Organizational structure.

The Admiral Benelux is the commanding officer of the joint staffs who, together, form the "Directorate of Operations (DOPS)". The ABNL is assisted by the "Deputy ABNL (DABNL)". Under the terms of the BENESAM Accord, the ABNL position is held by the Commander of the Royal Netherlands Navy. The DABNL position is held by the Commander of the Belgian Naval Component. The DOPS is headquartered with the Royal Netherlands Navy in Den Helder.  The main body of the ABNL command is the DOPS, although there is also a "Directorate of Operational Support (DOST)". The two together have operational control of the operational units of the two fleets. DOPS is divided into three branches: command, operational and support.

History of the ABNL command.

The combined staff (sometimes referred to as the Benelux Admiralty) is a result of developing naval cooperation between the Royal Netherlands Navy and the Belgian Navy. This cooperation was first geared at mutual battlefield cooperation and later at mutual defense in the Cold War as part of NATO's Allied Command Channel (ACCHAN). One of ACCHAN's subordinate commands was the Benelux Sub-Area Channel Command (BENECHAN) based in Den Helder and consisting of the Belgian and Dutch navies. After the end of the Cold War the focus of the Dutch-Belgian cooperation turned more and more to the efficient use of equipment and personnel (also driven by cutbacks in military spending after the collapse of the Soviet Union).  The ABNL was created in a series of treaties known as the Belgium-Netherlands Cooperation Accord (BENESAM, for "Belgisch-Nederlandse Samenwerking"), starting in 1948:  The BENESAM Accord is currently undergoing revision, with an eye towards even closer cooperation between the two fleets.

The Admiral Benelux (ABNL) is the Commanding Officer of the combined military staff of the Royal Netherlands Navy and the Naval Component of the Belgian Armed Forces.

L'Amiral BENELUX (ABNL) est le commandant de l'état-major conjoint des marines belge et néerlandaise. La fonction d'amiral fut créée concomitamment à l'accord BENESAM de coopération des états-majors des 2 marines contributrices, signé le. L'amiral est responsable des opérations combinées, est chargé de la planification des activités opérationnelles communes en temps de paix et de guerre et de l'exécution des entrainements. Il est également responsable de l'usage efficient du matériel et du personnel commun et supervise les programmes de formation conjoints.


Plot.

Nicholas spends his summer holidays with his parents and Grandma at the seaside. He quickly makes new friends, including the boy Blaise who lives in the area, the English pupil Djodjo, the gourmand Fructueux, the righteous Côme and the crybaby Crépin. But just when Nicholas believes he's got everything under control, Isabelle appears, the daughter of his parents friends. He doesn't understand why she cares so much about him until he becomes suspicious that his parents are trying to set her up as his wife-to-be. The boy consults his friends about the looming threat to his "true love", marrying Marie-Edwige. His friends offer advice and plot to separate Isabelle and Nicholas. They tell him that he must tarnish his family's reputation in front of Isabelle's parents, which happens by circumstance (Granny wanting to go to the casino). Nicholas and his friends even contemplate putting vipers on their beds, to get them out of there. After a close encounter with the viper, they switch to a dirty trick, literally. The boys connect the water supply and sewage line in the shower. Isabelle walks in on him guarding her door as the boys do the job. He gets frightened and bolts, only to find Isabelle behind him on the other side. She then walks up to him in an enclosed space and gives him Marie-Edwige's bracelet (which Nicholas lost a few days ago). The two then start chatting and get to know each other well. His interest for Isabelle grows. When the boys find out, they are unhappy and disappointed. But, Isabelle shows what she could do and becomes their friend. But, Isabelle's mother's shower incident forces them to almost leave. The boys now sabotage to extend the stay. Isabelle even takes the chequebook from the coat, which forces them to stay. But, Isabelle's father thinks it is Nicholas dad who stole (due to Nick's aforementioned lie about the family). One day on the beach, a very loud and obnoxious movie producer from Italy is filming a movie on the beach, angering the vacationers. In a fit of anger, Nicolas's mother marches up to the movie producer and yells at him in public to stop being so inconsiderate to everyone else. To apologize, the producer sends his assistant to invite Nicolas's parents to a party he is throwing.

Nicholas on Holiday () is a 2014 French family comedy film directed by Laurent Tirard, starring Mathéo Boisselier, Valérie Lemercier, Kad Merad, Dominique Lavanant, François-Xavier Demaison and Bouli Lanners. It is the sequel to the 2009 film "Little Nicholas". The film was released in France on 9 July 2014. The film is based on René Goscinny's and Jean-Jacques Sempé's books for children about Nicholas and his friends.

Les Vacances du petit Nicolas est une comédie française coécrite et réalisée par Laurent Tirard, sortie en 2014. Il fait suite à la première adaptation des nouvelles écrites par René Goscinny et illustrées par Sempé, sortie en 2009.


Career.

Zhang was born in the province of Shandong on the east Coast of China. He first came to prominence nationally with a win at the Chinese youth championships in 2010. He proceeded to win the Chinese junior championships and the China City Games title the following year. A best of came as part of a fourth-place finish at the Chinese Athletics Championships. He competed abroad for the first time in 2012 and managed a new best of indoors in Villeurbanne. This served a preparation for the 2012 Asian Indoor Athletics Championships, where the 17-year-old was runner-up behind his older compatriot (and national record holder) Yang Yansheng. Another indoor best of followed at the Chinese Taipei vs. China international match a month later.  In the 2012 outdoor season, he defended his Chinese junior title. A debut on the IAAF Diamond League circuit came shortly after and he managed to finish seventh at the Shanghai Golden Grand Prix meet. He had an outright personal best at the Chinese Athletics Grand Prix meeting in his home province in Zibo, winning with a mark of. He became the continental champion at the 2012 Asian Junior Athletics Championships with a championship record height. In spite of this success, he failed to register a valid mark at the 2012 World Junior Championships in Athletics. At the end of the season, he equalled his best to place third at the Chinese Championships, behind Yang and Xue Changrui.  Still eighteen, he cleared an Asian junior record of at the start of 2013. He won the national junior title for a third time running, but failed to record a height at the 2013 World Championships in Athletics – his senior global debut. He dropped down the national rankings at the 12th Chinese Games, taking sixth place. He topped the national scene for the first time at the 2014 Chinese Championships, taking the national title in a personal best of.  Zhang maintained his form into the following season and built upon his 2012 junior regional title with a senior gold medal at the 2015 Asian Athletics Championships in Wuhan, matching his best to see off a challenge from Japan's Seito Yamamoto.

Zhang Wei (; born 22 March 1994) is a Chinese male track and field athlete who competes in the pole vault. He has a personal best of, set indoors in 2013. He was a silver medallist at the Asian Indoor Athletics Championships in 2012 and won the regional title at the 2015 Asian Athletics Championships.

Zhang Wei (né le dans le Shandong) est un athlète chinois, spécialiste du saut à la perche. Son meilleur saut est de réalisé à Zibo le 26 mai 2012 qu'il porte à à Lyon en février 2013 ce qui le qualifie pour les Championnats du monde à Moscou. Le 27 juin 2015, il porte son record à 5,65 m à Pékin, ce qui le qualifie pour les Championnats du monde dans cette ville.


Specifications.

The mortar consists of a steel tube closed at one end by a steel base-plate, which rests on a wooden platform. The,, shells fit around and on top of the tube, instead of being dropped inside, making this a spigot mortar. The range of each shot was adjusted by adding different size powder charges at the base of the round. The barrels could only handle five or six shots apiece before becoming damaged and unusable. When used in large groups, as was often done, it produced a fearsome effect known as the "screaming missile" to U.S. Marines. To absorb the massive recoil caused by firing their projectiles, the mortar tubes were almost always placed up against a mound of dirt.

Use.

During World War II, the Japanese Imperial Army deployed somewhere between one and two dozen 320 mm mortars on Iwo Jima, as well as two dozen on Bataan. The weapon was also used on Okinawa.

Iwo Jima.

Japanese officers believed the 320 mm spigot mortar's most effective method of employment was to inflict psychological damage on the American troops instead of inflicting casualties. The shells left craters deep and wide, but caused relatively few casualties due to minimal fragmentation. The mortars were mainly operated by the 20th Independent Mortar Battalion.  During the Iwo Jima campaign, many of the 12 to 24 launchers were placed inside the mouths of caves to protect them from American artillery bombardment, requiring the gun crews to live in the caves that housed their guns, like the infantry. Due to the relative difficulty involved in moving such a massive weapon system, their locations usually remained fixed during battles.

The, known by the nickname "Ghost rockets", was an artillery weapon used by the Japanese military during World War II, especially during the Battle of Iwo Jima.

Le mortier Type 98 320 mm (九八式臼砲 "Kyūhachi-shiki-kyūhō" signifiant "mortier Type 98") était une pièce d'artillerie à tir courbe utilisée par l’armée impériale japonaise durant la Seconde Guerre mondiale, spécialement durant la Bataille d'Iwo Jima. La désignation "Type 98" indique que cette pièce d'artillerie a été acceptée par l'Armée en l'an 2598 du calendrier japonais, soit 1938 de notre calendrier grégorien.


History.

Expo 58 programme.

Laterna magika initially came into being as a representative cultural programme devised with the aim to promote the at Expo 58, which took place from 17 April to 19 November 1958 in Brussels. The project was entrusted to the stage director Alfréd Radok and the set designer Josef Svoboda, who duly brought to fruition the idea of combining film projection and live stage performance. The other creators who participated in the project included Jaroslav Stránský (production manager and head of the staging plan), Miloš Forman (set designer), the stage directors Vladimír Svitáček and Ján Roháč, the choreographer Jiří Němeček, the costume designer Erna Veselá, the actresses Zdeňka Procházková, Sylva Daníčková and Valentina Thielová, the dancers Jarmila Manšingrová, Naďa Blažíčková, Yvetta Pešková, Eva Poslušná, Miroslav Kůra, Vlastimil Jílek, and other members of the National Theatre. The programme took the form of a mixed bill made up of individual numbers connected by a presenter's performances, which were pre-recorded in several languages and screened in a manner that came across as a seeming interaction of the actress on stage with her images and between each of these. The same principle was applied in the design of the other numbers, which made use of music, dance and live acting.  The project was given the title ""Laterna magika"" and was instrumental in Czechoslovakia's success at Expo 58. The pavilion attained the highest number of points and was awarded the Gold Star, received 56 other prizes and numerous diplomas and medals. At the time when the programme was presented at Expo and shortly after it had finished, Laterna magika was invited to give performances in the USSR, Syria, Egypt, the USA, England, France, the Netherlands, Belgium, Austria, Spain and Israel, while representatives of other countries were interested in possible granting of a licence. Laterna magika duly became a globally renowned trademark and following its return to it launched its official activity, on 9 May 1959, as an independent company of the National Theatre, performing at the Adria palace (on the corner of Národní třída and Jungmannovo náměstí) in Prague.  The programme, consisting of a variety of numbers, was above all the joint work of Alfréd Radok and Josef Svoboda, who right from the outset had defined the principles of relations between the action on stage and film, which have been developed by Laterna magika up to the present day: projection is not only a mobile backdrop, nor does it only create an appearance of reality, the key factor is the interconnection between the content of what is happening on stage and the action on the film screen. Today, Laterna magika employs a wide spectrum of media with which, with regard to its rich history, it has ample experience, thus every performance is based on a different principle of connecting the stage and the image.

