THE GRANDEST CANYON OF THEM ALL

Grand Canyon North Rim
From dbg@dbgraphics.biz

Grand Canyon North Rim
From dbg@dbgraphics.biz
The Grand Canyon is immense. The 6 million year old Grand Canyon is made up of buttes, plateaus and mesas that cover two billion year old igneous and metamorphic rock. This Northern Arizona national park has earned its rightful place as one of the "seven wonders of the world." As one of our most popular national parks, the Grand Canyon is host to about four million local and international visitors each year. The canyon lands of Northern Arizona's Grand Canyon are nature's most well known and timeless creation. Human life is too short to notice the dramatic changes that have formed the canyon over the millions of years it has taken to carve the gorges, buttes and crevices of the Grand Canyon. The imposing massiveness of what is called "one of the seven wonders of the world," lures tourists to its rim by the thousands. Different from Zion National Park where you walk on the canyon floor and look up to see magnificent monoliths, at the Grand Canyon we stand above the rim and peer down into the enormous gap in the earth.
(© Copyright Zions Works)

image property of mongabay.com
Coming upon the Grand Canyon long ago, an old prospector is supposed to have said in amazement, “Something awful happened here.” The something appears to have started happening some 17 million years ago, geologists concluded in a study reported in Friday’s issue of the journal Science. By dating mineral deposits inside caves up and down the canyon walls, the geologists said they determined the water levels over time, as erosion carved out the mile-deep canyon as it is known today. They concluded that the canyon started from the west, then another formed from the east, and the two broke through and met as a single majestic rent in the earth some six million years ago. Previous theories had posited six million years as the earliest age for the beginning of the entire Grand Canyon of the Colorado River.Tests at nine sites established the ages of thick white and yellowish-orange calcite deposits lining walls of cave interiors, as a measure of lowering water levels as the canyon deepened. The results indicated that the erosion rate was much slower in the western canyon than in the eastern section, the geologists reported.
(By By JOHN NOBLE WILFORD Published: March 6, 2008, Copyright 2008 The New York Times Company)
Grand Canyon created by Colorado River cutting through rock for two billion years is a wonder of the world, amazing place of scenic beauty of giant proportions. Mountains on top of another mountains, rugged wilderness made accessible to a traveler and explorer. Rocks of red and other colors one mile deep, beautiful textures of nature, ageless stillness and peace.
Grand Canyon located 247 miles north of Phoenix Arizona, and is about 270 miles east from Las Vegas Nevada. Created by the Colorado River cutting through layer after layer of sediment for nearly two billion years Grand Canyon is about 277 miles (446 km) long, ranges in width from 0.25 to 18 miles (0.5 to 29 km) and has depth of more than a mile (1,600 m). It covers territory of 1,904 square miles.
The South Rim of Grand Canyon is part of the Coconino Plateau and the North Rim is the Kaibab Plateau. The North Rim is 1200 feet higher than the South Rim and has much higher precipitation levels, lower temperatures and different vegetation. The distance by road between the South Rim and the North Rim is 215 miles because there's no bridge or pass that connects both rims. South Rim is the most visited and North Rim is closed in the winter.
Grand Canyon attracts more than 5 million tourists each year. Most stay on the rims or fly over on airplanes or take helicopter tours. Some hike or take a mule ride down the canyon, and some canoe down the Colorado River.
The hike down the Canyon takes the whole day and is physically challenging. The temperature inside the rim reaches over 105 degrees Fahrenheit (40°C) in the summer and it can be extremely dangerous for an unprepared visitor. Many people have died from falling or heat exhaustion and hundreds are rescued each year from the bottom of Grand Canyon.
(From grandcanyonimage.com)

A panoramic view of the Grand Canyon
North Rim
Source Own work
Canon 10D and 17-40mm f/4L fireball
26th of September, 2004
From Wikipedia, the free encyclopedia

Grand Canyon covered with snow
From Wikipedia, the free encyclopedia

The Grand Canyon from Moran Point
Grand Canyon National Park
Photographed by Doug Dolde
June, 2008
Contax 645, 140mm, Leaf Aptus 75S
From Wikipedia, the free encyclopedia

