title: Rama I

text: The King had 42 children. Ten of these were born to Queen Amarinda, the others by various concubines. The Queen's children included Prince Isarasundhorn, later King Buddha Loetla Nabhalai (Rama II) (whom the King appointed as Front Palace after the death of Maha Sura Singhanat in 1803), Prince Maha Senanurak and Prince Maha Sakdi Polsep.


title: Rama I

text: In 1784–1785, the last of the Nguyễn Lords, Nguyễn Ánh, convinced Rama I to give him forces to attack Vietnam, which was then under the control of the Tây Sơn brothers. However, the joint Nguyễn-Siam fleet was destroyed in the Battle of Rach Gam–Xoai Mut in the Mekong Delta region. Nguyễn's appeal for Siamese assistance enabled the Siamese to exert considerable political influence over Nguyễn's court. Mac Tu Sinh, the son of Mạc Thiên Tứ and his Siamese wife, was raised among the Siamese, and held office as the governor of Hà Tiên until his death in 1787. Ngo Ma, a general of Siamese descent, was appointed as its acting governor in Mac's place. Nguyễn Ánh also took refuge in Siam at the King's court waiting for the opportunities to defeat Tây Sơn. These episodes demonstrated Rama I's willingness to extend Siamese power beyond his Kingdom.


title: Rama I

text: In Cambodia, King Reamraja (Ang Non II) was deposed in 1779 and the throne was given to the young prince Ang Eng. However, the pro-Vietnamese policies of certain Cambodian aristocrats under Ang Eng alarmed Rama I. As a result, Rama I had Ang Eng captured and deported to Bangkok, where Rama adopted him as his son, the purpose of which was to impose pro-Siamese sentiments on him. Rama I also imposed Chao Phraya Abhaya Bhubet as the Regent of Cambodia.


title: Rama I

text: Nguyễn Ánh secretly left for Vietnam in 1787, leaving Rama I a note. Nguyen managed to recapture Saigon by 1788 and later ascended as Emperor Gia Long in 1802.


title: Rama I

text: In 1794, upon Ang Eng's majority, Rama I reinstalled him as the Neareay Reachea III. The area around Siemreap and Battambang was annexed by Siam, and were governed by Abhaya Bhubet. However, Rama I allowed these territories to be ruled in accordance with Cambodian traditions.


title: Rama I

text: Soon King Bodawpaya of Burma started to pursue his ambitious campaigns to expand his dominions over Siam. The Burmese–Siamese War (1785–1786), also known in Siam as the "Nine Armies War" because the Burmese came in nine armies, broke out. The Burmese soldiers poured into Lanna and Northern Siam. Siamese forces, commanded by Kawila, Prince of Lampang, put up a brave fight and delayed the Burmese advance, all the while waiting for reinforcements from Bangkok. When Phitsanulok was captured, Anurak Devesh the "Rear Palace", and Rama I himself led Siamese forces to the north. The Siamese relieved Lampang from the Burmese siege.


title: Rama I

text: In the south, Bodawpaya was waiting at Chedi Sam Ong ready to attack. The Front Palace was ordered to lead his troops to the south and counter-attack the Burmese coming to Ranong through Nakhon Si Thammarat. He brought the Burmese to battle near Kanchanaburi. The Burmese also attacked Thalang (Phuket), where the governor had just died. Chan, his wife, and her sister Mook gathered the local people and successfully defended Thalang against the Burmese. Today, Chan and Mook are revered as heroines because of their opposition to the Burmese invasions. In their own lifetimes, Rama I bestowed on them the titles Thao Thep Kasattri and Thao Sri Sunthon.


title: Rama I

text: The Burmese proceeded to capture Songkhla. Upon hearing the news, the governors of Phatthalung fled. However, a monk named Phra Maha encouraged the citizens of the area to take up arms against the Burmese; his campaign was also successful. Phra Maha was later raised to the nobility by Rama I.


title: Rama I

text: As his armies were destroyed, Bodawpaya retreated. The next year, he attacked again, this time constituting his troops as a single army. With this force Bodawpaya passed through the Chedi Sam Ong pass and settled in Tha Din Daeng. The Front Palace marched the Siamese forces to face Bodawpaya. The fighting was very short and Bodawpaya was quickly defeated. This short war was called the Tha Din Daeng campaign.


title: Rama I

text: King Rama I died on 7 September 1809 after a short but acute illness; he was succeeded by his son Prince Isarasundhorn as Buddha Loetla Nabhalai or Rama II.


title: Rama I

text: Siam during the reign of Rama I reached a new height of power not seen since the sixteenth century. Militarily Siam was able to successfully repel Burmese invasions and exerted control over Laos and Cambodia and Vietnam. Culturally Rama I also encouraged cultural works to rehabilitate people after the successive series of wars and built many temples and monuments during his reign. His policies laid the foundation for Siam to expand within the next decades.


title: Alinea (restaurant)

text: Alinea is a restaurant in Chicago, Illinois, United States. In 2010, Alinea was awarded three stars by the Michelin Guide. As of April 2021, Alinea is the only Chicago restaurant to retain a three-star status, Michelin's highest accolade.


title: Alinea (restaurant)

text: The restaurant opened on May 4, 2005, and takes its name from the symbol alinea, which is featured as a logo.


title: Alinea (restaurant)

text: Co-owner Nick Kokonas wrote of the restaurant's name, "If you're wondering about the name, Alinea literally means "off the line." The restaurant's symbol, more commonly known as the pilcrow, indicates the beginning of a new train of thought, or literally a new paragraph. There's a double meaning: on one hand, Alinea claims to represent a new train of thought about food, but as a restaurant, everything still has to come "off the line."


title: Alinea (restaurant)

text: In October 2008, chef and owner Grant Achatz and co-author Kokonas published "Alinea", a hardcover coffee-table book featuring more than 100 of the restaurant's recipes.


title: Alinea (restaurant)

text: On January 1, 2016, Alinea closed temporarily for renovations. The restaurant planned to operate pop-up restaurants worldwide before reopening on May 20, 2016 after an extensive remodel and overhaul of the menu.


title: Alinea (restaurant)

text: In May 2016, Alinea and its chef and owner Grant Achatz were featured in the Netflix show Chef's Table. The innovative food of Alinea and the journey of Achatz to renowned chef were highlighted


title: Alinea (restaurant)

text: Alinea received the AAA Five Diamond Award, the highest level of recognition given by the AAA, from 2007 to 2017. It ranked ninth on the S. Pellegrino World's 50 Best Restaurants List, second only to Eleven Madison Park in the US. As of 2017, Alinea is the only Michelin Guide 3-star restaurant in Chicago. Alinea received the 2016 James Beard Foundation Award for Outstanding Restaurant.


title: Alinea (restaurant)

text: On June 14, 2016, Alinea was ranked 15th among the World's 50 Best Restaurants, an increase of 11 spots from 2015. In October 2016, TripAdvisor named it the number one fine dining restaurant in the United States, and one of the 10 best restaurants in the world.


title: Alinea (restaurant)

text: In the 2017 list of the World's 50 Best Restaurants, Alinea was ranked 21st in the world. In the most recent (2019) list of the World's 50 Best Restaurants, Alinea was ranked 37th in the world, dropped from 34th in the 2018 list.


title: Alinea (restaurant)

text: In 2020, Alinea served diners from a rooftop when all indoor dining was closed in Illinois during the coronavirus pandemic. The menu included a canapé shaped like the SARS‑CoV‑2 virus. Alinea Group co-owner Nick Kokonas stated the appetizer was "meant to provoke discomfort, conversation, and awareness" but some diners described it as "tacky," "disrespectful," and "insensitive."


title: Jacob Frank

text: Jacob Joseph Frank (; ; born Jakub Lejbowicz; 1726 – December 10, 1791) was a Polish-Jewish religious leader who claimed to be the reincarnation of the self-proclaimed messiah Sabbatai Zevi (1626–1676) and also of the biblical patriarch Jacob. The Jewish authorities in Poland excommunicated Frank and his followers due to his heretical doctrines that included deification of himself as a part of a trinity and other controversial concepts such as neo-Carpocratian "purification through transgression".


title: Jacob Frank

text: Frank arguably created a new denomination of Judaism, now referred to as Frankism, which incorporated some aspects of Christianity into Judaism. The development of Frankism was one of the consequences of the messianic movement of Sabbatai Zevi. This religious mysticism followed socioeconomic changes among the Jews of Poland, Lithuania and Ruthenia.


title: Jacob Frank

text: There were numerous Jewish secret societies of Sabbateans (followers of Sabbatai Zevi), known as Donmeh, in Eastern Poland (now Ukraine), particularly in Podolia and Galicia, at the end of the seventeenth century.


title: Jacob Frank

text: In expectation of the great Messianic revolution, the members of these societies violated Jewish laws and customs. The mystical cult of the Sabbateans is believed to have included both asceticism and sensuality: some did penance for their sins, subjected themselves to self-inflicted pain, and "mourned for Zion"; others disregarded the strict rules of modesty required by Judaism, and at times were accused of being licentious. The Polish rabbis attempted to ban the "Sabbatean heresy" at the assembly at Lwów (now Lviv in Ukraine) in 1722. Still, they could not fully succeed, as it was widely popular among the nascent Jewish middle class.


title: Jacob Frank

text: Jacob Frank is believed to have been born as Jakub Lejbowicz to a Polish-Jewish family in Korołówka, in Podolia of Eastern Poland (now in Ukraine), in about 1726. The Polish historian Gaudenty Pikulski affirmed that Frank was born in Buchach and Agnon even showed the house where he was born was located on Korołówka street in Buchach. His father was a Sabbatean, and moved to Czernowitz, in the Carpathian region of Bukovina, in 1730, where the Sabbatean influence at the time was strong.


title: Jacob Frank

text: As a travelling merchant in textile and precious stones he often visited Ottoman territories, where he earned the nickname "Frank", a name generally given in the East to Europeans, and lived in the centers of contemporary Sabbateanism, Salonica and Smyrna.


title: Jacob Frank

text: In the early 1750s, Frank became intimate with the leaders of the Sabbateans. Two followers of the Sabbatian leader Osman Baba (b. 1720) were witnesses at his wedding in 1752. In 1755, he reappeared in Podolia, gathered a group of local adherents, and began to preach the "revelations" which were communicated to him by the Dönmeh in Salonica. One of these gatherings in Landskron ended in a scandal, and the rabbis' attention was drawn to the new teachings. Frank was forced to leave Podolia, while his followers were hounded and denounced to the local authorities by the rabbis (1756). At the rabbinical court held in the village of Satanów (today Sataniv in Ukraine) the Sabbateans were accused of having broken fundamental Jewish laws of morality and modesty.


