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Guernica (Picasso)

Guernica is a large 1937 oil painting by Spanish artist Pablo Picasso. It is one of his best-known works, regarded by many art critics as the most moving and powerful anti-war painting in history. It is exhibited in the Museo Reina Sofía in Madrid.

The grey, black, and white painting, on a canvas 3.49 m tall and 7.76 m across, portrays the suffering wrought by violence and chaos. Prominently featured in the composition are a gored horse, a bull, screaming women, a dead baby, a dismembered soldier, and flames.

Picasso painted Guernica at his home in Paris in response to the 26 April 1937 bombing of Guernica, a town in the Basque Country in northern Spain, by Nazi Germany and Fascist Italy at the request of the Spanish Nationalists. Upon completion, Guernica was exhibited at the Spanish display at the 1937 Paris International Exposition and then at other venues around the world. The touring exhibition was used to raise funds for Spanish war relief. The painting soon became widely acclaimed, helping to bring worldwide attention to the Spanish Civil War that took place from 1936 to 1939.

It is widely thought that Surrealist photographer and anti-fascist activist Dora Maar, Picasso’s romantic partner at the time, had a significant influence on the style and politicized theme of Guernica.

Commission
In January 1937, while Pablo Picasso was living in Paris on Rue des Grands Augustins, he was commissioned by the Spanish Republican government to create a large mural for the Spanish pavilion at the 1937 Paris World's Fair. This piece was to help raise awareness of the war and raise necessary funds. Picasso, who had last visited Spain in 1934 and would never return, was the Honorary Director-in-Exile of the Prado Museum.

Picasso worked somewhat dispassionately from January until late April on the project's initial sketches, which depicted his perennial theme of an artist's studio. Then, immediately upon hearing reports of the 26 April bombing of Guernica, poet Juan Larrea visited Picasso's home to urge him to make the bombing his subject. Days later, on 1 May, Picasso read George Steer's eyewitness account of the attack, which originally had been published in both The Times and The New York Times on 28 April, and abandoned his initial idea. Acting on Larrea's suggestion, Picasso began sketching a series of preliminary drawings for Guernica.

Bombing of 26 April 1937
During the Spanish Civil War the Republican forces, made up of communists, socialists, anarchists, and others with differing goals, united in their opposition to the Nationalists, led by General Francisco Franco, who sought to establish a fascist dictatorship. The Nationalists perceived Guernica, a quiet village in the province of Biscay in Basque Country, as the northern bastion of the Republican resistance movement and the center of Basque culture.

On Monday, 26 April 1937, warplanes of the Nazi Germany Condor Legion, commanded by Colonel Wolfram von Richthofen, bombed Guernica for about two hours. In his 30 April 1937 journal entry von Richthofen noted that when the squadron arrived "there was smoke everywhere" from the attack by three aircraft, and since nobody could see the roads, bridges, and suburbs "they just dropped everything right into the center. The 250s toppled a number of houses and destroyed the water mains. The incendiaries now could spread and become effective. The materials of the houses: tile roofs, wooden porches, and half-timbering resulted in complete annihilation."

Monday was Guernica's market day, and many of its inhabitants were congregated in the center of town. When the main bombardment began the roads were already full of debris and the bridges leading out of town destroyed, and they were unable to escape.

Guernica, the capital of Biscay, was 10 kilometers from the front lines and in-between the front lines and Bilbao. A Republican retreat towards Bilbao, or an advance towards it, had to pass through it. von Richthofen's 26 April 1937 diary entry states Guernica was targeted "...to halt and disrupt the Red withdrawal which has to pass through here." The following day, Richthofen wrote in his diary, "Guernica burning". The nearest actual military target, a war product factory on the village's outskirts, went through the attack unscathed, so the attack was widely condemned as a terror bombing.

Aftermath
Most of Guernica's men were away fighting on behalf of the Republicans, and at the time of the bombing the town was populated mostly by women and children as reflected in Picasso's painting. Art theorist Rudolf Arnheim writes:

"The women and children make Guernica the image of innocent, defenseless humanity victimized. Also, women and children have often been presented by Picasso as the very perfection of mankind. An assault on women and children is, in Picasso's view, directed at the core of mankind."

The Times journalist George Steer propelled this event onto the international scene, and brought it to Pablo Picasso's attention, in an eyewitness account published on 28 April in both The Times and The New York Times. On the 29th it appeared in L'Humanité. Steer wrote:

"Guernica, the most ancient town of the Basques and the centre of their cultural tradition, was completely destroyed yesterday afternoon by insurgent air raiders. The bombardment of this open town far behind the lines occupied precisely three hours and a quarter, during which a powerful fleet of aeroplanes consisting of three types of German types, Junkers and Heinkel bombers, did not cease unloading on the town bombs weighing from 1,000 lbs. downwards and, it is calculated, more than 3,000 two-pounder aluminium incendiary projectiles. The fighters, meanwhile, plunged low from above the centre of the town to machinegun those of the civilian population who had taken refuge in the fields.'"

Picasso lived in Paris during its World War II German occupation. A widely repeated story is that a German officer saw a photo of Guernica in Picasso's apartment and asked, "Did you do that?", and Picasso responded, "No, you did."

Creation and the influence of Dora Maar on the painting
Dora Maar found a large enough studio for Picasso to paint Guernica in. Through her connections in the left-wing community, she gained access to a space on Rue des Grands-Augustins, near Notre-Dame. This building had previously served as the headquarters of the ‘Contre-Attaque’ group, of which Maar was a dedicated member. Having listened to anti-fascist speeches there, she recognized it as the ideal location for Picasso’s monumental protest artwork. Not only did she find the studio large enough for Picasso to paint Guernica in, she also had exclusive access to photograph the work in progress.

“Maar’s practice of photography influenced the art of Picasso – she had a great influence on his work,” said Antoine Romand, a Dora Maar expert. “She contested him. She pushed him to do something new and to be more creative politically. At Picasso’s request, Maar painted part of the dying horse in Guernica. Maar accompanied Picasso in the studio, giving her the opportunity to observe each phase of Guernica’s creation over 36 days. While Picasso painted, she took photographs, turning Picasso into her photographic subject. Scholars and art critics argue that the black and white photographic style of the painting can be attributed to Maar's own black and white photographs, in stark contrast to Picasso's usual colorful style.

Guernica was painted using a matte house paint specially formulated at Picasso's request to have the least possible gloss. American artist John Ferren assisted him in preparing the monumental canvas, and photographer Dora Maar, who had been working with Picasso since mid-1936 photographing his studio and teaching him the technique of cameraless photography, documented its creation. Apart from their documentary and publicity value, Maar's photographs "helped Picasso to eschew color and give the work the black-and-white immediacy of a photograph", according to art historian John Richardson.

Picasso, who rarely allowed strangers into his studio to watch him work, admitted influential visitors to observe his progress on Guernica, believing that the publicity would help the antifascist cause. As his work on the mural progressed, Picasso explained: "The Spanish struggle is the fight of reaction against the people, against freedom. My whole life as an artist has been nothing more than a continuous struggle against reaction and the death of art. How could anybody think for a moment that I could be in agreement with reaction and death? ... In the panel on which I am working, which I shall call Guernica, and in all my recent works of art, I clearly express my abhorrence of the military caste which has sunk Spain in an ocean of pain and death."

Picasso worked on the painting for 35 days, and finished it on 4 June 1937.

Composition
The scene occurs within a large room. On the left, a wide-eyed bull, with a tail suggesting rising flame and smoke as if seen through a window, stands over a grieving woman holding a dead child in her arms. The woman's head is thrown back and her mouth is wide open. A horse falls in agony in the center of the room, with a large gaping hole in its side, as if it had just been run through by a spear or javelin. The horse appears to be wearing chain mail armor, decorated with vertical tally marks arranged in rows.

A dead and dismembered soldier lies under the horse. The hand of his severed right arm grasps a shattered sword, from which a flower grows. The open palm of his left hand contains a stigma, a symbol of martyrdom derived from the stigmata of Christ. A bare light bulb in the shape of an all-seeing eye blazes over the suffering horse's head.

To the horse's upper right a frightened woman's head and extended right arm reach through a window. As she witnesses the scene she carries a flame-lit lamp in her right hand, and holds it near the bare bulb. Below her a woman in shock staggers from the right towards the center while looking into the blazing light bulb with a blank stare.

Daggers that suggest screaming have replaced the tongues of the horse, the bull, and the grieving woman. To the bull's right a dove appears on a cracked wall through which bright light from the outside shines.

On the far right of the room there is a fourth woman, her arms raised in terror. Her wide-open mouth and thrown back head echo the grieving woman's. She is entrapped by fire from above and below, her right hand suggesting the shape of an airplane.

A dark wall with an open door defines the right side of the room.

A "hidden" image formed by the horse appears in Guernica: the horse's nostrils and upper teeth can be seen as a human skull facing left and slightly downward.

Another hidden image is of a bull that appears to gore the horse from underneath. The bull's head is formed mainly by the horse's entire front leg which has the knee on the ground. The leg's knee-cap forms the head's nose. A horn appears within the horse's breast.

Symbolism and interpretations
Interpretations of Guernica vary widely and contradict one another. This extends, for example, to the mural's two dominant elements: the bull and the horse. Art historian Patricia Failing said, "'The bull and the horse are important characters in Spanish culture. Picasso himself certainly used these characters to play many different roles over time. This has made the task of interpreting the specific meaning of the bull and the horse very tough. Their relationship is a kind of ballet that was conceived in a variety of ways throughout Picasso's career.'"

When pressed to explain the elements in Guernica, Picasso said,

"...this bull is a bull and this horse is a horse... If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are."

