title: 1600–1650 in Western fashion

abstract: Fashion in the period 1600–1650 in Western clothing is characterized by the disappearance of the ruff in favour of broad lace or linen collars. Waistlines rose through the period for both men and women. Other notable fashions included full, slashed sleeves and tall or broad hats with brims. For men, hose disappeared in favour of breeches. The silhouette, which was essentially close to the body with tight sleeves and a low, pointed waist to around 1615, gradually softened and broadened. Sleeves became very full, and in the 1620s and 1630s were often paned or slashed to show the voluminous sleeves of the shirt or chemise beneath. Spanish fashions remained very conservative. The ruff lingered longest in Spain and the Netherlands, but disappeared first for men and later for women in France and England. The social tensions leading to the English Civil War were reflected in English fashion, with the elaborate French styles popular at the courts of James I and his son Charles I contrasting with the sober styles in sadd colours favoured by Puritans and exported to the early settlements of New England. In the early decades of the century, a trend among poets and artists to adopt a fashionable pose of melancholia is reflected in fashion, where the characteristic touches are dark colours, open collars, unbuttoned robes or doublets, and a generally disheveled appearance, accompanied in portraits by world-weary poses and sad expressions.

text:
# 1600–1650 in Western fashion

**Fashion in the period 1600–1650** in Western clothing is characterized by the disappearance of the ruff in favour of broad lace or linen collars. Waistlines rose through the period for both men and women. Other notable fashions included full, slashed sleeves and tall or broad hats with brims. For men, hose disappeared in favour of breeches.

The silhouette, which was essentially close to the body with tight sleeves and a low, pointed waist to around 1615, gradually softened and broadened. Sleeves became very full, and in the 1620s and 1630s were often paned or slashed to show the voluminous sleeves of the shirt or chemise beneath.

Spanish fashions remained very conservative. The ruff lingered longest in Spain and the Netherlands, but disappeared first for men and later for women in France and England.

The social tensions leading to the English Civil War were reflected in English fashion, with the elaborate French styles popular at the courts of James I and his son Charles I contrasting with the sober styles in sadd colours favoured by Puritans and exported to the early settlements of New England (see below).

In the early decades of the century, a trend among poets and artists to adopt a fashionable pose of melancholia is reflected in fashion, where the characteristic touches are dark colours, open collars, unbuttoned robes or doublets, and a generally disheveled appearance, accompanied in portraits by world-weary poses and sad expressions.

## Fashions influenced by royal courts

### Fabric and patterns

Figured silks with elaborate pomegranate or artichoke patterns are still seen in this period, especially in Spain, but a lighter style of scrolling floral motifs, woven or embroidered, was popular, especially in England.

The great flowering of needlelace occurred in this period. Geometric reticella deriving from cutwork was elaborated into true needlelace or *punto in aria* (called in England "point lace"), which also reflected the popular scrolling floral designs.

In England, embroidered linen silk jackets fastened with ribbon ties were fashionable for both men and women from c. 1600–1620, as was reticella tinted with yellow starch. Overgowns with split sleeves (often trimmed with horizontal rows of braid) were worn by both men and women.

From the 1620s, surface ornament fell out of fashion in favour of solid-colour satins, and functional ribbon bows or points became elaborate masses of rosettes and looped trim.

### Portraiture and fantasy

In England from the 1630s, under the influence of literature and especially court masques, Anthony van Dyck and his followers created a fashion for having one's portrait painted in exotic, historical or pastoral dress, or in simplified contemporary fashion with various scarves, cloaks, mantles, and jewels added to evoke a classic or romantic mood, and also to prevent the portrait appearing dated within a few years. These paintings are the progenitors of the fashion of the later 17th century for having one's portrait painted in *undress*, and do not necessarily reflect clothing as it was actually worn.

## Women's fashions

### Gowns, bodices, and petticoats

In the early years of the new century, fashionable bodices had high necklines or extremely low, rounded necklines, and short wings at the shoulders. Separate closed cartwheel ruffs were sometimes worn, with the standing collar, supported by a small wire frame or *supportasse* used for more casual wear and becoming more common later. Long sleeves were worn with deep cuffs to match the ruff. The cartwheel ruff disappeared in fashionable England by 1613.

By the mid-1620s, styles were relaxing. Ruffs were discarded in favor of wired collars which were called *rebatos* in continental Europe and, later, wide, flat collars. By the 1630s and 1640s, collars were accompanied by kerchiefs similar to the linen kerchiefs worn by middle-class women in the previous century; often the collar and kerchief were trimmed with matching lace.

Bodices were long-waisted at the beginning of the century, but waistlines rose steadily to the mid-1630s before beginning to drop again. In the second decade of the 17th century, short tabs developed attached to the bottom of the bodice covering the *bum-roll* which supported the skirts. These tabs grew longer during the 1620s and were worn with a stomacher which filled the gap between the two front edges of the bodice. By 1640, the long tabs had almost disappeared and a longer, smoother figure became fashionable: The waist returned to normal height at the back and sides with a low point at the front.

The long, tight sleeves of the early 17th century grew shorter, fuller, and looser. A common style of the 1620s and 1630s was the virago sleeve, a full, slashed sleeve gathered into two puffs by a ribbon or other trim above the elbow.

In France and England, lightweight bright or pastel-coloured satins replaced dark, heavy fabrics. As in other periods, painters tended to avoid the difficulty of painting striped fabrics; it is clear from inventories that these were common. Short strings of pearls were fashionable.

Unfitted gowns (called *nightgowns* in England) with long hanging sleeves, short open sleeves, or no sleeves at all were worn over the bodice and skirt and tied with a ribbon sash at the waist. In England of the 1610s and 1620s, a loose nightgown was often worn over an embroidered jacket called a *waistcoat* and a contrasting embroidered petticoat, without a farthingale. Black gowns were worn for the most formal occasions; they fell out of fashion in England in the 1630s in favour of gowns to match the bodice and petticoat, but remained an important item of clothing on the Continent.

At least in the Netherlands the open-fronted overgown or *vlieger* was strictly reserved for married women. Before marriage the *bouwen*, "a dress with a fitted bodice and a skirt that was closed all round" was worn instead; it was known in England as a "Dutch" or "round gown".

Skirts might be open in front to reveal an underskirt or petticoat until about 1630, or closed all around; closed skirts were sometimes carried or worn looped up to reveal a petticoat.

Corsets were shorter to suit the new bodices, and might have a very stiff *busk* in the center front extending to the depth of the stomacher. Skirts were held in the proper shape by a padded roll or *French farthingale* holding the skirts out in a rounded shape at the waist, falling in soft folds to the floor. The drum or wheel farthingale was worn at the English court until the death of Anne of Denmark in 1619.

### Hairstyles and headdresses

To about 1613, hair was worn feathered high over the forehead. Married women wore their hair in a linen coif or cap, often with lace trim. Tall hats like those worn by men were adopted for outdoor wear.

In a characteristic style of 1625–1650, hair was worn in loose waves to the shoulders on the sides, with the rest of the hair gathered or braided into a high bun at the back of the head. A short fringe or bangs might be worn with this style. Very fashionable married women abandoned the linen cap and wore their hair uncovered or with a hat.

1. Hilliard's Unknown Woman of 1602 wears typical Puritan fashion of the early years of the century. Her tall black felt hat with a rounded crown is called a *capotain* and is worn over a linen cap. She wears a black dress and a white stomacher over a chemise with blackwork embroidery trim; her neckline is filled in with a linen partlet.
2. Anne of Denmark wears a bodice with a low, round neckline and tight sleeve, with a matching petticoat pinned into flounces on a drum or cartwheel farthingale, 1605. The high-fronted hairstyle was briefly fashionable. The jewels of Anne of Denmark are well-documented and depicted in her portraits.
3. Isabella Clara Eugenia of Spain, Regent of the Netherlands, wears a cartwheel ruff and wide, flat ruffles at her wrists. Her split-sleeved dress in the Spanish fashion is trimmed with wide bands of braid or fabric, 1609.
4. Mary Radclyffe in the very low rounded neckline and closed cartwheel ruff of c.1610. The black silk strings on her jewelry were a passing fashion.
5. Anne of Denmark wears mourning for her son, Henry, Prince of Wales, 1612. She wears a black wired cap and black lace.
6. An Englishwoman (traditionally called Dorothy Cary, Later Viscountess Rochford) wears an embroidered linen jacket with ribbon ties and embroidered petticoat under a black dress with hanging sleeves lined in gray. Her reticella lace collar, cuffs, and hood are tinted with yellow starch.
7. Frans Hals' young woman wears a chain girdle over her black *vlieger* open-fronted gown, reserved for married women, and an elongated bodice with matching tight sleeves and petticoat. She is wearing a padded roll to hold her skirt in the fashionable shape. Dutch, 1618–20.
8. Elizabeth, Lady Style of Wateringbury wears an embroidered jacket-bodice and petticoat under a red velvet dress. She wears a sheer partlet over an embroidered high-necked chemise, c. 1620.

1. Margaret Laton wears a black gown over an embroidered linen jacket tucked into the newly fashionable high-waisted petticoat of c. 1620. She wears a sheer apron or overskirt, a falling ruff, and an embroidered cap with lace trim. The jacket itself is in the longer fashion of the previous decade.
2. Marie de' Medici in widowhood wears black with a black wired cap and veil, c. 1620–21.
3. Anne of Austria, Queen of France, wears an open bodice over a stomacher and virago sleeves, with a closed ruff. Note looser cuffs. C. 1621–25.
4. Susanna Fourment wears an open high-necked chemise, red sleeves tied on with ribbon points, and a broad-brimmed hat with plumes, 1625.
5. Élisabeth de France, Queen of Spain, wears her hair in a popular style at the Spanish court, c. 1625.
6. Isabella Brandt wears a black gown over a gold bodice and sleeves and a striped petticoat, 1623–26.
7. Paola Adorno, Marchesa Brinole-Sale wears a black gown and a sheer ruff with large, soft figure-of-eight pleats seen in Italian portraits of this period. Her hair is caught in a cylindrical cap or caul of pearls. Genoa, c. 1626.
8. Marie-Louise de Tassis wears a short-waisted gown with a sash over a tabbed bodice with a long stomacher and matching petticoat and virago sleeves, c. 1629–30.

1. Large ruffs remained part of Dutch fashion long after they had disappeared in France and England. The dark gown has short puffed sleeves and is worn over tight undersleeves and a pink petticoat trimmed with rows of braid at the hem. The lace-edged apron shows creases from starching and ironing, 1630.
2. Portrait of an unknown woman wearing the informal English fashion of a brightly coloured bodice and petticoat without an overgown. Her bodice has deep tabs at the waist and virago sleeves, 1630.
3. Henrietta Maria as *Divine Beauty* in the masque *Tempe Restored* wears a high-necked chemise, a lace collar, and a jeweled cap with a feather, 1632. Masquing costumes such as this one, designed by Inigo Jones, are often seen in portraits of this period.
4. Henrietta Maria wears the formal English court costume of a gown with short open sleeves over a matching bodice with virago sleeves and a simple petticoat, 1632.
5. Henrietta Maria wears a white satin tabbed bodice with full sleeves trimmed with silver braid or lace and a matching petticoat. Her bodice is laced up with a coral ribbon over a stomacher. A matching ribbon is set in a V-shape at her front waist and tied in a bow to one side. She wears a lace-trimmed smock or partlet with a broad, square collar. A ribbon and a string of pearls decorate her hair, 1632.
6. Henrietta Maria's riding costume consists of a jacket-bodice of blue satin with long tabbed skirts and a matching long petticoat. She wears a broad-brimmed hat with ostrich plumes, 1633.
7. A Lady from Spanish court wears an elegant, black dress. Its simplicity is a testament to the austerity of the Spanish court; however, her high hair is quite fashionable, as well as the mass of curls on both sides of her face c. 1635.
8. Sara Wolphaerts van Diemen wears a double cartwheel ruff that remained popular in the Netherlands through the period. She wears a black gown with a brocaded stomacher and virago sleeves, and a white linen cap, 1635.
9. Helena Fourment wears a black robe, bodice, and petticoat worn with an open-necked chemise with a broad, starched lace collar, gray satin sleeves tied with rose-coloured ribbons, and a broad-brimmed black hat cocked up on one side and decorated with a hatband and plumes, 1638.

