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Villers-sur-Mer

Villers-sur-Mer is a commune in the Calvados department in Normandy, northwestern France, with a population of 2,644 as of 2017.

Geography
The commune is located on the French coast of the English Channel, on the Côte Fleurie, between Deauville and Houlgate, approximately 200 km from Paris.

It is the northernmost French commune through which falls the Prime meridian. The latter is represented on the seafront promenade with a blue mark on the ground and on the parapet. This mark is positioned 32 metres west of the actual meridian in use today, the IERS Reference Meridian.

Paleontology
Numerous fossils of vertebrates were found in the Jurassic (Upper Callovian) Vaches-Noires cliffs in Villers-sur-Mer. Remains include marine reptiles, in particular teleosaurids (Steneosaurus heberti) and metriorhynchids, coelacanths, a huge suspension-feeding fish Leedsichthys and dinosaurs. A 2.5 m-long metriorhynchid skeleton, assigned to Metriorhynchus cf. superciliosus, is unique due to the preserved undigested food in its stomach: the remains of invertebrates and gill apparatus of Leedsichthys. This content indicates that large fishes were not the main diet of these thalattosuchians and this individual likely devoured already dead Leedsichthys.

Villers-sur-Mer is known for the large topiary dinosaurs facing the sea from the garden of the office of tourism. In certain years, a baby dinosaur is added to the garden. There is a small museum in the enclosure of the office of tourism, which has an outline of the resources and discoveries. It is a place widely known by specialists in the ammonites too.

History
It seems that Villers-sur-Mer (then known as Villers) was more akin to a group of hamlets during the early 19th century. According to the Cassini map (drawn in the 18th century), Villers at that time is made up of a church, two farms (La Motte and Fontaine), and a castle.

Population
The town had a population of 2,644 in 2017, posting a growth of just under 50 residents between then and 2007.

Curiosity
On the beach of Villers-sur-Mer (last stretch of rue Alfred Feine), the famous last scene of the first film by François Truffaut was shot: Les Quatre Cent Coups ends with a freeze frame of its boy hero running towards the sea.

Transportation
Villers-sur-Mer station is on the line from Deauville to Dives-sur-Mer. The station building is no longer open but train services operate year-round on weekends, and also on weekdays during the summer.

title: Villers-sur-Mer


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User talk:Woman Man

ClockworkTroll 19:36, 10 Oct 2004 (UTC)

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

title: User talk:Woman Man


text:
User talk:Roel.deLeeuw

ClockworkTroll 19:37, 10 Oct 2004 (UTC)

title: User talk:Roel.deLeeuw


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User talk:ArthurDenture

Speedy deletion of Sad panda
A tag has been placed on Sad panda, requesting that it be speedily deleted from Wikipedia per CSD A1.

Under the criteria for speedy deletion, articles that do not meet basic Wikipedia criteria may be deleted at any time. Please see the guidelines for what is generally accepted as an appropriate article, and if you can indicate why the subject of this article is appropriate, you may contest the tagging. To do this, add  on the top of the article and leave a note on the article's talk page explaining your position. Please do not remove the speedy deletion tag yourself, but don't hesitate to add information to the article that would confirm its subject's notability under the guidelines.

If you think that this notice was placed here in error, you may contest the deletion. To do this, add  on the top of the page (just below the existing speedy deletion or "db" tag) and leave a note on the page's talk page explaining your position. Please do not remove the speedy deletion tag yourself.  Wikidudeman  (talk) 15:29, 8 October 2007 (UTC)

Dating of the Exodus
Hi, thanks - I unashamedly stole the idea from you of course! Springnuts (talk) 22:33, 28 December 2007 (UTC)

Scoop
I noticed you removed the Merge template on Scoop (software), saying, "Scoop is a CMS, and SCOOP is a concurrent programming style. There is no connection." I am sure you are quite right factually, but the names do seem confusing to the unwary. I don't know what either of the things in your edit summary are. As you seem to know about this, would you be able to insert a sentence saying "not to be confused with ..."? Thanks BrainyBabe (talk) 14:31, 21 May 2008 (UTC)

ArbCom elections are now open!
Hi, You appear to be eligible to vote in the current Arbitration Committee election. The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to enact binding solutions for disputes between editors, primarily related to serious behavioural issues that the community has been unable to resolve. This includes the ability to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail. If you wish to participate, you are welcome to review the candidates' statements and submit your choices on the voting page. For the Election committee, MediaWiki message delivery (talk) 22:16, 30 November 2015 (UTC)

title: User talk:ArthurDenture


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File:Harry Chapin - Sniper and Other Love Songs.jpg

Summary
Harry Chapin - Sniper and Other Love Songs cover


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Sniper and Other Love Songs

Sniper and Other Love Songs is the second studio album by the American singer/songwriter Harry Chapin, released in 1972. The album's title song is a vaguely fictionalised account of Charles Whitman's shootings from the clocktower of the Main Building of the University of Texas at Austin in August 1966. In 2004 it was released as a double CD package with Heads & Tales featuring several previously unreleased out-takes.

The song "Circle" was a major hit for The New Seekers (released as "Circles") and became known as the Chapin Anthem. "Sunday Morning Sunshine" cracked the Billboard Hot 100. A live version of "A Better Place To Be" charted in 1976.

Personnel

 * Harry Chapin - guitar, vocals
 * John Wallace - bass, vocals
 * Tim Scott - cello
 * Ron Palmer - lead guitar, vocals
 * Steve Chapin - keyboards
 * Russ Kunkel - drums and percussion

title: Sniper and Other Love Songs


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Copiague Harbor, New York

Copiague Harbor is an affluent incorporated community within the census-designated place (CDP) of Copiague. It is located south of Merrick Road (or Montauk Highway), off of South Great Neck Road in Suffolk County, New York, USA, on the South Shore of Long Island. It is sometimes referred to as Great Neck Landing.

Description
Copiague Harbor is a small community located on a southern peninsula of Copiague, primarily composed of larger size homes deeded belonging to a homeowners' association, Great South Bay Estates Homeowner's Association (GSBEHA). The community offers amenities including a mini-beach and mini-marina on a private lagoon.

It was developed in the 1960s intended as a private community, gated and guarded. From time to time residents have considered adding a gate and guard as originally intended.

Geography
Copiague Harbor is located at the southernmost part of the hamlet of Copiague. It borders the Great South Bay.

School District
Copiague Harbor is located within the boundaries of (and is thus served by) the Copiague Union Free School District. As such, all children who reside within Copiague Harbor and attend public schools attend Copiague's schools.

Library District
Copiague Harbor is located within the boundaries of (and is thus served by) the Copiague Library District.

title: Copiague Harbor, New York


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List of wars involving Georgia (country)

This is a list of wars involving Georgia and its predecessor states. The list gives the name, the date, the combatants, and the result of these conflicts following this legend:


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5th arrondissement

5th arrondissement may refer to:
 * France:
 * 5th arrondissement of Lyon
 * 5th arrondissement of Marseille
 * 5th arrondissement of Paris
 * Benin:
 * 5th arrondissement of Porto-Novo
 * 5th arrondissement of the Littoral Department

title: 5th arrondissement


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Little Indian River (Michigan)

The Little Indian River is a 12.8 mi river on the Upper Peninsula of the U.S. state of Michigan. It rises in a small lake on Hiawatha National Forest land in Alger County, Michigan at 46.30056°N, -86.63667°W, flows through a lake district, then on through Schoolcraft County, and into the Indian River at 46.19°N, -86.52639°W.

Most of its course roughly parallels that of the Indian River a few miles to the south and west. The only major tributary is Grassy Creek, aside from the outflows of several small lakes.

title: Little Indian River (Michigan)


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Barium chloride

Barium chloride is an inorganic compound with the formula BaCl2. It is one of the most common water-soluble salts of barium. Like most other water-soluble barium salts, it is a white powder, highly toxic, and imparts a yellow-green coloration to a flame. It is also hygroscopic, converting to the dihydrate BaCl2*2H2O, which are colourless crystals with a bitter salty taste. It has limited use in the laboratory and industry.

Preparation
On an industrial scale, barium chloride is prepared via a two step process from barite (barium sulfate). The first step requires high temperatures.
 * BaSO4 + 4 C → BaS + 4 CO

The second step requires reaction between barium sulfide and hydrogen chloride:
 * BaS + 2 HCl → BaCl2 + H2S

or between barium sulfide and calcium chloride:
 * BaS + CaCl2 → CaS + BaCl2

In place of HCl, chlorine can be used. Barium chloride is extracted out from the mixture with water. From water solutions of barium chloride, its dihydrate (BaCl2*2H2O) can be crystallized as colorless crystals.

Barium chloride can in principle be prepared by the reaction between barium hydroxide or barium carbonate with hydrogen chloride. These basic salts react with hydrochloric acid to give hydrated barium chloride.
 * Ba(OH)2 + 2 HCl → BaCl2 + 2 H2O
 * BaCO3 + 2 HCl → BaCl2 + H2O + CO2

Structure and properties
BaCl2 crystallizes in two forms (polymorphs). At room temperature, the compound is stable in the orthorhombic cotunnite (PbCl2) structure, whereas the cubic fluorite structure (CaF2) is stable between 925 and 963 °C. Both polymorphs accommodate the preference of the large Ba(2+) ion for coordination numbers greater than six. The coordination of Ba(2+) is 8 in the fluorite structure and 9 in the cotunnite structure. When cotunnite-structure BaCl2 is subjected to pressures of 7–10 GPa, it transforms to a third structure, a monoclinic post-cotunnite phase. The coordination number of Ba(2+) increases from 9 to 10.

In aqueous solution BaCl2 behaves as a simple salt; in water it is a 1:2 electrolyte and the solution exhibits a neutral pH. Its solutions react with sulfate ion to produce a thick white solid precipitate of barium sulfate.
 * BaCl2 + Na2SO4 → 2 NaCl + BaSO4

This precipitation reaction is used in chlor-alkali plants to control the sulfate concentration in the feed brine for electrolysis.

