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La source (Saint-Léon)

La source (The Spring) is a ballet in three acts/four scenes with a score composed by Léo Delibes and Ludwig Minkus (Minkus: Act I & Act III-Scene 2/Delibes: Act II & Act III-Scene 1) which was premiered in Paris in 1866 with choreography by Arthur Saint-Léon. In 1878 in Vienna it was called Naïla, die Quellenfee (Naïla, the Waternymph).

History
The choreography was by Arthur Saint-Léon, who collaborated with Charles Nuitter in the libretto. The original designs were by Édouard Desplechin, Jean-Baptiste Lavastre, Auguste Rubé, Chaperon (sets) and Paul Lormier (costumes). The first production opened at the Théâtre Impérial de l´Opéra in Paris on 12 November 1866, with Guglielmina Salvioni (Naïla), Eugenie Fiocre (Nouredda) and Louis Mérante (Djémil) in the principal roles. The production was not particularly successful, Salvioni being considered unsuited to the rôle of Naïla. It triumphed in the following year, however, with Adèle Grantzow as Naïla, and remained a mainstay of the repertory for the next few years. A successful revival in 1872 showcased Rita Sangalli in the principal rôle, and it was for this production that the new variations for Naïla were introduced, the music most likely by Delibes himself (Nos. 12b and 23a in the list of musical numbers in the piano score, see below).

Delibes was second chorus master at the Paris Opera and had until then written operettas, songs and sacred music. A comparison of the music of the two composers greatly favoured Delibes, whose contributions were considered "fresh and more rhythmic", with one critic suggesting that the whole ballet score should have been assigned to Delibes. La source was his first big success, marking him as an important composer for the ballet.

La source was produced in St Petersburg in 1902 with Olga Preobrajenska as Naïla, choreographed by Achille Coppini. In 1907 Nijinsky made his solo debut in the last act of La source at the Mariinsky.

The ballet was revived in 1925 by Agrippina Vaganova to the Theatre of Opera and Ballet in Leningrad to her pupil Marina Semyonova – Marina Semyonova started to work on the scene from this ballet.

A video of the La source pas de deux taken from the 2008 graduation performance of the Vaganova Academy of Russian Ballet at the Mariinsky Theatre, St. Petersburg, may be found on YouTube, the choreography credited to Konstantin Sergeyev after Coppini and possibly created for Preobrajenskaya; the music is by Riccardo Drigo, composer of most of the additional dances added to the company's repertory in the early 20th century.

Synopsis
Act 1. On her way to marry the Khan of Ghendjib, the beautiful Nouredda and her accompanying party rest by a stream in a rocky desert. When Nouredda admires a flower which is growing in an inaccessible spot, Djémil, a young hunter, climbs up and picks it for her. Nouredda is thrilled and asks him to state whatever he wishes as his reward. He asks her to lift her veil so that he can see her face: in fury she orders that he be tied up and left to his fate. However, the nymph Naïla rescues him; she is in love with him and promises to help him win the hand of Nouredda.

Act 2. In the grand palace gardens, where the court of Khan is awaiting Nouredda's arrival, entertainment is offered to the guests: a solo for the favourites and a dance for Circassian slaves. A fanfare proclaims a visitor, incognito (Djémil), who proffers presents for the Khan and his bride. The visitor asks Nouredda to choose any of the gifts and she selects a jewelled flower. Djémil throws it on the ground and magically a spring gushes forth from this spot and Naïla emerges from the fountain. She dances, entrancing the Khan, who kneels in front of her and he implores her to become his wife. She consents, provided he dismisses Nouredda, who angrily goes off as the Khan leads Naïla inside the palace.

Act 3. Djémil can now pursue Nouredda but she still rejects him; so he appeals to Naïla, who says that if he gets Nouredda to love him she herself will die. Djémil agrees, and as he departs with Nouredda, Naïla disappears back into the earth and the spring dries up.

Musical numbers, following the piano score of 1880
Act 1 (Léon Minkus)
 * Prélude
 * 1. Introduction fantastique
 * 2. L'Ephémère – Scène dansée
 * 3. Scène
 * 4. Marche de la caravane
 * 5. Berceuse
 * 6. Pas de la guzla
 * a) Andantino
 * b) Vivace
 * 7. Scène
 * 8. Scène dansée (Apparition de Naïla)
 * 9. Valse
 * 10. Scène et danse
 * 11. Danse des sylphes et des lutins
 * 12. Variation
 * a) Variation de Naïla (Mlle. Salvioni) (1860)
 * b) Nouvelle variation de Naíla (Mlle. Sangalli) (1872, replacing No. 12a)
 * 13. Scène et danse
 * 14. Galop
 * 15. Scène finale

Act 2 (Léo Delibes)
 * Introduction
 * 16. Scène
 * 17. Scène: Arrivée de Nouredda
 * 18. Divertissement
 * a) Pas des voiles
 * b) Andante
 * c) Variation
 * d) Danse circassienne
 * 19. Scène
 * 20. Pas de Naïla. Scherzo-Polka
 * 21. Scène et pas d'action
 * 22. Mazurka
 * 23 Scène
 * a) Nouvelle variation de Naïla (Mlle Sangalli) (1872, replacing No. 20)
 * b) Scène
 * 24. Marche dansée et final

Act 3, Scene 1 (Léo Delibes)
 * Introduction
 * 25. Scène
 * 26. Romance
 * 27. Final

Act 3, Scene 2 (Léon Minkus)
 * 28 Scène
 * 29 Scène et danse

The 'Naïla' valse
Delibes was asked in 1867 to add a divertissement, known as either 'Le jardin animé' or 'Le pas des fleurs', to a revival of Adolphe Adam's ballet 'Le Corsaire'. Part of his contribution was the waltz frequently known as the 'Naïla' waltz. It appears that it was transferred to one of the productions of 'La Source' when it was performed under the name of 'Naïla'. There are references to a version of that name using only Delibes's original music, although exact details are elusive. One might assume that it was for this production that the 'Le Corsaire' divertissement found its way into the score of 'Naïla'.

La Source suites
Three orchestral suites consisting of excerpts from the ballet were arranged either by Delibes or another hand. The 2nd suite contains some music by Minkus, although the suites are attributed to Delibes.

Suite 1
 * a) Pas des écharpes (No. 18a, 'Pas des voiles', Delibes)
 * b) Variation (No. 18c, 'Variation', Delibes)
 * c) Scène d'amour (No. 18b, 'Andante', Delibes)
 * d) Danse circassienne (No. 18d, 'Danse circassienne', Delibes)

Suite 2
 * a) Scène dansée (A conflation of parts of No. 19, 'Scène', No. 17, 'Scène. Arrivée de Nouredda' and No. 16, 'Scène', all Delibes.)
 * b) Scherzo-Polka (No. 20, 'Scherzo-Polka', Delibes)
 * c) Pas de la guzla (No. 6a, '[Pas de la guzla] Andantino', Minkus, followed by part of No. 16, 'Scène', Delibes)
 * d) Marche dansée et Final (No. 23b, 'Scène', Delibes, followed by No. 24, 'Marche dansée et Final', Delibes)

Suite 3
 * a) Incantation (Sections 2 and 3 of No. 25, 'Scène', Delibes, arranged in reverse order)
 * b) Romance (Section 1 of No. 25, 'Scène', Delibes, followed by No. 26, 'Romance', Delibes)
 * c) Introduction et Mazurka (No. 23a, 'Nouvelle Variation de Naïla', Delibes, followed by No. 22, 'Mazurka', Delibes.)
 * d) Finale (Opening measures of No. 16, 'Scène', followed by No. 21, 'Grand Pas d'action', and slightly abbreviated arrangement of No. 27, 'Final'. Delibes)

The suites contain almost all of Delibes's contribution to La Source, albeit arranged in an order designed for concert performance.

Other productions

 * Teatro alla Scala with choreography by Cesare Marzagora after Saint-Léon, Milan, 1875/1876
 * New York City Ballet, choreography by George Balanchine, premiere 23 November, New York State Theater, Lincoln Center, 1968

Discography
Complete score (with cuts)
 * Richard Bonynge and the Orchestra of the Royal Opera House (1990) (Decca)

Suites
 * Andrew Mogrelia and the Slovak Radio Orchestra (1995) (Naxos) – Suites 2 and 3 only
 * Victor Olof and the Suisse Romande Orchestra (1953) (Decca) – Suite 1 only (LW 5034)

Excerpts from Delibes part of the score
 * Charles Mackerras and the Orchestra of the Royal Opera House (1956) (EMI)
 * Peter Maag and the Paris Conservatoire Orchestra (1958) (Decca)

Le jardin animé – Delibes contribution to Adolphe Adam's 'Le Corsaire', including the 'Naïla' waltz
 * Richard Bonynge and the English Chamber Orchestra (1992) (Decca)

The CHARM database also lists other recordings of excerpts from the ballet: the Orchestre du Théâtre national de l'Opéra-Comique conducted by Albert Wolff (1956) for Pathé, and the Orchestre philharmonique de Paris conducted by Gustave Cloëz (1930) for Odéon.

title: La source (Saint-Léon)


text: Category:Lebanese cuisine

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

title: Category:Lebanese cuisine


text:
Tissue paper

Tissue paper or simply tissue is a lightweight paper or, light crêpe paper. Tissue can be made from recycled paper pulp on a paper machine.

Tissue paper is very versatile, and different kinds of tissue are made to best serve these purposes, which are hygienic tissue paper, facial tissues, paper towels, as packing material, among other (sometimes creative) uses.

The use of tissue paper is common in developed nations, around 21 million tonnes in North America and 6 million in Europe, and is growing due to urbanization. As a result, the industry has often been scrutinized for deforestation. However, more companies are presently using more recycled fibres in tissue paper.

Properties
The key properties of tissues are absorbency, basis weight, thickness, bulk (specific volume), brightness, stretch, appearance and comfort.

Production

Tissue paper is produced on a paper machine that has a single large steam heated drying cylinder (Yankee dryer) fitted with a hot air hood. The raw material is paper pulp. The Yankee cylinder is sprayed with adhesives to make the paper stick. Creping is done by the Yankee's doctor blade that is scraping the dry paper off the cylinder surface. The crinkle (crêping) is controlled by the strength of the adhesive, geometry of the doctor blade, speed difference between the Yankee and final section of the paper machine and paper pulp characteristics.

The highest water absorbing applications are produced with a through air drying (TAD) process. These papers contain high amounts of NBSK and CTMP. This gives a bulky paper with high wet tensile strength and good water holding capacity. The TAD process uses about twice the energy compared with conventional drying of paper.