In The Dream and Lie of Franco, a series of narrative sketches Picasso also created for the World's Fair, Franco is depicted as a monster that first devours his own horse and later does battle with an angry bull. Work on these illustrations began before the bombing of Guernica, and four additional panels were added, three of which relate directly to the Guernica mural.

According to scholar Beverly Ray, the following list of interpretations reflects the general consensus of historians: "The shape and posture of the bodies express protest"; "Picasso uses black, white, and grey paint to set a somber mood and express pain and chaos"; "flaming buildings and crumbling walls not only express the destruction of Guernica, but reflect the destructive power of civil war"; "the newspaper print used in the painting reflects how Picasso learned of the massacre"; "The light bulb in the painting represents the sun"; and "The broken sword near the bottom of the painting symbolizes the defeat of the people at the hand of their tormentors".

Alejandro Escalona said, "The chaos unfolding seems to happen in closed quarters provoking an intense feeling of oppression. There is no way out of the nightmarish cityscape. The absence of color makes the violent scene developing right before your eyes even more horrifying. The blacks, whites, and grays startle you—especially because you are used to see war images broadcast live and in high-definition right to your living room."

In drawing attention to a number of preliminary studies, the so-called primary project, that show an atelier installation incorporating the central triangular shape which reappears in the final version of Guernica, Becht-Jördens and Wehmeier interpret the painting as a self-referential composition in the tradition of atelier paintings such as Las Meninas by Diego Velázquez. In his chef d'oeuvre, Picasso seems to be trying to define his role and his power as an artist in the face of political power and violence. But far from being a mere political painting, Guernica should be seen as Picasso's comment on what art can actually contribute towards the self-assertion that liberates every human being and protects the individual against overwhelming forces such as political crime, war, violence and death.

1937 Paris International Exhibition
Guernica was unveiled and initially exhibited in July 1937 at the Spanish Pavilion at the Paris International Exposition, where Nazi Germany and the Soviet Union had huge pavilions. The Pavilion, which was financed by the Spanish Republican government at the time of civil war, was built to exhibit the Spanish government's struggle for existence contrary to the Exposition's technology theme. The Pavilion's entrance presented an enormous photographic mural of Republican soldiers accompanied by the slogan:

 * We are fighting for the essential unity of Spain.
 * We are fighting for the integrity of Spanish soil.
 * We are fighting for the independence of our country and for the right of the Spanish people to determine their own destiny.

The display of Guernica was accompanied by a poem by Paul Éluard, and the pavilion displayed The Reaper by Joan Miró and Mercury Fountain by Alexander Calder, both of whom were sympathetic to the Republican cause.

At Guernica's Paris Exhibition unveiling it garnered little attention. The public's reaction to the painting was mixed. Max Aub, one of the officials in charge of the Spanish pavilion, was compelled to defend the work against a group of Spanish officials who objected to the mural's modernist style and sought to replace it with a more traditional painting that was also commissioned for the exhibition, Madrid 1937 (Black Aeroplanes) by Horacio Ferrer de Morgado. Some Marxist groups criticized Picasso's painting as lacking in political commitment, and faulted it for not offering a vision of a better future. In contrast, Morgado's painting was a great success with Spanish Communists and with the public. The art critic Clement Greenberg was also critical of Guernica, and in a later essay he termed the painting "jerky" and "too compressed for its size", and compared it unfavorably to the "magnificently lyrical" The Charnel House (1944–1948), a later antiwar painting by Picasso.

Among the painting's admirers were art critic Jean Cassou and poet José Bergamín, both of whom praised the painting as quintessentially Spanish. Michel Leiris perceived in Guernica a foreshadowing: "On a black and white canvas that depicts ancient tragedy ... Picasso also writes our letter of doom: all that we love is going to be lost..." Jean Cocteau also praised the painting and declared it a cross that "[General] Franco would always carry on his shoulder."

Possibly as a riposte to Picasso’s painting, the Nazis in June or July 1937 commissioned their official war artist Claus Bergen to produce a patriotic painting of The Bombardment of Almeria by the 'Admiral Scheer' (National Maritime Museum, London). The work, done in a realistic style, was completed quickly for display in the Great German Art Exhibition in Munich, 1937.

European tour
Guernica, for which Picasso was paid 150,000 francs for his costs by the Spanish Republican government, was one of the few major paintings that Picasso did not sell directly to his exclusive contracted art dealer and friend, Paul Rosenberg. However, after its exhibition Rosenberg organised a four-man extravaganza Scandinavian tour of 118 works by Picasso, Matisse, Braque, and Henri Laurens. The tour's main attraction was Guernica.

From January to April 1938 the tour visited Oslo, Copenhagen, Stockholm, and Göteborg. Starting in late September Guernica was exhibited in London's Whitechapel Art Gallery. This stop was organized by Sir Roland Penrose with Labour Party leader Clement Attlee, and the painting arrived in London on 30 September, the same day the Munich Agreement was signed by the leaders of the United Kingdom, France, Italy, and Germany. It then travelled to Leeds, Liverpool, and, in early 1939, Manchester. There, Manchester Foodship For Spain, a group of artists and activists engaged in sending aid to the people of Spain, exhibited the painting in the HE Nunn & Co Ford automobile showroom for two weeks. Guernica then returned briefly to France.

American tour
After Francisco Franco's victory in Spain, Guernica was sent to the United States to raise funds and support for Spanish refugees. It was first shown at the Valentine Gallery in New York City in May 1939. The San Francisco Museum of Art (later renamed the San Francisco Museum of Modern Art) gave the work its first museum appearance in the United States from 27 August to 19 September 1939. New York's Museum of Modern Art (MoMA) then mounted an exhibition from 15 November until 7 January 1940, entitled: Picasso: 40 Years of His Art. The exhibition, which was organized by MoMA's director Alfred H. Barr in collaboration with the Art Institute of Chicago, contained 344 works, including Guernica and its studies.

At Picasso's request the safekeeping of Guernica was then entrusted to the Museum of Modern Art, and it was his expressed desire that the painting should not be delivered to Spain until liberty and democracy had been established in the country. Between 1939 and 1952, Guernica traveled extensively in the United States. Between 1941 and 1942, it was exhibited at Harvard University's Fogg Museum twice.

Between 1953 and 1956 it was shown in Brazil, then at the first Picasso retrospective in Milan, Italy, and then in numerous other major European cities before returning to MoMA for a retrospective celebrating Picasso's 75th birthday. It then went to Chicago and Philadelphia. By this time, concern for the state of the painting resulted in a decision to keep it in one place: a room on MoMA's third floor, where it was accompanied by several of Picasso's preliminary studies and some of Dora Maar's photographs of the work in progress. The studies and photos were often loaned for other exhibitions, but until 1981, Guernica itself remained at MoMA.

During the Vietnam War, the room containing the painting became the site of occasional anti-war vigils. These were usually peaceful and uneventful, but on 28 February 1974, Tony Shafrazi—ostensibly protesting Second Lieutenant William Calley's petition for habeas corpus following his indictment and sentencing for the murder of 109 Vietnamese civilians during the My Lai massacre—defaced the painting with red spray paint, painting the words "KILL LIES ALL". The paint was removed with relative ease from the varnished surface.

Establishment in Spain
As early as 1968, Franco had expressed an interest in having Guernica come to Spain. However, Picasso refused to allow this until the Spanish people again enjoyed a republic. He later added other conditions, such as the restoration of "public liberties and democratic institutions". Picasso died in 1973. Franco, ten years Picasso's junior, died two years later, in 1975. After Franco's death, Spain was transformed into a democratic constitutional monarchy, ratified by a new constitution in 1978. However, MoMA was reluctant to give up one of its greatest treasures and argued that a monarchy did not represent the republic that had been stipulated in Picasso's will as a condition for the painting's delivery. Under great pressure from a number of observers, MoMA finally ceded the painting to Spain in 1981. The Spanish historian Javier Tusell was one of the negotiators.

Upon its arrival in Spain in September 1981, it was first displayed behind bomb-and bullet-proof glass screens at the Casón del Buen Retiro in Madrid in time to celebrate the centenary of Picasso's birth, 25 October. The exhibition was visited by almost a million people in the first year. Since that time there has never been any attempted vandalism or other security threat to the painting. In 1992, the painting was moved from the Museo del Prado to a purpose-built gallery at the Museo Nacional Centro de Arte Reina Sofía, both in Madrid, along with about two dozen preparatory works. This action was controversial in Spain, since Picasso's will stated that the painting should be displayed at the Prado. However, the move was part of a transfer of all of the Prado's collections of art after the early 19th century to other nearby buildings in the city for reasons of space; the Reina Sofía, which houses the capital's national collection of 20th-century art, was the natural place to move it to. At the Reina Sofía, the painting has roughly the same protection as any other work.

Basque nationalists have advocated that the picture be brought to the Basque Country, especially after the building of the Guggenheim Bilbao Museum. Officials at the Reina Sofía claim that the canvas is now thought to be too fragile to move. Even the staff of the Guggenheim do not see a permanent transfer of the painting as possible, although the Basque government continues to support the possibility of a temporary exhibition in Bilbao.

Tapestry at the United Nations
A full-size tapestry copy of Picasso's Guernica, by Jacqueline de la Baume Dürrbach, hangs at the Headquarters of the United Nations in New York City at the entrance to the Security Council room. It is less monochromatic than the original and uses several shades of brown.

The Guernica tapestry was first displayed from 1985 to 2009, and returned in 2015. Originally commissioned in 1955 by Nelson Rockefeller, since Picasso refused to sell him the original, the tapestry was placed on loan to the United Nations by the Rockefeller estate in 1985.