title: Jacob Frank

text: Consequent to these disclosures the congress of rabbis in Brody proclaimed a universal "herem" (excommunication) against all "impenitent heretics", and made it obligatory upon every pious Jew to seek them out and expose them. The Sabbateans informed Mikołaj Dembowski, the Catholic Bishop of Kamieniec Podolski, Poland, that they rejected the Talmud and recognized only the sacred book of Kabbalah, the Zohar, which did not contradict the Christian doctrine of the Trinity. They stated that they regarded the Messiah-Deliverer as one of the embodiments of the three divinities.


title: Jacob Frank

text: The bishop took Frank and his followers (the "Anti-Talmudists", or "Zoharistic Jews") under his protection and in 1757 arranged a religious disputation between them and the rabbis of the traditionalist community. The Anti-Talmudists presented their theses, which began the intense dispute. The bishop sided in favour of the Frankists and also ordered the burning of all copies of the Talmud in Poland. 10,000 volumes were destroyed, which was a tremendous loss for the Jewish libraries of that era.


title: Jacob Frank

text: After the death of the bishop, the Sabbateans were subjected to severe persecution by the rabbis, although they succeeded in obtaining an edict from Augustus III of Poland guaranteeing them safety.


title: Jacob Frank

text: At this critical moment Jacob Frank came to Iwania, proclaimed himself as a direct successor to Sabbatai Zevi and Osman Baba, and assured his adherents that he had received revelations from Heaven. These revelations called for the conversion of Frank and his followers to the Christian religion, which was to be a visible transition stage to the future "das" or religion to be revealed by Frank. In 1759 negotiations looking toward the conversion of the Frankists to Roman Catholicism were being actively carried on with the higher representatives of the Polish Church; at the same time the Frankists tried to secure another discussion with the rabbis. The Polish primate Łubieński and the papal nuncio Nicholas Serra were suspicious of the aspirations of the Frankists, but at the insistence of the administrator of the bishopric of Lwów, the canon Mikulski, the discussion was arranged. It was held in Lwów and was presided over by Mikulski. Protestant missionaries also tried to detour the Frankists to Protestantism, and a handful did join the Moravian church.


title: Jacob Frank

text: At the discussion in 1759, the rabbis energetically repulsed their opponents. After the discussion the Frankists were requested to demonstrate in practice their adherence to Christianity; Jacob Frank, who had then arrived in Lwów, encouraged his followers to take the decisive step. The baptism of the Frankists was celebrated with great solemnity in the churches of Lwów, with members of the Polish szlachta (nobility) acting as god-parents. The neophytes adopted the names of their godfathers and godmothers, and ultimately joined their ranks. Frank himself was baptized in Lwów (September 17, 1759) and again in Warsaw the next day, with King Augustus III as his godfather. Frank's baptismal name was "Joseph" ("Józef"). In the course of one year more than 500 individuals were converted to Christianity at Lwów, and nearly a thousand in the following year. By 1790, 26,000 Jews were recorded baptised in Poland.


title: Jacob Frank

text: However, the Frankists continued to be viewed with suspicion due to their strange doctrines. Frank was arrested in Warsaw on February 6, 1760 and delivered to the Church's tribunal on the charge of heresy. He was convicted of teaching heresy, and imprisoned in the monastery of Częstochowa.


title: Jacob Frank

text: Frank's imprisonment lasted thirteen years, yet it only increased his influence with the sect by surrounding him with the aura of martyrdom. Many Frankists established themselves near Częstochowa, and kept up constant communication with their "holy master". Frank inspired his followers through mystical speeches and epistles, in which he stated that salvation could be gained only by first adopting the "religion of Edom" and later adopting a future religion which Frank called "daas" ("daat", or Knowledge in Hebrew). After the first partition of Poland, Frank was released by the Russian general Bibikov, who had occupied Częstochowa, in August 1772.


title: Jacob Frank

text: Frank lived in the Moravian town of Brno until 1786, surrounded by a retinue of adherents and pilgrims who came from Poland. His daughter Eve began to play an important role in the sect at this time. Frank kept a force of armed men at his "court". The future czar Paul I of Russia visited him together with Joseph II of Austria.


title: Jacob Frank

text: Accompanied by his daughter, Frank repeatedly traveled to Vienna, and succeeded in gaining the favor of the court. Maria Theresa regarded him as a disseminator of Christianity among the Jews, and it is even said that Joseph II was favorably inclined to the young Eve Frank. Ultimately Frank was deemed unmanageable and he was obliged to leave Austria. He moved with his daughter and his retinue to Offenbach, in Germany, where he assumed the title of "Baron of Offenbach," and lived as a wealthy nobleman, receiving financial support from his Polish and Moravian followers, who made frequent pilgrimages to Offenbach. On the death of Frank in 1791, Eve became the "holy mistress" and leader of the sect. Her fortunes dwindled in the aftermath of the Napoleonic Wars, and she died in Offenbach in 1816.


title: Jacob Frank

text: Some Frankists were active during the French Revolution, such as Moses Dobruška, a son of Frank's Sabbatian cousin in Offenbach Shendl Dobruska. Many of the Frankists saw Napoleon Bonaparte as a potential Messiah. The Frankists scattered in Poland and Bohemia eventually intermarried into the gentry and middle class. Maria Szymanowska, a piano virtuoso, came from a Frankist family. Wanda Grabowska, the mother of Tadeusz Boy-Żeleński, also descended from Frankists.


title: Jacob Frank

text: In 1883, a Russian magazine "Русская старина" ("Russian Old Times") issued memoirs of an influential official of the Russian Ministry of the Interior, the privy councillor and staunch anti-Semite O. A. Pzhetslavsky. He promulgated the allegations that the mothers of "three of the greatest men of Poland" (Frédéric Chopin, Adam Mickiewicz and Juliusz Słowacki) were converted Jews from the Frankist sect. Similar assertions were put forth by Mieses and Balaban.


title: Legal guardian

text: A legal guardian is a person who has been appointed by a court or otherwise has the legal authority (and the corresponding duty) to make decisions relevant to the personal and property interests of another person who is deemed incompetent, called a ward. For example, a legal guardian might be granted the authority to make decisions regarding a ward’s housing or medical care or manage the ward’s finances. Guardianship is most appropriate when an alleged ward is functionally incapacitated, meaning they have a lagging skill critical to performing certain tasks, such as making important life decisions. Guardianship intends to serve as a safeguard to protect the ward.


title: Legal guardian

text: Anyone can petition for a guardianship hearing if they believe another individual cannot make rational decisions on their own behalf. In a guardianship hearing, a judge ultimately decides whether guardianship is appropriate and, if so, will appoint a guardian. Guardians are typically used in four situations: guardianship for an incapacitated senior (due to old age or infirmity), guardianship for a minor, and guardianship for developmentally disabled adults and for adults found to be incompetent. A family member is most commonly appointed guardian , though a professional guardian or public trustee may be appointed if a suitable family member is not available.


title: Legal guardian

text: Guardianship for an incapacitated senior typically arises when someone determines that a senior has become unable to care for their own person and/or property. In fact, most alleged wards are elderly ("M"s = 76–82 years), many of whom resided in a care facility and had been diagnosed with a neurological impairment such as dementia. Typically, a precipitating incident prompts a professional, family member, health care worker, or clergyman to initiate guardianship proceedings. While guardianship intends to protect and support incapacitated seniors unable to care themselves or engage in the activities of daily living without assistance, guardianship sometimes results in financial exploitation of wards.


title: Legal guardian

text: In most states, the process will start with a determination whether the alleged incapacitated person is actually incapacitated. There will often be an evidentiary hearing. A systematic review of guardianship studies from the United States, Sweden, and Australia found that the most commonly used evidence in guardianship hearings was the alleged ward’s medical condition; perhaps surprisingly, descriptions of the alleged ward’s cognitive abilities, functional abilities and psychiatric symptoms are much less common.


title: Legal guardian

text: If the court determines an individual is incapacitated, the court then determines whether a guardian is necessary, the extent of the guardian's legal authority, (e.g. a guardian may be needed for the person's finances but not for the person) and, if so, who the guardian should be. The determination of whether a guardianship is necessary may consider a number of factors, including whether there is a lesser restrictive alternative, such as the use of an already existing power of attorney and health care proxy. In some cases, a guardianship dispute can become quite contentious and can result in litigation between a parent and adult children or between different siblings against each other in what is essentially a pre-probate dispute over a parent's wealth.


title: Legal guardian

text: A report published in 2010 by the U.S. Government Accountability Office looked at 20 selected closed cases in which guardians stole or otherwise improperly obtained assets from clients. In 6 of these 20 cases, the courts failed to adequately screen guardians ahead of time and appointed individuals with criminal convictions or significant financial problems, and in 12 of 20 cases, the courts failed to oversee guardians once they had been appointed.


title: Legal guardian

text: In October 2017, "The New Yorker" published an article looking at the situation in Nevada in which professional guardians sometimes have a number of clients, and argued toward the conclusion that in a number of cases the courts did not properly oversee these arrangements. In 2018 the investigative documentary "The Guardians" was published, alleging "legal kidnapping of elderly people" in Nevada by private guardianship businesses with no familial or other preexisting relations to their wards, seeking to economically profit from seniors' savings.


title: Legal guardian

text: Most jurisdictions recognise that the parents of a child are the natural guardians of the child, and that the parents may designate who shall become the child's legal guardian in the event of death, typically subject to the approval of the court. The court may appoint a guardian for a minor if their parents are disabled or deceased or if the minor’s parents cannot properly manage their child’s safety and well-being. If a non-parent is appointed as guardian, the court will determine how the parents' parental rights are impacted by the appointment (e.g., establishing visitation schedules).


title: Legal guardian

text: Legal guardians may be appointed in guardianship cases for adults (see also conservatorship). For example, because parents are not automatically appointed to serve as the guardian of their developmentally-disabled child who reaches adulthood, parents may start a guardianship action to become the legal guardians when the child reaches the age of majority.


title: Legal guardian

text: A famous example of such an arrangement is the situation involving Britney Spears, who was placed into a conservatorship under the supervision of her father, Jamie Spears, and attorney Andrew Wallet in 2008, following a series of highly publicized personal struggles and issues with mental health.


