text:
Limescale

Limescale is a hard, chalky deposit, consisting mainly of calcium carbonate (CaCO3). It often builds up inside kettles, boilers, and pipework, especially that for hot water. It is also often found as a similar deposit on the inner surfaces of old pipes and other surfaces where hard water has flowed. Limescale also forms as travertine or tufa in hard water springs.

The colour varies from off-white through a range of greys and pink or reddish browns, depending on the other minerals present. Iron compounds give the reddish-browns.

In addition to being unsightly and hard to clean, limescale can seriously damage or impair the operation of various plumbing and heating components. Descaling agents are commonly used to remove limescale. Prevention of fouling by scale build-up relies on the technologies of water softening or other water treatment.

Chemical composition
The type found deposited on the heating elements of water heaters consists mainly of calcium carbonate (CaCO3). Hard water contains calcium (and often magnesium) bicarbonate or similar ions. Calcium, magnesium, and carbonate ions dissolve from rocks through which rainwater percolates before collection. Calcium salts, such as calcium carbonate and calcium bicarbonate (Ca(HCO3)2), are more soluble in hot water than cold water; thus, heating water does not cause calcium carbonate to precipitate per se. However, there is an equilibrium between dissolved calcium bicarbonate and dissolved calcium carbonate as represented by the chemical equation

 * Ca2+ + 2  Ca2+ +  + CO2 + H2O

Note that CO2 is dissolved in the water. Carbon dioxide dissolved in water (aq) tends to equilibrate with carbon dioxide in the gaseous state (g):

 * CO2(aq) CO2(g)

The equilibrium of CO2 moves to the right, toward gaseous CO2, when water temperature rises or pressure falls. When water that contains dissolved calcium carbonate is warmed, CO2 leaves the water as gas, this reduces the amount involved in the reaction causing the equilibrium of bicarbonate and carbonate to re-balance to the right, increasing the concentration of dissolved carbonate. As the concentration of carbonate increases, calcium carbonate precipitates as the salt: Ca2+ + → CaCO3.

In pipes as limescale and in surface deposits of calcite as travertine or tufa the primary driver of calcite formation is the exsolution of gas. When heating hard water on the stove, these gas bubbles form on the surface of the pan prior to boiling. Gas exsolution can also occur when the confining pressure is released such as when you take the top off a beer bottle or where subsurface water is flowed into an atmospheric pressure tank.

As new cold water with dissolved calcium carbonate/bicarbonate is added and heated, the process continues: CO2 gas is again removed, carbonate concentration increases, and more calcium carbonate precipitates.

Scale is often colored because of the presence of iron-containing compounds. The three main iron compounds are wüstite (FeO), hematite (Fe2O3), and magnetite (Fe3O4).

As a stone
The Roman Eifel Aqueduct was completed around 80 AD and broken and largely destroyed by Germanic tribes in 260. By the Middle Ages the limestone-like limescale accretions from the inside of the aqueduct were particularly desirable as a building material, called "Eifel marble" in an area with little natural stone. In the course of operation of the aqueduct, many sections had a layer as thick as 20 cm. The material had a consistency similar to brown marble and was easily removable from the aqueduct. Upon polishing, it showed veins, and it could also be used like a stone board when cut flat. This artificial stone found use throughout the Rhineland and was very popular for columns, window frames, and even altars. Use of "Eifel marble" can be seen as far east as Paderborn and Hildesheim, where it was used in the cathedrals. Roskilde Cathedral in Denmark is the northernmost location of its use, where several gravestones are made of it.

Trade to the west took it to England as a high-status export material in the 11th and 12th centuries, where it was made into columns for a number of Norman English Cathedrals. The impressive polished brown stone was known for many years as 'Onyx Marble'. Its origin and nature was a mystery to people studying the stonework at Canterbury Cathedral, until its source was identified in 2011. It is used there as columns supporting the cloister roof, alternating with columns of Purbeck Marble. These large cathedral cloisters needed several hundred such columns around an open quadrangle, which must have been supplied by a well-organized extraction and transport operation. The Eifel deposits, now called Calcareous sinter or calc-sinter (since it is neither onyx nor marble), have also been identified at Rochester and in the now lost Romanesque cloister at Norwich as well as the Infirmary Cloisters, Chapter House windows, and Treasury doorway at Canterbury.

Related material
Soap scum forms when calcium cations from hard water combine with soap, which would dissolve in soft water. This precipitates out in a thin film on the interior surfaces of baths, sinks, and drainage pipes.

title: Limescale


text:
User talk:WesleyWillis

Cut the Mullet! Cut Mullet! Slugokramer 23:31, 29 Nov 2004 (UTC)

By the way:
It seems you are new at this, and that's great, but you usually don't make sweeping revisions without any comment about it. Next time, if you feel a passage is not appropriate, please indicate why in the summary and/or the discussion page. Slugokramer 23:44, 29 Nov 2004 (UTC)

Netscape 3 on XP
Hi! I have a question: how did you install XP from the Netscape 3? XP because For me, the installer does not start, yet even if you could set compatibility. So how did you install? (If you have downloaded a compressed folder in which the files are in Netscape 3, then the download link please!) — Preceding unsigned comment added by Tomi3 (talk • contribs) 13:07, 27 May 2011 (UTC) I'm sorry that I wrote somethingthat is is not possible ,but I 'm Hungarian ,and Google Translate badly translated the text into English. So good: Netscape 3 is installed on Win XP Oh, and answer my question posed above this text! Tomi3 (talk) 14:08, 27 May 2011 (UTC)

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

title: User talk:WesleyWillis


text:
Talk:Anagni

The table
I don't know where to discuss the layout of this table, which needs a wrap-around feature. The table should take up about a third of the browser width. As it is, text is unnecessarily squashed to the left, with blank areas in the table. I'm incompetent to fix it, but I see the problem. Do others? --Wetman 23:34, 29 Nov 2004 (UTC)

The link
The link http://www.comune.agnani.fr.it/ is stale, so I removed it, This also fixes the table

Alexander IV
The idea that Alexander was related to the Conti family is outdated in Italian scholarship. (The editors of Francis of Assisi: Early Documents, vol 2: The Founder (New York: New City Press, 2000), p. 779 (note b) endorse this view as well.)

