text:
Adhesion railway

An adhesion railway relies on adhesion traction to move the train, and is the most widespread and common type of railway in the world. Adhesion traction is the friction between the drive wheels and the steel rail. Since the vast majority of railways are adhesion railways, the term adhesion railway is used only when it is necessary to distinguish adhesion railways from railways moved by other means, such as by a stationary engine pulling on a cable attached to the cars or by a pinion meshing with a rack.

The friction between the wheels and rails occurs in the wheel–rail interface or contact patch. The traction force, the braking forces and the centering forces all contribute to stable running. However, running friction increases costs, due to higher fuel consumption and increased maintenance needed to address fatigue damage and wear on rail heads and on the wheel rims and rail movement from traction and braking forces.

Variation of friction coefficient
Traction or friction is reduced when the top of the rail is wet or frosty or contaminated with grease, oil or decomposing leaves which compact into a hard slippery lignin coating. Leaf contamination can be removed by applying "Sandite" (a gel–sand mix) from maintenance trains, using scrubbers and water jets, and can be reduced with long-term management of railside vegetation. Locomotives and trams use sand to improve traction when driving wheels start to slip.

Effect of adhesion limits
Adhesion is caused by friction, with maximum tangential force produced by a driving wheel before slipping given by:

$$F_\mathrm{max} = \mu W,$$

where $$\mu$$ is the coefficient of friction and $$W$$ is the weight on the wheel.

Usually the force needed to start sliding is greater than that needed to continue sliding. The former is concerned with static friction (also known as "stiction" ) or "limiting friction", whilst the latter is dynamic friction, also called "sliding friction".

For steel on steel, the coefficient of friction can be as high as 0.78, under laboratory conditions, but typically on railways it is between 0.35 and 0.5, whilst under extreme conditions it can fall to as low as 0.05. Thus a 100-tonne locomotive could have a tractive effort of 350 kilonewtons, under the ideal conditions (assuming sufficient force can be produced by the engine), falling to 50 kilonewtons under the worst conditions.

Steam locomotives suffer particularly badly from adhesion issues because the traction force at the wheel rim fluctuates (especially in 2- or most 4-cylinder engines) and, on large locomotives, not all wheels are driven. The "factor of adhesion", being the weight on the driven wheels divided by the theoretical starting tractive effort, was generally designed to have a value of 4 or slightly higher, reflecting a typical wheel–rail friction coefficient of 0.25. A locomotive with a factor of adhesion much lower than 4 would be highly prone to wheelslip, although some 3-cylinder locomotives, such as the SR V Schools class, operated with a factor of adhesion below 4 because the traction force at the wheel rim does not fluctuate as much. Other factors affecting the likelihood of wheelslip include wheel size, the sensitivity of the regulator and the skill of the driver.

All-weather adhesion
The term all-weather adhesion is usually used in North America, and refers to the adhesion available during traction mode with 99% reliability in all weather conditions.

Toppling conditions
The maximum speed at which a train can proceed around a turn is limited by the radius of turn, the position of the centre of mass of the units, the wheel gauge and whether the track is superelevated, or canted.

Toppling will occur when the overturning moment due to the side force (centrifugal acceleration) is sufficient to cause the inner wheel to begin to lift off the rail. This may result in loss of adhesion – causing the train to slow, preventing toppling. Alternatively, the inertia may be sufficient to cause the train to continue to move at speed, causing carriages to topple completely.

For a wheel gauge of 1.5 m, with no canting, a centre of gravity height of 3 m and a speed of 30 m/s (108 km/h), the minimum radius of curvature is 360 m. For a modern, exceptionally high-speed train at 80 m/s, the minimum radius would be about 2.5 km. In practice, the minimum radius of turn is much greater than this, as contact between the wheel flanges and rail at high speed could cause significant damage to both. For very high speeds, the minimum adhesion limit again appears appropriate, implying a radius of turn of about 13 km. In practice, curved tracks used for high speed travel are superelevated or canted, so that the minimum radius of curvature is closer to 7 km.

During the 19th century, it was widely believed that coupling the drive wheels would compromise performance, and this was avoided on engines intended for express passenger service. With a single drive wheelset, the Hertzian contact stress between the wheel and rail necessitated the largest-diameter wheels that could be accommodated. The weight of locomotives was restricted by the stress on the rail, and sandboxes were required, even under reasonable adhesion conditions.

Directional stability and hunting instability
It may be thought that the wheels are kept on the tracks by the flanges. However, close examination of a typical railway wheel reveals that the tread is burnished but the flange is not—the flanges rarely make contact with the rail and, when they do, most of the contact is sliding. The rubbing of a flange on the track dissipates large amounts of energy, mainly as heat but also including noise and, if sustained, would lead to excessive wheel wear.

Centering is actually accomplished through shaping of the wheel. The tread of the wheel is slightly tapered. When the train is in the centre of the track, the region of the wheels in contact with the rail traces out a circle which has the same diameter for both wheels. The velocities of the two wheels are equal, so the train moves in a straight line.

If, however, the wheelset is displaced to one side, the diameters of the regions of contact, and hence the tangential velocities of the wheels at the running surfaces, are different and the wheelset tends to steer back towards the centre. Also, when the train encounters an unbanked turn, the wheelset displaces laterally slightly, so that the outer wheel tread speeds up linearly, and the inner wheel tread slows down, causing the train to turn the corner. Some railway systems employ a flat wheel and track profile, relying on cant alone to reduce or eliminate flange contact.

Understanding how the train stays on the track, it becomes evident why Victorian locomotive engineers were averse to coupling wheelsets. This simple coning action is possible only with wheelsets where each can have some free motion about its vertical axis. If wheelsets are rigidly coupled together, this motion is restricted, so that coupling the wheels would be expected to introduce sliding, resulting in increased rolling losses. This problem was alleviated to a great extent by ensuring that the diameters of all coupled wheels were very closely matched.

With perfect rolling contact between the wheel and rail, this coning behaviour manifests itself as a swaying of the train from side to side. In practice, the swaying is damped out below a critical speed, but is amplified by the forward motion of the train above the critical speed. This lateral swaying is known as hunting oscillation. Hunting oscillation was known by the end of the 19th century, although the cause was not fully understood until the 1920s, and measures to eliminate it were not taken until the late 1960s. The maximum speed was limited not by raw power but by a possible instability in the motion.

The kinematic description of the motion of tapered treads on the two rails is insufficient to describe hunting well enough to predict the critical speed. It is necessary to deal with the forces involved. There are two features which must be taken into account:
 * 1) the inertia of the wheelsets and vehicle bodies, giving rise to forces proportional to acceleration;
 * 2) the distortion of the wheel and track at the point of contact, giving rise to elastic forces.

The kinematic approximation corresponds to the case which is dominated by contact forces.

An analysis of the kinematics of the coning action yields an estimate of the wavelength of the lateral oscillation:

 * $$\lambda={2\pi}\sqrt{\frac{rd}{2k}},$$

where d  is the wheel gauge,  r  is the nominal wheel radius and  k  is the taper of the treads. For a given speed, the longer the wavelength and the lower the inertial forces will be, so the more likely it is that the oscillation will be damped out. Since the wavelength increases with reducing taper, increasing the critical speed requires the taper to be reduced, which implies a large minimum radius of turn.

A more complete analysis, taking account of the actual forces acting, yields the following result for the critical speed of a wheelset:

 * $$V^2=\frac{Wrad^2}{k \left(4C+md^2 \right)},$$

where W  is the axle load for the wheelset, a is a shape factor related to the amount of wear on the wheel and rail, C is the moment of inertia of the wheelset perpendicular to the axle, m is the wheelset mass.

The result is consistent with the kinematic result in that the critical speed depends inversely on the taper. It also implies that the weight of the rotating mass should be minimised compared with the weight of the vehicle. The wheel gauge appears in both the numerator and denominator, implying that it has only a second-order effect on the critical speed.

The true situation is much more complicated, as the response of the vehicle suspension must be taken into account. Restraining springs, opposing the yaw motion of the wheelset, and similar restraints on bogies, may be used to raise the critical speed further. However, in order to achieve the highest speeds without encountering instability, a significant reduction in wheel taper is necessary. For example, taper on Shinkansen wheel treads was reduced to 1:40 (when the Shinkansen first ran) for both stability at high speeds and performance on curves. That said, from the 1980s onwards, the Shinkansen engineers developed an effective taper of 1:16 by tapering the wheel with multiple arcs, so that the wheel could work effectively both at high speed as well as at sharper curves.

Forces on wheels, creep
The behaviour of vehicles moving on adhesion railways is determined by the forces arising between two surfaces in contact. This may appear trivially simple from a superficial glance but it becomes extremely complex when studied to the depth necessary to predict useful results.

The first error to address is the assumption that wheels are round. A glance at the tyres of a parked car will immediately show that this is not true: the region in contact with the road is noticeably flattened, so that the wheel and road conform to each other over a region of contact. If this were not the case, the contact stress of a load being transferred through a line contact would be infinite. Rails and railway wheels are much stiffer than pneumatic tyres and tarmac but the same distortion takes place at the region of contact. Typically, the area of contact is elliptical, of the order of 15 mm across.

The distortion in the wheel and rail is small and localised but the forces which arise from it are large. In addition to the distortion due to the weight, both wheel and rail distort when braking and accelerating forces are applied and when the vehicle is subjected to side forces. These tangential forces cause distortion in the region where they first come into contact, followed by a region of slippage. The net result is that, during traction, the wheel does not advance as far as would be expected from rolling contact but, during braking, it advances further. This mix of elastic distortion and local slipping is known as "creep" (not to be confused with the creep of materials under constant load). The definition of creep in this context is:

 * $$\mbox{creep}=\frac{(\mbox{actual displacement} - \mbox{rolling displacement})}{(\mbox{rolling displacement})} \,$$

In analysing the dynamics of wheelsets and complete rail vehicles, the contact forces can be treated as linearly dependent on the creep (Joost Jacques Kalker's linear theory, valid for small creepage) or more advanced theories can be used from frictional contact mechanics.