title: Legal guardian

text: Courts generally have the power to appoint a guardian for an individual in need of special protection. A guardian with responsibility for both the personal well-being and the financial interests of the ward is a "general guardian". A person may also be appointed as a "special guardian", having limited powers over the interests of the ward. A special guardian may, for example, be given the legal right to determine the disposition of the ward's property without being given any authority over the ward's person.


title: Legal guardian

text: Depending on the jurisdiction, a legal guardian may be called a "conservator", "custodian", or curator. Many jurisdictions and the Uniform Probate Code distinguish between a "guardian" or "guardian of the person" who is an individual with authority over and fiduciary responsibilities for the physical person of the ward, and a "conservator" or "guardian of the property" of a ward who has authority over and fiduciary responsibilities for significant property (often an inheritance or personal injury settlement) belonging to the ward. Some jurisdictions provide for public guardianship programs serving incapacitated adults or children.


title: Legal guardian

text: A guardian is a fiduciary and is held to a very high standard of care in exercising their powers. If the ward owns substantial property, then guardian may be required to give a surety bond to protect the ward in case dishonesty or incompetence on their part causes financial loss to the ward.


title: Legal guardian

text: The Latin legal term "ad litem" means "for the lawsuit" or "for the legal proceeding". A guardian "ad litem" is thus someone appointed to represent in court the interests of a person too vulnerable to represent themselves, typically due to youth or mental incapacity.


title: Legal guardian

text: Guardianship is not federally regulated in the United States; therefore, states vary widely in how they address and manage guardianship cases.


title: Legal guardian

text: Guardians "ad litem" (GsAL) are persons appointed by the court to represent "the best interests of the child" in court proceedings. They are not the same as "legal guardians" and are often appointed in under-age-children cases, many times to represent the interests of the minor children. Guardians "ad litem" may be called, in some U.S. states, Court Appointed Special Advocates (CASA). In New York State, they are known as attorneys-for-the-child (AFCs). They are the voice of the child and may represent the child in court, with many judges adhering to any recommendation given by a GAL. GALs may assist where a child is removed from a hostile environment and custody given to the relevant state or county family services agency, and in those cases assists in the protection of the minor child.


title: Legal guardian

text: Qualifications vary by state, ranging from no experience or qualification, volunteers to social workers to attorneys to others. The GAL's only job is to represent the minor children's best interest and advise the court. A guardian "ad litem" is an officer of the court, does not represent the parties in the suit, and often enjoys quasi-judicial immunity from any action from the parties involved in a particular case. Training, qualifications and supervision vary from state-to-state, which means that their quality is similarly variable. In, for instance, North Carolina, an applicant (volunteer) must go through a background check and complete 30 hours of training.


title: Legal guardian

text: Although a guardian "ad litem" working through a CASA program volunteers their services, some guardians "ad litem" are paid for their services. They must submit detailed time and expense reports to the court for approval. Their fees are taxed as costs in the case. Courts may order all parties to share in the cost, or the court may order a particular party to pay the fees. Volunteer guardians "ad litem" and those that volunteer though a CASA program need to make sure that they do not engage in the unauthorized practice of law. Therefore, when they appear in court (even if they are an attorney) as a volunteer GAL, it is best practice to be represented by an attorney and have attorneys file motions on their behalf.


title: Legal guardian

text: Guardians "ad litem" are also appointed in cases where there has been an allegation of child abuse, child neglect, PINS, juvenile delinquency, or dependency. In these situations, the guardian "ad litem" is charged to represent the best interests of the minor child, which can differ from the position of the state or government agency as well as the interest of the parent or guardian. These guardians "ad litem" vary by jurisdiction and can be volunteer advocates or attorneys. For example, in North Carolina, trained GAL volunteers are paired with attorney advocates to advocate for the best interest of abused and neglected children. The program defines a child's best interest as a safe, permanent home.


title: Legal guardian

text: Guardians "ad litem" can be appointed by the court to represent the interests of mentally ill or disabled persons. For example, the Code of Virginia requires that the court appoint a "discreet and competent attorney-at-law" or "some other discreet and proper person" to serve as guardian "ad litem" to protect the interests of a person under a disability.


title: Legal guardian

text: In section 4 of the Official Secrets Act 1989, the expression "legal custody" includes detention in pursuance of any enactment or any instrument made under an enactment.


title: Legal guardian

text: Any person required or authorized by or by virtue of the Mental Health Act 1983 to be conveyed to any place or to be kept in custody or detained in a place of safety or at any place to which he is taken under section 42(6) of that Act is, while being so conveyed, detained or kept, as the case may be, deemed to be in legal custody. For this purpose "convey" includes any other expression denoting removal from one place to another.


title: Legal guardian

text: Guardians "ad litem" are sometimes appointed in probate matters to represent the interests of unknown or unlocated heirs to an estate.


title: Legal guardian

text: When a settlement is reached in personal injury or medical malpractice case involving claims brought on behalf of a minor or incapacitated plaintiff, courts normally appoint a guardian "ad litem" to review the terms of the settlement and ensure it is fair and in the best interests of the claimant. The settlement guardian "ad litem" thoroughly investigates the case, to determine whether the settlement amount is fair and reasonable.


title: Legal guardian

text: Because guardianship limits a ward's autonomy and ability to make certain life decisions, guardianship has the potential to damage a ward’s health and well-being. As a result, individuals considering guardianship to support a loved one with functional incapacities might consider whether there are less restrictive alternatives that can achieve the same objectives. Three examples of alternatives include establishing advance directives, relying on supported decision-making, or taking advantage of community-related services that support individuals with functional limitations.


title: Legal guardian

text: Advance directives allow an competent individual to provide their input as to what actions should be taken should they become incompetent. For example, in a healthcare setting, an advance directive would allow a patient to voice what treatment options they prefer and who they would like to make decisions on their behalf should they become incompetent. The establishment of advance directives is a common practice among seniors in the United States.


title: Legal guardian

text: Further, some individuals with limited functional capacities might maintain their autonomy by relying on family or friends who can help that individual informally or formally navigate important life decisions without formal guardianship, called “supported decision-making.” For example, these support individuals can provide suggestions on where their loved one should live or recommend certain treatment options in medical settings. This support system can also help the individual modify their environment to promote their success. For example, if a family member is concerned that their loved one with reduced functional capacity might engage in an unsafe behavior (e.g., leaving the gas stove on), this family member can reduce the opportunity for this behavior (e.g., removing the gas stove) without court involvement. This technique allows individuals to support and empower loved ones who are cognitively impaired.


title: Legal guardian

text: Finally, employing community services that will alleviate stressors of daily living may allow an alleged ward to maintain their autonomy. For example, certain volunteer organizations provide services such as telephone check-ins and home visits, and many medical or mental health professionals offer in-home services.


title: Legal guardian

text: In summary, while guardianship sometimes offers the best solution to supporting an individual who demonstrates functional incapacity, one might consider exploring alternative solutions before seeking legal guardianship.


title: Legal guardian

text: Guardians "ad litem" are employed by Children and Family Court Advisory and Support Service (CAFCASS), a non-departmental public body, to represent the interests of children in cases where the child's wishes differ from those of either parent, known as a Section 16.4 case. The posts are filled by senior social workers with experience in family law proceedings.


title: Legal guardian

text: In 2006, a legal status of "special guardianship" was introduced (using powers delegated by the Adoption and Children Act 2002) to allow for a child to be cared for by a person with rights similar to a traditional legal guardian, but without absolute legal separation from the child's birth parents. These are not to be confused with court-appointed special guardians in other jurisdictions.


title: Legal guardian

text: The German guardianship law with regard to adults was completely changed in 1990. Guardianship ("Vormundschaft") of an adult was renamed 'curatorship' ("Betreuung"), although it remains "Vormundschaft" for minors. When a person of full age who, as a result of mental disease or physical, mental or psychological handicap is incapable of managing his own affairs, a guardian (Betreuer) can be appointed (section 1,896, German Civil Code). An adult guardian is responsible for personal and estate matters, as well as for medical treatment. However, the ward has normally full capacity with all human rights such as those to marry, vote or make a will. The ward's legal capacity can be lost as a result of a court judgment or order (section 1903, German Civ. C.; "Einwilligungsvorbehalt"). Every guardian has to report annually to the guardianship court ("Betreuungsgericht"). Professional guardians (Berufsbetreuer) normally hold university degrees in law or social work.


title: Legal guardian

text: In Israel, over 50,000 adults have had legal guardians appointed for them; 85% of them have family members as their guardians, and 15% have professional guardians. Until 2014, guardians (the term there is "Apotropos") were supervised by the Office of the Administrator General at the Ministry of Justice in matters of property only. However, changes in Israel and other countries along with public pressure, appeals to the courts by social organizations, academic studies and the State Comptroller's 2004 report led to the decision to broaden the scope of supervision to include personal matters as well, to ensure that the guardians take care of all areas of life, including medical care, personal care, suitable housing, work and employment, social and recreational activities, etc., taking account of the person's wishes and acting accordingly. The Office of the Administrator General (public guardian) at the Ministry of Justice is now implementing a system to supervise guardians in regard to personal matters in order to help identify situations in which guardians are not performing their duties adequately.


title: Legal guardian

text: The court-appointed guardian system in the Republic of Ireland was brought into law on the proposal of the noted gay activist and member of Seanad Éireann (the Irish Senate), David Norris. The Children Acts Advisory Board which was set up to advise the ministers of the government on policy development under the Child Care Act 1991 was then abolished in September 2011. Judges are responsible for appointing child guardians and can choose guardians from Barnardo's a children's charitable service or from among the self-employed guardians, who are mostly former social workers who have gone into private business since the legislation.


title: Legal guardian

text: Saudi Arabia has edited the law, and women in Saudi Arabia are no longer required to have a male guardian (Wali) to give permission for various government and economic transactions, as well as some personal life and health decisions.


title: Legal guardian

text: Swedish parental law ("the Parental Code") regulates legal guardianship for both children and disabled adults. Legal guardianship for unaccompanied minors is regulated by a law of its own. Except for normal parenthood, the guardianship is assigned by the district court and supervised by the Chief Guardian, a municipal authority that is mandatory in every Swedish municipality. What is included in the field of guardianship is decided by the district court. The responsibility for health care and nursing is never included in the guardianship for adults, but is always so for minors. The guardianship for adults can take two legal forms, "conservator" or "administrator". The main difference between these two is that an "administrator" has the sole permission to take legal actions within the field of the guardianship. A guardianship can have different legal forms for different parts of the guardianship. Such things as basic human rights is never denied the ward by this law, but some of them can be denied by other laws. A conservator is normally assigned with the approval of the ward. But if the physical conditions of the ward does not permit him to give such approval, a conservator can be assigned anyhow. Everything a conservator does for his ward have to be approved by him, or can be assumed to be approved by him. For more complex situations, like taking loans or selling of a house, he or she needs approval from the local authorities. Once a year a legally assigned guardian have to send his accounting to the Chief Guardian for review.


