Background.

Stereoscopy creates the illusion of three-dimensional depth from given two-dimensional images. Human vision, including the perception of depth, is a complex process, which only begins with the acquisition of visual information taken in through the eyes; much processing ensues within the brain, as it strives to make sense of the raw information. One of the functions that occur within the brain as it interprets what the eyes see is assessing the relative distances of objects from the viewer, and the depth dimension of those objects. The "cues" that the brain uses to gauge relative distances and depth in a perceived scene include  Stereoscopy is the production of the illusion of depth in a photograph, movie, or other two-dimensional image by the presentation of a slightly different image to each eye, which adds the first of these cues (stereopsis). The two images are then combined in the brain to give the perception of depth. Because all points in the image produced by stereoscopy focus at the same plane regardless of their depth in the original scene, the second cue, focus, is not duplicated and therefore the illusion of depth is incomplete. There are also mainly two effects of stereoscopy that are unnatural for human vision: (1) the mismatch between convergence and accommodation, caused by the difference between an object's perceived position in front of or behind the display or screen and the real origin of that light; and (2) possible crosstalk between the eyes, caused by imperfect image separation in some methods of stereoscopy.  Although the term "3D" is ubiquitously used, the presentation of dual 2D images is distinctly different from displaying an image in three full dimensions. The most notable difference is that, in the case of "3D" displays, the observer's head and eye movement do not change the information received about the 3-dimensional objects being viewed. Holographic displays and volumetric display do not have this limitation. Just as it is not possible to recreate a full 3-dimensional sound field with just two stereophonic speakers, it is an overstatement to call dual 2D images "3D". The accurate term "stereoscopic" is more cumbersome than the common misnomer "3D", which has been entrenched by many decades of unquestioned misuse. Although most stereoscopic displays do not qualify as real 3D display, all real 3D displays are also stereoscopic displays because they meet the lower criteria also.  Most 3D displays use this stereoscopic method to convey images. It was first invented by Sir Charles Wheatstone in 1838, and improved by Sir David Brewster who made the first portable 3D viewing device.  Wheatstone originally used his stereoscope (a rather bulky device) with drawings because photography was not yet available, yet his original paper seems to foresee the development of a realistic imaging method:  For the purposes of illustration I have employed only outline figures, for had either shading or colouring been introduced it might be supposed that the effect was wholly or in part due to these circumstances, whereas by leaving them out of consideration no room is left to doubt that the entire effect of relief is owing to the simultaneous perception of the two monocular projections, one on each retina. But if it be required to obtain the most faithful resemblances of real objects, shadowing and colouring may properly be employed to heighten the effects. Careful attention would enable an artist to draw and paint the two component pictures, so as to present to the mind of the observer, in the resultant perception, perfect identity with the object represented. Flowers, crystals, busts, vases, instruments of various kinds, &c., might thus be represented so as not to be distinguished by sight from the real objects themselves.  Stereoscopy is used in photogrammetry and also for entertainment through the production of stereograms. Stereoscopy is useful in viewing images rendered from large multi-dimensional data sets such as are produced by experimental data. Modern industrial three-dimensional photography may use 3D scanners to detect and record three-dimensional information. The three-dimensional depth information can be reconstructed from two images using a computer by correlating the pixels in the left and right images. Solving the Correspondence problem in the field of Computer Vision aims to create meaningful depth information from two images.

Side-by-side.

Traditional stereoscopic photography consists of creating a 3D illusion starting from a pair of 2D images, a stereogram. The easiest way to enhance depth perception in the brain is to provide the eyes of the viewer with two different images, representing two perspectives of the same object, with a minor deviation equal or nearly equal to the perspectives that both eyes naturally receive in binocular vision.  To avoid eyestrain and distortion, each of the two 2D images should be presented to the viewer so that any object at infinite distance is perceived by the eye as being straight ahead, the viewer's eyes being neither crossed nor diverging. When the picture contains no object at infinite distance, such as a horizon or a cloud, the pictures should be spaced correspondingly closer together.  The advantages of side-by-side viewers is the lack of diminution of brightness, allowing the presentation of images at very high resolution and in full spectrum color, simplicity in creation, and little or no additional image processing is required. Under some circumstances, such as when a pair of images is presented for freeviewing, no device or additional optical equipment is needed.  The principal disadvantage of side-by-side viewers is that large image displays are not practical and resolution is limited by the lesser of the display medium or human eye. This is because as the dimensions of an image are increased, either the viewing apparatus or viewer themselves must move proportionately further away from it in order to view it comfortably. Moving closer to an image in order to see more detail would only be possible with viewing equipment that adjusted to the difference.

Freeviewing.

Freeviewing is viewing a side-by-side image pair without using a viewing device.  Two methods are available to freeview:  Prismatic, self-masking glasses are now being used by some cross-eyed-view advocates. These reduce the degree of convergence required and allow large images to be displayed. However, any viewing aid that uses prisms, mirrors or lenses to assist fusion or focus

Autostereogram.

An autostereogram is a single-image stereogram (SIS), designed to create the visual illusion of a three-dimensional (3D) scene within

Stereoscope and stereographic cards.

The stereoscope is essentially an instrument in which two photographs of the same object, taken from slightly different angles, are simultaneously presented, one to each eye. A simple

Transparency viewers.

Some stereoscopes are designed for viewing transparent photographs on film or glass, known as "transparencies" or "diapositives" and commonly called "slides". Some of the earliest stereoscope views, issued in the 1850s, were on glass. In the early 20th century, 45x107 mm and

Head-mounted displays.

The user typically wears a helmet or glasses with two small LCD or OLED displays with magnifying lenses, one for each eye. The technology can be used to show stereo films, images or games, but it can also be used to create a "virtual" display. Head-mounted displays may also be coupled with head-tracking devices, allowing the user to "look around" the virtual world by moving their head, eliminating the need for a separate controller. Performing this update quickly enough to avoid inducing nausea in the user requires a great amount of computer image processing. If six axis position sensing (direction and position) is used then wearer may move about within the limitations of the equipment used. Owing to rapid advancements in

Virtual retinal displays.

A virtual retinal display (VRD), also known as a retinal scan display (RSD) or retinal projector (RP), not to be confused with a "Retina Display", is a display technology that draws a raster image (like a television picture) directly onto the retina of the eye. The user sees what appears to be a conventional display floating in space in front of them. For true stereoscopy, each eye

3D viewers.

There are two categories of 3D viewer technology, active and passive. Active viewers have electronics which interact with a display. Passive viewers filter constant streams of binocular input to the appropriate eye.

Active.

Shutter systems.

A shutter system works by openly presenting the image intended for the left eye while blocking the right eye's view, then presenting the right-eye image while blocking the left eye, and repeating this so rapidly that the interruptions do not interfere with the perceived fusion of the two images into a single 3D image. It generally uses liquid crystal shutter glasses. Each eye's glass contains a liquid crystal layer which has the property of becoming dark when voltage is applied, being otherwise transparent. The glasses are controlled by a timing signal that allows the glasses to alternately darken over one eye, and then the other, in synchronization with the refresh rate of the screen. The main drawback of active shutters is that most 3D videos and movies were shot with simultaneous left and right views, so that it introduces a "time parallax" for anything side-moving: for instance, someone walking at 3.4 mph will be seen 20% too close or 25% too remote in the most current case of a 2x60 Hz projection.

Passive.

Polarization systems.

To present stereoscopic pictures, two images are projected superimposed onto the same screen through polarizing filters or presented on a display with polarized filters. For projection, a silver screen is used so that polarization is preserved. On most passive displays every other

Interference filter systems.

This technique uses specific wavelengths of red, green, and blue for the right eye, and different wavelengths of red, green, and blue for the left eye. Eyeglasses which filter out the very specific wavelengths allow the wearer to see a full color

Color anaglyph systems.

Anaglyph 3D is the name given to the stereoscopic 3D effect achieved by means of encoding each eye's image using filters of different (usually chromatically opposite) colors, typically red and cyan. Red-cyan filters can be used because our vision processing systems use red and

Chromadepth system.

The ChromaDepth procedure of American Paper Optics is based on the fact that with a prism, colors are separated by varying degrees. The ChromaDepth eyeglasses contain special view foils, which consist of microscopically small prisms. This causes the image to be translated a certain amount that depends on its color. If one uses a prism foil now with one eye

Pulfrich method.

The Pulfrich effect is based on the phenomenon of the human eye processing images more slowly when there is less light, as when looking through a dark lens. Because the Pulfrich effect depends on motion in a particular direction to instigate the illusion of

Over/under format.

Stereoscopic viewing is achieved by placing an image pair one above one another. Special viewers are made for over/under format that tilt the right eyesight slightly up and the left eyesight slightly down. The most common one with mirrors is the View Magic. Another with prismatic glasses is the KMQ viewer. A recent usage of this technique is the openKMQ project.

Other display methods without viewers.

Autostereoscopy.

Autostereoscopic display technologies use optical components in the display, rather than worn by the user, to enable each eye to see a different image. Because headgear is not required, it is also called "glasses-free 3D". The optics split the images directionally into the viewer's eyes, so the display viewing geometry requires limited head positions that will achieve the stereoscopic effect. Automultiscopic displays provide multiple views of the same scene, rather than just two. Each view is visible from a different range of positions in front of the display. This allows the viewer to move left-right in front of the display and see the correct view from any position. The technology includes two broad classes of displays: those that use head-tracking to ensure that each of the viewer's two eyes sees a different image on the screen, and those that display multiple views so that the display does not need to know where the viewers' eyes are directed. Examples of autostereoscopic displays technology include lenticular lens, parallax barrier, volumetric display, holography and light field displays.

Holography.

Laser holography, in its original "pure" form of the photographic "transmission hologram", is the only technology yet created which can reproduce an object or scene with such complete realism that the reproduction is visually indistinguishable from the original, given the original lighting conditions. It creates a light field identical to that which emanated from the original scene, with parallax about all axes and a very wide viewing angle. The eye differentially focuses objects at different distances and subject detail is preserved down to the microscopic level. The effect is exactly like looking through a window. Unfortunately, this "pure" form requires the subject to be laser-lit and completely motionless—to within a minor fraction of the wavelength of light—during the photographic exposure, and laser

Volumetric displays.