The forces which result in directional stability, propulsion and braking may all be traced to creep. It is present in a single wheelset and will accommodate the slight kinematic incompatibility introduced by coupling wheelsets together, without causing gross slippage, as was once feared.

Provided the radius of turn is sufficiently great (as should be expected for express passenger services), two or three linked wheelsets should not present a problem. However, 10 drive wheels (5 main wheelsets) are usually associated with heavy freight locomotives.

Getting the train moving
The adhesion railway relies on a combination of friction and weight to start a train. The heaviest trains require the highest friction and the heaviest locomotive. The friction can vary a great deal, but it was known on early railways that sand helped, and it is still used today, even on locomotives with modern traction controls. To start the heaviest trains, the locomotive must be as heavy as can be tolerated by the bridges along the route and the track itself. The weight of the locomotive must be shared equally by the wheels that are driven, with no weight transfer as the starting force builds. The wheels must turn with a steady driving force on the very small contact area of about 1 cm2 between each wheel and the top of the rail. The top of the rail must be dry, with no man-made or weather-related contamination, such as oil or rain. Friction-enhancing sand or an equivalent is needed. The driving wheels must turn faster than the locomotive is moving (known as creep control) to generate the maximum coefficient of friction, and the axles must be driven independently with their own controller because different axles will see different conditions. The maximum available friction occurs when the wheels are slipping/creeping. If contamination is unavoidable the wheels must be driven with more creep because, although friction is lowered with contamination, the maximum obtainable under those conditions occurs at greater values of creep. The controllers must respond to different friction conditions along the track.

Some of the starting requirements were a challenge for steam locomotive designers – "sanding systems that did not work, controls that were inconvenient to operate, lubrication that spewed oil everywhere, drains that wetted the rails, and so on.." Others had to wait for modern electric transmissions on diesel and electric locomotives.

The frictional force on the rails and the amount of wheel slip drops steadily as the train picks up speed.

A driven wheel does not roll freely but turns faster than the corresponding locomotive velocity. The difference between the two is known as the "slip velocity". "Slip" is the "slip velocity" compared to the "vehicle velocity". When a wheel rolls freely along the rail the contact patch is in what is known as a "stick" condition. If the wheel is driven or braked the proportion of the contact patch with the "stick" condition gets smaller and a gradually increasing proportion is in what is known as a "slip condition". This diminishing "stick" area and increasing "slip" area supports a gradual increase in the traction or braking torque that can be sustained as the force at the wheel rim increases until the whole area is "slip". The "slip" area provides the traction. During the transition from the "all-stick" no-torque to the "all-slip" condition the wheel has had a gradual increase in slip, also known as creep and creepage. High adhesion locomotives control wheel creep to give maximum effort when starting and pulling a heavy train slowly.

Slip is the additional speed that the wheel has and creep is the slip level divided by the locomotive speed. These parameters are those that are measured and which go into the creep controller.

 * $$\mbox{creep}=\frac{(\mbox{wheel speed} - \mbox{locomotive speed})}{(\mbox{locomotive speed})} \,$$

Sanding
On an adhesion railway, most locomotives will have a sand containment vessel. Properly dried sand can be dropped onto the rail to improve traction under slippery conditions. The sand is most often applied using compressed air via tower, crane, silo or train. When an engine slips, particularly when starting a heavy train, sand applied at the front of the driving wheels greatly aids in tractive effort causing the train to "lift", or to commence the motion intended by the engine driver.

Sanding however also has some negative effects. It can cause a "sandfilm", which consists of crushed sand, that is compressed to a film on the track where the wheels make contact. Together with some moisture on the track, which acts as a light adhesive and keeps the applied sand on the track, the wheels "bake" the crushed sand into a more solid layer of sand. Because the sand is applied to the first wheels on the locomotive, the following wheels may run, at least partially and for a limited time, on a layer of sand (sandfilm). While traveling this means that electric locomotives may lose contact with the track-ground, causing the locomotive to create electromagnetic interference and currents through the couplers. In standstill, when the locomotive is parked, track circuits may detect an empty track because the locomotive is electrically isolated from the track.

title: Adhesion railway


text:
Aske (EP)

Aske (Norwegian for Ashes) is an EP by Norwegian black metal solo project Burzum. Though recorded in April and August 1992, after Det som engang var, it was released before that album in March 1993, through Deathlike Silence Productions.

Background
The cover is a photograph of the Fantoft Stave Church after its arson on 6 June 1992. Varg Vikernes was strongly suspected of burning the church, and the photograph is widely believed to have been taken by Vikernes himself.

According to the official Burzum website, the cover photograph was taken by Are Mundal. In an interview, Mundal stated that Vikernes, a longtime friend, asked him to visit the site of the church shortly after the fire and take photographs, of which one became the album cover. Mundal was initially regarded as a suspect in the arson, but was cleared of all charges. Vikernes allegedly had the photos developed in Sweden in order to fend off suspicion.

Bass guitar on two of the tracks is performed by Samoth of the band Emperor.

A tape version featuring the old title of the release Inn I Drømmens Slott (Norwegian for "Into the Castle of Dreams") were made by Varg and spread by him and Samoth, the album was initially intended to be released on Varg's personal label called "Burz-Nazg Prod" (later Cymophane) before the Deathlike Silence Prod. pressing.

Release
The first 1000 copies of Aske were packaged with a lighter bearing the album cover's image of Fantoft Stave Church's remains.

Aske was later re-released as Burzum / Aske alongside the songs from Burzum's debut album.

Personnel

 * Count Grishnackh – vocals, guitar, drums, bass (track 2), production
 * Samoth – bass (tracks 1, 3)
 * Pytten – production

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

title: Aske (EP)


text: Category:World War II British torpedo boats


text:
User talk:Larineso

Borough names
Could I get some backup in the borough name discussion page? -Montréalais 01:36, 7 August 2005 (UTC)
 * Thanks. Could you also explain to me a little bit about the arbitration process? The description on the pages is a bit Byzantine, and Earl seems uninterested in actual argument. - Montréalais 06:44, 12 August 2005 (UTC)

Street directions
Please note that street directions go after the street name, not before it (Sherbrooke Street West; not West Sherbrooke Street). See, for example, Canada Post and the Gazette. - Farquard 19:43, 2 August 2005 (UTC)

English names in Montreal
'''Please post new comments about English Names on Wikipedia:Wikiportal/Montreal/Discussions/English Names. Thank you.'''

This user is essentially going through all Wikipedia's Montreal entries and moving pages with French titles to English translations. Is this acceptable? --Wetman 5 July 2005 04:39 (UTC)

 * I've posted a note at what was boulevard Saint-Laurent. In many of the cases I've seen, including Saint-Laurent, it's not, because English speakers almost invariably use the French terms.  In other cases, (perhaps Saint Catherine street) it may be.  But I'll await this user's response before doing anything.  Acegikmo1 5 July 2005 05:10 (UTC)

Hello. I don't want to create any controversy. I wanted to make all the Montreal articles English (instead of having Chinatown, Montreal, but Village gai, Crescent Street, but boulevard Saint-Laurent.

I believe that this is acceptable since these names are traditional, if not 'official'. Just look at Kiev, Rome, Turin (and most other Italian cities) in both English and French. These names are accepted even though they are different from the ones in the official language. Montreal isn't like Paris; we have a long tradition of anglophones in the province, especially this city. I am not trying to impose my will. I started a Montreal Wikiportal, please visit and contribute. It is still very much under construction, but there is a discussion about English names and possibly collborating on a Style Guide for Montreal articles. I believe at the very least, all generics (street, ave, boulevard, cemetary, catherdal, Chinatown, Gay Village, etc...) should be in English, as should places with traditional English names (Saint Catherine street, Saint Lawrence boulevard, etc...)

As for Saint Lawrence boulevard, it is true that the French specific (Saint-Laurent boulevard) is used more often in other cases (Saint Catherine street), but I would say that it is used never to only about half of the time depending on the speaker (those from the East End use it more, but what's important is that those from Downton and the West End, which are the main anglophone communities, generally prefer Saint Lawrence boulevard. The most preferred by far is simply "Saint Lawrence" or "The Main").

I hope that discussions on this topic can remain open-minded and fair to the fact that anglophones have lived in Montreal for hundreds of years, and form a sizeable part of the population. In other discussions, supporters of the French names have simply ignored or insulted those who wanted the English usages. I will wait until this is resolved before changing the Montreal article itself. --Larineso 5 July 2005 12:00 (UTC)

 * Hello. I don't want to create any controversy.

 * Too late. :-)

 * You do realize your stepping into a very sensitive area, right? The question of Montreal and language explodes at least once every few months or so here on Wikipedia and by unilaterally setting out on your course of action, you're likely going to provoke the latest detonation.

 * Seriously, I think this is an area where some cultural sensitivity needs to be shown; the names of the at least some of the places that you're renaming are officially French names and, at least in my opinion, the Wiki article titles should reflect the official names.

 * I'd strongly urge you to abandon the attempt to anglicise article titles wholesale.