title: Legal guardian

text: Since the year 2017, the ward can, while she still have her mental abilities, write a special future letter of attorney ("Framtidsfullmakt") which later can be used when she loses her abilities. How such a letter should be written is described in detail in the paternal law, and normally follows the principles of a will. This law was created since it in Sweden is unclear if a normal letter of attorney is valid after the ward has lost her abilities.


title: Cheaper by the Dozen (1950 film)

text: Cheaper by the Dozen is a 1950 American comedy film based upon the autobiographical book "Cheaper by the Dozen" (1948) by Frank Bunker Gilbreth Jr. and Ernestine Gilbreth Carey. The film and book describe growing up in a family with twelve children, in Montclair, New Jersey. The title comes from one of Gilbreth's favorite jokes, which played out in the film, that when he and his family were out driving and stopped at a red light, a pedestrian would ask: "Hey, mister! How come you got so many kids?" Gilbreth would pretend to ponder the question carefully, and then, just as the light turned green, would say: "Well, they come cheaper by the dozen, you know", and drive off.


title: Cheaper by the Dozen (1950 film)

text: The story of the Gilbreth family is continued in the book "Belles on Their Toes", which was adapted as a film in 1952, with some of the original cast.


title: Cheaper by the Dozen (1950 film)

text: The parents are the time and motion study and efficiency expert Frank Bunker Gilbreth Sr. and psychologist Lillian Moller Gilbreth. The film shows typical days in the lives of a family in the 1920s, but here with 12 children and an efficiency engineer as the parent. Frank employs his unorthodox teaching methods on his children, and there are clashes between parents and children.


title: Cheaper by the Dozen (1950 film)

text: Frank takes every opportunity to study motion and increase efficiency, including filming his children's tonsillectomies to see if there are ways to streamline the operation.


title: Cheaper by the Dozen (1950 film)

text: He escorts his daughter to her prom as a chaperone but ends up chatting and dancing with her female friends.


title: Cheaper by the Dozen (1950 film)

text: At the end, Frank is sent on a lecture tour to Europe, expecting to visit Prague and London. He phones Lillian from the station but the line goes dead as he has had a heart attack. After Frank's sudden death, the family agree that Lillian will continue with her husband's work, beginning with giving his lectures in Europe; this enables the family to remain in their house, rather than move to their grandmother's in California, although, with a widowed working mother and one income, the children will have to assume much greater responsibilities.


title: Cheaper by the Dozen (1950 film)

text: The birth order in which "Cheaper by the Dozen" portrays some of the children is not the same order in which the real Gilbreth children were born. For example, Robert (who was born in 1920) is shown as being born in 1922, as the last child after Jane (who was born in 1922). This is reversed in the movie's sequel.


title: Cheaper by the Dozen (1950 film)

text: In real life, Mary, who was the second child, died in 1912, aged 5. However, in the film "Cheaper by the Dozen", Mary is placed as the third child after Ernestine, and has few or no lines.


title: Cheaper by the Dozen (1950 film)

text: Both Frank and Lillian Gilbreth were important figures in real life. The voice-over at the end of the film informs the audience that Lillian went on to become the world's leading efficiency expert and Woman of the Year in 1948, a title bestowed by the Twentieth Century Club of Buffalo.


title: Cheaper by the Dozen (1950 film)

text: Reviews from critics were mostly positive. Bosley Crowther of "The New York Times" wrote that "it all adds up to entertainment of a broad, brash and innocent sort." "Variety" called it "a lot of fun" with "a lot of humor, and just enough clutching at the heart to please any audience." "Harrison's Reports" called it "delightfully amusing" with comedy "that keeps one chuckling throughout and at times reaches hilarious proportions." "Pleasant light entertainment", reported "The Monthly Film Bulletin". John McCarten of "The New Yorker" was less enthused, writing that "since nothing much happens in the way of conflict, there just isn't any drama, and the piece boils down to one of those typical fluffy comedies about home life in America."


title: STANAG 4569

text: NATO AEP-55 STANAG 4569 is a NATO Standardization Agreement covering the standards for the "Protection Levels for Occupants of Logistic and Light Armored Vehicles".


title: STANAG 4569

text: Hand grenades, unexploded artillery fragmenting submunitions, and other small anti personnel explosive devices detonated under the vehicle.


title: STANAG 4569

text: 20 mm FSP (simulating 155 mm threat) at 520 m/sec from a distance of 100 meters. (Due to very low probability of a large fragment retaining enough velocity at these distances, STANAG 4569 makes this optional.)


title: Bonzo Dog Doo-Dah Band

text: The Bonzo Dog Doo-Dah Band (also known as The Bonzo Dog Band or The Bonzos) was created by a group of British art-school students in the 1960s. Combining elements of music hall, trad jazz and psychedelia with surreal humour and avant-garde art, the Bonzos came to public attention through a 1968 ITV comedy show, "Do Not Adjust Your Set."


title: Bonzo Dog Doo-Dah Band

text: The Bonzo Dog Doo-Dah Band was officially formed on 25 September 1962, at 164c Rosendale Road, West Dulwich, when Vivian Stanshall (lead vocals, tuba and other wind instruments) and fellow art student Rodney Slater (saxophone/clarinet) bonded over the late-night transatlantic broadcast of a boxing match between Floyd Patterson and Sonny Liston, after being introduced by Slater's flatmate Tom Parkinson. At the time, Slater was already playing in a traditional jazz band at college with Parkinson on sousaphone, and Chris Jennings on trombone. Trumpeter Roger ('Happy' Wally) Wilkes and banjo-player Trevor Brown were the founders of this loose conglomerate at the Royal College of Art, although the lineup is thought to have been exceptionally fluid and constantly revolving, consisting of as many as forty to fifty rotating members if Stanshall's later recollections are to be believed.


title: Bonzo Dog Doo-Dah Band

text: Stanshall would become the band's next recruit after that day in 1962, when he and Slater rechristened the existing group The Bonzo Dog Dada Band. In the 2004 BBC Four documentary Vivian Stanshall: The Canyons of His Mind, Slater claims that the name was inspired by playing a Dadaist word game using cut-up technique, which involves writing words or phrases on paper, tearing the paper into strips and then randomly re-assembling the strips to form new phrases. One of the phrases created was "Bonzo Dog Dada Band": Bonzo Dog after Bonzo the dog, a popular British cartoon character created by artist George Studdy in the 1920s, and Dada after the early 20th-century art movement.


title: Bonzo Dog Doo-Dah Band

text: In the early 1960s comedic pop records by artists such as Charlie Drake, Bernard Cribbins and Spike Milligan were very popular in the UK and enjoyed chart success alongside pop music parodies by pop cabaret acts such as The Barron Knights, and this fledgling version of the Bonzos was already slowly turning its style from more orthodox music towards the comedy-tinged 1920s popular jazz-style sound of groups such as The Alberts and The Temperance Seven.


title: Bonzo Dog Doo-Dah Band

text: This original lineup (centred on Stanshall, Slater, Wilkes, Brown, Parkinson, Jennings, saxophonist Claude Abbo and Drummer Tom Hedge) soon imploded, however, after flatmates Stanshall, Slater and Parkinson had seriously overspent their Autumn Term's grant money on good food, clothing and musical instruments, which led to their unceremonious eviction in December by their landlord for non-payment of rent (and, thanks to Stanshall's failed attempt at making scrumpy in the bath, damage to the property).


title: Bonzo Dog Doo-Dah Band

text: Stanshall and Slater then parted ways for a while but Slater in particular kept faith in the band's continued existence and dedicated himself to its eventual resurrection. Things began to come together again in 1963 when the two reunited with Wilkes, and two new faces entered the picture: on banjo, double bass and later bass guitar, Goldsmiths College lecturer Vernon Dudley Bowhay-Nowell and his lodger, songwriter/pianist and later guitarist Neil Innes. Bowhay-Nowell was already familiar with the band's earlier incarnation and happily came on board. According to Innes' website, the Bowhay-Nowell was added to Vernon Dudley's name by Stanshall, although this has proven to be untrue. Vernon's parents were Walter Nowell and Bessie Bowhay. Unwilling to lose the unusual 'Bowhay' part of the name, they gave their children Vernon Dudley and Peter the name 'Bowhay' as an addendum to the surname 'Nowell'. It seems unlikely, however, that the slightly older, slightly more conservative Vernon had used such an affectation in his everyday life before Stanshall's suggestion, which may be where the confusion arose.


title: Bonzo Dog Doo-Dah Band

text: Multi-instrumentalist Neil Innes, meanwhile, would prove pivotal to the band's continued existence, not to mention their later success. Armed with a musical education and a philosophical bent, he would go on to marshal the band's disparate talents into something resembling cohesion, whether they liked it or not. However, cohesion and success both still lay some way ahead. Innes has spoken often about his first meeting with Slater and Stanshall in a London pub—Stanshall walked in wearing a Victorian frock coat, checked trousers, pince-nez glasses and large rubber false ears on his head whilst carrying a Euphonium under his arm.


title: Bonzo Dog Doo-Dah Band

text: The band meanwhile had been working with trombonist John Parry and drummer Ed Chamberlain before Slater recruited Martin Ash, a percussionist who later took the stage name of Sam Spoons. Shortly afterwards Spoons secured the band their first regular pub gig at The Kensington in Notting Hill, where they were noticed by "Big" Sid Nicholls who would soon join them as second banjo-player. Big Sid in turn introduced Roger Ruskin Spear (son of the British artist Ruskin Spear) to the band. With his interest in sculpture and the manufacture of early electronic gadgets, objets d'art, and sound-making systems, and having already recently played in a one-off impromptu scratch band with Slater and Innes, Spear also soon became a member of the Bonzos. From his own defunct band The Jungle Orchestra, Spear brought with him trumpeter Leon "Lenny" Williams to replace the departing Wilkes.