On 5 February 2003 a large blue curtain was placed to cover over the work at the UN, so that it would not be visible in the background during press conferences by Colin Powell and John Negroponte as they were arguing in favor of war on Iraq. On the following day, UN officials claimed that the curtain was placed there at the request of television news crews, who had complained that the wild lines and screaming figures made for a bad backdrop, and that a horse's hindquarters appeared just above the faces of any speakers. Some diplomats, however, in talks with journalists claimed that the Bush administration pressured UN officials to cover the tapestry, rather than have it in the background while Powell or other US diplomats argued for war on Iraq. In a critique of the covering, columnist Alejandro Escalona hypothesized that Guernica's "unappealing ménage of mutilated bodies and distorted faces proved to be too strong for articulating to the world why the US was going to war in Iraq", while referring to the work as "an inconvenient masterpiece".

On 17 March 2009, Deputy Spokesperson for the Secretary-General Marie Okabe announced that the Guernica tapestry had been moved to a gallery in London in advance of extensive renovations at UN Headquarters. The Guernica tapestry was the showcase piece for the grand reopening of the Whitechapel Gallery. It was located in the 'Guernica room' which was originally part of the old Whitechapel Library. In 2012 the tapestry was on loan from the Rockefeller family to the San Antonio Museum of Art in San Antonio, Texas. It was returned to the UN by March 2015. Nelson A. Rockefeller Jr., the owner of the tapestry, took it back in February 2021. In February 2022, it was returned to the wall outside the UN Security Council.

Significance and legacy
During the 1970s, Guernica was a symbol for Spaniards of both the end of the Franco regime following Franco's death and of Basque nationalism. The Basque left has repeatedly used imagery from the picture. An example is the organization Etxerat, which uses a reversed image of the lamp as its symbol. Guernica has since become a universal and powerful symbol warning humanity against the suffering and devastation of war. There are no obvious references to the specific attack, making its message universal and timeless.

Art historian and curator W. J. H. B. Sandberg argued in Daedalus in 1960 that Picasso pioneered a "new language" combining expressionistic and cubist techniques in Guernica. Sandberg wrote that Guernica conveyed an “expressionistic message” in its focus on the inhumanity of the air raid, while using "the language of cubism". For Sandberg, the work's defining cubist features included its use of diagonals, which rendered the painting's setting "ambiguous, unreal, inside and outside at the same time". In 2016, the British art critic Jonathan Jones called the painting a "Cubist apocalypse" and stated that Picasso "was trying to show the truth so viscerally and permanently that it could outstare the daily lies of the age of dictators".

Works inspired by Guernica include Faith Ringgold's 1967 painting The American People Series #20: Die; Goshka Macuga's The Nature of the Beast (2009–2010), which used the Whitechapel-hosted United Nations Guernica tapestry; The Keiskamma Guernicas (2010–2017); and Erica Luckert's theatrical production of Guernica (2011–2012). Art and design historian Dr Nicola Ashmore curated an exhibition, Guernica Remakings, at the University of Brighton galleries from 29 July 2017 to 23 August 2017.

References and sources

 * References

 * Sources

 * Arnheim, Rudolf. (1973). The Genesis of a Painting: Picasso's Guernica. London: University of California Press. ISBN 978-0-520-25007-9
 * Barton, Simon. (2004). A History of Spain. New York: Palgrave Macmillan.
 * Becht-Jördens, Gereon: Picassos Guernica als kunsttheoretisches Programm. In: Becht-Jördens, Gereon and Wehmeier, (In German) Peter M.: Picasso und die christliche Ikonographie. Mutterbeziehung und künstlerische Position. Dietrich Reimer, Berlin 2003, S. 209–237 ISBN 3-496-01272-2
 * Becraft, Melvin E. Picasso's Guernica – Images within Images 3rd Edition PDF download
 * Beevor, Antony. (2006) The Battle for Spain: The Spanish Civil War 1936–1939. London: Weidenfeld & Nicolson. ISBN 978-0-297-84832-5
 * Blunt, Anthony. (1969) Picasso's Guernica. Oxford: Oxford University Press. ISBN 0-19-500135-4
 * Bonazzoli, Francesca, and Michele Robecchi. (2014) "Pablo Picasso: Guernica", in Mona Lisa to Marge: How the World's Greatest Artworks Entered Popular Culture. New York: Prestel. ISBN 978-379134877-3
 * Campbell, Peter (2009). "At the New Whitechapel" London Review of Books 31(8), 30 April 2009.
 * Cohen, David. (2003) Hidden Treasures: What's So Controversial About Picasso's Guernica?, Slate, 6 February 2003. Accessed 16 July 2006.
 * Fluegel, Jane. (1980) "Chronology" in Rubin (1980) Pablo Picasso: A Retrospective.
 * Francesconi, Elizabeth. (2006) "A Look Inside Picasso's War Images", discourse: An Online Journal by the students of Southern Methodist University, Spring 2006.
 * Granell, Eugenio Fernándes, Picasso's Guernica: the end of a Spanish era (Ann Arbor, Mich. : UMI Research Press, 1981) ISBN 0-8357-1206-0, ISBN 978-0-8357-1206-4
 * Greenberg, Clement (1993). The Collected Essays and Criticism; Volume 4: Modernism with a Vengeance, 1957–1969. University of Chicago Press. ISBN 0226306240
 * Harris, Mark and Becraft, Melvin E. Picasso's Secret Guernica
 * Hensbergen, Gijs van. (2004) Guernica: The Biography of a Twentieth-Century Icon. London: Bloomsbury. ISBN 978-1-58234-124-8
 * Hensbergen, Gijs van. (2009) "Piecing together Guernica". BBC News Magazine: 7 April 2009. Accessed: 14 August 2009.
 * Hoberman, J. "Pop and Circumstance". The Nation, 13 December 2004, 22–26.
 * Kennedy, Maev. (2009) "Picasso tapestry of Guernica heads to UK", London: The Guardian, 26 January 2009. Accessed: 14 August 2009.
 * Mallen, Enrique On-Line Picasso Project – OPP.37:001.
 * Martin, Russell. (2003). Picasso's War. London: Simon & Schuster UK. ISBN 978-0-7434-7863-2
 * Martin, Russell. (2002) Picasso's War: The Destruction of Guernica and the Masterpiece that Changed the World (2002). On-line excerpts link.
 * Oppler, Ellen C. (ed). (1988). Picasso's Guernica (Norton Critical Studies in art History). New York: W. W. Norton. ISBN 0-393-95456-0
 * PBS On-line supplement to "Treasures of the World" series, "Guernica: Testimony to War" with Guernica timeline.
 * Pisik, Betsy. (2003) "The Picasso Cover-Up". The Washington Times, 3 February 2003. Re-published at CommonDreams.org. Accessed: 14 August 2009
 * Preston, Paul. (2007) "George Steer and Guernica". History Today 57 (2007): 12–19.
 * Ray, Beverly. (2006) "Analyzing Political Art to Get at Historical Fact: Guernica and the Spanish Civil War". The Social Studies 97 (2006): 168–171.
 * Richardson, John (2016) "A Different Guernica". The New York Review of Books, 12 May 2016, 63 (8): 4–6.
 * Rubin, William, ed. (1980) Pablo Picasso: A Retrospective. New York: The Museum of Modern Art. ISBN 0-87070-519-9
 * Thomas, Gordon & Morgan-Witts, Max. (1975). The Day Guernica Died. London: Hodder & Stoughton. ISBN 0-340-19043-4
 * Tóibín, Colm. (2006) "The art of war", London: The Guardian, 29 April 2006. Accessed: 14 August 2009.
 * Witham, Larry (2013). Picasso and the chess player: Pablo Picasso, Marcel Duchamp, and the battle for the soul of modern art. Hanover; London : University Press of New England. ISBN 9781611682533

title: Guernica (Picasso)


text:
St Leonards-on-Sea

St Leonards-on-Sea (commonly known as St Leonards) is a town and seaside resort in the Borough of Hastings in East Sussex, England. It has been part of the borough since the late 19th century and lies to the west of central Hastings. The original part of the settlement was laid out in the early 19th century as a new town: a place of elegant houses designed for the well-off; it also included a central public garden, a hotel, an archery, assembly rooms and a church. Today's St Leonards has extended well beyond that original design, although the original town still exists within it.

History
The land that is now St Leonards was once owned by the Levett family, an ancient Sussex gentry family of Norman origin who owned the adjacent manor of Hollington, and subsequently by their descendants, the Eversfields, who rose to prominence from their iron foundries and widespread property holdings during Tudor times. Eversfields served as sheriffs of Surrey and Sussex in the 16th and 17th centuries and were later baronets before the family became extinct.

James Burton, a successful London property developer who had developed large areas of Bloomsbury and the houses around Regent's Park, purchased land from the Eversfield estate to put into being his concept of a seaside resort. The land was part of Gensing Farm, and included a small wooded valley leading down to the sea. Work on the plan started in early 1826. It included a house for himself (West Villa: now 57 Marina); service areas were provided, such as shops and laundering (Mercatoria and Lavatoria), as well as public buildings for entertainment and the picturesque siting of villas amongst the wooded slopes and water of the central gardens, to be paid for by subscription.

In addition he persuaded the Turnpike Commissioners to have the road leading to St Leonards included in the scheme, and arranged for the road through Silverhill to be built so as to give access. Before he died in 1837 St Leonards (Royal Victoria) Hotel, the South Colonnade, an archway marking the town boundary with Hastings, and tall seafront houses (as far as 71 Marina) had also been completed. His grave is marked by a pyramid in the churchyard above St Leonard's Church. In 1850 his son Decimus (1800–1881) started the second phase of building, by acquiring more land and extending the development westward. He lived in the town for the remainder of his life.