1. Elizabeth, Lady Capel wears a bright blue bodice and petticoat with yellow ribbons and a lace-trimmed kerchief pinned at her neck. Her daughters Mary and Elizabeth wear gold-coloured bodices and petticoats, 1640.
2. Portrait of Henrietta Maria in the style of Van Dyck shows her in a flame-colored satin gown without a collar or kerchief. She wears a fur piece draped over her shoulder, 1640.
3. Agatha Bas wears a pointed stomacher under a front-lacing, high-waisted black gown. Her matching linen kerchief, collar and cuffs are trimmed with lace, and she wears a high-necked chemise or partlet, the Netherlands, 1641.
4. Hester Tradescant's costume is trimmed in lace in keeping with her station, but she wears the closed linen cap or coif, tall hat, unrevealing neckline, and sober colours favoured by Puritans, c. 1645. Her long-fronted bodice and open skirt are conservative fashions at this date.
5. Dutch fashions of the 1640s feature modest, high-necked chemises, broad linen collars with matching kerchiefs and deep cuffs, and lavish use of bobbin lace.
6. Engraving of Cecylia Renata, Queen of Poland in riding dress (doublet, skirt, and hat), 1645.
7. Claudia de' Medici as a widow, in mourning dress (black cap, veil, and cloak) c. 1648.
8. Archduchess Isabella Klara wears her lace collar or tucker off-the-shoulder.

## Men's fashions

### Shirts, doublets, and jerkins

Linen shirts had deep cuffs. Shirt sleeves became fuller throughout the period. To the 1620s, a collar wired to stick out horizontally, called a *whisk*, was popular. Other styles included an unstarched ruff-like collar and, later, a rectangular *falling band* lying on the shoulders. Pointed Van Dyke beards, named after the painter Anthony van Dyck, were fashionable, and men often grew a large, wide moustache, as well. Doublets were pointed and fitted close to the body, with tight sleeves, to about 1615. Gradually waistlines rose and sleeves became fuller, and both body and upper sleeves might be slashed to show the shirt beneath. By 1640, doublets were full and unfitted, and might be open at the front below the high waist to show the shirt.

Sleeveless leather jerkins were worn by soldiers and are seen in portraits, but otherwise the jerkin rapidly fell out of fashion for indoor wear.

### Hose and breeches

G *Paned* or *pansied* *trunk hose* or *round hose*, padded hose with strips of fabric (*panes*) over a full inner layer or lining, were worn early in the period, over *cannions*, fitted hose that ended above the knee. Trunk hose were longer than in the previous period, and were pear-shaped, with less fullness at the waist and more at mid-thigh.

*Slops* or *galligaskins*, loose hose reaching just below the knee, replaced all other styles of hose by the 1620s, and were now generally called breeches. Breeches might be fastened up the outer leg with buttons or buckles over a full lining.

From 1600 to c. 1630, hose or breeches were fastened to doublets by means of ties or *points*, short laces or ribbons pulled through matching sets of worked eyelets. Points were tied in bows at the waist and became more elaborate until they disappeared with the very short waisted doublets of the late 1630s. Decorated metal tips on points were called aiguillettes or aiglets, and those of the wealthy were made of precious metals set with pearls and other gemstones.

Spanish breeches, rather stiff ungathered breeches, were also popular throughout the era.

### Outerwear

Gowns were worn early in the period, but fell out of fashion in the 1620s.

Short cloaks or capes, usually hip-length, often with sleeves, were worn by fashionable men, usually slung artistically over the left shoulder, even indoors; a fashion of the 1630s matched the cape fabric to the breeches and its lining to the doublet. Long cloaks were worn for inclement weather.

### Hairstyles and Headgear

Early in the period, hair was worn collar-length and brushed back from the forehead; very fashionable men wore a single long strand of hair called a lovelock over one shoulder. Hairstyles grew longer through the period, and long curls were fashionable by the late 1630s and 1640s, pointing toward the ascendance of the wig as the standard wardrobe in the 1660s. King Louis XIII of France (1601–1643) started to pioneer wig-wearing during this period in 1624 when he had prematurely begun to bald.

Pointed beards and wide mustaches were fashionable.

To about 1620, the fashionable hat was the capotain, with a tall conical crown rounded at the top and a narrow brim. By the 1630s, the crown was shorter and the brim was wider, often worn *cocked* or pinned up on one side and decorated with a mass of ostrich plumes.

Close-fitting caps called coifs or *biggins* were worn only by young children and old men under their hats or alone indoors.

1. James VI and I, 1603–1610, wears a satin doublet, wired whisk, short cape, and hose over cannions. Narrow points are tied in bows at his waist. He wears the garter and collar of the Order of the Garter.
2. The young Henry, Prince of Wales and his companion wear doublets with wide wings and tight sleeves, and matching full breeches with soft pleats at the waist. For hunting, they wear plain linen shirts with flat collars and short cuffs at the wrist. Their soft boots turn down into cuffs below the knee, and are worn with linen boot hose. The prince wears a felt hat with a feather, 1606–09.
3. Peter Saltonstall, in a fashionably melancholic pose c. 1610, wears an embroidered linen jacket under a brown robe with split sleeves. The robe sleeves have buttons and parallel rows of fringed braid that make button loops. The flat pleats or darts that shape his sheer collar and cuffs are visible. He wears an earring hung by a black cord.
4. Richard Sackville, 3rd Earl of Dorset wears elaborate clothing, probably for the wedding of the King's daughter Elizabeth in 1613 (see notes on image page). His doublet, shoes, and the cuffs of his gloves are embroidered to match, and he wears a sleeved cloak on one arm and very full hose.
5. Actor Nathan Field in a shirt decorated with blackwork embroidery, 1615.
6. Gustav II Adolf, Wedding attire from the wedding of Gustav II Adolf and Maria Eleonora 1620.
7. James Hamilton wears the unstarched ruff that became popular in England in the 1620s. His hose reach to the lower thigh and are worn with scarlet stockings and heeled shoes, 1623.
8. Silk doublet and wadmal breeches worn by Gustav II Adolf, 1627.
9. Don Carlos of Spain wears a black patterned doublet with full black breeches, black stockings, and flat black shoes with roses. He carried a wide-brimmed black hat, 1628.
10. Charles I. By the 1620s, doublets were still pointed but the waistline was rising above long *tabs* or skirts. Sleeves are slashed to the elbow and tight below. Points are more elaborate bows, and hose have completed the transition to breeches.
11. Gustav II Adolf, King of Sweden (1611–1632) wears the Swedish Protestant fashions of the 17th century. Boots adorned with flowers, doublet, cuffs and sheer collar.

1. Dutch fashion. The short-waisted doublet is slashed across the back. Points have elaborate ribbon rosettes (note matching points at hem of breeches).
2. Philip IV of Spain wears breeches and doublet of brown and silver and a dark cloak all trimmed with silver lace. His sleeves are white and he wears white stockings, plain black shoes, and brown leather gloves, 1631–32.
3. Don Pedro de Barberana y Aparregui wears conservative Spanish fashion 1632.
4. Spanish custume from 1630s or 1640s including a *golilla*, a stiff linen collar projecting at right angles from the neck.
5. Henri II of Lorraine, Duke de Guise, in the buff leather jerkin and gorget (neck armor) of a soldier. His jerkin is open from the mid-chest, and his breeches match his cape, 1634.
6. Charles I's doublet of 1635 is shorter waisted, and points have disappeared. He wears a broad-brimmed hat and boots.
7. Royalist style: Brothers Lord John Stuart and Lord Bernard Stuart wear contrasting satin doublets and breeches, satin-lined short cloaks, and high collars with lavish lace scallops. Their high-heeled boots have deep cuffs and are worn over boot hose with lace tops, c. 1638.
8. A Dutch civic guardsman wears a short-waisted leather *buff jerkin* and a broad sash, both fashionable among soldiers. 1639.
9. The young Charles, Prince of Wales, (later Charles II) wears a soldier's buff jerkin, sash, and half armor over a fashionable doublet and breeches trimmed with ribbon bows.
10. Philip IV of Spain in military dress, 1644, wears a broad linen collar and matching cuffs. His sleeved short gown or cassock of red with metallic embroidery is worn over a buff jerkin and silver-gray sleeves. He carries a broad-brimmed black hat cocked on one side.

## Footwear

Bucket heeled boots with butterflies and spurs of King Ladislaus IV of Poland, c. 1640; butterflies were meant to reduce chafing from the spur straps

Flat shoes were worn to around 1610, when a low heel became popular. The ribbon tie over the instep that had appeared on late sixteenth century shoes grew into elaborate lace or ribbon rosettes called *shoe roses* that were worn by the most fashionable men and women.

Backless slippers called *pantofles* were worn indoors.

By the 1620s, heeled boots became popular for indoor as well as outdoor wear. The boots themselves were usually turned down below the knee; boot tops became wider until the "bucket-top" boot associated with *The Three Musketeers* appeared in the 1630s. Spurs straps featured decorative butterfly-shaped *spur leathers* over the instep.

Wooden clogs or pattens were worn outdoors over shoes and boots to keep the high heels from sinking into soft dirt.

Stockings had elaborate *clocks* or embroidery at the ankles early in the period. *Boothose* of stout linen were worn under boots to protect fine knitted stockings; these could be trimmed with lace.

## Children's fashion

Toddler boys wore gowns or skirts and doublets until they were *breeched*.

## Simplicity of dress

In Protestant and Catholic countries, attempts were made to simplify and reform the extravagances of dress. Louis XIII of France issued sumptuary laws in 1629 and 1633 that prohibited lace, gold trim and lavish embroidery for all but the highest nobility and restricting puffs, slashes and bunches of ribbon. The effects of this reform effort are depicted in a series of popular engravings by Abraham Bosse.

### Puritan dress

Puritans advocated a conservative form of fashionable attire, characterized by sadd colors and modest cuts. Gowns with low necklines were filled in with high-necked smocks and wide collars. Married women covered their hair with a linen cap, over which they might wear a tall black hat. Men and women avoided bright colours, shiny fabrics and over-ornamentation.

Contrary to popular belief, most Puritans and Calvinists did not wear black for everyday, especially in England, Scotland and colonial America. Black dye was expensive and faded quickly. Therefore, black clothing was generally reserved for the most formal occasions (including having one's portrait painted), for elders in a community and for those of higher rank. Richer puritans, like their Dutch Calvinist contemporaries, probably did wear it often but in silk, often patterned. Typical colours for most were brown, murrey (mulberry, a brownish-maroon), dull greens and tawny colours. Wool and linen were preferred over silks and satins, though Puritan women of rank wore modest amounts of lace and embroidery as appropriate to their station, believing that the various ranks of society were divinely ordained and should be reflected even in the most modest dress. William Perkins wrote "...that apparel is necessary for Scholar, the Tradesman, the Countryman, the Gentleman; which serveth not only to defend their bodies from cold, but which belongs also to the place, degree, calling, and condition of them all" (*Cases of Conscience*, 1616).

Some Puritans rejected the long, curled hair as effeminate and favoured a shorter fashion which led to the nickname Roundheads for adherents of the English Parliamentary party but the taste for lavish or simple dress cut across both parties in the English Civil War.

## Working class clothing

1. Flemish country folk: Men wear tall capotain hats; women wear similar hats or linen headdresses, 1608.
2. English country folk watching Morris dancers and a hobby horse wear broad-brimmed hats. The woman wears a jacket-bodice and contrasting petticoat. Men wear full breeches and doublets, c. 1620.
3. Army Clothing: Buff coat made of moose hide, and breeches made of wadmal with linen linings, worn by Gustav II Adolf at the Battle of Dirschau in August 1627
4. Musketeer and pikeman, c. 1635. The pikeman on the right wears a full-skirted buff coat. Spanish, before 1635.
5. Men in a tavern wear floppy hats, wrinkled stockings and long, high-waisted jerkins, some with sleeves, and blunt-toed shoes.
6. Man hunting small game wears a grey buttoned jerkin with short sleeves and matching breeches over a red doublet. He wears a fur-lined hat and grey gloves, Germany, 1643.

## Further reading

* Ashelford, Jane (1996). *The Art of Dress: Clothing and Society 1500–1914*. Abrams. ISBN 0-8109-6317-5.
* Arnold, Janet (1986) \[1985\]. *Patterns of Fashion: the cut and construction of clothes for men and women 1560–1620* (Revised ed.). Macmillan. ISBN 0-89676-083-9.


title: Arctostaphylos catalinae

abstract: Arctostaphylos catalinae, known by the common name Santa Catalina Island manzanita, is a species of manzanita native to Southern California.

text:
# Arctostaphylos catalinae

***Arctostaphylos catalinae***, known by the common name **Santa Catalina Island manzanita**, is a species of manzanita native to Southern California.

## Distribution

The plant is endemic to Santa Catalina Island, one of the southern Channel Islands of California.

The plant grows in maritime chaparral habitats, on the ridges of Catalina Island.

## Description

*Arctostaphylos catalinae* is a shrub usually exceeding 2 metres (6.6 ft) in height, sometimes taking a treelike form up to 5 metres (16 ft) tall. It is glandular and covered in white bristles.

The leaves also have fine bristles. The dull, light green blades are up to 5 centimeters long by 3 wide.