Also, William's De periculis was officially condemned on October 5th, 1256 (anon.)
 * Could you edit this information into the respective articles? --Wetman 08:45, 24 November 2005 (UTC)

I've made some simple changes to the bit about Alexander IV, and I linked 'Guillaume' to the proper Wikipedia article. I left the bit about Alexander's relationship to Gregory IX for now, because he probably was related to him in some way -- just not through the Conti. More could be done, I'm sure, but this should stand for now. --67.70.90.101 20:56, 16 December 2005 (UTC)

Early humans700,000 years ago????
Where is this data from? Wouldn't this contradict all scientific theory about Homo Sapiens outside of Africa? --74.100.83.47 (talk) 01:41, 4 September 2012 (UTC)

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The following Wikimedia Commons files used on this page or its Wikidata item have been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 02:37, 18 February 2023 (UTC)
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title: Talk:Anagni


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Talk:Chris Evans (presenter)

Where is the disambiguation link?
I was trying to link to Chris Evans (actor from the Fantastic Four) movie and instead this page keeps popping up.→ R Young {yak ł talk } 22:57, 12 December 2006 (UTC)
 * Is the article about the Australian politician going to be written sometime soon. Otherwise this is a pointless disambig page. Pcb21| Pete 23:34, 29 Nov 2004 (UTC)
 * I've added the American actor, Chris Evans; as he's about to star in Fantastic Four I imagine someone will write an article on him in due course. I guess this is just another one of those cases where a person is massively famous here in the UK, and unheard of pretty much everywhere else. Rje 01:23, Feb 23, 2005 (UTC)
 * There is now the more accurate link to all Chris Evans worldwide. Btw, I have decapitalised the heading (above) as it was giving me a headache--TimothyJacobson (talk) 14:50, 7 October 2010 (UTC)

Chris Evans (computer technician)
I've added this, as despite previous statements there is Google evidence as such. Found this article on Ananova: http://www.ananova.com/news/story/sm_104602.html I have actually seen him in the newspapers and on local TV. The newspapers and local TV both reported as youngest in the world, not the UK, so when I can find further proof I might write something.
 * Should be added, if notable, to the disambiguation page. Rgds, --Trident13 (talk) 13:04, 25 May 2008 (UTC)

Early career
Mention to Evan's early career on BSB (Before BSkyB) as a presenter on their Channel The Power Station should be given - Anon
 * I was just about to mention that - I remember watching him on BSB (Not BSkyB) Parrot of Doom (talk) 11:52, 12 June 2008 (UTC)

Date of birth? 1965 (wrong according to his recent radio comments "I'm entering my 50th year")? Or 1966? IRH 16/04/2015

BBC dates
These are wrong. We have one sentence stating his breakfast show ran 1995-99, and another saying it ended in 2000. There is also a problem in the previous section. I don't know all the facts but there is contradiction here.

Extra note, Chris Evans was hosting the Big Breakfast with Gaby Roslin as early as 1992. It says 1994-1996 in the description under the photo. Those dates are inaccurate. — Preceding unsigned comment added by 2.100.216.254 (talk) 22:34, 29 June 2015 (UTC)

No references
This article is currently rated "B-Class" acc. to some Wiki-project, despite lacking any reputable citations whatsoever. "Z-Class" more like. Total fan page. --DaveG12345 (talk) 00:52, 22 May 2008 (UTC)

 * Think that situation has slightly changed - add 40+ refs, and I have resultantly removed some tags. Rgds, --Trident13 (talk) 13:04, 25 May 2008 (UTC)

Gerry Ryan
I know I might be jumping on some sort of band wagon, but shouldn't there be some reference on how Gerry Ryan (the late Irish broadcaster) helped his career? Here's a link to one source about it: link to source —Preceding unsigned comment added by 109.76.29.209 (talk) 20:19, 3 May 2010 (UTC)
 * Is anyone going to do anything about this? I know if I do it, someone will just revert the page to its previous condition. —Preceding unsigned comment added by 193.1.100.8 (talk) 12:27, 13 May 2010 (UTC)
 * I'd say go for it! If you add the source with it, there shouldn't be a problem. TheRetroGuy (talk) 12:32, 13 May 2010 (UTC)
 * Edited, however, I have no idea how to put in a reference after it. Can some-one do this for me? (UTC) —Preceding unsigned comment added by 109.77.62.173 (talk)

Books
Surely his autobiographies should also be listed. One is called "It's Not What You Think", but I can't remember the name of the other one, else I'd have added them--TimothyJacobson (talk) 19:50, 5 October 2010 (UTC)
 * Just seen it's called "Memoirs of a Fruitcake" and isn't out yet. Will add them when it is--TimothyJacobson (talk) 19:52, 5 October 2010 (UTC)
 * The latter seems to also be advertised as "It's Not About Me: From Billie to Breakfast"--TimothyJacobson (talk) 14:59, 7 October 2010 (UTC)
 * I have listed the both books now (the latter using both titles). Feel free to amend, but please comment on this page so I can learn from my mistakes--TimothyJacobson (talk) 18:24, 25 October 2010 (UTC)

Ethnicity
I removed the reference to Ethnicity because 1. It started as a joke, when ethnicity was originally given as "Ginger". 2. According to the Office of National Statistics, ethnicity is self -defined. You can't just say that because someone looks white then they are "White British". 3. It is not relevant to encyclopaedic content. — Preceding unsigned comment added by Jiver2 (talk • contribs) 10:00, 17 June 2011 (UTC)

Yesterday I noticed that the reference to Ethnicity in the picture panel heading had been restored but no reason was given. This may have been an error and I have removed it again. I had to trace the other editor by deduction, I believe it is an unregistered user 83.218.31.112, who I note has been suspected of sockpuppetry. To this user, I would be glad to know your reason for including ethnicity as a Biographical fact, as it seems to me that normally this kind of information should not be entered as it is unverified. — Preceding unsigned comment added by Jiver2 (talk • contribs) 11:34, 28 June 2011 (UTC)

Lede too short?
Sorry, Thumperward (tag 19/5/13), I can’t see your point about my lede being too short. Any more would simply be a repetitive list of shows and awards, only interesting to the fan club. These would not impact on the general reader. I modestly reckon to be a pretty good lede-writer, and I think the present one achieves its aim -  short career précis and defining of notability. If you can specify what elements you feel are missing, I would be happy to review my own work critically. Valetude (talk) 15:18, 30 June 2013 (UTC)
 * PS Respectfully removing the 'lede too short' tag, in the absence of further comments. Valetude (talk) 16:26, 7 April 2014 (UTC)

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More recent image
Is a more recent image available? This is what Evans actually looks like these days - .217.38.79.253 (talk) 08:57, 23 March 2016 (UTC)

I think you are being unkind and have deliberately picked an unflatering image, this is entirely more appropriate https://pbs.twimg.com/media/CkTGcRCWkAAiX_L.jpg

Thank you — Preceding unsigned comment added by Filagaer (talk • contribs) 11:12, 12 June 2016 (UTC)

 * That link no longer works. But I think it's unlikely that an alternative image can be copied directly from the Daily Mail, now matter how much more realistic it might be. Many Wikipedia articles rely on photos of a subject in their "prime". I would imagine Mr Evans is quite careful about his public image. Martinevans123 (talk) 19:51, 4 July 2016 (UTC)

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"Ping" and "Pong"?
Are those really the names of his latest spawn?

Imagine growing up with the name "Pong".