Decimus Burton became a Commissioner of the new town in 1833. He leased a triangle of land bounded by Mercatoria, St John's Church, Maze Hill and Kenilworth Road. Here he built The Cottage (now St Leonards Lodge), Maze Hill House (demolished), The Mount (13 houses), The Uplands (6), The Lawn (10), and six semi-detached houses which later became a school (later part of the college but now closed for redevelopment). Later, in Upper Maze Hill he built Baston Lodge, Tower House and Clone House (now Healey House). He gave some land in Mercatoria for a National School, and completed his father's seafront terrace by building 72 to 82 Marina. Modern (2006) photographs give a flavour of this development.

St Leonards became a fashionable seaside destination. Princess Sophia of Gloucester stayed at Gloucester Lodge on Quarry Hill in 1831. The building was formerly named the Castellated Villa but changed to Gloucester Lodge in honour of her. Princess Victoria and her mother the Duchess of Kent, stayed in the town for the winter of 1834–1835, occupying a residence since renamed Victoria House. In 1837 Queen Adelaide passed the winter there.

The popularity of St Leonards, however, was not lost upon the town of Hastings. It had already begun to expand westwards, through Pelham Place and Wellington Square, and further building began. The Eversfield Estate, from whom the Burtons had bought land, saw the potential and it too began to sell off more space, having obtained an Act of Parliament opening the way for speculative builders beyond the Burton boundaries. As a result, the area between the two towns began to fill with properties. In 1875, the two towns merged into the County Borough of Hastings, and by then the total seafront had reached some 3 mile. Soon after that, the Warrior Square and Upper St Leonards areas were being developed.

By now the railways had arrived: the London, Brighton and South Coast Railway reached West Marina in 1845, although it was not until 1852 that the station later named St Leonards Warrior Square was opened by the South Eastern Railway.

Construction of the pier began in March 1888, and it was opened by Lord and Lady Brassey on 28 October 1891. Positioned almost opposite the Royal Victoria Hotel, the shore end had a pavilion constructed of intricate ironwork at the entrance so that visitors could drive straight to the door and avoid the seafront weather. There was also a tollhouse to the left of the entrance that was demolished by a storm on 12 February 1899. The far end of the pier had a building used for dancing, and later as a roller hockey rink. During the 1920s the pier was modernised and finally cut in half during the Second World War as protection against invasion. The remains were removed in 1951.

On the seafront stands an ocean liner shaped art-deco building known as Marine Court, which upon completion in 1937 was the tallest block of flats in the United Kingdom, comprising some 153 flats and 3 restaurants. Despite this claim to fame, entries to a competition to name the building show that it was not universally popular. Now a listed building, it has recently been bought by the residents after many years of neglect and is in the process of being fully restored.

St Leonards Golf Club, Hastings, (now defunct) was founded in 1902/3. The club closed in 1960.

Geography
The town of St Leonards today occupies, firstly, the fairly steeply climbing land immediately adjacent to the west of Hastings, leading up towards Silverhill and Hollington; and secondly, an area to the west where the land is lower lying. The latter part of the town – Bulverhythe – is thought to be the original site of the port of Hastings, since cut off by longshore drift of pebbles. Within the higher land there are some small valleys: that through which the Priory stream flows through Alexandra Park being the main one.

In November 2023, the steep land between Marina on the sea front and the West Hill Road was affected by a series of landslips, leading to local homes being evacuated.

Healthcare
In 1840 the Royal East Sussex Hospital was opened to provide care for the sick poor, this was renamed in 1887 as the Hastings, St Leonards and East Sussex Hospital. In 1923 it was rebuilt in Cambridge Road and renamed the Royal East Sussex Hospital. In 1993 this closed when the Conquest Hospital, was opened. This is managed by the East Sussex Healthcare NHS Trust. In 2021 a new medical centre which houses two GP surgeries and a pharmacy, located next to West St Leonards Community Centre, was opened. It is intended to act as a modern health hub for up to 20,000 patients.

Transport
The principal roads in St Leonards are the seafront (Grand Parade and Marina) part of the A259 coastal route; and London Road. Two of the three railway stations remain open: St Leonards (West Marina) was closed in 1967. Today's bus and train services provide the public transport for the town.

Media
Local news and television programmes are provided by BBC South East and ITV Meridian. Television signals are received from either the Heathfield or Hastings TV transmitters.

The town’s local radio stations are BBC Radio Sussex on 104.5 FM, Heart South on 102.0 FM and More Radio Hastings on 107.8 FM.

Local newspapers are the Hastings & St Leonards Observer and Hastings Independent Press.

Parks and gardens
Warrior Square Gardens – The site was opened as a subscription garden in 1852. The Council purchased a strip of land at the southernmost tip to erect a statue of Queen Victoria which was unveiled on 31 December 1902. All but the uppermost rose garden was acquired by the Council in 1920 with the upper garden being donated to the Council in 1930. Recent improvements include major re-landscaping and wall restoration, completed in 2001. The lower section was completely re-laid following extensive excavation by Southern Water.

St Leonards Gardens – Originally laid out as a private garden for the Burton family, St Leonards Gardens was bought by the town for £9,000 in 1879. The gardens had two ponds and a maze, which proved very popular and gave Maze Hill its name. Gothic-style buildings were built around the wooded valley. The gateway to St Leonards Gardens is an imposing Burton building. The garden was purchased by the Council in 1880 and opened to the public; it consists of trees, shrubs and grass areas with a central pond. The Council applied for a Heritage Lottery Grant for the restoration of this garden and work is now complete.

Gensing Gardens – The garden was purchased by the Council in 1872 and landscaped by the then Borough Surveyor, William Andrews. Little is recorded of the history of the site, although the name comes from the original farm. The garden has been subject to numerous improvements during the last 10 years and consists of shrub and flower beds, trees, grass areas, and an equipped playground suitable for children up to 14 years old. It is located within a priority ward and is a rare and valuable open space within its neighbourhood.

Markwick Gardens – The Gardens were formed in the 1860s primarily for the use and pleasure of the residents of Markwick Terrace, which was built in the 1830-40s. At that time, the land was owned by the Eversfield Trust, which no longer exists and the gardens are now owned, privately, by the Eversfield Estates. (Markwick was the surname of one branch of Eversfield family descendants.) Since the war the gardens have been run by a Committee of local residents as the Estate now takes no part in the running. Access to the gardens is by membership of the Markwick Gardens Association.

Notable residents
Queen Adelaide (1792–1849), consort of William IV, lived in St Leonards as a widow. Thomas Carlyle (1795–1881) lived at 117 Marina in the summer of 1864, in order to be near his ailing wife Jane Carlyle, who was in possession of caretakers. Elizabeth Eiloart (1827–1898), novelist, retired to St Leonards, and King Solomon's Mines author Henry Rider Haggard came to live at North Lodge, Maze Hill, the house built across the road at the entrance to old St Leonards; this remained his home until 1923. Robert Tressell, author of The Ragged Trousered Philanthropists, lived at 241 London Road from 1907. Summerfields School produced the alumnus Rainier III, Prince of Monaco.

George Bristow was the taxidermist at the centre of the Hastings Rarities ornithological fraud; his business address was 15 Silchester Road. Fred Judge FRPS founded the local picture postcard manufacturer Judges Postcards. Sheila Kaye-Smith was a prolific author whose novels are set in the Sussex countryside around Hastings and Rye; she was born in St Leonards, the daughter of a local physician and lived in Dane Road until her marriage in 1924. George Monger was awarded a VC during the Siege of Lucknow in 1857, and after leaving the army, he lived in Tower Road, St Leonards where he died in 1887. Historian Prof Roy Porter (1946–2002) retired to St Leonards. Dr Thomas Duncan Greenlees FRSE retired here in 1922 and died here in 1929.

Archibald Belaney (b 1888 d 1938) "Grey Owl" achieved fame as a conservationist during his life, after his death the revelation of his non-Native origins and other autobiographical fabrications negatively affected his reputation. Born in England and migrating to Canada in the first decade of the 20th century, Belaney rose to prominence as a notable author, lecturer, and one of the "most effective apostles of the wilderness" The Venerable Luke Irvine-Capel, Archdeacon of Chichester was the Priest-in-Charge of Christ Church with St Mary Magdalene and St. Peter and St. Paul from 2013 to 2014, and thereafter served as Rector (merely a legal transition) from 2014 to 2019, before his appointment as Archdeacon.

Poly Styrene of X-Ray Spex lived in North Street, St Leonards-on-Sea.

The 2018 PDC World Darts Championship Winner and 2019 PDC World Matchplay Champion Rob Cross hails from St Leonards-on-Sea.

Baston Lodge, Upper Maze Hill, was the childhood home of Alan Turing.

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

title: St Leonards-on-Sea


text:
Indiana Jones Adventure

Indiana Jones Adventure is an enhanced motion vehicle dark ride attraction based on the Indiana Jones film series, located at Disneyland and Tokyo DisneySea. Guests accompany intrepid archaeologist Dr. Indiana Jones on a turbulent quest, aboard military troop transport vehicles, through a dangerous subterranean lost temple guarded by a supernatural power.

The attraction premiered as Temple of the Forbidden Eye at Disneyland in Anaheim, California on March 3, 1995, and opened to the general public on March 4, 1995. A second, and nearly identical, version of the ride opened as Temple of the Crystal Skull on September 4, 2001, at Tokyo DisneySea in Chiba, Japan, unrelated to the 2008 film Indiana Jones and the Kingdom of the Crystal Skull. On September 9, 2023, it was announced at the Destination D23 Expo that an Indiana Jones attraction was being considered to replace Dinosaur at Disney's Animal Kingdom.