1959–1973.

For a long time, the form of the first representative programme served as a model for the creation of new multimedia performances. Laterna magika was part of the National Theatre as an independent "experimental" company with its own artistic management. Its first artistic director was Alfréd Radok. In the 1960s, Laterna magika focused on both domestic and foreign audiences, increasingly centred on tour programmes, in the case of which the composite nature of the first performances was an advantage. According to archival materials and personal testimony, parts of the premiere and subsequent tour programmes were changed, supplemented, re-arranged, or the productions were given different titles. The second Laterna magika performance was aptly called "Tour Programme" and was premiered on 5 December 1960 within a guest appearance in Leningrad. The creation of a new programme gave rise to a clash with the then Communist cultural cadres' notion of socialist realist art: the Minister of Culture, Václav Kopecký, did not allow a rendition on stage of the dance-film number "The Opening of the Springs" to Bohuslav Martinů's music. Alfréd Radok duly resigned from his post of Laterna magika's artistic director and was succeeded by the dancer and choreographer Oldřich Stodola. Amidst the more relaxed political atmosphere in 1966, the work was re-included in the repertoire, and Radok reassumed the post of the company's head. The only exception in the programme dating from this era was the feature-length drama production of "The Tales of Hoffmann", created in 1963 by the stage director Václav Kašlík, who purged Jacques Offenbach's musical work of secondary motifs and concentrated the action on Hoffmann and his three loves, with the production merely featuring three lead characters, and the ballet and opera ensembles. The critics, however, panned "The Tales of Hoffmann" and required that Laterna magika return to a vaudeville type of programme. At Expo 67 in Montreal, the company presented a shorter programme performed up to twelve times a day which later on was staged in Prague under the title "Revue from the Box."

1973–1989.

A turning point in the dramaturgy of Laterna magika came in 1973, when the architect and set designer Josef Svoboda assumed the post of artistic director, in which he would serve for a long time to come. The company began seeking a novel artistic expression in the form of feature-length productions, whose prototype was "Prague Carnival" (1974), directed by Václav Kašlík and based on old legends. It was performed to acclaim for about a month, yet failed to pass the final approval process. A new version of the production was undertaken by the director Evald Schorm, who staged it under the title "Love in Carnival Colours" (1975).  At the time, Laterna magika also strove to address children, first with the play "Lost Fairy Tale" in 1975 and then, most significantly, with "Wonderful Circus," premiered in 1977, which has remained in the repertoire ever since and is the most frequently performed theatre piece in Central Europe. Moreover, "Wonderful Circus" ushered in Laterna magika's phase as a multi-theme theatre. At the celebration marking two decades of the production's staging, Josef Svoboda said: “"The whole intention was centred on a circus theme, with a panoramic moving screen bearing the cinematic image and also representing a circus big-top. This set design serves to render the entire story and principle of Laterna magika.”" The production’s creators included the founder of Czech Black Theatre, Jiří Srnec, the designers Zdenek Seydl, Eva and Jan Švankmajer, the choreographers František Pokorný, Vlastimil Jílek and Karel Vrtiška, the musician Oldřich F. Korte, and other artists. At the beginning of the 1970s, Laterna magika launched permanent collaboration with the cameraman Emil Sirotek. In 2013, the cinematographic material of "Wonderful Circus" was digitised; to date the production has been performed more than 6,200 times.  Acclaimed too was the subsequent "Snow Queen", directed by Evald Schorm and choreographed by Pavel Šmok, and premiered in 1979. Furthermore, Laterna magika experimentally presented a drama production: Antonín Máša’s "Night Rehearsal" (1981), directed by Evald Schorm and with Radovan Lukavský in the lead role, which was the first performance to use synchronous screening by means of television cameras. With the play, Laterna magika strove to assert that it was also a stage for Czech audiences, since at the time it was branded a theatre solely focused on tourists. In 1983, it premiered another play, "The Black Monk", with Jan Kačer portraying the main character.  Laterna magika’s dramaturgy approximated the form of repertory theatre, blending entertaining and serious themes, and self-invented experimental and traditional techniques. Elements of “multimedia” theatre not only contained a combination of media and genres, they also aimed to enhance the original methods and novel staging approaches. Ever greater scope was afforded to the dance company, whose quality was increasing, most markedly from the premiere of "Pragensia, Vox Clamantis" (1984), a work choreographed by Marcela Benoniová.  One of the repertoire highlights at the end of the 1980s and early 1990s was "Odysseus" (1987), directed by Evald Schorm and choreographed by Ondrej Šoth, to music by Michael Kocáb. During the preparations, which lasted nearly three years, the production was deemed the most challenging task Laterna magika had ever undertaken. It even had two versions, with one being performed at the Palace of Culture (today’s Congress Centre) and the other intended for the newly built New Stage of the National Theatre, opened in 1983, which has been used by Laterna magika since 1984 up to the present day.

1989 – 2009.

During the period when Laterna magika operated at the Adria Palace, for three weeks after 21 November 1989 its residence was the most closely observed place in Czechoslovakia. At the time, all of its premises were used by the Civic Forum, a new political movement founded at the Činoherní klub theatre. Laterna magika was the centre of the “Velvet Revolution”, with its management, production workers and company members mediating contact with the citizens of the entire country. Twenty-four hours a day, they registered newly established Civic Forum offices throughout Czechoslovakia, made telephone calls, attended to correspondence. Every day, the auditorium hosted press conferences attended by journalists from all over the world and the theatre was the place at which leaflets and other printed materials were produced and distributed from. Students from outside even slept at Adria.  With a short delay, the revolution resulted in a great change to the statute of Laterna magika: in 1992 it became an independent organisation partly financed from the public purse. It continued to pursue the set programming and artistic line. The 1990 performance for three dancers "Minotaur", based on representation of Friedrich Dürrenmatt’s eponymous short story (translated by Jiří Honzík), was the first to employ computer animation.  In the wake of the revolution, Laterna magika also launched collaboration with foreign stages, with the first instance being the 1992 co-production "A Play About The Magic Flute" (premiered in Anacapri, Italy). For the next three years, the ballet company was led by the French choreographer Jean-Pierre Aviotte, whose debut work for Laterna magika was "Casanova" (1995), directed by Juraj Jakubisko, followed by the critically acclaimed "Puzzles."  Laterna magika ever increasingly embraced the modern and contemporary dance style, with the tendency culminating in the mixed bill "Graffiti" (2002), which was undertaken by the young choreographers Petr Zuska, today’s artistic director of the Czech National Ballet, Václav Kuneš, a dancer of the Nederlands Dans Theater and founder of the Prague-based 420PEOPLE, and Jiří Bubeníček, a celebrated soloist of the Hamburg Ballett and other companies, as well as a renowned choreographer. For their performance in Petr Zuska’s choreography "Les Bras de Mer," the Laterna magika soloists Eva Horáková and Pavel Knolle received the Best Solo Dance Duo award for 2002 from the Dance Association of the Czech Republic, the Dance Art Union of the Slovak Republic and the Czech and Slovak Literary Fund, and were nominated for the prestigious Thalia Prize. "Graffiti" was also the last work of the set designer Josef Svoboda, who died in 2002. He employed in it his invention of the virtual screen, allowing for projecting images in front of the stage, first applied in the 1999 ballet "The Trap".  In 2004, Laterna magika created the production "Argonauts" to commission for the Greek Olympic Committee. Choreographed by Jan Kodet, it was premiered on the eve of the Summer Olympic Games in Athens. The following year, the co-production with ’s "Rendez-vous", choreographed by Jean-Pierre Aviotte, was first performed in Avignon. In 2008, Laterna magika celebrated its 50th anniversary with the production "Cocktail 008", made up of extracts from its best repertoire works, and supplemented with a bonus in the form of the short retro revue "Code 58.08", which was created to mark the anniversary of Expo 58 and premiered under the title "The Brussels Dream" in May 2008.

The present.

In 2010, Laterna magika was reintegrated in the National Theatre. From 1 January 2010 to 31 December 2011, it operated as the National Theatre’s fourth company, headed by its artistic director, Zdeněk Prokeš, and on 1 January it became a section of the New Stage of the National Theatre. The spring of 2011 saw the premiere of the production "Legends of Magic Prague", directed by Jiří Srnec and choreographed by Petr Zuska, in which Laterna magika returned to its artistic legacy: the traditional combination of theatre with film and dance. In the 2011/12 season, the production "Wonderful Circus" celebrated its 35th birthday and "Cocktail 008" was transformed into the new retro show "Cocktail 012 – The Best Of". The mixed bill was modified and the oldest repertoire pieces served as the basis for the reconstruction of the legendary "The Breakneck Ride," a sequence from the 1966 piece "“Variations”".  Under the heading of the New Stage, in the 2012/13 season Laterna magika premiered two titles. The first of them, a short family show "As Far As I See", directed by Maria Procházková, the fruit of collaboration with several drama actors, is intended for the youngest audiences and schools, and has also been performed in a version interpreted into sign language. In March 2013, the New Stage hosted the premiere of the experimental production "Anticodes", inspired by Václav Havel’s eponymous 1960s visual poetry and directed by Braňo Mazúch. The major principle applied in the production by the multimedia artist Dan Gregor, the sound designer Stanislav Abrahám and the choreographer Věra Ondrašíková was real-time tracking, detecting people and objects in pre-determined zones.  In the 2013/14 season, Laterna magika premiered the critically acclaimed multimedia project "Human Locomotion", depicting episodes from the life of the famous British photographer and inventor Eadweard Muybridge. The production was created by the SKUTR tandem (the stage directors Martin Kukučka and Lukáš Trpišovský) and other seasoned artists, including the set designer Jakub Kopecký, the choreographer Jan Kodet and the composer Petr Kaláb. In the 2014/2015 season, the "Extraordinary Voyages of Jules Verne" enriched the repertory of performances for the whole family. In the 2015/2016 season, Laterna magika premiered "The Little Prince", adaptation of one on the most famous books of the 20th century. The last two performances combine drama, dance and projections and are popular among families.