A sunset on the Grand Canyon
Source Own work by uploader
Date 1972
Author Guywets
From Wikipedia, the free encyclopedia

Grand Canyon National Park
Photographed by Doug Dolde
November, 2008
Contax 645, 45mm, Leaf Aptus 75S
From Wikipedia, the free encyclopedia

A map of the Grand Canyon and surrounding areas, circa 1908
From Wikipedia, the free encyclopedia

Grand Canyon area map
wikitravel.org

Grand Canyon area map was prepared in 1907 by the National Forest Service, and published upon the proclamation of Grand Canyon National Monument on January 11, 1908

Grand Canyon, Arizona
Source Photo taken by (Luca Galuzzi)
Date 2007-07-21
Author Luca Galuzzi (Lucag)
From Wikipedia, the free encyclopedia

Nearly two billion years of the Earth's history have been exposed as the Colorado River and its tributaries cut their channels through layer after layer of rock while the Colorado Plateau was uplifted. Arizona, USA.

Grand Canyon, Arizona, USA
Source Photo taken by (Luca Galuzzi)
Date 2007-07-21
Author Luca Galuzzi (Lucag)
From Wikipedia, the free encyclopedia

The canyon, created by the Colorado River over 6 million years, is 277 miles (446 km) long, ranges in width from 4 to 18 miles (6.4 to 24 kilometers), and attains a depth of more than a mile (1.6 km).

Grand Canyon Image: Grand Canyon Arizona Photos
See: Grand Canyon Best Photos
Grand Canyon Gallery
Grand Canyon Sunset
Grand Canyon Full Moon
Grand Canyon Winter
Sunset at the Grand Canyon is the most popular time among visitors
(By imageKandi at grandcanyonimage.com)

Throughout the past century, hundreds of authors have attempted to depict the enormous landscape that is Grand Canyon. Not surprisingly, words most often fail to invoke the sense of awe and wonder that many visitors experience. Edward Abbey, a noted Southwest author, once penned: “Those who love it call it the canyon. THE canyon. As if there were no other topographic feature on the face of the Earth”.
There are, of course, other canyons on the planet. Some are longer, others wider, and even some that are deeper. Canyon visitors are often surprised to learn that Grand Canyon sets no records for sheer size. It is, however, simply regarded by most as the “grandest” canyon of them all.
Geologically, the canyon extends from Lee’s Ferry near the Arizona/Utah border to the Grand Wash Cliffs near Las Vegas, a distance of 277 miles. It ranges in width from about a quarter mile to over 18 miles wide. In places the canyon is over a mile deep.
However, it is not the statistics that define this landscape as “grand”, but rather a combination of factors. The desert environment and a lack of herbaceous ground cover reveal a geologic story that is unparalleled. Surprisingly, the rock layers displayed at Grand Canyon show little sign of wear. The layers have been preserved almost perfectly, as though they were layers in a cake. Nowhere else on Earth displays so many volumes of the planet’s history in such pristine condition.
The resulting landscape provides visitors with some of the most magnificent and unsurpassed vistas on the planet.
(From grandcanyonimage.com)
In 1857 a U.S. War Department expedition was led by Lieutenant Joseph Ives to investigate the area's potential for natural resources, find railroad routes to the west coast, and assess the feasibility of an up-river navigation route from the Gulf of California. The group traveled in a stern wheeler steamboat named the Explorer.