The flowers are borne in an open, branching inflorescence with leaflike bracts.

The fruit is a spherical drupe up to 1.5 centimeters wide.

## InfoBox

| Santa Catalina Island manzanita | |
| --- | --- |
|  | |
| Conservation status | |
|
Vulnerable  (IUCN 2.3) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Ericales |
| Family: | Ericaceae |
| Genus: | *Arctostaphylos* |
| Species: | ***A. catalinae*** |
| Binomial name | |
| ***Arctostaphylos catalinae***
P.V. Wells | |
|


title: 1918 Copa del Rey

abstract: The Copa del Rey 1918 was the 18th staging of the Copa del Rey, the Spanish football cup competition. The competition started on 8 April 1918, and concluded on 2 May 1918 with the final, held at the O'Donnell in Madrid, in which Real Unión lifted the trophy for the first time with a 2–0 victory over Madrid FC with Juan Legarreta netting both goals for Unión.

text:
# 1918 Copa del Rey

The **Copa del Rey 1918** was the 18th staging of the Copa del Rey, the Spanish football cup competition.

The competition started on 8 April 1918, and concluded on 2 May 1918 with the final, held at the O'Donnell in Madrid, in which Real Unión lifted the trophy for the first time (second time counting the trophy won by Racing de Irun in 1913) with a 2–0 victory over Madrid FC with Juan Legarreta netting both goals for Unión.

## Teams

## Quarter-finals

Recreativo de Huelva and Fortuna de Vigo received a bye to the semi-finals. Real Unión and Sporting Gijón played a single match at a neutral venue, instead of a two-legged tie.

### First leg

| RCD Español | 3–0 | Madrid FC |
| --- | --- | --- |
| Lorenzo Alvarado  3'
Clemente Gràcia  30', 40' | Report |  |

Camp de la Indústria, BarcelonaReferee:  Enrique Salvó

### Second leg

| Madrid FC | 1–0 | RCD Español |
| --- | --- | --- |
| Santiago Bernabéu  1T' | Report |  |

Campo de O'Donnell (Atlético Madrid), MadridReferee:  Ezequiel Montero

*RCD Español and Madrid CF won one match each. At that year, the goal difference was not taken into account. A replay match was played.*

### Replay

| Madrid FC | 2–1 | RCD Español |
| --- | --- | --- |
| Manuel Posada  5'
Santiago Bernabéu  10' | Report | Clemente Gràcia  40' |

Campo de O'Donnell (Atlético Madrid), MadridReferee:  Federico Larrañaga

*Madrid FC advanced to the semi-finals*

### One-legged game

| Real Unión | 4–1 | Sporting de Gijón |
| --- | --- | --- |
| Agustín Amantegui  10'
René Petit  20', 30' (pen.), 40' (pen.) | Report | Senén Villaverde III  50' (pen.) |

Campo de O'Donnell (Atlético Madrid), MadridReferee:  José Torrens

*This was a one-legged match, played on neutral ground. Real Unión advanced to the semi-finals.*

## Semifinals

### First leg

| Recreativo de Huelva | 0–2 | Madrid FC |
| --- | --- | --- |
|  | Report | Manuel Posada
Santiago Bernabéu |

HuelvaReferee:  Juan Artola

### Second leg

| Madrid FC | 4–0 | Recreativo de Huelva |
| --- | --- | --- |
| Ricardo Álvarez  40' (pen.)
Manuel Posada  45', 70'
Santiago Bernabéu  60' | Report |  |

Campo de O'Donnell (Atlético Madrid), MadridReferee:  Federico Larrañaga

*Madrid FC won 2–0 on aggregate matches.*

### One-legged game

| Real Unión | 4–1 | Fortuna de Vigo |
| --- | --- | --- |
| Patricio  20', 70'
Pepe Angoso  40', 60' | Report | Enrique Domínguez "Catalán"  83' |

Campo de O'Donnell (Atlético Madrid), MadridReferee:  Enrique Peris

*This was a one-legged match, played on neutral ground, and it was Real Unión who advanced to the final with a 4–1 win.*

## Final

| Real Unión | 2–0 | Madrid FC |
| --- | --- | --- |
| Juan Legarreta  45', 85' | Report |  |

Estadio O'Donnell, MadridReferee: Francisco Torrens

| Copa del Rey 1918 winners |
| --- |
| **Real Unión**
**1st title** |

## InfoBox

1918 Copa del Rey
| 18th Copa del Rey | |
| --- | --- |
| Tournament details | |
| Country |  |
| Teams | 6 |
| Defending champions | Madrid FC |
| Final positions | |
| Champions | Real Unión (1st title) |
| Runner-up | Madrid FC |
| Tournament statistics | |
| Matches played | 8 |
| Goals scored | 25 (3.13 per match) |
| Top goal scorer(s) | Santiago Bernabéu
Manuel Posada
(4 goals) |
|  | |


title: Elements (Steve Howe album)

abstract: Elements is the thirteenth solo studio album by guitarist Steve Howe.

text:
# Elements (Steve Howe album)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |

***Elements*** is the thirteenth solo studio album by guitarist Steve Howe.

## Track listing

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Across the Cobblestone" | 4:16 |
| 2. | "Bee Strings" | 3:21 |
| 3. | "Westwinds" | 4:29 |
| 4. | "Where I Belong" | 4:15 |
| 5. | "Whiskey Hill" | 2:00 |
| 6. | "The Chariot of Gold" | 3:23 |
| 7. | "Tremolando" | 2:09 |
| 8. | "Pacific Haze" | 7:21 |
| 9. | "Load Off My Mind" | 3:29 |
| 10. | "Hecla Lava" | 3:06 |
| 11. | "Smoke Silver" | 3:10 |
| 12. | "Inside Out Muse" | 6:53 |
| 13. | "Rising Sun" | 3:04 |
| 14. | "Sand Devil" | 4:34 |
| 15. | "The Longing" | 2:24 |
| 16. | "A Drop in the Ocean" | 3:05 |
| Total length: | | 60:59 |

## Tour

In March 2004, Howe toured in promotion of the record. Under the moniker "Remedy", his live band was:

## Credits

The following people appeared either in performance or production of the studio album.

## InfoBox

| Elements | |
| --- | --- |
|  | |
| Studio album by Steve Howe | |
| Released | 7 September 2003 |
| Studio | Langley Studio and Snake Ranch Studios |
| Genre | Progressive rock |
| Length | 60:59 |
| Label | Inside Out Music |
| Producer | Steve Howe |
| Steve Howe chronology | |
| *Skyline*
(2002) ***Elements***
(2003) *Spectrum*
(2005) | |


title: 1973 Volvo International

abstract: The 1973 Volvo International was a men's tennis tournament played on outdoor clay courts at the Mount Washington Hotel in Bretton Woods, New Hampshire in the United States. The event was part of the 1973 Commercial Union Assurance Grand Prix circuit and classified as C category. The tournament was held from July 23 through July 29, 1973. Eighth-seeded Vijay Amritraj won the singles title.

text:
# 1973 Volvo International

The **1973 Volvo International** was a men's tennis tournament played on outdoor clay courts at the Mount Washington Hotel in Bretton Woods, New Hampshire in the United States. The event was part of the 1973 Commercial Union Assurance Grand Prix circuit and classified as C category. The tournament was held from July 23 through July 29, 1973. Eighth-seeded Vijay Amritraj won the singles title.

## Finals

### Singles

Vijay Amritraj defeated  Jimmy Connors 7–5, 2–6, 7–5

* It was Amritraj's 1st title of the year and the 1st of his career.

### Doubles

Rod Laver /  Fred Stolle defeated  Bob Carmichael /  Frew McMillan 2–6, 6–3, 6–4

* It was Laver's 10th title of the year and the 47th of his professional career. It was Stolle's 3rd title of the year and the 12th of his professional career.

## InfoBox

| 1973 Volvo International | |
| --- | --- |
| Date | July 23–29 |
| Edition | 1st |
| Category | Grand Prix (C) |
| Draw | 28S / 14D |
| Prize money | $25,000 |
| Surface | Clay / outdoor |
| Location | Bretton Woods, New Hampshire, United States |
| Venue | Mount Washington Hotel |
| Champions | |
| Singles | |
| Vijay Amritraj | |
| Doubles | |
| Rod Laver /  Fred Stolle | |
|  | |


title: 1976 Shellsport International Series

abstract: The 1976 Shellsport International Series was a Formula Libre motor racing championship held in the United Kingdom, the series ran F1, F2, F5000 and Formula Atlantic cars in the same race. The first Shellsport International Series was contested over 13 rounds. The season started on 21 March and ended on 7 November. The Drivers' Championship was won by Englishman David Purley.

text:
# 1976 Shellsport International Series

The **1976 Shellsport International Series** was a Formula Libre motor racing championship held in the United Kingdom, the series ran F1, F2, F5000 and Formula Atlantic cars in the same race. The first Shellsport International Series was contested over 13 rounds. The season started on 21 March and ended on 7 November. The Drivers' Championship was won by Englishman David Purley.