Current repertoire.

Wonderful Circus  Cocktail 012 – The Best Of  As Far As I See  Human Locomotion  Extraordinary Voyages of Jules Verne  The Little Prince

Magician's Lantern (), largely considered the world's first multimedia theatre, was founded as a cultural program at the 1958 Brussels Expo. Shortly after, the company was invited to give performances in the Soviet Union, Syria, Egypt, the USA, England, France, the Netherlands, Belgium, Austria, Spain and Israel. It launched its official activity on 9 May 1959, as an independent company of the National Theatre, performing at the Adria palace in Prague. Wonderful Circus, which premiered in 1977, is the most frequently performed theatre piece in Central Europe, and has remained in the repertoire ever since. Laterna magika productions blend various genres, ranging from dramatic acting through affording a dominant role to dance and ballet to mime and Black Theatre. All of their productions have been original works directly created for the company, not ready-made pieces, which, with a few exceptions, have never subsequently appeared in the repertoire of another company. The fundamental principle (interaction between film projection and live dramatic action) has been gradually supplemented with new technologies, for instance, digital projection or new media, including real-time programmable software.

"Laterna magika", inventée par Alfréd Radok, représente une nouvelle forme de théâtre polyphonique, associant le théâtre, l'opéra, le ballet, le cinéma d'art et le film documentaire, la musique symphonique, le jazz, le sport dans un ensemble ludique où tous les éléments dialoguent, chacun d'eux pouvant devenir par moment l'élément central.


Route.

The race started on The Mall then headed out of London, using the King's Road via Putney Bridge, part of Roehampton, Richmond Park, Richmond Hill, Twickenham and Teddington running towards Hampton Court (on the Greater London border). From Hampton Court the race continued southwest, passing the towns of Walton on Thames and the outskirts of Weybridge, then turned south, however unlike the Olympic course, took the town centres of West Byfleet, Woking and Guildford, before heading east on the A25 to Dorking. From Dorking the race headed north around the Box Hill loop, twice instead of the nine for the Olympics, taking in The Zig Zag road climb twice. From there the race headed north through Leatherhead and Esher on its return to London via Hampton Court before going through Richmond Park from the south (Kingston upon Thames) and then heading along the same roads the race used on its outbound journey back to the Mall.

Teams and riders.

138 riders from 19 national teams and 10 trade teams took part in the race. Mark Cavendish was the pre-race favourite and he was joined in the race by his HTC teammate, Australian Matthew Goss. Other Australians accompanying Goss were Heinrich Haussler and Stuart O'Grady. Also in the race were Tom Boonen of Belgium and American Tyler Farrar.

Race.

The race gave one more leg than the previous year in Britain to the season-long UCI European Tour in 2011 by including not only the Rutland–Melton International CiCLE Classic and Tour of Britain but also this prototype long-distance circuit (taking in London twice and its large section within Surrey). The course would also witness most of the Summer Olympics road race in 2012, however was slightly modified. In the week preceding the race London experienced a series of riots; several football matches were called off, but the London–Surrey Cycle Classic was allowed to proceed. On race day British riders Liam Holohan, Kristian House and Tom Murray and Brazil's Cleberson Weber opened up a 6-minute gap in the breakaway before the peloton started to pull them back on the final Box Hill climb. 2009 British road race champion House won the King of the Mountains award. The lead quartet were swept up in the final 9 kilometres as Great Britain and England controlled the pace. Kurt Asle Arvesen then made a bid for the win before being brought back. With 12 kilometres to go, Tyler Farrar suffered a puncture. After chasing furiously he reached the peloton with 2 kilometres to go, only to see his chance of the win wiped out as a crash occurred; according to Heinrich Haussler it was caused by two riders fighting. The crash split the peloton and in a group of just 20 riders Mark Cavendish beat Sacha Modolo of Italy and France's Samuel Dumoulin in a sprint finish on the Mall.

Women's Reaction.

Unlike the road race the following year, no women's event was held, which led the 2008 Olympic Champion Nicole Cooke to accuse the organisers of sexism. 2010 World Time Trial Champion Emma Pooley was also disappointed, stating "How much extra effort would go in to putting on a women's race? I'm sorry, but we have a sport as well, it kind of annoys me every time." To remedy the lack of racing on the course Cooke and Lizzie Armitstead followed the race in the team cars to survey the course.  LOCOG's Director of Sport, Debbie Jevans declared herself pleased with the event. However, in her debrief with the UCI she said she would look at comments from riders, the impact of the full road closures along the route and the crowd restrictions on Box Hill. Jevans said that consensus was that it was a 'fantastic' course which was 'technically challenging.' However, riders complained about parts of the first part of the course; Dumoulin commenting that it was "a little dangerous." The Director also noted that the a section of the Box Hill area would be widened. As for the limited crowd of 3,400 on Box Hill, Jevans stated that she would look into trying to increase the capacity on that section as an estimated 100,000 people turned out to watch the event in total. Pat McQuaid, president of the UCI, was impressed by the spectator turnout.  BBC Surrey received complaints about inaccurate signage and road closures that cut off large parts of the towns. Complaints about the closures led Surrey County Council to issue an apology through Councillor Denise Saliagopolous for the problems experienced.

TV coverage.

A 20-minute highlights package was televised a week after the race on 21 August 2011. It was screened at 13:00 on BBC Two.

The London–Surrey Cycle Classic was a one-off, one-day bicycle race that served as one of three U.K. events in the year-long 2010–11 UCI Europe Tour and acted as the test event for the 2012 Summer Olympics. The race was part of the London Prepares series of events. The race was run over most of the Olympic course, starting in the Mall and heading into Surrey, where the riders completed two laps of the Box Hill loop before making their way back to the Mall. The course took the riders through or beside four Royal Parks and six London Boroughs. Most of the riders represented countries instead of trade teams; however, there were several, mainly British, trade teams in the race with England being classified as one of them. The race was won by 2011 Tour de France Green Jersey winner Mark Cavendish.

La de la London-Surrey Cycle Classic, a eu lieu le dimanche et se dispute dans Londres et le comté de Surrey. L'épreuve sert de répétition en vue des Jeux olympiques de 2012 et est classée 1.2 de l'UCI Europe Tour 2011.


Early life.

James Hamilton was the son of James Hamilton of Cadzow, 5th Laird of Cadzow. He was born at Cadzow Castle, Lanarkshire. He first appears on record on a charter of 1426, granting him the rights to the lands of Dalserf, which had been alienated by his father.

Douglas connection.

Hamilton was intimately connected with the powerful House of Douglas: his paternal grand-mother was a daughter of James Douglas Lord of Dalkeith d. 1441, and also through his marriage in 1439/1440 with Lady Euphemia Graham, the youthful widow of Archibald Douglas, 5th Earl of Douglas and daughter of Euphemia Stewart, Countess of Strathearn. Hamilton became stepfather to the young 6th Earl of Douglas, his brother David, both who would be murdered in November 1440 at the 'Black Dinner' at Edinburgh Castle in the presence of James II. Furthermore, he was the stepfather of Margaret Douglas, known as the "Fair Maid of Galloway", who was to marry her cousins William Douglas, 8th Earl of Douglas, and James Douglas, 9th Earl of Douglas.

Laird o' Cadzow to Lord Hamilton.

Prior to 1440 he achieved the status of knighthood, and c. 1440/1441 he inherited his father's estates. In 1445, Hamilton received letters patent creating him a Lord of Parliament. This charter raised all his estates into the entail of that rank, with its Capital Messuage at the "Orchard", (later Hamilton Palace), at Cadzow. Furthermore, the charter stated that henceforth the lands would be known as Hamilton as they are today.  Hamilton accompanied his stepson in law, the 8th Earl of Douglas, to Rome in 1450, and there obtained permission from the Holy See to convert the Parish Church at the new burgh of Hamilton into a Collegiate Establishment, with endowments for a Provost and six Canons.

Royal displeasure.

He was certainly with the 9th Earl of Douglas, a month after the murder when the 9th Earl burned the town of Stirling. There followed open warfare in which King James II attacked Douglas lands. An agreement was reached between the King and the Douglas faction at Douglas Castle, in August 1452 that was to last until 1455 in which the Douglas forgave the King's killing of his brother. In 1453, Hamilton was in England, again with the 9th Earl of Douglas, arranging the release of his brother in law, Malise Graham, Earl of Strathearn. For this action Strathearn granted Hamilton the lands of Elliestoun in Linlithgowshire. Hamilton was again in London the following year negotiating a treasonous bond in which Douglas was to swear fealty to King Henry VI in return for support against King James, but the negotiations came to nothing. He was back in Scotland by February 1455 at which time Hamilton and the Earl of Douglas's brothers ravaged and burned much of Lanarkshire.

Siege of Abercorn and fall of the Black Douglas.

In March 1455, King James took to the field against Douglas, sacking his properties and burning his crops. Hamilton's lands, he being a partisan of the Douglases, were also particularly devastated. King James then besieged the Douglas stronghold of Abercorn Castle, using cannons to destroy it. Douglas mustered his men from Douglasdale, Galloway and the Forest; Hamilton, his levies from Clydesdale. The troops marched to raise the siege, but the Earl of Douglas' indecision on a plan of attack is said to have perplexed Hamilton, and cause him to withdraw his support for the Douglas cause. Hamilton changed sides and became a partisan of the Royal party. There is evidence to suggest that Hamilton's uncle, James Livingstone, 1st Lord Livingston had a part in this change of heart. Douglas fled to England, his Castle of Abercorn was slighted, two of his brothers died at and following the Battle of Arkinholm; finally Douglas' great fortalice of Threave Castle fell and Douglas was attainted, all his enormous patrimony forfeit.

Return to Favour.