Volumetric displays use some physical mechanism to display points of light within a volume. Such displays use voxels instead of pixels. Volumetric displays include multiplanar displays, which have multiple display planes stacked

Integral imaging.

Integral imaging is a technique for producing 3D displays which are both autostereoscopic and multiscopic, meaning that the 3D image is viewed without the use of special glasses and different aspects are seen when it is viewed from positions that differ either horizontally or vertically. This is achieved by using an array of microlenses (akin to a lenticular lens, but an X–Y or "fly's eye" array in which each lenslet typically forms its own image of the scene without assistance from a larger objective lens) or pinholes to capture and display the scene as a 4D light field, producing stereoscopic images that exhibit realistic alterations of parallax and perspective when the viewer moves left, right, up, down, closer, or farther away.

Wiggle stereoscopy.

Wiggle stereoscopy is an image display technique achieved by quickly alternating display of left and right sides of

Stereo photography techniques.

For general purpose stereo photography, where the goal is to duplicate natural human vision and give a visual impression as close as possible to actually being there, the correct baseline (distance between where the right and left images are taken) would be the same as the distance between the eyes. When images taken with such a baseline are viewed using a viewing method that duplicates the conditions under which the

Stereo window.

The concept of the stereo window is always important, since the window is the stereoscopic image of the external boundaries of left and right views constituting the stereoscopic image. If any object, which is cut off by lateral sides of the window, is placed in front of it, an effect results that is unnatural and is undesirable, this is called a "window violation". This can best be understood by returning to the analogy of an actual physical window. Therefore, there is a contradiction between two different depth cues: some elements of the image are hidden by the window, so that the window appears as closer than these elements, and the same elements of the image appear as closer than the window. So that the stereo window must always be adjusted to avoid window violations.  Some objects can be seen in front of the window, as far as they don't reach the lateral sides of the window. But these objects can not be seen as too close, since there is always a limit of the parallax range for comfortable viewing.  If a scene is viewed through a window the entire scene would normally be behind the window, if the scene is distant, it would be some distance behind the window, if it is nearby, it would appear to be just beyond the window. An object smaller than the window itself could even go through the window and appear partially or completely in front of it. The same applies to a part of a larger object that is smaller than the

Uses.

While stereoscopic images have typically been used for amusement, including stereographic cards, 3D films, stereoscopic video games, printings using anaglyph and pictures, posters and books of autostereograms, there are also other uses of this technology.

Art.

Salvador Dalí created some impressive stereograms in his exploration in

Education.

In the 19th Century, it was realized that stereoscopic images provided an opportunity for people to experience places and things far away, and many

Space exploration.

The Mars Exploration Rovers, launched by NASA in 2003 to explore the surface of Mars, are equipped with unique cameras that allow researchers to view stereoscopic images of the surface of Mars.  The two cameras that make up each rover's Pancam are situated 1.5m above the ground surface, and are separated by 30 cm, with 1 degree of toe-in. This allows

Clinical uses.

Stereogram cards and vectographs are used by optometrists, ophthalmologists, orthoptists

Mathematical, scientific and engineering uses.

Stereopair photographs provided a way for 3-dimensional (3D) visualisations of aerial photographs; since about 2000, 3D aerial views are mainly based on digital stereo imaging technologies. One issue related to stereo images is the amount of disk space needed to save such files. Indeed, a stereo image usually requires twice as much space as a normal image. Recently, computer vision scientists tried to find techniques to

Stereoscopy (also called stereoscopics, or stereo imaging) is a technique for creating or enhancing the illusion of depth in an image by means of stereopsis for binocular vision. The word "stereoscopy" derives. Any stereoscopic image is called a stereogram. Originally, stereogram referred to a pair of stereo images which could be viewed using a stereoscope.

3D眼镜(英语:3D glasses),也可称为「立体眼镜」,是一种可以用来看3D影像或图像的特别眼镜。一般的专业立体眼镜也比较贵,所以有些人会自制立体眼镜来用。


Early life.

Charlton was born in Ashington, Northumberland, England on 11 October 1937 to coal mining worker Robert Wallace "Bob" Charlton (11 September 1909 – 21 December 1983) and teacher Elizabeth Ellen "Cissie" Charlton ("née" Milburn) (11 November 1912 – 25 March 1996). He is related to several professional footballers on his mother's side of the family: his uncles were Jack Milburn (Leeds United and Bradford City), George Milburn (Leeds United and Chesterfield), Jim Milburn (Leeds United and Bradford City) and Stan Milburn (Chesterfield, Leicester City and Rochdale), and legendary Newcastle United and England footballer Jackie Milburn, was his mother's cousin. However, Charlton credits much of the early development of his career to his grandfather Tanner and his mother Cissie. His elder brother, Jack, initially worked as a miner before applying to the police, only to also become a professional footballer with Leeds United.

Club career.

On 9 February 1953, then a Bedlington Grammar School pupil, Charlton was spotted playing for East Northumberland schools by Manchester United chief scout Joe Armstrong. Charlton went on to play for England Schoolboys and the 15-year-old signed with United on 1 January 1953, along with Wilf McGuinness, also aged 15. Initially his mother was reluctant to let him commit to an insecure football career, so he began an apprenticeship as an electrical engineer; however, he went on to turn professional in October 1954.  Charlton became one of the famed Busby Babes, the collection of talented footballers who emerged through the system at Old Trafford in the 1940s, 1950s and 1960s as Matt Busby set about a long-term plan of rebuilding the club after the Second World War. He worked his way through the pecking order of teams, scoring regularly for the youth and reserve sides before he was handed his first team debut against Charlton Athletic in October 1956. At the same time, he was doing his National service with the Royal Army Ordnance Corps in Shrewsbury, where Busby had advised him to apply as it meant he could still play for Manchester United at the weekend. Also doing his army service in Shrewsbury at the same time was his United teammate Duncan Edwards.  Charlton played 14 times for United in that first season, scoring twice on his debut and managing a total of 12 goals in all competitions, and including a hat-trick in a 5–1 away win over Charlton Athletic in the February. United won the league championship but were denied the 20th century's first "double" when they controversially lost the 1957 FA Cup Final to Aston Villa. Charlton, still only 19, was selected for the game, which saw United goalkeeper Ray Wood carried off with a broken cheekbone after a clash with Villa centre forward Peter McParland. Though Charlton was a candidate to go in goal to replace Wood (in the days before substitutes, and certainly before goalkeeping substitutes), it was teammate Jackie Blanchflower who ended up between the posts.  Charlton was an established player by the time the next season was fully underway, which saw United, as current League champions, become the first English team to compete in the European Cup. Previously, the Football Association had scorned the competition, but United made progress, reaching the semi-finals where they lost to holders Real Madrid. Their reputation was further enhanced the next season as they reached the quarter finals to play Red Star Belgrade. In the first leg at home, United won 2–1. The return in Yugoslavia saw Charlton score twice as United stormed 3–0 ahead, although the hosts came back to earn a 3–3 draw. However, United maintained their aggregate lead to reach the last four and were in jubilant mood as they left to catch their flight home, thinking of an important League game against Wolves at the weekend.

Munich air disaster.

The aeroplane which took the United players and staff home from Zemun Airport needed to stop in Munich to refuel. This was carried out in worsening weather, and by the time the refuelling was complete and the call was made for the passengers to re-board the aircraft, the wintry showers had taken hold and snow had settled heavily on the runway and around the airport. There were two aborted take-offs which led to concern on board, and the passengers were advised by a stewardess to disembark again while a minor technical error was fixed.  The team was back in the airport terminal barely ten minutes when the call to reconvene on the plane came, and a number of passengers began to feel nervous. Charlton and teammate Dennis Viollet swapped places with Tommy Taylor and David Pegg, who had decided they would be safer at the back of the plane.  The plane clipped the fence at the end of the runway on its next take-off attempt and a wing tore through a nearby house, setting it alight. The wing and part of the tail came off and hit a tree and a wooden hut, the plane spinning along the snow until coming to a halt. It had been cut in half.  Charlton, strapped into his seat, had fallen out of the cabin and when United goalkeeper Harry Gregg (who had somehow got through a hole in the plane unscathed and begun a one-man rescue mission) found him, he thought he was dead. That said, he grabbed both Charlton and Viollet by their trouser waistbands and dragged them away from the plane in constant fear that it would explode. Gregg returned to the plane to try to help the appallingly injured Busby and Blanchflower, and when he turned around again, he was relieved to see that Charlton and Viollet, both of whom he had presumed to be dead, had got out of their detached seats and were looking into the wreckage.  Charlton suffered cuts to his head and severe shock and was in hospital for a week. Seven of his teammates had perished at the scene, including Taylor and Pegg, with whom he and Viollet had swapped seats prior to the fatal take-off attempt. Club captain Roger Byrne was also killed, along with Mark Jones, Billy Whelan, Eddie Colman and Geoff Bent. Duncan Edwards died a fortnight later from the injuries he had sustained. In total, the crash claimed 23 lives. Initially, ice on the wings was blamed, but a later inquiry declared that slush on the runway had made a safe take-off almost impossible.  Of the 44 passengers and crew (including the 17-strong Manchester United squad), 23 people (eight of them Manchester United players) died as a result of their injuries in the crash. Charlton survived with minor injuries. Of the eight other players who survived, two of them were injured so badly that they never played again.  Charlton was the first injured survivor to leave hospital. Harry Gregg and Bill Foulkes were not hospitalised since they escaped uninjured. He arrived back in England on 14 February 1958, eight days after the crash. As he convalesced with family in Ashington, he spent some time kicking a ball around with local youths, and a famous photograph of him was taken. He was still only 20 years old, yet now there was an expectation that he would help with the rebuilding of the club as Busby's aides tried to piece together what remained of the season.

Resuming his career.