title: Bonzo Dog Doo-Dah Band

text: Band members continued to come and go throughout 1963 and 1964 but by 1965 the band had settled to a stable lineup of Stanshall (lead vocal/mime), Slater (clarinet/saxophone), Innes (piano/guitar/vocals), Bowhay-Nowell (basses/banjo), Spoons (drums/percussion), Spear (saxophone/devices), Nicholls (banjo), Williams (trumpet), Parry (trombone) and Raymond Lewitt (tuba). The line-up changed again later that year with the departure of Parry (who would later go on to be a founder member of The Pasadena Roof Orchestra), and the final 'classic' Bonzos band member, "Legs" Larry Smith, joined to replace the outgoing Lewitt. Smith was a long-standing friend of Stanshall's, the two having been students together at Central College of Art. Stanshall had long had designs on somehow insinuating his erstwhile drinking companion—Smith was a notorious "bon viveur"—into the band despite his lack of any apparent musical talent, with a view to exposing the world to Larry's undoubted charisma. While Smith's musical input at this point was, by his own admission, limited, he still brought a keen sense of showmanship to the Bonzos; strongly influenced by the movie The Rise and Fall of Legs Diamond, Larry adopted the name 'Legs' and took up tap-dancing, a skill he developed to such an entertaining level that it would later earn him a solo 'tap-dance extravaganza' spot in the band's stage show.


title: Bonzo Dog Doo-Dah Band

text: By this point the Bonzos had turned semi-professional and were playing regular gigs at The Deuragon Arms in Homerton, East London and at The Tiger's Head in Catford, South London where their performances soon gathered an enthusiastic following. It was around this time that the band were approached by budding show business impresario Reg Tracey, who offered to manage them and introduce them to the dubious but lucrative delights of Northern England's working men's club circuit. They proved popular on the club circuit and the lifestyle and steady income generated convinced the band members to turn fully professional. As a consequence they never stopped working and the clubs introduced them to all manner of 'unusual' characters who would later populate their song catalogue.


title: Bonzo Dog Doo-Dah Band

text: Thanks to Tracey's contacts, the band made their TV debut in February 1966, performing "Won't You Come Home Bill Bailey" on the children's show "Blue Peter", introduced by John Noakes. In spring, Bob Kerr replaced Leon Williams and shortly after this, Sid Nicholls left.


title: Bonzo Dog Doo-Dah Band

text: In April, Tracey secured them a record deal with Parlophone. Their first single, a cover of the 1920s song "My Brother Makes The Noises for the Talkies", was backed with "I'm Going To Bring A Watermelon to My Girl Tonight".


title: Bonzo Dog Doo-Dah Band

text: A second single, "Alley Oop" backed with "Button Up Your Overcoat" followed in October of that year. Neither single sold well, and this eventually spelled the end for their hapless manager Reg Tracey when the band came to the attention of rival manager Gerry Bron, whose contacts in the industry were more impressive and held more promise for the now driven and ambitious Stanshall, who had by this point assumed "de facto" leadership of the band. Tracey threatened legal action for breach of contract and the band had to be bought out of the agreement.


title: Bonzo Dog Doo-Dah Band

text: Although The Bonzos had started out playing and parodying trad jazz and 1920s-style popular music, by 1967 they were contemplating embracing a more contemporary style of rock music, in order to counter claims that they sounded too much like The Temperance Seven or the fictional, studio-concocted New Vaudeville Band. In fact although they were now exclusively managed by Gerry Bron, The Bonzos were invited to perform live as the New Vaudeville Band in order to capitalise on the fictional group's recent chart success with "Winchester Cathedral"—an offer The Bonzos immediately declined in favour of retaining their own artistic control. However, Bob Kerr happily agreed to help form a real New Vaudeville Band, allegedly taking the bulk of his former bandmates' stage act with him, a move which finally forced The Bonzos' hand over the change of direction (Kerr later went on to create his own long-standing early Bonzos/Vaudevilles-style band, Bob Kerr's Whoopee Band, which included other ex-Bonzos Sam Spoons and Vernon Bowhay-Nowell in its future line-ups). According to Neil Innes, The Bonzos had learned a salutary lesson about the pitfalls of show business:


title: Bonzo Dog Doo-Dah Band

text: Our trumpeter then was Bob Kerr, great player, and a fun guy. But he was friends with (songwriter and producer) Geoff Stephens, who'd made "Winchester Cathedral" with session men. And he knew Bob, so he rang Bob up saying: 'What am I going to do? "Winchester Cathedral"'s a hit, and I've got no band to promote it.' So Bob came, flushed with excitement, to the rest of us at our digs, saying, 'We can be The New Vaudeville Band!' and we said, 'Certainly not, no way!' So, Bob couldn't understand this, so we said, 'Well, go, you go and do it then, if you want to. Go, never darken our towels again!', kind of thing. But the next thing, on "Top of the Pops", was the New Vaudeville Band, with the singer looking exactly like Viv, in a sort of lamé suit, all the musicians wearing the kind of suits we were wearing, with two-tone shoes. They'd even nicked the cutout comic speaking balloons, which we made out of hardboard, with a fret saw, and painted white, and then wrote, 'Wow, I'm really expressing myself!' to hold over somebody's head while they did a saxophone solo. There was the entire image, and for the next few weeks people were saying to us, 'Hey, you're like that New Vaudeville Band!' And that's when I think Legs Larry Smith said, "Well, look ...'—he'd always been arguing for doing some more modern material, so we all said, 'Right, now we start writing our own stuff.' "


title: Bonzo Dog Doo-Dah Band

text: The situation proved serendipitous, however, as they were able to capitalise on the burgeoning spirit of the times by combining their jazz stylings with increasingly fashionable psychedelic touches. As their popularity increased (especially among other musicians), they were asked by Paul McCartney to appear in the Beatles' "Magical Mystery Tour" film at the end of 1967, performing "Death Cab For Cutie".


title: Bonzo Dog Doo-Dah Band

text: Around this time they were also hired as the resident band on "Do Not Adjust Your Set", an afternoon children's television comedy show notable for starring several future members of "Monty Python" (Eric Idle, Terry Jones and Michael Palin), Denise Coffey, and David Jason in the cast. The band performed every week as well as sometimes participating in sketches.


title: Bonzo Dog Doo-Dah Band

text: After signing with the US-based Liberty Records label, the Bonzos released their first album, "Gorilla" (1967), produced by Gerry Bron. The LP included "Jazz: Delicious Hot, Disgusting Cold" which parodied their early "trad" jazz roots and featured deliberately inept jazz playing. The record label had allowed them two hours of studio time per track, so "Jazz" was completed in a single take to allow more time for the far more complex "The Intro and the Outro". In this number every member of the band was introduced and played a solo, starting with the genuine band members before including such improbable guest musicians as John Wayne on xylophone, Adolf Hitler on vibes, J. Arthur Rank on gong, Prime Minister Harold Wilson on violin, the Wild Man of Borneo, Val Doonican, Horace Batchelor, and Lord Snooty and His Pals. The music was based on an excerpt from Duke Ellington's "C Jam Blues".


title: Bonzo Dog Doo-Dah Band

text: The first album was recorded on a four-track tape recorder, as was typical for 1967. Due to the limited number of tracks, most of the fictional non-band "guest stars" were simply faded in and out as required.


title: Bonzo Dog Doo-Dah Band

text: By December 1967, bassist Vernon Dudley Bowhay-Nowell and drummer Sam Spoons had been summarily fired from the band. Vernon had spent much of the year ill and had missed numerous recording sessions as a result, while Sam Spoons' musical ability in the studio had now been judged unsatisfactory according to Stanshall's increasingly perfectionist criteria. For all that, however, it was "Legs" Larry Smith who now moved to occupy the drum stool, despite his limited playing experience. Meanwhile, session player Dave Clague, who had deputised for Vernon on various "Gorilla" recording sessions, was hired as replacement bassist.


title: Bonzo Dog Doo-Dah Band

text: The Bonzos began to be featured more regularly on television and radio during 1968. The group also became a popular live attraction off the back of their ongoing tour schedule, continuing with the working men's clubs and now also taking in the nightclub and university circuits. All this hard work began to pay off when the group achieved a Top Five hit single in October with Neil Innes' "I'm the Urban Spaceman", produced by Paul McCartney and Gus Dudgeon under the collective pseudonym "Apollo C. Vermouth".


title: Bonzo Dog Doo-Dah Band

text: The same year, the Bonzos recorded their second album at Morgan Studios, with "The Doughnut in Granny's Greenhouse" (the title being a euphemism for an outside toilet), released that November, showcasing a marked change in musical direction from "Gorilla". After an introductory series of straight-faced street interviews with bewildered pedestrians (conducted by current bassist Joel Druckman and featuring the public's reactions to Vivian Stanshall cavorting about wearing only his underpants, shoes and a papier-mache rabbit head) self-proclaimed 'breezy opener' "We Are Normal" soon launches itself towards a faintly terrifying Zappa-esque psychedelic crescendo. Elsewhere, "Can Blue Men Sing the Whites?" rather savagely teases some of the heavy-hitters of the then highly-fashionable British Blues Boom against a reasonably-authentic Brit-blues musical backdrop of its own. Other songs such as "Postcard" and "My Pink Half of the Drainpipe" skewer parochial suburban British pastimes and attitudes, while the anarchic "Trouser Press" — featuring a 'solo' by Roger Ruskin Spear on a genuine trouser press he had had fitted with a pickup – later gave its name to the American anglophile rock magazine "Trouser Press". 1920s-style croon-along "Hello Mabel" (complete with musical flock of sheep) is the only real reminder of The Bonzos' original musical style, while "Eleven Moustachioed Daughters", Stanshall's darkly tribal homage to Screamin' Jay Hawkins' "Feast of the Mau-Mau", closes the LP in an unexpectedly nightmarish manner.


title: Bonzo Dog Doo-Dah Band

text: By the end of 1968, The Bonzos wanted to be successful in the US. Their manager Gerry Bron, however, thought they should be consolidating their success in England before rushing off to conquer The States, and this difference of opinion led to a parting of the ways (although the two parties amicably retained their publishing and agency deals). The band had recently been courted by Tony Stratton-Smith who was more sympathetic to their desire to crack America and promised to deliver what they wanted, and by Christmas he was their new manager.


title: Bonzo Dog Doo-Dah Band

text: The 1968–69 period is also known for its personnel changes within the band. Over a single 12-month period, the bass slot vacated by Vernon Dudley Bowhay-Nowell was filled by Dave Clague and then Joel Druckman (an American whose monotone drawl can be heard to humorous effect throughout the "Doughnut" album), before the band recruited the more temperamentally-suitable and amenable Dennis Cowan early in 1969 — just in time for the recording sessions for their next album. Clague was surprised at his dismissal and to find that he was only considered a 'hired' musician whilst he was playing with them, despite appearing on every episode of the first series of "Do Not Adjust Your Set".