Yuk! — Preceding unsigned comment added by 86.175.56.95 (talk) 19:36, 20 September 2018 (UTC)
 * Not at all. My great-uncle, who worked at the local sewage works was known, for many years, as "Evans the Pong". Martinevans123 (talk) 19:14, 20 September 2018 (UTC)

Style
"He is moving from BBC Radio 2 with most of his current team including sports reporter Vassos Alexander, who will continue his long reign.Vassos has enjoyed a great working relationship with Chris for the last seven years and they will be joined by Rachel Horne who will provide regular news bulletins and will expand her role as the show’s travel guru."

This is not "encyclopedic" language; it reads more like a publicity blurb. Hundovir (talk) 10:56, 24 December 2018 (UTC)

 * So feel free to adjust it. But I'm really not sure why there is all that detail on this subject in the lead section. I think that entire paragraph needs a firm trimming. The detail belongs in the main body. Martinevans123 (talk) 12:35, 24 December 2018 (UTC)

title: Talk:Chris Evans (presenter)


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Talk:History of corsets

Untitled

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Standard Reference Books
Hi Wikipedians! I studied corsetry as part of my theatre costume studies at Wimbledon School of Art (where you train to make any piece of clothing from any period in time). If you are seriously interested in the subject I would recommend Norah Waugh's book Corsets and Crinolines, it was the standard reference text given for the subject - certainly in the UK. Also Elizabeth Ewing's Fashion in Underwear (but I think I recognize some of the illustrations from the book in the article already). The article is for the most part a really interesting read - though there are still blips from a previous editing era - the occasional non-sense sentences which require Time, and alas research, to sort out. ixo (talk) 09:12, 27 November 2012 (UTC)

Iron Corsets and Victorian Era
The item on Iron Corsets gives the dates of useage as 1500s to 1700s, and then says that it is a Victorian Era style. The Victorian Era is so named for the reing of Queen Victoria, which began in 1819. This portion is clearly factually inaccurate because of this.

I am unfamiliar beyond that with the Iron Corset. However, I am changing "Victorian Era" to "Tudor Era", which matches the dates posted. I assume that the original writer of the statement actually meant Elizabethan Era, which is often substituted for Tudor Era, though Elizabeth was of course only one in a line of Tudor rulers. --unsigned comment by Mathlaura13:01, 17 August 2005

 * I don't think it's even mentioned in the current version of the article, but for the record, the iron or steel corset seems to have been mainly an early 17th-century thing.. Churchh 18:12, 7 April 2006 (UTC)

This article is seriously sub-standard
I haven't been policing this article and Haabet has had a free hand with it, enriching it with his inimitable fractured English, weird illustrations, and dour view of corsets. I'm completely over-burdened at the moment, so all I can say is, I protest. Zora 00:37, 4 November 2005 (UTC)

 * I will move it to this page. Do you acceptance that?

http://en.wikibooks.org/wiki/Corset:History Haabet 09:39, 4 November 2005 (UTC)

Isn't there any quality control there? You know it's not a real book, Haabet. Couldn't you just put it up on your personal website? Zora 10:16, 4 November 2005 (UTC)

 * I have make this sub-standard because I hope you would make it better. But this subject are not suited to wikipedia.
 * Any body can delete my mistakes on my personal website.Haabet 12:59, 4 November 2005 (UTC)

Deleting some of the worst gibberish
The article is still a mess, but I deleted some of the strangest prose and most disturbing pictures. Zora 08:11, 8 March 2006 (UTC)
 * Now I've corrected some of the worst errors. It still could use some better pictures (esp. early periods), something more about post-1910s... Has it occurred to anyone that the "Overview" contains almost more information than each of the sub-chapters? If I had the nerve right now, I'd shorten the overview a bit more and flesh out the chapters. Madame

 * The overview was originally mostly taken over from "Tightlacing" as a bandaid to paper over some of the problems created by Haabet, but it contains some good material... Churchh 12:53, 6 April 2006 (UTC)

 * Added and swapped in some new Victorian pics -- maybe the previous pruning was a little too drastic there. Churchh 15:30, 6 April 2006 (UTC)

Changing template
The page still needs some cleanup, but I don't really think it's in desperate need of "expert attention" like it used to be... Churchh 12:55, 6 April 2006 (UTC)

Major rewrite and reorg
OK, I worked this page over. It still needs more pictures, links, and info, but at least it's respectable now, and a good framework for any further work. Haabet, hands off, PLEASE. Zora 08:02, 12 April 2006 (UTC)

 * The straight-front corset, also known as the swan-bill corset and the S-bend corset, was worn from ca. 1900 to the early 1910s. Its name is derived from the very rigid, straight busk inserted in the center front of the corset. This corset forced the torso forward and made the hips protrude.

 * The straight-front corset was in use from 1875, but first in fashion i year 1900 by a fashion wave which surprise the industry.
 * I have look and hunt after a old image of that very rigid, straight busk from this era, but I can only get modern drawings.
 * But I have straight-front corset images, completely without busk.
 * I think that bush is a fetishi-myth or a misunderstand.missehund vovkat Haabet 09:19, 12 April 2006 (UTC)

 * I was under the impression (from the Museum of Costume in Bath, although I was there a few years ago and might be wrong; which is why I'm posting it here instead of editing the article) that the S-bend corsets began as 'health corsets' that were shaped to improve breathing. It was quickly discovered that they could be tight-laced into the characteristic S-bend.  Does anyone else know about this?  --Principessa 15:37, 25 September 2006 (UTC)

 * The word S-bend is use of many corsets. But the straight front corset was a health corset, but nearly all corsets was health corsets! ;-)

As the straight front corset was a health corset is well-documented in many patents and in this French source. http://fr.wikisource.org/wiki/Le_corset%3B_%C3%A9tude_physiologique_et_pratique_1900:129 And in english: http://commons.wikimedia.org/wiki/Image:LIVRE_D%27OR_DE_FINCAILLES_ET_DU_MARIAGEpage259a.jpg in German: http://commons.wikimedia.org/wiki/Image:GutesKorsettSchlechtesKorsett2.gif

straight front corset is constantly in use. if you will have more I can get that.Håbet 20:37, 25 September 2006 (UTC)

Disputed:

 * 1) . 'Corseted ballet dress, 1855 are stays, not corsets. (the stays was in use from about 1500 to about 1910),
 * 2) . The dominant behind disappear in 1909, because the corset go down of the thighs, as the hip had need to tip.
 * 3) . Gaches-Sarraute say as the Edwardian corset was a Victorian pregnancy corset. And a patent say as that corset was from 1875.
 * 4) Typical 1869 corset, that was a news in 1869, that corset was different from the corsets before.
 * 5) After about 1908, the small corseted waist started to fall out of fashion. All informations say as the waist was tight to about 1911 and been higher and fall out of fashion in 1919. Håbet 07:37, 13 April 2006 (UTC)

 * Haabet, the word "corset" began to be commonly used in the English language before the year 1855. And as far as I can figure out, you seem to think that the dancers' colored bodice thingies are the corsets themselves, but they're not -- they're  prettified and citified ballet-house versions of continental European peasant garments; the actual corsets would be UNDER their outer clothes. Churchh 08:59, 13 April 2006 (UTC)

 * The girls use a girls type of this stay: Image:PL_IIIcut.gif Håbet 13:30, 13 April 2006 (UTC)

 * Haabet, plase don't insert your comments in the middle of mine, so people can't tell which is which. In any case, Image:PL_IIIcut.gif depicts a classic mid-18th century type of "stays" worn underneath the clothes, which has nothing whatsoever to do with the pseudo-peasanty outergarments worn by the 1855 ballet dancers. Churchh 16:11, 13 April 2006 (UTC)

 * 4 - If you don't like the word "typical", then write "newly fashionable", but I don't see that it makes much difference.