Oxalate effects a similar reaction:
 * BaCl2 + Na2C2O4 → 2 NaCl + BaC2O4

When it is mixed with sodium hydroxide, it gives barium hydroxide, which is moderately soluble in water.
 * BaCl2 + 2 NaOH → 2 NaCl + Ba(OH)2

BaCl2*2H2O is stable in the air at room temperature, but loses one water of crystallization above 55 C, becoming BaCl2*H2O, and becomes anhydrous above 121 C. BaCl2*H2O may be formed by shaking the dihydrate with methanol.

BaCl2 readily forms eutectics with alkali metal chlorides.

Uses
Although inexpensive, barium chloride finds limited applications in the laboratory and industry.

Its main laboratory use is as a reagent for the gravimetric determination of sulfates. The sulfate compound being analyzed is dissolved in water and hydrochloric acid is added. When barium chloride solution is added, the sulfate present precipitates as barium sulfate, which is then filtered through ashless filter paper. The paper is burned off in a muffle furnace, the resulting barium sulfate is weighed, and the purity of the sulfate compound is thus calculated.

In industry, barium chloride is mainly used in the purification of brine solution in caustic chlorine plants and also in the manufacture of heat treatment salts, case hardening of steel. It is also used to make red pigments such as Lithol red and Red Lake C. Its toxicity limits its applicability.

Toxicity
Barium chloride, along with other water-soluble barium salts, is highly toxic. It irritates eyes and skin, causing redness and pain. It damages kidneys. Fatal dose of barium chloride for a human has been reported to be about 0.8-0.9 g. Systemic effects of acute barium chloride toxicity include abdominal pain, diarrhea, nausea, vomiting, cardiac arrhythmia, muscular paralysis, and death. The Ba(2+) ions compete with the K+ ions, causing the muscle fibers to be electrically unexcitable, thus causing weakness and paralysis of the body. Sodium sulfate and magnesium sulfate are potential antidotes because they form barium sulfate BaSO4, which is relatively non-toxic because of its insolubility in water.

Barium chloride is not classified as a human carcinogen.

title: Barium chloride


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Talk:Party of the Alliance of Youth, Workers and Farmers of Angola

Proper name
I would move this page back to "Pajoca". I'm not sure that "Party of the Alliance of Youth, Workers and Farmers of Angola" is the actual name of the party, since other reports state that it stand for "Party of the Alliance of Youth, Workers and Farmers of Cabinda" or simply "Party of the Alliance of Youth, Workers and Farmers".--Soman 19:47, 10 Oct 2004 (UTC)

External links modified
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Marie-Thérèse, Duchess of Angoulême

Marie-Thérèse Charlotte (19 December 1778 – 19 October 1851) was the eldest child of King Louis XVI and Queen Marie Antoinette of France, and their only child to reach adulthood. In 1799 she married her cousin Louis Antoine, Duke of Angoulême, the eldest son of Charles, Count of Artois, henceforth becoming the Duchess of Angoulême. She was briefly Queen of France in 1830.

She became Dauphine of France upon the accession of her uncle and father-in-law, Charles X, to the French throne in 1824.

She was queen for twenty minutes, on 2 August 1830, between the time her father-in-law signed the instrument of abdication and the time her husband, reluctantly, signed the same document, though this claim is disputed by historians.

Early life (1778–1789)
Marie-Thérèse Charlotte was born at the Palace of Versailles on 19 December 1778, the first child (after eight years of her parents' marriage) and eldest daughter of King Louis XVI and Queen Marie Antoinette. As the daughter of the King of France, she was a fille de France, and as the eldest daughter of the king, she was styled Madame Royale at birth.

Marie Antoinette almost died of suffocation during the birth process due to a crowded and unventilated room, but the windows were finally opened to let fresh air in the room in an attempt to revive her. As a result of the horrible experience, Louis XVI banned public viewing, allowing only close family members and a handful of trusted courtiers to witness the birth of the next royal children. When she was revived, the queen greeted her daughter (whom she later nicknamed Mousseline) with delight:

"Poor little one, you are not desired, but you will be none the less dear to me! A son would have belonged to the state—you will belong to me."

Marie-Thérèse was baptised on the day of her birth. She was named after her maternal grandmother, the Empress regnant Maria Theresa. Her second name, Charlotte, was for her mother's favourite sister, Maria Carolina of Austria, Queen consort of Naples and Sicily, who was known as Charlotte in the family.

Marie-Thérèse's household was headed by her governess, Princess Victoire of Rohan-Guéméné, who later had to resign due to her husband's bankruptcy and was replaced by one of the queen's closest friends, Yolande de Polastron, Duchess of Polignac. The actual care was, however, given by the sub governesses, notably Baroness Marie Angélique de Mackau. Louis XVI was an affectionate father, who delighted in spoiling his daughter, while her mother was stricter.

Marie Antoinette was determined that her daughter should not grow up to be as haughty as her husband's unmarried aunts. She often invited children of lower rank to come and dine with Marie-Thérèse and, according to some accounts, encouraged the child to give her toys to the poor. In contrast to her image as a materialistic queen who ignored the plight of the poor, Marie Antoinette attempted to teach her daughter about the sufferings of others. One account, written by a partisan source some years after her death, says that on New Year's Day in 1784, after having some beautiful toys brought to Marie-Thérèse's apartment, Marie Antoinette told her:

"I should have liked to have given you all these as New Year's gifts, but the winter is very hard, there is a crowd of unhappy people who have no bread to eat, no clothes to wear, no wood to make a fire. I have given them all my money; I have none left to buy you presents, so there will be none this year."

Marie-Thérèse was joined by two brothers and a sister, Louis Joseph Xavier François, Dauphin of France, in 1781, Louis-Charles, Duke of Normandy, in 1785, and Sophie Hélène Béatrix, Madame Sophie, in 1786. Out of all her siblings, she was closest to Louis Joseph, and after his death, Louis Charles. As a young girl, Marie-Thérèse was noted to be quite attractive, with beautiful blue eyes, inheriting the good looks of her mother and maternal grandmother. She was the only one of her parents' four children to survive past age 10.

Life during the Revolution (1789–1795)
As Marie-Thérèse matured, the march toward the French Revolution was gaining momentum. Social discontent mixed with a crippling budget deficit provoked an outburst of anti-absolutist sentiment. By 1789, France was hurtling toward revolution as the result of bankruptcy brought on by the country's support of the American Revolution and high food prices due to drought, all of which was exacerbated by propagandists whose central object of scorn and ridicule was the Queen of France, Marie Antoinette.

As the attacks upon the queen grew ever more vicious, the popularity of the monarchy plummeted. Inside the court at Versailles, jealousies and xenophobia were the principal causes of resentment and anger toward Marie Antoinette. Her unpopularity with certain powerful members of the court, including the Duke of Orléans, led to the printing and distribution of scurrilous pamphlets which accused her of a range of sexual depravities as well as of spending the country into financial ruin. While it is now generally agreed that the queen's actions did little to provoke such animosity, the damage these pamphlets inflicted upon the monarchy proved to be a catalyst for the upheaval to come.

The worsening political situation, however, had little effect on Marie-Thérèse. More immediate tragedy struck when her younger sister, Sophie, died in 1787. This was followed two years later by the dauphin, Louis Joseph, who died of tuberculosis on 4 June 1789, one day after the opening of the Estates-General.

Move to the Tuileries
When the Bastille was stormed by an armed mob on 14 July 1789, the situation reached a climax. The life of the 10-year-old Madame Royale began to be affected as several members of the royal household were sent abroad for their own safety. The Count of Artois, her uncle, and the Duchess of Polignac, governess to the royal children, emigrated on the orders of Louis XVI.

The Duchess of Polignac was replaced by Louise-Elisabeth de Croÿ, Marquise de Tourzel, whose daughter Pauline became a lifelong friend of Marie-Thérèse.

On 5 October, a mixed cortège of mainly working women from Paris marched to Versailles, intent on acquiring food believed to be stored there, and to advance political demands. After the invasion of the palace in the early hours of 6 October had forced the family to take refuge in the king's apartment, the crowd demanded and obtained the move of the king and his family to the Tuileries Palace in Paris.

As the political situation deteriorated, Louis XVI and Marie Antoinette realized that their lives were in danger, and went along with the plan of escape organised with the help of Count Axel von Fersen. The plan was for the royal family to flee to the northeastern fortress of Montmédy, a royalist stronghold, but the attempted flight was intercepted in Varennes, and the family was escorted back to Paris.

Temple
On 10 August 1792, after the royal family had taken refuge in the Legislative Assembly, Louis XVI was deposed, although the monarchy was not abolished before 21 September. On 13 August, the entire family was imprisoned in the Temple Tower, remains of a former medieval fortress. On 21 January 1793, Louis XVI was executed on the guillotine, at which time Marie-Thérèse's young brother Louis Charles was recognized as King Louis XVII of France by the royalists.

In March 1793 General Charles François Dumouriez came up with the idea to restore the monarchy and free Marie-Antoinette and her children. His ally, the 20-years-old Duke of Chartres should marry Marie-Thérèse. When they failed in getting support from the troops, the men went toward the Austrian camp and lived in exile.

Three months later, in the evening of 3 July 1793, guards entered the royal family's apartment, forcibly took away the eight-year-old Louis Charles, and entrusted him to the care of Antoine Simon, a cobbler and Temple commissioner. Remaining in their apartment in the Tower were Marie Antoinette, Marie-Thérèse and Madame Élisabeth, Louis XVI's youngest sister. When Marie Antoinette was taken to the Conciergerie one month later, in the night of 2 August, Marie-Thérèse was left in the care of her aunt Élisabeth who, in turn, was taken away on 9 May 1794 and executed the following day. Of the royal prisoners in the Temple, Marie-Thérèse Charlotte was the only one to survive the Reign of Terror.

Her stay in the Temple Tower was one of solitude and often great boredom. The two books she had, the famous prayer book by the name of The Imitation of Christ and Voyages by Jean-François de La Harpe, were read over and over, so much so that she grew tired of them. But her appeal for more books was denied by government officials, and many other requests were frequently refused, while she often had to endure listening to her brother's cries and screams whenever he was beaten. On 11 May, Robespierre visited Marie-Thérèse, but there is no record of the conversation. During her imprisonment, Marie-Thérèse was never told what had happened to her family. All she knew was that her father was dead. The following words were scratched on the wall of her room in the tower:

"'Marie-Thérèse Charlotte is the most unhappy person in the world. She can obtain no news of her mother; nor be reunited to her, though she has asked it a thousand times. Live, my good mother! whom I love well, but of whom I can hear no tidings. O my father! watch over me from Heaven above. O my God! forgive those who have made my parents suffer.'