Charlton returned to playing in an FA cup tie against West Bromwich Albion on 1 March; the game was a draw and United won the replay 1–0. Not unexpectedly, United went out of the European Cup to Milan in the semi-finals to a 5–2 aggregate defeat and fell behind in the League. Yet somehow they reached their second consecutive FA Cup final, and the big day at Wembley coincided with Busby's return to work. However, his words could not inspire a side which was playing on a nation's goodwill and sentiment, and Nat Lofthouse scored twice to give Bolton Wanderers a 2–0 win.  Further success with Manchester United came at last when they beat Leicester City 3–1 in the FA Cup final of 1963, with Charlton finally earning a winners' medal in his third final. Busby's post-Munich rebuilding programme continued to progress with two League championships within three seasons, with United taking the title in 1965 and 1967. A successful (though trophyless) season with Manchester United had seen him take the honours of "Football Writers' Association Footballer of the Year" and "European Footballer of the Year" into the competition.  In 1968, Manchester United reached the European Cup final, ten seasons after Munich. Even though other clubs had taken part in the competition in the intervening decade, the team which got to this final was still the first English side to do so. On a highly emotional night at Wembley, Charlton scored twice in a 4–1 win after extra time against Benfica and, as United captain, lifted the trophy.  During the early 1970s, Manchester United were no longer competing among the top teams in England, and at several stages were battling against relegation. At times, Charlton was not on speaking terms with United's other superstars George Best and Denis Law, and Best refused to play in Charlton's testimonial match against Celtic, saying that "to do so would be hypocritical". Charlton left Manchester United at the end of the 1972–73 season, having scored 249 goals and set a club record of 758 appearances, a record which Ryan Giggs broke in the 2008 UEFA Champions League Final.  His last game for Manchester United was against Chelsea at Stamford Bridge on 28 April 1973, and before the game the BBC cameras for "Match of the Day" captured the Chelsea chairman handing Charlton a commemorative cigarette case. The match ended in a 1–0 defeat. His final goal for the club came a month earlier, on 31 March, in a 2–0 win at Southampton, also in the First Division.  He was the subject of "This Is Your Life" in 1969 when he was surprised by Eamonn Andrews at The Sportsman's Club in central London.

International career.

Charlton's emergence as the country's leading young football talent was completed when he was called up to join the England squad for a British Home Championship game against Scotland at Hampden Park on 19 April 1958, just over two months after he had survived the Munich air disaster.  Charlton was handed his debut as England romped home 4–0, with the new player gaining even more admirers after scoring a magnificent thumping volley dispatched with authority after a cross by the left winger Tom Finney. He scored both goals in his second game as England beat Portugal 2–1 in a friendly at Wembley; and overcame obvious nerves on a return to Belgrade to play his third match against Yugoslavia. England lost that game 5–0 and Charlton played poorly.

1958 World Cup.

Charlton was selected for the squad which competed at the 1958 World Cup in Sweden, but he did not play.  In 1959 he scored a hat-trick as England demolished the US 8–1; and his second England hat-trick came in 1961 in an 8–0 thrashing of Mexico. He also managed to score in every British Home Championship tournament he played in except 1963 in an association with the tournament that lasted from 1958 to 1970 and included 16 goals and 10 tournament victories (five shared).

1962 World Cup.

He played in qualifiers for the 1962 World Cup in Chile against Luxembourg and Portugal and was named in the squad for the finals themselves. His goal in the 3–1 group win over Argentina was his 25th for England in just 38 appearances, and he was still only 24 years old, but his individual success could not be replicated by that of the team, which was eliminated in the quarter final by Brazil, who went on to win the tournament.  By now, England were coached by Alf Ramsey who had managed to gain sole control of the recruitment and team selection procedure from the committee-based call-up system which had lasted up to the previous World Cup. Ramsey had already cleared out some of the older players who had been reliant on the loyalty of the committee for their continued selection. A hat-trick in the 8–1 rout of Switzerland in June 1963 took Charlton's England goal tally to 30, equalling the record jointly held by Tom Finney and Nat Lofthouse and Charlton's 31st goal against Wales in October the same year gave him the record alone.  Charlton's role was developing from traditional inside-forward to what today would be termed an attacking midfield player, with Ramsey planning to build the team for the 1966 World Cup around him. When England beat the USA 10–0 in a friendly on 27 May 1964, he scored one goal, his 33rd at senior level for England.  His goals became a little less frequent, and indeed Jimmy Greaves, playing purely as a striker, would overtake Charlton's England tally in October 1964. Nevertheless, he was still scoring and creating freely and as the tournament was about to start, he was expected to become one of its stars and galvanise his established reputation as one of the world's best footballers.

1966 World Cup.

England drew the opening game of the tournament 0–0 with Uruguay. Charlton scored the first goal in the 2–0 win over Mexico. This was followed by an identical scoreline against France, allowing England to qualify for the quarter finals.  England defeated Argentina 1–0. The game was the only international match in which Charlton received a caution. They faced Portugal in the semi-finals. This turned out to be one of Charlton's most important games for England.  Charlton opened the scoring with a crisp side-footed finish after a run by Roger Hunt had forced the Portuguese goalkeeper out of his net; his second was a sweetly struck shot after a run and pull-back from Geoff Hurst. Charlton and Hunt were now England's joint-highest scorers in the tournament with three each, and a final against West Germany beckoned.  The final turned out to be one of Charlton's quieter days; he and a young Franz Beckenbauer effectively marked each other out of the game. England won 4–2 after extra time.

Euro 1968.

Charlton's next England game was his 75th as England beat Northern Ireland; 2 caps later and he had become England's second most-capped player, behind the veteran Billy Wright, who was approaching his 100th appearance when Charlton was starting out and ended with 105 caps.  Weeks later he scored his 45th England goal in a friendly against Sweden, breaking the record of 44 set the previous year by Jimmy Greaves. He was then in the England team which made it to the semi-finals of the 1968 European Championships where they were knocked out by Yugoslavia in Florence. During the match Charlton struck a Yugoslav post. England defeated the Soviet Union 2–0 in the third place match.  In 1969, Charlton was appointed an OBE for services to football. More milestones followed as he won his 100th England cap on 21 April 1970 against Northern Ireland, and was made captain by Ramsey for the occasion. Inevitably, he scored. This was his 48th goal for his country – his 49th and final goal followed a month later in a 4–0 win over Colombia during a warm-up tour for the 1970 World Cup, designed to get the players adapted to altitude conditions. Charlton's inevitable selection by Ramsey for the tournament made him the first – and still, to date, only – England player to feature in four World Cup squads.

1970 World Cup.

Shortly before the World Cup, Charlton was involved in the Bogotá Bracelet incident in which he and Bobby Moore were accused of stealing a bracelet from a jewellery store. Moore was later arrested and detained for four days before being granted a conditional release, while Charlton was not arrested.  England began the tournament with two victories in the group stages, plus a memorable defeat against Brazil. Charlton played in all three, though was substituted for Alan Ball in the final game of the group against Czechoslovakia. Ramsey, confident of victory and progress to the quarter-final, wanted Charlton to rest.  England reached the last eight where they again faced West Germany. Charlton controlled the midfield and suppressed Franz Beckenbauer's runs from deep. England took a 2–0 lead in the 50th minute after goals from Alan Mullery and Martin Peters. In the 69th minute, Beckenbauer pulled a goal back for the Germans and Ramsey soon replaced Charlton with Colin Bell, who further tested the German goalkeeper Sepp Maier and also provided a cross for Geoff Hurst, who missed a chance to score. West Germany, who had a habit of coming back from behind, eventually scored twice – a back header from Uwe Seeler made it 2–2. In extra-time, Geoff Hurst had a goal mysteriously ruled out after which Gerd Müller's goal won the match 3–2. England were out and, after a record 106 caps and 49 goals, Charlton decided to end his international career at the age of 32. On the flight home from Mexico, he asked Ramsey not to consider him again. His brother Jack, two years his senior but 71 caps his junior, did likewise.  Charlton's caps record lasted until 1973 when Bobby Moore overtook him, and he currently lies seventh in the all-time England appearances list behind Moore, Wayne Rooney, Ashley Cole, Steven Gerrard, David Beckham and Peter Shilton, whose own England career began in the first game after Charlton's had ended. Charlton's goalscoring record was surpassed by Wayne Rooney on 8 September 2015, when Rooney scored a penalty in a 2–0 win over Switzerland in a qualifying match for UEFA Euro 2016.

Management career and directorships.

Charlton became the manager of Preston North End in 1973, signing his former United and England teammate Nobby Stiles as player-coach. His first season ended in relegation and although he began playing again he left Preston early in the 1975–76 season after a disagreement with the board over the transfer of John Bird to Newcastle United. He was appointed a CBE that year and began a casual association with BBC for punditry on matches, which continued for many years. In early 1976, he scored once in three league appearances for Waterford United. He also made a handful of appearances for Australian clubs Newcastle KB United, Perth Azzurri and Blacktown City.  He joined Wigan Athletic as a director, and was briefly caretaker manager there in 1983. He then spent some time playing in South Africa. He also built up several businesses in areas such as travel, jewellery and hampers, and ran soccer schools in the UK, the US, Canada, Australia and China. In 1984, he was invited to become member of the board of directors at Manchester United, partly because of his football knowledge and partly because it was felt that the club needed a "name" on the board after the resignation of Sir Matt Busby. He remains a director of Manchester United as of 2018 and his continued presence was a factor in placating many fans opposed to the club's takeover by Malcolm Glazer.

Personal life and retirement.