 * The problems is the long periode by many various corsets. Håbet 13:30, 13 April 2006 (UTC)

 * I really have no idea what that's supposed to mean. The words are English, but they don't add up to a sentence. Churchh 16:11, 13 April 2006 (UTC)

 * 5 - Obviously, many women continued to lace up well into the 1910's (or even beyond), but I've seen elsewhere (in an offline fashion history book) the assertion that 1908 was the first year that there were incipient signs that the ice was beginning to crack. Churchh 08:59, 13 April 2006 (UTC)

 * I have a patent which raise the chest without tighten the waist. But it is from 1909 and a other from 1911. Håbet 13:30, 13 April 2006 (UTC)

 * That's nice -- you really shouldn't rely so much on patents, since they're attempted innovations (many unsuccessful), and don't necessarily give you a good idea of what's TYPICAL during a certain time-period. Churchh 16:11, 13 April 2006 (UTC)

 * But the problems is complex. The tight corset was a part of the ball-dress, in the ball the girl have a short contact by few boys. In that few minutes she had need of a get a man, or ende as spinster. And the familie have need to support the spinsters. The familie have a interest as pay as the girl get a narrow waist, and a big expensive dress. But by the armament to WW1 all can get a unskilled job. The women's magazines writed about education. But all woman in Denmark used girdles and corslets i 1960, then the tights(panty hose) arrived, as the corset was not lost but change in the fabric, in the 1920s. In 1909 been the corset to long as woman be able to shit, but first in 1913 the corset get a hatch to shit. What do the woman in the era from 1909 to 1913?Håbet 13:30, 13 April 2006 (UTC)

 * I have no idea how the above semi-disturbed rambling ruminations have much to do with the editing of the article page... Churchh 16:11, 13 April 2006 (UTC)

The edits I just made
Okay, I just removed Image:Ballet_1855.jpg (since it apparently was giving people the idea that the pseudo-peasantish colored outer bodice thingies the dancers were wearing were the actual corsets, which they in fact weren't); I removed the word "typical" from the 1869 corset image description; and I added the word "slowly" to corsets beginning to fall out of favor, since obviously most women didn't make any sudden drastic changes to their habitual practices during the year 1908 itself.

I then changed the "disputed" tag to a section-cleanup on the Edwardian section, since that's where the remaining issues (whose accuracy I don't know how to evaluate) seem to be. I also took Image:Coronet Corset Co.gif out of the gallery, since this image nicely sums up the Victorian/Edwardian change, and it doesn't really communicate very effectively at a maximum pixel dimension of 120 pixels...

This should resolve most issues. I know absolutely nothing about Gaches-Sarraute, so you're going to have to debate that with somebody else. Obviously, the Victorian section now needs a few additional pics, but Haabet, please don't try to add images of internal organs being squished (which are not really too relevant for this page), or strikingly innovative patent applications (for the reasons I outlined above) -- especially not crudely colorized patent illustrations (which are often inadvertently humorous). Churchh 16:30, 13 April 2006 (UTC)

hello. not sure how all this thing works, but it's a bit misleading to say corsets are worn only by fetishists re-enactors and for back support. I'm into none of these things, and I tightlace purely because I love the shape I get from doing so. I'm far from alone in this.

Correct etymology
I corrected the etymology - both the cited source and my OED agree that the O.F. cors comes direct from the Latin corPus (with a 'P', not a 'B'). Both sources point at other words with the same etymology, and this seems to have been misunderstood to mean cors vectors through corps; as far as I find out, it doesn't. Fuchsia Groan 10:35, 26 June 2007 (UTC)

New text from the Corset-page
The corset is a garment that has undergone many changes over the years. Originally, the garment we now know as the corset was known as stays in the early 16th century. It was a simple bodice, with tabs at the waist, stiffened by horn, buckram, and whalebone.(Steele 6) The center front was further reinforced by a busk made of ivory, wood, or metal. It was most often laced from the back, and was, at first, a garment reserved for the aristocracy. Stays took a different form in the 18th century, whale bone began to be used more, and there was more boning used in the garment. The shape of the stays changed as well. The stays were low and wide in the front, while in the back they reached up to the neck. The straps of the stays were attached in the back and tied at the front sides. The pupose of 18th century stays was to emphasise the bust, while drawing the shoulders back. At this time, the eyelets were reinforced with stitches, and were not placed across from one another, but staggered. This allowed the stays to be spiral laced. One end of the stay lace is inserted and knotted in the bottom eyelet, the other end is wound through the stays' eyelets and tightened on the top. To tighten the laces the wearer had to hold onto something, as this method of lacing pulled the wearer from side to side as it was tightened.(Steele, 22) At this time, there were two other variants of stays, jumps, which were looser stays with attached sleeves, like a jacket, and corsets.(Steele 27) Corsets were originally quilted waistcoats, worn by French women as an alternative to stiff corsets.(Steele,29)They were only quilted linen, laced in the front,and unboned. This garment was meant to be worn on informal occasions, while stays were worn for court dress. In the 1790s, stays fell out of fashion. This developement coincided with the French Revolution, and the adoption of neoclassical styles of dress. Interestingly, it was the men, Dandies, who began to wear corsets.(Steele 36)The fashion persisted thorough the 1840s, though after 1850 men who wore corsets claimed they needed them for "back pain" (Steele 39) Stays went away in the late 18th cetury, but the corset remained. Corsets in the early 19th century lengthened to the hip, the lower tabs replaced by gussets at the hip. Room was made for the bust in front with more gussets, and the back lowered. The shoulder straps disappeared in the 1840s for normal wear.(Waugh 77)In the 1820s, fashion changed again, with the waistline lowered back to almost the natural position. Corsets began to be made with some padding and boning. Corsets began to be worn by all classes of society. Some women made their own, while others bought their corsets. Corsets were one of the first mass produced garments for women. Corsets began to be more heavily boned in the 1840s. By 1850, steel boning became popular. With the advent of metal eyelets, tight lacing became possible. The position of the eyelets changed, they were now situated across from one another at the back. The front was now fastened with a metal busk in front. Corsets were mostly white. The corsets of the 1850s-1860s were shorter than the corsets of the 1800s through 1840s. This was because of a change in the silhouette of women's fashion. The 1850s and 60s emphasized the hoopskirt. After the 1860s, when the hoop fell out of style, the corset became longer to mold the abdomen, exposed by the new lines of the princess or cuirass style. During the Edwardian period, the straight front corset was introduced. This corset was straight in front, with a pronounced curve at the back that forced the upper body forward, and the derriere out. This style was worn from 1900-1908 (Steele 144) The corset reached its longest length in the early 20th century. The longline corset at first reached from the bust down to the upper thigh. There was also a style of longline corset that started under the bust, and necessitated the wearing of a brasserie. This style was meant to complement the new sillhouette. It was a boneless style, much closer to a modern girdle than the traditional corset. The longline style was abandoned during World War I.