 * Atlant 5 July 2005 14:00 (UTC)

 * All I'm asking is, perhaps could someone can show some sensitivity to my culture? --Larineso 5 July 2005 14:04 (UTC)

 * I agree with the comments that have been made, that an across-the-board change of names of articles is unwise. Certain articles could indeed be changed with little problem; others not. Recently, the University of Montreal article was renamed Université de Montréal, for example. This change was handled through the standard process, see Requested moves, with discussion and voting before the change was. Perhaps you should consider going down this route. In any case, if you do insist on continuing, may I suggest that you change your procedure? You seem to create new articles and copy information into them. Could you use the Move function instead? This would keep the article's history intact. Next, could you ensure that you edit the article? Why rename Quartier international de Montréal, and then leave every reference to Quartier international de Montréal in French in the article? This seems to defeat the whole purpose. Finally, ensure that the new article name is correct. For example, in English the format is Main Street, not Main street. (See Yonge Street, Fleet Street, etc.) -- Grstain July 5, 2005 17:49 (UTC)

You are absolutely right. I acted harshly and outside of proper means. I apologize. I thought this would be more bloody an argument. I didn't realize everyone would be so amenable, for which I wish to thank you. I apologize to the Wikipedia community at large, specifically the people who have worked on these articles. I would like to collaborate on a Manual of Style for articles about Montreal. Please see my statements below, and visit the Montreal Wikiportal I created. Please contribute. I specifically direct you to the Discussion on English Names, and I ask you to post further comments there. That discussion is intended as the drawing board for the Manual of Style mentioned earlier. Thank you everyone for your understanding and level-headedness. --Larineso 6 July 2005 01:42 (UTC)

Proposal
Articles that are often referred to in the French by anglophone Montrealers should have titles in French. Articles that are not often referred to in the French by anglophone Montrealers should have titles in English. We can establish whether an article is often referred to in the French by anglophone Montrealers through consensus.

In my experience, the following are often referred to in the French:

 * Saint-Laurent
 * Saint-Denis
 * UQAM
 * Place des Arts
 * Place-d'Armes
 * Champ-de-Mars
 * Mont Royal
 * Côte-des-Neiges

The following are not often referred to in the French:

 * Crescent Street
 * Gay Village
 * Chinatown
 * Old Port

I would argue that the following could fit in either category:

 * Quartier Latin (Montreal)
 * Rue Sainte-Catherine

Perhaps I'm favouring the French, but this is what I and my friends use.

Cheers,

Acegikmo1 5 July 2005 19:51 (UTC)

 * Articles that are often referred to in the French by anglophone Montrealers should have titles in French. Articles that are not often referred to in the French by anglophone Montrealers should have titles in English.  We can establish whether an article is often referred to in the French by anglophone Montrealers through consensus.

 * At first blush, this sounds right to me. The only thing I'd say is that Place Jacques-Cartier is distinguishable from the larger Old Port/Vieux Port neighbourhood.

 * Atlant 6 July 2005 00:06 (UTC)

I agree. Please see my statements above. I apaologize for my hasty action. I admit that I was risking creating serious problems. My original intention was to create some kind of Manual of Style for Montreal articles. Please see the Montreal Wikiportal I started and the discussion about names.

I agree that traditionally French names should stay that way, but I think that, since this is an English Encyclopedia, we should use the Egnslish version whenever it exists in common usage. As I have stated on Talk:Saint Lawrence boulevard, the use of the English or French name varies among different speakers.

I think it is correct to favour the English name in an English text, but of course with an explanation of the 'official' French name. We may wish to create a single page explaining this, which all Montreal-related articles can link to.

For the recored, although I have heard "Saint-Denis" and "Saint-Laurent" used, I would say that usage is about 50/50. Mount Royal, I believe, should definitely be in English, as it is a geographical feature (like the Saint Lawrence River). I have very, very rarely heard people refer to the Mountain as "Mont Royal". I really think this is excessively leaning toward French usage, even if we decided that the official French names were to be used.

Anyway, I would like to thank everyone for your level-headedness. It seems I was the most brash of everyone... I will wait until an agreement can be reached before taking any more action. Please see the discussion Wikipedia:Wikiportal/Montreal/Discussions/English Names and post further comments there. --Larineso 6 July 2005 01:33 (UTC)

Île des Sœurs → Nuns' Island
Would you care to comment on my proposed move at Talk:Île des Sœurs? Thank you. - Farquard 18:06, 20 August 2005 (UTC)

Image Tagging Image:Palazzo Ducale.jpg
Thanks for uploading Image:Palazzo Ducale.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is therefore unclear. If you have not created this media yourself then you need to argue that we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then you must also add one. If you created/took the picture, audio, or video then you can use GFDL to release it under the GFDL. If you believe the media qualifies as fair use, please read fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, please check that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you. Longhair 08:19, 3 February 2006 (UTC)

Image Tagging Image:Santa Maria della Pieta.jpg
Thanks for uploading Image:Santa Maria della Pieta.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this media yourself then there needs to be an argument why we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then it needs to be specified where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then one should be added. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media qualifies as fair use, consider reading fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, consider checking that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. Thank you. JesseW, the juggling janitor 05:39, 21 March 2006 (UTC)

Place Alexis-Nihon
As I mentionned on the article's talk page I've proposed a vote on the name whether we should put it in English or in French. In others I've asked them via your demand/proposal to Agree or Disagree on Moving the current article to Alexis-Nihon Plaza. I prefer to wait the say of others before doing a move--JForget 00:57, 18 September 2006 (UTC)

Wendy Eitan
I've added the "prod" template to the article Wendy Eitan, suggesting that it be deleted according to the proposed deletion process. All contributions are appreciated, but I don't believe it satisfies Wikipedia's criteria for inclusion, and I've explained why in the deletion notice (see also What Wikipedia is not and Notability). Please either work to improve the article if the topic is worthy of inclusion in Wikipedia, or, if you disagree, discuss the issues raised at Talk:Wendy Eitan. If you remove the dated prod template, the article will not be deleted, but note that it may still be sent to Articles for deletion, where it may be deleted if consensus to delete is reached.

Actually, I downgraded it from db-bio to prod... —Wknight94 (talk) 02:28, 26 September 2006 (UTC)

Untagged image
An image you uploaded, Image:Stemma di Larino.png, was tagged with the coatofarms copyright tag. This tag was deleted because it does not actually specify the copyright status of the image. The image may need a more accurate copyright tag, or it may need to be deleted. If the image portrays a seal or emblem, it should be tagged as seal. If you have any questions, ask them at Media copyright questions. -- 19:07, 30 December 2006 (UTC)

Image:MontrealLogoName.gif
Hi Larineso,

I have noticed you creating this Montreal Logo, it looks really neat. What I have in mind is that, which font did you used to make the word "Montreal", and where did you get your flowers from?

Smcafirst | Chit-Chat | SIGN posted at 19:52, 11 May 2007 (UTC)

 * I agree that the logo is neat, but are you sure that the GNU license which you claimed for it is valid? I'm not sure about the Montreal logo in the centre, in particular. Are you sure that it is available under a compatible license (in this case, probably PD if applicable)? If not, we may have to remove it from the article, despite how nice it looks. Nihiltres ( t .l ) 16:50, 9 July 2007 (UTC)

ArbCom elections are now open!
MediaWiki message delivery (talk) 13:03, 23 November 2015 (UTC)

Proposed deletion of File:Sleeping Portrait.jpg

The file File:Sleeping Portrait.jpg has been proposed for deletion because of the following concern:
 * Unused personal photo - out of project scope.

While all constructive contributions to Wikipedia are appreciated, pages may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the file's talk page.

Please consider addressing the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and files for discussion allows discussion to reach consensus for deletion. XXN, 16:13, 13 April 2017 (UTC)

Proposed deletion of File:MontrealLogoName.gif

The file File:MontrealLogoName.gif has been proposed for deletion because of the following concern: "Unused logo with no article used, it's also can't move to commons because of an unused logo will be deleted as of out of project scope."

While all constructive contributions to Wikipedia are appreciated, pages may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the file's talk page.

Please consider addressing the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and files for discussion allows discussion to reach consensus for deletion. Willy1018 (talk) 08:05, 15 December 2018 (UTC)

MfD nomination of Portal:Montreal
Portal:Montreal, a page which you created or substantially contributed to, has been nominated for deletion. Your opinions on the matter are welcome; you may participate in the discussion by adding your comments at Wikipedia:Miscellany for deletion/Portal:Montreal and please be sure to sign your comments with four tildes ( ~ ). You are free to edit the content of Portal:Montreal during the discussion but should not remove the miscellany for deletion template from the top of the page; such a removal will not end the deletion discussion. Thank you. Brown HairedGirl (talk) • (contribs) 13:24, 18 May 2019 (UTC)

title: User talk:Larineso


text:
User:Joel.davies/monobook.css

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title: User:Joel.davies/monobook.css


text:
Talk:Kolokol-1

Comments
Kolokol means bell in Russian. It is unclear wether this information would be of any interest to people trying to find out more about the chemical agent called Kolokol-1.

I think that yes, that it will be interesting, so I will change the article.--Oleg Str 10:51, 14 September 2006 (UTC)

Source for Fyodorov paragraph?
The article says:

 * According to Lev Fyodorov, a former Soviet chemical weapons scientist who now heads the independent Council for Chemical Security in Moscow, the gas was originally manufactured in a secret KGB laboratory in Leningrad during the 1970s, and that in the subsequent decade methods of dispersing it were tested on the Moscow public without their knowledge. Furthermore, Fyodorov claimed that leaders of the failed 20 August 1991 Communist coup intended to use the agent to recover members of the Russian parliament.