''Marie-Thérèse-Charlotte est la plus malheureuse personne du monde. Elle ne peut obtenir de savoir des nouvelles de sa mère, pas même d'être réunie à elle quoiqu'elle l'ait demandé mille fois. Vive ma bonne mère que j'aime bien et dont je ne peux savoir des nouvelles. Ô mon père, veillez sur moi du haut du Ciel. Ô mon Dieu, pardonnez à ceux qui ont fait souffrir mes parents."

In late August 1795, Marie-Thérèse was finally told what had happened to her family, by Madame Renée de Chanterenne, her female companion. When she had been informed of each of their fates, the distraught Marie-Thérèse began to cry, letting out loud sobs of anguish and grief.

It was only once the Terror was over that Marie-Thérèse was allowed to leave France. She was liberated on 18 December 1795, on the eve of her seventeenth birthday, exchanged for prominent French prisoners (Pierre Riel de Beurnonville, Jean-Baptiste Drouet, Hugues-Bernard Maret, Armand-Gaston Camus, Nicolas Marie Quinette, and Charles-Louis Huguet de Sémonville) and taken to Vienna, the capital city of her cousin, the Holy Roman Emperor Francis II, and also her mother's birthplace.

Exile (1795–1814)
Marie-Thérèse arrived in Vienna on 9 January 1796, in the evening, twenty-two days after she had left the Temple.

She later moved to Mitau, Courland (now Jelgava, Latvia), where her father's eldest surviving brother, the Count of Provence, lived as a guest of Tsar Paul I of Russia. He had proclaimed himself King of France as Louis XVIII after the death of Marie-Thérèse's brother. With no children of his own, he wished his niece to marry her cousin, Louis-Antoine, Duke of Angoulême, son of his brother, the Count of Artois. Marie-Thérèse agreed.

Louis-Antoine was a shy, stammering young man. His father tried to persuade Louis XVIII against the marriage. However, the wedding took place on 10 June 1799 at Jelgava Palace (modern-day Latvia). The couple lost a baby in 1813.

Life in Britain
The royal family moved to Great Britain, where they settled at Hartwell House, Buckinghamshire, while her father-in-law spent most of his time in Edinburgh, where he had been given apartments at Holyrood Palace.

The long years of exile ended with the abdication of Napoleon I in 1814, and the first Bourbon Restoration, when Louis XVIII ascended the throne of France, twenty-one years after the death of his brother Louis XVI.

Bourbon Restoration (1814–1830)
Louis XVIII attempted to steer a middle course between liberals and the Ultra-royalists led by the Count of Artois. He also attempted to suppress the many men who claimed to be Marie-Thérèse's long-lost younger brother, Louis XVII. Those claimants caused the princess a good deal of distress.

Marie-Thérèse found her return emotionally draining and she was distrustful of the many Frenchmen who had supported either the Republic or Empire. She visited the site where her brother had died, and the Madeleine Cemetery where her parents were buried. The royal remains were exhumed on 18 January 1815 and re-interred in the Basilica of Saint-Denis, the royal necropolis of France, on 21 January 1815, the 22nd anniversary of Louis XVI's execution.

In March 1815, Napoleon returned to France and rapidly began to gain supporters and raised an army in the period known as the Hundred Days. Louis XVIII fled France, but Marie-Thérèse, who was in Bordeaux at the time, attempted to rally the local troops. The troops agreed to defend her but not to cause a civil war with Napoleon’s troops. Marie-Thérèse stayed in Bordeaux despite Napoleon’s orders for her to be arrested when his army arrived. Believing her cause was lost, and to spare Bordeaux senseless destruction, she finally agreed to leave. Her actions caused Napoleon to remark that she was "the only man in her family."

After Napoleon was defeated at Waterloo on 18 June 1815, the House of Bourbon was restored for a second time, and Louis XVIII returned to France.

On 13 February 1820, tragedy struck when the Count of Artois' younger son, the Duke of Berry, was assassinated by the anti-Bourbon and Bonapartist sympathiser Louis Pierre Louvel, a saddler. Soon after, the royal family was cheered when it was learned that the Duchess of Berry was pregnant at the time of her husband's death. On 29 September 1820, she gave birth to a son, Henry, Duke of Bordeaux, the so-called "Miracle child", who later, as the Bourbon pretender to the French throne, assumed the title of Count of Chambord.

Madame la Dauphine
Louis XVIII died on 16 September 1824, and was succeeded by his younger brother, the Count of Artois, as Charles X. Marie-Thérèse's husband was now heir to the throne, and she was addressed as Madame la Dauphine. She is the only Dauphine whose father was a former King of France. However, anti-monarchist feeling was on the rise again. Charles's ultra-royalist sympathies alienated many members of the working and middle classes.

On 2 August 1830, after Les Trois Glorieuses, the Revolution of July 1830 which lasted three days, Charles X, who with his family had gone to the Château de Rambouillet, abdicated in favor of his son, who in turn abdicated in favor of his nephew, the nine-year old Duke of Bordeaux. However, in spite of the fact that Charles X had asked him to be regent for the young king, Louis-Philippe, Duke of Orléans, accepted the crown when the Chamber of Deputies named him King of the French.

On 4 August, in a long cortège, Marie-Thérèse left Rambouillet for a new exile with her uncle, her husband, her young nephew, as well as his mother, the Duchess of Berry, and his sister Louise Marie Thérèse d'Artois. On 16 August, the family had reached the port of Cherbourg where they boarded a ship for Britain. King Louis-Philippe had taken care of the arrangements for the departure and sailing of his cousins.

Final exile (1830–1848)

The royal family lived in what is now 22 (then 21) Regent Terrace in Edinburgh until 1833 when the former king chose to move to Prague as a guest of Marie-Thérèse's cousin, Emperor Francis I of Austria. They moved into luxurious apartments in Prague Castle. Later, the royal family left Prague and moved to the estate of Count Coronini near Gorizia, which was then Austrian but is in Italy today. Marie-Thérèse devotedly nursed her uncle through his last illness in 1836, when he died of cholera.

Her husband died in 1844 and was buried next to his father. Marie-Thérèse then moved to Schloss Frohsdorf, a baroque castle just outside Vienna, where she spent her days taking walks, reading, sewing and praying. Her nephew, who now styled himself as the Count of Chambord, and his sister joined her there. In 1848, Louis Philippe's reign ended in a revolution and, for the second time, France became a Republic.

Death
Marie-Thérèse died of pneumonia on 19 October 1851, three days after the fifty-eighth anniversary of her mother's execution. She was buried next to her father-in-law and her husband, in the crypt of the Franciscan monastery church of Castagnavizza in Görz, then in Austria, now Kostanjevica in the Slovenian city of Nova Gorica. Marie-Thérèse had remained a devout Roman Catholic.

Later, her nephew Henri, the Count of Chambord, last male of the senior line of the House of Bourbon; his wife, the Countess of Chambord (formerly the Archduchess Marie-Thérèse of Austria-Este, daughter of Francis IV, Duke of Modena and his wife, Princess Maria Beatrice of Savoy); and the count's only sister, Louise, Duchess of Parma, were also laid to rest in the crypt in Görz. The famous antiquarian the Duke of Blacas was also buried there in honor of his dutiful years of service as a minister to Louis XVIII and Charles X.

Marie-Thérèse is described on her gravestone as the "Queen Dowager of France", a reference to her husband's claim as King Louis XIX of France.

"Dark Countess" mystery
In October 2013, the grave of a woman in Hildburghausen, Thuringia, Germany, was exhumed to obtain DNA for testing, to determine if she was Marie-Thérèse. The woman, who gave her name as Sophie Botta, lived in a castle in the area from 1807 until her death in 1837, and never spoke in public, or was seen outside without her face being veiled. She was accompanied by Leonardus Cornelius van der Valck, a secretary in the Dutch embassy in Paris from July 1798 to April 1799, and together they were known as the Dark Counts. Van der Valck addressed Botta as 'Your Grace' and they only spoke to each other in French. Some German historians believe she was the real Marie-Thérèse, who had swapped places with her adoptive-sister, and possible half-sister, Ernestine Lambriquet, following the revolution. Possibly as she was too traumatised to resume a role in society, but also as a result of a pregnancy, after abuse by her captors, which was referred to in a letter from a family friend, at the Spanish Court, in 1795.

The DNA testing revealed that the Dark Countess was not Marie-Thérèse, but rather, another woman whose identity remains a mystery. On 28 July 2014 the 'Interessenkreis Dunkelgräfin' broadcast the results which proved beyond doubt that the Dunkelgräfin was not Marie-Thérèse, on television.

Film
Marie-Thérèse has been portrayed in several motion picture adaptations, mainly to do with her mother's life.

 * In 1934, she was played, under the name Duchess d'Angoulême, by Gladys Cooper in The Iron Duke, opposite George Arliss as the Duke of Wellington.
 * In 1938, she was played by Marilyn Knowlden in Marie-Antoinette, opposite Norma Shearer as the queen.
 * In 1975, in the French television drama Marie-Antoinette, Marie-Thérèse was played by Anne-Laura Meury.
 * In 1989 she was played by Katherine Flynn in The French Revolution. Katherine's on-screen mother, Marie Antoinette, was played by her real mother, Jane Seymour.
 * In 2001, Daisy Bevan played Marie-Thérèse briefly in the costume-drama The Affair of the Necklace opposite her mother Joely Richardson as Marie Antoinette.
 * In 2006, Marie Antoinette, directed by Sofia Coppola, was released. Marie-Thérèse was played by two different child actresses. At age two, she was played by Lauriane Mascaro, and at age six she was played by Florrie Betts. Kirsten Dunst starred as her mother, Marie Antoinette.