title: Bonzo Dog Doo-Dah Band

text: Throughout 1968 and 1969, The Bonzos also found time to record a large number of radio sessions for BBC Radio 1's Top Gear programme hosted by John Peel, where they took the opportunity to try out more experimental works such as the musical suite "SofaHead" and an extended concept piece co-written with Arthur Brown titled "The Brain Opera" (which aside from brief excerpts released in 1971 by Arthur Brown's Kingdom Come remained unrealised). These regular appearances on Peel's show kick-started Vivian Stanshall's long and fruitful association with Peel and BBC Radio, which continued until Stanshall's death in 1995.


title: Bonzo Dog Doo-Dah Band

text: As 1969 began, it seemed that American success was on the horizon for The Bonzos. In April Stratton-Smith secured them the support slot on a high-profile tour of the U.S. with The Who, and some appearances at the Fillmore East with The Kinks as well as a string of club dates. Gerry Bron's misgivings were revealed to be well-founded, however, when Stratton-Smith proved to be out of his depth, and The Bonzos' first American sojourn was so badly-organised and promoted that the promised 'tour' ended up amounting to little more than the Fillmore appearances and a few scattered low-profile club dates, with much twiddling of thumbs in between. The Bonzos' act had been well received by the few audiences who witnessed it, but it was far from the triumphant adventure they had expected. Upon their return to the UK in May they parted company with Stratton-Smith, and it was now that Stanshall made the ultimately disastrous decision to take on the day-to-day management of the band himself.


title: Bonzo Dog Doo-Dah Band

text: By this point, the band had also decided to drop the 'Doo-Dah' from their name and now became officially known as, simply, The Bonzo Dog Band. In June they released their new album "Tadpoles". Most of the songs on this album had already been performed by the group on "Do Not Adjust Your Set", and indeed the album had originally been conceived as a kind of 'soundtrack album' for the recently ended TV show. As a result, much of the material was something of a throwback to the "Gorilla" era musically, even though most of the songs (with the exception of a few vintage tracks that dated as far back as the 1966 Parlophone sessions) had been re-recorded especially for the LP. Also included was a version of the band's latest single, the almost proto-metallic "Mr. Apollo". Despite the album's rag-bag nature and the fact the band themselves didn't regard it as part of their discography proper, it would ironically prove to be their best-selling original LP.


title: Bonzo Dog Doo-Dah Band

text: In August they appeared at the 1969 Isle of Wight Festival where tap-dancing drummer "Legs" Larry Smith was an onstage hit with his lubricious footwork, camp 'showbiz superstar' persona and rapport with the audience. This part of the act became so popular that guest drummers such as Keith Moon, Aynsley Dunbar or Jim Capaldi were often deputised to sit in for Smith during live performances.


title: Bonzo Dog Doo-Dah Band

text: It was at this point the stress of managing the group's affairs, while simultaneously writing half of their material and performing front of stage, began to take a serious toll on Stanshall's physical and mental health. Nevertheless, he and the others opted to embark upon a second American tour during September. Innes said that when the band picked him up at his house to drive to the airport, Stanshall answered the door with his head completely shaved, which gave him a startled, almost frightened look. True to bad form, the trip was cut short after Roger Ruskin Spear suffered a personal family tragedy and shockingly no-one from the UK office saw fit to inform him or the others about it until well after the event. An understandably enraged Spear immediately abandoned the tour and returned to the UK. Initially the band attempted to fulfill the remaining dates without him, but the tour really began to derail after a rancorous press interview where Stanshall and Innes complained about recent events and the general lack of support and promotion from their record company. Their candour only led to the band and Liberty Records becoming further alienated from each other. When Stanshall also began displaying signs of a complete nervous collapse under the strain of his duties as front man and manager, he and the band quickly decided to cut the tour short at great expense to their future ambitions. As a collective, they would never return to America.


title: Bonzo Dog Doo-Dah Band

text: It was a chastened Bonzo Dog Band who returned to the UK, and with Spear rejoining them they regrouped to complete work on their fourth album "Keynsham". The titular Keynsham (pronounced CANE-sham) is a small town near Bristol in south-west England. According to Neil Innes, the name of the album derived from an oft-repeated advertisement played on Radio Luxembourg in the 1950s and early 1960s, which promoted a method of forecasting results for football matches (and using these results in football pools). In the advertisement, which was of great length, Horace Batchelor, inventor of 'the amazing Infra Draw method', would spell his postal address of K-E-Y-N-S-H-A-M for those listeners who wished to purchase his secret. Batchelor had earlier been name-checked (alongside "Zebra Kid") performing on percussion in "The Intro and the Outro".


title: Bonzo Dog Doo-Dah Band

text: As for the "Keynsham" album itself, it is an intense, surreal, but near-impenetrable conceptual piece that depicts the town of Keynsham as an enclosed psychiatric hospital, populated by anxious and disturbed characters in search of meaning or enlightenment. However this only becomes even slightly apparent to the listener once they have read Vivian Stanshall's original liner notes (which unfortunately are usually omitted from reissues of the album), although there are a few clues to the theme in the short linking passages between songs. Despite the vagueness of the concept, "Keynsham" remains for the most part a strong musical collection. Innes' songwriting in particular had developed in subtlety and maturity, to a point that equalled many 'serious' artists of the era. Stanshall's songs, such as "Tent", while still overtly humorous had now taken on a much darker aspect, or, as with "Sport (The Odd Boy)" a new and urgent poignancy. Even "Mr Slater's Parrot", Stanshall's sole concession to The Bonzos sound of old, had an unsettlingly manic edge to it.


title: Bonzo Dog Doo-Dah Band

text: Although the band considered "Keynsham" their creative zenith, unfortunately their artistic satisfaction didn't translate into healthy record sales on its release in November. This perceived lack of success, exacerbated by Stanshall's continuing problems and the rapidly-deteriorating relationship with Liberty Records, effectively destroyed the group's morale for good.


title: Bonzo Dog Doo-Dah Band

text: Disheartened and at a creative impasse, the core members elected to go their separate ways while they were still on good terms (with the notable exception of founder member Rodney Slater, who claims not to have even known the band were breaking up until Stanshall announced it on stage). In January 1970 they summoned the collective will to go out on a high by embarking on a lengthy farewell tour of the UK. As popular as ever in a live setting and with the creative pressure finally off them, the tour went surprisingly well and The Bonzos played their final gig at Loughborough University in March.


title: Bonzo Dog Doo-Dah Band

text: While the group formally disbanded in 1970, their record company compelled them to reunite in late 1971 to fulfil a contractual obligation and record a final album. Titled "Let's Make Up and Be Friendly", the album was released in 1972. The edition of the Bonzo Dog Band that made the "Friendly" LP featured only Stanshall, Innes and bassist Dennis Cowan from the "classic" earlier line-ups, although Roger Ruskin Spear appears on one track, and "Legs" Larry Smith on two. Rodney Slater is also listed as appearing "in spirit" in the album's credits.


title: Bonzo Dog Doo-Dah Band

text: The band also made live appearances in the UK in 1974, appearing (at least) at Rutherford College, part of the University of Kent, and Goodricke College, part of the University of York.


title: Bonzo Dog Doo-Dah Band

text: Various members of The Bonzos (including Stanshall and Innes) reconvened in 1988 to record a new single, "No Matter Who You Vote For the Government Always Gets In (Heigh Ho)". The recording was meant to tie in with a current British election, but was not released at the time; instead, the single came out just prior to the next British general election in 1992. It was also Stanshall's final recording with the band; he died in a house fire in 1995.


title: Bonzo Dog Doo-Dah Band

text: One of the Bonzos' song titles, "Cool Britannia", was revived as a media label for the Culture of the United Kingdom throughout most of the 1990s, inspired by 1960s pop culture and associated with the Labour government of Tony Blair.


title: Bonzo Dog Doo-Dah Band

text: On 28 January 2006 most of the surviving members of the band played a concert at the London Astoria, to celebrate the band's official 40th anniversary. Neil Innes, "Legs" Larry Smith, Roger Ruskin Spear, Rodney Slater, Bob Kerr, Sam Spoons and Vernon Dudley Bowhay-Nowell appeared. There were also a number of special guests attempting with various degrees of success to "be" Vivian Stanshall, one of two members of the band not still living (the other being bass player Dennis Cowan). The various Stanshall impersonators included Stephen Fry, Ade Edmondson, Phill Jupitus and Paul Merton (who needed to read the words to "Monster Mash" from cue cards at the show). The classic Bonzo stage antics were in evidence, including performances on the Theremin Leg and Trouser Press. The show was filmed and was broadcast on BBC Four and also released on DVD in May 2006.


title: Bonzo Dog Doo-Dah Band

text: A countrywide tour, with Ade Edmondson and Phill Jupitus, followed during November 2006, starting in Ipswich and ending with two nights at the Shepherd's Bush Empire, where Paul Merton and Bill Bailey joined in for a handful of songs. David Catlin-Birch (lead guitar and vocals) joined the band for the tour; Catlin-Birch has also been a member of World Party and The Bootleg Beatles.


title: Bonzo Dog Doo-Dah Band

text: Officially calling themselves The Bonzo Dog Doo-Dah Band again, the group released a live double CD of the Astoria concert titled "Wrestle Poodles... And Win!" on 13 November 2006.


title: Bonzo Dog Doo-Dah Band

text: On 10 December 2007, the band released their first new studio album in 35 years, a 28-track album titled "Pour l'Amour des Chiens".


title: Bonzo Dog Doo-Dah Band

text: The reunited line-up were due to perform again in 'The Bonzo Dog Doo-Dah Band Christmas Show' on Friday 21 December and Saturday 22 December 2007 at the Shepherd's Bush Empire in London, but the shows were postponed without explanation. The shows were later played in 2008.


title: Bonzo Dog Doo-Dah Band

text: An ultimatum with Innes around this time forced his hand and he stepped down as band leader, leaving the rest of the Bonzos 'in charge'.


title: Bonzo Dog Doo-Dah Band

text: Whilst Vernon allied with Bob Kerr to play as 'Bonzomania', Roger, Rodney and Sam remained together and joined up with pianist David Glasson (ex Whoopee Band) and performed as Three Bonzos and a Piano. Since October 2008, they have undertaken regular gigs. They have included appearances from "Legs" Larry Smith and Vernon Dudley Bowhay-Nowell. Three Bonzos and a Piano launched a new CD "Hair of the Dog" at the Bloomsbury Theatre, London on 6 February 2010, featuring new numbers from all band members and some re-workings of older favourites. Larry and Vernon were at the Bloomsbury gig. In 2012 they released another CD, "Bum Notes".