Perhaps the source is linked below; if so, could it be referenced within the paragraph? Eric 19:51, 10 April 2006 (UTC)

The source can be found here. It is referenced below, but I'll also add it to the article proper in the morning. My wife is yelling at me to come to bed right now. – ClockworkSoul 06:15, 11 April 2006 (UTC)
 * I cleaned up the article a bit, and added the citations. The articles I cited are available on Lexis-Nexis, but if you want the text I would happily email them to you. – ClockworkSoul 15:22, 11 April 2006 (UTC)

 * Found the actual source. It's an article in Moscow's Moskovsky Komsomolets newspaper of Oct 28, 2002, titled "Hostage Dealths Result from Special Forces Blunder?" Interviewed by the newspaper, Fyodorov said: "It was an incapacitating agent, a gas that temporarily disables the human body... A secret Institute for Very Pure Substances [translated literally] was created in Leningrad in the ealy 1970s. Peptides were developed there such that could affect human brain. It is in there where the incapacitating agent was long kept... It took a long time to learn how to use that weapon. They had to develop a means to release the gas in the atmosphere and disseminate it there uniformly... First [atmospheric release] experiments began in Moscow in the 1980s. Harmless bacteria were released in the Moscow subway [the Metro] through ventilation shafts. Later the experiments moved to Novosibirsk where a subway system was built to this end... It looks like it was the first time the incapacitatnt was used in the theater. In 1991, during the coup d'etat, an operation like that went abortive. Back then they intended to release it into the White House [Russian Parliament Building]."--129.128.45.126 01:25, 20 June 2006 (UTC)

opiate type
I find it hard to believe that the exact nature of the opiate used is not known. 3 methyl fentanyl would certainly fit the bill. Ohmefentanyl is even stronger, but would that beta hydroxy group make it more difficult to make it into aerosol form? I found that para-fluoro ohmefentanyl is even stronger so maybe para fluoro 3 methyl fentanyl? There are other classes of opiate that have the same range of potency but the fentanyls would be the easiest to produce in bulk. Also, does anyone know how long the people were out cold for? Certain fentanyls have very short or very long 1/2 lives. Carfentanil is supposed to be x10000 morphine but has a 1/2 life that is VERY short. —The preceding unsigned comment was added by 81.104.26.110 (talk) 19:35, 21 December 2006 (UTC).
 * The exact substance/agent hasn't been disclosed/verified by official or other reliable sources. Well actualy, there was a short statement given by a higher-rank officier of the russian Army/Special Forces where he stated that the agent used was 3-methylfentanyl, as far as I remeber, but I do not know the source/news agency which brought this at that time anymore. Speculations about all those potent opioids don't clear the matter further anyhow. Cheers,--93.192.171.222 (talk) 23:00, 26 February 2010 (UTC)

There seems to be a broad consensus - even assumption - among the Bluelight community that the agent is indeed 3-methylfentanyl. The substance has the advantage of being relatively cheap and simple to synthesize; it can be produced at existing facilities set up for the medically useful fentanyl with only trivial changes in process/configuration.Sargon3 (talk) 16:10, 18 March 2012 (UTC)

 * A team of toxicologists at the United Kingdom's chemical and biological warfare research labs at Porton Down published a paper, | Analysis of Clothing and Urine from Moscow Theatre Siege Casualties Reveals Carfentanil and Remifentanil Use, showing that while fentanyl or 3-methyl fentanyl were absent from the urine of one survivor or residues of the agent in clothing of two other British survivors, the veterinary large animal sedative drug carfentanil and anesthetic agent remifentanil were discovered by liquid chromatographic tandem mass spectrometry (compared to standards which comprised fentanyl hydrochloride, cis-3-methylfentanyl free base, carfentanil oxalate, sufentanil citrate, lofentanil oxalate, remifentanil hydrochloride, norcarfentanil and remifentanil acid).

 * I would say that these are enough hard data to allow us to conclude that the Russian Health Minister Yuri Shevchenko either willingly lied or was misled by his own government's sources in announcing the active agent of the gas used in the hostage rescue at the Barricade Theatre in Moscow was fentanyl, and that speculation that the agent was the more toxic and potent analogue 3-methyl fentanyl was premature. Analysis of actual agent residues, compared to known standards of both fentanyl and 3-methyl fentanyl, showed presence of neither drug, while showing the presence (otherwise unaccountable-for in a moviegoer's clothing or urine) of carfentanil and remifentanil.

 * That's the last analytical word, friends. I added it to the article, along with | a review article in The Annals of Emergency Medicine which places the whole issue into four valuable perspectives:
 * - the toxicology in HUMANS of the veterinary drug carfentanil and the perioperative anesthetic drug remifentanil when used as aerosolized agents ("gases" within the military sense of the word) weren't studied closely enough and the lipophilicity of all the fentanyl derivatives may have caused a "re-narcosis" syndrome requiring repeated doses of the appropriate antidote (these authors state that would have been the standard opiate antidote naloxone ("Narcan"), while the Porton Down team correctly state that naltrexone is the preferred and much more highly effective antidote to human overdosage with carfentanil) promptly to save affected persons' lives;
 * - withholding of the identity of these drugs or even the general class to which they belonged probably cost many lives after the rescue, but hypoxic brain damage might have been unavoidable in some cases;
 * - these points notwithstanding, it's hard to see what other options the Spetsnaz team in charge of the rescue had but using these agents to subdue the Chechen terrorists (with their fingers on the detonators of enough high explosives to kill everyone there) and, unavoidably, their hostages. The secrecy which prevented Russian officials from IMMEDIATELY informing their own physicians what they were treating WAS avoidable, however; and
 * - future use of these or similar agents to subdue hostage takers or other violent individuals while trying to avoid unnecessary fatalities should only be attempted after more extensive study of their effects, how they are deposited after being introduced into building air vents or other ways, how the human body absorbs them and which metabolic and physiological pathways the drugs take after inhalation or ingestion, and - most importantly - making appropriate antidotes for these agents available to be administered promptly to incident survivors after their use. loupgarous 23:34, 19 September 2015 (UTC)

Needs a section on long term effects
Just as radiation victims get monitored, the >700 Moscow survivors/exposure victims should be monitored for effects. This page should have a section for the long term. 143.232.210.150 (talk) 17:46, 12 June 2012 (UTC)

 * The active ingredients in the agent used to subdue the Chechens and their hostages, carfentanil and remifentanil, have extremely short biological half-lives (which is why the Russians probably honestly believed they could be used in enclosed spaces without a high fatality rate). Sixteen percent, or one in every six hostages died after this incident, and available information is that the Russians never saw this in prior use of this or similar incapacitating agents - they've been playing around with nonlethal incapacitants since the early 1980s in Afghanistan.

 * You do have a great point, however. | A review article in The Annals of Emergency Medicine touches on the fact that most of the fentanyl derivative drugs are lipophilic (in other words, taken up rapidly into the fatty tissues), so that a "renarcosis" syndrome can occur - it's possible to treat a patient for exposure to these drugs, get a good response, then have the patient re-experience toxic symptoms from the drug as it is released from the patient's body fat back into the patient's circulation, often at an unpredictable interval (at least until more data are available on uptake of these agents into body fat and the rate at which it is released back into the central circulation).

 * But while within the context of the intended use of these very short-acting opiate drugs, a span of hours to several days after exposure may be "long-term effects," I don't know if we ought to call them that in a separate section heading. Generally, "long-term effects" (from my experience as a medical writer and clinical data analyst for a few Big Pharma firms) are "months to years" in scope.

 * The article I cited does call for more research into ALL the effects of these drugs when used as military incapacitants. However, I'm reluctant to single out what may or may not be considered a "long-term effect" in normal medical contexts, because I don't think the articles I've read supply that information solidly enough for it to appear in this article (it'd be a real case of WP:Undue Weight, I think).

 * I am glad you brought this up, however, because we need someone with experience in industrial or toxicological epidemiology or just plain experience with these sorts of opiate drugs to lend us their experience with what is or is not a "long-term effect" stemming from exposure to these drugs. I'd be willing to venture that brain hypoxia would cause such effects, and it's been mentioned as a sequel to exposure to these drugs in a setting such as the Barricade Theatre hostage rescue, but we need a greater consensus than just you and me before putting that in the article.

 * Anyone? loupgarous 00:04, 20 September 2015 (UTC)

WMD
Am I alone in thinking that Kolokol slips through the cracks of the CWC? It's dual use. It can be classed as a riot control agent but these strong opioids don't qualify as WMDs because the treaty specified 'liquid or gas'. Certainly carfentanil should be classed as a WMD? The police in North America seized 1Kg of carfentanyl which ≈ 10 tonnes of morphine. I would suggest that the CWC is altered. — Preceding unsigned comment added by 81.99.74.135 (talk) 12:35, 5 March 2017 (UTC)

