km2, making it the largest island in the archipelago. Värmdö is after Gotland and Öland the third largest island on the eastern coast of Sweden.

Värmdö lies in Stockholm County. Most of it forms part of Värmdö Municipality along with other islands, but the western end is part of Nacka Municipality, which lies mostly on the mainland, to which Värmdö is connected by a road bridge.

The UK-based Swedish television presenter Ulrika Jonsson has a home on the island.

The famous tennis player Björn Borg also has a house on the island, in the part that is called Djurö.

Artipelag is an international venue for art, culture, design that is located in Värmdö.

title: Värmdö (island)