## Teams and drivers

| Entry List | | | | | |
| --- | --- | --- | --- | --- | --- |
| Team | No. | Driver | Chassis | Engine | Rounds |
| Formula 1 | | | | | |
| The Ultramar Ensign | 2 | Guy Edwards | Ensign N174 | Ford Cosworth DFV 3.0 V8 | 6 |
| Hexagon Racing | 3 | Damien Magee | Penske PC3 | Ford Cosworth DFV 3.0 V8 | 9-11 |
| | | Derek Bell | | | 12-13 |
| RAM Racing | 8 | Andy Sutcliffe | Brabham BT44B | Ford Cosworth DFV 3.0 V8 | 9-10 |
| | 2 | Guy Edwards | Brabham BT42 | | 11-12 |
| Team PR Reilly | 10 | Roger Springett | Shadow DN1 | Ford Cosworth DFV 3.0 V8 | 1 |
| | | Richard Scott | | | 2 |
| | | Lella Lombardi | | | 3-4 |
| | | Mike Wilds | Shadow DN3B | | 5-8, 13 |
| | 11 | Ensign N174 | 9-10 | |
| Jolly Club | 11 | Luigi-Mimmo Cevasco | Brabham BT42 | Ford Cosworth DFV 3.0 V8 | 1 |
| ShellSport Whiting | 13 | Divina Galica | Surtees TS16 | Ford Cosworth DFV 3.0 V8 | All |
| Brian McGuire | 21 | Brian McGuire | Williams FW04 | Ford Cosworth DFV 3.0 V8 | 2-12 |
| Roger Heavens Racing | 32 | Emilio de Villota | Lyncar 006 | Ford Cosworth DFV 3.0 V8 | 1-4, 6-10, 12-13 |
| Sports Cars of Austria | 59 | Karl Oppitzhauser | March 761 | Ford Cosworth DFV 3.0 V8 | 9 |
| Formula 2 | | | | | |
| Brian Robinson | 4 | Brian Robinson | Lola T360 | Ford BDG Close 2.0 L4 | 1-6, 9, 12 |
| | | | | Ford BDE 2.0 L4 | 7 |
| Bob Gerard Racing | 6 | Bill Gubelmann | March 732/752 | Ford BDG 2.0 L4 | 1-3, 5, 7 |
| Bob Howlings | 9 | Bob Howlings | Brabham BT36 | Ford Cosworth FVC 1.8 L4 | 3 |
| John Tait | 9 | John Tait | Brabham BT36 | Ford Cosworth FVC 1.8 L4 | 5-7 |
| Marshall Wingfield Ltd | 12 | John Wingfield | Ralt RT1 | Ford BDG Somers 2.0 L4 | 1, 3-4, 9-10 |
| Ardmore Racing | 14 | Ray Mallock | Lola T450 | Ford BDX Swindon 2.0 L4 | 1 |
| | | | March 75B | | 2, 8-10, 12-13 |
| David Price Racing | 15 | Valentino Musetti | March 752 | Ford BDX Swindon 2.0 L4 | 1-6, 8, 12-13 |
| Roy Baker | 18 | Roy Baker | March 752 | Ford BDG 2.0 L4 | 5, 8-10, 12 |
| Bob and Marj Brown | 23 | Bob Muir | Chevron B35 | Ford BDX Swindon 2.0 L4 | 9 |
| R. E. Bates and Sons Builders | 24 | Geoff Friswell | March 732/742 | Hart 420R 2.0 L4 | 11-13 |
| Myson Racing | 27 | Richard Robarts | March 752 | Ford BDG Richardson 2.0 L4 | 1 |
| | | | March 762 | Hart 420R 2.0 L4 | 8-9, 12-13 |
| Hillcrest Used Cars | 29 | John Calvert | March 732/752 | Ford BDA 2.0 L4 | 1, 3 |
| Netherton and Worth-Boxer Cars | 30 | Tony Rouff | Boxer PR276 | Ford BDX Swindon 2.0 L4 | 2, 7, 9 |
| | | Brian Henton | | | 11 |
| | | Ford BDG 2.0 L4 | | 12 |
| | | Tony Rouff | | 13 |
| Dicksons of Perth | 33 | Norman Dickson | Modus M3 | Ford BDX Swindon 2.0 L4 | 3-4, 6-10 |
| | 34 | Richard Scott | | | 3-4, 6-10 |
| Andy Barton | 36 | Andy Barton | March 73B/75B | Ford BDG 2.0 L4 | 3, 7, 11 |
| Philip Guerola | 37 | Philip Guerola | Brabham BT30 | Ford Cosworth FVC 1.9 L4 | 4-7, 12-13 |
| Pinch Plant Ltd. | 40 | John Nicholson | March 752 | Chevrolet Vega 2.0 L4 | 5, 8-10, 12-13 |
| Bob Salisbury Racing | 46 | Bernard de Dryver | March 752 | BMW M12 2.0 L4 | 8-13 |
| Withers of Winsford | 49 | José Maria de Uriarte | March 762 | Ford BDX Richardson 2.0 L4 | 9, 12-13 |
| | | Derrick Worthington | | | 8, 10-11 |
| Team Modus Ltd | 53 | Ian Grob | Modus M7 | Hart 420R 2.0 L4 | 9 |
| Project Four Racing | 55 | Eddie Cheever | Ralt RT1 | Hart 420R 2.0 L4 | 9, 13 |
| ATS Racing Team | 56 | Mika Arpiainen | Chevron B35 | BMW M12 2.0 L4 | 9 |
| | 57 | Ted Wentz | Lola T450 | Hart 420R 2.0 L4 | 9 |
| Chevron Racing Team | 58 | Hans Binder | Chevron B35 | BMW M12 2.0 L4 | 9 |
| Fred Opert Racing | 65 | Ian Grob | Chevron B35 | Hart 420R 2.0 L4 | 12-13 |
| Formula 5000 | | | | | |
| David Hepworth | 1 | Bob Evans | McLaren M25 | Chevrolet 5.0 V8 | 9-10 |
| Theodore Racing Hong Kong | 2 | Alan Jones | Lola T330 | Chevrolet 5.0 V8 | 3-4 |
| Hexagon Racing | 3 | Damien Magee | March 75A | Ford GAA 3.4 V6 | 1-8 |
| Chris Featherstone | 5 | Chris Featherstone | McRae GM1 | Chevrolet 5.0 V8 | 1-10, 12 |
| LEC Refrigeration Racing | 7 | David Purley | Chevron B30 | Ford GAA 3.4 V6 | All |
| Bob Howlings | 9 | Bob Howlings | Chevron B28 | Chevrolet 5.0 V8 | 1 |
| David Price Racing | 15 | Valentino Musetti | March 752 | Ford GAA 3.4 V6 | 7, 9-11 |
| E. L. Gibbs Ltd. Racing | 25 | Keith Holland | Lola T400 | Chevrolet 5.0 V8 | 3-13 |
| Chris Choat | 41 | Chris Choat | Trojan T101 | Chevrolet 5.0 V8 | 5-6, 10, 12 |
| Allan Kayes | 75 | Allan Kayes | Lola T330 | Chevrolet 5.0 V8 | 8, 10-11, 13 |
| Dennis Leech | 77 | Dennis Leech | Chevron B28 | Chevrolet 5.0 V8 | 5-11, 13 |
| Jim Kelly | 78 | Jim Kelly | Trojan T101 | Chevrolet 5.0 V8 | 5-9 |
| Richard Oaten Racing | 99 | John Cannon | March 73A/751 | Chevrolet 5.0 V8 | 1-4 |
| Formula Atlantic | | | | | |
| Graham Eden Racing | 5 | Terry Perkins | Sana RD9 | Ford BDA 1.6 L4 | 7, 10 |
| Spax Dampers | 19 | Jeremy Rossiter | Chevron B29 | Ford BDA Swindon 1.6 L4 | 3, 9 |
| | | | | Ford BDA Cook 1.6 L4 | 4 |
| Melchester Racing | 22 | Tony Trimmer | Lola T460 | Ford BDA Swindon 1.6 L4 | 9 |
| David Price Racing | 26 | Martin Birrane | Chevron B29 | Ford BDA 1.6 L4 | 6 |
| Marshall Wingfield | 26 | Jim Crawford | Chevron B34 | Ford BDA Hart 1.6 L4 | 13 |
| Netherton and Worth-Boxer Cars | 30 | Brian Henton | Boxer PR276 | Ford BDA Swindon 1.6 L4 | 10 |
| | | Tony Rouff | Boxer PRA76 | | 12 |
| Derek Cook | 31 | Derek Cook | Chevron B27 | Ford BDA Cook 1.6 L4 | 7, 10-12 |
| Richard Scott | 34 | Richard Scott | Modus M3 | Ford BDA Nicholson 1.6 L4 | 1 |
| Coin News | 39 | Jim Crawford | Chevron B29 | Ford BDA Nicholson 1.6 L4 | 3-5 |
| Jeremy Sumner | 42 | Jeremy Sumner | Chevron B27 | Ford BDA Swindon 1.6 L4 | 5, 10 |
| John Bowtell | 44 | John Bowtell | March 74B | Ford BDA 1.6 L4 | 5-7 |
| Brauch Racing | 47 | Mike King | Lola T362 | Ford BDA 1.6 L4 | 6, 9-12 |
| Adrian Russell | 48 | Adrian Russell | Lola T450 | Ford BDA Swindon 1.6 L4 | 9-10 |
| L & B Excavators | 50 | Alo Lawler | Chevron B29 | Ford BDA Swindon 1.6 L4 | 3, 6-7 |
| Martin Birrane | 50 | Martin Birrane | Chevron B29 | Ford BDA Nicholson 1.6 L4 | 9, 12 |
| Harrisons of Birmingham Ltd | 51 | Nick May | Sana RD9 | Ford BDA 1.6 L4 | 12-13 |
| Phil Sharpe | 52 | Phil Sharpe | Modus M3 | Ford BDA Nicholson 1.6 L4 | 6-8 |
| Ken Bailey | 62 | Ken Bailey | Chevron B29 | Ford BDA Nicholson 1.6 L4 | 7, 9, 11 |
| Withers Winsford | 69 | David Winstanley | Brabham BT40 | Ford BDA Eden 1.6 L4 | 3 |
| Sana/Withers of Winsford | 69 | Cyd Williams | Sana RD9 | Ford BDA Eden 1.6 L4 | 4 |
| | | | Sana RD11 | Ford BDA Swindon 1.6 L4 | 11, 13 |
| Sangria Designs | 86 | Phil Dowsett | Chevron B29 | Ford BDA Swindon 1.6 L4 | 7, 9 |
| Applied Racing Techniques | 208 | Peter Wardle | Surtees TS15 | Ford BDA Swindon 1.6 L4 | 9-10, 12-13 |
| Dicksons of Perth | 707 | Norman Dickson | Modus M3 | Ford BDA Nicholson 1.6 L4 | 1 |

## Results and standings

| Rnd | Track | Date | Laps | Pole Position | Fastest Lap | Race Winner | Constructor |
| --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Mallory Park | March 21 | 50 | David Purley | David Purley | David Purley | Chevron |
| 2 | Snetterton | March 28 | 40 | John Cannon | Damien Magee | Damien Magee | March |
| 3 | Oulton Park | April 16 | 50 | Damien Magee | Damien Magee | Damien Magee | March |
| 4 | Brands Hatch | April 19 | 60 | Alan Jones | Alan Jones | Alan Jones | Lola |
| 5 | Thruxton | May 31 | 30 | David Purley | David Purley | David Purley | Chevron |
| 6 | Brands Hatch | June 20 | 50 | Guy Edwards | David Purley | David Purley | Chevron |
| 7 | Mallory Park | June 27 | 40 | David Purley | David Purley | David Purley | Chevron |
| 8 | Snetterton | August 1 | 30 | Keith Holland | David Purley | Ray Mallock | March |
| 9 | Brands Hatch | August 30 | 35 | David Purley | David Purley | David Purley | Chevron |
| 10 | Thruxton | September 12 | 30 | Brian McGuire | Brian McGuire | Brian McGuire | Williams |
| 11 | Oulton Park | September 18 | 40 | Guy Edwards | Guy Edwards | Guy Edwards | Brabham |
| 12 | Brands Hatch | October 24 | 24 | Keith Holland | Derek Bell | Keith Holland | Lola |
| 13 | Brands Hatch | November 7 | 30 | Eddie Cheever | David Purley | David Purley | Chevron |

### Drivers' standings

Points are awarded to the top ten classified finishers using the following structure:

| Position | **1st** | **2nd** | **3rd** | **4th** | **5th** | **6th** | **7th** | **8th** | **9th** | **10th** | **FL** |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Points | 20 | 15 | 12 | 10 | 8 | 6 | 4 | 3 | 2 | 1 | 2 |