Following the collapse of the Douglas rebellion, Hamilton was warded at Roslin Castle, in Midlothian for a short while. As recompense for his "Volte-Face", Hamilton was created Sheriff of Lanark, in July 1455, and certain of the Earl of Douglas' forfeited lands were made over to him. These, and his existing lands, being confirmed in Royal charters of October that year. The Barony of Hamilton was increased to include the lands of Drumsergard, Cessford, Kinneil etc., and carefully entailed to whosoever might bear the name and Chief arms of Hamilton. Hamilton was made Bailie of the Priory of Lesmahagow, a Douglas foundation, and was granted the privilege of the lands of Finnart. Hamilton's new patron was the new Lord of Douglas, George Douglas, 4th Earl of Angus, the head of the "Red line" of the House of Douglas, and a supporter of the King.

Marriage and issue.

Hamilton married first, Lady Euphemia Graham, daughter of Patrick Graham, de jure Earl of Strathearn and Euphemia Stewart, Countess of Strathearn and widow of Archibald Douglas, 5th Earl of Douglas. They had a daughter: He married secondly, Princess Mary Stewart of Scotland, daughter of James II of Scotland, and widow of Thomas Boyd, Earl of Arran. By Princess Mary, Hamilton had three children:  Illegitimate children included Sir Patrick Hamilton of Kincavil, father of Master Patrick Hamilton, burnt for heresy in 1528 and a Protestant martyr. Lord Hamilton also had a daughter who married Sir John MacFarlane, 11th chief of Clan MacFarlane. John Hamilton of Broomhill (d. c. 1550), another illegitimate child of James, 1st Lord Hamilton, was by Janet Calderwood. In 1512 John's birth was legitimised. His grandson, James Hamilton, notably served as Sheriff of Perthshire, and his descendants became the Lords Belhaven and Stenton. Another illegitimate child by Janet Calderwood was David Hamilton, Bishop of Argyll and commendator of Dryburgh Abbey.

James Hamilton, 1st Lord Hamilton, 6th Laird of Cadzow (c. 1415 – 6 November 1479) was a Scottish nobleman, scholar and politician.

James Hamilton, Lord Hamilton né vers 1415 au château de Cadzow dans le South Lanarkshire et mort le, était un noble écossais, fils de James Hamilton de Cadzow, Laird de Cadzow.


Project description.

The entire length would have been 4,600 kilometres, with approximately 70 percent (3,000 kilometres) being existing pipeline that would have been converted from carrying liquified natural gas to carrying diluted bitumen. The pipeline route would have run from Alberta to New Brunswick, crossing through Saskatchewan, Manitoba, Ontario, and Quebec. The original project proposal included a marine oil export terminal in Cacouna, Quebec, but that configuration was abandoned due to the impact it would have on a beluga whale habitat. The project would have had a capacity of 1.1 million barrels (~200,000 tonnes) of crude oil per day.  Irving Oil had announced plans to build a new $300-million terminal at its Canaport facility in Saint John to export the oil delivered from the pipeline.

Background.

In a November 10, 2011 phone call, then-President Barack Obama told then Prime Minister Stephen Harper that the Keystone XL approval process was on hold. In response, Frank McKenna, who was then New Brunswick Premier, wrote a "Financial Post" opinion piece suggesting a west-east pipeline. In June 2013, Irving Oil's Arthur Irving and Frank McKenna discuss the TransCanada negotiations which have frustrated Irving and Irving and TransCanada finally reach a deal. The July 6, 2013 the fire and explosion with a blast radius in the Lac-Mégantic rail disaster, the deadliest rail accident since Canada's confederation in 1867, took place. It was caused by the derailment of a freight train carrying Bakken Formation crude oil. Forty-two people died. About half of Lac-Mégantic, Quebec downtown area was destroyed immediately and almost all the remaining downtown buildings had to be demolished because of petroleum contamination.  There were a number of factors that contributed to TransCanada's October 5, 2017 decision to cancel the Energy East project, including "politics, the energy market and the economics of the energy industry."  In 2015, National Energy Board members—NEB's chief executive, Peter Watson, Lyne Mercier, Jacques Gauthier and Roland George "derailed" the Board's public hearings and were "forced to recuse themselves from further dealings with Energy East". They had held secret, private meetings in January 2015, with stakeholders, including Jean Charest, former Premier of Quebec who represented TransCanada at the time as a consultant. Board members were "supposed to handle all of their dealings with stakeholders in public." Conservative MP, Lisa Raitt said the board members made a mistake with Energy East. "The NEB is there to make sure they do everything legally, by the book...If I were the minister in charge, I would read them the riot act." Prior to the 2015 general election, then-Prime Minister Stephen Harper renewed the mandates of all nineteen politically-appointed permanent NEB members. This prevented the "incoming government from making its own appointments to the regulator before the next federal election, scheduled for 2019."  The proposed route crossed the "traditional territory of 180 different aboriginal communities", most of which were strongly against it. Each of the 180 may in law have had a veto under the United Nations Declaration on the Rights of Indigenous Peoples which Prime Minister of Canada Justin Trudeau had previously vowed to sign and uphold. This veto right was supported by some Canadian oil extraction corporations such as Suncor.  Energy East had generated controversy in various areas. Some communities through which it was proposed to pass (notably North Bay, Kenora, and Thunder Bay) opposed it categorically.  In partial response to these concerns, the NEB had planned to hear aboriginal oral evidence from 70 specific intervenors.  The project was also strongly opposed by some Canadians on scientific grounds. The Pembina Institute released a report urging the National Energy Board to consider the impact on carbon emissions, estimating the project's upstream impact as being between 30 and 32 million tonnes of carbon emissions per year. This position was supported by the Governments of Ontario and Quebec, who had wanted the impact of the project on greenhouse gases examined as part of the National Energy Board review process, but did not oppose the project in principle. The Ontario Energy Board also had right to assert its own conditions and jurisdiction, but did not before the project was cancelled.  Another controversial aspect was a new supertanker complex at the eastern end of the pipeline near Quebec City. Exploratory work was put on hold for a month after the Quebec Superior Court found that the Quebec environment ministry had not considered the impact of the project on beluga whales in the area. A public opinion poll held in Quebec found only one-third of Québécois supported the pipeline, while it was supported by one-half of Canadians outside of Quebec.

Project endorsements and process concerns.

The project was endorsed by the Liberal Government of New Brunswick, which claimed it would create over 2000 construction jobs in a province with 11% unemployment. Former Conservative Party of Canada Prime Minister of Canada Stephen Harper endorsed the project, as did the Government of Alberta. This endorsement was renewed by the former NDP Premier of Alberta Rachel Notley after her government's election in 2015. The Saskatchewan Legislature unanimously endorsed a motion supporting the pipeline in November 2014, and the Premier of Saskatchewan Brad Wall called on Prime Minister Harper "to take leadership in supporting TransCanada’s proposed Energy East pipeline". Accordingly, the provincial governments of Alberta, Saskatchewan and New Brunswick were in support. Wall and Notley had taken the position that Ontario and Quebec could not "veto" the pipeline.  The Maliseet First Nations raised concerns about the project during National Energy Board board hearings, but the six Maliseet first nations did not take a unified position on the project at that point, saying that they were reserving judgment pending the results of a traditional land use study and technical review. TransCanada said that it would "strive to reach consent" with the First Nations to avoid and mitigate any possible adverse effects of the Energy East pipeline.  Wall's (but not Notley's) position was that provincial equalization could be withheld from provinces that did not support the project. Ontario and Quebec had imposed approval conditions on Energy East but had dropped climate change concerns in December 2014.  After the election of Justin Trudeau as Prime Minister in the 2015 Canadian federal election, and the replacement of Conservative pro-pipeline MPs with Liberal Party of Canada MPs along the entire route of the pipeline in New Brunswick and part of the route in Quebec, the Canadian federal position became unclear. The Prime Minister had strongly condemned the Harper-era process of regulation, citing serious conflict of interest and mandate flaws, and had also promised to "work with the provinces to map out a plan to reduce Canada's collective carbon footprint within 90 days of taking office by putting a price on carbon pollution." Other Harper-era approvals such as Northern Gateway had been sharply criticized and even called a "farce" by some public officials objecting to the lack of oral cross-examination. Northern Gateway was ultimately cancelled as well by the federal government in November 2016.

The Energy East pipeline was a proposed oil pipeline in Canada. It would have delivered diluted bitumen from Western Canada and North Western United States to Eastern Canada, from receipt points in Alberta, Saskatchewan and North Dakota to refineries and port terminals in New Brunswick and possibly Quebec. The TC PipeLines project would have converted about 3,000 kilometres of natural gas pipeline, which currently carries natural gas from Alberta to the Ontario-Quebec border, to diluted bitumen transportation. New pipeline, pump stations, and tank facilities also would have been constructed. The 12 billion pipeline would have been the longest in North America when complete.

L’oléoduc Énergie Est était un projet de TransCanada visant à acheminer du pétrole de l'Alberta, de la Saskatchewan et du Dakota du Nord à un terminal maritime situé à Saint-Jean (Nouveau-Brunswick) tout en desservant les trois raffineries de l'est du Canada. Un second terminal maritime qui devait être situé sur le fleuve Saint-Laurent a été abandonné. Cet oléoduc de de long aurait eu une capacité de. Il transporterait soit du pétrole léger conventionnel soit du pétrole brut de synthèse, provenant du pré-raffinage du bitume extrait des sables bitumineux de l'Athabasca. Son coût est évalué à 12 milliards $ CA. Évoqué dès 2012, ce projet est annoncé officiellement le. Selon le calendrier initial de TransCanada, l'oléoduc devait entrer en service à Québec en 2017 et à Saint-Jean en 2018. En, TransCanada annonce que son projet de port pétrolier à Cacouna est annulé et que la mise en service du pipeline ne se fera qu'au début de 2020, soit un an plus tard que prévu.


History.

First opened in 1998 as the Hershey Centre, the complex is located on Rose Cherry Place, which was named after the late wife of Don Cherry, founder and former owner of the Mississauga IceDogs hockey team. The closest major intersection is Kennedy Road and Matheson Boulevard East. In 2007, a new multi-sport facility called SportZone opened just to the north of the main bowl. It houses a full-size indoor soccer field, a full size FIBA basketball court, a gymnastics facility, and two outdoor soccer fields.  The Centre is currently the home arena for the Mississauga Steelheads of the Ontario Hockey League (ice hockey), Raptors 905 of the NBA G League (basketball), and Mississauga MetroStars of the Major Arena Soccer League (indoor soccer). It previously housed the Mississauga IceDogs (ice hockey) from 1998 to 2007, the Mississauga Power (basketball) from 2011 to 2015, and the Toronto ThunderHawks during the 2000-2001 National Professional Soccer League season. It has also been the venue for numerous musical acts, including The Tragically Hip, Green Day, The White Stripes, Hatebreed and Chinese superstar Joker Xue.