Theatre and literature
She has also been portrayed in the following:

 * All Those Who Suffered; a Northern Irish play on the mystery of Louis XVII.
 * Madame Royale, a novel by Elena Maria Vidal, based on Marie-Thérèse's life.
 * The Dark Tower, a novel by Sharon Stewart, based on The Journal of Madame Royale, which were the writings of Marie-Thérèse. The novel was later re-released as part of the Beneath the Crown series under the title The Princess in the Tower.
 * The Lacemaker and the Princess (2007), a children's novel by Kimberly Brubaker Bradley.
 * Faces of the Dead by Suzanne Weyn (2014) ISBN 978-0545425315.
 * Hungry Marie (2017), a manga by Ryuhei Tamura.
 * When Blood Lies by C.S. Harris (2022) ISBN 978-0-593-10269-5.

Ancestry
Marie-Thérèse was a descendant of the Holy Roman Emperors through her mother, Archduchess Marie Antoinette of Austria, who was a daughter of Maria Theresa I, Holy Roman Empress; the empress wanted all of her eldest granddaughters to be named after her.

Other material

 * English language site of the franciscan Monastery in Kostanjevica ,
 * English and German language site about the substitution theory of Madame Royale and the "Dark Countess of Hildburghausen"
 * The Ruin of a Princess, which contains the life and letters of Madame Élisabeth, Journal of the Tower of the Temple by Cléry and Narrative of Madame Royale.
 * The Ruin of a Princess, which contains the life and letters of Madame Élisabeth, Journal of the Tower of the Temple by Cléry and Narrative of Madame Royale.

title: Marie-Thérèse, Duchess of Angoulême


text:
User:Ergative

Ich heisse Superfantastisch.

Ich trinke Schampus mit Lachsfisch.

title: User:Ergative


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Casa Vicens

Casa Vicens is a modernist building situated in the Gràcia neighbourhood of Barcelona. It is the work of architect Antoni Gaudí and is considered to be his first major project. It was built between 1883 and 1885, although Gaudí drew up the initial plans between 1878 and 1880. The work belongs to the orientalist style, similar to Neo-Mudéjar architecture, although interpreted in Gaudí’s own personal way, with a uniqueness that only he knew how to add to his projects. In this work, and for the first time, Gaudí outlined some of his constructive resources that would become regular features throughout the emergence of Modernisme. The work was widely discussed when it was built and caused a great sensation among the general public at the time. When the building was constructed, Gràcia was still an independent urban nucleus of Barcelona; it had its own council and was classified as a town, though nowadays it is a district of the city.

The original project had a large garden area, in addition to the house, but over time the land was subdivided and sold for the construction of residential buildings. Nowadays, the property has been reduced to the house and a small surrounding area. To take advantage of the space, Gaudí designed three facades, with the house attached by a dividing wall to an adjoining convent. In 1925 an extension of the house was planned, a commission that was offered to Gaudí, which he declined. Instead, he passed it to one of his protégés, Joan Baptista Serra, who built an extension following Gaudí’s original style, with the inclusion of a new facade, resulting in the building being fully detached.

The work belongs to Gaudí’s orientalist period (1883-1888), an era in which the architect made a series of works with a distinctly oriental flavour, inspired by the art of the Near and Far East (India, Persia, Japan), as well as Hispanic Islamic art, such as Mudéjar and Nasrid. During this period, Gaudí used an abundance of ceramic tiling to decorate his work, as well as Moorish arches, columns of exposed brick and temple-shaped or dome-shaped finishes.

The building was declared a Historic-Artistic Monument in 1969, with registration number 52-MH-EN; an Asset of Cultural Interest in 1993, with reference number RI-51-0003823; and a World Heritage Site in 2005, with reference number 320bis.

Gaudí’s first significant work

Antoni Gaudí (Reus or Riudoms, 1852 - Barcelona, 1926) studied architecture at the Llotja School and the Barcelona School of Architecture, where he graduated in 1878. To finance his studies, Gaudí worked as a draughtsman for various architects and builders, such as Leandre Serrallach, Joan Martorell, Emilio Sala Cortés, Francisco de Paula del Villar y Lozano and Josep Fontserè. After obtaining his architecture degree in 1878, his first projects were lampposts for the Plaça Reial, the Girossi Newsstand project, the display case for the Esteban Comella glove shop, and the furniture for the chapel-pantheon of the Sobrellano Palace in Comillas, all completed in the same year as his graduation. The Cooperativa Obrera Mataronense (Mataró Workers’ Cooperative) (1878-1882), was his first important commission, although it was not completed in its entirety, since only one warehouse was built. His subsequent work included furniture for the Gibert Pharmacy (1879), the decoration of the church of Sant Pacià in Sant Andreu de Palomar (1879-1881) and the church of the Col·legi de Jesús-Maria in Tarragona (1880-1882).

Gaudí combined the construction of Casa Vicens with other commissions: in 1883 he took over the work of the Temple Expiatori of the Sagrada Família, started the previous year in a project by Francisco de Paula del Villar y Lozano, which he withdrew from shortly after due to a disagreement with the construction board. Gaudí would then devote the rest of his life to the construction of the temple, regarded as his greatest work and the synthesis of all his architectural findings. In the same year, 1883, he worked on an altarpiece for the chapel of the Santíssim Sagrament in the parish church of San Feliu in Alella, as well as topographical plans for the Can Rosell de la Llena farmhouse in Gelida. He was also commissioned to build an annexed villa for the Sobrellano Palace, owned by Antonio López y López, Marquis of Comillas, in the Cantabrian town of the same name, known as El Capricho. It was built between 1883 and 1885 in an orientalist style similar to that of Casa Vicens, where its ceramic cladding is clearly visible. He also built the Güell Pavilions in Pedralbes (1884-1887) in a similar style, a commission from Eusebi Güell, his principal patron and friend.

This moment represented the first stage of Gaudí’s career. The period is characterised by his use of an architectural language with great constructive simplicity, in which the straight line prevails over the curved line. Stylistically, it belongs to a stage of orientalist influence, where the structural and ornamental forms correspond to a preference for oriental art. These principally include Mudéjar, Persian and Byzantine, and can be seen in other works of his, such as the Pavellons Güell, the Bodegas Güell and El Capricho in Comillas. Gaudí had studied Neo-Mudéjar art in the works of Owen Jones, such as Plans, Elevations, Sections and Details of the Alhambra (1842), Designs for Mosaics and Tessellated Pavements (1842) and Grammar of Ornament (1856).

The concept Gaudí had of the family home – which was reflected in Casa Vicens – is captured in an unpublished article he wrote in 1881, entitled The Manor House (La casa pairal). He writes, ‘The house is the small family nation. The family, like the nation, has history, foreign relations, changes of government, and so on. The independent family has its own house, that which is not, has a rented house. The owned house is the native country, the rental house is the land of emigration; this is why the owned house is the ideal for all. One cannot conceive of the owned house without a family, only the rented house is conceived in this way’.

The commission

In 1878 Gaudí received a commission from Manuel Vicens i Montaner to build a summer residence for the family in the town of Gràcia. Manuel Vicens (1836-1895) was an stock and currency broker, although there is little information about him. From his will, it is known that he had a house in Alella, as well as two properties in the centre of Barcelona and some land in the Vallvidrera area. The land where the house was built had been inherited by Manuel Vicens from his mother, Rosa Montaner i Matas, in 1877. He died on April 29, 1895, leaving his properties to his widow, Dolors Giralt i Grífol.

The way in which Vicens met Gaudí is unknown, although it is likely that they coincided in the cultural circles linked to the Renaixença that they both frequented. Subsequently, Vicens and Gaudí became friends, and between 1880 and 1890 the architect often spent his summers at Vicens’ house in Alella. For this house, Gaudí designed two pieces of furniture: a wood and metal corner fireplace with the initials M.V. (by Manuel Vicens), currently kept in the Casa Vicens; and a cedar wood corner cabinet with gilt brass and the initials D.G. (by Dolors Giralt), purchased by Casa Vicens at auction in 2023 in order to be exhibited after restoration. As a result of Gaudí’s time there, he began a project to design an altarpiece in 1883 for the church of San Feliu in Alella, commissioned by the parish priest Jaume Puig Claret, but the project was never completed. A drawing in India ink on fabric paper is preserved, at a scale of 1:25.

At the time, the town of Gràcia was its own entity and independent from Barcelona. Its population centre was built around the Carmelite convent of Santa Maria de Gràcia – popularly known as els Josepets – which was founded in 1630. It was an agricultural area, populated with farmhouses, which at the beginning of the 19th century began to urbanise and an incipient industrial framework emerged. The town was added to Barcelona in 1897 along with five other neighbouring towns: Sants, Les Corts, Sant Gervasi de Cassoles, Sant Andreu de Palomar and Sant Martí de Provençals. At that time, many bourgeoisie families had their second homes in Gràcia, since it was close to the city yet had the tranquillity of a town. The house is located on a street named Carrer de les Carolines, in honour of the Caroline Islands – an old Spanish colony – in 1908; it was previously called Sant Gervasi.

The original plot was situated between the convent of the Daughters of Charity of Saint Vincent de Paul, who shared a dividing wall with one side of the building (the northeast side), and a narrow street with a dead end, called Carreró Racó de Sant Gervasi, which later disappeared. This land came from three different sites acquired between 1846 and 1854 by Agustí Maria Baró i Tastàs, which included several ground floor buildings. In 1866 it was inherited by the mother of Manuel Vicens, Rosa Montaner i Matas, widow of Onofre Vicens i Domènech. She died in 1877 and it passed to Manuel Vicens. It is unknown whether the buildings on the site were demolished or used in part in Gaudí’s project. In 1876 and 1881, Vicens bought two plots adjacent to Carreró Racó de Sant Gervasi, which allowed the property’s garden to be extended.

Gaudí completed the project for the house and garden in 1880, although the plans were not signed until 1883, when they were presented to the Gràcia Town Council. Its design combined a relatively simple architectural structure with the complexity of its meticulous decoration, especially in terms of the use of ceramic tiles. Stylistically, it belongs entirely to his orientalist phase, but the abundance of decorative artwork (ceramics, ironwork, glasswork, and woodwork) shows signs of what would be Gaudí’s golden age within Catalan Modernism. The work was carried out between 1883 and 1885. Gaudí personally managed the construction: according to the testimony of Joan Baptista Serra to George R. Collins in 1959, the architect sat under a parasol and supervised the build, occasionally knocking down what he considered to be poor workmanship.