| Pos. | Driver | MAL
 | SNE
 | OUL
 | BRH
 | THR
 | BRH
 | MAL
 | SNE
 | BRH
 | THR
 | OUL
 | BRH
 | BRH
 | Pts |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | David Purley | ***1*** | 4 | 4 | 2 | ***1*** | *1* | ***1*** | *6* | ***1*** | Ret | 5 | 8 | *1* | 188 |
| 2 | Damien Magee | 2 | *1* | ***1*** | 3 | NC | 2 | Ret | Ret | 4 | 2 | Ret |  |  | 111 |
| 3 | Keith Holland |  |  | 2 | 8 | 6 | Ret | 2 | **4** | Ret | 6 | 3 | **1** | 5 | 95 |
| 4 | Divina Galica | 7 | 6 | Ret | NC | 4 | 6 | 4 | 5 | 9 | 7 | 6 | 13 | 10 | 57 |
| 5 | Mike Wilds |  |  |  |  | 3 | 4 | Ret | 2 | 19 | 5 |  |  | 6 | 51 |
| 6 | Richard Scott | 3 | NC | 3 | 7 |  | 9 | Ret | 3 | 14 | Ret |  |  |  | 45 |
| 7 | Valentino Musetti | NC | Ret | 6 | 11 | 8 | Ret | 3 | 13 | Ret | 3 | 4 | Ret | 15 | 43 |
| 8 | Brian McGuire |  | Ret | Ret | Ret | Ret | 3 | DNQ | Ret | Ret | ***1*** | DNS | Ret |  | 34 |
| 9 | Guy Edwards |  |  |  |  |  | **Ret** |  |  |  |  | ***1*** | 5 |  | 30 |
| 10 | Richard Robarts | Ret |  |  |  |  |  |  | 8 | 17 |  |  | 2 | 3 | 30 |
| 11 | Brian Henton |  |  |  |  |  |  |  |  |  | Ret | 2 | 3 |  | 27 |
| 12 | Derek Bell |  |  |  |  |  |  |  |  |  |  |  | *4* | 2 | 27 |
| 13 | Bill Gubelmann | 5 | 2 | Ret |  | 7 |  | Ret |  |  |  |  |  |  | 27 |
| 14 | Ray Mallock | Ret | DNS |  |  |  |  |  | 1 | 13 | Ret |  | 6 | DNS | 26 |
| 15 | Emilio de Villota | DNS | 5 | Ret | 10 |  | 5 | 10 | DNS | 18 | 8 |  | 10 | 7 | 26 |
| 16 | Alan Jones |  |  | Ret | ***1*** |  |  |  |  |  |  |  |  |  | 22 |
| 17 | Eddie Cheever |  |  |  |  |  |  |  |  | 3 |  |  |  | **4** | 22 |
| 18 | Tony Rouff |  | 3 |  |  |  |  | 5 |  | 11 |  |  | 11 | 9 | 22 |
| 19 | John Nicholson |  |  |  |  | 2 |  |  | 7 | 12 | Ret |  | Ret | Ret | 21 |
| 20 | Norman Dickson | 6 |  | Ret | 6 |  | NC | 6 | NC | Ret | 15 |  |  |  | 18 |
| 21 | Bob Evans |  |  |  |  |  |  |  |  | 2 | Ret |  |  |  | 15 |
| 22 | Andy Sutcliffe |  |  |  |  |  |  |  |  | 7 | 4 |  |  |  | 14 |
| 23 | Jeremy Rossiter |  |  | 7 | 5 |  |  |  |  | Ret |  |  |  |  | 12 |
| 24 | Jim Crawford |  |  | 5 | Ret | DNS |  |  |  |  |  |  |  | 8 | 11 |
| 25 | Dennis Leech |  |  |  |  | 5 | Ret | DNQ | 9 | 23 | 10 | Ret |  | 13 | 11 |
| 26 | John Wingfield | 4 |  | Ret | Ret |  |  |  |  | 15 | Ret |  |  |  | 10 |
| 27 | John Cannon | Ret | **Ret** | DNS | 4 |  |  |  |  |  |  |  |  |  | 10 |
| 28 | Mika Arpiainen |  |  |  |  |  |  |  |  | 5 |  |  |  |  | 8 |
| 29 | Hans Binder |  |  |  |  |  |  |  |  | 6 |  |  |  |  | 6 |
| 30 | Brian Robinson | Ret | NC | 8 | NC | NC | 8 | DNQ |  | Ret |  |  | 16 |  | 6 |
| 31 | Bernard de Dryver |  |  |  |  |  |  |  | 10 | DNQ | 9 | 10 | 9 | 12 | 6 |
| 32 | Ken Bailey |  |  |  |  |  |  | 8 |  | 22 |  | 9 |  |  | 5 |
| 33 | Phil Sharpe |  |  |  |  |  | 7 | 11 | 11 |  |  |  |  |  | 4 |
| 34 | Ian Grob |  |  |  |  |  |  |  |  | Ret |  |  | 7 | 14 | 4 |
| 35 | Phil Dowsett |  |  |  |  |  |  | 7 |  | 21 |  |  |  |  | 4 |
| 36 | Andy Barton |  |  | Ret |  |  |  | 12 |  |  |  | 7 |  |  | 4 |
| 37 | Alo Lawler |  |  | 9 |  |  | Ret | 9 |  |  |  |  |  |  | 4 |
| 38 | Cyd Williams |  |  |  | Ret |  |  |  |  |  |  | 8 |  | DNQ | 3 |
| 39 | John Calvert | 8 |  | DNS |  |  |  |  |  |  |  |  |  |  | 3 |
| 40 | Bob Muir |  |  |  |  |  |  |  |  | 8 |  |  |  |  | 3 |
| 41 | Jim Kelly |  |  |  |  | 9 | 10 | DNQ | 12 | Ret |  |  |  |  | 3 |
| 42 | Lella Lombardi |  |  | NC | 9 |  |  |  |  |  |  |  |  |  | 2 |
| 43 | Bob Howlings | Ret |  | 10 |  |  |  |  |  |  |  |  |  |  | 1 |
| 44 | Ted Wentz |  |  |  |  |  |  |  |  | 10 |  |  |  |  | 1 |
|  | Peter Wardle |  |  |  |  |  |  |  |  | 16 | 11 |  | DNS | 11 | 0 |
|  | Chris Featherstone | NC | NC | NC | Ret | Ret | 11 | DNQ | 14 | NC | 14 |  | 17 |  | 0 |
|  | Mike King |  |  |  |  |  | 12 |  |  | Ret | 12 | Ret | DNS |  | 0 |
|  | Geoff Friswell |  |  |  |  |  |  |  |  |  |  | DNS | 12 | Ret | 0 |
|  | Derrick Worthington |  |  |  |  |  |  |  | Ret |  | 13 | Ret |  |  | 0 |
|  | José Maria de Uriarte |  |  |  |  |  |  |  |  | 24 |  |  | 14 | NC | 0 |
|  | Nick May |  |  |  |  |  |  |  |  |  |  |  | 15 | Ret | 0 |
|  | Allan Kayes |  |  |  |  |  |  |  | Ret |  | 16 | DSQ |  | DNQ | 0 |
|  | Roy Baker |  |  |  |  | DNS |  |  | Ret | DNS | Ret |  | 18 |  | 0 |
|  | Philip Guerola |  |  |  | 12 | NC | NC | DNQ |  |  |  |  | 19 | DNS | 0 |
|  | Tony Trimmer |  |  |  |  |  |  |  |  | 20 |  |  |  |  | 0 |
|  | Martin Birrane |  |  |  |  |  | DNQ |  |  | 25 |  |  | DNS |  | 0 |
|  | Chris Choat |  |  |  |  | NC | DNQ |  |  |  | DNS |  | Ret |  | 0 |
|  | John Bowtell |  |  |  |  | Ret | NC | DNQ |  |  |  |  |  |  | 0 |
|  | Jeremy Sumner |  |  |  |  | NC |  |  |  |  | DNS |  |  |  | 0 |
|  | Adrian Russell |  |  |  |  |  |  |  |  | DNQ | NC |  |  |  | 0 |
|  | Derek Cook |  |  |  |  |  |  | Ret |  |  | DNS | Ret | Ret |  | 0 |
|  | Terry Perkins |  |  |  |  |  |  | Ret |  |  | Ret |  |  |  | 0 |
|  | Luigi-Mimmo Cevasco | Ret |  |  |  |  |  |  |  |  |  |  |  |  | 0 |
|  | David Winstanley |  |  | Ret |  |  |  |  |  |  |  |  |  |  | 0 |
|  | John Tait |  |  |  |  | DNS | DNQ | DNQ |  |  |  |  |  |  | 0 |
|  | Roger Springett | DNS |  |  |  |  |  |  |  |  |  |  |  |  | 0 |
|  | Karl Oppitzhauser |  |  |  |  |  |  |  |  | DNQ |  |  |  |  | 0 |
|
| Pos | Driver | MAL
 | SNE
 | OUL
 | BRH
 | THR
 | BRH
 | MAL
 | SNE
 | BRH
 | THR
 | OUL
 | BRH
 | BRH
 | Pts |


title: Antonella Costa

abstract: Antonella Costa is an Argentine film and television actress. She moved to Argentina with her parents at the age of four. She has worked in different countries, but primarily in Argentine cinema.

text:
# Antonella Costa

**Antonella Costa** (born 19 March 1980 in Rome, Italy) is an Argentine film and television actress. She moved to Argentina with her parents at the age of four. She has worked in different countries, but primarily in Argentine cinema.

## Filmography

## Television

* *El Hacker* (2001) (mini TV Series) a.k.a. *The Hacker*
* *Mujeres asesinas* (2006) TV Episode
* *Epitafios 2* (2009) (mini TV Series)

## InfoBox

| Antonella Costa | |
| --- | --- |
| Costa at a press meet in 2008 | |
| Born | 19 March 1980 (1980-03-19) (age 44)<br>Rome, Italy |
| Occupation | Actress |
| Years active | 1999-present |


title: Appleton Papermakers

abstract: The Appleton Papermakers were a minor league baseball team located in Appleton, Wisconsin. They were part of the Wisconsin-Illinois League from 1909-1914 and was in the Wisconsin State League from 1940-1942 and 1946-1953. The team was coached by Dutch Zwilling during part of the 1942 season.

text:
# Appleton Papermakers

The **Appleton Papermakers** were a minor league baseball team located in Appleton, Wisconsin. They were part of the Wisconsin-Illinois League from 1909-1914 and was in the Wisconsin State League from 1940-1942 and 1946-1953. The team was coached by Dutch Zwilling during part of the 1942 season.

## Notable alumni

Hall of Fame alumni

Notable alumni

* Mike Garcia (1942) 3 x MLB All-Star; 2 x AL ERA Title (1949, 1954)

## InfoBox

| Appleton Papermakers | |
| --- | --- |
|  | |
| Minor league affiliations | |
| Previous classes | * Class D (1940-1942, 1946-1953) * Class C (1910-1914) * Class D (1909) |
| League | Wisconsin State League (1940-1942, 1946-1953) |
| Previous leagues |  |
| Major league affiliations | |
| Previous teams |  |
| Minor league titles | |
| League titles | **1** (1910) |
| Team data | |
| Previous parks | Goodland Field |


title: Ecological stoichiometry

abstract:
Ecological stoichiometry considers how the balance of energy and elements influences living systems. Similar to chemical stoichiometry, ecological stoichiometry is founded on constraints of mass balance as they apply to organisms and their interactions in ecosystems. Specifically, how does the balance of energy and elements affect and how is this balance affected by organisms and their interactions. Concepts of ecological stoichiometry have a long history in ecology with early references to the constraints of mass balance made by Liebig, Lotka, and Redfield. These earlier concepts have been extended to explicitly link the elemental physiology of organisms to their food web interactions and ecosystem function. Most work in ecological stoichiometry focuses on the interface between an organism and its resources. This interface, whether it is between plants and their nutrient resources or large herbivores and grasses, is often characterized by dramatic differences in the elemental composition of each part. The difference, or mismatch, between the elemental demands of organisms and the elemental composition of resources leads to an elemental imbalance. Consider termites, which have a tissue carbon:nitrogen ratio (C:N) of about 5 yet consume wood with a C:N ratio of 300–1000. Ecological stoichiometry primarily asks:
  - why do elemental imbalances arise in nature?
  - how is consumer physiology and life-history affected by elemental imbalances? and
  - what are the subsequent effects on ecosystem processes? Elemental imbalances arise for a number of physiological and evolutionary reasons related to the differences in the biological make up of organisms, such as differences in types and amounts of macromolecules, organelles, and tissues. Organisms differ in the flexibility of their biological make up and therefore in the degree to which organisms can maintain a constant chemical composition in the face of variations in their resources. Variations in resources can be related to the types of needed resources, their relative availability in time and space, and how they are acquired. The ability to maintain internal chemical composition despite changes in the chemical composition and availability of resources is referred to as "stoichiometric homeostasis". Like the general biological notion of homeostasis, elemental homeostasis refers to the maintenance of elemental composition within some biologically ordered range. Photoautotrophic organisms, such as algae and vascular plants, can exhibit a very wide range of physiological plasticity in elemental composition and thus have relatively weak stoichiometric homeostasis. In contrast, other organisms, such as multicellular animals, have close to strict homeostasis and they can be thought of as having distinct chemical composition. For example, carbon to phosphorus ratios in the suspended organic matter in lakes can vary between 100 and 1000 whereas C:P ratios of Daphnia, a crustacean zooplankton, remain nearly constant at 80:1. The general differences in stoichiometric homeostasis between plants and animals can lead to large and variable elemental imbalances between consumers and resources. Ecological stoichiometry seeks to discover how the chemical content of organisms shapes their ecology. Ecological stoichiometry has been applied to studies of nutrient recycling, resource competition, animal growth, and nutrient limitation patterns in whole ecosystems. The Redfield ratio of the world's oceans is one very famous application of stoichiometric principles to ecology. Ecological stoichiometry also considers phenomena at the sub-cellular level, such as the P-content of a ribosome, as well as phenomena at the whole biosphere level, such as the oxygen content of Earth's atmosphere. To date the research framework of ecological stoichiometry stimulated research in various fields of biology, ecology, biochemistry and human health, including human microbiome research, cancer research, food web interactions, population dynamics, ecosystem services, productivity of agricultural crops and honeybee nutrition.

text:
# Ecological stoichiometry

**Ecological stoichiometry** (more broadly referred to as **biological stoichiometry**) considers how the balance of energy and elements influences living systems. Similar to chemical stoichiometry, ecological stoichiometry is founded on constraints of mass balance as they apply to organisms and their interactions in ecosystems. Specifically, how does the balance of energy and elements affect and how is this balance affected by organisms and their interactions. Concepts of ecological stoichiometry have a long history in ecology with early references to the constraints of mass balance made by Liebig, Lotka, and Redfield. These earlier concepts have been extended to explicitly link the elemental physiology of organisms to their food web interactions and ecosystem function.

Most work in ecological stoichiometry focuses on the interface between an organism and its resources. This interface, whether it is between plants and their nutrient resources or large herbivores and grasses, is often characterized by dramatic differences in the elemental composition of each part. The difference, or mismatch, between the elemental demands of organisms and the elemental composition of resources leads to an elemental imbalance. Consider termites, which have a tissue carbon:nitrogen ratio (C:N) of about 5 yet consume wood with a C:N ratio of 300–1000. Ecological stoichiometry primarily asks:

1. why do elemental imbalances arise in nature?
2. how is consumer physiology and life-history affected by elemental imbalances? and
3. what are the subsequent effects on ecosystem processes?

Elemental imbalances arise for a number of physiological and evolutionary reasons related to the differences in the biological make up of organisms, such as differences in types and amounts of macromolecules, organelles, and tissues. Organisms differ in the flexibility of their biological make up and therefore in the degree to which organisms can maintain a constant chemical composition in the face of variations in their resources. Variations in resources can be related to the types of needed resources, their relative availability in time and space, and how they are acquired. The ability to maintain internal chemical composition despite changes in the chemical composition and availability of resources is referred to as "stoichiometric homeostasis". Like the general biological notion of homeostasis, elemental homeostasis refers to the maintenance of elemental composition within some biologically ordered range. Photoautotrophic organisms, such as algae and vascular plants, can exhibit a very wide range of physiological plasticity in elemental composition and thus have relatively weak stoichiometric homeostasis. In contrast, other organisms, such as multicellular animals, have close to strict homeostasis and they can be thought of as having distinct chemical composition. For example, carbon to phosphorus ratios in the suspended organic matter in lakes (i.e., algae, bacteria, and detritus) can vary between 100 and 1000 whereas C:P ratios of *Daphnia*, a crustacean zooplankton, remain nearly constant at 80:1. The general differences in stoichiometric homeostasis between plants and animals can lead to large and variable elemental imbalances between consumers and resources.