 * Excellent point. Neither Fentanyl, carfentanil, remifentanil nor any other strong opioid agonist (let's say, etorphine as an extreme, lethal example) are covered either specifically or generically in the Chemical Weapons Convention for the very good reason that their cases never came up when it was being negotiated.  Potent incapacitating pharmaceuticals - e.g., nitrous oxide or halothane (mentioned by Timperley, et al from Porton Down as a potential component in Kolokol-1) are generally overlooked (unless, like agent BZ, they were developed specifically for military use).  Whether they will be added to the CWC we don't know. We need to cite good WP:RS sources that say if and when the CWC is going to be changed to cover these drugs (something you can help us find, because more eyes are better).
 * By the way, I'm looking over the definition of "chemical weapon" in the text of the Chemical Weapons Convention. and it doesn't seem to specify "liquid or gas":
 * 1. ""Chemical Weapons" means the following, together or separately:
 * (a) Toxic chemicals and their precursors, except where intended for purposes not prohibited under this Convention, as long as the types and quantities are consistent with such purposes;
 * (b) Munitions and devices, specifically designed to cause death or other harm through the toxic properties of those toxic chemicals specified in subparagraph (a), which would be released as a result of the employment of such munitions and devices;
 * (c) Any equipment specifically designed for use directly in connection with the employment of munitions and devices specified in subparagraph (b).[2.
 * 2. Toxic Chemical" means:
 * "Any chemical which through its chemical action on life processes can cause death, temporary incapacitation or permanent harm to humans or animals. This includes all such chemicals, regardless of their origin or of their method of production, and regardless of whether they are produced in facilities, in munitions or elsewhere."
 * I’m just sad we’re having this conversation at all. We better not call hydrazines hepatoxic or some bureaucrat might not get his payoff.  It doesn’t have to be illegal, it could be donations to non-profits which the bureaucrat, or his advisors, may rationalize as worth it.  I am not accusing anyone of any crime.  Rogelio Pfirter almost certainly didn’t come up with that talking point himself.  I am not accusing anyone whose name I know of unethical behavior.  Anyway we have a consensus.  His quote is relevant but incorrect, marked dubious. Dogshu (talk) 17:47, 22 June 2019 (UTC)
 * Several Novichok agents are solids at room temperature, as is agent BZ. That "liquid or gas" thing is probably a left-over meme from second and third-generation military chemistry - the mustards and nerve agents being called "gases" even though they're actually liquids dispersed as a mist.
 * We already do discuss the Russian government's denial that their use of Kool lol-1 was banned under CWC in the article. We also discuss the Porton Down team's assessment of the agents they identified in residues on hostages' clothing and that of emergency physicians in general terms, but no one seems yet to have proposed amendment of the CWC to control military use of these drugs in sources that meet our guideline in WP:RS, and we can't mention changing the CWC in our article until such a source publishes such a suggestion.  If you want to monitor the Web for such suggestions, it'd be helpful.
 * Thank you for talking about that seizure of carfentanil! I found the Associated Press article on the Canadians' seizure of that shipment, which raises the specter of carfentanil's potential military use. Carfentanil seems to qualify under the definition of "chemical weapon" and "toxic chemical" under the Chemical Weapons Convention - definitely something we don't want people being able to order from China in kilo lots over the Internet.  It's a good source for comment about one of the constituents of Kolokol-1 being considered a chemical weapon.  Again, thanks for that information!
 * I'll add this information to our article on carfentanil, too. 1,000 grams of that stuff in one place is a huge amount (far over the DEA's yearly production quota of 19 grams for that drug in the USA given in our article on the drug). loupgarous (talk) 15:16, 12 April 2017 (UTC)

title: Talk:Kolokol-1


text:
Rainmaking

Rainmaking, also known as artificial precipitation, artificial rainfall and pluviculture, is the act of attempting to artificially induce or increase precipitation, usually to stave off drought or the wider global warming. According to the clouds' different physical properties, this can be done using airplanes or rockets to sow to the clouds with catalysts such as dry ice, silver iodide and salt powder, to make clouds rain or increase precipitation, to remove or mitigate farmland drought, to increase reservoir irrigation water or water supply capacity, to increase water levels for hydropower generation, or even to solve the global warming problem.

In the United States, rainmaking was attempted by traveling showmen. It was practiced on the American frontier, but may have reached a peak during the Dust Bowl drought of the US west and midwest in the 1930s. The practice was depicted in the 1956 film The Rainmaker. Attempts to bring rain directly have waned with development of the science of meteorology, laws against fraud, and improved weather forecasting, with some exceptions such as cloud seeding and forms of prayer including rain dances, which are still practiced today. Prayers for rain is also a common cultural practice for Christians and Muslims. In some Christian areas, clerics of the Eastern Orthodox Church are believed to possess the power to arrest rain, bring hail to the farms of wayward souls, as well as to bring rain when the rainy season falls short.

The term is also used metaphorically to describe the process of bringing new clients into a professional practice, such as law, architecture, consulting, advertising, or investment banking—in general, processes that bring money into a company.

It is also used to describe a confidence trick where the scammer takes money from the victim to influence a system over which they have no real control, but a random chance of the outcome happening anyway.

Cloud seeding
Since the 1940s, cloud seeding has been used to change the structure of clouds by dispersing substances into the air, potentially increasing or altering rainfall. In spite of experiments dating back to at least the start of the 20th century, however, there is much controversy surrounding the efficacy of cloud seeding, and evidence that cloud seeding leads to increased precipitation on the ground is highly equivocal. One difficulty is knowing how much precipitation might have fallen had any particular cloud not been seeded. Operation Popeye was a US military rainmaking operation to increase rains over Vietnam during the Vietnam War in order to slow Vietnamese military truck activity in the region, though this claim happened 60 years later by anti-government groups. Rainmaking is not climate engineering, which seeks to alter the climate, but a form of weather modification, as it seeks only to change local weather.

Wilhelm Reich's Cloudbuster
Austrian-American psychoanalyst Wilhelm Reich designed a "cloudbuster" in the United States with which he said he could manipulate streams of "orgone energy" (which he claimed was a primordial cosmic energy) in the atmosphere to induce rain by forcing clouds to form and disperse. It was a set of hollow metal pipes and cables inserted into water, which Reich argued created a stronger orgone energy field than was in the atmosphere, the water drawing the atmospheric orgone through the pipes. Reich called his research "Cosmic Orgone Engineering".

Rain dances and prayers
In many societies around the world, rain dances and other rituals have been used to stimulate rainfall. Some Native Americans used rain dances extensively. European examples include ceremonies in the Balkans known as Perperuna and Dodola and Caloian. Some US farmers attempt to bring rain during droughts through prayer. These rituals differ greatly in their specifics, but share a common concern with bringing rain through spiritual means. Typical of these ceremonies was the public prayer service for rain by then-governor of Georgia, Sonny Perdue, in 2007.

In Muslim societies, in times of calamity such as drought, the Imam is asked to provide spiritual help to the community in the hope of inducing God to fall rain (Rain_prayer). The rain prayer (Arabic: صلاة الاستسقاء; ṣalāt al-istisqa, "rain request prayer") is a sunnah salah (Islamic prayer) for requesting and seeking rain water from God. A Muslim prayer offered to God seeking rain water. Indeed, the Muslim ummah regard the rain as a great divine blessing, and every time it rains showers, people rejoice and thank God Almighty.

Contemporary Jewish liturgy includes prayers for rain, seasonally, as a part of the morning, afternoon, and evening, daily amidah prayer, during mid-autumn to mid-spring. During summer, this prayer is changed from the prayer for rain, to a prayer for dew.

In popular culture

 * The video of the song "Cloudbusting" (based on the story of Wilhelm Reich) by Kate Bush features Donald Sutherland as an inventor of a rainmaking machine.
 * The 1956 film The Rainmaker tells of a traveling salesman/con artist who claims to be a rainmaker. (A country song, Lizzie and the Rainman, would be based on the film.)

title: Rainmaking


text:
User talk:Megared

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

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title: User talk:Megared


text:
Riverscape

A riverscape (also called river landscape) comprises the features of the landscape which can be found on and along a river. Most features of riverscapes include natural landforms (such as meanders and oxbow lakes) but they can also include artificial landforms (such as man-made levees and river groynes). Riverscapes can be divided into upper course riverscapes, middle course riverscapes, and lower course riverscapes.

The term riverine is sometimes used to indicate the same type of landscape as a riverscape, or only the riverbank. Riverine landscapes may also be defined as a network of rivers and their surrounding land, which is excellent for agricultural use because of the rich and fertile soil. The word riverine is also used as an adjective which means "relating to or found on a river or the banks of a river".

Upper course
In the upper course of rivers, channels are narrow and gradients are steep. Vertical erosion is the prominent land-forming process. Typical features of upper course riverscapes include:
 * Interlocking spurs
 * Braided channels
 * V-shaped valleys
 * Giant's kettles
 * Plunge pools
 * Alluvial fans
 * Tributaries
 * Waterfalls
 * Potholes
 * Gorges
 * Rapids

Middle course
In the middle course of rivers, the discharge increases and the gradient flattens out. Typical features of middle course riverscapes include:
 * U-shaped valleys
 * Riparian forests
 * Slip-off slopes
 * Oxbow lakes
 * Tributaries
 * Cut banks
 * Meanders
 * Marshes
 * Riffles
 * Pools

Lower course
In the lower course of rivers, the channels are wide and deep, and the discharge is at its highest. Typical features of lower course riverscapes include:
 * Wide flat-bottomed valleys
 * River groynes
 * Large bridges
 * Distributaries
 * River deltas
 * Floodplains
 * Meanders
 * Levees
 * Kolks

Landscape art
Riverscapes are popular subjects in landscape paintings. In addition to the use of the word riverscape in geography, the term is also associated with landscape art. In visual arts the term 'river scene' is considered a synonym for the word 'riverscape'. Related terms used in visual arts include 'seascape', 'cloudscape' and 'cityscape'. A well-known riverscape painter was Salomon van Ruysdael. Below are some examples of riverscape paintings.

title: Riverscape


text:
1946 in Norwegian football

Results from Norwegian football in 1946.

title: 1946 in Norwegian football


text:
Eric Schweig

Eric Schweig (born Ray Dean Thrasher; 19 June 1967 ) is a Canadian Inuvialuk actor best known for his role as Chingachgook's son Uncas in The Last of the Mohicans (1992).