The properties are controlled by pulp quality, crêping and additives (both in base paper and as coating). The wet strength is often an important parameter for tissue.

Hygienic tissue paper
Hygienic tissue paper is commonly for personal use as facial tissue (paper handkerchiefs), napkins, bathroom tissue and household towels. Paper has been used for hygiene purposes for centuries, but tissue paper as we know it today was not produced in the United States before the mid-1940s. In Western Europe large scale industrial production started in the beginning of the 1960s.

Facial tissues
Facial tissue (paper handkerchiefs) refers to a class of soft, absorbent, disposable paper that is suitable for use on the face. The term is commonly used to refer to the type of facial tissue, usually sold in boxes, that is designed to facilitate the expulsion of nasal mucus although it may refer to other types of facial tissues including napkins and wipes.

The first tissue handkerchiefs were introduced in the 1920s. They have been refined over the years, especially for softness and strength, but their basic design has remained constant. Today each person in Western Europe uses about 200 tissue handkerchiefs a year, with a variety of 'alternative' functions including the treatment of minor wounds, the cleaning of face and hands and the cleaning of spectacles.

The importance of the paper tissue on minimising the spread of an infection has been highlighted in light of fears over a swine flu epidemic. In the UK, for example, the Government ran a campaign called "Catch it, Bin it, Kill it", which encouraged people to cover their mouth with a paper tissue when coughing or sneezing.

Pressure on use of tissue papers has grown in the wake of improved hygiene concerns in response to the coronavirus pandemic.

Paper towels
Paper towels are the second largest application for tissue paper in the consumer sector. This type of paper has usually a basis weight of 20 to 24 g/m2. Normally such paper towels are two-ply. This kind of tissue can be made from 100% chemical pulp to 100% recycled fibre or a combination of the two. Normally, some long fibre chemical pulp is included to improve strength.

Wrapping tissue
Wrapping tissue is a type of thin, translucent tissue paper used for wrapping/packing various articles and cushioning fragile items.

Custom-printed wrapping tissue is becoming a popular trend for boutique retail businesses. There are various on-demand custom printed wrapping tissue paper available online. Sustainably printed custom tissue wrapping paper are printed on FSC-certified, acid-free paper; and only use soy-based inks.

Toilet paper
Rolls of toilet paper have been available since the end of the 19th century. Today, more than 20 billion rolls of toilet tissue are used each year in Western Europe. Toilet paper brands include, Andrex (United Kingdom), Charmin (United States) and Quilton (Australia), among many others.

Table napkins
Table napkins can be made of tissue paper. These are made from one up to four plies and in a variety of qualities, sizes, folds, colours and patterns depending on intended use and prevailing fashions. The composition of raw materials varies a lot from deinked to chemical pulp depending on quality.

Acoustic disrupter
In the late 1970s and early 1980s, a sound recording engineer named Bob Clearmountain was said to have hung tissue paper over the tweeter of his pair of Yamaha NS-10 speakers to tame the over-bright treble coming from it.

The phenomenon became the subject of hot debate and an investigation into the sonic effects of many different types of tissue paper. The authors of a study for Studio Sound magazine suggested that had the speakers' grilles been used in studios, they would have had the same effect on the treble output as the improvised tissue paper filter. Another tissue study found inconsistent results with different paper, but said that tissue paper generally demonstrated an undesirable effect known as "comb filtering", where the high frequencies are reflected back into the tweeter instead of being absorbed. The author derided the tissue practice as "aberrant behavior", saying that engineers usually fear comb filtering and its associated cancellation effects, suggesting that more controllable and less random electronic filtering would be preferable.

Road repair
Tissue paper, in the form of standard single-ply toilet paper, is commonly used in road repair to protect crack sealants. The sealants require upwards of 40 minutes to cure enough to not stick onto passing traffic. The application of toilet paper removes the stickiness and keeps the tar in place, allowing the road to be reopened immediately and increasing road repair crew productivity. The paper breaks down and disappears in the following days. The use has been credited to Minnesota Department of Transportation employee Fred Muellerleile, who came up with the idea in 1970 after initially trying standard office paper, which worked, but did not disintegrate easily.

Packing industry
Apart from above, a range of speciality tissues are also manufactured to be used in the packing industry. These are used for wrapping/packing various items, cushioning fragile items, stuffing in shoes/bags etc. to keep shape intact or, for inserting in garments etc. while packing/folding to keep them wrinkle free and safe. It is generally used printed with the manufacturers brand name or, logo to enhance the look and aesthetic appeal of the product. It is a type of thin, translucent paper generally in the range of grammages between 17 and 40 GSM, that can be rough or, shining, hard or soft, depending upon the nature of use.

The industry
In North America, people are consuming around three times as much tissue as in Europe. Out of the world's estimated production of 21 e6t of tissue, Europe produces approximately 6 e6t.

The European tissue market is worth approximately 10 billion Euros annually and is growing at a rate of around 3%. The European market represents around 23% of the global market. Of the total paper and board market tissue accounts for 10%. An analysis and market research in Europe, Germany was one of the top tissue-consuming countries in Western Europe while Sweden was on top of the per-capita consumption of tissue paper in Western Europe. Market Study.

In Europe, the industry is represented by the European Tissue Symposium (ETS), a trade association. The members of ETS represent the majority of tissue paper producers throughout Europe and about 90% of total European tissue production. ETS was founded in 1971 and is based in Brussels since 1992.

In the U.S., the tissue industry is organized in the AF&PA.

Tissue paper production and consumption is predicted to continue to grow because of factors like urbanization, increasing disposable incomes and consumer spending. In 2015, the global market for tissue paper is growing at per annum rates between 8–9% (China, currently 40% of global market) and 2–3% (Europe). Tissue demand on the consumer side booms while the AfH business turns down as majority stay at home amid COVID-19.

Companies
The largest tissue producing companies by capacity – some of them also global players – in 2015 are (in descending order):
 * 1) Essity
 * 2) Kimberly-Clark
 * 3) Georgia-Pacific
 * 4) Asia Pulp & Paper (APP)/Sinar Mas
 * 5) Procter & Gamble
 * 6) Sofidel Group
 * 7) CMPC
 * 8) WEPA Hygieneprodukte
 * 9) Metsä Group
 * 10) Cascades

Sustainability
The paper industry in general has a long history of accusations for being responsible for global deforestation through legal and illegal logging. The WWF has urged Asia Pulp & Paper (APP), "one of the world's most notorious deforesters" especially in Sumatran rain forests, to become an environmentally responsible company; in 2012, the WWF launched a campaign to remove a brand of toilet paper known to be made from APP fiber from grocery store shelves. According to the Worldwatch Institute, the world per capita consumption of toilet paper was 3.8 kilograms in 2005. The WWF estimates that "every day, about 270,000 trees are flushed down the drain or end up as garbage all over the world", a rate of which about 10% are attributable to toilet paper alone.

Meanwhile, the paper tissue industry, along with the rest of the paper manufacturing sector, has worked to minimise its impact on the environment. Recovered fibres now represent some 46.5% of the paper industry's raw materials. The industry relies heavily on biofuels (about 50% of its primary energy). Its specific primary energy consumption has decreased by 16% and the specific electricity consumption has decreased by 11%, due to measures such as improved process technology and investment in combined heat and power (CHP). Specific carbon dioxide emissions from fossil fuels decreased by 25% due to process-related measures and the increased use of low-carbon and biomass fuels. Once consumed, most forest-based paper products start a new life as recycled material or biofuel

EDANA, the trade body for the non-woven absorbent hygiene products industry (which includes products such as household wipes for use in the home) has reported annually on the industry's environmental performance since 2005. Less than 1% of all commercial wood production ends up as wood pulp in absorbent hygiene products. The industry contributes less than 0.5% of all solid waste and around 2% of municipal solid waste (MSW) compared with paper and board, garden waste and food waste which each comprise between 18 and 20 percent of MSW.

There has been a great deal of interest, in particular, in the use of recovered fibres to manufacture new tissue paper products. However, whether this is actually better for the environment than using new fibres is open to question. A life-cycle assessment study indicated that neither fibre type can be considered environmentally preferable. In this study both new fibre and recovered fibre offer environmental benefits and shortcomings.

Total environmental impacts vary case by case, depending on for example the location of the tissue paper mill, availability of fibres close to the mill, energy options and waste utilization possibilities. There are opportunities to minimise environmental impacts when using each fibre type.

When using recovered fibres, it is beneficial to: When using new fibres, it is beneficial to: When using either fibre type, it is beneficial to:
 * Source fibres from integrated deinking operations to eliminate the need for thermal drying of fibre or long distance transport of wet pulp,
 * Manage deinked sludge in order to maximise beneficial applications and minimise waste burden on society; and
 * Select the recovered paper depending on the end-product requirements and that also allows the most efficient recycling process.
 * Manage the raw material sources to maintain legal, sustainable forestry practices by implementing processes such as forest certification systems and chain of custody standards; and
 * Consider opportunities to introduce new and more renewable energy sources and increase the use of biomass fuels to reduce emissions of carbon dioxide.
 * Improve energy efficiency in tissue manufacturing;
 * Examine opportunities for changing to alternative, non fossil based sources, of energy for tissue manufacturing operations
 * Deliver products that maximise functionality and optimize consumption; and
 * Investigate opportunities for alternative product disposal systems that minimize the environmental impact of used products.

The Confederation of European Paper Industries (CEPI) has published reports focusing on the industry's environmental credentials. In 2002, it noted that "a little over 60% of the pulp and paper produced in Europe comes from mills certified under one of the internationally recognised eco-management schemes". There are a number of ‘eco-labels’ designed to help consumers identify paper tissue products which meet such environmental standards. Eco-labelling entered mainstream environmental policy-making in the late seventies, first with national schemes such as the German Blue Angel programme, to be followed by the Nordic swan (1989). In 1992 a European eco-labelling regulation, known as the EU Flower, was also adopted. The stated objective is to support sustainable development, balancing environmental, social and economical criteria.

In 2019, the NRDC and Stand.earth released a report grading various brands of toilet paper, paper towels, and facial tissue; the report criticized major brands for lacking recycled material.

Types of eco-labels
There are three types of eco-labels, each defined by ISO (International Organization for Standardization).

Type I: ISO 14024 This type of eco-label is one where the criteria are set by third parties (not the manufacturer). They are in theory based on life cycle impacts and are typically based on pass/fail criteria. The one that has European application is the EU Flower.

Type II: ISO 14021 These are based on the manufacturers or retailers own declarations. Well known amongst these are claims of "100% recycled" in relation to tissue/paper.