Ecological stoichiometry seeks to discover how the chemical content of organisms shapes their ecology. Ecological stoichiometry has been applied to studies of nutrient recycling, resource competition, animal growth, and nutrient limitation patterns in whole ecosystems. The Redfield ratio of the world's oceans is one very famous application of stoichiometric principles to ecology. Ecological stoichiometry also considers phenomena at the sub-cellular level, such as the P-content of a ribosome, as well as phenomena at the whole biosphere level, such as the oxygen content of Earth's atmosphere.

To date the research framework of ecological stoichiometry stimulated research in various fields of biology, ecology, biochemistry and human health, including human microbiome research, cancer research, food web interactions, population dynamics, ecosystem services, productivity of agricultural crops and honeybee nutrition.

## Consumer stoichiometry and food webs

The study of elemental ratios (i.e., C:N:P) within the tissues of organisms can be used to understand how organisms respond to changes in resource quality and quantity. For instance, in aquatic ecosystems, nitrogen and phosphorus pollution within streams, often due to agricultural activities, can increase the amount of N and P available to primary producers. This release in the limitation of N and P can impact the abundance, growth rates, and biomass of primary producers within the stream. This change in primary production can trickle through the food web via bottom-up processes and impact the stoichiometry of organisms, limiting elements, and biogeochemical cycling of streams. In addition, bottom-up changes in elemental availability can influence the morphology, phenology, and physiology of organisms that will be discussed below. The focus of this article is on aquatic systems; however, similar processes related to ecological stoichiometry can be applied in the terrestrial environment, as well.

## Invertebrate stoichiometry

The demands for carbon, nitrogen and phosphorus at specific ratios by invertebrates can change at different life stages within invertebrate life history. The growth rate hypothesis (GRH) addresses this phenomenon and states that the demands for phosphorus increase during active growth phases to produce P-rich nucleic acids in biomass production and are reflected in the P content of the consumer. During early growth stages, or earlier instars, invertebrates may have higher demands for N and P enriched resources to fuel the ribosomal production of proteins and RNA. At later stages, the demand for particular elements may shift as they are no longer actively growing as rapidly or generating protein rich biomass. Growth rates of invertebrate organisms can also be limited by the resources that are available to them.


title: 1928–29 Ottawa Senators season

abstract: The 1928–29 Ottawa Senators season was the club's 12th season in the NHL, 44th overall. The Senators' financial troubles continued, as the team sold Punch Broadbent to the New York Americans. There were numerous rumours that the team was going to be sold to a group from Chicago: Senators owner Frank Ahearn denied this, but admitted that the team was for sale to the highest bidder. Once again, for the second straight year, the Senators would play two "home" games in Detroit due to poor fan support when US-based teams would play games in Ottawa.

text:
# 1928–29 Ottawa Senators season

The **1928–29 Ottawa Senators season** was the club's 12th season in the NHL, 44th overall. The Senators' financial troubles continued, as the team sold Punch Broadbent to the New York Americans. There were numerous rumours that the team was going to be sold to a group from Chicago: Senators owner Frank Ahearn denied this, but admitted that the team was for sale to the highest bidder. Once again, for the second straight year, the Senators would play two "home" games in Detroit due to poor fan support when US-based teams would play games in Ottawa.

## Team business

The team was sold in February 1929 to the Ottawa Auditorium for CA$125,000 (equivalent to $2,134,511 in 2023). Ahearn had had offers rumoured to be as high as $250,000, but chose to keep the ownership local. As well, Ahearn was a shareholder in the Auditorium which stood to lose its prime tenant. The shareholders of the Auditorium financed the purchase with $125,000 of preferred shares in the Auditorium. NHL president Frank Calder addressed an Ottawa Rotary Club meeting that February, and told the attendees: "The team cannot live on tradition and sentiment. In the last analysis, it depends on the people of Ottawa whether the team remains or not."

## Regular season

On the ice, the Senators struggled to score goals, scoring only 54, the fourth fewest in the league. Frank Finnigan scored 15 of them to lead the team, and finish with a club high of 19 points. New captain King Clancy scored 13 goals to lead the defense. Midway through the season, the Sens traded longtime player Buck Boucher to the Montreal Maroons in exchange for youngster Joe Lamb.

Alec Connell was steady in the Senators' net, winning 14 games, and having a GAA of 1.43, along with seven shutouts.

The Senators failed to qualify for the playoffs for the first time since 1925, as they finished in fourth place in the five-team Canadian Division.

### Final standings

Canadian Division
|  | GP | W | L | T | GF | GA | PIM | Pts |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| **Montreal Canadiens** | 44 | 22 | 7 | 15 | 71 | 43 | 465 | 59 |
| **New York Americans** | 44 | 19 | 13 | 12 | 53 | 53 | 486 | 50 |
| **Toronto Maple Leafs** | 44 | 21 | 18 | 5 | 85 | 69 | 541 | 47 |
| Ottawa Senators | 44 | 14 | 17 | 13 | 54 | 67 | 461 | 41 |
| Montreal Maroons | 44 | 15 | 20 | 9 | 67 | 65 | 638 | 39 |

Note: W = Wins, L = Losses, T = Ties, GF = Goals For, GA = Goals Against, Pts = Points
Teams that qualified for the playoffs are highlighted in bold.

### Record vs. opponents

## Schedule and results

| 1928–29 Ottawa Senators (14–17–13) | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
|  | | | | | | | | | | |
|  | | | | | | | | | | |
|  | | | | | | | | | | |
|  | | | | | | | | | | |
|  | | | | | | | | | | |
| ***Legend***:   Win (2 points)   Loss (0 points)   Tie (1 point) | | | | | | | | | | |

## Transactions

The Senators were involved in the following transactions during the 1928–29 season.

### Trades

## Player statistics

### Regular season

Scoring

| Player | Pos | GP | G | A | Pts | PIM |
| --- | --- | --- | --- | --- | --- | --- |
| Frank Finnigan | RW | 44 | 15 | 4 | 19 | 71 |
| King Clancy | D | 44 | 13 | 2 | 15 | 89 |
| Bill Touhey | LW | 44 | 9 | 3 | 12 | 28 |
| Hec Kilrea | LW | 38 | 5 | 7 | 12 | 36 |
| Alex Smith | D | 44 | 1 | 7 | 8 | 96 |
| Len Grosvenor | C/RW | 42 | 3 | 2 | 5 | 16 |
| Frank Nighbor | C | 30 | 1 | 4 | 5 | 22 |
| Georges Boucher | D | 29 | 3 | 1 | 4 | 60 |
| Sam Godin | RW | 23 | 2 | 1 | 3 | 21 |
| Fred Elliott | RW | 43 | 2 | 0 | 2 | 6 |
| Al Shields | D | 42 | 0 | 1 | 1 | 10 |
| Alec Connell | G | 44 | 0 | 0 | 0 | 0 |
| Milt Halliday | LW | 16 | 0 | 0 | 0 | 0 |
| Joe Lamb | RW | 6 | 0 | 0 | 0 | 8 |

Goaltending

| Player | MIN | GP | W | L | T | GA | GAA | SO |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Alec Connell | 2820 | 44 | 14 | 17 | 13 | 67 | 1.43 | 7 |
| **Team:** | 2820 | 44 | 14 | 17 | 13 | 67 | 1.43 | 7 |

Note: **Pos** = Position; **GPI** = Games played in; **G** = Goals; **A** = Assists; **Pts** = Points; **PIM** = Penalty minutes; **+/-** = Plus/minus; **PPG** = Power-play goals; **SHG** = Short-handed goals; **GWG** = Game-winning goals
**Min, TOI** = Minutes played; **W** = Wins; **L** = Losses; **T,T/OT** = Ties; **OTL** = Overtime losses; **GA** = Goals-against; **GAA** = Goals-against average; **SO** = Shutouts; **SA** = Shots against; **SV** = Shots saved; **SV%** = Save percentage;

## Playoffs

The Senators did not qualify for the playoffs.

## Sources

* Ross, J. Andrew (2015). *Joining the Clubs: The Business of the National Hockey League to 1945*. Syracuse University Press. ISBN 9780815633839.
* National Hockey League Guide & Record Book 2007

## InfoBox

| 1928–29 Ottawa Senators | |
| --- | --- |
| Division | 4th Canadian |
| 1928–29 record | 14–17–13 |
| Home record | 7–6–9 |
| Road record | 7–11–4 |
| Goals for | 54 |
| Goals against | 67 |
| Team information | |
| General manager | Dave Gill |
| Coach | Dave Gill |
| Captain | King Clancy |
| Arena | Ottawa Auditorium |
| Team leaders | |
| Goals | Frank Finnigan (15) |
| Assists | Hec Kilrea & Alex Smith (7) |
| Points | Frank Finnigan (19) |
| Penalty minutes | Alex Smith (96) |
| Wins | Alec Connell (14) |
| Goals against average | Alec Connell (1.43) |
|


abstract: The 1928–29 Ohio Bobcats men's basketball team represented Ohio University. Butch Grover was the head coach for Ohio. The Bobcats played their home games at the Men's Gymnasium. They finished 10–10 and 3–7 in the Buckeye Athletic Association.

text:
# 1928–29 Ohio Bobcats men's basketball team

The **1928–29 Ohio Bobcats men's basketball team** represented Ohio University. Butch Grover was the head coach for Ohio. The Bobcats played their home games at the Men's Gymnasium. They finished 10–10 and 3–7 in the Buckeye Athletic Association.

## Schedule

| Date
time, TV | Rank# | Opponent# | Result | Record | Site (attendance)
city, state |
| --- | --- | --- | --- | --- | --- |
| Regular Season | | | | | | | | |
| *
 |  | Bliss | **W** 43–18 | 1–0
 |
 |
| *
 |  | at Akron Goodyear | **L** 26–40 | 1–1
 |
 |
| *
 |  | at New Philadelphia | **L** 24–38 | 1–2
 |
 |
| *
 |  | at Bliss | **W** 24–21 | 2–2
 |
 |
| *
 |  | at Maroon Eagles | **L** 27–34 | 2–3
 |
 |
| *
 |  | Marietta | **W** 37–24 | 3–3
 |
 |
|
 |  | at Ohio Wesleyan | **L** 29–48 | 3–4
(0–1) |
 |
| *
 |  | Muskingum | **W** 48–25 | 4–4
 |
 |
|
 |  | Wittenberg | **W** 40–23 | 5–4
(1–1) |
 |
| *
 |  | West Liberty | **W** 49–36 | 6–4
 |
 |
|
 |  | at Cincinnati | **L** 27–38 | 6–5
(1–2) |
 |
|
 |  | at Miami | **L** 29–40 | 6–6
(1–3) |
 |
|
 |  | at Denison | **L** 23–38 | 6–7
(1–4) |
 |
| *
 |  | Marietta | **W** 47–20 | 7–7
 |
 |
|
 |  | Ohio Wesleyan | **W** 40–38 | 7–8
(2–4) |
 |
|
 |  | at Wittenberg | **L** 26–29 | 8–8
(2–5) |
 |
| *
 |  | at Muskingum | **W** 40–28 | 9–8
 |
 |
|
 |  | Miami | **W** 38–32 | 10–8
(3–5) |
 |
|
 |  | Cincinnati | **L** 36–38 | 10–9
(3–6) |
 |
|
 |  | Denison | **L** 26–28 | 10–10
(3–7) |
 |
| *Non-conference game. #Rankings from AP Poll. (#) Tournament seedings in parentheses.
All times are in Eastern Time. | | | | | | | | | | | |

Source:

## InfoBox

| 1928–29 Ohio Bobcats men's basketball | |
| --- | --- |
| Conference | Buckeye Athletic Association |
| Record | 10–10 (3–7 BAA) |
| Head coach |  |
| Home arena | Men's Gymnasium |
|


title: Artigat

abstract: Artigat is a commune in the Ariège department in the Occitanie region of south-western France.

text:
# Artigat

**Artigat** is a commune in the Ariège department in the Occitanie region of south-western France.

## Geography

Artigat is located some 10 km west by north-west of Pamiers and 14 km south-west of Saverdun. Access to the commune is by the D919 road from Le Fossat in the north passing through the heart of the commune and the village and continuing south to Pailhès. The D278 road comes from the D26 on the western border of the commune and goes east through the village to join the D36 south-west of Saint-Michel. The D27A also branches from the D919 in the north of the commune and goes east to Saint-Martin-d'Oydes. Apart from the village there are also the hamlets of Bajou in the north, and Les Lanes east of the village. The commune has extensive forests covering about 40% of the land area with the rest farmland.