Early life
Schweig was born in Inuvik, Northwest Territories. He is of mixed race (Inuit, Portuguese, German, and Senegalese). He is the oldest of seven children, who were all adopted out as part of the Canadian government's failed attempt at forcing Inuit and First Nations children to assimilate into white society. Schweig's biological mother died of alcoholism in 1989. He never met her. "She didn’t drink a drop of alcohol until we were taken away," says Schweig. "We were part of the whole assimilation program—forcibly taken away, although my adoptive parents told me I wasn't." Schweig was adopted at six months of age by an English-speaking German-French family. He spent his childhood in Inuvik until he was six, when his family moved to Bermuda. They later moved back to Canada.

"I eventually grew tired of living in a prison without walls and ran away when I was 16. What transpired between then and now has been a roller coaster of alcohol, drugs, violence, failed relationships, despair and confusion. Who am I? Where do I come from? Where is my family? Where do I belong? When life's mystery has been shattered by strangers watching over you, a lot of these questions are lost."

Schweig ran away to Toronto, Ontario, where he supported himself by framing houses. In 1985, he was part of the cast of The Cradle Will Fall, an experimental adaptation of Frank Wedekind's Spring Awakening produced by Theatre of Change at the Actor's Lab; this was his first experience as an actor. In 1987, at twenty years old, he was approached by a producer who suggested he audition for a role in the movie called The Shaman's Source (1990). With little formal education or experience he won the role. The film launched his career in the film industry.

Career
Schweig's numerous screen credits (over thirty) include his portrayal of Uncas in the epic motion picture The Last of the Mohicans (1992) and Pike Dexter in the movie Big Eden (2000), for which he won the Grand Jury Prize at the Outfest film festival. In 1992, he was cast as Black Thunder in the Canadian Broadcasting Corporation mini-series By Way of the Stars. Among his period film credits since The Last of the Mohicans, Eric became the famous Mohawk leader Joseph Brant/Thayendanegea for TNT's telefilm The Broken Chain (1993), playing for the first time the main character in a movie (Schweig appeared with Wes Studi again for this motion picture). It was shot primarily in North Carolina. He starred in Disney's The Scarlet Letter and Tom and Huck with Amy Wright in 1995. In 1996 he appeared as a Comanche protagonist, Buffalo Hump, in the Larry McMurtry miniseries Dead Man's Walk. More recently, he played the lead role in films addressing more contemporary issues facing aboriginal and Native American people: Skins (2002), Cowboys and Indians: The J.J. Harper Story (2003) and One Dead Indian (2006).

Personal life
During the 1990s, Schweig began carving masks as a natural extension of his artistic expression. Since his childhood, Eric found he was emotionally pre-disposed to carving small objects out of wood (figures, kayak, etc.). Under the tutelage of artist Vern Etzerza, he studied traditional Pacific Coast carving before directing his talent specifically towards custom and traditional Inuit Spirit Masks, in collaboration with master carver Art Thompson. His collection of masks are not only successful attempts to reconnect with his heritage and with Inuit art, but his carvings are also necessary labours of psychological resilience facing a traumatized childhood. As a disastrous consequence of this uprooting and abuse, Schweig struggled for many years with alcohol abuse. He has stated that Big Eden (2000) was the first movie in which he was entirely sober. His fame as an actor gives him the opportunity to share his life's experience in numerous speaking engagements in Canada and the United States of America. He is able to make large audiences aware of aboriginal issues, including adoption, the foster care system, addictions, and suicide. He currently resides in Vancouver BC working at Vancouver Native Health's "Positive Outlook" program where residents of the city's downtown eastside who are HIV positive can gain access to health care, hot meals, and social programming to maintain community connections.

In 2017, Eric adopted two foster siblings. When asked about the transition to fostering, Eric said, "I went from 30 years of bachelorhood to Mr. Mom overnight. Everything changed, I went from only having to consider myself for every decision to centering everything on my foster kids. It was a real 180". Eric now lives in Vancouver with his son and daughter.

Awards

 * 2000 - Grand Jury Award L.A. Outfest, Outstanding Actor in a Feature Film for Big Eden
 * 2008 - Honorary Doctorate of Education from Nipissing University
 * 2011 - Nomination for a Leo Award for Best Lead Performance by a Male in a Dramatic Series for his role as corrupt band Chief Andy Fraser in the TV series Blackstone.

Others
In 1993, he came in 5th on People magazine's 50 Most Beautiful People list.

title: Eric Schweig


text:
Boris Morros

Boris Morros (Борис Михайлович Моррос; January 1, 1891 - January 8, 1963) was an American Communist Party member, Soviet agent, and FBI double agent. He also worked at Paramount Pictures, where he produced films as well as supervising their music department.

Life and career
Morros was born in Saint Petersburg, Russia. He emigrated with his family in late in 1922, sailing from the Port of Constantinople to the Port of New York on the S/S Constantinople. In 1934, he was enlisted as a Soviet spy, following which time Vasily Zarubin became his first contact in 1936.

The mysterious "Mr Guver" letter, sent to FBI Director J. Edgar Hoover in 1943 from an anonymous source, who is now widely believed to be KGB Officer Vasily Mironov, named Morros as an agent working with Soviet intelligence and identified Elizabeth Zarubina as Morros' contact.

In December 1943, Zarubina drove with Morros to Connecticut, where they met with Alfred Stern and his wife Martha Dodd Stern. Soviet intelligence wanted to use an investment from the Sterns in Morros' sheet music company to serve as cover for espionage. The Sterns invested $130,000 in the Boris Morros Music Company.

In 1947, Morros became a counterspy for the FBI. He reported on Jack Soble and members of the Soble spy ring, while also passing low-level secrets and misinformation back to Moscow. Morros' codename in Soviet intelligence and the Venona files was "FROST."

As a double-agent for the FBI, Morros solicited funds from the MGB (the Soviet intelligence service) to create a U.S. television network. Like the Boris Morros Music Company, the network would have served as espionage cover, but the MGB never funded the venture.

In 1960, Man on a String, a feature film loosely based on Morros' adventures as a counterspy, was released. Ernest Borgnine played Morros, who co-wrote the screenplay.

Morros, who was employed by Paramount Pictures, worked there in several capacities. His movie production credits include The Flying Deuces (1939) with Laurel and Hardy, and Second Chorus (1940) with Paulette Goddard and Fred Astaire. Morros also worked with Bing Crosby, Ginger Rogers, Martha Raye, and Rudy Vallee. Morros was also the music director at Paramount, where he conducted the music of such composers as George Antheil, among others.

He died in New York City on January 8, 1963.

Selected filmography

 * Night of Mystery (1937)
 * The Flying Deuces (1939)

title: Boris Morros


text:
User:Joel.davies/myskin.css

/*
 * Mediawiki 'monobook' style sheet for CSS2-capable browsers.
 * Copyright Gabriel Wicke - http://wikidev.net/
 * License: GPL
 * Loosely based on http://www.positioniseverything.net/ordered-floats.html by Big John
 * and the Plone 2.0 styles, see http://plone.org/ (Alexander Limi,Joe Geldart & Tom Croucher,
 * Michael Zeltner and Geir BÃ¦kholt)
 * All you guys rock :)
 * All you guys rock :)

width: 100%; float: right; margin: 0 0 0.6em -12.2em; padding:0; }   margin: 2.8em 0 0 12.2em; padding: 0em 1em 1.5em 1em; background: White; border: 1px solid #aaaaaa; border-right: none; line-height: 1.5em; position: relative; z-index: 2; } /* the left column width is specified in class .portlet */
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/* Font size:
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 * More at http://www.w3.org/2003/07/30-font-size
 * http://style.cleverchimp.com/font_size_intervals/altintervals.html

body { background: #f9f9f9 url('headbg.jpg') no-repeat 0px 0px; color: Black; margin: 0; padding: 0; font-style:normal; font-variant:normal; font-weight:normal; font-size:x-small; font-family:sans-serif }

/* scale back up to a sane default */ font-size:127%; width: 100%; margin: 0; padding: 0; } .visualClear { clear: both; }
 * 1) globalWrapper {

/* general styles */

table { font-size: 100%; background: White; } a { text-decoration: none; color: #002bb8; background: none; } a:visited { color: #5a3696; } a:active { color: Orange; } a:hover { text-decoration: underline; } a.stub { color: #772233; } a.new, a.new:visited,
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 * 1) p-personal a.new:visited { color:#a55858; }

img { border: none; vertical-align: middle; } p { margin: 0.4em 0em 0.5em 0em; line-height: 1.5em; }

p img { margin: 0; }

hr { height: 1px; color: #aaaaaa; background-color: #aaaaaa; border: 0px none; margin: 0.2em 0; }

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/*
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font-size: 84%; line-height: 1.2em; margin: 0 0 1.4em 1em; color: #7d7d7d; width: auto; } span.subpages { display: block; }
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 * 2) contentSub {

/* Some space under the headers in the content area */ margin-bottom: 0.3em; } .firstHeading { margin-bottom:0.1em; }
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 * 2) bodyContent h3,
 * 3) bodyContent h4,
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/* user notification thing */ .usermessage { background-color: #ffce7b; border: 1px solid #ffa500; color: Black; font-weight: bold; margin: 2em 0em 1em 0em; padding: 0.5em 1em; vertical-align: middle; }   text-align: center; font-size: 95%; padding: 0 0.9em 0 0.9em; } .error { color: red; font-size: larger; }   border:1px solid #aaaaaa; background-color:#f9f9f9; padding:5px; margin-top: 1em; clear: both; } /* currently unused, intended to be used by a metadata box in the bottom-right corner of the content area */ .documentDescription { /* The summary text describing the document */ font-weight: bold; display: block; margin: 1em 0em; line-height: 1.5em; } .documentByLine { text-align: right; font-size: 90%; clear: both; font-weight: normal; color: #76797c; }
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 * 1) siteNotice p { margin: none; padding: none; }
 * 1) catlinks {