Charlton met his wife, Norma Ball, at an ice rink in Manchester in 1959 and they married in 1961. They have two daughters – Suzanne and Andrea. Suzanne was a weather forecaster for the BBC during the 1990s. They now have grandchildren, including Suzanne's son Robert, who is named in honour of his grandfather.  In 2007, while publicising his forthcoming autobiography, Charlton revealed that he had a long-running feud with his brother, Jack. They have rarely spoken since a falling-out between his wife Norma and his mother Cissie (who died on 25 March 1996 at the age of 83). Charlton did not see his mother after 1992 as a result of the feud.  Jack presented him with his BBC Sports Personality of the Year Lifetime Achievement Award on 14 December 2008. He said that he was 'knocked out' as he was presented the award by his brother. He received a standing ovation as he stood waiting for his prize.  Charlton helped to promote Manchester's bids for the 1996 and 2000 Olympic Games and the 2002 Commonwealth Games, England's bid for the 2006 World Cup and London's successful bid for the 2012 Summer Olympics. He received a knighthood in 1994 and was an Inaugural Inductee to the English Football Hall of Fame in 2002. On accepting his award he commented "I'm really proud to be included in the National Football Museum's Hall of Fame. It's a great honour. If you look at the names included I have to say I couldn't argue with them. They are all great players and people I would love to have played with." He is also the (honorary) president of the National Football Museum, an organisation about which he said "I can't think of a better museum anywhere in the world."  On 2 March 2009, Charlton was given the freedom of the city of Manchester, stating "I'm just so proud, it's fantastic. It's a great city. I have always been very proud of it."  Charlton is involved in a number of charitable activities including fund raising for cancer hospitals. Charlton became involved in the cause of land mine clearance after visits to Bosnia and Cambodia and supports the Mines Advisory Group as well as founding his own charity Find a Better Way which funds research into improved civilian landmine clearance.  In January 2011, Charlton was voted the fourth greatest Manchester United player of all time by the readers of "Inside United" and ManUtd.com, behind Ryan Giggs (who topped the poll), Eric Cantona and George Best.  He is a member of the Laureus World Sports Academy. On 6 February 2012 Charlton was taken to hospital after falling ill, and subsequently had a gallstone removed. This prevented him from collecting a Lifetime Achievement Award at the Laureus World Sports Awards.  On 15 February 2016, Manchester United announced the South Stand of Old Trafford would be renamed in honour of Sir Bobby Charlton. The unveiling took place at the home game against Everton on 3 April 2016.  In October 2017, Charlton had a pitch named after him at St George's Park.  Charlton's younger brother, Tommy plays walking football for the Mature Millers club in Rotherham and also has an England cap.

Honours.

Club.

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International.

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Individual.

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Sir Robert Charlton (born 11 October 1937) is an English former footballer who played as a midfielder. He is regarded as one of the greatest players of all time, and was a member of the England team that won the 1966 FIFA World Cup, the year he also won the Ballon d'Or. He played almost all of his club football at Manchester United, where he became renowned for his attacking instincts, his passing abilities from midfield and his ferocious long-range shot, as well as his fitness and stamina. He was cautioned only twice in his career; once against Argentina in the 1966 World Cup, and once in a league match against Chelsea. His elder brother Jack, who was also in the World Cup-winning team, is a former defender for Leeds United and international manager.

罗拔·“卜比”·查尔顿爵士(英语:Sir Robert "Bobby" Charlton,1937年-10月11日)是一名已退役的著名英格兰足球运动员,曾四度代表英格兰足球代表队参加世界杯足球赛,是英格兰夺得1966年世界杯足球赛冠军的功臣,并曾于1966年和1970年两次入选世界杯最佳阵容。职业生涯主要效力于曼彻斯特联,长期保持俱乐部出场次数最多(759场)和英格兰代表队(49球)及俱乐部进球数最多(249球)的纪录。俱乐部出场纪录直到2008年5月才被吉格斯打破,英格兰代表队和俱乐部进球纪录直到2015年9月9日和2017年1月22日才被鲁尼打破。此外他还是曼联的董事及英格兰国家足球博物馆馆长。


Life.

Background, education and early years in Venice.

Jakob Fugger was born the tenth of eleven children to Jakob Fugger the Elder (1398–1469) and his wife Barbara Bäsinger (1419–1497), daughter of Münzmeister Franz Bäsinge. The Fugger family had already established themselves as successful merchants in the city. Hans Fugger, grandfather of Jacob Fugger the Rich had taken up residence in Augsburg in 1367, became a burgher through marriage and acquired considerable wealth by trading textiles with Italy. A few years before his death his son Jakob Fugger the Elder was already one of the richest citizens of Augsburg.  Jakob's older brothers Ulrich (1441–1510) and Georg (1453–1506) created the basis for the rise of the company in Europe. Around 1470 they founded manufactories in Venice and Nuremberg, then important centers of trade. Jakob Fugger's brothers Andreas and Hans both died young in Venice. His brother Markus was a cleric and from 1470 on a writer in a papal chancery in Rome where he died in 1478. His brother Peter died in an epidemic in Nuremberg in 1473.  Loans given to Emperor Frederick III and supplies given to his entourage by Ulrich Fugger were the reason for the family being granted the lily coat of arms in 1473. The "of the lily" () naming after this coat of arms distinguishes this line of the Fugger family from the "of the doe" () branch.  Until 2009 historians assumed that Jakob Fugger, who was a minor order at the age of 12, had lived as a canon in a church located in Herrieden. A document from the Austrian state archive has now shown that Jakob Fugger was already representing his family business in Venice in 1473 at the age of 14. Other research showed that Jakob Fugger spent the years between 1473 and 1487 mostly at the Fondaco dei Tedeschi, the house of German merchants in Venice. Venice being one of the most important centers of trade at the time proved to be an ideal environment for Jakob Fugger's education in banking and the metal trade. His long residence in Italy also helped bring the renaissance style to the German region, with his funding the construction of the first buildings of this style that originated in Italy. Legal and architectural structures of Venice also had a significant influence on the funding of the Fuggerei which was similar to the social housing of Venice.

Beginnings of the mining and metal trade.

Jakob Fugger laid the foundation of his mining business in Salzburg. He provided loans to the independent silver mine owners in the Salzburg Slate Alps which had constant need for new capital. Instead of receiving the usual documents acknowledging debt he demanded "Kuxe", essentially becoming a shareholder in the mines, and through this forcing more and more mine operators in the area of Gastein and Schladming to sell their silver directly to the Fugger family instead of intermediary traders.  Jakob Fugger was responsible for his family's business in Augsburg, Tyrol, Venice and Rome. Around 1485 the family also founded manufactories in Innsbruck (since 1510 in Hall, since 1539 in Schwaz). Through a small loan he there first came into contact with Archduke Sigismund, a member of the Habsburg family. The archduke had as the sole owner of the Tyrol property rights handed out permissions for mining operations to private investors which in return had to pay a share of their profits to Sigismund. Despite this income he was constantly short of money owing to a lavish lifestyle, several illegitimate children and his extensive construction projects. A responsibility to pay the amount of 100,000 guilders of war reparations to Venice was eventually financed by Jakob Fugger. In 1488 the total debt already amounted to more than 150,000 guilders. Notable was the form of payment: Instead of paying the Fürst directly the Fugger family paid the money to his creditors as well as providing the wages for the royal court and craftsmen. In 1517 the Fugger family financed more than half of Tyrol's public budget. As a result, they were at times entitled to all the silver and copper out of Tyrol.

Relationship with Maximilian I.

The expansion of high-risk, albeit very lucrative business connections to Maximilian I was undoubtedly promoted by Jakob. In his view, the House of Habsburg was bound to be the dominant power and dynasty within the German region, and as such should receive his financial and political support. Jakob Fugger met the young Roman-German king for the first time in 1489 at a Frankfurt fair. At that time, his plans for the independent Duchy of Tyrol had been agreed upon with the king's chancellor, Johann Waldner. On 16 March 1490 Sigismund and the Tyrol Estates came together with King Maximilian also present. The archduke had to resign under the pressure from the estates, who accused him of mismanagement, and his possessions fell to the king. Maximilian then promised to repay all loans of its predecessor to Jakob Fugger.  Thus the Fugger business became one of the most important financial backers of Maximilian, who since 1486 was co-regent of the Holy Roman Empire. After his father Frederick III died in 1493 he became the reigning emperor. Despite having constant financial difficulties due to an extravagant lifestyle and many failed political projects his reign saw the kingdoms of Spain, Bohemia and Hungary gained for the House of Habsburg, not by waging war but through advantageous marriage arrangements which were funded with the help of Jakob Fugger.  On 15 July 1507 Maximilian I sold the County of Kirchberg, located at Ulm, the adjacent lordship Weißenhorn with the associated city, as well as the lordships Wullenstetten and Pfaffenhofen(Roth) from the Habsburg possessions in Further Austria to Jakob Fugger. Maximilian I who crowned himself Holy Roman Emperor in 1508 received a payment of 50,000 guilders for these sales. More sales followed in 1508 where he sold manor Schmiechen and in 1514 where he sold the lordship Biberbach to Fugger. Maximilian I elevated Jakob Fugger into nobility in 1511 and granted him the title of Imperial Count in 1514 so the former burgher could operate his business without interference from local nobility. In the course of his life Jakob Fugger also became lord of more than 50 smaller villages.  Criticism from reformer Martin Luther on the Fugger business methods and novelistic portrayal from early research have led to the notion that Jakob Fugger exercised considerable power over Maximilian I the king and emperor of the Holy Roman Empire, while more recent research shows that this was only partially true. However close to the end of his life Maximilian was so heavily indebted to Jakob Fugger that he had no choice but to continue his support for the emperor to still be able reclaim his outstanding debits. When Maximilian's grandson Charles V stood for election to become the next Emperor Jakob Fugger raised a sum of more than 500,000 guilders, a significant portion of his wealth and of the total amount raised in his support, to ensure the seven Prince-electors would choose him. Thereby he helped prevent the election of Francis I of France which would have endangered his claims and investments gravely, although it also made him highly dependent on the House of Habsburg.  Much later the Fugger family lost a large portion of their wealth following three Spanish state bankruptcies (1557, 1560, 1575) under the reign of Philip II of Spain.

Mining and metal trade.