Type III: ISO 14025 These claims give quantitative details of the impact of the product based on its life cycle. Sometimes known as EPDs (Environmental Product Declarations), these labels are based on an independent review of the life cycle of the product. The data supplied by the manufacturing companies are also independently reviewed.

The most well known example in the paper industry is the Paper Profile. You can tell a Paper Profile meets the Type III requirements when the verifiers logo is included on the document.

An example of an organization that sets standards is the Forest Stewardship Council.

title: Tissue paper


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Indianisation (British India)

Indianisation of British colonial bureaucracy was a process introduced in the later period of British India (early 20th century) whereby Indian officers were promoted to more senior positions in government services, formerly reserved for the British. In the Indian police, the rank of Deputy Superintendent was introduced to prepare Indian officers for promotion to higher rank. In the armed forces, the process referred to the replacement of British officers by Indians. The progress was slow and unsatisfactory to the Indian nationalist politicians, however events, mainly the Second World War and the partition and independence which followed it, overtook the programme.

Indian Armed force
First mooted by Sir Henry Lawrence in 1844 as way to retain Indian sepoys (soldiers) in the British-Indian military service, thereby preventing them from peddling their martial expertise to Indian rulers, the Indianisation of the Indian Army's officer corps was seriously discussed by the higher echelons of the Raj as well as by Indian nationalist politicians and activists since the 1880s. The debate revolved around two inter-related questions. First, did Indians have the same aptitude for military command as the British? Second, if it was determined that they did, how would they be integrated into the Indian Army's command structure in a way that did not endanger the continuance of Britain's rule over India? The second question was especially important to the British, as the "sepoy mutiny" of 1857-8 was still fresh in their minds. Indeed, some British officers remarked that giving Indians officer training would render them too efficient and therefore dangerous, while others thought the demand was not legitimate because it was advanced by "false" urban middle-class Indians, and not by the "real" Indians of the rural "martial races" who by this time provided most of the Army's manpower and who "wisely realised" that the King's Commission was "properly reserved for the governing [ie British] race." Still others thought that the sanctioning of Indian King's Commissioned officers would negatively affect the Indian Army's efficiency. Indian nationalists, however thought that, by not allowing Indians King's Commissions, the British were not honouring the promise in the Queen's Proclamation of 1858 to open employment to Indians in all branches of British-India's government.

In 1901, Lord Curzon, one of the most controversial British Viceroys of India, sought to solve the vexing Indianisation question once and for all by founding the Imperial Cadet Corps (ICC), which was intended to provide military education and special officer commissions to Indian princes and aristocrats. The ICC failed, for two reasons. First, the special officer commissions awarded to ICC graduates were "extra-regimental" and did not bestow the holder with powers of command over anyone - British or Indian. Second, the ICC's purpose was unclear: was it to be a military training institution or a finishing school for a tiny minority of Indian princes? In 1915, the ICC was disbanded.

Had it not been for the advent of the Great War, during which India recruited about 1.3 million men for the British and Allied war effort, and increasing Indian nationalist pressure for tangible rewards for their loyalty, the Indianisation issue might have died. It didn't, and on 20 August 1917, it was announced that Indians were eligible for King's Commissions in the Indian Army. The first 9 Indians awarded King's Commissions were graduates of the ICC. Ten places were now reserved for Indians at Sandhurst. The Sandhurst training directly pitted young Indian men against young Europeans in conditions alien to their upbringing and experience, and not surprisingly the results were unsatisfactory. Of the first batch of 25 cadets admitted to Sandhurst, ten failed t`o meet the requisite standard, two died, two resigned, one was deprived of his commission, and ten passed. To remedy this, on 13 March 1922 the Prince of Wales Royal Indian Military College was established for preparing native Indian cadets for entry to Sandhurst.

In the meantime, the first measure taken by the British government to "Indianise" the army - the Eight Unit Scheme of Indianisation - was announced on 17 February 1923. Indian proposals for faster induction were rejected, and equally unrealistic plans for indianisation over forty years, with restricted kinds of commission, were suggested. Finally, only eight units of the Indian Army were accepted by the British for Indianisation - only five infantry battalions out of 104, two cavalry regiments out of 21, and one pioneer battalion out of seven. They were to be reorganised on the British Army model, with King's Commissioned Indian Officers at every officer level and Indian Warrant Officers replacing Viceroy's Commissioned Officers. The eight units selected were:
 * 7th Light Cavalry
 * 16th Light Cavalry
 * 2nd Battalion, 1st Punjab Regiment
 * 5th (Royal) Battalion, 5th Mahratta Light Infantry
 * 1st Battalion, 7th Rajput Regiment
 * 1st Battalion, 14th Punjab Regiment
 * 4th Battalion, 19th Hyderabad Regiment
 * 2nd Battalion, 1st Madras Pioneers

Of these eight units, the 2nd Battalion the 1st Madras Pioneers was disbanded in 1933 for economic reasons. However, after ten years another eight units were chosen for Indianisation, one of which was the wartime 8th Battalion the 19th Hyderabad Regiment, today the 4th Battalion, the Kumaon Regiment of the Indian Army.

Indianisation was considered a failure by the Indians, due to the refusal of the British Government to increase the extremely slow rate of induction and the reluctance of the British to accept Indian officers on an equal footing, both professionally and socially. The scheme was suspended at the outbreak of the Second World War, at which point only a handful of military units had been Indianised. The process was never reintroduced, as there was a wartime influx of Emergency Commissioned Officers, both British and British Indian, posted into all units. As a result, by the end of the war the highest-ranked British Indian was a brigadier. In 1947, India became independent, and Indian officers immediately became eligible to fill senior appointments, with accelerated promotion.

Surveyors
In 19th century Geological Survey of India GSI trained native surveyors, who were called pandit, some notable ones include cousins Nain Singh Rawat and Krishna Singh Rawat. Native surveyors undertook several surveys including Great Trigonometrical Survey, 1869 Kailash-Mansarovar expedition, 1871-1872 Shigache–Lhasa expedition, 1873-1874 Yarkand–Kashgar expedition, second expedition of this area by Sir Thomas Douglas Forsyth, 1878-1882 Darjeeling–Lhasa–Mongolia expedition, etc.

title: Indianisation (British India)


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Wrapping tissue

Wrapping tissue is a translucent, thin tissue paper used for wrapping and cushioning items.

Wrapping tissue is usually found in single sheets or sheet collections of 25, 40, or 50. White tissue is also sold specifically for bulk wrapping in reams of 480 sheets.

Some shops wrap delicate merchandise in folded or crumpled layers of tissue paper to protect it before placing it in bags or boxes for the purchaser.

Colored wrapping tissue can be used for an assortment of visually creative purposes. For example, when wet, the color bleeds a watercolor-like layer of tissue paper that stays when the tissue paper is peeled off. Tissue paper can be crumpled up to form objects, such as flowers.

Tissue paper was used by musicians in the early 1900s to play the comb, producing a sound similar to the kazoo. Jazz musician Red McKenzie was one of the best-known players.

For production wrapping tissue paper is made by the machine glaze process. A slurry of bleached wood pulp beaten together with soda ash and optical brighteners is placed on a forming wire where the water is allowed to drain away. The sheet is then pressed against a felt and pressed against a drying cylinder for the final drying step. The sheet is then pulled away from the dryer and wound up ready for further processes like calendering etc. or straightaway converting it into wrapping paper.

title: Wrapping tissue


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Snakefly

Snakeflies are a group of predatory insects comprising the order Raphidioptera with two extant families: Raphidiidae and Inocelliidae, consisting of roughly 260 species. In the past, the group had a much wider distribution than it does now; snakeflies are found in temperate regions worldwide but are absent from the tropics and the Southern Hemisphere. Recognisable representatives of the group first appeared during the Early Jurassic. They are a relict group, having reached their apex of diversity during the Cretaceous before undergoing substantial decline.

An adult snakefly resembles a lacewing in appearance but has a notably elongated thorax which, together with the mobile head, gives the group their common name. The body is long and slender and the two pairs of long, membranous wings are prominently veined. Females have a large and sturdy ovipositor which is used to deposit eggs in some concealed location. They are holometabolous insects with a four-stage life cycle consisting of eggs, larvae, pupae and adults. In most species, the larvae develop under the bark of trees. They may take several years before they undergo metamorphosis, requiring a period of chilling before pupation takes place. Both adults and larvae are predators of soft-bodied arthropods.

Description

Adult snakeflies are easily distinguished from similar insects by having an elongated prothorax but not the modified forelegs of the mantis-flies. Most species are between 15 and 30 mm in length. The head is long and flattened, and heavily sclerotised; it may be broad or taper at the back, but is very mobile. The mouthparts are strong and relatively unspecialised, being modified for biting. The large compound eyes are at the sides of the head. Members of the family Inocelliidae have no simple eyes; members of the Raphidiidae do have such eyes, but are mostly differentiated by elimination, lacking the traits found in inocelliids. The prothorax is notably elongated and mobile, giving the group its common name of snakefly. The three pairs of legs are similar in size and appearance. The two pair of dragonfly-like wings are similar in size, with a primitive venation pattern, a thickened leading edge, and a coloured wingspot, the pterostigma. Inocelliids lack a cross vein in the pterostigma that is present in raphidiids. The females in both families typically have a long ovipositor, which they use to deposit their eggs into crevices or under bark.

Distribution and habitat
Snakeflies are usually found in temperate coniferous forest. They are distributed widely around the globe, the majority of species occurring in Europe and Asia, but also being found in certain regions of Africa, western North America and Central America. In Africa, they are only found in the mountains north of the Sahara Desert. In North America, they are found west of the Rocky Mountains, and range from southwest Canada all the way to the Mexican-Guatemalan Border, which is the furthest south they have been found in the western hemisphere. In the eastern hemisphere, they can be found from Spain to Japan. Many species are found throughout Europe and Asia with the southern edge of their range in northern Thailand and northern India. Snakeflies have a relict distribution, having had a more widespread range and being more diverse in the past; there are more species in Central Asia than anywhere else. In the southern parts of their range, they are largely restricted to higher altitudes, up to around 3000 m. Even though this insect order is widely distributed, the range of individual species is often very limited and some species are confined to a single mountain range.

Life cycle
Snakeflies are holometabolous insects, having a four-stage life cycle with eggs, larvae, pupae and adults. Before mating, the adults engage in an elaborate courtship ritual, including a grooming behaviour involving legs and antennae. In raphidiids, mating takes place in a "dragging position", while in inocelliids, the male adopts a tandem position under the female; copulation may last for up to three hours in some inoceliid species. The eggs are oviposited into suitable locations and hatch in from a few days to about three weeks. The larvae have large heads with projecting mandibles. The head and the first segment of the thorax are sclerotised, but the rest of the body is soft and fleshy. They have three pairs of true legs, but no prolegs. However, they do possess an adhesive organ on the abdomen, which they can use to fasten themselves to vertical surfaces.