Throughout the project, Gaudí called on the help of various craftsmen who would regularly assist him in his work, such as the sculptor Llorenç Matamala, the carpenter Eudald Puntí and the blacksmith Joan Oñós, as well as Claudi Alsina, a contractor. The decoration was carried out by the painter Francesc Torrescassana and the sculptor Antoni Riba.

The original site measured 30 × 34.5 m, with a surface area of 1035 m2. The house had three facades, since on its northeast side there was a dividing wall shared with a neighbouring convent. Although the entrance was on the southeast side, facing Carrer Sant Gervasi, the main facade looked out onto the garden, on the southwest side, bordering the small street of Carreró Racó de Sant Gervasi, which was 35 × 3.5 m wide. The house, designed as a single-family home, had a wine cellar and basement for storage; a main floor with a foyer, dining room, porch, smoking room, kitchen and laundry room; a first floor with bedrooms, bathrooms, a dressing room and a library; an attic for staff accommodation; and a roof terrace with small walkways between the gables with chimneys and a pavilion in the northwest corner. It had a Catalan vaulted staircase with wooden wainscoting on each step, decorated with small oil paintings by Torrescassana, which were lost in the renovations of 1925.

The architect planned a set of masonry walls for the house, alternated with rows of tiles. The tiles would feature yellow flowers typical of the area (Indian carnations or Tagetes erecta), which Gaudí had found on the site of the house before construction, and which he wanted to reproduce in the final project. He was also inspired by a palmetto tree he discovered on site, to design the cast iron gate at the main entrance in the shape of palm leaves (Chamaerops humilis). As Gaudí expressed, “When I went to take the measurements of the site, it was totally covered with some yellow flowers, which I used as an ornamental theme for the ceramic. I also found an exuberant palmetto palm, whose leaves fill the grid of the gate of the house”.

In his design of the house, Gaudí sought to combine practicality and aesthetics with comfort, hygiene and well-being, as well as a perfect harmony between the garden and its surroundings. As in all his projects, he designed the house down to the smallest detail and took care of aspects such as lighting and ventilation, trying to establish optimal conditions for the habitability of the house. One of the most evocative spaces on the property was the covered porch located next to the dining room, connected to the garden by oriental-inspired wooden latticework that, when opened, would transform the space into an outdoor area. It featured a water fountain made from a Renaissance-style basin and an elliptical metal grill, similar to a spider’s web. The fountain allowed the water to flow as a thin sheet which reflected the colours of the rainbow when light passed through it.

The former garden was made up of three areas: one that separated the house from the street; one situated in front of the grand entrance, with circular flowerbeds of palms; and another at the side which featured fruit trees. Gaudí put considerable thought into the design of the garden; as it was a summer residence, the garden provided an important space for recreation. Along with the natural elements, two further elements stood out: a brick and ceramic fountain at the entrance and a monumental waterfall, also made of brick. The waterfall was the same height as the house and was formed by a large catenary arch that supported a structure of false brick arches that formed two loggias with alternating pillars, with two side staircases. At the top, two water tanks poured a fine rain over a rockery. In the spandrels of the arch there were terracotta bas-reliefs created by the sculptor Antoni Riba, representing children swimming. In Gaudí’s project, this waterfall was attached to the perimeter wall, but in the 1925 extension it was left as a freestanding structure. It was demolished in 1946, when part of the garden was sold for the construction of houses. The garden had another fountain at the main entrance, featuring two superimposed cups, the lower one larger and cylindrical in shape, covered with stucco, and further up, tiles with carnation motifs. The one at the top was shaped like an octagonal prism, with the sides measuring 75 × 45 cm, and was covered in ceramic tiles featuring motifs of flowers and sunflower leaves. It was removed in the extension of 1925.

The perimeter fence of the house consisted of a stone wall with semi-elliptical battlements and a cast iron fence decorated with fan palm leaf motifs and carnations, and finished off with trident-shaped spikes, just at the main entrance. There was a small pavilion in the southwest corner, formed by two brick columns and three stone columns – the central one, geminated – that supported an L-shaped brick structure with blind arches, crowned with sloping ceramic pieces. The original fence measured 30 × 34.50 m and each frame was 0.49 × 0.49 × 0.12 cm. The design of the gate was detailed by Gaudí in the plan of the facade that is kept in the Historical Archive of Catalonia, signed by Gaudí and Vicens on January 15, 1883. Using this design, sculptor Llorenç Matamala made a plaster mould, which was later cast in iron by forger Joan Oñós. According to Gaudí’s drawing, each sheet should have been placed diagonally, but in the end, they were placed horizontally, alternating in left and right alignments. After the extension of the property in 1925, the stone wall was replaced by new sections of the palmetto fence, which then surrounded the entire perimeter. However, after various parts of the garden were sold for construction, different sections of the fence were dismantled. Some of them were used on the entrance gate to Park Güell and in Casa Larrard – home of Eusebi Güell – in the same park (now the Baldiri Reixac school), while some portions are preserved in the Gaudí House Museum.

In a piece of land next to Casa Vicens, at number 28 Carrer de les Carolines, there was a freshwater spring called Santa Rita which dated back many years. It was customary that on May 22, the day of Santa Rita, neighbours would come to drink the water from the spring. In 1895 the water was declared to be of public use and began to be sold. When Joan Baptista Serra undertook the expansion of Casa Vicens in 1925, he built a chapel dedicated to Santa Rita on the same site as the spring. In 1963 the chapel was demolished to build a new residential building.

Expansion and further development

In 1899, the widow of Manuel Vicens, Dolors Giralt i Grífol, sold the house to Dr. Antonio Jover Puig for 45,000 pesetas. Antonio Jover (Barcelona, 1855-1930) was a renowned paediatrician, who had graduated from the University of Barcelona in 1876. He was living in Cuba and worked as a professor at the University of Havana, until the island gained independence and he returned to Spain. Thanks to the fortune he accrued in Ultramar, like other returning emigrants of the time, he was able to acquire Casa Vicens. He represented various Spanish commercial interests in Cuba and, even after its independence, returned to spend time on the island. He was also president of the Casino Español in Havana and the Cercle Català. He settled in Barcelona in 1924, was a councillor of the City Council of Barcelona from 1924 to 1930 and deputy mayor with Darius Rumeu i Freixa, Baron of Viver. In 1908, Dr. Jover sold the house to his brother, José Jover, maintaining usufruct of the property. When he died without issue in 1913, he left it to Ángela González Sánchez, Antonio Jover’s wife.

In 1925, Dr. Jover planned an extension of the building with the aim of turning it into his principal residence. For this, he acquired 212.88 m2 of land adjacent to the wall shared with the convent, on 18-20 Carrer de les Carolines. He also acquired the land located between the narrow street of Carreró Racó de Sant Gervasi and Avinguda de la Riera de Cassoles, and he was able to have the alleyway declared an unused public thoroughfare, with which he could expand the garden into that area. With this, the property had reached its maximum size of 1,738 m2. He approached Gaudí to lead the project to extend the house, but he declined, as he was devoting himself fully to the Sagrada Família at the time. Instead, he recommended one of his protégés, Joan Baptista Serra, who designed the right half of the facade in the style of Gaudí.

Joan Baptista Serra de Martínez (Barcelona, 1888-1962) studied at the Barcelona School of Architecture and graduated in 1914. That same year he met Gaudí at the church of Saints Justus and Pastor and they were brought together through their love of music. Eclectic in style, he was influenced by both Modernism and Noucentisme, Classicism and modern European architecture. One of his first works was Casa Cucuruy in Barcelona, which was followed by his own house, Villa Mercedes, on Carrer de les Escoles Pies; Eduard Schäfer’s house, on Carrer de Copèrnic; and Casa Valentí Soler, on Via Laietana, among others. He was the municipal architect for Montcada i Reixac, Ripollet, Begues, Molins de Rei and Sant Feliu de Codines, where he carried out various projects, such as the Ripollet Market, the Begues urbanisation, a school development and a sanitation and paving project in Molins de Rei, and the churches of Santa Engracia and Sagrat Cor in Montcada i Reixac.

Serra built the right half of the building; seen from Carrer de les Carolines, and visible because it protrudes slightly onto the street, unlike the part built by Gaudí. The division is also noticeable by the different design of the tiles; Gaudí alternated them to give greater dynamism, while Serra arranged them in a uniform fashion. The extension took place between 1925 and 1927.

The extension was carried out on the side where the dividing wall with the old convent was located; a new facade appeared, and the building became fully detached. At the street corner, Serra constructed a turret in the form of a small pavilion, identical to the one Gaudí placed at its opposite end. The renovation involved converting a single-family house into three independent houses, one per floor. To this end, the original staircase designed by Gaudí was replaced by another to be used for its new purpose.

Another alteration was carried out in the covered porch, where the wooden latticework was replaced by glass, therefore closing the space entirely and losing the original idea of a space that connected directly with the garden. The water fountain, one of the most evocative elements of Gaudí’s project, was also removed.

On the southwest side, when the narrow street disappeared, the perimeter wall had to be torn down and replaced by new sections of the palmetto fence. He kept the waterfall that was attached to the wall, which remained as a free-standing construction, and he opened the parabolic arch on the opposite side. However, the rockery at the base was removed and a pool was put in its place. Part of the structure of the waterfall was also clad in tiles, to imitate those of the house.

He also built a small chapel at the end of the garden overlooking Avinguda Riera de Cassoles, which housed the old Santa Rita fountain. It was circular in shape and covered with yellow tiles, with a hemispherical dome which was decorated with tiles and topped with a lantern with a cross on top. Demolished in 1963, today the old gardens are occupied by residential buildings.

Carrer de les Carolines was widened in 1925, bringing the house to street level. For this reason, the entrance door was moved to the southwest facade, where the covered porch is located, in the place that was previously occupied by a foyer window. A terrace with stairs was built to access the house. For its part, the old portal was converted into a double window with cast iron bars. A secondary door for the staff that was next to the dividing wall of the convent – and is currently a window – also disappeared, as well as a terrace located above this entrance that led to one of the bedrooms on the second floor, replaced by a balcony. The main street entrance shifted a little to the left and two lampposts, made by the blacksmith Bonaventura Batlle, were placed on top. A secondary entrance was situated on the corner of Carrer de les Carolines and Avinguda de la Riera de Cassoles, identical to the main one. The chapel viewpoint on the corner, overlooking Carreró Racó de Sant Gervasi, was maintained, although when it disappeared, it remained an element of the wall. Finally, the fountain at the entrance was removed, which was located in the part that disappeared from the southeast side when Carrer de Sant Gervasi was widened.