The corset fell from fashion in the 1920s in Europe and America, replaced by girdles and elastic brassieres, but survived as an article of costume. Originally an item of lingerie, the corset has become a popular item of outerwear in the fetish, BDSM and goth subcultures.

In the fetish and BDSM literature, there is often much emphasis on tightlacing. In this case, the corset may still be underwear rather than outerwear.

There was a brief revival of the corset in the late 1940s and early 1950s, in the form of the waist cincher sometimes called a "waspie". This was used to give the hourglass figure dictated by Christian Dior's 'New Look'. However, use of the waist cincher was restricted to haute couture, and most women continued to use girdles. This revival was brief, as the New Look gave way to a less dramatically-shaped silhouette.

Since the late 1980s, the corset has experienced periodic revivals, which have usually originated in haute couture and which have occasionally trickled through to mainstream fashion. These revivals focus on the corset as an item of outerwear rather than underwear. The strongest of these revivals was seen in the Autumn 2001 fashion collections and coincided with the release of the film Moulin Rouge!, the costumes for which featured many corsets as characteristic of the era.

Similarly, other films have used these garments as costume features, generally to suggest a period effect, as in Van Helsing, where Anna Valerious (Kate Beckinsale) wears an ornate underbust corset as part of her costume. Sometimes this is used for humorous purposes, as when Elizabeth Swann (Keira Knightley) almost suffocates from wearing a tight corset in Pirates of the Caribbean: The Curse of the Black Pearl. One distinctive feature has been to portray them in combination with catsuits, as in Star Trek: Voyager where Seven of Nine (Jeri Ryan) throughout the series wears catsuits with contained built-in corsets, or  Underworld, where Selene (Kate Beckinsale) wears a black leather corset over matching latex catsuit. 10:24, 15 July 2008 (UTC)

Beware of beautifying depictions!
Between 1830 and 1910 it was common to depict women and girls with a much narrower waist then they could credibly have had. Although women and girls had been portrayed with a narrower waist than they really had in the 18th century this phenomenon reached new heights after 1830. Also, the relatively easy mass-production of images means that many more pictures are available today. This is how they where frequently depicted:

¤ Toddlers where depicted as if they already had a narrower waist than those of boys the same age. ¤ School age girls where depicted with a waist as narrow as those of most present-day adult corset-wearers. ¤ Teenage girls where depicted as if they had already tightlaced considerably. ¤ Adult women where depicted with a waist close to or even beyond the narrowest waist there are reliable evidence of!

As previously stated these depictions are not historically credible. Some of them are not medically credible either. Personally, I see no reason to think that women would naturally have a narrower waist than men. It only seems that way because the hips are wider and the beasts protrudes. This is the real situation during the period as far as I know:

¤ Until the age of seven or eight girls wore bodices allowing their trunks to look as they naturally did. Please note that there are no differences in body shape between boys and girls until puberty, it is just the genitals themselves that differs. ¤ From the age of seven or eight the bodices where gradually made tighter and stiffer. So by the age of twelve girls had a noticeably narrower waist than present-day girls of the same age with comparable BMI. ¤ From the age of twelve or thirteen girls whore training corsets. These where more body-shaping than the bodices previously worn but more flexible than the corsets worn by adult women. ¤ From the age of eighteen they could wear adult-type corsets. Few women tightlaced, that is, continued to decrease their waists after reaching adulthood.

I think non-retouched photos should be used as illustrations whenever available. If no such photos can be found modern photos of extant clothing items should be used. Many of the bad side effects of corset wear where ether exaggerated or only affected the very few women which tried to tightlace too fast. Yet, I don’t deny that women where weakened by wearing corsets due to the smaller amount of space allowed for their internal organs. (Although the same process happens when a woman is pregnant it is a scientific fact that women are physically weakened during pregnancy.) The stiffness of the corsets also forced them to be more physically passive then necessary. Some present-day women consider the bra to be oppressive but I think it is a great improvement compared to the corsets of the 19th century. A properly sized bra does not squeeze together any body parts and does not restrict the motion of anything else than the breasts. That is what this clothing item is for: to restrict the motions of the breasts but nothing else.

2009-09-05 Lena Synnerholm, Märsta, Sweden.

Good point! Commercial art of the days, even it happened in fine arts which should often have been more realistic, are not very reliable, (for ex. attempts to  flatter in  portraiture) as they represent exegerrated and idealized depictions of human torso, women, children etc. Those depiction have so little to do with reality as Barbie dolls of today depict female body, not reliable historical source. Bialosz (talk) 09:06, 29 May 2016 (UTC)

Edit
I am removing the scentence 'Stories about women with broken ribs, having ribs removed, and causing fatal injury to themselves through tight lacing are greatly exaggerated and apocryphal.' because it is entirely an opinion and has no citation. The whole paragraph needs to be edited. Gwynt (talk) 21:54, 12 February 2010 (UTC)

Removed substandard external links: advertisement spam, insecure connection, etc.
I removed all external links, for variety of reasons, misleading labeling, spam, security threat, etc. I list them here:

1 link: it is not a link to a museum exhibit website, as it supposed to do based on the description, but directed to website bad.example.com which is not secure connection, which means isn't safe, in addition to be not relating to the subject of the article: secure connection failure which means privacy can be compromised, vulnerability to eavesdropper.(security threat)

2 link:it was not a link to "antique corset gallery," as is the link title read, but link to a private business, wedding photography business (spam)

3 link: mislabelled link which lead to private website dealing with e-commerce themes, nothing to do with corsets, and website under construction (spam)

4 link: private website and blog of a person who is costumer, dancer and event organiser (tours etc.)spam

5 link: error 404

6 link: youtube video, cheesy advert, gives advice to men how to buy lingerie for women, lingerie measuring, lingerie modeling images, talk about how lingerie can add self confidence in women etc.substandard source, not relating to subject, and spam.