/* emulate center */ .center { width: 100%; text-align: center; }   margin-left: auto; margin-right: auto; } /* small for tables and similar */ .small, .small * { font-size: 94%; } table.small { font-size: 100% }
 * .center * {

/*
 * content styles

/*border:1px solid #2f6fab;*/ border:1px solid #aaaaaa; background-color:#f9f9f9; padding:5px; font-size: 95%; }   margin-top: 0.7em; font-size: 94%; }
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/*
 * classes for special content elements like town boxes
 * intended to be referenced directly from the wiki src

/* /* table standards */ table.rimage { float:right; position:relative; margin-left:1em; margin-bottom:1em; text-align:center; } .toccolours { border:1px solid #aaaaaa; background-color:#f9f9f9; padding:5px; font-size: 95%; } div.townBox { position:relative; float:right; background:White; margin-left:1em; border: 1px solid Grey; padding:0.3em; width: 200px; overflow: hidden; clear: right; } div.townBox dl { padding: 0; margin: 0 0 0.3em 0; font-size: 96%; } div.townBox dl dt { background: none; margin: 0.4em 0 0 0; } div.townBox dl dd { margin: 0.1em 0 0 1.1em; background-color: #f3f3f3; }
 * User styles

/* .special li { line-height: 1.4em; margin: 0; padding: 0; }
 * edit views etc

/* Page history styling */ /* the auto-generated edit comments */ .autocomment { color: gray; } margin-left: 1.4em; margin-right: 0.4em; }   background-color:#f9f9f9; border:1px dashed #aaaaaa; } /* table.diff { background:white; } td.diff-otitle { background:#ffffff; } td.diff-ntitle { background:#ffffff; } td.diff-addedline { background:#ccffcc; font-size: smaller; } td.diff-deletedline { background:#ffffaa; font-size: smaller; } td.diff-context { background:#eeeeee; font-size: smaller; } span.diffchange { color: red; }
 * 1) pagehistory span.user {
 * 1) pagehistory span.minor { font-weight: bold; }
 * 2) pagehistory li { border: 1px solid White; }
 * 3) pagehistory li.selected {
 * Diff rendering

/*    background: url('external.png') no-repeat center right; padding-right: 13px } .link-https { background: url('lock_icon.gif') no-repeat center right; padding-right: 16px } .link-mailto { background: url('mail_icon.gif') no-repeat center right; padding-right: 18px }   background: url('news_icon.png') no-repeat center right; padding-right: 18px } .link-ftp { background: url('file_icon.gif') no-repeat center right; padding-right: 18px } .link-irc { background: url('discussionitem_icon.gif') no-repeat center right; padding-right: 18px } /* disable interwiki styling */ color: #3366bb; background: none; padding: 0; } /* this can be used in the content area to switch off special external link styling */ background: none !important; padding: 0; } /*
 * keep the whitespace in front of the ^=, hides rule from konqueror
 * this is css3, the validator doesn't like it when validating as css2
 * 1) bodyContent a[href ^="http://"],
 * 2) bodyContent a[href ^="gopher://"] {
 * 1) bodyContent a[href ^="gopher://"] {
 * 1) bodyContent a[href ^="https://"],
 * 1) bodyContent a[href ^="mailto:"],
 * 1) bodyContent a[href ^="news://"] {
 * 1) bodyContent a[href ^="ftp://"],
 * 1) bodyContent a[href ^="irc://"],
 * 1) bodyContent a.extiw,
 * 2) bodyContent a.extiw:active {
 * 1) bodyContent a.external { color: #3366bb; }
 * 1) bodyContent .plainlinks a {
 * Structural Elements

/* .portlet { border: none; margin: 0 0 0.5em 0em; float: none; padding: 0; width: 11.6em; overflow: hidden; } .portlet h4 { font-size: 95%; font-weight: normal; white-space: nowrap; } .portlet h5 { background: transparent; padding: 0em 1em 0em 0.5em; text-transform: lowercase; display: inline; font-size: 91%; height: 1em; font-weight: normal; white-space: nowrap; } .portlet h6 { background: #ffae2e; border: 1px solid #2f6fab; border-style: solid solid none solid; padding: 0em 1em 0em 1em; text-transform: lowercase; display: block; font-size: 1em; height: 1.2em; font-weight: normal; white-space: nowrap; } .pBody { font-size: 95%; background: White; border-collapse: collapse; border: 1px solid #aaaaaa; padding: 0 0.8em 0.3em 0.5em; } .portlet h1, .portlet h2, .portlet h3, .portlet h4 { margin: 0; padding: 0; } .portlet ul { line-height: 1.5em; list-style-type: square; list-style-image: url('bullet.gif'); font-size:95% } .portlet li { padding:0; margin: 0 0 0 0; margin-bottom: 0; }
 * general portlet styles (elements in the quickbar)

/*
 * Logo properties

z-index: 3; position:absolute; /*needed to use z-index */ top: 0; left: 0; height: 155px; width: 12em; overflow: visible; }   display: block; height: 155px; width: 12.2em; background-repeat: no-repeat; background-position: 35% 50% !important; text-decoration: none; }
 * 1) p-logo {
 * 1) p-logo h5 { display: none; }
 * 2) p-logo a,
 * 3) p-logo a:hover {

/*
 * the navigation portlet

position:relative; z-index:3; }
 * 1) p-nav {

/*   position:relative; z-index:3; }       text-align: center; } input.searchButton { margin-top:1px; padding: 0 0.4em !important; font-size: 95%; cursor: pointer; background-color: White; border: 1px solid #2f6fab; }   border: 1px solid #2f6fab; width:10.9em; margin: 0 0 0 0; font-size: 95%; }   padding: 0.5em 0.4em 0.4em 0.4em; }
 * Search portlet
 * 1) p-search {
 * 1) p-search {
 * 1) p-search .pBody {
 * 1) searchInput {
 * 1) p-search .pBody {

/*
 * the personal toolbar

width:100%; white-space:nowrap; padding:0 0 0 0; margin:0; position:absolute; left:0px; top:0px; z-index: 0; border: none; background: none; overflow: visible; line-height: 1.2em; }
 * 1) p-personal {

display:none; }   padding:0; margin:0; border: none; z-index:0; overflow: visible; background: none; } /* this is the ul contained in the portlet */ border: none; line-height: 1.4em; color: #2f6fab; padding: 0em 2em 0 3em; margin: 0; text-align: right; text-transform: lowercase; list-style: none; z-index:0; background: none; }   z-index:0; border:none; padding:0; display: inline; color: #2f6fab; margin-left: 1em; line-height: 1.2em; background: none; }   text-decoration: none; color: #005896; padding-bottom: 0.2em; background: none; }   background-color: White; padding-bottom: 0.2em; text-decoration: none; }
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 * 1) p-personal .portlet,
 * 2) p-personal .pBody {
 * 1) p-personal ul {
 * 1) p-personal li {
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/* the icon in front of the user name, single quotes in bg url to hide it from iemac */ li#pt-userpage, li#pt-anonuserpage, li#pt-login { background: url('user.gif') top left no-repeat; background-repeat: no-repeat; padding-left: 20px; text-transform: none; }

/*   position:absolute; top: 1.3em; left: 11.5em; margin: 0; white-space:nowrap; width: 76%; line-height: 1.1em; overflow: visible; background: none; border-collapse: collapse; padding-left: 1em; list-style: none; font-size: 95%; }   list-style: none; }   display: inline; border: 1px solid #aaaaaa; border-bottom: none; padding: 0 0 0.1em 0; margin: 0 0.3em 0 0; overflow: visible; background: White; }   border-color: #fabd23; padding: 0 0 0.2em 0; }   background-color: White; color: #002bb8; border: none; padding: 0 0.8em 0.3em 0.8em; text-decoration: none; text-transform: lowercase; position: relative; z-index: 0; margin: 0; }   z-index: 3; text-decoration: none; }   padding-left: 0.4em; padding-right: 0.4em; } /* offsets to distinguish the tab groups */ li#ca-talk { margin-right: 1.6em; } li#ca-watch, li#ca-watch { margin-left: 1.6em; }
 * the page-related actions- page/talk, edit etc
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 * 1) p-cactions {
 * 1) p-cactions .hiddenStructure { display: none; }
 * 2) p-cactions ul {
 * 1) p-cactions li {
 * 1) p-cactions li.selected {
 * 1) p-cactions li a {
 * 1) p-cactions .selected a { z-index: 3; }
 * 2) p-cactions .new a { color:#ba0000; }
 * 3) p-cactions li a:hover {
 * 1) p-cactions h5 { display: none; }
 * 2) p-cactions li.istalk { margin-right: 0; }
 * 3) p-cactions li.istalk a { padding-right: 0.5em; }
 * 4) p-cactions #ca-addsection a {

/*   position:relative; z-index:3; }
 * the remaining portlets
 * 1) p-tbx,
 * 2) p-lang {
 * 1) p-lang {

/*   background-color: White; border-top: 1px solid #fabd23; border-bottom: 1px solid #fabd23; margin: 0.6em 0em 1em 0em; padding: 0.4em 0em 1.2em 0em; text-align: center; font-size: 90%; }   display: inline; margin: 0 1.3em; } /* hide from incapable browsers */ head:first-child+body #footer li { white-space: nowrap; } margin: 0 8px; position: relative; top: -2px; /* Bump it up just a tad */ }   float: right; height: 1%; }   float: left; height: 1%; }
 * footer
 * 1) footer {
 * 1) footer {
 * 1) footer li {
 * 1) f-poweredbyico, #f-copyrightico {
 * 1) f-poweredbyico {
 * 1) f-copyrightico {