The Lèze River flows through the commune from south to north gathering several tributaries including the Ruisseau de Laurens with its many tributaries.

### Neighbouring communes and villages

## History

Until the French Revolution, the Parish of Artigat (with Bajou), as with those of Pailhès, Lanoux, Castéras, Gabre, Aigues-Juntes, Montégut-Plantaurel, Cazeaux, Artix, Saint-Bauzeil, Benagues, Saint-Victor-Rouzaud, Madière, Saint-Michel, Lescousse, Saint-Martin-d'Oydes, and Esplas formed an enclave of Languedoc. They all depended on the Episcopal Diocese of Rieux and the civil diocese of Toulouse while neighbouring communes were part of the County of Foix. See the Cassini Map.

The Parish of Artigat (shown as *Arugat* on the Cassini Map) was certainly the most important parish of this Languedoc enclave. The famous case of Martin Guerre took place in Artigat.

There was a flood in the autumn of 2006 in Artigat whereupon moat were built in the village.

## Administration

**List of Successive Mayors**

| From | To | Name |
| --- | --- | --- |
| 1995 | 2014 | Patrick Cauhope |
| 2014 | 2026 | François Vanderstraeten |

## Demography

The inhabitants of the commune are known as *Artigatois* or *Artigatoises* in French.

Historical population
| Year Pop. ±% p.a.  1793  932       1800  909 −0.36%  1806  980 +1.26%  1821  1,027 +0.31%  1831  1,204 +1.60%  1836  1,218 +0.23%  1841  1,218 +0.00%  1846  1,248 +0.49%  1851  1,239 −0.14%  1856  1,258 +0.30%  1861  1,300 +0.66%  1866  1,277 −0.36%  1872  1,281 +0.05%  1876  1,227 −1.07%  1881  1,112 −1.95%  1886  1,023 −1.65%  1891  1,055 +0.62%  1896  1,006 −0.95% | Year Pop. ±% p.a.  1901  962 −0.89%  1906  930 −0.67%  1911  904 −0.57%  1921  813 −1.06%  1926  822 +0.22%  1931  792 −0.74%  1936  701 −2.41%  1946  665 −0.53%  1954  626 −0.75%  1962  518 −2.34%  1968  470 −1.61%  1975  460 −0.31%  1982  367 −3.18%  1990  416 +1.58%  1999  516 +2.42%  2007  522 +0.14%  2012  578 +2.06%  2017  564 −0.49% |
| --- | --- |
| Source: EHESS and INSEE | |

## Notable people linked to the commune

* **Martin Guerre** (c. 1524), Subject of a famous imposture affair which took place in Artigat in the 16th century.
* **Claude Bergeaud** (1960-), French basketball trainer was born in Artigat.

## InfoBox

| Artigat | |
| --- | --- |
| Commune | |
| Location of Artigat | |
| ArtigatArtigat | |
| Coordinates: 43°08′12″N 1°26′26″E / 43.1367°N 1.4406°E / 43.1367; 1.4406 | |
| Country | France |
| Region | Occitania |
| Department | Ariège |
| Arrondissement | Saint-Girons |
| Canton | Arize-Lèze |
| Intercommunality | CC Arize Lèze |
| Government | |
| Mayor (20202026) | François Vanderstraeten |
| Area**1** | 23.9 km2 (9.2 sq mi) |
| Population (2021) | 558 |
| Density | 23/km2 (60/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 09019 /09130 |
| Elevation | 242–434 m (794–1,424 ft)
(avg. 265 m or 869 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Artigas Mausoleum

abstract: The Artigas Mausoleum is a monument to Uruguayan hero José Artigas, located in Plaza Independencia, in the neighbourhood of Ciudad Vieja, Montevideo. It opened in 1977. Artigas's remains are kept in an underground room underneath the statue. The monument is guarded by two traditional guards called "Blandengues de Artigas".

text:
# Artigas Mausoleum

The **Artigas Mausoleum** is a monument to Uruguayan hero José Artigas, located in Plaza Independencia, in the neighbourhood of Ciudad Vieja, Montevideo. It opened in 1977. Artigas's remains are kept in an underground room underneath the statue. The monument is guarded by two traditional guards called "Blandengues de Artigas".

## InfoBox

Artigas Mausoleum
|  | |
| --- | --- |
|  | |
| 34°54′24″S 56°12′0″W / 34.90667°S 56.20000°W / -34.90667; -56.20000 | |
| Location | Montevideo, Uruguay |
| Type | Mausoleum |
| Material | Concrete, travertine and marble |
| Dedicated to | José Artigas |


title: Ashes Grammar

abstract: Ashes Grammar is the second studio album by American indie rock band A Sunny Day in Glasgow. It was released on September 15, 2009, by Mis Ojos Discos.

text:
# Ashes Grammar

***Ashes Grammar*** is the second studio album by American indie rock band A Sunny Day in Glasgow. It was released on September 15, 2009, by Mis Ojos Discos.

## Background and recording

Following a successful European tour, A Sunny Day in Glasgow's Ben Daniels began preparations for the recording of the band's next album. He rented a large dance studio space within the Downtown Performing Arts Center in Lambertville, which became the primary location for recording. He and bandmate Josh Meakim then began experimenting with sounds and setting up microphones in the space. Prior to the start of formal work on the album, however, three members of A Sunny Day in Glasgow departed the band under varying circumstances: Brice Hickey, who had "very seriously" broken his legs in an accident while loading equipment into his car on the day that recording was set to begin; Lauren Daniels, who left in order to care for Hickey, her then-boyfriend; and Robin Daniels, who wished to pursue her graduate studies. The band was subsequently reduced to Ben Daniels and Josh Meakim. Annie Fredrickson was later invited to join A Sunny Day in Glasgow on the recommendation of a fan of the band who was familiar to Ben Daniels "from shows", after Daniels asked the fan whether he knew any vocalists. The trio of Daniels, Meakim and Fredrickson helmed the album's recording.

*Ashes Grammar* was recorded from September to December 2008. The expansiveness of the dance studio space allowed Ben Daniels the freedom to experiment with different acoustics. He has cited Alvin Lucier's *I Am Sitting in a Room* as an influence on the recording process. As Lauren and Robin Daniels, the lead singers on earlier A Sunny Day in Glasgow recordings, had left the band, vocal duties on *Ashes Grammar* were shared by Fredrickson and Meakim. Fredrickson's friend Beverly Science performed additional vocals on the album. Mich White, who was previously a touring bassist for A Sunny Day in Glasgow, also "contributed ideas" from his home in Austin.

## Critical reception

Professional ratings
| Aggregate scores | |
| --- | --- |
| Source | Rating |
| AnyDecentMusic? | 6.9/10 |
| Metacritic | 77/100 |
| Review scores | |
| Source | Rating |
| AllMusic |  |
| *Drowned in Sound* | 8/10 |
| *NME* | 5/10 |
| *Pitchfork* | 8.3/10 |
| *PopMatters* | 6/10 |
| *The Skinny* |  |
| *Tiny Mix Tapes* | 4.5/5 |

In 2016, *Pitchfork* ranked *Ashes Grammar* at number 35 on its list of the best shoegaze albums of all time.

## Track listing

All tracks are written by Ben Daniels, except where noted

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Magna for Annie, Josh, and Robin" |  | 0:10 |
| 2. | "Secrets at the Prom" |  | 0:42 |
| 3. | "Slaughter Killing Carnage (The Meaning of Words)" |  | 2:12 |
| 4. | "Failure" | * Daniels * Josh Meakim | 3:30 |
| 5. | "Curse Words" | * Daniels * Annie Fredrickson * Meakim | 1:43 |
| 6. | "Close Chorus" |  | 6:24 |
| 7. | "Shy" |  | 5:43 |
| 8. | "Lights" |  | 0:22 |
| 9. | "Passionate Introverts (Dinosaurs)" | * Daniels * Fredrickson | 4:31 |
| 10. | "West Philly Vocoder" |  | 2:05 |
| 11. | "Evil, with Evil, Against Evil" |  | 2:30 |
| 12. | "The White Witch" | * Daniels * Meakim | 3:51 |
| 13. | "Nitetime Rainbows" | * Daniels * Meakim | 5:31 |
| 14. | "Canalfish" | * Daniels * Fredrickson | 1:30 |
| 15. | "Loudly" | * Daniels * Fredrickson | 1:51 |
| 16. | "Blood White" |  | 4:20 |
| 17. | "Ashes Grammar" |  | 1:11 |
| 18. | "Ashes Maths" |  | 3:23 |
| 19. | "Miss My Friends" |  | 1:30 |
| 20. | "Starting at a Disadvantage" |  | 4:41 |
| 21. | "Life's Great" |  | 0:41 |
| 22. | "Headphone Space" |  | 4:47 |
| Total length: | | | 63:08 |

**Notes**

* The track order for the LP edition repositions "Blood White" between "Passionate Introverts (Dinosaurs)" and "West Philly Vocoder".

## Personnel

Credits are adapted from the album's liner notes.

**A Sunny Day in Glasgow**

* Ben Daniels
* Robin Daniels
* Annie Fredrickson
* Brice Hickey
* Josh Meakim
* Beverly Science
* Mich White

**Additional musicians**

* Jody Hamilton – horns on "Failure" and "Close Chorus"
* Ryan Mitchell – theremin on "Curse Words"
* Chuck Nicholson – vibraphone on "Nitetime Rainbows"

**Production**

**Design**

## InfoBox

| Ashes Grammar | |
| --- | --- |
|  | |
| Studio album by A Sunny Day in Glasgow | |
| Released | September 15, 2009 (2009-09-15) |
| Recorded | September – December 2008 |
| Studio | Downtown Performing Arts Center (Lambertville, New Jersey) |
| Genre |  |
| Length | 63:08 |
| Label | Mis Ojos Discos |
| A Sunny Day in Glasgow chronology | |
| *Tout New Age*
(2007) ***Ashes Grammar***
(2009) *Nitetime Rainbows*
(2010) | |
|  | |
| Singles from  *Ashes Grammar* | |
| 1. "Shy"
Released: November 10, 2009 | |
|  | |


title: Equal-Parallel/Guernica-Bengasi

abstract: Equal-Parallel/Guernica-Bengasi is a sculpture created by the American artist Richard Serra. Originally created in 1986 for the Reina Sofia Museum, the sculpture was put into storage in 1988. In 2006, the museum admitted that it had lost the sculpture and had no idea where it was. Serra created a replica sculpture which is currently on display in the museum.

text:
# Equal-Parallel/Guernica-Bengasi

***Equal-Parallel/Guernica-Bengasi*** is a sculpture created by the American artist Richard Serra. Originally created in 1986 for the Reina Sofia Museum, the sculpture was put into storage in 1988. In 2006, the museum admitted that it had lost the sculpture and had no idea where it was. Serra created a replica sculpture which is currently on display in the museum.

## History

The sculpture was commissioned by the Reina Sofia Museum for the exhibition "*Referencias: Un encuentro artístico en el tiempo*" ("References: An artistic encounter in time"), which took place between 26 May and 15 September 1986. Serra was paid $200,000 for the art work, which weighed 38 tonnes. In March 1988, the sculpture was placed into storage with the company Fluiters S.A., who specialized in the storage of works of art. In November 1990, the sculpture was taken out of storage and placed back on display briefly. On 25 November 1990, the sculpture was placed back into storage with the company Macarrón S.A.. According to museum documentation, the sculpture was still in storage until 1992.

In October 2005, the museum director, Ana Martínez de Aguilar wanted to display the sculpture and found that it could not be located. The company it had been stored with had gone into receivership in 1998 and the sculpture could not be accounted for. The Spanish newspaper *ABC* speculated that the sculpture may have been sold for scrap metal.

In 2006 the museum made a deal with Serra to create a replica of the original. In 2009, the replica was reinstated in the museum and is currently exhibited.

## InfoBox

| Equal-Parallel/Guernica-Bengasi | |
| --- | --- |
| Artist | Richard Serra |
| Year | 1986 |
| Medium | Sculpture |
| Location | Reina Sofia Museum, Madrid, Spain |
| Website | Webpage |


title: Equal-field system

abstract: The equal-field system or land-equalization system was a system of land ownership and distribution in China used from the Northern Wei dynasty to the mid-Tang dynasty. By the Han dynasty, the well-field system of land distribution had fallen out of use in China though reformers like Wang Mang tried to restore it. The equal-field system was introduced into practice around 485 AD by the Emperor Xiaowen of Northern Wei under the support of Empress Dowager Feng during the Northern and Southern dynasties period. The system was eventually adopted by other regimes, and its use continued into the Sui and Tang dynasties.

text:
# Equal-field system

The **equal-field system** (Chinese: 均田制度; pinyin: *Jūntián Zhìdù*) or **land-equalization system** was a system of land ownership and distribution in China used from the Northern Wei dynasty to the mid-Tang dynasty.