Likely at the insistence of Jakob Fugger the company became one of the first open trading companies () in Europe in 1494. At the same time, it was renamed into "Ulrich Fugger of Augsburg and brothers" to show the equality of the three brothers involved in business issues, even though Tyrolean sources almost universally speak of the Jakob Fugger company and central contracts of the Hungarian trade were all signed by him. At this development the greatly increased influence of Jakob within the company can be observed. Since the late 1480s Jakob Fugger more and more dominated the company's policies, although the eldest brother Ulrich still formally led the company.  The enormous growth potential in the mining and ore trade was very profitably harnessed by Jakob Fugger in the following years. As collateral for loans that he had given to the Habsburgs and the King of Hungary, he demanded mine revenues of Tyrol and the transfer of mining rights in Upper Hungary to him. Through this method he eventually established a dominant and almost monopolistic hold on the copper trade in Central Europe. With his business partner Hans Thurzó he founded the Hungarian trade in 1494. Mines funded by Fugger were constructed in Neusohl, at the time part of the Hungarian Kingdom. The expansion continued with the construction of smelting plants in Neusohl, Arnoldstein in Carinthia, Hohenkirchen in Thuringia and Moschnitz. The copper was distributed through manufactories in Breslau, Leipzig, Kraków and Ofen. For transportation to the ports of Gdańsk, Stettin, and Lübeck on the Baltic Sea Fugger funded the construction of a new road across the Jablunkov Pass. From those ports the copper was shipped to the Russian region and additionally through Antwerp to Lisbon where it was an important Portuguese trade good destined for the export to India. Part of the copper was also transported through Wiener Neustadt and the Adriatic ports Triest and Zengg to the copper market in Venice. At the time mines from both Tyrol and Hungary provided the bulk of the total European production in copper which provided an incredibly advantageous position in the European market, albeit not a total monopoly.

The Vatican as a client.

The Fugger family were the first German trading house in a direct business relationship with the Roman Curia. In the year 1500, Jakob Fugger loaned the Vatican the money necessary to build the new St. Peter's Basilica, the Sistine Chapel, as well as other buildings within the Vatican. To repay Jakob the massive amount of money owed, Pope Leo X had to heavily tax the German people as well as sell indulgences, which was heavily unpopular with a large group of monks, including Martin Luther. Because of the corruption within the church, Martin Luther was prompted to write his 95 Thesis. Following the death of Pope Alexander VI in August 1503 Jakob Fugger intensified his contacts to the Vatican in Rome. For the new Pope Julius II Fugger financed the recruitment of the Swiss Guard in 1505/1506, which still exists today. Early dealings in Rome are attributed to the cleric Markus Fugger in 1473. In 1477 the Fugger business was responsible for transferring church revenues from Sweden to Rome. Between 1508 and 1524, the company leased the Roman mint, the Zecca, manufacturing 66 types of coins for four different popes. After this the Fugger family was only represented by one manufactory in Rome, mostly due to the "Sacco di Roma" and the less German-friendly Medici Pope Clement VII.

Overseas trade.

The commodity trade played a relatively small role compared to the two main branches of the Fugger business, banking and mining. It is only because of the associated exotic investments that Jakob Fugger's early trading expeditions take a prominent place in the history of the Fugger business.  After Vasco da Gama's discovery of the sea route to India and the establishment of the Portuguese spice monopoly, Jakob Fugger took part in the spice trade and in 1503 opened a manufactory in Lisbon. He received permission to trade pepper, other spices, and luxury goods such as pearls and gemstones through Lisbon. Along with other merchant houses of Germany and Italy he contributed to a fleet of 22 Portuguese ships led by Francisco de Almeida that sailed to India in the year 1505 and returned in 1506. Even though one third of the imported wares had to be ceded to the King of Portugal the operation still made significant profit. Soon afterwards the King declared the spice trade a monopoly of the crown in order to secure his income and exclude foreign merchants from participating. However, the Portuguese were still largely dependent on the copper delivered by Fugger which was an essential export good for the trade with India.  Unlike the Welser family, Jakob Fugger's participation in the overseas trade was very cautious and conservative, and the only other operation of this kind he invested in was a failed trade expedition to the Maluku Islands led by the Spaniard Garcia de Loaisa. There is some evidence that he financed Magellan's famed voyage.

The great crisis of Jakob Fugger.

Especially for mining projects in upper Hungary the Fugger company required enormous capital, which at the time it could not raise. Hence Cardinal Melchior von Meckau was the main sponsor of the Fugger business in 1496. The Prince-Bishop had secretly and unknown to his church chapter invested 150,000 guilders into the Fugger company in return for interest, thereby evading the official church ban on interest. When he died in Rome in 1509 this investment was uncovered. The Pope, the bishopric Brixen and the family of Meckau all claiming the inheritance now demanded the immediate payback of these assets which would have resulted in insolvency for Jakob Fugger. It was this situation that prompted Emperor Maximilian I to step in and assist his banker. On the condition of assisting Pope Julius II in a war against the Republic of Venice the Habsburg monarch was recognized as being the rightful heir of Cardinal Melchior von Meckau. The inheritance could now be settled by amortizing outstanding debts. Fugger also had to deliver jewels as compensation to the Pope. However, in return for his support, Maximilian I demanded the continuous financial support of his ongoing military and political campaigns.  Since the death of his brothers Georg in 1506 and Ulrich in 1510, Jakob Fugger was now running the Fugger business as the sole policy and decision maker. The company was renamed into "Jakob Fugger und Gebrüder Söhne" (Jakob Fugger and Brothers Sons). In the following years up until his death Jakob Fugger managed to raise the family fortune which amounted to about 200,000 guilders in 1511 to more than 2,000,000 guilders, perhaps 2% of Europe's GDP.

Election of Charles V in 1519.

Emperor Maximilian died in January 1519 and bequeathed to his grandson Carlos I the hereditary lands of House Habsburg with adjoining Burgundian lands as well as a disputed claim to the throne of the Holy Roman Empire. To secure his essential investments into House Habsburg Jakob Fugger decided to support the election of the 19-year-old claimant to the throne. In addition to Carlos I, the English King Henry VIII, the French King Francois I and Frederick III, Elector of Saxony announced their candidacy. Francois I had already secured the votes of the Archdiocese of Trier and the Electorate of the Palatinate as well as offering a sum of 300,000 guilders of election money. The Prince-electors consisted of the three archbishops of Mainz, Cologne and Trier in addition to the King of Bohemia, the Elector of the Palatinate, the Margrave of Brandenburg and the Duke of Saxony.  This was a difficult situation for Carlos I who now relied on the riches of Jakob Fugger to sway the election in his favor. Fugger transferred the enormous sum of more than 850,000 guilders to the Prince-electors which ultimately resulted in the unanimous election of Carlos I as Holy Roman Emperor on 28 July 1519. Out of this 850,000 guilders Fugger himself funded around 550,000 while another merchant house of Augsburg, the Welser family, contributed about 150,000 and three Italian bankers providing the rest. What today would be seen as bribery was common practice in the election of the Emperor. Exceptional however was the immense sums involved, mainly due to the keen competition among the princely candidates.  A few days later the Pope granted Carlos I, now Charles V, the right to name himself Elected Emperor. It was only in 1530 that Charles V was crowned Emperor by the Pope in Bologna. He was the last Emperor to receive a papal coronation.  Charles V, since his election reigning over a realm "where the sun never set", was now deeply indebted to Jakob Fugger. In 1521 the debts amounted to more than 600,000 guilders. The Emperor amortized 415,000 of this sum and in return granted the Fugger company the silver and copper mining operations of Tyrol. During the Imperial Diet of 1523 in Nuremberg it was debated whether to restrict trade capital and the number of trade establishments companies were allowed to maintain. Jakob Fugger intervened and reminded the Emperor that ""It is known that your imperial majesty could not have claimed the Roman crown without my help..."" () The added demand of repayment of all debts eventually led to all discussions of trade restrictions and limits to monopolies being dropped. In addition to this Jakob Fugger was granted a concession to mine quicksilver and cinnabar in Almadén. The Fugger company was involved in the Spanish mining business up to the year 1645.

Marriage, heritage and successors.

In 1498 the 40-year-old Jakob Fugger married Sybille Arzt (also: Artzt) Grand Burgheress of Augsburg, the 18-year-old daughter of an eminent Augsburg Grand Burgher. This marriage opened the opportunity for Jakob to elevate to Grand Burgher of Augsburg (German "Großbürger zu Augsburg") and later finally giving Jakob Fugger the long-awaited aspiration of a seat on the city council (German "Stadtrat") of Augsburg. Four years after the wedding, Jakob Fugger bought for his young wife 40,000 guilders worth of jewels from the treasure of Burgundy. Jakob wanted to demonstrate that he was after all equal to the Habsburgs, at least financially. However the jewels were left in a chest in the basement of his house for fear of theft and envy. The couple had no children. Seven weeks after her husband died Sybille Arzt married a business partner of Jakob and converted to the Protestant faith.  Jakob Fugger died on 30 December 1525. The inventory performed by his heirs revealed assets totaling 3,000,058 guilders and liabilities amounting to 867,797 guilders resulting in a surplus of 2,132,261 guilders.  Because he had no direct descendants, the company and its assets were bequeathed to his nephews Raymund and Anton Fugger, who also led the company. Anton managed to double the family's fortune once more by 1546.

Religious views.

Fugger was a lifelong Roman Catholic. According to Stein, Fugger insisted that only Catholic inhabitants should "find care and cure" in the Fuggerei. As the Reformation progressed, the complex found itself located in an increasingly Protestant city of Augsburg. The Fugger family financed the rise to power of the House of Habsburg, who would play a prominent role in the Counterreformation.

Foundations and buildings of Jakob Fugger.

Fugger chapel in the Annakirche.

Together with his brother Ulrich and on behalf of his deceased brother Georg, Jakob Fugger founded the Fugger chapel in the Carmelite monastery's St. Anna church located in Augsburg. It also became the burial place of the three brothers. Construction began in 1509 and was finished in 1512. The chapel was modeled after Italian burial chapels with clear influences out of Venice and Rome, thereby becoming Germany's first renaissance construction. The interior was designed with the help of many notable German artists of the time, such as Albrecht Dürer, Hans Burgkmair, Jörg Breu the Elder and Hans Daucher. The church later became Protestant which is why only two other members of the Fugger family are buried there. The building is thought to be built in preparation for Fugger's elevation into nobility and to distance himself from the local Patricians. Furthermore, it was a medium to preserve the name and memory of Fugger in the style of the Italian "Memoria" architecture.