History
Because of the success of Indiana Jones Epic Stunt Spectacular! at Disney's Hollywood Studios in Bay Lake, Florida, Walt Disney Imagineering and George Lucas collaborated once again to create a new Indiana Jones-themed attraction for Disneyland Park in Anaheim, California. Unlike the previous collaboration, this attraction was created with a backstory "set in the Lost Delta of India, circa 1935". Indiana Jones Adventure is the fourth collaboration between Disney and Lucasfilm, after the Disneyland attractions Captain EO, Star Tours, and Indiana Jones Epic Stunt Spectacular! and prior to Disney buying Lucasfilm (and thus the Indiana Jones franchise).

Several early concepts were considered including a walk-through adventure and a high-speed mine car adventure within a temple. To avoid a long queue, Imagineers considered using Jungle Cruise launches to shuttle guests to the loading area.

The team tested key show elements in a Burbank warehouse on a full-sized elevated track that resembled a freeway. This enabled the team to test set pieces, lighting, effects, transport clearances, and motion profiles.

Groundbreaking for the Temple of the Forbidden Eye occurred in August 1993, with more than 400 Imagineers working on its design and construction. Tony Baxter led a core project team of nearly 100 Imagineers. To create space for the 0.5 mi queue area and the 50000 sqft show building, an area of the former "Eeyore" parking lot was demolished, and the Monorail and Jungle Cruise attractions were rerouted. Disney filed for patent on the ride-system on November 16, 1995. Harrison Ford was asked to reprise his role as Indiana Jones, but ultimately negotiations to secure Ford's participation broke down in December 1994 for unknown reasons. Instead, Dave Temple provided the voice of Jones. Ford's physical likeness, however, has nonetheless been used in subsequent audio-animatronic figures.

The Temple of the Forbidden Eye premiered on March 3, 1995. Among the invited celebrity guests were George Lucas, Michael Eisner (Disney CEO at the time), Dan Aykroyd, Arnold Schwarzenegger, Brendan Fraser, Wayne Gretzky, Elliott Gould, Keenen Ivory Wayans, Dennis Miller, Lindsay Wagner, Tony Danza and Carrie Fisher. To promote the opening of the attraction, the Disney Channel produced a half hour-long TV program entitled Indiana Jones Adventure featuring Karen Allen and John Rhys-Davies reprising their roles from Raiders of the Lost Ark. Forty days prior to the attraction's opening, a "Forty Years of Adventure" promotion giveaway of 40 unique annual trading cards began. Guests with valid paid admission received a voucher at the main gate turnstile to exchange for the card of the day, each in a series featuring the landmark attraction of the year starting with 1955. The last card was distributed on March 2, 1995. A special "41st" card of larger issue featured the Indiana Jones Adventure on March 3. Artist Drew Struzan produced a one-sheet poster in the same theme as the films, using permission from Ford to use his likeness. The adventure opened to general admission on March 4.

AT&T Corporation sponsored construction of the attraction and the first seven years of operation, from 1995 to 2002. One of three styles of Marabic decoder cards was distributed to each guest, advertising their promotional campaign on the back. "It’s great to have AT&T as presenting sponsor," said then-Disneyland President Paul Pressler. "With Disneyland celebrating its 40th Anniversary and preparing to open its most exciting attraction, we welcome the opportunities this relationship is sure to create." The attraction currently has no sponsor.

The ride was temporarily closed on September 4, 2012 for an extensive refurbishment and re-opened on December 7, 2012. Scheduled modifications included enhancements to lighting, paint, figure animation and other effects. In 2013, the idol of Mara that appears in the Hall of Promise scene was updated with projection mapping effects.

On November 19, 2019, Disney announced a $300,000 refurbishment that would happen sometime in early 2020.

On January 9, 2023, the version at Disneyland went through another refurbishment, and re-opened on March 17, 2023, which included a freshening up of the audio-animatronics and projections, and a new projected scene of a tunnel collapsing replacing the original rat cave scene.

Ride system
Guests board an Enhanced Motion Vehicle (EMV) intended to appear as a battered military troop transport. EMVs ride on neoprene-filled tires for operational precision. The tires are driven by hydraulic rotors that provide forward motion, and hydraulic pressure is applied onboard each vehicle at 3,000 psi using DC pressurizers. The vehicle has four-wheel steering atop the surface of a slotted roadbed. The track has only three switches: a left/right split switch just before loading/unloading, a left/right combine switch just after safety check station/dispatch and a compound switch to swap vehicles in/out of the maintenance bay, behind the mirrors. Beneath the slot a tubular guideway guides the front wheelset and a damper for the rear wheelset, and three electrical buss bars provide the EMV 480 volts AC. The power is divided among the two motion systems, control, safety, and audio systems. Each transport can accommodate twelve guests with three rows of four seats each, with the front-left seat behind a non-operational steering wheel.

Each troop transport is a motion simulator which travels at a maximum speed of just over 14 mph atop a slotted roadbed / guiderail track. The transport car body is attached by three hydraulic rams to the frame of the chassis, which allows the shell to articulate independently. A guest's physically intense experience is programmed to achieve the illusion of greater speed and catastrophic mechanical failure using the enhanced-motion vehicle's ability to add several feet (metres) of lift then rapidly descend, shudder and tremble, and intensify cornering with counterbank and twist. The intensity of each experience varies as the on-board computer constantly chooses between pre-programmed intensity versions already stored in its memory as it traverses the show building with its load of guests.

This ride system was invented specially for the Indiana Jones Adventure and has only been implemented in one other attraction: Dinosaur, located at Disney's Animal Kingdom (opened as CTX: Countdown to Extinction).

Heavy or light traffic within the ride system can cause speed variations as the vehicles try not to enter the specified safety distance between one another. On busy days, each vehicle may slow to a crawl at intervals within the ride path in order to allow the vehicle ahead to gain distance, then suddenly jerk back into higher speed. Because of these unexpected variations in speed, the soundtrack to the ride is not of a specific length, in fact, each scene of the attraction has a pre-selected score to play which is already of a certain length. If the vehicle finds itself remaining in one scene for an extended period of time, the score will play in full or until the vehicle leaves the scene. If the vehicle remains in a scene longer than the length of the score, then an exaggerated soundtrack of the vehicle's engine will fade-in and play to keep riders from experiencing awkward silence. Due to safety reasons, vehicles on the ride path cannot reverse. Contrary to the finale scene when the vehicle reverses away from the boulder, the vehicle is actually stationary while the motion base tilts backwards and the cave walls accelerate past the riders to give the illusion of reversing.

The safety systems of the Indiana Jones Adventure are very sensitive and can lead to a ride stop several times in a day, leaving guests to believe that the attraction "broke down". Many variables can cause a ride stop: a vehicle may hit an obstacle on the path such as guest items dropped from the vehicle ahead, the vehicle wheels might slip or skid on a wet or damp section of track, or if a vehicle experiences conditions where it must quickly accelerate followed by a sudden stop, the vehicle may overshoot its target or move very slightly backwards causing it to shut down.

Audio-Animatronics
The attraction features four Audio-Animatronics, three of which are animatronics of Indiana Jones, one of a larger-than-life cobra. Prior to the 2010 refurbishment, the Indiana Jones figure in front of the Gates of Doom had his back pushed against the gates. During the refurbishment, he was replaced with a more advanced figure that now is leaning his full body weight into the right door.

Story
Indiana Jones Adventure: Temple of the Forbidden Eye is told through twelve letters and telegrams scattered throughout the queue as well as three newsreels shown before guests board the attraction.

In 1935 India, Indiana Jones reunites missing fragments of a map documenting the precise location of an ancient temple believed to have been buried in a flood over two thousand years ago. According to legend, the temple was built to honor the deity Mara, who offers one of three gifts to all who come to the hallowed site (eternal youth, earthly riches, or visions of the future) on the condition that they never gaze into the eyes of Mara.

Although the discovery, dubbed the "Temple of the Forbidden Eye" by the media, sets the archaeological community abuzz, funding quickly runs out. Sallah begins conducting guided tours to raise money so the excavation can continue. Good fortune comes to many tourists, while others do not return at all.

Jones eventually ventures inside to find the missing tourists and uncover the temple's power source, known as the "Jewel of Power," which Abner Ravenwood believes is located within an immense cavern beyond the Gates of Doom. One week later, with Jones yet to reappear, Marcus Brody requests Sallah continue conducting the tours in the hopes they may locate Jones.

Queue

The attraction's immersive and carefully detailed queue leads guests through dimly lit temple chambers and eerie passageways containing booby-trapped sections reminiscent of the Indiana Jones movies.

The queue begins outside, winding past a 2.5 short ton (2.5 ST) Mercedes-Benz troop transport truck. This is the actual vehicle used in the desert chase scene in Raiders of the Lost Ark. A small mining car near the truck is a movie prop as well, used in the mine scene in Indiana Jones and the Temple of Doom. Guests also walk by a noisy "hit-and-miss" engine/generator set piece, which appears to power the lights strung deep into the temple.

Much of the queue is inside the temple itself. Throughout the bowels of the temple, petroglyphs in "Marabic" warn temple visitors of the rewards and perils that can be found further within. The glyphs can be translated into English using a simple character substitution encoding. In the early months of the attraction's existence, guests were given decoder cards; the cards are now only distributed during special events or when made available. If unable to receive a decoder card, the code is easily solvable as each symbol bears a strong resemblance to its corresponding letter in the English alphabet. The sole exception is the letter I, which, appropriately, resembles an eye. Where the text is painted, vowels appear in red.