title: Bonzo Dog Doo-Dah Band

text: Innes toured the United States in 2009 and 2010, having performed a number of shows in 2009 in the UK. He subsequently played with the Idiot Bastard Band, along with Phill Jupitus, Adrian Edmondson, and Raw Sex drummer Rowland Rivron. They played a mixture of original comedy songs and covers, including some Bonzos numbers.


title: Bonzo Dog Doo-Dah Band

text: In 2009, Angry Penguin Ltd published the first history of the band, "Jollity Farm", written by Bob Carruthers and edited by David Christie, with comprehensive interviews with all the core members of the group. The first release also included a limited edition DVD featuring the band's 2007 reunion performance at the Shepherd's Bush Empire, which included several performances from that show which had not been previously released.


title: Bonzo Dog Doo-Dah Band

text: A configuration under the name 'Almost the Bonzo Dog Doo Dah Band' performed from 2012, more regularly featuring Legs and the now 82-year-old Vernon. This grouping played their final gig together as a five piece, alongside Andy Roberts, Dave Glasson and the eleven-piece Keynsham Town Band in Milton Keynes. The following week, Sam Spoons' "Bill Posters Will Be Band" played their last, and the week after, "Bob Kerr's Whoopee Band" (with Vernon guesting) also disbanded. Spoons died on 27 September 2018 following a long illness.


title: Bonzo Dog Doo-Dah Band

text: In 2019 the members of the band became embroiled in a legal battle with "Anglo Atlantic Media Limited" which had trademarked their name, two years previously, without their permission. One of the directors of Anglo Atlantic Media Limited is their former promoter Bob Carruthers. The trademark had made it impossible to perform or record under the band name.


title: Bonzo Dog Doo-Dah Band

text: The very first lineup of the Bonzo Dog Doo Dah Band consisted of members of the unnamed jazz band formed, firstly, by members of the St. Martin's College Jazz Band in September 1959 and then added to by members of the Royal College of Art Jazz Band in October 1961. Initial members of the Bonzo Dog Doo Dah Band:


title: Bonzo Dog Doo-Dah Band

text: Cunningham was replaced by Claude Abbo in early December, and at the end of 1962, the band split, with only Stanshall, Slater and Wilkes remaining.


title: Bonzo Dog Doo-Dah Band

text: The band's onstage line-up varied, sometimes on a weekly basis, and they also invited a number of guest musicians into the recording studio. Additional members of various duration include: Vernon Dudley Bowhay-Nowell, Martin "Sam Spoons" Ash, Leon "lenny" Williams, John Parry, Raymond Lewitt, Sydney "Big Sid" Nicholls, Bob Kerr, Dave Clague, Joel Druckman, "Borneo" Fred Munt, Chalky Chalkey, Dennis Cowan, Aynsley Dunbar, Jim Capaldi, Anthony 'Bubs' White, Andy Roberts, Dave Richards, Dick Parry, Hughie Flint, Tony Kaye, and Glen Colson. Keith Moon, who became great friends with both Stanshall and Smith, played drums for part of The Bonzo's set at the 1969 Plumpton Festival (The Who were headlining that night). Moon also played drums for the majority of the Bonzos set at Bristol Locarno, using one drumstick and a brick. He was on a West Country tour with his valet, Dougal Butler who describes it in his book 'Full Moon'.


title: Bonzo Dog Doo-Dah Band

text: Stanshall and Innes were the band's principal songwriters, with occasional contributions from Spear and Smith. After the band's demise, both Innes and Stanshall became founding members of Grimms along with the members of The Scaffold and The Liverpool Scene.


title: Bonzo Dog Doo-Dah Band

text: Martin Ash, alias Sam Spoons, died aged 76 on 27 September 2018. Innes died aged 75 on 29 December 2019.


title: Bonzo Dog Doo-Dah Band

text: Indie-rock band Death Cab for Cutie took their name from the song performed by the Bonzos in "Magical Mystery Tour". The psychedelic rock band Poisoned Electrick Head took their name from a phrase coined in the Bonzo's song, "My Pink Half of the Drainpipe". Also, cult 1990s UK Indie band Sofa Head took their name from the Bonzo's song of the same name (which itself did not receive an official release until 1987).


title: Bonzo Dog Doo-Dah Band

text: The Bonzos appeared weekly on the Associated-Rediffusion later Thames Television show "Do Not Adjust Your Set". Recordings of most of their performances still exist, with the first series having been released on DVD. As well as famous songs, the last episode of that series featured the still unreleased track "Metaphorically Speaking". Two songs from the band's set on BBC 2's "Colour Me Pop" have been repeated on television regularly, with a third, "Mr. Apollo", shot by a fan at home with a 8mm cine camera pointed at the screen. The Bonzos were also featured on various other TV shows during their heyday, including "New Faces" in 1966 (not to be confused with the 1970s ITV talent show of the same name), "Blue Peter" and German TV's "Beat-Club" (on which they performed Little Sir Echo and Canyons in Your Mind in the 31 December 1968, Episode No.38). More recently, the last ever TV appearance by the original band, performing "Noises for the Leg" in December 1969 on the BBC, has recently surfaced and can viewed on YouTube.


title: Bonzo Dog Doo-Dah Band

text: As well as their appearance in the Beatles' film "Magical Mystery Tour", the band made a short "silent" film "The Adventures of the Son of Exploding Sausage" in 1969 with a soundtrack of only music. The film culminates with a live performance of "We Are Normal" on a farm. An early feature, in an Autumn 1967 Pathé Newsreel, has the band miming to "The Equestrian Statue" and "Music for the Head Ballet", shot in London's Speakeasy. Short newsreel footage of their appearances at both the 1969 Plumpton and Isle of Wight festivals also exist.


title: Fayum mummy portraits

text: Mummy portraits or Fayum mummy portraits are a type of naturalistic painted portrait on wooden boards attached to upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. The Fayum portraits are the only large body of art from that tradition to have survived. They were formerly, and incorrectly, called Coptic portraits.


title: Fayum mummy portraits

text: Mummy portraits have been found across Egypt, but are most common in the Faiyum Basin, particularly from Hawara and the Hadrianic Roman city Antinoopolis. "Faiyum portraits" is generally used as a stylistic, rather than a geographic, description. While painted cartonnage mummy cases date back to pharaonic times, the Faiyum mummy portraits were an innovation dating to the time of Roman rule in Egypt. The portraits date to the Imperial Roman era, from the late 1st century BC or the early 1st century AD onwards. It is not clear when their production ended, but recent research suggests the middle of the 3rd century. They are among the largest groups among the very few survivors of the panel painting tradition of the classical world, which continued into Byzantine, Eastern Mediterannean, and Western traditions in the post-classical world, including the local tradition of Coptic iconography in Egypt.


title: Fayum mummy portraits

text: The portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies. Almost all have now been detached from the mummies. They usually depict a single person, showing the head, or head and upper chest, viewed frontally. In terms of artistic tradition, the images clearly derive more from Greco-Roman artistic traditions than Egyptian ones. Two groups of portraits can be distinguished by technique: one of encaustic (wax) paintings, the other in tempera. The former are usually of higher quality.


title: Fayum mummy portraits

text: About 900 mummy portraits are known at present. The majority were found in the necropolis of Faiyum. Due to the hot dry Egyptian climate, the paintings are frequently very well preserved, often retaining their brilliant colours seemingly unfaded by time.


title: Fayum mummy portraits

text: The Italian explorer Pietro Della Valle, on a visit to Saqqara-Memphis in 1615, was the first European to discover and describe mummy portraits. He transported some mummies with portraits to Europe, which are now in the Albertinum (Staatliche Kunstsammlungen Dresden).


title: Fayum mummy portraits

text: Although interest in ancient Egypt steadily increased after that period, further finds of mummy portraits did not become known before the early 19th century. The provenance of these first new finds is unclear; they may come from Saqqara as well, or perhaps from Thebes. In 1820, the Baron of Minotuli acquired several mummy portraits for a German collector, but they became part of a whole shipload of Egyptian artifacts lost in the North Sea. In 1827, Léon de Laborde brought two portraits, supposedly found in Memphis, to Europe, one of which can today be seen at the Louvre, the other in the British Museum. Ippolito Rosellini, a member of Jean-François Champollion's 1828–29 expedition to Egypt, brought a further portrait back to Florence. It is so similar to de Laborde's specimens that it is thought to be from the same source. During the 1820s, the British Consul General to Egypt, Henry Salt, sent several further portraits to Paris and London. Some of them were long considered portraits of the family of the Theban Archon Pollios Soter, a historical character known from written sources, but this has turned out to be incorrect.


title: Fayum mummy portraits

text: Once again, a long period elapsed before more mummy portraits came to light. In 1887, Daniel Marie Fouquet heard of the discovery of numerous portrait mummies in a cave. He set off to inspect them some days later, but arrived too late, as the finders had used the painted plaques for firewood during the three previous cold desert nights. Fouquet acquired the remaining two of what had originally been fifty portraits. While the exact location of this find is unclear, the likely source is from er-Rubayat. At that location, not long after Fouquet's visit, the Viennese art trader Theodor Graf found several further images, which he tried to sell as profitably as possible. He engaged the famous Egyptologist Georg Ebers to publish his finds. He produced presentation folders to advertise his individual finds throughout Europe. Although little was known about their archaeological find contexts, Graf went as far as to ascribe the portraits to known Ptolemaic pharaohs by analogy with other works of art, mainly coin portraits. None of these associations were particularly well argued or convincing, but they gained him much attention, not least because he gained the support of well-known scholars like Rudolf Virchow. As a result, mummy portraits became the centre of much attention. By the late 19th century, their very specific aesthetic made them sought-after collection pieces, distributed by the global arts trade.


title: Fayum mummy portraits

text: In parallel, more scientific engagement with the portraits was beginning. In 1887, the British archaeologist Flinders Petrie started excavations at Hawara. He discovered a Roman necropolis which yielded 81 portrait mummies in the first year of excavation. At an exhibition in London, these portraits drew large crowds. In the following year, Petrie continued excavations at the same location but now suffered from the competition of a German and an Egyptian art dealer. Petrie returned in the winter of 1910–11 and excavated a further 70 portrait mummies, some of them quite badly preserved. With very few exceptions, Petrie's studies still provide the only examples of mummy portraits so far found as the result of systematic excavation and published properly. Although the published studies are not entirely up to modern standards, they remain the most important source for the find contexts of portrait mummies.