Fuggerhäuser in Augsburg.

The Fugger family already owned two houses in Augsburg in prominent locations when Jakob Fugger built the Fuggerhäuser near the wine-market (now Maximilianstraße) from 1512 to 1515. Builder of this Residence was most likely Hans Hiebe. Inside the Fuggerhäuser, the Damenhof (Ladies courtyard) was modeled after the florencian style grand courtyards, thus becoming Germany's first secular renaissance building. The complex was expanded once more in 1523 to accommodate the receiving of illustrious guests. The Fuggerhäuser were the private residence and administrative center of Jakob Fugger and his wife Sybille Fugger-Arzt.  Later members of the Fugger family enlarged the complex several times. The complex was mostly destroyed during air raids on Augsburg in World War II and rebuilt in a simplified way in 1955. The courtyards and several other rooms however are still in their original state. The houses are still owned by the Fugger family, partly being used to house the Fürst Fugger Privatbank.

St.-Moritz-Prädikatur-Stiftung.

In 1515 Jakob Fugger advocated for an improved sermon in the church of his parish St. Moritz. In 1517 Pope Leo X issued a papal bull granting Fugger and his heirs the Patronage to the church and being able to choose the priest. The foundation still exists and the Fugger family still recommends the priest.

Fuggerei.

Beginning in 1516 Jakob Fugger funded the construction of a settlement for craftsmen and day laborers in need. In 1523 52 houses of the estate were built. It was first named "Fuggerei" in 1531. Originally it was meant to house people who were in a difficult situation through no fault of their own until they could establish stable household on their own. The yearly rent was one symbolic guilder, though additionally requested were three daily prayers in the name of Fugger and his family.  The settlement was expanded several times, lastly in 1973. About 150 people live in the Fuggerei today, still paying an annual rent of the equivalent of one guilder (0.88 €). The Fuggerei is a major tourist attraction of Augsburg and since 2006 also houses a museum. The settlement is still administered by the descendants of the Fugger family and financed through a foundation (originally from 1521).

Other foundations and buildings.

Jakob Fugger made several contributions to churches and monasteries in Augsburg some of which still show the Fugger coat of arms. He funded the church San Blas in Almagro, Spain and the reconstruction of the Santa Maria dell’Anima in Rome. He also built a chapel in Oberkirchberg as well as building a palace in Weißenhorn.

Jakob Fugger of the Lily () (6 March 1459 – 30 December 1525), also known as Jakob Fugger the Rich or sometimes Jakob II, was a major German merchant, mining entrepreneur, and banker. He was a descendant of the Fugger merchant family located in the Free Imperial City of Augsburg, where he was born and later also elevated through marriage to Grand Burgher of Augsburg (German "Großbürger zu Augsburg"). Within a few decades he expanded the family firm to a business operating in all of Europe. He began his education at the age of 14 in Venice, which also remained his main residence until 1487. At the same time he was a cleric and held several prebendaries, even though he never lived in a monastery. Fugger is held to be one of the wealthiest individuals in modern history, alongside the early 20th century industrialists John D. Rockefeller and Andrew Carnegie.

雅各布·富格尔( 1459年-3月6日-1525年-12月30日)德国商人、采矿企业家和银行家。出生于神圣罗马帝国自由市奥格斯堡,富格尔家族的后裔,在几十年内,他将家族企业扩展到在整个欧洲经营的业务。 他从1463年到1487年,他在威尼斯接受教育并居住,曾担任牧师。富格尔与20世纪早期的实业家约翰·戴维森·洛克菲勒和安德鲁·卡内基一起被认为是现代历史上最富有的人之一。


圣巴德利爵主教座堂 (纽约)

History.

Purchase of the property.

The land on which the present cathedral stands was purchased in 1810. The Jesuit community built a college on the site, three miles north of the city. It contained a "fine old house" which was fitted with a chapel of St. Ignatius. The school closed in 1814 and the Jesuits sold the lot to the diocese. In 1813, the diocese gave use of the property to Dom Augustin LeStrange, abbot of a community of Trappists (from the original monastery of La Trappe) who came to America fleeing persecution by French authorities. In addition to a small monastic community, they also looked after some thirty-three orphans. With the downfall of Napoleon in that year, the Trappists returned to France in 1815, abandoning the property. The property at this point was designated for a future cemetery. The neighboring orphanage was maintained by the diocese into the late nineteenth century. Some of the Trappists resettled to Canada and eventually founded St. Joseph's Abbey in Spencer, Massachusetts.  Bishop John Dubois reopened the chapel in 1840 for Catholics employed at the Deaf and Dumb Asylum and in the general neighborhood. A modest frame church was built for the parish of St. John the Evangelist and dedicated May 9, 1841, by the Rev. John Hughes, administrator of the diocese. Tickets were sold to the dedication to ease the parish's debt level, managed by a lay Board of Trustees, but to no avail and the property mortgage was finally foreclosed on and the church sold at auction in 1844. The stress is said to have contributed to the death that year of the church's pastor, the Rev. Felix Larkin. The experience was blamed on the management of the trustees and this incident is said to have played a significant role in the abolishment of the lay trusteeship, which occurred shortly thereafter. The young and energetic Rev. Michael A. Curran was appointed to raise funds for the devastated parish, and shortly fitted up an old college hall as a temporary church. Fr. Curran continued raising funds to buy back the church during the Great Famine in Ireland, eventually succeeding and taking the deed in his own name. "The site of St. Patrick's Cathedral, hence, came to the Church through the labors of this young priest and the self-denial of his countrymen and not by the gift of the city." The debt was finally all paid for by 1853 when it was clear a large church was needed and the site was selected as appropriate for the new cathedral.

Construction.

The Diocese of New York, created in 1808, was made an archdiocese by Pope Pius IX on July 19, 1850. In 1853, Archbishop John Joseph Hughes announced his intention to erect a new cathedral to replace the Old Saint Patrick's Cathedral in Lower Manhattan. The new cathedral was designed by James Renwick Jr. in the Gothic Revival style. On August 15, 1858, the cornerstone was laid, just south of the diocese's orphanage. At that time, present-day midtown Manhattan was far north of the populous areas of New York City.  Work began in 1858 but was halted during the Civil War and resumed in 1865. The cathedral was completed in 1878 and dedicated on May 25, 1879, its huge proportions dominating the midtown of that time. The archbishop's house and rectory were added in 1880, both by James Renwick Jr., and an adjacent school (no longer in existence) opened in 1882. The spires were added in 1888, and at 329 feet and 6 inches (100.4 meters) were the tallest structures in New York City and the second highest in the United States. An addition on the east, including a Lady chapel, designed by Charles T. Mathews, was constructed from 1901 to 1906. The Lady Chapel's stained-glass windows were made between 1912 and 1930 by English stained glass artist and designer Paul Vincent Woodroffe. In 1927 and 1931, the cathedral was renovated, which included enlarging the sanctuary and installing the great organ.

Restoration.

An extensive restoration of the cathedral took place between 2012 and 2015 at a cost of $177 million. Overseen by MBB Architects (Murphy Burnham & Buttrick) and Construction Manager Structure Tone, the award-winning restoration reversed decades of decay and soot. The restoration was completed by September 17, 2015, before Pope Francis visited the cathedral on September 24 and 25, 2015. The restoration cleaned the exterior marble, repaired stained-glass windows, painted the ceiling, and repaired the flooring and steps, among many restorations. The cathedral and the renovations were featured on WNET's television program "Treasures of New York".  In 2017, MBB Architects and Structure Tone, along with Landmark Facilities Group and P.W. Grosser, completed the design and installation of a new geothermal system believed to be the largest in New York City. The geothermal system replaced the steam radiators and 1960s-era air conditioning in the cathedral.

Crimes and terrorism.

On October 13, 1914, a bomb exploded on the northwest corner of St. Patrick's Cathedral. It caused a panic, but not severe damage, and tore an 18-inch hole in the floor. Despite a full church that day, there was only one victim – a young boy – whose head was grazed by a flying piece of metal. Authorities believed this event was linked to another bombing earlier that day, downtown at St. Alphonsus Church on West Broadway. There were no arrests made that day.  In March 1915, Italian anarchists Frank Abarno and Carmine Carbone of the Bresci Circle were arrested for attempting to detonate a bomb in the cathedral. Arbarno and Carbone were under the influence of Luigi Galleani. Abarno was in St. Patrick's ready to light the bomb fuse when Amedeo Polignani, a New York City police detective who had gone undercover to infiltrate the group, intervened. Polignani had been operating under the direction of the head of the bomb squad, Thomas Tunney. Arbano was arrested at the scene and Carbone was arrested at his home. The two defendants claimed entrapment, but were nonetheless convicted and given sentences of between 6 and 12 years.  In the 1950s, starting in January 1951, a letter threatened that a bomb would be set off at a Sunday Mass, and there would be five more threats between December 1951 and July 1952. On July 12, a voice over the telephone warned "your beautiful cathedral will be blown up before midnight."  On December 10, 1989, ACT UP, a pressure group that advocates for AIDS awareness, led a demonstration outside the cathedral as part of their Stop the Church campaign. This campaign was mounted out of disagreement with the Roman Catholic Church's stance on birth control, sex education in the public schools, and abortion. Approximately 4500 people took part. Of these, 130 proceeded to infiltrate the church and disrupted the Mass, forcing Cardinal John O'Connor to abandon his sermon. Some of the slogans they chanted included "Stop Killing Us" and "You say, Don't Fuck; we say, Fuck You!" Several protestors laid down in the pews or the aisles to simulate death, while some others threw condoms around the area. One protester walked up to the altar, grabbed a communion wafer and broke it on the floor, saying "This is what I think of your God."  In 2002, shock jocks Opie and Anthony held their third Sex for Sam contest. Two listeners, Brian Florence and Loretta Harper were caught in a vestibule having sex. The couple was arrested, along with comedian Paul Mecurio.  On April 18, 2019, just two days after a fire tore through the Notre-Dame cathedral in Paris, a 37-year-old New Jersey man carrying a pair of full two-gallon cans of gasoline, two bottles of lighter fluid, and two extended butane lighters was arrested after attempting to enter the Cathedral. The man was initially turned away by a church security officer. As the man exited, some gasoline spilled on the floor. The security officer then notified two police officers outside the cathedral, who caught up to the man and questioned him.  On May 30, 2020, during the nationwide protests and riots over the death of George Floyd, Black Lives Matter protesters defaced the outside of the cathedral with spray-painted graffiti.