Not even a single link was a good standard link which could contribute to the subject. Bialosz (talk) 08:52, 29 May 2016 (UTC)

Removed flags for multiple issues, needs a fresh review
I removed the flags at the top of the article for multiple issues, original research, needs citations. They were put there in 2007, 11 years ago. The article has citations. I do not know this topic well enough to judge if original analysis not supported by any reference remains. I formatted some of the references, and found isbn for some of the books. I also made Etymology its own section. Without a section title, the text appears in the lead for the article, and that is the wrong place for it. --Prairieplant (talk) 05:46, 7 November 2018 (UTC)

Need help finding correct page in a source
I tried to find more about Gleason's Pictorial Drawing Room Companion, a magazine from the early 1850s. It is cited once in this article, on page 412 in the last issue of 1854, before the magazine's name was changed. The citation as I found it had not title for an article, only the journal title, so I made a place-holder title because I used cite journal format for the reference. I found an online copy of every page here, where one can turn to read each page of the run from 1851 to the end of 1854. The journal pages were numbered consecutively from the first issue to the last issue, not re-started at 1 with each new issue or each new year. I do not find the quote in the article on page 412. I left the reference in place, expecting that the correct page number will be found by some editor. The online copy does have a search feature. I am trying one word at a time to see if the quote is on a different page. If it is in a different source, that is beyond me. Any help in this search is appreciated. --Prairieplant (talk) 06:20, 7 November 2018 (UTC)

 * The quotation in the article is this: The women of the French court saw this corset as "indispensable to the beauty of the female figure." The phrase 'French court' was found once at the link I posted above, on page 367, but the rest of the sentence says nothing about the beauty of the female figure. The phrase is in a sentence about a musical instrument, a viol. Any ideas on the source of the quote? Or which editor added the quote with the wrong citation, or the citation with the wrong quotation? --Prairieplant (talk) 06:26, 7 November 2018 (UTC)

"Straight front" listed at Redirects for discussion
A discussion is taking place to address the redirect Straight front. The discussion will occur at Redirects for discussion/Log/2020 September 29 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. Shhhnotsoloud (talk) 08:50, 29 September 2020 (UTC)

Added a citation
I added this citation under the "transition to the Victorian" section:

Corsets, Stays, Bodys, Girdles, etc
This article needs clarification in the beginning as it makes an incorrect assertion that corsets as an undergarment have been around for hundreds and hundreds of years. They have only around since roughly the 1820’s. 131.93.164.72 (talk) 20:04, 14 December 2021 (UTC)

Tone is dreadful
Needs total rewrite. Oliviasjhall (talk) 07:52, 28 November 2022 (UTC)

 * Have to agree that the article does need a major rewrite, but unfortunately it is one of those articles that attracts a lot of, shall we say, people with *rather specialist interests* and any rewrite would be a MAJOR undertaking. So basically, yes, we know the article needs improvement, but it's a case of being able to spare time and research (there's a LOT of material out there) and energy for arguing with the specialist-interests crowd over why they can't prioritise their favourite (ie, sensationalist) "published sources" over other "published sources" that aren't quite as titiliating. I did improve the Metal corset article to Good Article status, but ATM I don't have the energy to tackle this more major article. Mabalu (talk) 18:30, 28 November 2022 (UTC)
 * I've removed and rewritten the most biased and poorly-sourced claims, hopefully can find time to expand on this later. Luiysia (talk) 16:21, 27 December 2023 (UTC)

title: Talk:History of corsets


text:
Tom McPherson

Thomas Allen McPherson (March 26, 1935 – December 15, 2020) was an American politician from Florida, serving both as a mayor and in both state government houses.

Biography
McPherson was the first elected mayor of Cooper City, Florida, with prior mayors being appointed by property developers. He was born in Decatur, Illinois. He later served in both houses of government in Florida for over 16 years.

During his time in the legislature, McPherson championed environmental issues, including raising over $100 million via bonds to protect environmentally sensitive areas. He also served as the House Community Affairs Committee chairman.

McPherson lost his state Senate seat in 1990 after losing in the primary to Ken Jenne. McPherson lost the seat a year after admitting his drinking problem on the floor of the state Senate.

McPherson died in Tallahassee, Florida on December 15, 2020, at the age of 85.

title: Tom McPherson


text:
Köchel catalogue

The Köchel catalogue (Köchel-Verzeichnis) is a chronological catalogue of compositions by Wolfgang Amadeus Mozart, originally created by Ludwig Ritter von Köchel, in which the entries are abbreviated K. or KV. Its numbers reflect the ongoing task of compiling the chronology of Mozart's works, and provide a shorthand reference to the compositions.

According to Köchel's counting, Requiem in D minor is the 626th piece Mozart composed, thus is designated K. 626.

Köchel's original catalogue (1862) has been revised; catalogue numbers from the sixth edition are indicated either by parentheses or by superscript: K. 49 (47d) or K.$6$ 47d.

History
In the decades after Mozart's death there were several attempts to catalogue his compositions, for example by Franz Gleißner and Johann Anton André (published in 1833), but it was not until 1862 that Ludwig von Köchel succeeded in producing a comprehensive listing. Köchel's 551-page catalogue was titled Chronologisch-thematisches Verzeichniss sämmtlicher Tonwerke W. A. Mozart's (Chronological-thematic Catalogue of the Complete Musical Works of W. A. Mozart). Köchel attempted to arrange the works in chronological order, but many compositions written before 1784 could only be estimated, although Leopold Mozart had compiled a partial list of his son's earlier works; Mozart's catalogue of his own compositions (begun in February 1784 with K. 449) allows relatively precise dating of many of his later works. The catalogue included the opening bars of each piece, known as an incipit. Köchel divided the corpus into a main chronology of 626 works, and five appendices (Anhänge in German), abbreviated Anh. I–V which comprise:
 * I – Lost authentic works
 * II – Fragments by Mozart
 * III – Works by Mozart transcribed by others
 * IV – Doubtful works
 * V – Misattributed works

Since Köchel published his original catalogue in 1863 (now referred to as K$1$), the dating of Mozart's compositions has been subject to constant revision. Many more pieces have since been found, re-dated, re-attributed and re-numbered, requiring three revised editions of the catalogue. Subsequent editions – especially the third edition (K$3$) by Alfred Einstein (1937), and the sixth edition (K$6$) by Franz Giegling, Gerd Sievers, and Alexander Weinmann (1964) – have reflected attempts to arrange the growing list of works in a more accurate chronological order, according to various levels of scholarship.

A major shortcoming of K$1$ was that there was no room to expand the strictly sequential numbering in the main catalogue to allow for any new discoveries or further reassessment of existing works. For the 1937 edition (K$3$) Einstein (following the analyses of Théodore de Wyzewa and Georges de St. Foix) reassigned some works from the original K$1$ appendices into the main catalogue by interpolating numbers with a lower-case letter suffix. In K$6$ some of these were, per intervening scholarship, returned to re-structured appendices:
 * K. 626a
 * K. 626a I – 64 cadenzas by Mozart to his own keyboard concertos
 * K. 626a II – Cadenzas by Mozart to keyboard concertos by other composers
 * K. 626b – 42 sketches & other fragments by Mozart (replacing K$3$ Anh. II)
 * Anh. A – Copies by Mozart of other composers' works
 * Anh. B – Works by Mozart transcribed by others
 * Anh. C – Doubtful and misattributed vocal (C 1–10) and instrumental (C 11-30) works

For example, Divertimento for Wind Octet in E♭ was numbered Anh. 226 in K$1$; Einstein placed it in the K$3$ main catalogue as K. 196e, between K. 196 and K. 197; K$6$ reassigned it again to the 'doubtful' appendix C as Anh. C 17.01. Some works in Anh. A have been identified since 1965 as by Leopold Mozart. Many works in Anh. C have since been more reliably assigned to other composers, or to Mozart himself.