Major Events.

Hockey.

Along with being the home of Mississauga's OHL teams since its opening, it has hosted several hockey events. In the year 2000 the Hershey Centre hosted the OHL All-Star Classic as well as the IIHF Women's World Hockey Championship. The OHL Championship Series for the J. Ross Robertson Cup has been held at the facility in 2004, 2011 and 2017. In May 2011 the Mississauga St. Michael's Majors hosted the 2011 Memorial Cup. The Saint John Sea Dogs defeated Mississauga in the Final 3–1.

Basketball.

The National Basketball League of Canada announced that the Oshawa Power would relocate to Mississauga and play as the Mississauga Power at the Hershey Centre starting in the 2013–14 season.  The Toronto Raptors announced that beginning in the 2015–16 season, they would have a team in the NBA Development League in Mississauga and play as the Raptors 905 at the Hershey Centre. The 905 displaced the Power and the NBLC team ceased operations. In 2017 and 2018 the Raptors 905 hosted both the NBA G League Showcase as well as the G League Finals at the arena.

Figure skating.

The arena has hosted the Skate Canada International figure skating competition, part of the ISU Grand Prix of Figure Skating series in 2000, 2003, 2011 and in 2016.  It hosted the Canadian Figure Skating Championships for the first time in 2013 and again in 2020.

2015 Pan and Parapan American Games.

During the 2015 Pan American Games, it hosted the four combative sports of judo, karate, taekwondo and wrestling. During that time the centre was temporarily renamed the Mississauga Sports Centre due to naming rights. The venue also hosted the parapan sports of goalball, powerlifting and it also featured the debut of wheelchair rugby.

Other events.

It was the venue for the inaugural 2002 Heritage Cup, an international indoor lacrosse tournament. The North American Roller Hockey Championships finals were held at Hershey Centre in July 2006, 2009 and 2013. The centre hosted the 2009 World Cup of Curling. A funeral for Peel Regional Police officer James Ochakovsky took place at the arena on March 9, 2010. It has also hosted the FIRST Robotics Competition, an international high school robotics competition.

Mississauga and Iceland Fields.

The grounds of the Paramount Fine Foods Centre are also home to two outdoor field facilities, known as the Mississauga Fields and Iceland Fields.

The Paramount Fine Foods Centre, formerly the Hershey Centre, is a multi-purpose sports and entertainment complex located in Mississauga, Ontario, Canada. Its current name was adopted on July 1, 2018 following a new naming rights agreement with Mississauga-based restaurant chain Paramount Fine Foods.

Le Paramount Fine Foods Centre est une salle omnisports à Mississauga (Ontario). Ses locataires sont les Steelheads de Mississauga de la Ligue de hockey de l'Ontario, les Eagles FC de Mississauga de la Ligue canadienne de soccer et le Raptors 905 de la NBA Gatorade League.


Statement.

The Schur decomposition reads as follows: if "A" is a "n" × "n" square matrix with complex entries, then "A" can be expressed as  where "Q" is a unitary matrix (so that its inverse "Q" is also the conjugate transpose "Q"* of "Q"), and "U" is an upper triangular matrix, which is called a Schur form of "A". Since "U" is similar to "A", it has the same spectrum, and since it is triangular, its eigenvalues are the diagonal entries of "U".  The Schur decomposition implies that there exists a nested sequence of "A"-invariant subspaces {0} = "V" ⊂ "V" ⊂... ⊂ "V" = C, and that there exists an ordered orthonormal basis (for the standard Hermitian form of C) such that the first "i" basis vectors span "V" for each "i" occurring in the nested sequence. Phrased somewhat differently, the first part says that a linear operator "J" on a complex finite-dimensional vector space stabilizes a complete flag ("V"...,"V").

Proof.

A constructive proof for the Schur decomposition is as follows: every operator "A" on a complex finite-dimensional vector space has an eigenvalue "λ", corresponding to some eigenspace "V". Let "V" be its orthogonal complement. It is clear that, with respect to this orthogonal decomposition, "A" has matrix representation (one can pick here any orthonormal bases "Z" and "Z" spanning "V" and "V" respectively)  where "I" is the identity operator on "V". The above matrix would be upper-triangular except for the "A" block. But exactly the same procedure can be applied to the sub-matrix "A", viewed as an operator on "V", and its submatrices. Continue this way n times. Thus the space C will be exhausted and the procedure has yielded the desired result.  The above argument can be slightly restated as follows: let "λ" be an eigenvalue of "A", corresponding to some eigenspace "V". "A" induces an operator "T" on the quotient space C/"V". This operator is precisely the "A" submatrix from above. As before, "T" would have an eigenspace, say "W" ⊂ C modulo "V". Notice the preimage of "W" under the quotient map is an invariant subspace of "A" that contains "V". Continue this way until the resulting quotient space has dimension 0. Then the successive preimages of the eigenspaces found at each step form a flag that "A" stabilizes.

Notes.

Although every square matrix has a Schur decomposition, in general this decomposition is not unique. For example, the eigenspace "V" can have dimension > 1, in which case any orthonormal basis for "V" would lead to the desired result.  Write the triangular matrix "U" as "U" = "D" + "N", where "D" is diagonal and "N" is strictly upper triangular (and thus a nilpotent matrix). The diagonal matrix "D" contains the eigenvalues of "A" in arbitrary order (hence its Frobenius norm, squared, is the sum of the squared moduli of the eigenvalues of "A", while the Frobenius norm of "A", squared, is the sum of the squared singular values of "A"). The nilpotent part "N" is generally not unique either, but its Frobenius norm is uniquely determined by "A" (just because the Frobenius norm of A is equal to the Frobenius norm of "U" = "D" + "N").  It is clear that if "A" is a normal matrix, then "U" from its Schur decomposition must be a diagonal matrix and the column vectors of "Q" are the eigenvectors of "A". Therefore, the Schur decomposition extends the spectral decomposition. In particular, if "A" is positive definite, the Schur decomposition of "A", its spectral decomposition, and its singular value decomposition coincide.  A commuting family {"A"} of matrices can be simultaneously triangularized, i.e. there exists a unitary matrix "Q" such that, for every "A" in the given family, "Q A Q*" is upper triangular. This can be readily deduced from the above proof. Take element "A" from {"A"} and again consider an eigenspace "V". Then "V" is invariant under all matrices in {"A"}. Therefore, all matrices in {"A"} must share one common eigenvector in "V". Induction then proves the claim. As a corollary, we have that every commuting family of normal matrices can be simultaneously diagonalized.  In the infinite dimensional setting, not every bounded operator on a Banach space has an invariant subspace. However, the upper-triangularization of an arbitrary square matrix does generalize to compact operators. Every compact operator on a complex Banach space has a nest of closed invariant subspaces.

Computation.

The Schur decomposition of a given matrix is numerically computed by the QR algorithm or its variants. In other words, the roots of the characteristic polynomial corresponding to the matrix are not necessarily computed ahead in order to obtain its Schur decomposition. Conversely, the QR algorithm can be used to compute the roots of any given characteristic polynomial by finding the Schur decomposition of its companion matrix. Similarly, the QR algorithm is used to compute the eigenvalues of any given matrix, which are the diagonal entries of the upper triangular matrix of the Schur decomposition. See the Nonsymmetric Eigenproblems section in LAPACK Users' Guide.

Applications.

Lie theory applications include:

Generalized Schur decomposition.

Given square matrices "A" and "B", the generalized Schur decomposition factorizes both matrices as formula_3 and formula_4, where "Q" and "Z" are unitary, and "S" and "T" are upper triangular. The generalized Schur decomposition is also sometimes called the QZ decomposition.  The generalized eigenvalues formula_5 that solve the generalized eigenvalue problem formula_6 (where "x" is an unknown nonzero vector) can be calculated as the ratio of the diagonal elements of "S" to those of "T". That is, using subscripts to denote matrix elements, the "i"th generalized eigenvalue formula_7 satisfies formula_8.

In the mathematical discipline of linear algebra, the Schur decomposition or Schur triangulation, named after Issai Schur, is a matrix decomposition. It allows one to write an arbitrary complex matrix as unitarily equivalent to an upper triangular matrix whose diagonal elements are the eigenvalues of the original matrix.

En algèbre linéaire, une décomposition de Schur (nommée après le mathématicien Issai Schur) d'une matrice carrée complexe "M" est une décomposition de la formeoù "U "est une matrice unitaire ("U"*"U" = "I") et "A" une matrice triangulaire supérieure.


Etymology.

"Barouche" is an anglicisation of the German word "barutsche", via the Italian "baroccio" or "biroccio" and ultimately from the ancient Roman Empire's Latin "birotus", "two-wheeled". The name thus became a misnomer, as the later form of the carriage had four wheels.

Development and variations.

The barouche was based on an earlier style of carriage, the "calash" or "calèche": this was a light carriage with small wheels, inside seats for four passengers, a separate driver's seat and a folding top. A folding calash top was a feature of two other types: the chaise, a two-wheeled carriage for one or two persons, a body hung on leather straps or thorough-braces, usually drawn by one horse; and a victoria, a low four-wheeled pleasure carriage for two with a raised seat in front for the driver. A victoria is distinguished from a barouche by having fold-down occasional seating for the rear-facing passengers, instead of permanent front seats.  In Quebec, Canada, "calèche" refers to a two-wheeled horse-drawn vehicle with or without a folding top and with a driver's seat on the splashboard.  In the Philippines, the "kalesa" is a one-horse descendant of Spanish Colonial calashes, and is a common sight in older cities such as Manila and Vigan.

Description of the barouche carriage.

A barouche was an expensive four-wheeled, shallow vehicle used in the 19th century with two double seats inside, arranged "vis-à-vis", so that the sitters on the front seat face those on the back seat. It has a soft collapsible half-hood folding like a bellows over the back seat and a high outside box seat in front for the driver. The entire carriage is suspended on C springs and leather straps and more recently additional elliptical springs. It is drawn by a pair of horses and was used in the 19th century for display and summer leisure driving. Designed to give a powerful impression of luxury and elegance, the structure of the carriage is heavier than it looks because of the lack of a rigid roof structure.  A light barouche was a "barouchet" or "barouchette". A barouche-sociable was described as a cross between a barouche and a victoria.  A barouche-landau is mentioned in "Emma", published in 1816 by Jane Austen. It "combines the best features of a barouche and a landau". An illustration of the expensive and more rarely seen vehicle, on account of the expense, is shown in a paper by Ed Ratcliffe, citing editor R. W. Chapman's collection of the works of Jane Austen, in the volume Minor Works, as noted in Ratcliffe's sources. f

In popular culture.