Inside, Serra’s intervention was more restrained than outside, with the use of new construction materials of the time, such as iron joists with ceramic vaulting on the ceilings. He replaced the old staircase designed by Gaudí with an interior patio that gave light to the adjoining rooms and installed a new staircase in the extended part. The basement lost a room due to the widening of the street, although it gained another under the new terrace located at the main entrance. The interior finishes of the extended part were simpler than those of Gaudí’s project, based essentially on mosaic floors, plastered and painted walls, and plaster ceilings with moulding around the edges. The bathrooms were decorated with Andalusian tiles, showing flowers and a pomegranate in the centre.

In 1927 Casa Vicens won the Best Building Award by Barcelona City Council, due to the renovations and extension carried out by Joan Baptista Serra, although, secondarily, it was also to recognise the work of Gaudí. The prize, of 1,000 pesetas, was awarded on March 5, 1929. Gaudí had won this prize in 1900 for Casa Calvet, one of his more conservative works.

The building underwent a new extension in 1935, when the architect Francisco Víctor Ortenbach Bertrán was commissioned to add a new area to the ground floor, on the west side of the facade.

In 1946 part of the garden was sold for the construction of houses, which included the waterfall, which was demolished, as well as the old viewpoint. The portion of the garden that included the chapel of Santa Rita was separated from the rest.

In 1962, Dr. Jover’s widow, Ángela González Sánchez, passed away, leaving her children, Antonio, Gaspar, María de la Paloma and Fabiola as heirs. After the distribution of her assets, Casa Vicens was left to Fabiola, who was married to the gynaecologist Antonio Herrero López (Zaragoza, 1914 - Barcelona, 2004), who had his clinic at Casa Vicens. The following year, another part of the garden was sold for the construction of houses and the chapel of Santa Rita was demolished. Most of the palmetto fence was dismantled, some portions of which were later placed at various points in Park Güell. The property was then left at its current size, and architect Antonio Pineda Gualba was commissioned to renovate the basement and the ground floor, carried out in 1964. An entrance to the basement was then opened from street level, under the staircase of the main door.

The house was restored in 1997 with a project by Ignacio Herrero, a member of the owner’s family, an architect by profession. Work was mainly carried out on the facades and roof.

In 2001, upon Fabiola’s death, the inheritance was passed to her sons Antonio, Ignacio, Carlos María and Javier Herrero Jover.

Awards
Casa Vicens was declared a Historic-Artistic Monument by virtue of Decree 1794/1969 of July 24, 1969 (Boletín Oficial del Estado of 20 August 1969). Alongside this, other Gaudí buildings were also declared: the Temple Expiatori of the Sagrada Família, Park Güell, Palau Güell, Casa Milà, Casa Batlló, Portal Miralles, Casa Calvet, Casa Figueras (Bellesguard), the Güell Pavilions and the Col·legi de les Teresianes in Barcelona; the crypt of Colònia Güell in Santa Coloma de Cervelló; the Cooperativa Obrera Mataronense (Mataró Workers’ Cooperative) in Mataró; Casa Botines in León; the Episcopal Palace of Astorga; El Capricho in Comillas; and the liturgical elements installed in the main chapel of the Palma Cathedral. The decree states that “Gaudí’s work is of exceptional interest within contemporary architecture. It brings together mechanics, construction and aesthetics and shows a high degree of sincerity. This signature style, present throughout his work, exposes Gaudí as an innovator with a strong personality. This, however, does not prevent many of his original solutions from being based on architectural tradition, specifically on the distinctive Gothic style of the Catalan region. The figure of Gaudí, extraordinarily valued throughout the world, has managed to turn his work into the most interesting and enduring exponent of the notable artistic movements of our time.” It also defines Casa Vicens as “one of the first landmarks of oriental-inspired Modernism, with the novelty of polychrome facades with natural materials in various textures combined with glazed ceramics”.

In 1993 it was declared a Cultural Asset of National Interest (BCIN), in accordance with the provisions of Law 9/1993 of September 30 on Catalan Cultural Heritage.

In July 2005, Casa Vicens was declared a World Heritage Site by UNESCO. Three other works by Gaudí were also declared at this time: the Nativity facade, the crypt and the apse of the Temple Expiatori of the Sagrada Família and Casa Batlló in Barcelona, and the crypt of Colònia Güell in Santa Coloma de Cervelló. Park Güell, Palau Güell and Casa Milà, had previously been granted the status in 1984. In its statement, UNESCO stated that “these works attest to the exceptional contribution of Gaudí’s creations, to the evolution of architecture and construction techniques in the late nineteenth and early twentieth centuries. They reflect a personal, very eclectic style to which Gaudí gave free rein, not only in architecture, but also in the design of gardens, sculptures and indeed many other arts”.

Sale, restoration and opening to the public
In 2014, the Herrero Jover family sold Casa Vicens to the Andorran bank MoraBanc, which turned the property into a house-museum after its renovation. It opened its doors to the public on November 16, 2017.

The restoration was carried out by architects Elías Torres and José Antonio Martínez Lapeña, together with David García of the firm Daw Office SLP, between 2015 and 2017. Among the work carried out, the old staircase was replaced by a more modern one and adapted to the new use of the house as a museum, and a lift was installed. The levels added in 1935 and 1964, which had distorted Gaudí’s original work, were removed. More work was carried out in the porch, where the glass enclosure was replaced by a system of tilting shutters with a latticework of geometric shapes. The water fountain was also recovered, as in Gaudí’s original project.

By focusing the tour on the rooms of the original Gaudí project, the extension made by Serra in 1925 was converted into a reception area for visitors on the ground floor, as well as a space for fixed and temporary exhibitions on the first and second floors. In the exhibition space on the second floor there is a fireplace made by Gaudí for the house of Manuel Vicens in Alella, as well as plans of the project made by Gaudí and a 1:33 scale model of the estate. The exhibition is complemented by some audiovisuals of the Gaudí project. In the basement there is a bookstore, and in the garden area, a café.

During the renovation process, the Torrescassana paintings were restored, a process carried out by the company Policromia in collaboration with the Generalitat de Catalunya’s Centre for the Restoration of Artefacts of Catalonia. The work consisted of cleaning the canvases, retouching the pictorial layer and reinforcing the mounts. A number of ceramic tiles that had deteriorated were restored, a work carried out by Manel Diestre, of Sot’s Ceramics Studio, with the same stencilling technique as the originals. The lamps in the house were also restored, a project led by the architects responsible for the restoration, alongside a number of specialists in various techniques such as wood, ceramics, metal, mural painting, fabric and stone.

The restoration project was a finalist for the FAD Architecture Award in 2018, as well as the XI Ibero-American Biennial of Architecture and Urbanism in 2019. It won the Rehabilitation Award in the First Edition Lledó Iberian Architecture Awards in 2018 and was awarded at the XIV Spanish Biennial of Architecture and Urbanism 2016-2017 in 2018. According to the FAD jury, “the architects have presented a comprehensive and very careful rehabilitation of this first work by Gaudí”.

After the discovery of some original plans made by Gaudí, in 2019 a reconstruction of the waterfall designed by the architect for the garden was made, which was placed in the Museu Agbar de les Aigües in Cornellà de Llobregat.

Description

The current site has an area of 711 m2 and the constructed area is 1,239 m2. It is structured on four levels or floors: a basement to be used as a wine cellar and storage room; two floors with living spaces, the first with a kitchen, dining room and various other rooms, and the second with the bedrooms; and the attic used for the staff quarters. Gaudí used the traditional Catalan technique of building load-bearing walls and enclosures with vaults and wooden joists. This is still far from what would come to be his future construction solutions; those based on regulated geometry, despite the waterfall in the garden already featuring the parabolic arch, one of his future hallmarks. On the walls he combined faceted masonry, exposed brick and ceramic tiling.

The architect designed a property where summer was the main focus, and this was integrated into the surrounding garden. The structure is based on the straight line – contrary to a preference for the curved line which he would later introduce – which provides dynamism through the inward and outward sections of the structure. Similarly, the building conveys a sense of spatial continuity between the interior and exterior, thanks to the covered porch on the main floor and the gallery on the second floor, as well as the various balconies and terraces and the latticework that he applied to the openings. All this gives the building a feeling of lightness and clarity, an almost ephemeral construction, which was the first architectural showcase of his career.

Exterior

The structure of the house is based on the straight line, with the loads distributed among parallel walls. This simplicity is mitigated by the decorative richness, in which Gaudí unleashed his abundant imagination. The walls of the house are made of alternating masonry with rows of tiles, which feature the yellow flowers that Gaudí had discovered on the site of the house before construction, called Indian carnations or Moorish carnations. The tiles have a modular measurement of 15 cm.

The walls stand out for their prominent sections, which is a feature of Islamic architecture. Masonry ashlars alternate with the tiles, some with plant motifs and others in a green and white check design. The different surfaces and geometric effects create chiaroscuros, which accentuate the chromatic diversity of the exterior. On the second floor of both the street facade and the garden there is a continuous gallery of mitred arches that surrounds the upper part, closed off with oriental-style wooden latticework. The corners feature galleries at 45 degrees, with balconies supported by brick brackets in successive overhangs. On the parapets of the balconies there are terracotta putti, the work of Antoni Riba. The lower part of the overhangs of the windows contains edges which are formed by large drops in rounded pyramidal form, measuring 4 × 4 × 4 cm, that alternate with coffers in the form of shells and plant motifs.

The southeast facing wall which looks onto Carrer de les Carolines was the original entrance to the house and was moved during the 1925 renovations due to the widening of the street and the loss of the garden space, which was originally between the facade and the entrance gate and measured three metres long. Two windows were placed where the door was located and covered with cast iron bars. The right half of the facade, which protrudes out onto the street from the left, corresponds to Serra’s extension. The original facade was 7.5 m long, and seven further metres were added with the extension. The first floor has two rounded balconies, which contrast with the straight shapes found on the facade. On the roof, in the central part of the original facade, there is a chimney, while the right corner – part of the extension – features a small pavilion at the top.