There is no set number of instars the larvae will go through, some species can have as many as ten or eleven. The larval stage usually lasts for two to three years, but in some species can extend for six years. The final larval instar, the prepupal stage, creates a cell in which the insect pupates. The pupa is able to bite when disturbed, and shortly before the adult emerges, it gains the ability to walk and often leaves its cell for another location. All snakeflies require a period of cool temperatures (probably around 0 °C) to induce pupation. The length of the pupation stage is variable. Most species pupate in the spring or early summer, and take a few days to three weeks before ecdysis. If the larvae begin pupation in the late summer or early fall, they can take up to ten months before the adults emerge. Insects reared at constant temperatures in a laboratory may become "prothetelous", developing the compound eyes and wingpads of pupae, but living for years without completing metamorphosis.

Ecology
Adult snakeflies are territorial and carnivorous organisms. They are diurnal and are important predators of aphids and mites. Pollen has also been found in the guts of these organisms and it is unclear whether they require pollen for part of their lifecycle or if it is a favoured food source. The larvae of many raphidiids live immediately below the bark of trees, although others live around the tree bole, in crevices in rocks, among leaf litter and in detritus. Here they feed on the eggs and larvae of other arthropods such as mites, springtails, spiders, barklice, sternorrhynchids and auchenorrhynchids. The actual diets of the larvae vary according to their habitats, but both larvae and adults are efficient predators.

Predators of snakeflies include birds; in Europe, these are woodland species such as the treecreeper, great spotted woodpecker, wood warbler, nuthatch, and dunnock, as well as generalist insect-eating species such as the collared flycatcher. Typically 5-15% of snakefly larvae are parasitized, mainly by parasitoid wasps, but rates as high as 50% have been observed in some species.

Evolution
During the Mesozoic era (252 to 66 mya), there was a large and diverse fauna of Raphidioptera as exemplified by the abundant fossils that have been found in all parts of the world. This came to an abrupt end at the end of the Cretaceous period, likely as a result of the Cretaceous–Paleogene extinction event (66 mya) when an enormous asteroid is thought to have hit the Earth. This seems to have extinguished all but the most cold-tolerant species of snakefly, resulting in the extinction of the majority of families, including all the tropical and sub-tropical species. The two families of present-day Raphidioptera are thus relict populations of this previously widespread group. They have been considered living fossils, because modern-day species closely resemble species from the early Jurassic period (140 mya). There are about 260 extant species.

Fossil history
Several extinct families are known only from fossils dating from the Lower Jurassic to the Miocene, the great majority of them belonging to the suborder Raphidiomorpha. The transitional Middle Jurassic Juroraphidiidae form a clade with the Raphidiomorpha.

Phylogeny
Molecular analysis using mitochondrial RNA and the mitogenome has clarified the group's phylogeny within the Neuropterida, as shown in the cladogram.

The name Raphidioptera is formed from Greek ῥαφίς (raphis), meaning needle, and πτερόν (pteron), meaning wing.

The Megaloptera, Neuroptera (in the modern sense) and Raphidioptera are very closely related, forming the group Neuropterida. This is either placed at superorder rank, with the Holometabola – of which they are part – becoming an unranked clade above it, or the Holometabola are maintained as a superorder, with an unranked Neuropterida being a part of them. Within the holometabolans, the closest living relatives of Neuropterida are the beetles.

Two suborders of Raphidioptera and their families are grouped below according to Engel (2002) with updates according to Bechly and Wolf-Schwenninger (2011) and Ricardo Pérez-de la Fuente et al. (2012). For lists of genera, see the articles on the individual families. Raphidioptera
 * †Priscaenigmatomorpha Engel, 2002
 * ?Genus Chrysoraphidia Liu et al., 2013 - Yixian Formation, China Early Cretaceous (Aptian) (some authors have suggested closer affinities to Neuroptera )
 * Family †Priscaenigmatidae Engel, 2002 - (Early Jurassic-Early Cretaceous)
 * Genus †Hondelagia Bode, 1953 - Green Series, Germany, Early Jurassic (Toarcian)
 * Genus †Priscaenigma Whalley, 1985 - Charmouth Mudstone Formation, United Kingdom, Early Jurassic (Sinemurian)
 * Genus †Sukachevia Khramov, 2020 - Karabastau Formation, Kazakhstan, Late Jurassic
 * Genus †Cretohondelagia Khramov, 2020 - Khasturty locality, Russia, Early Cretaceous (Aptian)
 * Family †Juroraphidiidae Liu, Ren, & Yang, 2014
 * Genus †Juroraphidia Liu, Ren, & Yang, 2014 - Jiulongshan Formation, China, Middle Jurassic
 * Raphidiomorpha Engel, 2002
 * Family †Metaraphidiidae Bechly & Wolf-Schwenninger, 2011 - (Early Jurassic)
 * Genus †Metaraphidia Whalley, 1985 - Charmouth Mudstone Formation, United Kingdom, Early Jurassic (Sinemurian) Posidonia Shale, Early Jurassic (Toarcian)
 * Family †Baissopteridae Martynova, 1961 - (Cretaceous-Eocene)
 * Genus †Allobaissoptera Lu, Zhang, Wang, Engel, & Liu, 2020 - Burmese amber, Mid Cretaceous (Albian-Cenomanian)
 * Genus †Ascalapharia Novokshonov, 1990 - Kzyl-Zhar, Kazakhstan, Late Cretaceous (Turonian)
 * Genus †Austroraphidia Willmann, 1994 - Crato Formation, Brazil, Early Cretaceous (Aptian)
 * Genus †Baissoptera Martynova, 1961 - Crato Formation, Brazil, Yixian Formation, China, Zaza Formation, Russia Early Cretaceous (Aptian), Spanish amber, Early Cretaceous (Albian) Burmese amber
 * Genus †Burmobiassoptera Lu, Zhang, Wang, Engel, & Liu, 2020 - Burmese amber, Mid Cretaceous (Albian-Cenomanian)
 * Genus †Cretoraphidia Ponomarenko, 1993 - Zaza Formation, Russia Early Cretaceous (Aptian)
 * Genus †Cretoraphidiopsis Engel, 2002 - Dzun-Bain Formation, Mongolia, Early Cretaceous (Aptian)
 * Genus †Dictyoraphidia Handlirsch, 1910 - Florissant Formation, Colorado, United States, Eocene (Priabonian)
 * Genus †Electrobaissoptera Lu, Zhang, Wang, Engel, & Liu, 2020 - Burmese amber, Mid Cretaceous (Albian-Cenomanian)
 * Genus †Lugala Willmann, 1994 - Dzun-Bain Formation, Mongolia, Early Cretaceous (Aptian)
 * Genus †Microbaissoptera Lyu et al., 2017 - Yixian Formation, China, Early Cretaceous (Aptian)
 * Genus †Rhynchobaissoptera Lu, Zhang, Wang, Engel, & Liu, 2020 - Burmese amber, Mid Cretaceous (Albian-Cenomanian)
 * Genus †Stenobaissoptera Lu, Zhang, Wang, Engel, & Liu, 2020 - Burmese amber, Mid Cretaceous (Albian-Cenomanian)
 * Family †Mesoraphidiidae Martynov, 1925 (Paraphyletic ) (30+ genera) - (Middle Jurassic-Late Cretaceous)
 * Neoraphidioptera Engel, 2007 - (Paleogene-Recent)
 * Family Inocelliidae Navás
 * Subfamily †Electrinocelliinae Engel, 1995
 * Subfamily Inocelliinae Navás
 * Family Raphidiidae Latreille, 1810
 * Incertae sedis
 * Genus †Arariperaphidia Martins-Neto & Vulcano, 1989 - (Lower Cretaceous; Brazil)

Possible biological pest control agents
Snakeflies have been considered a viable option for biological control of agricultural pests. The main advantage is that they have few predators, and both adults and larvae are predacious. A disadvantage is that snakeflies have a long larval period, so their numbers increase only slowly, and it could take a long time to rid crops of pests; another issue is that they prey on a limited range of pest species. An unidentified North American species was introduced into Australia and New Zealand in the early twentieth century for this purpose, but failed to become established.

title: Snakefly


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Category:Drinking water

pl:Kategoria:Wody mineralne

title: Category:Drinking water


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Babe Ruth's called shot

Babe Ruth's called shot is the home run hit by Babe Ruth of the New York Yankees against the Chicago Cubs in the fifth inning of Game 3 of the 1932 World Series, held on October 1, 1932, at Wrigley Field in Chicago. During his at-bat, Ruth made a pointing gesture before hitting the home run to deep center field. One of the reporters at the game wrote that Ruth had "called his shot", using terminology from billiards. The episode added to Ruth's superstardom and became a signature event of baseball's golden age.

Film of the event confirms that Ruth made a pointing gesture, but his intent remains unknown—whether he was promising a home run, or merely gesturing at fans or the Cubs in their dugout.

Background
Before Game 3, the Yankees and the Cubs had shown growing animosity towards one another. Various reasons have been given with one being Yankee manager Joe McCarthy's grudge against the Cubs who had fired him in 1930, despite winning the National League pennant the previous season. The other concerned Cubs player Mark Koenig, who had been a big part of the Yankees' World Championships in 1927 & 1928 and had been traded to the Cubs mid-season in 1932. Using his mid-season arrival as the reason, the Cubs players voted that Koenig would only get half of his World Series bonus, which his old Yankee teammates saw as an insult when they'd heard. While warming up before Game 1, Ruth supposedly shouted to Koenig about how his Cub teammates were "cheap bums", which led to the Cubs players shouting back at Ruth, at which point other Yankees players joined in. The two teams continued to shout insults at one another from their respective dugouts during Games 1 & 2, both won by the Yankees in New York. Before Game 3, Chicago fans had joined in the fury, supposedly cursing and spitting on Ruth and his wife Claire as they arrived at Wrigley Field.

Event
There is no dispute over the general events of the moment. All contemporary reports say that the Cubs' players and fans were jeering Ruth mercilessly throughout the game. Fans pelted Ruth with lemons as he stood in left field and while at the plate. Ruth responded to the rough treatment verbally and with physical gestures. Earlier in the game, Ruth had already hit a home run, and also nearly made a shoestring-catch that he missed and allowed the Cubs to tie the game, which led to even more heckling from the Cubs players and fans. With the score tied 4–4 in the fifth inning, Ruth took strike one from pitcher Charlie Root. As the Cubs players heckled Ruth and the fans hurled insults, Ruth held up his hand pointing at either Root, the Cubs dugout, or center field. Ruth took strike two, and then he repeated this pointing gesture after each pitch.