In the 1994 novel, "The Alienist", which is set in 1896, by Caleb Carr a frequently used mode of transportation for the characters is a caleche.  In the novels by Jane Austen, "Lady Dalrymple, Mr. and Mrs. Palmer, and Henry Crawford owned barouches" in which other characters rode, and Jane Austen herself on at least one occasion in 1813 rode in a barouche. Henry Crawford was a character in "Mansfield Park" and his barouche was the topic of two important scenes of the novel; Lady Dalrymple was in "Persuasion", while Mr and Mrs Palmer were characters in "Sense and Sensibility".  Barouche driving is mentioned as a fashionable pastime in Nice, Italy, in chapter 37 of "Little Women" by Louisa May Alcott.  Chichikov, the main character of Nikolai Gogol's "Dead Souls", is frequently driven around in his own barouche by his servant Selifan and is also involved in a crash with another carriage.

A barouche is a large, open, four-wheeled carriage, both heavy and luxurious, drawn by two horses. It was fashionable throughout the 19th century. Its body provides seats for four passengers, two back-seat passengers vis-à-vis two behind the coachman's high box-seat. A leather roof can be raised to give back-seat passengers some protection from the weather.

La barouche est une voiture hippomobile, apparue au, et qui s’est répandue au s. C’est le nom de la calèche, utilisé en Angleterre, et plus spécialement la "calèche à huit ressorts".


Legal background.

Human cadavers have been dissected by physicians since at least the 3rd century BC, but throughout history, prevailing religious views on the desecration of corpses often meant that such work was performed in secrecy. The Christian church forbade human dissection until the 14th century, when the first recorded anatomisation of a cadaver took place in Bologna. Until then, anatomical research was limited to the dissection of animals. In Britain, human dissection was proscribed by law until 1506, when King James IV of Scotland gave royal patronage to the Barber-Surgeons of Edinburgh, allowing them to dissect the "bodies of certain executed criminals". England followed in 1540, when Henry VIII gave patronage to the Company of Barber-Surgeons, allowing them access to four executed felons each year (Charles II later increased this to six felons each year). Elizabeth I granted the College of Physicians the right to anatomise four felons annually in 1564.  Several major hospitals and teaching centres were established in Britain during the 18th century, but with only a very few corpses legally available for dissection, these institutions suffered from severe shortages. Some local authorities had already attempted to alleviate the problem, with limited success; in 1694, Edinburgh allowed anatomists to dissect corpses "found dead in the streets, and the bodies of such as die violent deaths... who shall have nobody to own them". Suicide victims were given over, as were infants who had died while being born and also the unclaimed bodies of abandoned children. But even though they were supported by the common law, anatomists occasionally found it difficult to collect what was granted to them. Fuelled by resentment of how readily the death penalty was used, and imbued with superstitious beliefs, crowds sometimes sought to keep the bodies of executed felons away from the authorities. Riots at execution sites were commonplace; worried about possible disorder, in 1749 the Sheriff of London ignored the surgeons and gave the dead to their relatives.  These problems, together with a desire to enhance the deterrent effect of the death penalty, resulted in the passage of the Murder Act 1752. It required that "every murderer shall, after execution, either be dissected or hung in chains". Dissection was generally viewed as "a fate worse than death"; giving judges the ability to substitute gibbeting with dissection was an attempt to invoke that horror. While the Act gave anatomists statutory access to many more cadavers than were previously available, it proved insufficient. Attempting to bolster the supply, some surgeons offered money to pay the prison expenses and funeral clothing costs of condemned prisoners, while bribes were paid to officials present at the gallows, sometimes leading to an unfortunate situation in which corpses not legally given over for dissection were taken anyway.

Commodification.

Documented cases of grave robbery for medical purposes can be found as far back as 1319. The 15th-century polymath Leonardo da Vinci may have secretly dissected around 30 corpses, although their provenance remains unknown. In Britain, the practice appears to have been common early in the 17th century. For example, William Shakespeare's epitaph reads "Good friend, for Jesus' sake forbear, To dig the dust enclosed here. Blessed be the man that spares these stones, And cursed be he that moves my bones" and in 1678, anatomists were suspected of being involved in the disappearance of an executed gypsy's body. Contracts issued in 1721 by the Edinburgh College of Surgeons include a clause directing students not to become involved in exhumation, suggesting, according to historian Ruth Richardson, that students had already done the exact opposite. Pupils accompanied professional body snatchers as observers, and were reported to have obtained and paid for their studies with human corpses, perhaps indicating that their tutors were complicit. The unauthorised removal of bodies from London graveyards became commonplace and by the 1720s, probably as a direct result of the lack of legally available bodies for anatomical research, fresh corpses had likely undergone commodification. Corpses and parts thereof were traded like any other merchandise: packed into suitable containers, salted and preserved, stored in cellars and quays and transported in carts, waggons and boats. Encouraged by fierce competition, anatomy schools usually paid more promptly than their peers, who included individual surgeons, artists and others with an interest in human anatomy. As one body snatcher testified, "a man may make a good living at it, if he is a sober man, and acts with judgement, and supplies the schools". In London, late 18th-century anatomists may have delegated their grave-robbing almost entirely to body snatchers, or, as they were commonly known, resurrectionists. A fifteen-strong gang of such men, exposed in Lambeth in 1795, supplied "eight surgeons of public repute, and a man who calls himself an Articulator". The report into their activities lists a price of two guineas and a crown for a dead body, six shillings for the first foot, and nine pence per inch "for all it measures more in length". These prices were by no means fixed; the black market value of corpses varied considerably. Giving evidence to the 1828 Select Committee on Anatomy, the surgeon Astley Cooper testified that in 1828 the price for a corpse was about eight guineas, but also that he had paid anything from two to fourteen guineas previously; others claimed they had paid up to twenty guineas per corpse. Compared to the five shillings an East End silk weaver could earn each week, or the single guinea a manservant to a wealthy household was paid, these were considerable sums of money and body snatching was therefore a highly profitable business. Surgeons at the Royal College in Edinburgh complained that resurrectionists were profiteering, particularly when local shortages forced prices up. One surgeon told the Select Committee that he thought the body snatchers were manipulating the market for their own benefit, though no criticism was made of the "Anatomy Club", an attempt by anatomists to control the price of corpses for their benefit.  Prices also varied depending on what type of corpse was for sale. With greater opportunity for the study of musculature, males were preferable to females, while freaks were more highly valued. The body of Charles Byrne, the so-called "Irish Giant", fetched about £500 when it was bought by John Hunter. Byrne's skeleton remains on display at the Royal College of Surgeons of England. Children's bodies were also traded, as "big smalls", "smalls" or foetuses. Parts of corpses, such as a scalp with long hair attached, or good quality teeth, also fetched good prices—not because they held any intrinsic value to the anatomist, but rather because they were used to refurbish the living. With no reliable figures for the number of dissections that took place in 18th-century Britain, the true scale of body snatching can only be estimated. Richardson suggests that nationally, several thousand bodies were robbed each year. The 1828 Select Committee reported that in 1826, 592 bodies were dissected by 701 students. In 1831, only 52 of 1,601 death penalties handed down were enacted, a number far too small to meet demand. Since corpses were not viewed as property and could neither be owned nor stolen, body snatching remained quasi-legal, the crime being committed against the grave rather than the body. On the rare occasions they were caught, resurrectionists might have received a public whipping, or a sentence for crimes against public mores, but generally the practice was treated by the authorities as an open secret and ignored. A notable exception occurred in Great Yarmouth in 1827, with the capture of three resurrectionists. At a time when thieves were regularly transported for theft, two of the body snatchers were discharged and the third, sent to London for trial, was imprisoned for only six months. Resurrectionists were also aided by the corpse's anatomisation; since the process also destroyed the evidence, a successful prosecution was unlikely.

Resurrection.

Method.

Resurrectionists usually found corpses through a network of informers. Sextons, gravediggers, undertakers, local officials; each connived to take a cut of the proceeds. Working mostly in small gangs at night with a "dark lanthorn", their "modus operandi" was to dig a hole—sometimes using a quieter, wooden spade—down to one end of the coffin. To disguise this activity, the spoil was sometimes thrown onto a piece of canvas at the side of the grave. A sound-deadening sack was placed over the lid, which was then lifted. The weight of soil on the remainder of the lid snapped the wood, enabling the robbers to hoist the body out. The corpse was then stripped of its clothing, tied up, and placed into a sack. The entire process could be completed within 30 minutes. Moving the corpse of a pauper was less troublesome, as their bodies were often kept in mass graves, left open to the environment until filled—which often took weeks.  If caught in the act, body snatchers could find themselves at the mercy of the local population. A violent confrontation took place in a Dublin churchyard in 1828, when a party of mourners confronted a group of resurrectionists. The would-be body snatchers withdrew, only to return several hours later with more men. The mourners had also added to their number, and both groups had brought firearms. A "volley of bullets, slugs, and swan-shot from the resurrectionists" prompted a "discharge of fire-arms from the defenders". Close-quarters fighting included the use of pick axes, until the resurrectionists retreated. In the same city, a man caught removing a corpse from a graveyard in Hollywood was shot and killed in 1832. In the same year, three men were apprehended while transporting the bodies of two elderly men, near Deptford in London. As rumours spread that the two corpses were murder victims, a large crowd assembled outside the station house. When the suspects were brought out to be transported to the local magistrates, the approximately 40-strong force of police officers found it difficult to "prevent their prisoners being sacrificed by the indignant multitude, which was most anxious to inflict such punishment upon them as it thought they deserved."

Gangs.