List of existing Mozart compositions
To maintain as much of the original K-numbering of the list as possible, while re-ordering in the revised, chronological sequence, letters were added to the new numbers. The following list shows Köchel's original designation (K$1$) and the sixth edition (K$6$). Other addenda and supplements to the catalogue are marked . (This has been abbreviated to 'Anh.' in the list below.)

Recordings
Recordings of the complete works of Mozart have been issued three times: on the occasion of the bicentenary of Mozart's death in 1991, Philips Classics Records released a 180-CD collection in 45 box sets and each CD in a jewel case, The Complete Mozart Edition, between 1990 and 1991. A selection of 25 CDs from this set, The Best of the Complete Mozart Edition, was published in 1995. The full selection was then released again in 17 box sets as The Compact Complete Mozart Edition in 2000. The Philips collection was made with recordings from world-renowned artists and is of high audio quality. On the occasion of Mozart's 250th birthday in 2006, Brilliant Classics released a single box with 170 CDs, plus one with liner notes to all works and the libretti to vocal works, Mozart Complete Edition. In 2016, for the 225th anniversary of Mozart's death, Decca Classics and Deutsche Grammophon in partnership with the International Mozarteum Foundation released a box of 200 CDs with 2 hardback books with a new Mozart biography by Cliff Eisen and a newly developed short Köchel guide. Mozart 225: The New Complete Edition contains premiere performances of previously lost compositions and never recorded fragments, as well as key works in alternative versions and recordings of legendary historic performances.

title: Köchel catalogue


text:
Rolleston on Dove

Rolleston on Dove, also known simply as Rolleston, is a village and civil parish in the East Staffordshire district, in the county of Staffordshire, England near Burton upon Trent. On 28 March 1983 the parish was renamed from "Rolleston" to "Rolleston on Dove". According to the University of Nottingham English Place-names project, the settlement name Rolleston could mean 'Hrothwulf's farm/settlement' or 'Hrolfr's farm/settlement'. The 2011 census for Rolleston returned 1,467 households and 3,267 residents.

History
Mentioned in the Domesday Book Survey of 1086, Rolleston was a settlement in the Hundred of Offlow, Staffordshire. It had recorded population of 36 households, including a priest. Rolleston was originally built around the hall, the church and the stream running through it, the Alder brook. The oldest area of the village, thought to date from the 11th century, is near the Spread Eagle Inn and Rolleston's Church, St. Mary's, together with Brookside and Burnside, although there are old houses in other parts in the village.

Rolleston Hall
Sir Oswald Mosley, the founder of the British Union of Fascists spent some of his earlier years at the family seat here. Rolleston Hall, where Mosley lived, was sold by auction on 2 August 1923 for housing development. The lake and two of the entrance lodges remain. The family coat of arms are still displayed in what was originally the Victorian Commemoration Hall which is now Rolleston Club.

Transport
Rolleston on Dove was served by a railway station which was opened by the North Staffordshire Railway on 1 November 1894. The station closed in 1949. Rolleston is also home to the Jinnie Trail, a former railway line in a man-made valley which was closed completely in 1968. In 1972 it was created into a rural walk stretching approximately 2 kilometres. Along the walk today, parts of the remaining stations are being revealed by an ongoing restoration project.

Cricket
Rolleston Cricket Club is an English amateur cricket club with a history of cricket in the village dating back to 1871. The club ground is located on The Willows, Dovecliff Road. Rolleston field 4 Senior XI teams in the Derbyshire County Cricket League and an established Junior training section that play competitive cricket in the Burton & District Youth Cricket League.

RoDSEC
The Rolleston on Dove Special Events Committee (RoDSEC) organises many seasonal activities, including money raising events for local charities.

Football
Rolleston Football Club was a junior league club that used the Craythorne Road Football pitches for their home ground.

Notable residents

 * Robert Sherborne (c.1453 in Rolleston on Dove – 1536) was Dean of St Paul's 1499–1505 and Bishop of Chichester 1508–1536.
 * Sir Oswald Mosley (1896–1980) politician who started in the Conservative Party migrated through the Labour Party via a party of his own creation to become English Fascist leader in the 1930s
 * Robert W. Ford (1923–2013) British diplomat and radio operator arrested by the Chinese in Tibet after World War II.
 * Andrew Webster (born 1959 in Rolleston on Dove) a former English cricketer who played first-class and List A cricket for Worcestershire
 * Hugh Waddell (rugby league)

title: Rolleston on Dove


text:
Biograph Company

The Biograph Company, also known as the American Mutoscope and Biograph Company, was a motion picture company founded in 1895 and active until 1916. It was the first company in the United States devoted entirely to film production and exhibition, and for two decades was one of the most prolific, releasing over 3000 short films and 12 feature films. During the height of silent film as a medium, Biograph was the most prominent U.S. film studio and one of the most respected and influential studios worldwide, only rivaled by Germany's UFA, Sweden's Svensk Filmindustri and France's Pathé. The company was home to pioneering director D. W. Griffith and such actors as Mary Pickford, Lillian Gish, and Lionel Barrymore.

Founding

The company was started by William Kennedy Dickson, an inventor at Thomas Edison's laboratory who helped pioneer the technology of capturing moving images on film. Dickson left Edison in April 1895, joining with inventors Herman Casler, Harry Marvin and businessman Elias Koopman to incorporate the American Mutoscope Company in New Jersey on December 30, 1895. The firm manufactured the Mutoscope and made flip-card movies for it as a rival to Edison's Kinetoscope for individual "peep shows", making the company Edison's chief competitor in the nickelodeon market. In the summer of 1896 the Biograph projector was released, offering superior image quality to Edison's Vitascope projector. The company soon became a leader in the film industry, with distribution and production subsidiaries around the world, including the British Mutoscope Co. In 1899 it changed its name to the American Mutoscope and Biograph Company, and in 1908 to simply the Biograph Company.

To avoid violating Edison's motion picture patents, Biograph cameras from 1895 to 1902 used a large-format film, measuring 2+23/32 in wide, with an image area of 2 x, four times that of Edison's 35 mm format. The camera used friction feed instead of Edison's sprocket feed to guide the film to the aperture. The camera itself punched a sprocket hole on each side of the frame as the film was exposed at 30 frames per second. A patent case victory in March 1902 allowed Biograph and other producers and distributors to use the less expensive 35 mm format without an Edison license, although Biograph did not completely phase out 68 mm production until autumn of 1903. Biograph offered prints in both formats to exhibitors until 1905, when it discontinued the larger format. Commenting on the 1902 Biograph Company short film The Flying Train, Ashley Swinnerton of the Museum of Modern Art said that the 68 mm format has become "of particular interest to researchers ... because the large image area affords stunning visual clarity and quality."