It is unclear whether Ruth pointed to center field, to Root or to the Cubs' bench. In the 1990s, amateur filmmaker Matt Miller Kandle, Sr.'s film of the at-bat was discovered, but the film did not provide anything conclusive. In 2020, an audio clip was discovered from a radio show that originally aired on October 6, 1932 in which Lou Gehrig said that Ruth was indeed pointing toward the flagpole in center field.

Root's next pitch was a curveball, and Ruth hit it to the deepest part of the centerfield near the flagpole. Estimates of the distance vary up to 490 feet. The ground distance to the center-field corner, somewhat right of straightaway center was 440 feet. The ball landed a little bit to the right of the 440 corners and farther back, apparently in the temporary seating in Sheffield Avenue behind the permanent interior bleacher seats. Calling the game over the radio, broadcaster Tom Manning shouted, "The ball is going, going, going, high into the center-field stands ... and it is a home run!" Ruth himself later described the hit as "past the flagpole" which stood behind the scoreboard and the 440 corners. Ruth's powerful hit was aided by a strong carrying wind that day.

Newsreel footage, available in MLB's 100 Years of the World Series, showed that Ruth was crowding the plate and nearly stepped forward out of the batter's box, inches away from the risk of being called out (Rule 6.06a). The film also shows that as he rounded first base, Ruth looked toward the Cubs dugout and made a waving-off gesture with his left hand; then as he approached third, he made another mocking gesture, a two-armed "push" motion, toward the suddenly quiet Cubs bench. Many reports have claimed that Ruth "thumbed his nose" at the Cubs dugout, but the existing newsreel footage does not show that. The Associated Press game report stated that Ruth raised four fingers, signifying a home run, as he ran the bases.

Attending the game was Franklin D. Roosevelt, then a presidential candidate, as well as 12-year-old boy and future Associate Justice of the United States Supreme Court John Paul Stevens. Roosevelt reportedly laughed while watching Ruth run the bases.

Root remained in the game but for only one more pitch, which the next batter, Lou Gehrig, hit into the right-field seats for his second home run of the day. The Yankees won the game 7–5 and the next day they defeated the Cubs 13–6, completing a four-game sweep of the World Series.

Origins of the called-shot story
Ruth's second home run in Game 3 of the 1932 World Series might have been a mere footnote in history had it not been for reporter Joe Williams, a respected but opinionated sports editor for the Scripps-Howard newspapers. In a late edition the same day of the game, Williams wrote this headline that appeared in the New York World-Telegram, evoking billiards terminology: "RUTH CALLS SHOT AS HE PUTS HOME RUN NO. 2 IN SIDE POCKET." Williams' summary of the story read: "In the fifth, with the Cubs riding him unmercifully from the bench, Ruth pointed to center and punched a screaming liner to a spot where no ball had been hit before."

The wide circulation of the Scripps-Howard newspapers most likely gave the story life, as many read Williams' article and assumed that it was accurate. Several days later, other stories appeared stating that Ruth had called his shot, a few even written by reporters who were not at the game. The story was likely to meet with acceptance among the public, who were aware of Ruth's many larger-than-life achievements and his well-publicized fulfilled promise to sick child Johnny Sylvester that he would hit a home run.

Some contemporary newspaper accounts, including that of famed writer Damon Runyon, from the day of the game mentioned that Ruth simply gestured toward the Cubs' vocal dugout after each pitch with the current count: "He engaged in brisk repartee with the Cubs, and the fans. He made gestures with his hands in case his voice was not heard." Others, such as that of William McCullough of the Brooklyn Times-Union, intimated that Ruth may have indeed signaled a home-run gesture: "With the count 2 and 2, Ruth motioned to the Cubs' dugout that he was going to hit one out of the park, and when a low curve came floating down the alley, he swung with all his powerful body."

At the time, Ruth did not clarify the matter, initially stating that he was merely pointing toward the Cubs' dugout to remind them that he still had one more strike. At one point very early on, he said, "It's in the papers, isn't it?" In an interview with Chicago sports reporter John Carmichael, Ruth said that he had not pointed to any particular spot, but that he just wanted to give the ball a good ride. Soon, however, the media-savvy Ruth was going along with the story that he had called his shot, and his subsequent versions over the years became more dramatic. "In the years to come, Ruth publicly claimed that he did, indeed, point to where he planned to send the pitch." For one newsreel, Ruth voiced over the called shot scene with the remarks, "Well, I looked out at center field and I pointed. I said, 'I'm gonna hit the next pitched ball right past the flagpole!' Well, the good Lord must have been with me." In his 1948 autobiography, Ruth provided another enhanced version by stating that he had told his wife "I'll belt one where it hurts them the most" and that the idea of calling his own shot then came to him. Ruth then recounts the at-bat:

"No member of either team was sorer than I was. I had seen nothing my first time at bat that came close to looking good to me, and that only made me more determined to do something about taking the wind out of the sails of the Chicago players and their fans. I mean the fans who had spit on Claire [Ruth's wife].

I came up in the fourth inning [sic] with Earle Combs on base ahead of me. My ears had been blistered so much before in my baseball career that I thought they had lost all feeling. But the blast that was turned on me by Cub players and some of the fans penetrated and cut deep. Some of the fans started throwing vegetables and fruit at me.

I stepped back out of the box, then stepped in. And while Root was getting ready to throw his first pitch, I pointed to the bleachers which rise out of deep center field. Root threw one right across the gut of the plate and I let it go. But before the umpire could call it a strike - which it was - I raised my right hand, stuck out one finger and yelled, 'Strike one!'

The razzing was stepped up a notch.

Root got set and threw again - another hard one through the middle. And once again I stepped back and held up my right hand and bawled, 'Strike two!' It was.

You should have heard those fans then. As for the Cub players they came out on the steps of their dugout and really let me have it.

I guess the smart thing for Charlie to have done on his third pitch would have been to waste one.

But he didn't, and for that I've sometimes thanked God.

While he was making up his mind to pitch to me I stepped back again and pointed my finger at those bleachers, which only caused the mob to howl that much more at me.

Root threw me a fast ball. If I had let it go, it would have been called a strike. But this was it. I swung from the ground with everything I had and as I hit the ball every muscle in my system, every sense I had, told me that I had never hit a better one, that as long as I lived nothing would ever feel as good as this.

I didn't have to look. But I did. That ball just went on and on and on and hit far up in the center-field bleachers in exactly the spot I had pointed to.

To me, it was the funniest, proudest moment I had ever had in baseball. I jogged down toward first base, rounded it, looked back at the Cub bench and suddenly got convulsed with laughter.

You should have seen those Cubs. As Combs said later, 'There they were-all out on the top step and yelling their brains out - and then you connected and they watched it and then fell back as if they were being machine-gunned.'

That home run-the most famous one I ever hit - did us some good. It was worth two runs, and we won that ball game, 7 to 5."

Ruth explained that he was upset about the Cubs' insults during the series, and that he was especially upset that Chicago fans had spat upon his wife Claire. Ruth not only said that he had deliberately pointed to center with two strikes, he said that he had pointed to center even before Root's first pitch.

Others helped perpetuate the story over the years. Tom Meany, who worked for Joe Williams at the time of the called shot, later wrote a popular but often embellished 1947 biography of Ruth. In the book, Meany wrote, "He pointed to center field. Some say it was merely as a gesture towards Root, others that he was just letting the Cubs bench know that he still had one big one left. Ruth himself has changed his version a couple of times... Whatever the intent of the gesture, the result was, as they say in Hollywood, slightly colossal."

Despite writing the article that may have begun the legend, over the ensuing years, Williams came to doubt the veracity of Ruth's called shot.

Nonetheless, the called shot further became etched as truth into the minds of thousands of people after the 1948 film The Babe Ruth Story, which starred William Bendix as Ruth. The film took its material from Ruth's autobiography, and hence did not question the veracity of the called shot. Two separate biographical films made in the 1990s also repeated this gesture in an unambiguous way, coupled with Ruth hitting the ball over the famous ivy-covered wall, which did not actually exist at Wrigley Field until five years later.

Eyewitness accounts
Eyewitness accounts were equally inconclusive and widely varied, with some of the opinions possibly skewed by partisanship:

 * "Don't let anybody tell you differently. Babe definitely pointed." — Cubs public-address announcer Pat Pieper (As public-address announcer Pieper sat next to the wall separating the field from the stands, between home plate and third base. In 1966 he spoke with the Chicago Tribune "In the Wake of the News" sports columnist David Condon: "Pat remembers sitting on the third base side and hearing [Cubs' pitcher] Guy Bush chide Ruth, who had taken two strikes. According to Pat, Ruth told Bush: 'That's strike two, all right. But watch this.' 'Then Ruth pointed to center field, and hit his homer,' Pat continued. 'You bet your life Babe Ruth called it.'")
 * "My dad took me to see the World Series, and we were sitting behind third base, not too far back.... Ruth did point to the center-field scoreboard. And he did hit the ball out of the park after he pointed with his bat. So it really happened," stated former Associate Justice John Paul Stevens, United States Supreme Court.
 * "What do you think of the nerve of that big monkey. Imagine the guy calling his shot and getting away with it." – Lou Gehrig
 * The Commissioner of Baseball, Kenesaw Mountain Landis, attended the game with his young nephew, and both had a clear view of the action at home plate. Landis himself never commented on whether he believed Ruth called the shot, but his nephew believes that Ruth did not call it.
 * Shirley Povich, The Washington Post columnist, interviewed Hall-of-Fame catcher Bill Dickey. "Ruth was just mad about that quick pitch, Dickey explained. He was pointing at Root, not at the centerfield stands. He called him a couple of names and said, "Don't do that to me anymore, you blankety-blank."
 * Ray Kelly, Ruth's guest for the g ame, said, "He absolutely did it ... I was right there. Never in doubt."
 * Erle V. Painter, the Yankees athletic trainer at the time, shared his recollection of the shot with the Baseball Hall of Fame. He stated, "Ruth made a three-quarter turn to the stands and held up one finger. It was plain he was signifying one strike did n't mean he was out. Root put over another strike and the Babe repeated the pantomime, holding up two fingers this time. Then, before taking his stance, he swept his left arm full length and pointed to the centerfield fence."