/* js pref toc */ float: left; margin: 1em 1em 1em 1em; width: 13em; }   background-color:#f9f9f9; border:1px dashed #aaaaaa; }   display: block; color: #0014a6; }   clear: both; float: left; margin-top: 1em; } div.prefsectiontip { font-size: 95%; margin-top: 1em; } fieldset.operaprefsection { margin-left: 15em }
 * 1) preftoc {
 * 1) preftoc li { border: 1px solid White; }
 * 2) preftoc li.selected {
 * 1) preftoc a,
 * 2) preftoc a:active {
 * 1) prefcontrol {

/* /* tabs: border on the a, not the div */ border: 1px solid #aaaaaa; border-bottom: none; } /* footer icons need a fixed width */ overflow-x: auto; width: 100%; padding-bottom: 25px; }
 * IE/Mac fixes, hope to find a validating way to move this
 * to a separate stylesheet. This would work but doesn't validate:
 * @import("IEMacFixes.css");
 * > html #p-cactions li { border:none; }
 * > html #p-cactions li a {
 * > html #p-cactions li.selected a { border-color: #fabd23; }
 * > html #f-poweredbyico,
 * > html #f-copyrightico { width: 88px; }
 * > html #bodyContent,
 * > html #bodyContent pre {

/* more IE fixes */ /* float/negative margin brokenness */ display: inline; margin-bottom: 0; }
 * html #footer {margin-top: 0;}
 * html #column-content {
 * html div.editsection { font-size: smaller; }
 * 1) pagehistory li.selected { position: relative; }

/* Mac IE 5.0 fix; floated content turns invisible */ float: none; }   position: absolute; left: 0; top: 0; }   margin-left: 13.2em; }
 * > html #column-content {
 * > html #column-one {
 * > html #footer {

.printfooter { display: none; }

.sharedUploadNotice { font-style: italic; }

title: User:Joel.davies/myskin.css


text:
Talk:Methetherial

This page was voted on for deletion at Votes for deletion/Methetherial. The final result was Merge with Frederic William Henry Myers. --Deathphoenix 15:55, 14 Jun 2005 (UTC)

title: Talk:Methetherial


text:
Battle of Somosierra

The Battle of Somosierra took place on 30 November 1808, during the Peninsular War, when a combined Franco-Spanish-Polish force under the direct command of Napoleon Bonaparte forced a passage through a Spanish Division stationed at the Sierra de Guadarrama, which shielded Madrid from direct French attack. At the Somosierra mountain pass, 60 mi north of Madrid, a heavily outnumbered Spanish detachment of regulars, volunteers and artillery under Benito de San Juan aimed to block Napoleon's advance on the Spanish capital. Napoleon overwhelmed the Spanish positions in a combined arms attack, sending the Polish Chevau-légers of the Imperial Guard at the Spanish guns while French infantry advanced up the slopes. The victory removed the last obstacle barring the road to Madrid, which fell several days later.

Background
Napoleon's invasion of Spain had started with the Battle of Zornoza. By late November 1808 the French Grande Armée had overwhelmed and destroyed both wings of the Spanish popular army. To complete his reconquest of Spain, Napoleon advanced on Madrid with 40,000 men. General San Juan mustered an ad hoc army of militia, reservists and various regular regiments still reeling from earlier defeats – in all about 12,000 men – to defend Madrid. In order to screen the many approaches to the city, San Juan dispersed his already greatly outnumbered forces. Under his orders, 9,000 men were sent west to guard the Guadarrama pass while 3,000 occupied an advanced post at Sepúlveda, leaving only 9,000 men and 16 guns on the heights of Somosierra. The nature of the terrain and the tenacity of the Spaniards initially worked in their favor.

On the evening of 28 November the brigade at Sepúlveda made up of the 3rd Battalion of the Walloon Guards, the Jaén and Irlanda Regiments and the 1st Battalion of the Seville Volunteers repulsed a French attack by the two Fusilier Regiments of the Middle Guard commanded by General Savary. The Spanish were forced to withdraw in the gathering darkness when their cavalry was defeated by the cavalry brigade of General Lasalle. On the morning of 30 November, Napoleon advanced his infantry directly toward the pass while small detachments crept up the flanks. Exchanging musket volleys with the defenders, the French made slow but measurable progress toward the enemy guns.

Battle
Because the Spanish forces could not easily be outflanked by infantry movement, and Napoleon was impatient to proceed, he ordered his Polish Chevaux-Légers escort squadron of 125 men to charge the Spaniards and their fortified artillery batteries. To that number must be added members of other squadrons, totaling some 450 men, but these entered the battle later. The charge of 125 against the batteries was joined by Niegolewski's platoon returning from reconnaissance. It is not clear, however, whether the number included only front-line troops (sabres) or all the soldiers in the units. Napoleon issued no written orders. Jan Kozietulski, who commanded the 3rd squadron that day, mentioned that he called, "Lekka jazda kłusem!" ("Light cavalry at the trot!") and, passing the little bridge, added, "En avant, Vive l'Empereur!" (Forward, long live the Emperor!") Some authors have assumed that Napoleon had gone out of his mind in ordering the Poles to charge batteries of 16 cannon over several kilometers of extremely difficult terrain. Others however, think Napoleon ordered only the closest battery to be taken, in order to open the way for his infantry, and that Kozietulski had misunderstood the order. No matter – once the charge had begun, and the chevaux-légers found themselves under fire from the second battery, they had no choice but to press the attack, as the horses went to the highest speed and were unable to stop. They took the second and third batteries but only a few chevaux-légers reached the last battery, and the Spanish attempted to recapture it. It was then that Napoleon saw his chance and immediately committed the other squadrons.

Benito de San Juan had 16 cannons at his disposal, arranged in four batteries. Some accounts, based mostly on recollections of French officers, assume that the Spaniards placed all their guns at the peak of Somosierra pass. However, with a range of 600–800 metres, the cannons, deployed in this fashion, could not have struck much of the French army—and there were reports that Napoleon himself was at times under artillery fire. The first battery defended the entrance to the Somosierra pass, the next two covered the pass at its angles and the fourth, only, stood by the heights. It was assumed that all batteries had four cannons, and later theories that the pass was too narrow for that to be possible should be treated as legends. 13th Bulletin of the Army of Spain mentioned that chevau-légers were commanded by Gen. Louis Pierre, Count Montbrun. However, both Polish charge participants mentioned above and Lt. Col. Pierre Dautancourt, one of the French tutors of the unit, stressed in their accounts that such was not the case. Datancourt mentioned that Montbrun in conversations with him had laughed at that idea. Yet French historian Adolphe Thiers gave him the honor of leading the charge, which caused a protest by surviving Polish participants of the battle. Maj. Philippe de Ségur in his memoirs wrote that he had commanded the charge, but his accounts were often described as unreliable and, again, both Dautancourt and the Poles denied his role in it. The charge was led by Kozietulski, but he lost his horse after taking the first battery. The squadron was then joined by Lt. Andrzej Niegolewski, who had previously been on reconnaissance with his soldiers. The charge was continued under Dziewanowski, and when he fell from his horse after taking the third battery he was replaced by Piotr Krasiński. The charge that continued to the last battery was led by Niegolewski, who miraculously survived a fierce attack by Spanish troops – he received nine wounds from bayonets and two carbine shots to the head.

According to many memoirs of veterans of the battle, Kozietulski led his men in a charge with the official cry Vive l'Empereur. However, popular legend has it that the true battle cry was the Polish Naprzód psiekrwie, Cesarz patrzy – Forward dammit, the Emperor is watching. Cf. word of Cambronne

When the fourth battery was taken Napoleon ordered his Chasseurs of the Guard and the 1st squadron of Poles led by Tomasz Łubieński to resume the attack and drive the Spaniards from the Pass. Łubieński tried to give himself the whole glory, minimizing the role of the third squadron (while Niegolewski tried to show that he had taken the cannons and Łubieński had therefore had it easy, as the Spanish were shooting at him "with candies").

Charge effects
The 13th bulletin of the Army of Spain mentioned the lead role of the Polish chevaux-légers. Only a cavalry charge was able to take all four batteries, even if French infantry was close enough to press their attack, and caused the en-masse retreat of Spanish Andalusian irregular militia and, in effect, the retreat of the whole army. Spanish artillerymen preferred to die rather than abandon their position – but no Polish account mentioned any fight with Spanish militia. Militiamen just left their position after seeing how seemingly easily the Poles took the artillery positions – however, in the smoke they could not see just how few Poles were on the top.

Aftermath
Napoleon's invasion of Spain ended successfully with the French occupation of Madrid.

Moore was killed at the end of the Corunna campaign, that commenced with the Battle of Cardedeu.

The next battle Napoleon commanded personally was the Battle of Teugen-Hausen on 19 April 1809.

Madrid
San Juan raced his army back to Madrid. Although the victory at Somosierra was more accurately the result of a combined infantry and cavalry attack, with the infantry bearing the heavier fighting, later accounts – Napoleon's included – placed all the emphasis on the Polish charge. San Juan was later killed by his own men. French patrols reached the outskirts of Madrid on 1 December. The Junta made a half-hearted and futile attempt to defend the capital, and on 4 December a devastating French artillery barrage brought the Spanish defence to grief. Spaniards surrendered their remaining 2,500 regulars; the 20,000 civilians under their banner dispersed; and the French entered Madrid for the second time that year.

In popular culture
The Battle of Somosierra is commemorated on the Tomb of the Unknown Soldier, Warsaw, with the inscription "SOMOSIERRA 30 XI 1808".

title: Battle of Somosierra