The queue contains several interactive features. In the “spike room”, the ceiling appears to be retained by several upright bamboo poles. When the key supporting pole is pushed or pulled, guests are startled by sounds of the ceiling dropping as the spikes begin to descend slowly toward them. In the next area, large stone blocks released from the ceiling (triggered by the diamond-shaped stones below) are barely kept in place by wooden wedges and supports. Further on, in the Rotunda Calendar, pulling on a rope triggers responses from Dr. Dunfor Pullit, an out-of-sight archeologist supported by the rope beneath the sarcophagus stone. Various crates throughout the queue contain some significant features; one marked with the number "990 6753" refers to the number on the crate holding the Ark of the Covenant in Raiders of the Lost Ark. Another crate is marked "Deliver to Club Obi Wan", referring to a fictional club at the beginning of Indiana Jones and the Temple of Doom, itself a reference to the character Obi-Wan Kenobi from Star Wars. Eventually, guests encounter a projection of a newsreel of the discovery, followed by safety instructions delivered by Sallah. Mickey Mouse and Minnie Mouse appear on the cover of a copy of Life Magazine in Professor Jones' office.

Ride experience
At the loading area, guests board the troop transport. Through the radio, Sallah (voiced by Bob Joles) reminds the tourists to fasten their seat belts and points out a problem with the brakes (in earlier versions of the ride, there would alternatively be problems with the gas pedal or the steering wheel). The transport takes off, past a cluster of mirrors concealing the maintenance dock entrance, and turns a corner into the Chamber of Destiny, where guests are presented with three doors. One of the three doors begins to glow more brightly than the other two, and Mara (voiced by James Earl Jones) announces which gift the passengers have chosen to receive. The doors open, and the passengers enter the Hall of Promise, where the idol of Mara resides at the end of the hall.

As originally built, the Chamber of Destiny only had one actual operating door and corridor. Since the ride's opening, the room's walls and ceiling were designed to rotate across the working doorway and a set of four façades (two on each side of the real doorway) so that three "doors" are always visible at any given time. Each of the doors are lit differently based on which particular chamber has been randomly chosen, and decoy tracks leading to the other doors have been used to enhance the effect. In 2013, new projection mapping effects were added for the Hall of Promise. The Chamber of Destiny’s doors was also updated with projection mapping effects in 2015. , the machinery used to rotate the room has been deactivated and is no longer used. Instead, the transport always enters the second door in the center, and the effect of entering a specific room is accomplished using projectors hidden on either side of the chamber, which shuffle through various video effects that are superimposed onto all three doors to create the illusion that the transport is entering a specific room.

 * If the transport gets to the Chamber of Earthly Riches, Mara says, "You seek the Treasure of Mara? Glittering gold — it is yours." The vault, in the doors, begin to unlock as gold coins appear to rain down from above as they swing open. Inside the Hall of Promise, piles of gold, bronze statues, and priceless carvings fill vestibules on each side with a massive gold face of Mara at the far end of the hall. The room is illuminated with shimmering golden light behind the backlit scrims where images of gold and other treasures are visible, with sounds of coins echoing through the hall. Front-lit scrims along the walls are painted to depict true believers surrounded with hoards of treasures, symbolizing riches and wealth, beyond their wildest dreams.
 * If the transport gets to the Fountain of Eternal Youth, Mara says, "You have chosen wisely. This path leads to timeless youth and beauty." The rusted, corroded doors of that chamber are rinsed clean by a sheet of purifying water pouring from the relief above, revealing their pristine, metallic nature as they swing open. Inside the Hall of Promise, where the painted murals on the walls show the timeless beauty of Mara's chosen ones as everyone around them ages, the walls reflect the light on the water. At the far end of the hall, a massive stone face of Mara, with flowering vines scaling the surrounding walls. The room appeared illuminated with shimmering aqua blue light with sounds of water drops echoing through the hall. Front-lit scrims along the walls are painted to depict true believers drinking mystic water, discarding their withered skin and emerging young and beautiful.
 * If the transport gets to the Observatory of the Future, Mara says, "You seek the future. I will lift the curtain of time. It is your destiny." The doors are sealed by an iced web that clouds its carved reliefs. But upon Mara's announcement, the all-seeing eyes above glow, whisking away the icy wall as shooting stars illuminate the newly unlocked pathway as they swing open. Once inside, the Hall of Promise is lit by innumerable glowing stars, and the temple's open roof reveals the endless night sky above, with a glowing, ethereal face of Mara at the far end of the hall. The room is illuminated dimly lit purple, and the ceiling above twinkles with 5,000 fiber optic stars. The transport vehicle tilts upward, directing the passengers’ eyes away from the dark scrims and towards the dazzling starfield.

As the guests approach the idol, Mara suddenly opens his eyes. Inevitably, as someone looks into them, the idol immediately scowls at the guests and, using projection mapping, shows the idol’s face 'bleeding' with colors as he rescinds each of his gifts.

 * For the Chamber of Earthly Riches, his gold metal face begins to corrode rapidly with acid, tarnishing and rusting it until his face turns into red copper.
 * For the Fountain of Eternal Youth, his marble stone face begins to crack and "age" as the surrounding vines shrivel and their petals fall. Chillingly, Mara's eyes faded to a deep, endless black.
 * For the Observatory of the Future, his ethereal face begins to be engulfed in a raging storm filled with lightning and, eventually, his face into a giant fireball.

During his rescinds, Mara cries out, "You looked into my eyes! Your path now leads to the Gates of Doom!" (For the Observatory of the Future scene, Mara's last line is changed to, "Your destiny now lies beyond the Gates of Doom!")

The transport momentarily appears to head toward an exit before making a sharp left turn into a large crumbling corridor. Using the hydraulic systems, the transport is given the effect of being lifted off the ground as it floats towards the Gates of Doom. Lightning flashes along the walls, illuminating large cobra statues overhead as the transport continues forward. The Gates of Doom pulsate with green mist, and an audio-animatronic Indiana Jones (voiced by Dave Temple) struggles to keep the doors closed. Jones pushes the doors shut, making the transport drop to the ground, and scolds the tourists for looking into the idol's eyes. He instructs them to proceed up the steps to the left. The transport then accelerates up the flight of stairs.

The transport emerges from the passage and teeters on the edge of a vast pit of lava. If timed correctly, another transport can be seen attempting to cross a rickety rope bridge that spans the pit under a crumbling ceiling. On the far side of the cavern, there is a 45 ft stone face of Mara that periodically shoots green rays at both transports, causing flames to erupt from where the beam hits the cavern. Formerly, there was an effect in place within this scene where the light beams would hit the ceiling, causing dyed ice cubes to rain down, simulating the rubble of the caving temple, but it was removed due to operational issues. However, the sound effect for the rubble can still be heard upon entering the room. The transport then turns left and enters catacombs of false pathways lined with skeletons, some of which pop out toward the guests.

Suddenly, the transport veers to the left, and all is dark. The transport's headlights flicker back on, illuminating walls swarming with thousands of beetles. Hissing sounds are heard, and riders are blasted with puffs of air. The transport heads out of the darkness and onto the bridge which spans the pit. The transport stalls for a moment as another oncoming transport can be seen about to cross the bridge (depending on the transport's timed arrival), which turns away just before reaching it. The transport then accelerates across the bridge, which sways and jostles under its weight. The massive stone face of Mara shoots beams from its eye, attempting to destroy the bridge. The transport makes it safely across, then turns sharply to the right.

Hundreds of snakes cover the walls and ground, and a large audio-animatronic cobra appears to the right of the vehicle, striking at the riders. The transport heads back to return across the rope bridge and flashes its headlights at an oncoming transport about to cross (again, depending on the transport's timed arrival). The transport turns sharply to the right, traveling behind the giant stone carving of Mara's face, and enter a room full of skulls (the number of skulls is 1,995, a reference to the year of the ride's opening), and Mara roars at the riders from above. The transport turns towards the left and dips underneath the main bridge as a fireball erupts ahead from the laser beam. The vehicle nearly gets hit by the deadly laser blast from the "Broken Nose Of Mara" as the transport travels across a mini wooden bridge and veers into a pitch-black tunnel. Shocks of electricity suddenly chase the transport before it stalls for a brief moment. All of a sudden, the transport starts up again and it heads towards an empty corridor leading towards a way out of the temple when, suddenly, the electrical shocks blasts the corridor, causing it to collapse and block the tunnel. The transport careens through another dimly lit tunnel with paintings of spear-wielding skeletal warriors adorning the walls. Blasts of air hit the riders, and darts are heard striking the transport as it rolls over the trigger stones between the skeletal warriors.

The transport then approaches a dark area and stops. Indiana Jones suddenly appears above the vehicle hanging on a rope in a shaft of light. He welcomes the adventurers' rescue and bids for them to turn on the headlights and allow him to board. As the lights flicker on, they illuminate a massive boulder rolling toward the transport. The transport seems to back up as the boulder threatens to crush Jones and the tourists (this effect is achieved by moving the walls of the room forward, not moving the transport backward). At the last possible second, the transport accelerates, and suddenly the floor seems to give way, sending the transport into the chamber below. An impact resonates through the chamber as if the boulder has crashed down, nearly striking the transport.

The transport plunges down into darkness and swerves right to see Jones standing in front of the boulder, which has been cracked by its impact. An exhausted Jones wipes his forehead and says one of the following:
 * "Not bad, for tourists.. Now, stay out of trouble will ya?"
 * "There! That wasn't so bad, was it?"
 * "Next time, you're on your own!"
 * "Now, next time, you wear blindfolds, okay?"
 * "Now, don't tell me that wasn't big fun!"
 * "Tourists... Why'd it have to be tourists?"
 * "You were good in there. You were very, very good."

A final triumphant refrain of music ushers the guests back into the station. Sallah welcomes back the tourists and tells them to remain seated as the transport reaches the loading area.

Story
Set in an unspecified region of Mexico during the 1930s, Indiana Jones Adventure: Temple of the Crystal Skull takes place in the Temple of the Crystal Skull, an Aztec temple guarded by a Crystal Skull. Hosted by a character named Paco (portrayed by Katsuhisa Hōki), the story features Indiana Jones (voiced by Kunio Murai) searching for the Fountain of Youth. While the name is similar to that of the fourth Indiana Jones film, the design of the titular skull is entirely different and the scenarios in the attraction are unrelated to the film.