Architectural features.

St. Patrick's Cathedral is the largest, decorated Neo-Gothic-style, Catholic cathedral in North America. The cathedral, which can accommodate 3,000 people, is built of brick clad in marble, quarried in Massachusetts and New York. The main block of the cathedral is made of Tuckahoe marble. It takes up a whole city block, between 50th and 51st Streets and between Madison and Fifth Avenues. At the transepts, it is 174 feet (53.0 meters) wide and 332 feet (101.2 meters) long. The spires rise 330 feet (100.6 meters) from street level. The slate for the roof came from Monson, Maine.

Stained glass.

The windows were made by artists in Boston, Massachusetts, and European artists from Chartres, France, and Birmingham, England. Charles Connick created the rose window.

Altar.

The Roman artist Paolo Medici designed the Saint Elizabeth altar. The Saint Jean-Baptiste de La Salle altar, one of the few original side-chapel altars, was sculpted by Dominic Borgia. The Papal bull is featured in the adjoining stained-glass window. Tiffany & Co. designed the Saint Louis and the Saint Michael altars.  In the late 1930s and early 1940s, there was a renovation of the cathedral's main altar area under the guidance of Archbishop Francis Spellman, who later became cardinal. The previous high altar and reredos were removed and are now located at Spellman's alma mater, Fordham University, in the University Church. The new items include the sanctuary bronze baldachin and the rose stained-glass window. The altar was further renovated in the 1980s under the direction of Cardinal John Joseph O'Connor. To be more visible to the congregation, a stone altar was built from sections of the side altars and added to the middle of the sanctuary. However, this altar was removed in 2013.

Art works.

The "Pietà", sculpted by William Ordway Partridge, is three times larger than Michelangelo's "Pietà". The cathedral's Stations of the Cross won an 1893 artistry prize at Chicago's World's Columbian Exposition. Commemorating his visit to the city in 1979, Pope John Paul II's bust is located in the rear of the cathedral.

Doors.

The bronze doors that are the main entrance to the church are decorated with relief sculptures representing six people, including three women, with inscriptions indicating their significance to the cathedral and with particular focus on missionary work and assistance for migrants:  Each door is and weighs. They were designed by Charles Maginnis, sculptured by John Angel, and inaugurated in 1949. In 2013 a three-year restoration to the doors was concluded.

Saint Charbel Shrine.

On October 28, 2017, a shrine to the Lebanese Maronite Saint Charbel Makhlouf was inaugurated at St. Patrick's Cathedral. The Lebanese Maronite Patriarch Bechara Boutros al-Rahi attended the inauguration ceremony giving his blessing and a dedication, as well as Cardinal Timothy M. Dolan. The shrine features a mosaic of Saint Charbel Makhlouf along with national Lebanese emblems such as the Lebanon cedar and a relic of the Saint, and was donated by SGBL bank chairman Antoun Sehnaoui in the name of his parents, May and Nabil Sehnaoui.

Music.

Organs.

St. Patrick's Cathedral has two pipe organs. The Gallery Organ is located in the Choir Gallery below the Rose Window over the Fifth Avenue entrance and in the Triforium, near the South Transept. The Chancel Organ is located in the North Ambulatory next to the Chapel of St. Joseph.

First organs.

The first organ in the Cathedral was built by George Jardine & Son, one of New York's most distinguished organ builders, and installed in 1879. It was composed of 4 manuals with 51 stops and 56 ranks.  In 1880, J.H. & C.S. Odell, then also from New York City, installed an organ in the chancel. It was composed of 2 manuals with 20 stops and 23 ranks.

Kilgen organs.

With the addition to the music staff of Pietro Yon in 1927, plans were initiated to replace the organs. The firm of George Kilgen & Son of St. Louis, Missouri, was engaged to build two new instruments according to designs which were heavily influenced by the Cathedral's world-renowned organist.  During the building period it was determined that the Gallery would need to be extended to accommodate the new Gallery Organ. In the late 1920s, a concrete reinforced extension to the original Gallery was constructed.  The Chancel Organ was dedicated on January 30, 1928. It is encased in a carved oak screen ornamented with Gothic elements of design and symbolism. It had 1,480 pipes; located on the opposite side of the Ambulatory, diagonally across from the console.  The Gallery Organ, dedicated on February 11, 1930, required three years to build at a cost of $250,000. It has one of the nation's most glorious wood facades. It was designed by Robert J. Reiley, consulting architect of the Cathedral, and is adorned with angels and Latin inscriptions. It contained 7,855 pipes ranging in length from thirty-two feet to one-half inch. The longest pipes run horizontally across the North and South Triforia.  In the 1940s and 1950s tonal changes were made. In the 1970s and 1980s additional renovations were made by Jack Steinkampf of Yonkers, New York, particularly in the revoicing of flutes and reeds, and the addition of the Trompette en Chamade.

Peragallo restoration.

In 1993, it was decided that the organs need to undergo major restoration. The first and most essential part of the restoration project was to acquire new consoles for both the Gallery and Chancel Organs to replace the original ones which had deteriorated beyond repair. Twin five-manual consoles were constructed by Robert Turner of Hacienda Heights, California. Solid State Logic, Ltd. of England designed and engineered the combination action. The use of fiber-optic wiring enables both consoles to control the Gallery, Chancel and Nave Organs at the same time. Installation of the Gallery console was finished in time for Christmas Midnight Mass in 1993. The Chancel console was installed in early 1994.  For six weeks in January and February 1994, scaffolding filled the Gallery to provide access for wood craftsmen to begin the arduous process of cleaning, repairing, and oiling the hand-carved organ facade. Meanwhile, the Peragallo Pipe Organ Company of Paterson, New Jersey, had been awarded the contract to clean and restore all of the pipework as well as the chests and wind systems. Their first task was to remove all the facade pipes for cleaning and refinishing. It was decided to return the pipework to its original zinc finish, only adding a protective coating to avoid oxidation in the future. After completing work on the facade, Peragallo moved to the interior of the instrument for the purpose of restoring the Great, Choir, Swell, Solo, String and Pedal divisions. The entire Chancel Organ was restored in 1995. Finally, the Echo Organ, situated in the triforium near the center crossing, underwent tonal modifications, making it more useful as the Nave Organ. The organ work was finished in 1997.  The Organs were blessed on September 15, 2007, celebrating the 10th anniversary of their renovations and inaugurating the Bicentennial Concert Series with a performance James E. Goettsche, the Vatican Organist.  The Organs consist of more than 9,000 pipes, 206 stops, 150 ranks and 10 divisions.

Burials and funeral Masses.

Located underneath the high altar is a crypt in which notable Catholic figures that served the Archdiocese are entombed. They include the nine past deceased Archbishops of New York:  Other interments include:  Pierre Toussaint and Cardinal Cooke were declared to be servants of God by Pope John Paul II, a step in process of being declared a saint of the Catholic Church. Toussaint was declared venerable in 1996 by Pope John Paul II.  Fulton J. Sheen, Auxiliary Bishop of New York, 1951–1965, and later Bishop of Rochester, was interred in the crypt from 1979 to 2019. The Archdiocese of New York lost a three-year court battle with his relatives to keep his remains there. On June 27, 2019, Sheen's remains were disinterred from St. Patrick's and transferred to St. Mary's Cathedral in Peoria, Illinois. Sheen had been raised in Peoria and he was ordained a priest there in 1919 for the Diocese of Peoria, which has sponsored his cause for canonization. He was declared venerable by Pope Benedict XVI on June 28, 2012.  Four of the Cardinals' "galeros" (those of Cardinals McCloskey, Farley, Hayes, and Spellman) are located high above the crypt at the back of the sanctuary. Cardinal Spellman's galero was also worn by Pope Pius XII (as Cardinal Eugenio Pacelli) until the latter's election to the papacy at the 1939 Papal conclave. In 1965, the ceremony of the consistory was revised by Pope Paul VI and therefore no galero was presented to Cardinal Cooke or any of his successors.  Some notable people whose Requiem Masses were said at the cathedral include New York Yankees greats Babe Ruth, Roger Maris, and Billy Martin; legendary football coach Vince Lombardi, New York City Police Department officer Steven McDonald, singer Celia Cruz, entertainer and host Ed Sullivan, actor and dancer George M. Cohan, former Attorney General and U.S. Senator from New York Robert F. Kennedy, New York Giants owner Wellington Mara, and former Governor of New York Hugh Carey. Special memorial Masses were also held at the cathedral following the deaths of artist Andy Warhol, baseball player Joe DiMaggio, and noted author William F. Buckley Jr.

Landmark designations.

The cathedral and associated buildings were listed on the National Register of Historic Places and declared a National Historic Landmark in 1976. In addition, in 1966, the New York City Landmarks Preservation Commission designated the cathedral as a New York City Landmark.

The Cathedral of St. Patrick, also called St. Patrick's Cathedral, is a decorated neo-gothic Catholic cathedral on Manhattan in New York City, New York, United States, erected in 1879. A prominent landmark of New York City, it is the seat of the archbishop of the Roman Catholic Archdiocese of New York as well as a parish church, located on the east side of Fifth Avenue between 50th and 51st Streets in Midtown Manhattan, directly across the street from Rockefeller Center, facing the "Atlas" statue and the International Building. It is considered one of the most visible symbols of the Catholic Church in the United States.