As many as seven gangs of resurrectionists may have been at work in 1831. The 1828 Select Committee on Anatomy believed that there were about 200 London resurrectionists, most of them working part-time. The London Borough Gang, which operated from about 1802 to 1825, at its peak consisted of at least six men, led first by a former hospital porter named Ben Crouch, and later by a man called Patrick Murphy. Under the protection of Astley Cooper, Crouch's gang supplied some of London's biggest anatomical schools, but relations were not always amicable. In 1816 the gang cut off supplies to the St Thomas Hospital School, demanding an increase of two guineas per corpse. When the school responded by using freelancers, members of the gang burst into the dissecting rooms, threatened the students and attacked the corpses. The police were called, but worried about adverse publicity, the school paid their attackers' bail and opened negotiations. The gang also attempted to put rivals out of business, sometimes by desecrating a graveyard (thereby rendering it unsafe to rob graves from for weeks thereafter) and other times by reporting freelance resurrectionists to the police, recruiting them once freed from prison. Joshua Naples, who wrote "The Diary of a Resurrectionist", a list of his activities from 1811–1812, was one such individual. Among entries detailing the graveyards he plundered, the institutions he delivered to, how much he was paid and his drunkenness, Naples diary mentions his gang's inability to work under a full Moon, being unable to sell a body deemed "putrid", and leaving a body thought to be infected with smallpox.  Violent mobs were not the only problems body snatchers faced. Naples also wrote of how he met "patrols" and how "dogs flew at us", references to some of the measures taken to secure graves against his ilk. The aristocracy and very rich placed their dead in triple coffins, vaults and private chapels, sometimes guarded by servants. For the less wealthy, double coffins were available, buried on private land in deep graves. More basic defences included the placing of heavy weights over the coffin, or simply filling the grave with stones rather than soil. Such deterrents were sometimes deployed in vain; at least one London graveyard was owned by an anatomist who, it was reported, "obtained a famous supply [of cadavers]... and he could charge pretty handsomely for burying a body there, and afterwards get from his pupils from eight to twelve guineas for taking it up again!" Ever more elaborate creations included "The Patent Coffin", an iron contraption with concealed springs to prevent any levering of its lid. Corpses were sometimes secured inside their caskets by iron straps, while other designs used special screws to reinforce metal bands placed around the coffin. In Scotland, iron cages called mortsafes either encased buried coffins, or were set in a concrete foundation and covered the whole grave. Some covered more than one coffin, while others took the form of iron lattices fixed beneath large stone slabs, buried with the coffin. They may not have been secure enough; as one 20th-century writer observed, an empty coffin found beneath a buried mortsafe in Aberlour had probably been "opened during the night succeeding the funeral, and carefully closed again, so that the disturbance of the soil had escaped notice or had been attributed to the original burial."

Other methods.

Occasionally, resurrectionists paid women to pose as grieving relatives, so that they might claim a body from a workhouse. Some parishes did little to stop this practice, as it reduced their funeral expenditure. Bodies were also taken from dead houses; Astley Cooper's servant was once forced to return three bodies, worth £34 2s, to a dead house in Newington parish. Bribes were also paid, usually to servants of recently deceased employers then lying in state, although this method carried its own risks as corpses were often placed on public display before they were buried. Some were taken from private homes; in 1831 "The Times" reported that "a party of resurrectionists" burst into a house in Bow Lane and took the body of an elderly woman, who was being waked' by her friends and neighbours". The thieves apparently "acted with the most revolting indecency, dragging the corpse in its death clothes after them through the mud in the street". Bodies were even removed—with no legal authority—from prisons and naval and military hospitals.  While some surgeons eschewed human cadavers in favour of facsimiles, plaster casts, wax models and animals, bodies were also taken from hospital burial grounds. Recent excavations at the Royal London Hospital appear to support claims made almost 200 years earlier that the hospital's school was "entirely supplied by subjects, which have been their own patients".

Dissection and anatomy.

Public view.

The moving in 1783 of London's executions, from Tyburn to Newgate Prison, reduced the likelihood of public interference and strengthened the authorities' hold over felons. However, society's view of dissection remained unequivocal; most preferred gibbeting to the laying open of a corpse. Martin Gray, sentenced to death in 1721 for returning early from transportation, was "greatly frighted, least his Body should be cut, and torn, and mangled after Death, and had sent his Wife to his Uncle to obtain some money to prevent it." Vincent Davis, convicted in 1725 of murdering his wife, said he would rather be "hang'd in Chains" than "anatomiz'd", and to that effect had "sent many Letters to all his former Friends and Acquaintance to form a Company, and prevent the Surgeons in their Designs upon his Body". There are cases of criminals who survived the short drop, but dissecting the body removed any hope of escape from death's embrace. Anatomists were popularly thought to be interested in dissection only as enactors of the law, a relationship first established by kings James IV and Henry VIII. Thomas Wakley, editor of "The Lancet", wrote that this lowered "the character of the profession in the public mind." It was also thought that the anatomists' work made the body's owner unrecognisable in the afterlife. Therefore, while less hated than the resurrectionists they employed, anatomists remained at risk of attack. Relatives of a man executed in 1820 killed one anatomist and shot another in the face, while in 1831, following the discovery of buried human flesh and three dissected bodies, a mob burnt down an anatomy theatre in Aberdeen. The theatre's proprietor, Andrew Moir, escaped through a window, while two of his students were chased through the streets.  Some aspects of the popular view of dissection were exemplified by the final panel of William Hogarth's "The Four Stages of Cruelty", a series of engravings that depict a felon's journey to the anatomical theatre. The chief surgeon (John Freke) appears as a magistrate, watching over the examination of the murderer Tom Nero's body by the Company of Surgeons. According to author Fiona Haslam, the scene reflects a popular view that surgeons were "on the whole, disreputable, insensitive to human suffering and prone to victimis[ing] people in the same way that criminals victimised their prey." Another popular belief alluded to by Hogarth was that surgeons were so ignorant of the respect due to their subjects, that they allowed the remains to become offal. In reality, the rough treatment exacted by body snatchers on corpses continued on the premises they delivered to. Joshua Brookes once admitted that he had kicked a corpse in a sack down a flight of stairs, while Robert Christison complained of the "shocking indecency without any qualifying wit" demonstrated by a male lecturer who dissected a woman. Pranks were also common; a London student who jokingly dropped an amputated leg down a household chimney, into a housewife's stewpot, caused a riot.

Anatomy Act 1832.

In March 1828, in Liverpool, three defendants charged with conspiracy and unlawfully procuring and receiving a corpse buried in Warrington were acquitted, while the remaining two were found guilty of possession. The presiding judge's comment, that "the disinterment of bodies for dissection was an offence liable to punishment", prompted Parliament to establish the 1828 Select Committee on Anatomy. The committee took evidence from 40 witnesses: 25 members of the medical profession, 12 public servants and 3 resurrectionists, who remained anonymous. Discussed were the importance of anatomy, the supply of subjects for dissection and the relationship between anatomists and resurrectionists. The committee concluded that dissection was essential to the study of human anatomy and recommended that anatomists be allowed to appropriate the bodies of paupers.  The first bill was presented to Parliament in 1829 by Henry Warburton, author of the Select Committee's report. Following a spirited defence of the poor by peers in the House of Lords, it was withdrawn, but almost two years later Warburton introduced a second bill, shortly after the execution of John Bishop and Thomas Williams. The London Burkers, as the two men were known, were inspired by a series of murders committed by William Burke and William Hare, two Irishmen who sold their victims' bodies to Robert Knox, a Scottish surgeon. Even though Burke and Hare never robbed graves, their case lowered the public's view of resurrectionists from desecraters to potential murderers. The resulting wave of social anxiety helped speed Warburton's bill through Parliament, and despite much public opprobrium, with little Parliamentary opposition the Anatomy Act 1832 became law on 1 August 1832. It abolished that part of the 1752 Act that allowed murderers to be dissected, ending the centuries-old tradition of anatomising felons, although it neither discouraged nor prohibited body snatching, or the sale of corpses (whose legal status remained uncertain). Another clause allowed a person's body to be given up for "anatomical examination", provided that the person concerned had not objected. As the poor were often barely literate and therefore unable to leave written directions in the event of their death, this meant that masters of charitable institutions such as workhouses decided who went to the anatomist's table. A stipulation that witnesses could intervene was also abused, as such witnesses might be fellow inmates who were powerless to object, or workhouse staff who stood to gain money through wilful ignorance.  Despite the passage of the Anatomy Act, resurrection remained commonplace, the supply of unclaimed paupers' bodies at first proving inadequate to fulfil the demand. Reports of body snatching persisted for some years; in 1838, Poor Law Commissioners reported on two dead resurrectionists who had contracted an illness from a putrid corpse they had unearthed. By 1844, the trade no longer existed.

References.

Footnotes Notes Bibliography

Resurrectionists were body snatchers who were commonly employed by anatomists in the United Kingdom during the 18th and 19th centuries to exhume the bodies of the recently dead. Between 1506 and 1752 only a very few cadavers were available each year for anatomical research. The supply was increased when, in an attempt to intensify the deterrent effect of the death penalty, Parliament passed the By allowing judges to substitute the public display of executed criminals with dissection (a fate generally viewed with horror), the new law significantly increased the number of bodies anatomists could legally access. This proved insufficient to meet the needs of the hospitals and teaching centres that opened during the 18th century. Corpses and their component parts became a commodity, but although the practice of disinterment was hated by the general public, bodies were not legally anyone's property. The resurrectionists therefore operated in a legal grey area.

Le trafic de cadavres au Royaume-Uni aux et siècles était alimenté par la demande croissante en cadavres pour les recherches anatomiques et entraînait l'exhumation clandestine de centaines de corps par an.


Team history.