Queue
The Temple of the Crystal Skull building exterior resembles a large Aztec pyramid and temple, set in the South American port "Lost River Delta" at Tokyo DisneySea. The design is influenced by ancient South American architecture and art. There is a large room in the first pyramid with elaborate, South American-inspired frescoes on the walls; skeletons litter the floor around the queue walkway. The queue subsequently passes through a series of smaller, intricately themed chambers. Paco, a South American tour guide, hosts a black-and-white safety film, which plays on a continuous loop.

Ride experience
Everyone is seeking the Fountain of Youth. There is a single carved door with pools of water to the side, complemented by mist and what appears to be endless hallways.

All guests enter the same hallway, seeking the Fountain of Youth. This single hallway contains effects from all three variations seen in “Forbidden Eye”: fiber optic stars, statues holding glowing treasure, and water effects. At the end of the hall awaits the Crystal Skull. It glows demonically, signaling that the journey is about to take a turn toward the Gates of Doom.

The transport momentarily appears to head toward an exit, before making a sharp turn into a large corridor. Lightning flashes along the walls, illuminating large cobra statues overhead as the transport seems to "float" through the room using the EMV technology.

The Gates of Doom pulsate with green mist as Indiana Jones struggles to keep the doors closed. Jones, speaking in Japanese, scolds the tourists for waking the Crystal Skull and instructs them to proceed up the steps to the left. The triumphant musical theme from Raiders of the Lost Ark is heard as the transport accelerates up the flight of stairs, entering a room with a rope bridge and a large stone face resembling the Crystal Skull.

Blues and greens are the colors that fill this room. There is a large tornado effect near the bridge. The eye of the large skull is crystal and emits lasers and other lighting effects.

The transport turns left and enters another chamber filled with skeletons, some of which pop out toward the guests.

Suddenly, all is dark; the music tinkles with chaotic violin pizzicatos. The transport's headlights flicker on, illuminating walls swarming with thousands of beetles. Hissing sounds are heard, and riders are blasted with puffs of air.

The transport finally heads out of the darkness and onto the bridge which spans the pit. The transport stalls for a moment as another oncoming transport can be seen across the pit (if the transport's arrival is timed correctly), but it turns out of the way before reaching the bridge. The transport then accelerates across the bridge which sways and jostles under its weight. The massive stone skull shoots beams from its eye at the bridge, attempting to destroy it. The transport safely makes it across and makes a right turn.

Thousands of snakes line the walls and ground and a gigantic audio-animatronic version of the Mesoamerican deity Quetzalcoatl, with glowing red eyes, appears to the right of the vehicle, striking at the riders.

The transport heads back to return across the rope bridge and flashes its headlights at an oncoming transport about to cross (again, if the transport's arrival is timed correctly). The transport turns sharply to the right, entering behind the giant stone skull. The transport slides past hundreds of human skulls which decorate the walls, as the crystal skull on a plinth radiates light. Turning left, out of the massive stone skull, the transport continues downward, passing under the rope bridge.

Encountering a carved skull-like face in the wall in front of the vehicle, the transport pauses for a moment as a fireball (a large ring of harmless orange colored smoke) suddenly emerges from the face's mouth, heading straight towards the transport. The transport swerves to the right driving through the smoke and onto the next corridor.

A hall lined with sculptures of gaping skulls along the walls. The vehicle lurches forward over the pressure plates in the floor activating the booby trap. From the mouth of each skull shoots a dart (air jets that emit sudden swift puffs of air). The transport rolls to the end and makes a sharp right into the Boulder Room.

Jones hangs from a vine above. As the transport pulls up underneath him he shouts (In Japanese) one of several phrases cautioning the riders. As the boulder rolls towards the transport and falls, the transport plunges and a photograph of the entire car of riders is taken. The photograph may be purchased after the ride.

The transport drops suddenly, then turns right sharply in a dark tunnel and comes out to see Jones standing in front of the crushed boulder. Jones wipes his forehead and says one of several pre-recorded phrases. A final triumphant refrain of the music ushers the guests back into the station. While waiting to disembark, the mobile radio transceiver announces one of several "please remain seated" messages.

Music
In addition to dialogue and sound effects, an orchestral soundtrack plays through the speakers built into the troop transports. This medley contains segments and motifs of John Williams' original scores for the first three Indiana Jones movies, re-scored and re-recorded to sync up with the perils of the adventure. Richard Bellis was responsible for this adaptation process. "The Raiders' March" and Ark theme both feature prominently at various points.

The following list is a breakdown of the different passages heard in the attraction, and the track times at which the original versions can be found on the soundtracks for the films.
 * Chamber of Destiny: "The Miracle of the Ark" (Raiders of the Lost Ark)
 * Hall of Promise: "The Map Room: Dawn" (Raiders of the Lost Ark)
 * Tunnel of Torment: "The Miracle of the Ark" (Raiders of the Lost Ark)
 * Gates of Doom: "The Desert Chase" (Raiders of the Lost Ark)
 * Main Show Building: "The Miracle of the Ark" (Raiders of the Lost Ark)
 * Mummy Chamber: "Nocturnal Activities" (Indiana Jones and the Temple of Doom)
 * Bug Room: "In the Idol's Temple", "The Well of Souls" (Raiders of the Lost Ark)
 * The Bridge: "The Miracle of the Ark" (Raiders of the Lost Ark)
 * Snake Temple: "Slalom on Mt. Humol" (Indiana Jones and the Temple of Doom)
 * Mudslide: "Belly of the Steel Beast" (Indiana Jones and the Last Crusade)
 * Skull Room: "Slalom on Mt. Humol", "The Mine Car Chase" (Indiana Jones and the Temple of Doom)
 * Face Room: "Bug Tunnel and Death Trap", "Slalom on Mt. Humol" (Indiana Jones and the Temple of Doom)
 * Dart Corridor: "Bug Tunnel and Death Trap" (Indiana Jones and the Temple of Doom)
 * Rolling Boulder: "The Basket Game" (Raiders of the Lost Ark), "Fast Streets of Shanghai" (Indiana Jones and the Temple of Doom)
 * Finale: "Flight from Peru", "The Raiders' March", 2:21 (Raiders of the Lost Ark)

A variety of big band pieces and swing tunes from the 1930s can be heard from a radio in the outdoor queue, including "In the Mood" by Glenn Miller.

title: Indiana Jones Adventure


text: Category:Hall County, Texas

title: Category:Hall County, Texas


text:
Jonesville, Florida

Jonesville is an unincorporated community in Alachua County, Florida, United States. It is located roughly at the intersection of County Road 241 and State Road 26 (Newberry Road). Jonesville has no city government but is an informal name for a region on Newberry Road between Gainesville and Newberry. While no clear delineation has been made for what includes Jonesville, its eastern boundary is 122nd street (colloquially known as Parker Road), due to the City of Gainesville owning up to the eastern side of the road. All the other limits are vague. Jonesville may extend as far west as to 170th St. Approximate northern and southern markers for the region are NW 39th Avenue and SW 8th Avenue, respectively.

Jonesville is named for John Joseph Jones, a young Alabama farmer who moved to this area in the early 1850s, and owned a farm on the south side of the old Newnansville Road. During the Civil War he enlisted as private and later served as 1st lieutenant in the Alachua Rangers, which became C Company of the 7th Florida Volunteer Infantry. After the war he returned to farming. When a post office opened in Jonesville in 1875, John Jones became the first postmaster and this is how the community received the official name of "Jonesville".

Growth
Over the past 40 years, Jonesville has become more populated as the city of Gainesville has continued to grow and residents have moved west towards less dense communities. Coinciding with the growth in the area population, Jonesville has seen an increase in both commercial developments and residential developments.

Commercial development
Commercial development has rapidly occurred in the 2010s, with new businesses in and around the Steeple Chase shopping plaza. Large-scale commercial developments have included the Town of Tioga development on pre-existing empty fields around the Steeple Chase Shopping Center, and the Arbor Greens center. Additional businesses are expected to move to the area as the population grows. Current agendas include the development of commercial/office space at the intersection of Newberry Road and NW 140th Terrace as well as expansion of commercial land in Town of Tioga.

Residential development
Many subdivisions have sprung up in the past decade or so in and around the Jonesville area. Older residential neighborhoods have been built since the 1970s. Some of these include Villages of West End, West End Golf View Estates, and Jockey Club. Large, more recent subdivisions include Amelia Fields, Town of Tioga, Arbor Greens, Turnberry Lake, Belmont, Strawberry Fields, and Wyndsong. Apartments and condos are also in the region.

Infrastructure
Jonesville is primarily served by Florida State Road 26, Alachua County Road 241, and SW 8th Avenue.

The Jonesville Park provides local residents with baseball fields, a mile-long track, a disc golf course, tennis courts, soccer fields, and regular play. Future development of the park promises to include a nature center, an event lawn with numerous activities, a BMX track, nature trails, picnic areas, an amphitheater, and a recreation center with gymnasium, weight room and multipurpose rooms.

Alachua County Fire Rescue Station 24 is located just north of Jonesville Park on County Road 241. The station serves the local area, but can be dispatched elsewhere as needed. A new station was built in 2011, and the old station has been abandoned since.

title: Jonesville, Florida


text:
Paternal bond

A paternal bond is the human bond between a father and his child.

Father-infant bonding
Infants can become attached to their fathers. Mother-infant bonding has been a common focus in household research; however, more studies in the United States and Europe have been focused on the details of father-children attachments. In the book, Gender in cross-cultural perspective, Barry S. Hewlett showed that infants do create bonds with their fathers. She explained how recently born children bond with their fathers at similar ages during development. Researchers question how father-infant bonding occurs because fatherhood has many different roles in various cultures. Questions arise about how fathers have the ability to bond with children if they do not have the same kind of role that mothers do in the baby's development.