The called shot particularly irked Root. He had a fine career, winning over 200 games, but he would be forever remembered as the pitcher who gave up the "called shot", much to his annoyance. When he was asked to play himself in the 1948 film The Babe Ruth Story, Root turned it down when he learned that Ruth's pointing to center field would be in the film. Said Root, "Ruth did not point at the fence before he swung. If he had made a gesture like that, well, anybody who knows me knows that Ruth would have ended up on his ass [via a brushback pitch]. The legend didn't get started until later." Root's teammate, catcher Gabby Hartnett, also denied that Ruth called the shot. On the other hand, according to baseball historian and author Michael Bryson, it is noted that at that point in the game, Ruth pointed toward the outfield to draw attention to a loose board that was swinging free. Some people may have misinterpreted this as a "called shot", but Cubs personnel knew exactly what he was pointing to, and hammered the board back into place.

In 1942, during the making of The Pride of the Yankees, Babe Herman (who was at that time a teammate of Root with the minor league Hollywood Stars) was on the movie set as a double for both Ruth (who played himself in most scenes) and Gary Cooper (who played Lou Gehrig). Herman re-introduced Root and Ruth on set and the following exchange (later recounted by Herman to baseball historian Donald Honig) took place:
 * Root: "You never pointed out to center field before you hit that ball off me, did you?"
 * Ruth: "I know I didn't, but it made a hell of a story, didn't it?"

Root went to his grave vehemently denying that Ruth ever pointed to center field.

Rediscovered 16-mm films

In the 1970s, a 16-mm home movie of the called shot surfaced, and some believed that it might put an end to the decades-old controversy. The film was shot by an amateur filmmaker named Matt Miller Kandle, Sr. Only family and friends had seen the film until the late 1980s. Two frames from the film were published in the 1988 book Babe Ruth: A Life in Pictures by Lawrence S. Ritter and Mark Rucker on p. 206. The film was broadcast on a February 1994 Fox television program called Front Page. Later in 1994, still images from the film appeared in filmmaker Ken Burns' documentary film Baseball.

The film was shot from the grandstands behind home plate, off to the third base side. One can clearly see Ruth's gesture, although it is hard to determine the angle by which he is pointing. Some contend that Ruth's extended arm is pointing more to the left-field direction, toward the Cubs bench, which would be consistent with his continued gesturing toward the bench while rounding the bases after the home run. On the episode of Front Page, the film was shown to Yankee legends Mickey Mantle, Moose Skowron, Catfish Hunter, Enos Slaughter, and Ron Guidry. In his observation of the film, Mantle believed that the most visible points from Ruth were in the direction of the Cubs dugout, but then noticed that Ruth did briefly point in the direction of Cubs pitcher Charlie Root or toward center field just prior to the pitch from Root, partially obscured by Hartnett as he was throwing the ball back to Root.

In 1999, another 16-mm film of the called shot appeared. This film was shot by inventor Harold Warp during the only major league baseball game that he ever attended. The rights to his footage were sold to ESPN, which aired it as part of the network's SportsCentury program in 2000. Warp's film has not been as widely seen by the public as Kandle's film, but many of those who have seen it feel that it shows that Ruth did not call his shot. The film shows the action much more clearly than does the Kandle film, showing Ruth visibly shouting something either at Root or at the Cubs dugout while pointing.

The authors of the book Yankees Century believe that the Warp film proves conclusively that the home run was not a "called shot." However, Leigh Montville's 2006 book The Big Bam asserts that neither film answers the question definitively.

Legacy and cultural references
In the 1984 film The Natural, The Whammer, played by Joe Don Baker and modeled after Babe Ruth, makes a gesture with his bat that closely mimics the Ruth gesture. He then swings and strikes out. Major league slugger Jim Thome used a similar bat-pointing gesture as part of his normal preparation for an at-bat.

The climax of the 1989 film Major League depicts Indians catcher Jake Taylor pointing toward the outfield, clearly making a reference to Ruth's called shot. However, Taylor bunts the next pitch in a squeeze play that scores the winning run from second base.

In 2005, the jersey that Ruth was wearing during the game was sold for US$1,056,630 at auction. It is on loan to the New York Yankees Museum.

title: Babe Ruth's called shot


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Happy Human

The Happy Human is an icon that has been adopted as an international symbol of secular humanism. Created by Dennis Barrington, the figure was the winning design in a competition arranged by Humanists UK (formerly the British Humanist Association) in 1965. Various forms of it are now used across the world by humanist organisations of all sizes including Humanists UK, Humanists International and The American Humanist Association (AHA).

The trademark is still held by Humanists UK, which freely licenses use of the symbol by bona fide Humanist organisations worldwide.

Origins
The Happy Human was created in response to a Humanists UK competition in 1965, after many years of discussion as to what a logo should look like. After some time without progress, radio presenter Margaret Knight backed a popular movement among Humanists UK's membership to commission such a logo, triggering publicity officer Tom Vernon to announce the competition. Of the several hundred designs from a number of countries that were considered, Dennis Barrington's simple design was favoured for its perceived universalism. Within the space of a few years, the logo had emerged as a symbol of Humanism, not just of Humanists UK and was adopted by humanist organisations around the world.

Since the 1990s, humanist groups have taken on looser, more figurative versions of the Happy Human logo, such as the logos used by Humanisterna (Sweden), Humanistischer Verband Deutschlands (Germany), Union of Rationalist Atheists and Agnostics (Italy), and the European Humanist Federation. In 2017, the British Humanist Association, which originated the Happy Human, debuted a new, single line-drawing style Happy Human when it renamed as Humanists UK.

The Humanist Emblem of Spirit is an authorized inscription on Government headstones and markers in cemeteries of the National Cemetery Administration of the U.S. Department of Veterans Affairs and in Arlington National Cemetery.

Organisations using the Happy Human

 * American Humanist Association (US)
 * Humanists UK (England, Wales and Northern Ireland)
 * Council of Australian Humanist Societies (CAHS) (Australia)
 * European Humanist Federation
 * Romanian Secular-Humanist Association (ASUR) (Romania)
 * LGBT Humanists UK
 * Humanist Association of Ireland (Ireland)
 * Humanist Alliance Philippines International (HAPI)
 * Humanist Canada (Canada)
 * Humanist Society of New Zealand (New Zealand)
 * Humanist Society Scotland (Scotland)
 * Humanistisch Verbond (Netherlands)
 * Indian Humanist Union (India)
 * Mumbai Rationalist Association (India)
 * Institute for Humanist Studies
 * International Humanist and Ethical Union
 * Norwegian Humanist Association (Norway)
 * Primera Iglesia Humanista de Puerto Rico (Puerto Rico)
 * Siðmennt (Iceland)
 * Swedish Humanist Association (Sweden)
 * Union of Rationalist Atheists and Agnostics (Italy)
 * Cyprus Humanist Association (Cyprus)

Organisations using similar symbols

 * Council for Secular Humanism
 * Institute for Humane Studies
 * Party of Humanists

title: Happy Human


text:
User talk:RABot

Heading lists
moved from User talk:Dragons flight:

You bot just made an edit to Articles requested for more than a year and did nothing but add copy of the TOC to the top of the article. I doubt this was intended. SimonP 19:57, Jun 11, 2005 (UTC)

 * Well, in one sense it was intended, but I agree with you that it was not particularly desirable. On many of the more complicated requested articles subpages, it has been the practice to provide a list at the top of the page composed of just the first level headings so one can get a feel for whether they are in the right place without trying to sort through what can be a fairly complicated nest of subheadings and subsubheadings on the TOC.  (See requested articles: natural sciences, applied arts and sciences, etc.)  One of the things the bot was designed to do was keep such lists synced with the list of top level headings.  However, I agree that such a list serves no real purpose if the page structure isn't complicated.  I have now modified the code to only use such a list if there are at least 10 subheadings in addition to the main list of headings.  That seems like a reasonable approach to me.

On the utility of automation
moved from User talk:Dragons flight:

Also I hope a human checks every new article before it is removed from RA. If a new page is a copyvio or vandalism it should not be removed from the list. - SimonP 19:57, Jun 11, 2005 (UTC)

 * On the more significant question of human checks, this is a discussion worth having. The answer is no.  Presently there are slightly less than 16000 requests for new articles spread across 13 pages in Category:Wikipedia requested articles (which is itself much smaller than Category:Wikipedia missing topics).  Each day roughly 50-100 requested pages are created without being removed from the list by their creator (i.e. a net 50-100 blue links a day).  A variety of editors have worked to keep WP:RA moderately in order (for example User:DMG413 who climbed as high as 164 in the list of Wikipedians by edits almost exclusively through working on RA, and who now seems to have left the project).  Even so, after a couple of weeks, a single RA subpage may accumulate 30, 50, 100 blue links, even if all editors are trying to do is remove the blue links (without any special checking).  This has led to a small number of editors, myself included, who laboriously go through and purge the accumulated blue links every once in a while.  (To say nothing of alphabetizing sections, and looking to make sure that requests make sense.)

 * I believe the best answer to this that we are going to get is automation. The script I have been developing allows me to remove blue links and sort link lists across all of the RA pages in about half an hour.  [It still takes a while since I manually approve all edits to avoid parsing mistakes].  By freeing up editors from the most mundane of maintainence tasks, it should allow more time for a) actually making contributions and b) looking through the RA pages and eliminating requests that don't make sense or are redundant with existing articles.

 * Would it be better if I and others looked at every blue link before removing it, maybe, but the scope of the RA problem is such that it just isn't practical. Even if I did look at the pages, at best I would be unlikely to catch any but the most obvious vandals and copyvios, which are just as likely to be caught the first time an editor with an interest in the subject looks at the page.  So in practical terms, I consider the burden on an editor's time to check those links is disproportionally large compared to the short-term benefit.  If there was a large group of people actively interested in maintaining RA, this might be different, but the growth and turn over in RA has been significantly larger than the increase in people willing to keep it up.  Since there is very little (or no) manual checking at present, I can't really be making the situation any worse.  Personally, I think it is more important for the utility of RA to get past the mundane maintainence tasks and free up time for thinking about whether the requests people are making actually make sense.