The southwest facing facade, looking out onto the garden, was the main outer wall in Gaudí’s project. It is structured over three different levels, one for each floor. On the first level, the external area of the covered porch is visible in the central part and connects with the dining room on the main floor, which is flanked to the right by the entrance to the house – a window in the original project – and on the left, by the door to the smoking room. On the first floor, which is more understated, there is a balcony overlooking the bedrooms. The second floor, with the attic, is noticeable for its tile cladding and features a chimney at the top, while on the left corner a small pavilion emerges, with a cupola. The pavilion marks the maximum height of the house, 17 m.

On the outside, the covered porch has a height of 5.5 m, which includes the upper terrace. At the centre, the water fountain sits on a semi-circular base, decorated with carnation tiles. The latticework that surrounds the porch is made of wood and measures 2 × 2 m; it is inspired by the orient and reminiscent of a style of Japanese shutters called shitomi. Gaudí was able to learn about this system at an exhibition of Japanese architecture held in Barcelona in 1881. The terrace located above the porch has wooden benches with metal railings and planters in the corners, decorated with tiles that alternate flowers and sunflower leaves, similar to those used in El Capricho in Comillas.

On the frieze of the covered porch there are a selection of phrases from Catalan folk songs: “Sol, solet, vinam a veure” (“Sun, little sun, come and see me”) on the southeast side; “Oh, l’ombra de l’istiu” (“Oh, the shade of summer”) on the northwest side; “De la llart lo foch, visca lo foch de l'amor” (“From the hearth, the fire, long live the fire of love”) on the southwest wall.

The main door of the house, next to the covered porch, comes from the 1925 renovation, as it used to be on the street facade. Elevated above the ground, it is accessed by a stairway which has a metal railing. The door has two hinges on the sides made of cast iron with floral motifs. The doorway is shaped like a rectilinear mitral arch, decorated with large teardrop-shaped sculptures hanging from the ceiling. In the 1925 renovation, a terrace was placed in front of the door, which was removed in the 2017 restoration. Above the door is a cast iron lamp with plant motifs.

Access to the smoking room consists of four steps, decorated with carnation tiles, and two spiral-shaped railings showing flowers with elongated stems. The door is made of wood, featuring oriental-inspired geometric shapes. The adjoining window also has a wooden shutter with rounded pieces arranged alternately in horizontal and vertical positions. Above the door is a lamp, identical to that of the main entrance. Next to the entrance is a ceramic vase decorated with flowers and a faun’s head.

The remaining two facades have the same design as the others. Half of the northwest facing facade looking onto the street – in this case the left-hand side – belongs to Serra’s extension. On the other side, the northeast facade is entirely Serra’s work, since in Gaudí’s project this side of the house shared a dividing wall with the neighbouring convent.

The roof has an area of 150 m2, of which 85 m2 belongs to the original house designed by Gaudí and the rest to Serra’s extension. The two projects also differ in their roofs: the original roof has four pitched sides built on the wooden beams of the attic roof, covered by rows of Arabic tiles, with a walkway of ceramic tiles that allows access to the small pavilion on the corner and the chimneys; the area built by Serra has a flat terrace, with steps leading to the other small pavilion at the opposite angle. These small pavilions – Serra’s is an exact replica of Gaudí’s original – are clad in tiles, combining carnations with green and white check, and a cupola crowned with a bronze flame. The fireplaces are made of brick and also clad in tiles. Access to this space features the old entrance gate from Carrer de les Carolines, when the main access was located on the southeast side, removed in the 1925 renovation. It displays floral motifs with round stems.

At the entrance to the street is the gate decorated with palm leaves and carnation flowers designed by Matamala and made by Oñós. It has a height of 2.3 m. The gate features two lamps above it which were included in the 1925 renovation and are attributed to the Bonaventura Batlle studio.

The current property has a garden which is much smaller than the original, but which tries to recreate the garden designed by Gaudí as far as possible. It includes palm trees (Phoenix, Trachycarpus), magnolias, roses and climbing plants. The garden also contains a niche which replicates the former chapel that contained the image of Saint Rita, rebuilt by the architects who carried out the renovation of the property, although without the effigy of the saint.

Interior

The house’s interior consists of masonry walls, with partitioned vaults in the basement and wooden beams on the other floors. Gaudí distributed the various rooms with small hexagonal hallways, so that they could be isolated by closing the doors. The architect designed a functional structure, using each one of the floors for a specific purpose: the basement as a wine cellar and storage room; the main floor for general family use, including the dining room, porch, smoking room, kitchen and laundry room; the first floor for the bedrooms, bathrooms and library; and the attic for staff accommodation. Gaudí designed all the furniture in the house, including the sliding doors and the cast brass locks on the cabinets.

Access to the house is through the main floor (162 m2), which contains a foyer, dining room, porch and smoking room as the main rooms. The front door gives access to a porch, through which the foyer is accessed. The door is made of wood, decorated with a grid in which circular mouldings have been inserted. The foyer has a roof made from wooden beams with polychrome mouldings, as well as sgraffito on the walls showing plant motifs. From the ceiling hangs a cast iron and glass lamp, Islamic in style, which came after the work of Gaudí.

The dining room (32 m2) is decorated with climbing ivy made of stucco on a gold background in the free spaces of carpentry and tiling, alternating with papier-mâché with fruit motifs and strawberry leaves between the roof beams. The floor is made of opus tessellatum Roman mosaic. On the wall facing the porch is a fireplace, surrounded by embossed glazed ceramic. The vaults are decorated with cherry tree and shell motifs, made of polychrome plaster. Similarly, on the doorposts between the dining room and the porch are paintings of natural motifs (flora and fauna) made by Francesc Torrescassana, such as sparrows, hummingbirds, herons, cranes and flamingos. All the birds are shown in flight, except the flamingos at the bottom, and the leaves sway in the wind. In all, there are twenty-four figures of birds. The dining room cabinets, designed by Gaudí, match the frames that contain Torrescassana’s paintings. The architect also designed the locks, all different, thus demonstrating his knowledge of various artistic skills. At the top two entrance doors to the dining room, there are two oriental-style terracotta figures, the work of Antoni Riba, one male and one female, probably an odalisque.

The dining room leads into the covered porch (13 m2), open to the outside thanks to a system of oriental-inspired latticework. In the centre there is a fountain formed by a circular plateresque baptismal font, which contains a square podium with tiles of sunflower leaves. From there, a marble column emerges, topped with a circular cup, which has cherub heads at the bottom to drain the water and at the top is an elliptical metal mesh that resembles a spider’s web. On either side of this fountain there are wooden benches. The room is decorated with carnation tiles, while the ceiling is decorated with sgraffito, using pomegranate and hydrangea motifs and Trompe-l'œil tempera paintings depicting a sky seen through palm leaves. The separation between the two rooms was formerly made with sliding doors designed by Eudald Puntí.

Next to the dining room is the smoking room (10 m2), one of the most special rooms in the house, with a partitioned vault covered with a ceiling of Islamic style muqarnas in the shape of stalactites made of polychrome plaster, that show palm leaves and clusters of dates. The walls are lined with papier mâché tiles in shades of gold, blue, and green, as well as a blue and ochre-coloured wardrobe with oil-painted red and yellow roses. These papier mâché tiles were made by Hermenegild Miralles, one of Gaudí’s clients, for whom he built the entrance gateway to the Miralles estate. This room has a wooden door that gives access to the garden, made with a Chinese-style lattice. It was furnished with a folding coffee table and low stools and had a hookah for smoking tobacco. The Jover family added an Islamic style lamp, of translucent glass with Arabic letters, which was removed in 2020 during the restoration process, as it did not belong to Gaudí’s original project.

On the first floor (143 m2) were the bedrooms: the main one was over the dining room, with a terrace located above the lower porch; it also had a living room, located above the smoking room, a bathroom, a dressing room with toilet and other facilities, a guest room and one other room, probably intended for study or as a library. These rooms were decorated with frescoes of plant motifs inspired by the plants of the nearby river Cassoles (reeds, rushes and ferns). The master bedroom (34 m2) has a beamed ceiling with ceramic tiles and pressed papier mâché showing green vine motifs. It also has a terrace located above the covered porch on the lower floor, with a wooden bench with an iron grille. In the living room there is a dome decorated with a trompe-l'œil painting of baroque influence that reproduces in low angle the cupola of the pavilion that rises above this room, towards the sky, with a group of white doves in flight, as well as the branches of climbing plants along the rail. This room also has a floor covered with blue, white and ochre tiles. In the corner there is a balcony with wooden benches and an enclosure made of oriental latticework similar to those in the rest of the house. The dressing room (7 m2) has two access doors and a white and blue check tile skirting surrounded by other tiles in ochre, with a beam ceiling with floral motifs and corbels decorated with daisies on a blue background. The bathroom (6 m2) has a grey terrazzo floor and tiled walls, alternating ochre tones with white and blue check, as well as a tile frieze with oil-painted flowers, unique in the house. The bathroom ceiling is beamed, with ceramic reliefs of ivy leaves. The toilet (1.4 m2) is decorated with tiles showing wheels and stars.

The second floor (150 m2), intended for staff accommodation, is currently an exhibition space. Gaudí designed this floor in a more austere way, according to its functions, with smooth walls, tiled flooring and a wooden beamed ceiling. He designed an open space with high ceilings that would serve as the building’s thermal regulator.

The basement, which has Catalan vaults on the ceiling, was formerly used as a wine cellar and coal bunker. The museum store is currently located there.

Paintings

The paintings in the dining room are the work of Francesc Torrescassana i Sallarés (Barcelona, 1845-1918). He studied at the Llotja School in Barcelona from 1859 to 1865, where he was a protégé of Ramon Martí Alsina. He completed further studies in Rome and Paris, where he explored the artistic trends of his time. On his return, he focused principally on historical, costumbrista, portrait and landscape painting, in a realist style that in its final stages evolved into a certain degree of impressionism. He has works in the Museu Nacional d'Art de Catalunya (Barcelona), in the Museo del Prado in Madrid and in the Louvre Museum in Paris, although it is Casa Vicens that houses the greatest number of works by the artist.