title: Fayum mummy portraits

text: In 1892, the German archaeologist von Kaufmann discovered the so-called "Tomb of Aline", which held three mummy portraits; among the most famous today. Other important sources of such finds are at Antinoöpolis and Akhmim. The French archaeologist Albert Gayet worked at Antinoöpolis and found much relevant material, but his work, like that of many of his contemporaries, does not satisfy modern standards. His documentation is incomplete, many of his finds remain without context.


title: Fayum mummy portraits

text: Today, mummy portraits are represented in all important archaeological museums of the world. Many have fine examples on display, notably the British Museum, the National Museum of Scotland, the Metropolitan Museum of Art in New York and the Louvre in Paris. Because they were mostly recovered through inappropriate and unprofessional means, virtually all are without archaeological context, a fact which consistently lowers the quality of archaeological and culture-historical information they provide. As a result, their overall significance as well as their specific interpretations remain controversial.


title: Fayum mummy portraits

text: A majority of images show a formal portrait of a single figure, facing and looking toward the viewer, from an angle that is usually slightly turned from full face. The figures are presented as busts against a monochrome background which in some instances are decorated. The individuals are both male and female and range in age from childhood to old age.


title: Fayum mummy portraits

text: The majority of preserved mummy portraits were painted on boards or panels, made from different imported hardwoods, including oak, lime, sycamore, cedar, cypress, fig, and citrus. The wood was cut into thin rectangular panels and made smooth. The finished panels were set into layers of wrapping that enclosed the body and were surrounded by bands of cloth, giving the effect of a window-like opening through which the face of the deceased could be seen. Portraits were sometimes painted directly onto the canvas or rags of the mummy wrapping (cartonnage painting).


title: Fayum mummy portraits

text: The wooden surface was sometimes primed for painting with a layer of plaster. In some cases the primed layer reveals a preparatory drawing.


title: Fayum mummy portraits

text: Two painting techniques were employed: encaustic (wax) painting and animal glue tempera. The encaustic images are striking because of the contrast between vivid and rich colours, and comparatively large brush-strokes, producing an "Impressionistic" effect. The tempera paintings have a finer gradation of tones and chalkier colours, giving a more restrained appearance. In some cases, gold leaf was used to depict jewellery and wreaths. There also are examples of hybrid techniques or of variations from the main techniques.


title: Fayum mummy portraits

text: The Fayum portraits reveal a wide range of painterly expertise and skill in presenting a lifelike appearance. The naturalism of the portraits is often revealed in knowledge of anatomic structure and in skilled modelling of the form by the use of light and shade, which gives an appearance of three-dimensionality to most of the figures. The graded flesh tones are enhanced with shadows and highlights indicative of directional lighting.


title: Fayum mummy portraits

text: Under Hellenic rule, Egypt hosted several Greek settlements, mostly concentrated in Alexandria, but also in a few other cities, where Greek settlers lived alongside some seven to ten million native Egyptians, or possibly a total of three to five million for all ethnicities, according to lower estimates. Faiyum's earliest Greek inhabitants were soldier-veterans and "cleruchs" (elite military officials) who were settled by the Ptolemaic kings on reclaimed lands. Native Egyptians also came to settle in Faiyum from all over the country, notably the Nile Delta, Upper Egypt, Oxyrhynchus and Memphis, to undertake the labor involved in the land reclamation process, as attested by personal names, local cults and recovered papyri. It is estimated that as much as 30 percent of the population of Faiyum was Greek during the Ptolemaic period, with the rest being native Egyptians. By the Roman period, much of the "Greek" population of Faiyum was made-up of either Hellenized Egyptians or people of mixed Egyptian-Greek origins. Later, in the Roman Period, many veterans of the Roman army, who, initially at least, were not Egyptian but people from disparate cultural and ethnic backgrounds, settled in the area after the completion of their service, and formed social relations and intermarried with local populations.


title: Fayum mummy portraits

text: While commonly believed to represent Greek settlers in Egypt, the Faiyum portraits instead reflect the complex synthesis of the predominant Egyptian culture and that of the elite Greek minority in the city. According to Walker, the early Ptolemaic Greek colonists married local women and adopted Egyptian religious beliefs, and by Roman times, their descendants were viewed as Egyptians by the Roman rulers, despite their own self-perception of being Greek.


title: Fayum mummy portraits

text: The portraits represent both descendants of ancient Greek mercenaries, who had fought for Alexander the Great, settled in Egypt and married local women, as well as native Egyptians who were the majority, many of whom had adopted Greek or Latin names, then seen as ‘status symbols’. A DNA study shows genetic continuity between the Pre-Ptolemaic, Ptolemaic and Roman populations of Egypt, indicating that foreign rule impacted Egypt's population only to a very limited degree at the genetic level.


title: Fayum mummy portraits

text: Most of the portraits depict the deceased at a relatively young age, and many show children. According to Susan Walker, C.A.T. scans reveal a correspondence of age and sex between mummy and image. She concludes that the age distribution reflects the low life expectancy at the time. It was often believed that the wax portraits were completed during the life of the individual and displayed in their home, a custom that belonged to the traditions of Greek art, but this view is no longer widely held given the evidence suggested by the C.A.T. scans of the Faiyum mummies, as well as Roman census returns. In addition, some portraits were painted directly onto the coffin; for example, on a shroud or another part.


title: Fayum mummy portraits

text: The patrons of the portraits apparently belonged to the affluent upper class of military personnel, civil servants and religious dignitaries. Not everyone could afford a mummy portrait; many mummies were found without one. Flinders Petrie states that only one or two percent of the mummies he excavated were embellished with portraits. The rates for mummy portraits do not survive, but it can be assumed that the material caused higher costs than the labour, since in antiquity, painters were appreciated as craftsmen rather than as artists. The situation from the "Tomb of Aline" is interesting in this regard. It contained four mummies: those of Aline, of two children and of her husband. Unlike his wife and children, the latter was not equipped with a portrait but with a gilt three-dimensional mask. Perhaps plaster masks were preferred if they could be afforded.


title: Fayum mummy portraits

text: Based on literary, archaeological and genetic studies, it appears that those depicted were native Egyptians, who had adopted the dominant Greco-Roman culture. The name of some of those portrayed are known from inscriptions; they are predominantly Greek.


title: Fayum mummy portraits

text: Hairstyles and clothing are always influenced by Roman fashion. Women and children are often depicted wearing valuable ornaments and fine garments, men often wearing specific and elaborate outfits. Greek inscriptions of names are relatively common, sometimes they include professions. It is not known whether such inscriptions always reflect reality, or whether they may state ideal conditions or aspirations rather than true conditions. One single inscription is known to definitely indicate the deceased's profession (a shipowner) correctly. The mummy of a woman named Hermione also included the term "grammatike" (γραμματική). For a long time, it was assumed that this indicated that she was a teacher by profession (for this reason, Flinders Petrie donated the portrait to Girton College, Cambridge, the first residential college for women in Britain), but today, it is assumed that the term indicates her level of education. Some portraits of men show sword-belts or even pommels, suggesting that they were members of the Roman military.


title: Fayum mummy portraits

text: The burial habits of Ptolemaic Egyptians mostly followed ancient traditions. The bodies of members of the upper classes were mummified, equipped with a decorated coffin and a mummy mask to cover the head. The Greeks who entered Egypt at that time mostly followed their own habits. There is evidence from Alexandria and other sites indicating that they practised the Greek tradition of cremation. This broadly reflects the general situation in Hellenistic Egypt, its rulers proclaiming themselves to be pharaohs but otherwise living in an entirely Hellenistic world, incorporating only very few local elements. Conversely, the Egyptians only slowly developed an interest in the Greek-Hellenic culture that dominated the East Mediterranean since the conquests of Alexander. This situation changed substantially with the arrival of the Romans. Within a few generations, all Egyptian elements disappeared from everyday life. Cities like Karanis or Oxyrhynchus are largely Greco-Roman places. There is clear evidence that this resulted from a mixing of different ethnicities in the ruling classes of Roman Egypt.


title: Fayum mummy portraits

text: Only in the sphere of religion is there evidence for a continuation of Egyptian traditions. Egyptian temples were erected as late as the 2nd century. In terms of burial habits, Egyptian and Hellenistic elements now mixed. Coffins became increasingly unpopular and went entirely out of use by the 2nd century. In contrast, mummification appears to have been practised by large parts of the population. The mummy mask, originally an Egyptian concept, grew more and more Graeco-Roman in style, Egyptian motifs became ever rarer. The adoption of Roman portrait painting into Egyptian burial cult belongs in this general context.


title: Fayum mummy portraits

text: Some authors suggest that the idea of such portraits may be related to the custom among the Roman nobility of displaying "imagines", images of their ancestors, in the atrium of their house. In funeral processions, these wax masks were worn by professional mourners to emphasize the continuity of an illustrious family line, but originally perhaps to represent a deeper evocation of the presence of the dead. Roman festivals such as the Parentalia as well as everyday domestic rituals cultivated ancestral spirits (see also veneration of the dead). The development of mummy portraiture may represent a combination of Egyptian and Roman funerary practices, since it appears only after Egypt was established as a Roman province.


title: Fayum mummy portraits

text: The images depict the heads or busts of men, women and children. They probably date from c. 30 BC to the 3rd century. To the modern eye, the portraits appear highly individualistic. Therefore, it has been assumed for a long time that they were produced during the lifetime of their subjects and displayed as "salon paintings" within their houses, to be added to their mummy wrapping after their death. Newer research rather suggests that they were only painted after death, an idea perhaps contradicted by the multiple paintings on some specimens and the (suggested) change of specific details on others. The individualism of those depicted was actually created by variations in some specific details, within a largely unvaried general scheme. The habit of depicting the deceased was not a new one, but the painted images gradually replaced the earlier Egyptian masks, although the latter continued in use for some time, often occurring directly adjacent to portrait mummies, sometimes even in the same graves.


title: Fayum mummy portraits

text: The combination of naturalistic Greek portrait of the deceased with Egyptian-form deities, symbols, and frame was primarily phenomenon of funerary art from the chora, or countryside, in Roman Egypt. Combining Egyptian and Greek pictorial forms or motifs was not restricted to funerary art, however: the public and highly visible portraits of Ptolemaic dynasts and Roman emperors grafted iconography developed for a ruler’s Greek or Roman images onto Egyptian statues in the dress and posture of Egyptian kings and queens. The possible combinations of Greek and Egyptian elements can be elucidated by imposing a (somewhat artificial) distinction between form and content, where ‘form’ is taken as the system of representation, and ‘content’ as the symbol, concept, or figure being portrayed.