The 54-foot paddle wheeler Explorer
From Legends of America.com
After two months and 350 miles of difficult navigation, his party reached Black Canyon. In the process, the Explorer struck a rock and was abandoned. The group then traveled eastwards along the South Rim of the Grand Canyon. A man of his time, Ives discounted his own impressions on the beauty of the canyon and declared it and the surrounding area as "altogether valueless," remarking that his expedition would be "the last party of whites to visit this profitless locality."
Attached to Ives' expedition was geologist John Strong Newberry who had a very different impression of the canyon. After returning, Newberry convinced fellow geologist John Wesley Powell that a boat run through the Grand Canyon to complete the survey would be worth the risk. Powell was a major in the United States Army and was a veteran of the American Civil War, a conflict that cost him his right forearm in the Battle of Shiloh.
(Copyright © 2003-2008, www.Legends of America.com)

John Wesley Powell's boat with chair attached
Banks of the Colorado River, 1872
From Legends of America.com
In 1869, Major John Wesley Powell, a fearless, one-armed Civil War veteran, and his nine companions became the first men to journey 1,000 miles on the Colorado River through the Grand Canyon. Equipped with four stout, wooden boats and meager rations (because so much was lost when the boats capsized), Powell and his party braved dangerous rapids, searing heat, sinking morale and the loss of three men to complete their remarkable feat. Powell's notes about the trip, and a second 1871—1872 trip provided invaluable information about one of the last unexplored parts of the United States. Like John Muir, Powell was one of a distinctive 19th-century breed. A self-taught Renaissance man, he traveled extensively, advocated wise use of water in the West and defended American Indian rights. He went on to found the U.S. Geological Survey and the U.S. Bureau of American Ethnology, and to negotiate American Indian peace treaties with the government.
(© 2008 APN Media, LLC.)

Lee's Ferry across the Colorado River
Grand Canyon, Arizona, 1913
From Legends of America.com
John D. Lee (of Mountain Meadows Massacre fame) was the first person who catered to travelers to the canyon. In 1872 he established a ferry service at the confluence of the Colorado and Paria rivers. Lee was in hiding, having been accused of leading the Mountain Meadows Massacre in 1857. He was tried and executed for this crime in 1877. During his trial he played host to members of the Powell Expedition who were waiting for their photographer, Major James Fennemore, to arrive (Fennemore took the last photo of Lee sitting on his own coffin). Emma, one of Lee's nineteen wives, continued the ferry business after her husband's death. In 1876 a man named Harrison Pearce established another ferry service at the western end of the canyon.
(Copyright © 2003-2008, www.Legends of America.com)
On March 31, 1933, President Franklin Delano Roosevelt signed the legislation creating the Civilian Conservation Corps (CCC). During its nine-year existence, the CCC completed numerous conservation projects in state parks, national parks, and national forests, as well as other public lands across the USA. Four federal agencies worked together to make the CCC a success. The Department of Labor cooperated with local welfare agencies to select the most needy young men. The Department of War transported the men, supervised them in their barracks, and managed their pay, food and medical care. The Departments of Agriculture and Interior designated the projects and supervised the CCC boys while on the job. The Civilian Conservation Corps became FDR’s most popular Depression era program.
Grand Canyon’s first CCC company (Company 819) arrived on May 29, 1933 and continued on the South Rim until the end of the program in July, 1942. The men of Company 819 built the stone wall along the rim between El Tovar Hotel and Bright Angel Lodge, improved the Bright Angel Trail, landscaped the Grand Canyon Village area and, constructed the Community Building. During 1933-1936 Company 818 worked on the North Rim during the summer and moved to the canyon bottom for the winter. While camped at the bottom of the canyon, Company 818 completed the Colorado River Trail, the most difficult trail ever constructed at Grand Canyon! During those years, young men in five other CCC companies worked at Grand Canyon --- Companies 847, 2543, 2833, 3318 and 4814. Nationwide the accomplishments of the Civilian Conservation Corps enrollees can be measured in several ways: more than three billion trees planted, 28,000 miles of trails constructed, and 63,000 buildings constructed.
(From nps.gov)

History:
Grand Canyon Forest Reserve proclaimed on February 20, 1893;
Grand Canyon Game Preserve proclaimed on November 28, 1906;
Grand Canyon National Monument proclaimed on January 11, 1908;
National park established on February 26, 1919. A separate Grand Canyon National Monument proclaimed on December 22, 1932.
Marble Canyon National Monument proclaimed on January 20, 1969.
All three units and portions of Glen Canyon and Lake Mead national recreation areas combined with additional lands as national park on January 3, 1975.
Designated a World Heritage Site on October 24, 1979.
(©2009 About.com, a part of The New York Times Company)