When founded by Gordon Spice and Raymond Bellm, who funded the company with Listerine sponsorship, Spice Engineering initially used Tiga sports cars in the World Sportscar Championship, running in the smaller C2 category. Debuting in the 1984 season, the team managed to score five class wins in the championship, aiding Tiga in finishing third in the constructor's standings. For 1985, the engineering arm of Spice began to develop, as the team assisted in the development of the new Tiga GC85 chassis. Gordon Spice and Ray Bellm managed to take another five class victories that year, including at the 24 Hours of Le Mans, and winning the teams championship. Now constructing their own cars for 1986, Spice also expanded to the IMSA GT Championship, where they assisted in the running of Pontiac's Camel Lights competitor. Meanwhile, in the WSC, Spice would score another two victories, yet miss out on a repeat of the team's championship to Ecurie Ecosse. Spice would return to form in 1987, with seven victories and retaking the championship. Spice would expand on this even more in 1988, when in an eleven race season, they failed to win their class only once, thus earning them a third championship title.  In 1989, Spice would attempt to move into the larger C1 class, where major manufacturers like Mercedes-Benz, Porsche, Jaguar, Nissan, Toyota, and Aston Martin competed. Spice would finish a disappointing ninth in the teams championship, with a race result of fourth that season. Fortunes would improve in 1990 when a large number of the major manufacturers exited the series, leaving Spice to be able to take fourth place in the championship, ahead of the various private Porsche outfits and the factory Toyota squad.  In 1991, Spice chose to concentrate on the IMSA GT Championship. However Euro Racing achieved a string of good results in the 1991 WSC with a Spice SE90C, including four fourth places, helping the team to fourth in the teams championship whilst drivers Cor Euser and Charles Zwolsman finished fifth and sixth in the drivers standings. In addition another Spice had the distinction of being the only C1 class car to be a classified finisher in the 1991 24 Hours of Le Mans. The following year saw Chamberlain Engineering successfully campaigning a Spice SE89C in the declining WSC - the team consistently scored points, including a third place at the 1992 500km of Silverstone and finished fourth in the championship, whilst their lead driver Ferdinand de Lesseps finished seventh in the drivers championship. Chamberlain also dominated the FIA Cup, with de Lesseps winning all six rounds. Following the collapse of the GTP class in IMSA at the end of 1993. Spice was active in creating update and modification kits to allow existing chassis to be updated to the then-new IMSA WSC specification.

Constructor history.

Following Spice's initial work on the Tiga GC85, Gordon Spice decided to build his own chassis, not only for the C2 class in the World Sportscar Championship, but also for the Lights class in IMSA GT. He received engineering input from General Motors for the IMSA effort, using Pontiac engines in place of the Ford Cosworths. The first design by the team was the SE86, which the SE standing for Spice Engineering, and 86 for the year of its construction, 1986. This numbering scheme would be used by nearly all Spice chassis.  After having considerable success with their smaller chassis, Spice made the move to the larger C1 and GTP classes with the SE89. This would be replaced by the successful SE90 the following year, of which Spice built near 30 chassis of that design or similar over several years. Many privateers bought the SE90s, winning various championships. Spice would also end its relationship with General Motors, instead becoming the factory squad for Honda, running Acura engines in SE90-based chassis, winning the Camel lights for Honda in 1991, 1992 and 1993.In 1990 Gordon Spice and Ray Bellm sold their interests in Spice Engineering to Jean Louis Ricci, a Spice customer.  By 1992, Spice began to develop newer designs to replace their older chassis, but the company would soon hit financial troubles before multiple cars could be built. Spice's final GTP chassis was finished in 1993, at which time the GTP and GT Lights Championships had been canceled and IMSA was adopting a new set of rules for open-cockpit sportscars in 1994. Spice built at least three new chassis for the IMSA WSC championship with new suspension and bodywork. In 1994 Spice won the manufacturers championship with Oldsmobile beating Ferrari. Spice also made available a kit to convert existing Group C and IMSA chassis to the new WSC regulations and some teams took up this option, with some opting to carry out their own conversion and development work, without factory assistance. Some of these heavily modified designs would still be racing competitively until 1999.  During Spice's stint as the factory Pontiac team, they also constructed several Pontiac Fiero race cars for the IMSA GTO and GTU classes, having some mixed success. These would be the only Spices based on production cars instead of purpose-built sports cars.

Later projects and demise.

Following the collapse of the major sportscar championships in the early 1990s, Spice won the Manufacturers Championship for Oldsmobile in 1994. Spice planned to build its own road cars and race them in the newer GT championships. The company also announced ambitious plans to create a Formula One team in their new headquarters in Australia. However, the plan never got off the ground and Spice soon closed.

Successes.

Both as a team and as a constructor, Spice had considerable success during their racing career through the 1980s and into the 1990s.

Spice Engineering was a British racing team founded by driver Gordon Spice with Raymond Bellm in the early 1980s, later becoming a successful sports car constructor in 1986. They competed in the World Sportscar Championship in Europe as well as the IMSA GT Championship in North America, at times partnering with major manufacturers such as General Motors and Honda as well as race engine manufacturer Comptech.

Spice Engineering fut une écurie de sport automobile fondée en 1980 par les frères Gordon Spice et Derek Spice. La structure devient constructeur de Sport-prototypes à partir de 1986 et remporte plusieurs titres en Championnat du monde des voitures de sport et Championnat IMSA GT. L'écurie disparait en 1994 suite à sa faillite.


Plot.

Saki Hyuuga and Mai Mishou met at age nine for the first time after they followed two glowing balls that flew towards the Sky Tree, a big tree situated on top of a mountain in their town. Five years later, they met again at the same place and became the new legendary warriors PreCure (Pretty Cure). Flappy and Choppy, spirits from the Land of Fountains, revealed that they were the glowing balls and the girls were chosen to protect the Fountain of Sun hidden in Saki and Mai's world, which they refer to as the Land of Fountains. Saki and Mai are transformed into Cure Bloom and Cure Egret using the spirits. Later they are gained new forms to Cure Bright and Cure Windy with help from two additional spirits Moop and Fuup. The villains of this series are the Dark Fall, who are searching for the Fountain of Sun, the last of the seven fountains that feed the World Tree - the source of all life forms for all worlds. The Leader of the Dark Fall has set his aim on this tree, and it is Pretty Cure's job to protect it.  In the "Splash Star" movie, Sirlion, a warrior from Dark Fall, opens up a gateway to the Land of Clocks using directions from Mai. His plan to dominate the world is to halt the Eternal (Infinite) Clock and freeze time, cutting off everyone's future. Saki and Mai were already in disagreement after Saki overslept and Mai wandered off into a nearby clock store, causing them to miss the sign-up for the karaoke singing contest. After being thrown into an endless maze, Saki and Mai have to work in unison if they want to solve the puzzle.

Characters.

Splash Star Pretty Cures.

The Splash Star Pretty Cures were warriors chosen by the Land of Fountains to restore the Seven Holy Fountains and prevent Dark Fall from taking over the land of greenery. They both transform using the and shout. In the later episodes, both Saki and Mai transform using the harnessing the powers of Moop and Fuup. After transforming, the duo introduces as with Mai saying and ends with Saki saying.

Dark Fall.

Throughout the whole series, Pretty Cure's enemies are the villains of. In episode 41, Goyan used the Fairy Carafe to bring the killed villains (except Michiru and Kaoru) back to life to defeat Pretty Cure.

Yuunagi Middle School.

is a junior high school that the Cures attend.

Media.

Anime.

The series is produced by Toei Animation and Asahi Broadcasting Corporation, having been broadcast across Japan by the anime television network, Animax and TV Asahi from February 5, 2006 to January 28, 2007. The opening theme for all of the episodes is by Yuka Uchiyae with Splash Stars. The ending theme used in episodes 1-30 is by Mayumi Gojo, and the ending theme for episode 31 and onwards is also by Mayumi Gojo with Flappy and Choppy.  Marvelous AQL also released several DVDs of the series before later being compiled into two DVD-Box sets by Pony Canyon. The first boxset is released on September 19, 2012 and the second in October 17, 2012.

Movie.

A movie titled was released on December 9, 2006.  The heroines also appear in all "Pretty Cure All Stars" movies, starting with (Released on March 14, 2009)

Video game.

A side-scrolling beat-em-up video game, Futari wa Precure Splash☆Star: Panpaka Game Never Better! was released by Bandai for the Nintendo DS on November 30, 2006.

, often shortened simply to PreCure Splash Star, is a magical girl anime series produced by Toei Animation and Asahi Broadcasting Corporation, which aired in Japan TV Asahi's ANN network between February 5, 2006 and January 28, 2007. It is the third series in Izumi Todo's "Pretty Cure" metaseries, following a new story different from the previous two series, featuring the second generation of Cures. The series is directed by Toshiaki Komura, who previously directed Kinnikuman Nisei. The character designs were done by Akira Inagami, who previously worked on the character designs on both"Futari wa Pretty Cure" and "Futari wa Pretty Cure Max Heart". The series's topic and concept is based on Nature, with the concept deriving from the Japanese idiom, which symbolizes the beauties of Nature, or the traditional themes of natural beauty in Japanese aesthetics.

, parfois simplement abrégé'ou ', est un anime magical girl japonais produit par Toei animation et Asahi Broadcasting Corporation, qui commença à être diffusé du jusqu'au au Japon. C'est la troisième série de la franchise "Pretty Cure" créée par Izumi Todo, qui est une histoire différente des deux premières séries. La série est dirigée par Toshiaki Komura, qui avait précédemment dirigé "Kinnikuman Nisei". Le design des personnages a été réalisé par Akira Inagami, qui a travaillé sur les deux précédentes séries "Futari Wa Pretty Cure" et sa suite "Futari Wa Pretty Cure Max Heart". Le thème de la série est basé sur l'idiome japonais, qui symbolise les beautés de la Nature, ou les thèmes traditionnels de la beauté naturelle dans l’esthétique japonaise.


Mechanics.

The EER model includes all of the concepts introduced by the ER model. Additionally it includes the concepts of a subclass and superclass (Is-a), along with the concepts of specialization and generalization. Furthermore, it introduces the concept of a union type or category, which is used to represent a collection of objects that is the union of objects of different entity types. EER model also includes EER diagrams that are conceptual models that accurately represent the requirements of complex databases.

Subclass and superclass.

Entity type Y is a subtype (subclass) of an entity type X if and only if every Y is necessarily an X. A subclass entity inherits all attributes and relationships of its superclass entity. This property is called the attribute and relationship inheritance. A subclass entity may have its own specific attributes and relationships (together with all the attributes and relationships it inherits from the superclass). A common superclass example is a Vehicle superclass along with the subclasses of Car and Truck. There are a number of common attributes between a car and a truck, which would be part of the superclass, while the attributes specific to a car or a truck (such as max payload, truck type...) would make up two subclass

Further reading.

Textbooks discussing EER and implementation using purely relational databases:  Booklet discussing EER and implementation using object-oriented and object-relational databases:  Textbook discussing implementation in relational and object-relational databases:  Shorter survey articles:

The enhanced entity–relationship (EER) model (or extended entity–relationship model) in computer science is a high-level or conceptual data model incorporating extensions to the original entity–relationship (ER) model, used in the design of databases.

Le modèle entité-association étendu (en anglais'ou ', abrégé en EER) est en informatique un modèle de données de haut niveau ou un schéma conceptuel incorporant des extensions par rapport au modèle original entité-association, utilisé dans la conception des bases de données.