纽约圣巴德利爵主教座堂(英语:St. Patrick's Cathedral, New York City),或译圣派翠克大教堂,是美国纽约市的一座新哥特式天主教教堂,天主教纽约总教区的主教座堂以及本堂区圣堂,位于曼哈顿中城50街和51街之间的第五大道东侧,面对洛克菲勒中心。教堂为哥德复兴式建筑,是纽约主要观光景点之一。纽约每年圣派翠克节的游行也在教堂前的街道进行。


In burial sites.

Remains similar to those of mythological hybrids have been found in burial sites discovered by archaeologists. Known combinations include horse-cows, sheep-cows, and a six-legged sheep. The skeletons were formed by ancient peoples who joined together body parts from animal carcasses of different species. The practice is believed to have been done as an offering to their gods.

Description.

These forms' motifs appear across cultures in many mythologies around the world.  Such hybrids can be classified as partly human hybrids (such as mermaids or centaurs) or non-human hybrids combining two or more non-human animal species (such as the griffin or the chimera). Hybrids often originate as zoomorphic deities who, over time, are given an anthropomorphic aspect.

Paleolithic.

Partly human hybrids appear in petroglyphs or cave paintings from the Upper Paleolithic, in shamanistic or totemistic contexts. Ethnologist Ivar Lissner theorized that cave paintings of beings combining human and animal features were not physical representations of mythical hybrids, but were instead attempts to depict shamans in the process of acquiring the mental and spiritual attributes of various beasts or power animals. Religious historian Mircea Eliade has observed that beliefs regarding animal identity and transformation into animals are widespread. The iconography of the Vinca culture of Neolithic Europe in particular is noted for its frequent depiction of an owl-beaked "bird goddess", although this interpretation is being criticized as feminist archeology.

Ancient Egypt.

Examples of humans with animal heads (theriocephaly) in the ancient Egyptian pantheon include jackal-headed Anubis, cobra-headed Amunet, lion-headed Sekhmet, falcon-headed Horus, etc. Most of these deities also have a purely zoomorphic and a purely anthropomorphic aspect, with the hybrid representation seeking to capture aspects of both of which at once. Similarly, the Gaulish "Artio" sculpture found in Berne shows a juxtaposition of a bear and a woman figure, interpreted as representations of the theriomorphic and the anthropomorphic aspect of the same goddess.  Non-human hybrids also appear in ancient Egyptian iconography as in Ammit (combining the crocodile, the lion, and the hippopotamus).

Ancient Middle East.

Mythological hybrids became very popular in Luwian and Assyrian art of the Late Bronze Age to Early Iron Age. The angel (human with birds' wings, see winged genie) the mermaid (part human part fish, see Enki, Atargatis, Apkallu) and the Shedu all trace their origins to Assyro-Babylonian art. In Mesopotamian mythology the "urmahlullu", or lion-man served as a guardian spirit, especially of bathrooms.  The Old Babylonian Lilitu demon, particularly as shown in the Burney Relief (part-woman, part-owl) prefigures the harpy/siren motif.

Mediterranean.

In Archaic Greece, Luwian and Assyrian motifs were imitated, during the Orientalizing Period (9th to 8th centuries BC), inspiring the monsters of the mythology of the Classical Greek period, such as the Chimera, the Harpy, the Centaur, the Griffin, the Hippocampus, Talos, Pegasus, etc.  The motif of the winged man appears in the Assyrian winged genie, and is taken up in the Biblical Seraphim and Chayot, the Etruscan Vanth, Hellenistic Eros-Amor, and ultimately the Christian iconography of angels.  The motif of otherwise human figures sporting horns may derive from partly goat hybrids (as in Pan and the Devil in Christian iconography) or as partly bull hybrids (Minotaur). The Gundestrup cauldron and the Pashupati figure have stag's antlers (see also Horned God, horned helmet). The Christian representation of Moses with horns, however, is due to a mistranslation of the Hebrew text of Exodus 34:29–35 by Jerome.

Hinduism.

The most prominent hybrid in Hindu iconography is elephant-headed Ganesha, god of wisdom, knowledge and new beginnings.  Both Nāga and Garuda are non-hybrid mythical animals (snake and bird, respectively) in their early attestations, but become partly human hybrids in later iconography.  The god Vishnu is believed to have taken his first four incarnations in human-animal form, namely: Matsya (human form with fish's body below waist), Kurma (human form with turtle's body below waist), Varaha (human form with a boar's head), Narasimha (human form with lion's head).  Kamadhenu, the mythical cow which is considered to be the mother of all other cattle is often portrayed as a cow with human head, peacock tail and bird wings.

Hybrid beasts are creatures composed of parts from different animals, appearing in the folklore of a variety of cultures as legendary creatures.

兽人(英语:Therianthropy),又称兽化人,通常是指在奇幻文学或科幻相关动画、漫画、游戏、电影、轻小说等作品中所出现的虚幻种族之一,一般所称的兽人指的是保留了兽类外型的特征(宽大的口部、全身覆满皮毛、有尾巴和其相对应的兽耳)但又具有人类的特征(可以站立并且能够行走的腿、能拿取物体的手、会说话),甚至有与人类相同思考能力的幻想生物。


Usage and related terms.

The Oxford Dictionaries define cocktail as "An alcoholic drink consisting of a spirit or spirits mixed with other ingredients, such as fruit juice or cream". A cocktail can contain alcohol, a sugar, and a bitter/citrus. When a mixed drink contains only a distilled spirit and a mixer, such as soda or fruit juice, it is a highball. Many of the International Bartenders Association Official Cocktails are highballs. When a mixed drink contains only a distilled spirit and a liqueur, it is a duo, and when it adds a mixer, it is a trio. Additional ingredients may be sugar, honey, milk, cream, and various herbs.  Mixed drinks without alcohol that resemble cocktails are known as "mocktails" or "virgin cocktails".

Etymology.

The origin of the word cocktail is disputed. The first recorded use of cocktail not referring to a horse is found in "The Morning Post and Gazetteer" in London, England, March 20, 1798:  <poem> Mr. Pitt, two petit vers of "L'huile de Venus" Ditto, one of "perfeit amour" Ditto, "cock-tail" (vulgarly called ginger) </poem>  "The Oxford English Dictionary" cites the word as originating in the U.S. The first recorded use of "cocktail" as a beverage (possibly non-alcoholic) in the United States appears in "The Farmer's Cabinet", April 28, 1803:  The first definition of cocktail known to be an alcoholic beverage appeared in "The Balance and Columbian Repository" (Hudson, New York) May 13, 1806; editor Harry Croswell answered the question, "What is a cocktail?":  Etymologist Anatoly Liberman endorses as "highly probable" the theory advanced by Låftman (1946), which Liberman summarizes as follows:  In his book "Imbibe!" (2007), David Wondrich also speculates that "cocktail" is a reference to a practice for perking up an old horse by means of a ginger suppository so that the animal would "cock its tail up and be frisky."  Several authors have theorized that cocktail may be a corruption of cock ale.

Development.

There is a lack of clarity on the origins of cocktails. Traditionally cocktails were a mixture of spirits, sugar, water, and bitters. By the 1860s, however, a cocktail frequently included a liqueur.  The first publication of a bartenders' guide which included cocktail recipes was in 1862 – "How to Mix Drinks; or, The Bon Vivant's Companion", by "Professor" Jerry Thomas. In addition to recipes for punches, sours, slings, cobblers, shrubs, toddies, flips, and a variety of other mixed drinks were 10 recipes for "cocktails". A key ingredient differentiating cocktails from other drinks in this compendium was the use of bitters. Mixed drinks popular today that conform to this original meaning of "cocktail" include the Old Fashioned whiskey cocktail, the Sazerac cocktail, and the Manhattan cocktail. The ingredients listed (spirits, sugar, water, and bitters) match the ingredients of an Old Fashioned, which originated as a term used by late 19th century bar patrons to distinguish cocktails made the "old-fashioned" way from newer, more complex cocktails.  In the 1869 recipe book "Cooling Cups and Dainty Drinks", by William Terrington, cocktails are described as: The term highball appears during the 1890s to distinguish a drink composed only of a distilled spirit and a mixer.  The first "cocktail party" ever thrown was allegedly by Mrs. Julius S. Walsh Jr. of St. Louis, Missouri, in May 1917. Walsh invited 50 guests to her home at noon on a Sunday. The party lasted an hour, until lunch was served at 1 pm. The site of this first cocktail party still stands. In 1924, the Roman Catholic Archdiocese of St. Louis bought the Walsh mansion at 4510 Lindell Boulevard, and it has served as the local archbishop's residence ever since.  During Prohibition in the United States (1920–1933), when alcoholic beverages were illegal, cocktails were still consumed illegally in establishments known as speakeasies. The quality of the liquor available during Prohibition was much worse than previously. There was a shift from whiskey to gin, which does not require aging and is therefore easier to produce illicitly. Honey, fruit juices, and other flavorings served to mask the foul taste of the inferior liquors. Sweet cocktails were easier to drink quickly, an important consideration when the establishment might be raided at any moment. With wine and beer less readily available, liquor-based cocktails took their place, even becoming the centerpiece of the new cocktail party.  Cocktails became less popular in the late 1960s and through the 1970s, until resurging in the 1980s with vodka often substituting the original gin in drinks such as the martini. Traditional cocktails began to make a comeback in the 2000s, and by the mid-2000s there was a renaissance of cocktail culture in a style typically referred to as mixology that draws on traditional cocktails for inspiration but utilizes novel ingredients and often complex flavors.

See also.

Lists Devices for producing and imbibing Media

A cocktail is an alcoholic mixed drink, which is either a combination of spirits, or one or more spirits mixed with other ingredients such as fruit juice, flavored syrup, or cream. There are various types of cocktails, based on the number and kind of ingredients added. The origins of the cocktail are debated.

鸡尾酒(英语:Cocktail)是一种混合饮料,一般含有一种或多种类型的蒸馏酒,通常亦会加入其他原料如利口酒、果汁、天然气泡水、苏打水、通宁水、赛尔脱兹气泡水(seltzer)、茶、咖啡、巧克力、苦精、糖浆、蜂蜜、牛奶、奶油、香草籽或精、水果、糖、冰块、香草、香料等。