The father of a child can develop the bond during the pregnancy of his partner, feeling attachment to the developing child. Research indicates that this may have some biological basis. Statistics show that fathers' levels of testosterone tend to decline several months before the birth of the child. Since high testosterone levels are linked to more aggressive behaviour, low levels may enhance the ability to develop a new relationship bond.

Fathers also have an important bonding role after the child is born. Fathers find many ways to strengthen the father-child bond with their children, such as soothing, consoling, feeding (expressed breast milk, infant formula, or baby food), changing diapers, bathing, dressing, playing, and cuddling. Carrying the infant in a sling or backpack or pushing them in a baby transport can build the bond, as can participating in the baby's bedtime routine. These are broad activities that fathers share to develop their father-infant bond. Fathers also have specific bonding roles that develop from their different cultures and societies.

European and American culture

European and American fathers are seen to have more of an aggressive and vigorous relationship with their child. This does not mean harmful; however, it means there is physical and highly stimulating interaction between the father and child. This gave the child emotions that reflected an exhilarating and fun-loving experience that allowed them to create a father-infant bond different from a mother-infant bond. It is shown that an infant's facial expressions and emotions towards their father is significantly different from their emotions towards their mothers, even at a very young age. This shows that a father being present gives the child a variety in the way they interact with different people. The roughhousing does not just have importance towards the bonds the children make with the father, but also helps to teach them life lessons. Rough play helps to teach self control, helps children understand appropriate social roles, helps them realize when certain emotions should be used, and helps them understand others emotions and facial expressions. This form of bonding between the father and infant creates a bond that is unique. It allows the child to learn valuable lessons, while also being in an environment that enhances all of their senses and allows them to intensify their relationship with their father.

Aka culture
The Aka are a hunter-gatherer society in the southern Central African Republic and northern Congo-Brazzaville. The way they form their father-infant bond is very different from that of the Europeans and Americans. While Europeans and Americans focus on rough playing, the Aka's do not allow this high stimulating environment to develop with their children. Aka fathers are always around their infants when they are born. They always sleep with their infants and are always in close proximity of them for more than half a day. Overall, Aka fathers are more relaxed and intimate during fatherhood than those in the United States.

The four factors that are key for Aka father-infant bonding:
 * 1) Understanding the infant: Aka fathers are around the child more than most cultures. They hold the child often; therefore, they learn important signs the child shows that most fathers would not. For example, they understand signs that show when the child is hungry or sick.
 * 2) Understanding fatherhood practices: Fathers understand when to be more playful, when to be more physical, how to correctly hold a child, and how to calm them down. They understand all of the interactions that are needed to take good care of a child.
 * 3) Connecting with the infant: The father understands how to make a bond with the infant. They know if the infant needs more rough play or soothing. They play large roles in caretaking, so they understand the infants needs at another level.
 * 4) Representing the culture and fatherhood goals: The Aka's are hunter-gatherers; therefore, animal hunting is not a sufficient or main way that they obtain food. This means that the males do not play a main role in going out and hunting for the tribe or their own families. This allows the father to be able to spend more time with the infant and really create a bond with them. This makes a father's role in child upbringing an important aspect of the Aka culture.

The Aka foragers in the Central African Republic do not hunt with bows. Their main source of hunting is through nets. In Hillary N. Fouts cross-cultural research, she had statistical data that supported the claim that different roles in foraging populations had an impact on the amount of time a father spent with their children. Fouts took different foraging populations in Africa and compared their type of hunting and the percentage of time these fathers were seen holding their child. Her first foraging group was the Aka population. They were a net hunting group that held their children aged 1–4 months 22% of the day, held their children 8–12 months 11.2% of the day, and held their children 13–18 months 14.3% of the day. The other net hunting population was the Bofi. They had fathers hold babies aged from 36-47 and 48–59 months for 5.4% of the day.

In contrast, the foraging groups that participated in bow hunting had fathers hold babies for significantly less time. The Hadza foraging population had fathers hold babies from the ages 0–9 months for only 2.5% of the day. The other bow hunting foragers, the !Kung, had fathers hold babies from 0–6 months for 1.9% of the day and babies 6–24 months 4.0% of the day.

This statistical data shows that different roles in a society influences how much time the father spends holding and interacting with his children. This is important because it shows that each culture is different regarding father upbringings and father bonding.

United States
In the U.S., legal paternity is presumed for the husband of the mother unless a separate action is taken; an unmarried man may establish paternity by signing a voluntary recognition of paternity or by taking court action. Paternity may also be established between a man and a younger person, commonly in adoption, without the two being biologically related.

title: Paternal bond


text:
User talk:GK

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AfD nomination of List of drag queens
I have nominated List of drag queens, an article you created, for deletion. I do not think that this article satisfies Wikipedia's criteria for inclusion, and have explained why at Articles for deletion/List of drag queens. Your opinions on the matter are welcome at that same discussion page; also, you are welcome to edit the article to address these concerns. Thank you for your time.  MBisanz  talk 00:56, 18 October 2008 (UTC)  MBisanz  talk 00:56, 18 October 2008 (UTC)

Request for Usurpation
Hello, GK. A request has been made at Changing username/Usurpations to usurp, or "take over", your username because you have not used it to edit, and another user would like to use it to edit. Changing username/Usurpations says that any unused username may be usurped if the user is given seven days notice to object and does not do so.

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Thank you for your time. GK (talk) 18:15, 16 May 2010 (UTC))

I OBJECT!
I never received notice of this usurpation request. Someone, however, did request a new password for this user account today (Oct 12, 2010).

I object to this usurpation request. Although I have quite a few bad memories (plus a few good ones) of my experience editing on the Wikipedia, I'd still like all of my edit history retained under my original user name. 07:18, 13 October 2010 (UTC)

Nomination of Tinywords for deletion
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Nomination of Carbon ring for deletion
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The article will be discussed at Articles for deletion/Carbon ring until a consensus is reached, and anyone is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. DMacks (talk) 01:08, 19 December 2013 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 12:51, 23 November 2015 (UTC)

title: User talk:GK


text:
Talk:Jonesville, Florida

East end of Newberry I think there is an error on the section describing the east boundary of Jonesville set because east of the road is the city of Gaiensville. I live on Tower Road, AKA SW 75th and I know the city limits of Gainesville have just been extended to a parcel on this road and a google map search for "city of Gainesville" shows the west end of the city limits stopping at I-75. — Preceding unsigned comment added by 164.51.92.77 (talk) 19:37, 18 October 2019 (UTC)

http://maps.yahoo.com/maps_result?ed=WnVsxOp_0TqfItCdVkCaXgq6Gqb06A--&csz=newberry+fl+32669&country=us&new=1&name=&qty= link to a map that shows the town of jonesville zoom out to level 4

If the existence of Jonesville, Florida is in fact in question, note that the US Postal Service provides a ZIP code (32669) for it. —Triskaideka 16:22, 14 Oct 2004 (UTC)

Thank you, that was just there so that the page was not deleted. Thank you for wikifying this, my writing skills are not that good.

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John Joseph Jones
I added the short bit of info on John Joseph Jones, with citations. I am a member of Friends of Dudley Farm, which is the volunteer organization at Florida's Dudley Farm Historic State Park. I do living history out there, as well as other activities.

John Jones moved to Alachua County in 1849, when he was 16, having been born in 1833. At that time, he established his own farm a bit south of the entrance to Dudley Farm State Park on Newberry road

Jones also served in the Civil, as the 1st lieutenant in an infantry company, and his commanding officer in C Company, 7th Florida was Captain Benjamin Dudley, Sr., who was also his father-in-law twice. Jones married Dudley's almost-14-year-old (13 years and 11 months) daughter, Mary Ann, in 1858, when he was 25. They had two children, but she died at the age of 19 in 1864. Jones returned from the war on sick leave in 1864, and married Dudley's 18-year-old (18 years and 9 months) daughter, Virginia in 1865 when he was 32. They had seven children together.

Family lore states Jones fought at the Battle of Olustee with his father-in-law. But no records exist to prove this. Jones was listed as AWOL from the 7th Florida when he didn't return from sick leave, but this was corrected after the war when it was realized he served with the military in Florida until the end of the war.

As the store at the Dudley homestead was used as the area's post office in the early 1870s, before a permanent post office was established in "Jonesville," there is some speculation Ben Dudley, Sr. used his political connections to secure the office of postmaster for his son-in-law. At that time Dudley Sr. was on the county school board and was superintendent of county roads.

The new information is based partially on data from Family Search and Find A Grave. Thomas R. Fasulo (talk) 01:34, 19 April 2021 (UTC)

Research on John Joseph Jones
I have volunteered at Florida's Dudley Farm Historic State Park since December 2013. This park is now a National Historic Landmark. Due to our need to republish and correct some information in the Dudley Farm history book I've done research into the Dudley Family and their relations. John Joseph Jones married two of the Dudley girls from the 2nd Dudley farm generation. He married Mary Ann in September, 1858, she died in May 1864, leaving two daughters. Jones then married Virginia Emeline, Mary's young sister, in October 1865. Jones and Virginia had seven children. This research also led me to the conclusion Jones left Alabama in the early 1850s, as the 1850 census still had him listed in his father's household in Alabama.

Apparently, after the Civil War, Jones tired of farming, and let this be known to his father-in-law. So, his father-in-law, Phillip B.J. Dudley Sr., who was politically active in the county, probably used his political connections to have his son-in-law appointed the postmaster. This latter 'fact' is just an assumption on my part, but it makes the most sense. Thomas R. Fasulo (talk) 00:56, 23 November 2021 (UTC)

title: Talk:Jonesville, Florida