 * If you have any thoughts on how to improve the process, I would be happy to hear them. Dragons flight 22:10, Jun 11, 2005 (UTC)

Minor edit
Hi Dragon's Flight, I have a minor suggestion to improve the process. Noticed your bot deleted quite a lot of links from Articles requested for more than a year, presumably as they'd been bluelinked. Yet it marked the change as minor. I'm pretty sure only typos, grammar, puntuation etc should be marked as minor, with any addition or removal of next not. See Minor edit. Perhaps you could change it to not mark its changes as minor. Proto t c 1 July 2005 08:47 (UTC)

 * By default in pywikipedia robot framework, all bot edits are considered minor. I will look into this though.  Dragons flight July 1, 2005 14:12 (UTC)

Predisposition
I started a page for predisposition. It needs more work. I'm out of time. --Memenen 3 July 2005 17:46 (UTC)

Redirects
Currently, it appears that your bot is deleting blue links to redirects. I put the L-theory link on requested articles as a request essentially to remove the redirect and write an article in its place. I am not an admin, so I don't think it is possible to delete the redirect without a VfD process, and it would be easier if the bot could automatically detect when the blue link is to a redirect and skip over the deletion of such a link from the requested articles page. Thank you for your consideration. - Gauge 18:47, 6 August 2005 (UTC)

 * The use of requested articles for redirects is discouraged, since if the redirect is appropriate then relevant content ought to already exist at the target page. That said, people do add redirects anyway.  My bot will ignore any link on requested articles that is followed by the word "redirect" (the downside is that these will have to be checked by hand to see if the article has been written).  The usual form that this takes is something like " foobar (currently redirects to golf club) ", but any method of including the phrase "redirect" will prevent it from being removed automatically (same with the keyword "copyvio").  It is neccesary that redirects be marked as such on WP:RA because human editors are just as likely as my bot to indiscriminately remove blue links.

 * Actually, if you want to delete a redirect that you feel is inappropriate, the place to do it is WP:RFD. However, you can always just start editting the page and replace it with the start of a new article.  Dragons flight 19:23, August 6, 2005 (UTC)

Corruption
The RABot appears to have added the text "Loui" to the beginning of Requested articles/Culture and fine arts. It looks like it may have moved it from somewhere else in the article. See Pburka 02:52, 25 September 2005 (UTC)

 * Thank you for pointing that out, though I presently have no idea how it happened. Dragons flight 03:25, 25 September 2005 (UTC)

RABot, where are you?
Haven't seen any action from RABot in a while. My policy has been not to remove a blue link when I make a requested article, because RABot will be along. Do I need to change that way of thinking? I understand RABot is currently run manually; is that necessary? It could be set to run every night at a specified time. --Trovatore 22:34, 5 November 2005 (UTC)

 * The RABot's operator, i.e. me, is very busy in real life and has little time for wikipedia right now. As a result the RABot is running only every 3-7 days right now, but it does still exist.  It can't be run fully automatically because unfortunately random requestors are more creative than I am and still managed to come up with some really strange request formats that trip up the bot and have to be corrected by hand.  The RABot still makes it easy to deal with this (taking perhaps 15 minutes to cover all the request pages), but there does still have to be an intelligence in back to keep things working right.  Dragons flight 05:29, 7 November 2005 (UTC)

Removal Request
Could you please remove, David L Cook from the RABot violation (section). It has been more than 30 days and the article is still blue. Thank you

User:RABot/Stats
Could you please take a look at that page? There is 2 Mathematics entry in the table, both link to same page and both show completely different stats. Thank you.  TestPilot  17:59, 23 April 2006 (UTC)

 * They changed the capitalization of the math page name, which messed up the list, but I haven't had the time to fix it. Dragons flight 19:00, 23 April 2006 (UTC)

Are you missing a page?
Wikipedia:Requested articles/Applied arts and sciences/Medicine has been split from the Applied arts and sciences page, and doesn't seem to be covered by RABot.

Also--thanks for your very useful work. Terrace4 16:34, 29 May 2006 (UTC)

title: User talk:RABot


text: File:MakingOf H2G2 CBSFOX VHS front.jpg

title: File:MakingOf H2G2 CBSFOX VHS front.jpg


text:
Musée Carnavalet

The Musée Carnavalet in Paris is dedicated to the history of the city. The museum occupies two neighboring mansions: the Hôtel Carnavalet and the former Hôtel Le Peletier de Saint Fargeau. On the advice of Baron Haussmann, the civil servant who transformed Paris in the latter half of the 19th century, the Hôtel Carnavalet was purchased by the Municipal Council of Paris in 1866; it was opened to the public in 1880. By the latter part of the 20th century, the museum was full to capacity. The Hôtel Le Peletier de Saint Fargeau was annexed to the Carnavalet and opened to the public in 1989.

The building, an historic monument from the 16th century, contains furnished rooms from different periods of Paris history, historic objects, and a very large collection of paintings of Paris life; it features works by artists including Joos Van Cleve, Frans Pourbus the Younger, Jacques-Louis David, Hippolyte Lecomte, François Gérard, Louis-Léopold Boilly, and Étienne Aubry, to Tsuguharu Foujita, Louis Béroud, Jean Béraud, Carolus Duran, Jean-Louis Forain, Pierre Puvis de Chavannes, Johan Barthold Jongkind, Henri Gervex, Alfred Stevens, Paul Signac, and Simon-Auguste. They depict the city's history and development, and its notable characters.

Carnavalet Museum is one of the 14 City of Paris's museums that have been incorporated since January 1, 2013, in the public institution Paris Musées. In October 2016, the museum was closed to the public for a major renovation. It reopened in 2021 with new rooms and galleries and an expanded collection.

History
The land on which the museum stands was purchased in 1544 by Jacques de Ligneris, the president of the Parlement of Paris, who commissioned the architects Pierre Lescot and Jean Goujon to build a townhouse. In 1548, Lescot and Goujon were taken away from the project to the construct the new Louvre Palace; the building was completed in about 1560 by Jean Bullant, whose other notable works included portions of the Tuileries Palace, the Louvre. the Château d'Écouen, and the famous gallery of the Chateau de Chenonceau spanning the River Cher in the Loire Valley.

In 1572, the hôtel was purchased by Madame de Kernevenoy, the widow of a member of the Court of Henry II of France, and the preceptor of the Duke of Anjou, who became Henry III of France. Her Breton name was difficult for the Parisians to pronounce, and gradually was transformed to "Carnavalet". During this period, the facade and portals were given lavish decoration of Renaissance sculpture, much of which still can be seen. They were the work of the sculptor Jean Goujon and his workshop. The mansion was bought in 1654 by the intendant Claude Boislève, who commissioned the architect François Mansart to make extensive renovations in the new classical style. This included raising the height of the facade on the street and on the two wings by one storey, as well as the addition of groups of classical sculpture on the main facade and on the two wings. Boislève had the misfortune of being too closely associated with Fouquet, the royal chancellor who was accused of misusing using royal funds to build his own palatial residence. The hôtel and furnishings were confiscated from Boisléve in 1662, and sold at auction. The new buyer rented the hotel in 1677 to Madame de Sévigné, famous for her letters describing the daily life and intrigues of the Parisian nobility. She lived in the Hôtel Carnavalet from 1677 until her death in 1696.

The idea of creating a museum of Paris history was launched by Baron Haussmann, who, under Napoleon III, was in the midst of his grand project of building new avenues, parks and squares in the center of the city. In 1866 he persuaded the city of Paris to purchase the Hotel Carnavalet to house the museum, and assembled a large collection of history objects and documents. Until the museum was completed, the collection was stored, with the city archives, in the vaults of the Hotel de Ville. In May 1871, in the last days of the Paris Commune, the Communards set fire to the Hotel de Ville, destroying the building, the city archives, and the collection. The door of the original Hotel de Ville, still charred from the fire, is on display in the museum. The collection was gradually rebuilt, and in 1880 the building formally became the museum of the history of Paris.

Many more additions followed, as the collection grew. In 1872, the building was enlarged on three sides, largely using vestiges of buildings demolished during Haussmann's construction of the Grand Boulevards in the center of the city. At the beginning of the 20th century, two new wings were added in the rear, which enclosed the garden. An even larger expansion program was begun in 1913 by he architect Roger Foucault. The project was interrupted by the First World War, but resumed after the war and was finally completed in 1921, doubling the exposition space in the museum. The new buildings finally enclosed the Cour Henri IV and the courtyard called "de la Victore".

Expansion continued. In 1989, a nearby mansion, the Hôtel Le Peletier de Saint Fargeau, was purchased and connected with the museum. This hotel was also built in the middle of the 16th century, and was originally known as the Hôtel d'Orgeval. It was purchased by Michel Le Peletier and passed on eventually to his grandson, Le Peletier de Saint Fargeau, who was a representative of the nobility in the Estates-General of 1789. In 1793, Le Peletier voted for the execution of Louis XVI, and was murdered, in revenge for his vote, on January 20, 1793, the same day as the execution of the king,. The Hôtel Le Peletier de Saint Fargeau was annexed to the Carnavalet. It was opened to the public in 1989, commemorating the bicentennial of the French Revolution.

The museum was closed in 2017 for a major renovation, and reopened in 2021. The museum as of 2021 had forty decorated rooms and galleries, and 3800 objects on display. The total collection, included 625,000 objects.

Exterior Sculpture
The statue of Louis XIV in the costume of a Roman emperor, is one of the very few images of him which survived the French Revolution. It was made by sculptor Antoine Coysevox and depicts the King in the costume of a Roman emperor. Before the French Revolution it was placed before the Hotel de Ville, and was moved to the museum in 1890.

The facade features a statue of "Immortality" by Louis-Simon Boizot. During the Revolution, Boizot was a member of the Commission des Monuments in 1792. From 1805 he was a professor at the Academie des Beaux-Arts, where, among other works, he executed the sculpture for the Fontaine du Palmier erected in the Place du Châtelet, Paris. The gilded "Victory" was the centrepiece of the fountain, and celebrated Napoleon's triumphant return from Egypt. It was finished in 1806, and placed atop a column with sphinxes spouting water at the base. The statue on display at the Carnavalet is the original model of "Immortality", holding olive wreaths in both hands.

Collections
The current collections on display are presented within the two 17th century residences, the Hôtels Carnavalet and Le Pelletier de Saint-Fargeau. Some rooms have their original decoration intact, while others have been recreated with furnishing and decoration of a certain period. They include furnished rooms from historic residences from the 16th, 17th, 18th, 19th and 20th centuries. The displays cover 3900 square meters, laid out in eight "parcourses" or sequences of rooms from different periods.

Lutetia - Prehistory and Antiquity
Following the Roman conquest in the 1st century BC, Lutetia was centred on the left bank, occupying an area of about 130 hectares. Like other Roman cities, it was constructed around the intersection of north–south road (now Rue Saint -Jacques) and an east–west road (now Rue Cujas). Nearby was the amphitheater, near Rue Monge and still present, in much-modified form; and the Forum, at Rue Soufflot, where the government buildings were located. The Roman port was on the Ile-de-la-Cité, and there was a smaller settlement on the right bank of the Seine. Extensive excavations in the 19th century uncovered the paved streets; three large Roman baths; and residences. A group of sculpted heads are on display, which were discovered near the state of the Roman amphitheater in Paris in 1885. The statues had oak crowns, and represented either gods, or the Imperial family.