The details of the commission are unknown, although it seems that Manuel Vicens was already a collector of Torrescassana’s work before the construction of the house. Therefore, it is assumed that a great deal of these works – many of which are not dated – were painted previously by artist and not made specifically for the house. To house this collection, Gaudí designed the furniture of the dining room according to how these paintings would be exhibited, so he made wooden framed furniture of lemon wood from Ceylon to integrate harmoniously with the collection on display. In total, the dining room contains thirty-two paintings, consisting of two portraits, two interiors and twenty-eight landscapes. They are works inherited from his initial realist style, influenced by Martí Alsina, but there is a certain evolution, conveying a somewhat romantic air, reminiscent of the work of Modest Urgell. Of the collection of works, only four are signed and dated, specifically in 1879, which indicates that they were created prior to the construction of the house; only one is signed. All the paintings are oil on canvas.

The paintings preserved in the dining room of Casa Vicens are (listed from top to bottom and from left to right):

 * Southwest wall:
 * Landscape, c. 1870-1888
 * Landscape, c. 1870-1888
 * Landscape, c. 1870-1888
 * Landscape, c. 1870-1888
 * Landscape, c. 1870-1888
 * Landscape, c. 1870-1888
 * Roda de Ter, c. 1870-1888
 * Landscape, c. 1870-1888
 * Northwest wall:
 * Marine, c. 1870-1888 (signed)
 * Village, c. 1870-1888
 * Male portrait, c. 1870-1888
 * Village, c. 1870-1888
 * Barn, c. 1870-1888
 * Marine, 187(4?) (signed and dated, difficult to read)
 * Northeast wall:
 * Customs scene, c. 1870-1888
 * Marine, c. 1870-1888
 * Marine, c. 1870-1888
 * Street of a village, c. 1870-1888
 * View of a village, 1879 (signed and dated)
 * Trees, c. 1870-1888
 * Interior, 1879 (signed and dated)
 * Trees, c. 1870- 1888
 * Landscape, 1879 (signed and dated)
 * Street of a village, c. 1870- 1888
 * Landscape, c. 1870-1888
 * Landscape, c. 1870-1888
 * Southeast wall:
 * Marine, c. 1870-1888
 * Landscape, c. 1870-1888
 * Garden, c. 1870-1888
 * Landscape, c. 1870-1888
 * Unknown portrait, c. 1870-1888
 * Landscape, c. 1870-1888

title: Casa Vicens


text:
Short Stories (Harry Chapin album)

Short Stories is the third studio album by the American singer-songwriter Harry Chapin, released in 1973. (see 1973 in music). "W.O.L.D.", "Mr Tanner" and "Mail Order Annie" remained amongst his most popular works for the rest of his life. "W.O.L.D." went to number 36 on the Billboard Hot 100 chart and had commercial success in the top 10 in other countries such as Canada.

Personnel

 * Harry Chapin – guitar, vocals
 * Dave Armstrong – harmonica
 * Tomi Lee Bradley – vocals
 * Bobby Carlin – drums
 * Jeanne French – vocals
 * Paul Leka – keyboards
 * Michael Masters – cello
 * Ronald Palmer – guitar, vocals
 * Buddy Saltzman – drums
 * John Wallace – bass guitar, vocals
 * Tim Scott – cello

title: Short Stories (Harry Chapin album)


text:
User talk:Jblatt

ClockworkTroll 19:53, 10 Oct 2004 (UTC)

title: User talk:Jblatt


text:
User talk:Jegj

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! -- Graham ☺ | Talk 19:55, 10 Oct 2004 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
 * Tutorial
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 * Manual of Style

title: User talk:Jegj


text:
Talk:Paternal bond

Comment
Is there a description of the paternal bond? If it refers to an emotional connection then bear in mind some fathers have no emotional connection with their child. Presumably there must be more to the concept than that merely there is a biological/social/legal relationship between the father and child. JPF 19:55, 10 Oct 2004 (UTC)

 * That's what I'm hoping to explore with this article. The paternal bond, the way I see it, is a form of (family-style) love for a younger person.  The description may be difficult to write exactly as it can include quite a wide scope of relationships, be them biological or not.  I'll do some research on the topic and it's sister (haha) article maternal bond. violet/riga (t) 20:03, 10 Oct 2004 (UTC)

 * You've explicitly said that you'll do some original research to write this article, and the article seems already to be a combination of original material and conjecture. Wikipedia is not the place for original research.  It could be that I'm wrong, and this article reflects existing research - if that's the case, then it needs to cite some sources.  I've tagged the article with the  tag.  --Hughcharlesparker 14:26, 13 May 2006 (UTC)

 * I didn't see the phrase "original research" anywhere in her comment. QED, you are an imbecile.

Related article
Here's a relate article: Paternal bonding (or father child bonding) is an elaborate issue (see: Rossi and Rossi (1991) Of Human Bonding), most men don't claim to have a significant bond to a child until they are able to have intellligent conversations with the child. A related term is father-infant bond. --Sadi Carnot 12:10, 6 November 2006 (UTC)
 * Levine, Jon (2003). "Secret of Paternal Bond." BBC News / Health, Tuesday, 25 February.

NATURES Paternity
Fathers know & recognize their own off spring. I was named in a paternity case 27 years ago. I was unattached to the mother as she was engaged to someone else. Being a teen and she was in her mid twenties, I was cohersed and socially encouraged into giving up my rights to the child. It was very diffacult and life altering. Now years later after rasing 4 kids in my own marraige,I recently had a chance meeting to see the boy I had given up and I knew instantly he is from me. No words were spoken about the who what when or where. No arrangements were made to ensure anything about anything or who was who. Nature is always right. In all of created life in all the universe there is a balance all on its own and it will find its way law or no law, rules or no rules, social acceptance or social disgrace. Nature is smarter than man.Biglesson (talk) 01:56, 12 October 2009 (UTC).

Image removed
Image doesn't fit to the theme of article (there are lot so over common's like the removed one). was more appropriately utilised/placed in other related articles, hence suitable images like father-child cuddle/hug/embrace will be fine here. --Bala(blitz) 22:54, 7 December 2013 (UTC)

Edit the page
I am wanting to edit this page. I want to add more detailed information about the bonding between fathers and their children. I have more information on this bonding and what happens after the child is born, rather than what happens when the baby is still in the womb. This information will help detail the page and give information on the United States and Aka hunter and gatherers. — Preceding unsigned comment added by Katdog1022 (talk • contribs) 15:40, 25 July 2018 (UTC)

 * @Katdog1022 you need to keep context in mind. learning something about paternal bonding in any given culture doesn't mean it belongs in an encyclopedia entry about the phenomenon. 2603:7080:7C00:71:80D8:8F88:D22C:ADBD (talk) 07:36, 24 May 2024 (UTC)

aka?
This doesn't make sense in terms of relevance or format. could reference an aka page with a subsection that is relevant. it doesn't need it's own chapter. deleting. 2603:7080:7C00:71:80D8:8F88:D22C:ADBD (talk) 07:30, 24 May 2024 (UTC)

frankly, this entire article needs to be reworked
zapped the aka section due to irrelevance and generally bad formatting, but quite frankly there aren't enough resources cited to make this a well-rounded entry. it either needs way more cited research or it should be zapped. 2603:7080:7C00:71:80D8:8F88:D22C:ADBD (talk) 07:34, 24 May 2024 (UTC)

title: Talk:Paternal bond


text:
Xinyi

Xinyi is an atonal pinyin romanization of various Mandarin Chinese words. It may refer to:

Clothing

 * Xinyi (clothing) (心衣), a form of undershirt worn during the Han era

Mainland China

 * Xinyi, Jiangsu (新沂市), a county-level city in Xuzhou, Jiangsu
 * Xinyi railway station (新沂站)
 * Xinyi, Guangdong (信宜市), a county-level city in Maoming, Guangdong
 * Xinyi Subdistrict, Harbin (新一街道), subdivision of Daowai District, Harbin, Heilongjiang
 * Xinyi Subdistrict, Hegang (新一街道), subdivision of Dongshan District, Hegang, Heilongjiang
 * Xinyi Subdistrict, Xiaoyi (新义街道), subdivision of Xiaoyi, Shanxi
 * Xinyi, Shandong (新驿镇), town in and subdivision of Yanzhou District, Jining, Shandong
 * Xinyi, Lishi District (信义镇), town in and subdivision of Lishi District, Lüliang, Shanxi

Taiwan

 * Xinyi, Nantou (信義鄉), township of Nantou County
 * Xinyi Anhe metro station (信義安和站), Da'an District, Taipei
 * Xinyi District, Taipei (信義區)
 * Xinyi District, Keelung (信義區)
 * Xinyi Expressway (信義快速道路), Wenshan-Xinyi, Taipei
 * Xinyi line (信義線), a metro branch line of Tamsui–Xinyi line
 * Sinyi Elementary School metro station (信義國小站), Sinsing District, Kaohsiung

People

 * Chen Xinyi (b. 1998), a swimmer
 * Joyce Cheng Yan-yee (Xinyi) (b. 1987), a singer and actress
 * Ding Xinyi (b. 2004), a rhythmic gymnast
 * Fan Xinyi (b. 2002), a trampoline gymnast
 * Li Xinyi (singer) (b. 1998), a singer
 * Li Xinyi (tennis) (b. 1962), a tennis player
 * Lara Veronin or Liang Xinyi (b. 1988), a singer
 * Ma Xinyi (1821–1870), an official and military general
 * Pei Xinyi (b. 2005), a world champion weightlifter
 * Qiu Xinyi (b. 1997), a singer
 * Wang Xinyi (b. 2003), a swimmer
 * Xinyi Cheng (b. 1989), a painter
 * Xia Xinyi (b. 1997), an Olympic beach volleyball player
 * Xinyi Xu, a statistician
 * Xinyi Yuan (b. 1981), a mathematician
 * Yuen Shun-yi (Yuan Xinyi), a martial artist, actor, and stuntperson

Companies

 * Xinyi Glass (信义玻璃控股有限公司), a glass manufacturer
 * Xinyi Solar (信义光能控股有限公司), an affiliate specializing in photovoltaics

Other

 * Magnolia biondii (辛夷), used in traditional Chinese medicine
 * Xinyi, a martial art that was a precursor to xingyiquan

title: Xinyi