By the Han dynasty, the well-field system of land distribution had fallen out of use in China though reformers like Wang Mang tried to restore it. The equal-field system was introduced into practice around 485 AD by the Emperor Xiaowen of Northern Wei under the support of Empress Dowager Feng during the Northern and Southern dynasties period. The system was eventually adopted by other regimes, and its use continued into the Sui and Tang dynasties.

## Basis

The system worked on the basis that most land was owned by the government, which would then assign it to individual families. All individuals, including slaves, were entitled to a certain amount of land, the amount depending on their ability to supply labor. For example, able-bodied men received 40 *mu* of land (around 1.1 hectares or 2.7 acres), and women received less, and more land was granted per ox owned by the family. After they died, the land would revert to the state to be reassigned, but provisions were allowed for inheritance of land that required long-term development, such as farms for mulberry trees (for silkworms).

The system was intended to foster the development of land and to ensure that no agricultural land lay neglected. That prevented aristocrats from developing large power bases by monopolizing the fields and allowed the common people to take part of the land and ensure their livelihood. It also allowed the government to develop a tax base and slowed the accumulation of land by vast, untaxable estates. It was also used by the Tang dynasty to break the dynastic cycle, the idea that all dynasties would end. Having people receive the land from the government would make them feel that the government gave them something even though it never left.

## Fall into disuse

The system eventually began falling out of use after the An Lushan rebellion as the central government began to lose centralized control over its territories. Though all land theoretically belonged to the Imperial government, the aristocratic families were able to legally acquire land, and were able to build up their holdings. Buddhist monasteries also came to control vast estates of agricultural lands. Peasants often entered the households of landlords and became tenant farmers or servants during times of natural disasters and conflict to ensure their own security. The gradual loss of taxable lands is a reason for the decline of the Tang dynasty. The pattern of landlords holding lands worked by tenant farmers would continue throughout the rest of Chinese history until the founding of the People's Republic of China in 1949.

## Adoption in Japan

The equal-field system was adopted by Japan during the Taika Period as a result of the Taika reforms made by Prince Shotoku Taishi (see Ritsuryo), though it is debatable to what degree it was actually implemented. Provinces close to the capital were more strictly regulated and taxed, prompting farmers to flee to outlying provinces. In Japan, too, the system fell out of use as land reverted to private ownership; decrees in 723 held that newly developed lands could be inherited for three generations while a later decree in 743 allowed for these developed lands to be held in perpetuity. By 800 the land redistribution scheme was practically abandoned as census and distribution became infrequent and irregular. Nonetheless, the system remained in existence, at least in theory, well after that.


abstract: The 1935 Arkansas State Indians football team represented Arkansas State College—now known as Arkansas State University—as a member of the Arkansas Intercollegiate Conference (AIC) during the 1935 college football season. Led by second-year head coach Tommy Mills, the Indians compiled an overall record of 2–7 with a mark of 0–4 in conference play.

text:
# 1935 Arkansas State Indians football team

The **1935 Arkansas State Indians football team** represented Arkansas State College—now known as Arkansas State University—as a member of the Arkansas Intercollegiate Conference (AIC) during the 1935 college football season. Led by second-year head coach Tommy Mills, the Indians compiled an overall record of 2–7 with a mark of 0–4 in conference play.

## Schedule

| Date | Opponent | Site | Result | Source |
| --- | --- | --- | --- | --- |
| September 20 | at Southwestern (TN)* |  | L 0–38 |  |
| September 28 | at Southern Illinois* | Carbondale, IL | W 7–0 |  |
| October 4 | West Tennessee State Teachers* |  | W 18–0 |  |
| October 11 | Tennessee Junior College* | * Kays Field * Jonesboro, AR | L 0–25 |  |
| October 18 | Hendrix | * Kays Field * Jonesboro, AR | L 0–27 |  |
| October 25 | at Saint Louis* |  | L 7–46 |  |
| November 1 | at Arkansas A&M | Monticello, AR | L 0–28 |  |
| November 9 | Arkansas State Teachers | * Kays Stadium * Jonesboro, AR | L 0–27 |  |
| November 15 | Magnolia A&M | * Kays Field * Jonesboro, AR | L 6–7 |  |
| * \*Non-conference game | | | | |

## InfoBox

| 1935 Arkansas State Indians football | |
| --- | --- |
| Conference | Arkansas Intercollegiate Conference |
| Record | 2–7 (0–4 AIC) |
| Head coach |  |
| Home stadium | Kays Field |
|


title: 1935 Auckland City mayoral election

abstract: The 1935 Auckland City mayoral election was part of the New Zealand local elections held that same year. In 1935, elections were held for the Mayor of Auckland plus other local government positions including twenty-one city councillors. The polling was conducted using the standard first-past-the-post electoral method.

text:
# 1935 Auckland City mayoral election

The **1935 Auckland City mayoral election** was part of the New Zealand local elections held that same year. In 1935, elections were held for the Mayor of Auckland plus other local government positions including twenty-one city councillors. The polling was conducted using the standard first-past-the-post electoral method.

## Background

The campaign featured a selection controversy when the Labour Party selected local businessman Joe Sayegh over prominent lawyer and MP Rex Mason with the blessing of Auckland Labour Representation Committee executive Fred Young. Sayegh was viewed a respectable individual and competent city councillor, but most gave him little chance of beating Citizens Committee candidate Ernest Davis. As Young had been employed by Davis for many years, John A. Lee and several Labour MPs alleged that Young had been bribed by Davis to ensure the selection of a weak Labour candidate for the Mayoralty which caused a rift in the Auckland Labour Party. Sayegh's campaign was not helped due to continued interference by Lee who tried to discredit Sayegh, slandering him as a "dumb wop fellow who could not even speak English". Regardless, Sayegh polled extremely well in the election, exceeding predictions and lost to Davis by only 363 votes.

Councillor Ted Phelan had earlier declined to seek the Labour nomination for mayor, citing a conflict of interest, as he was also running the Hotel Auckland (which was owned by Davis), who had already declared his candidacy. Despite Sayegh's nomination, the returning officer received a nomination for Mason, whose consent was telegraphed from Wellington, though he later sent a second telegraph to withdraw. Ellen Melville also announced her intention to stand for mayor, but ultimately decided not to stand "in view of the confusion of issues." She successfully sought re-election to the council.

The main talking point following the election was that the Labour Party had won a majority on the city council winning 15 of the 21 seats. This was the first (and only) time Labour had ever done so. There was also a huge turnout in voters with a record 60.36% of electors casting their votes, much higher than usual, an increase of nearly 12% from the 1933 election.

## Mayoralty results

1935 Auckland mayoral election
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **Citizens Committee** | **Ernest Davis** | **14,267** | **38.31** |  |
|  | Labour | Joe Sayegh | 13,904 | 37.33 |  |
|  | Independent | Arthur Stallworthy | 8,569 | 23.01 |  |
| Informal votes | | | 498 | 1.33 | −0.85 |
| Majority | | | 363 | 0.97 |  |
| Turnout | | | 37,238 | 60.36 | +11.58 |

## Councillor results

1935 Auckland local election
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | **Labour** | **Joe Sayegh** | **18,090** | **59.82** | **+16.61** |
|  | **Labour** | **Ted Phelan** | **17,603** | **58.21** | **+9.99** |
|  | **Labour** | **John Albert Mason** | **16,462** | **54.44** | **+11.11** |
|  | **Labour** | **Arthur Rosser** | **16,238** | **53.70** | **+14.73** |
|  | **Labour** | **Bill Anderton** | **16,205** | **53.59** | **+12.79** |
|  | **Labour** | **John William Yarnall** | **15,266** | **50.48** | **+11.08** |
|  | **Labour** | **Charles Bailey** | **15,231** | **50.37** | **+10.02** |
|  | **Labour** | **Ernest Frank Andrews** | **14,904** | **49.28** | **+8.89** |
|  | **Citizens Committee** | **Leonard Coakley** | **14,449** | **47.78** | **+2.09** |
|  | **Labour** | **Peter Carr** | **13,882** | **45.90** |  |
|  | **Citizens Committee** | **Sir George Richardson** | **13,774** | **45.55** |  |
|  | **Independent** | **Tom Bloodworth** | **13,406** | **44.33** | **+2.60** |
|  | **Labour** | **Bernard Martin** | **13,346** | **44.13** | **+8.27** |
|  | **Labour** | **John Stewart** | **13,199** | **43.65** | **+7.76** |
|  | **Labour** | **John Thomas Jennings** | **13,153** | **43.49** | **+8.00** |
|  | **Citizens Committee** | **James Donald** | **13,085** | **43.27** | **−0.16** |
|  | **Labour** | **George Gordon Grant** | **13,015** | **43.04** | **+5.65** |
|  | **Citizens Committee** | **Ellen Melville** | **12,809** | **42.36** | **+2.55** |
|  | **Labour** | **Norman Douglas** | **12,740** | **42.13** |  |
|  | **Citizens Committee** | **Harold Percy Burton** | **12,729** | **42.09** | **−3.03** |
|  | **Labour** | **Frank Lark** | **12,721** | **42.06** |  |
|  | Citizens Committee | Alice Basten | 12,584 | 41.61 | ±0.00 |
|  | Labour | Jim Purtell | 12,478 | 41.26 | +4.34 |
|  | Labour | Paul Richardson | 12,430 | 41.10 |  |
|  | Labour | Jack Lyon | 12,401 | 41.01 |  |
|  | Labour | Charles Stephen Morris | 12,074 | 39.92 | +5.46 |
|  | Citizens Committee | Michael John Coyle | 11,876 | 39.27 | −2.63 |
|  | Citizens Committee | Sidney Takle | 11,754 | 38.87 | −0.94 |
|  | Labour | Hannah Harrison | 11,746 | 38.84 |  |
|  | Labour | Harry Gordon Staley | 11,699 | 38.68 |  |
|  | Citizens Committee | Matthew John Bennett | 11,647 | 38.51 | −2.79 |
|  | Citizens Committee | Christopher H. Furness | 11,603 | 38.37 |  |
|  | Citizens Committee | George Grey Campbell | 11,496 | 38.01 | −9.26 |
|  | Citizens Committee | John Barr Patterson | 11,300 | 37.37 | −3.62 |
|  | Citizens Committee | John Walter Hollis | 10,918 | 36.10 |  |
|  | Citizens Committee | Bryan Hislop Kingston | 10,521 | 34.79 |  |
|  | Citizens Committee | Alan Monteith Doull | 9,554 | 31.59 |  |
|  | Citizens Committee | George Cruickshank | 9,482 | 31.35 |  |
|  | Citizens Committee | Augustus Charles Norden | 9,316 | 30.80 |  |
|  | Citizens Committee | John W. Kealy | 9,263 | 30.63 |  |
|  | Citizens Committee | David Henry | 9,190 | 30.39 |  |
|  | Independent | Dawson Donaldson | 9,017 | 29.82 | −9.26 |
|  | Citizens Committee | Robert Gordon Slyfield | 8,805 | 29.11 | −3.43 |
|  | Citizens Committee | Herbert Tiarks | 8,034 | 26.56 |  |
|  | Citizens Committee | George Frederick Lane | 7,717 | 25.52 |  |
|  | Independent | John Lundon | 6,375 | 21.08 | −4.30 |
|  | Independent | Alfred Hall Skelton | 6,235 | 20.61 |  |
|  | Independent | Isidor Meltzer | 6,235 | 20.61 |  |
|  | Independent | Walter Harry Murray | 5,987 | 19.79 | −9.53 |
|  | Independent | William Henry Horton | 5,742 | 18.98 |  |
|  | Independent | Arnold Ellis Ely | 5,328 | 17.62 |  |
|  | Communist | Jim Edwards | 4,133 | 13.66 |  |
|  | Communist | Alexander Drennan | 2,535 | 8.38 |  |
|  | Communist | Henry Mornington Smith | 2,429 | 8.03 |  |
|  | Independent | Maungatai Julia Babbington | 2,307 | 7.62 |  |
|  | Independent | William James Crook | 2,266 | 7.49 |  |
|  | Independent | Edward Thurlow Field | 1,947 | 6.43 |  |
|  | Independent | James William Payne | 1,742 | 5.76 |  |

## InfoBox

1935 Auckland City mayoral election
| --- | |
| --- | --- |
|  | |
| Turnout | 37,238 (60.36%) |
| Candidate Ernest Davis Joe Sayegh  Party Citizens Committee Labour  Popular vote 14,267 13,904  Percentage 38.31 37.33 | |
| ---  **Mayor before election**
George Hutchison
 **Elected mayor**
Ernest Davis
 | |