Two large Roman necropoles, or cemeteries, proved a particularly rich source of discoveries for the museum. The southern cemetery, the Necropole of Pierre Nicole, near Val-de-Grace, was the most important under the High Empire, and was used until the fourth century AD. The excavations there between 1870 and 1970, uncovered some four hundred sepulchres, with furniture, sculpture and inscriptions. The Necropole of the Gobelins, in the Faubourg Saint-Marcel, was smaller, and was used in the later, or Low Empire. The most valuable discovery there was a set of surgical instruments dating from the second century AD.

The excavations of the amphitheater site were particularly meticulous; they were directed by Thèodore Vacquer, who became under-conservator of the Carnavalet Museum in 1870. One especially important discovery by Vacquer was the fresco on the wall of the house of a wealthy Roman, with colors still largely vivid, discovered under the current rue de l'Abbaye-de-l'Épée. Other objects discovered include a sword from the Bronze Age (2000–800 B.C.); a fourth-century bottle used for perfume, wine, or honey.

Medieval to Renaissance Paris (5th–16th century)
Objects in the galleries include:
 * An ornate chest from the 13th century, which probably came from the royal Abbey of Saint Denis
 * Paintings from the 16th century depicting famous men and women of the time, including Francis I, Catherine de' Medici, and Henry IV.

The Paris of Henry IV and Louis XIV (Late 16th-17th century)
The end of the 16th century saw Paris divided during the French Wars of Religion (1562–1598), then rebuilt by a series of strong monarchs. New institutions emerged, including the guild of Paris merchants and the municipal magistrates.Henry IV of France (reigned 1589–1601) began major new urban construction projects; the Louvre was gradually transformed from a medieval fortress into a sprawling palace, connected to the Tuileries Palace. Grand new royal squares were created at Place Dauphine and the Place Royal, now Place des Vosges. The Pont Neuf was constructed over the Île de la Cité, adding a major link between the two banks of the Seine

In his urban planning, Louis XIV promised to "Do for Paris what Augustus did for Rome." Among his many projects, he completed the Cour Carré of the Louvre, imagined by Henry IV, and created two grand royal squares, Place des Victoires and Place Louis-Le-Grand (now Place Vendôme. In 1670 he tore down old city walls and gates and replaced them with four triumphal arches, of which two, at Porte Saint-Martin and Porte Saint-Denis, still remain.

The squares and palaces of Paris were decorated with monumental sculpture of the Kings. Most of these were destroyed during the Revolution, but fragments of the original monumental statue of Henry IV on the Pont Neuf are on display in this section of the museum, as well as pieces of the statue of Louis XV that formerly stood in the Place de la Concorde.

Louis XIV founded the royal workshops for cabinet-making, tapestries and other decorative items to furnish the royal palaces and the residences of wealthy Parisians. The Royal Academy of Painting and Sculpture was founded in Paris in 1648, during the regency of Anne of Austria. The Carnavalet Museum has many examples of the work of its students; furniture designed by cabinet-maker Andre-Charles Boulle, noted for its inlays of previous woods and metals, is found in this section. The painter Charles Le Brun, who primarily worked for Louis XIV, also decorated the homes of private clients. His decoration for two salons of the Hôtel La Rivière (Salles 1-13 and 1-124) made in 1652–55, was acquired to the Carnavalet in 1958.

The French Revolution (1789–1799)
One furnished room in the section depicts the cell at the Temple Prison where the Louis XVI, Marie Antoinette and their son were held prisoner beginning August 13, 1792. After the King's trial and execution one January 21, 1793, She was transferred to the Conciergerie for her own trial on October 14, 1793. She was sentenced to death two days later, and taken directly the guillotine on the Place de la Concorde. The furniture is original, but th room is not an exact recreation, but an "evocation" of the original room.

Other works and objects relating to the Revolution include one of the original stones of the Bastille prison, carved into a replica of the prison. Eighty-three of these miniature Bastilles were carved in 1790 and one sent to each of the Departments of France by the new government.
 * Paintings show the people's revenge on the Bastille, a dungeon that had become "a symbol of the arbitrariness of royal power."
 * Paintings or sculptures of the major figures of the Revolution, including Mirabeau, Danton, Robespierre, and the royal family
 * A painting of an execution by guillotine at the Place de la Révolution, by Pierre-Antoine Demauchy: the fate that struck King Louis XVI, Queen Marie Antoinette, the Royalists, the Girondins, the Hébertists, the Dantonists, Robespierre and his followers, and many others
 * A paper on which Robespierre had partially written his signature when he was seized by soldiers of the National Convention.
 * The original statue of King Henry IV of France on the Pont Neuf was pulled down and torn apart by the Sans-Culottes during the Revolution. The remaining fragments are displayed. It was replaced in the 19th century by the present copy.

Napoleon Bonaparte through Louis-Philippe (1800-1848)
Discontent with Louis Philippe appeared in the February Revolution of 1848, with new demonstrations and riots in Paris. A new French Republic was proclaimed, and Louis Napoleon, nephew of Napoleon Bonaparte, was elected president. At the end of 1851 he orchestrated a coup d'État and proclaimed himself Emperor.

 * A painting depicting one of the most important moments of the July Revolution: The Seizing of the Louvre, 29 July 1830, by Jean-Louis Bézard
 * Sculptures of Parisians of the time, some realistic portrayals, others caricatures, by Jean-Pierre Dantan

The Paris of Napoleon III (1848-1871)
Napoleon III played an important role in creating the present extent and map of Paris. On January 6, 1848, he expanded the city from twelve to twenty-one arrondissements. taking in the surrounding communes that were outside the city walls. He named Georges Eugene Haussmann, as his prefect of the Seine, and began construction of a new network of tree-lined boulevards and avenues linking new public squares and monuments. He also demolished blocks of overcrowded and unhealthy housing in the center. On the edges of the city he created major parks, including the Bois de Boulogne and Bois de Vincennes, modelled upon the parks he had seen during his exile in London. These new Parisian parks soon served as models for parks in other cities, including Central Park in New York. In addition, he built new theatres and concert halls, including the Paris Opera, adding to the city's reputation as a cultural capital.

The siege of Paris and the Paris Commune (1870-1871)
Following the capture of Napoleon III by the Prussians at the Battle of Sedan on 2 September 1870, Paris was besieged by the Prussian army. Despite shortages of food and water, the city endured the siege until January 1871, when an armistice was signed by the French government. A party of leftist Parisians, known as the Paris Commune, refused to accept the armistice or the rule of the French government. They seized a park full of cannon, killed two French army generals, and established a separate government. The Commune lasted for 72 days, until, during the Semaine Sanglante (21–28 May 1871) the city was recaptured by the French Army. In the final days of the Commune, its soldiers set fires and destroyed many Paris landmarks, including the Hotel de Ville and the Tuileries Palace. Between 7–10,000 Communards were killed in the street battles or executed by the army immediately afterwards. The museum's holdings on these events includes the Binant Series of paintings.

Paris in the Belle Epoque (1880-1914)
The Belle Epoque was a flourishing period for Paris cultural life. It was particularly expressed at the international expositions in 1889, which gave the city the Eiffel Tower, and 1900 Paris International Exposition, which added the Grand Palais and the Paris Metro. An important collection of paintings by major illustrators of Paris life in the period, including Henri Gervex, Carlolus-Duran, Louise Abbéma and Jean Béraud was donated to the museum in 2001 by François-Gérard Seligmann, and is displayed in the corridor of the first floor. The section also includes a colourful variety of posters from the epoch created by Alphonse Mucha and other artists, including posters for the Chat Noir and Moulin Rouge cabaret.

A painting by Paul-Joseph-Victor Dargaud depicts the assembly of the Statue of Liberty (Liberty Enlightening the World). The iron pieces were formed at the boundary of Gaget on rue de Chazelles in Paris, then disassembled and shipped to New York in pieces.

Jean Béraud (1849-1935), born in St. Petersburg, Russia, became a meticulous painter of Paris society. The museums holds more than eighty of his works.

Paris in the 20th and 21st centuries
The renovated museum opened in 2021 includes, for the first time, a series of rooms devoted to Paris history In the 20th and 21st centuries. The exhibits include:
 * Furniture and personal belongings, including his cane and overcoat, from the rooms where Marcel Proust wrote In search of lost time Proust did his writing at night, and slept during the day.
 * The colourful Surrealist ballroom of the Hotel de Wendel, on Avenue New York, made in 1924 by the Catalan artist José Maria Sert for its owner Maurice de Wendel, and his wife Misia, for their balls and entertainments. Wendel explained: "After considerable hesitation, we ordered the decor, but only the general tonality was specified. For the rest, we had a vague idea that it should show the Queen of Sheba in a chariot being drawn by gazelles." The surrealist paintings extend above the walls onto the ceiling.
 * The desk of the American art patron Gertrude Stein from her residence at 27 rue de Fleurus, where she invited and encouraged modern artists, including Pablo Picasso and Henri Matisse. Behind the desk is an enlarged photograph by Man Ray of Stein at her desk.
 * Photographs of 20th-century Paris by Eugène Atget and Henri Cartier-Bresson
 * A stylized painting of a crowded bistro of the mid-1900s, by the naturalized Japanese artist, Leonard Foujita
 * A collection of propaganda photographs given to the museum by the German Occupation government between 1940 and 1944, for mandatory exhibition.
 * A collection of photographs from 1944 documenting the liberation of Paris.
 * A photograph in daguerreotype, The Forum of the Halles, taken by two American photographers in 1989 for an exhibit at the Carnavalet celebrating the 150th anniversary of the invention of photography
 * A textile work called "Paris, Ville Lumiere" (1974), by artists Nil Yalter and Judy Blum, with twenty panels, plus photographs, texts and drawings, illustrating each arrondissement of the city.

Gallery of Shop Signs
Two unusual galleries in the museum display the distinctive signs that hung in front of Paris shops in the 18th and 19th century, illustrating the profession or the product of the shopkeeper. These range from the signs of wigmakers, locksmiths and the makers of eyeglasses, illustrating their products, to the black cat of the "Le Chat Noir" cabaret in Montmartre in 1881, a popular meeting place for artists, and a model of the Bastille for an early 19th-century cafe of that name in the 11th arrondissement.

title: Musée Carnavalet