Biograph films before 1903, were mostly "actualities," documentary film footage of actual persons, places and events, each film usually less than two minutes long, such as the one of the Empire State Express, which premiered on October 12, 1896, in New York City. The occasional narrative film, usually a comedy, was typically shot in one scene, with no editing. Spurred on by competition from Edison and British and European producers, Biograph production from 1903 onward was increasingly dominated by narratives. As the stories became more complex the films became longer, with multiple scenes to tell the story, although an individual scene was still usually presented in one shot without editing. Biograph's production of actualities ended by 1908 in favor of the narrative film.

Studio
The company's first studio was located on the roof of 841 Broadway at 13th St. in Manhattan, known then as the Hackett Carhart Building and today as the Roosevelt Building. The set-up was similar to Thomas Edison's "Black Maria" in West Orange, New Jersey, with the studio itself being mounted on circular tracks to be able to get the best possible sunlight (as of 1988 the foundations of this machinery were still extant). The company moved in 1906 to a converted brownstone mansion at 11 East 14th Street near Union Square, a building that was razed in the 1960s. This was Biograph's first indoor studio, and the first movie studio in the world to rely exclusively on artificial light. Biograph moved again in 1913, as it entered feature-film production, to a new state-of-the-art studio on 175th Street in the Bronx. Among the first projects filmed there was Chocolate Dynamite, which was shot in late August 1913 and was a split-reel comedy short, not a feature-film release.

There was the problem of the underground "duping" business, where people would illegally duplicate a copyrighted movie and then remove the title screen with the company and copyright notice and sell it to theaters. In order to make the theater audience aware that they were watching an American Biograph movie (regardless of whether it was illegally "duped" or not) the AB logo would be prominently placed in random parts of the movie.

Rise of D. W. Griffith

Director D. W. Griffith joined Biograph in 1908 as a writer and actor, but within months became its principal director. In 1908, the company's head director Wallace McCutcheon grew ill, and his son Wallace McCutcheon Jr. took his place but was not able to make a successful film for the company. As a result of these failed productions, studio head Harry Marvin gave the position of head director to Griffith, whose first film was The Adventures of Dollie. Griffith helped establish many of the conventions of narrative film, including cross-cutting to show events occurring simultaneously in different places, the flashback, the fade-in/fade-out, the interposition of closeups within a scene, and a moderated acting style more suitable for film. Although Griffith did not invent these techniques, he made them a regular part of the film vocabulary. His prolific output—often one new film a week—and willingness to experiment in many different genres helped the company become a major commercial success. Many early movie stars were Biograph performers, including Mary Pickford, Lionel Barrymore, Lillian Gish, Dorothy Gish, Robert Harron, Arthur V. Johnson, Florence Auer, Robert G. Vignola, Owen Moore, Alan Hale Sr., Florence Lawrence, Blanche Sweet, Harry Carey, James Kirkwood Sr., Mabel Normand, Henry B. Walthall, Mae Marsh, and Dorothy Davenport. Mack Sennett honed his craft as an actor and director of comedies at Biograph. After debuting at Biograph, Mary Pickford also became a top star at the studio and would soon be known to audiences as "The Biograph Girl".

In January 1910, Griffith and Lee Dougherty with the rest of the Biograph acting company travelled to Los Angeles. While the purpose of the trip was to shoot Ramona in authentic locations, it was also to determine the suitability of the West Coast as a place for a permanent studio. The group set up a small facility at Washington Street and Grand Avenue. After this, Griffith and his players decided to go a little further north to a small village they had heard about that was friendly and had beautiful floral scenery. They decided to travel there and fell in love with this little place called Hollywood. Biograph then made the first film ever in Hollywood called In Old California, a Latino melodrama about the early days of Mexico-owned California. Griffith and the Biograph troupe filmed other short movies at various locations, then traveled back to New York. After the East Coast film community heard about Hollywood, other companies began to migrate there. Biograph's little film launched Hollywood as the future movie capital of the world. It opened a studio at Pico and Georgia streets in downtown Los Angeles (where the Los Angeles Convention Center now stands) in 1911, and sent a film crew to work there each year until 1916.

Griffith left Biograph in October 1913 after finishing Judith of Bethulia, unhappy with the company's resistance to larger budgets, feature film production or giving onscreen credit to him and the cast. With him went many of the Biograph actors, his cameraman Billy Bitzer and his production crew. As a final slight to Griffith, Biograph delayed release of Judith of Bethulia until March 1914, to avoid a profit-sharing arrangement the company had with him.

Decline
In December 1908 Biograph joined Edison in forming the Motion Picture Patents Company in an attempt to control the industry and shut out smaller producers. The "Edison Trust," as it was nicknamed, was made up of Edison, Biograph, Essanay Studios, Kalem Company, George Kleine Productions, Lubin Studios, Georges Méliès, Pathé, Selig Studios and Vitagraph Studios, and dominated distribution through the General Film Co. The Motion Picture Patents Co. and the General Film Co. were found guilty of antitrust violation in October 1915 and dissolved.

Shielded by the Trust, Biograph had been slow to enter feature film production. It contracted with the theatrical firm of Klaw & Erlanger in 1913 to produce movie versions of the latter's plays. Its first released feature, Classmates, came out in February 1914, after 69 other American features had been released in 1912–13. Distribution was hampered by Biograph using a special perforation pattern on the Klaw & Erlanger features that was incompatible with standard projectors, forcing exhibitors to lease specialized equipment from Biograph in order to show the films. With the exodus of the studio's best actors to Griffith, Biograph was unable to develop a marketable star system as the independent companies were doing, and after the Trust's fall, Biograph found itself behind the times. The Biograph Co. released its last new feature-length films in 1915 and its last new short films in 1916. Biograph spent the remainder of the silent era reissuing its old films, and leasing its Bronx studio to other producers.

When the company fell on financial hard times, the Biograph Studio facilities and film laboratory in the Bronx were acquired by one of Biograph Company's creditors, the Empire Trust Company, although some of the ex-Biograph staff were retained to manage the studio and laboratory facilities. Herbert Yates acquired the Biograph Studios facilities and film laboratory in 1928. Biograph Studios facilities and film laboratory were made a subsidiary of his Consolidated Film Industries in 1928. The studio facilities and laboratory burned down in 1980.

In 1939, Iris Barry, founder of the film department at the Museum of Modern Art, acquired 900 cans of film from the Actinograph Corp. Bronx Biograph studio and laboratory facitlies, which was closing its film vault and planning to destroy all the film. One uncompleted film, Lime Kiln Field Day (1913), with an all African American cast, was found among the many cans of film, and shown at MOMA in November 2014.

From 1954 to 1957, Sterling Television Company distributed a package of 100 quarter-hour television shows titled Movie Museum, featuring Biograph, Edison and other early films from the vaults of the Museum of Modern Art and the George Eastman House.

Filmography

 * List of Biograph films released in 1909
 * List of Biograph films released in 1910

title: Biograph Company


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