Polishing the Jewel: An Administrative History of Grand Canyon National Park
By Michael F. Anderson
(Copyright © 2000 by the Grand Canyon Association -- Monograph No. 11)
Becoming a National Park, 1882-1919
Foundations, 1919-1929
Ironic Golden Years, 1930-1941
World War and Its Wake, 1942-1945
Infrastructural Last Hurrah, 1956-1975
An End to Consensus, 1976-1999
Upshots and Prognosis
Appendix 1 and Appendix 2 (30kb PDF File)Annual Visitation to Grand Canyon National Park: 1919-1999Grand Canyon National Park Superintendents:1919-2000

Grand Canyon Railway
(From Grand Canyon Railway Home)

THE PHILOSOPHER OF FREEDOM

Signature of John Locke
From Wikimedia®

From constitution.org

Portrait of John Locke,
By Sir Godfrey Kneller
Oil on canvas, 1697.
Collection of Sir Robert Walpole, Houghton Hall, 1779.
Source State Hermitage Museum, St. Petersburg, Russia.
From Wikipedia, the free encyclopedia

"Good and evil, reward and punishment, are the only motives to a rational creature: these are the spur and reins whereby all mankind are set on work, and guided" (Locke)

Locke was born in Wrington to Puritan parents of modest means. His father was a country lawyer who served in a cavalry company on the Puritan side in the early stages of the English civil war. His father's commander, Alexander Popham, became the local MP, and it was his patronage which allowed the young John Locke to gain an excellent education. In 1647 Locke went to Westminster School in London. The importance of Westminster school in the intellectual life of the seventeenth century can scarcely be exaggerated. Locke was a King's Scholar. The King's Scholars were a small group of special boys who had the privilege of living in the school and who received a stipend for two or three years before standing for election for either Christ Church, Oxford or Trinity College Cambridge. While the “major elections” were probably political, the “minor elections” or “challenges” were among the most genuinely competitive admissions processes in English schools of the period. Locke did not succeed in the challenge until 1650.
From Westminster school he went to Christ Church, Oxford, in the autumn of 1652 at the age of twenty. As Westminster school was the most important English school, so Christ Church was the most important Oxford college. Education at Oxford was medieval. Reform came, but not in Locke's time there. The three and a half years devoted to getting a B.A. was mainly given to logic and metaphysics and the classical languages. Conversations with tutors, even between undergraduates in the Hall were in Latin.
Locke received his B.A. in February 1656. His career at Oxford, however, continued beyond his undergraduate days. In June of 1658 Locke qualified as a Master of Arts.
While living in London at Exeter House, Locke continued to be involved in philosophical discussions. James Tyrrell, one of Locke's friends was at a meeting. He recalls the discussion being about the principles of morality and revealed religion. Thus the Oxford scholar and medical researcher came to begin the work which was to occupy him off and on over the next twenty years.
In 1674 after Shaftesbury had left the government, Locke went back to Oxford, where he acquired the degree Bachelor of medicine, and a license to practice medicine.
(By William Uzgalis at plato.stanford.edu)

John Locke - 01/03
By pythagoras9 © 2008 YouTube, LLC


By pythagoras9 © 2008 YouTube, LLC
John Locke - 02/03


By pythagoras9 © 2008 YouTube
LLC John Locke - 03/03

Our story has its being in the beginning of the Enlightenment, the Age of Reason, a time of our intellectual awakening. The Enlightenment began when the Dark Ages ended, a time when the minds of men were cowed by the great mystery of the universe and their minds, through ignorance, were ruled by fears. The Enlightenment was a time when man, stepping out of his shackles, began to use his rational facilities and pulled himself out of the medieval pits of mysticism and in the process shoved aside the state and church authorities of the day. It was a spontaneous and defused movement which fed upon itself and led to the great scientific discoveries from which we all benefit today. Beliefs in natural law and universal order sprung up, which not only promoted scientific findings and advancements of a material nature, but which also gave a scientific approach to political and social issues. Thinkers expressed their thoughts in writing and read the thoughts of others, one, foremost among their ranks, was John Locke (1632-1704). Briefly, the core of Locke's beliefs are to be found in his Essay Concerning Human Understanding (1690). It is with this book that there was established the principles of modern Empiricism (the human mind begins as a tabula rasa, and we learn through experience). It is in this book, Human Understanding, that we see Locke attacking the rationalist doctrine of innate ideas. His other work naturally follows: Two Treatises of Government (1690). Locke's Treatises were written in defense of the Glorious Revolution: that government rests on popular consent and rebellion is permissible when government subverts the ends - the protection of life, liberty, and property - for which it is established.
Locke was an empiricist, viz., all knowledge comes to us through experience. "No man's knowledge here can go beyond his experience." There is no such thing as innate ideas; there is no such thing as moral precepts; we are born with an empty mind, with a soft tablet (tabula rasa) ready to be writ upon by experimental impressions. Beginning blank, the human mind acquires knowledge through the use of the five senses and a process of reflection. Not only has Locke's empiricism been a dominant tradition in British philosophy, but it has been a doctrine which with its method, experimental science, has brought on scientific discoveries ever since, scientific discoveries on which our modern world now depends.
Locke's Second Treatise, by far, is the more influential work. In it, he set forth his theory of natural law and natural right; in it, he shows that there does exist a rational purpose to government and one need not rely on "myth, mysticism, and mystery." Against anarchy, Locke saw his job as one who must defend government as an institution. Locke's object was to insist not only that the public welfare was the test of good government and the basis for properly imposing obligations on the citizens of a country; but, also, that the public welfare made government necessary.
In uncivilized times, in times before government, Hobbes asserted there existed continual war with "every man, against every man." A time of "no arts; no letters; no society; and which is worst of all, continual fear and danger of violent death; and the life of man, solitary, poor, nasty, brutish, and short." On this point Locke and Hobbes were not in agreement. Locke, consistent with his philosophy, viewed man as naturally moral. The reason man would willingly contract into civil society is not to shake his brutish state, but rather that he may advance his ends (peace and security) in a more efficient manner. To achieve his ends man gives up, in favour of the state, a certain amount of his personal power and freedom.
(By Peter Landry at blupete.com)

Locke, Essay Concerning Human Understanding:
Contents ( PDF)
The complete work ( PDF, 1,722kb)
Book I ( PDF, 110kb)
Book II
Book III
Book IV

Locke, Second Treatise of Government:
Complete text ( PDF, 395kb)
chapters 1 through 6 ( PDF, 95kb)
chapters 7 through 13 ( PDF, 100kb)
chapters 14 to end ( PDF, 105kb)
Copyright ©2005-2008 Jonathan Bennett
Early Modern Texts Philosophy Topics
By Modern Day Philosophers

From Wikipedia, the free encyclopedia

Among Locke's philsophical works,the best known is his Essay concerning human understanding. In the Essay,Locke concentrates his assessment on the origins and nature of human knowledge,which is one of the fundamental questions asked in epistemology.As he gains lots of influences from his scientists friends such as Robert Boyle,he forms his system of knowledge with empiricist idioms. The first is that he establishes an account that there are two kinds of ideas,i.e. simple and complex ideas.The former such as 'sweet','blue',and 'cold' have attributes of sensory experiences to objects, whereas the latter is the compounds of the former.However,both simple and complex ideas are regarded as the mere material basis for knowledge. The extended version of Locke's assessment of this is his distinction between primary and secondary qualities.Locke regards primary qualities as in solidity,extension,figure motion or rest and number all of which are intrinsic properties of material objects.The secondary qualities are characterised as colours,sounds and tastes ,and they are the powers to produce various sensations in us by the primary qualities.They also depend on partly the perceptual power of an observer. For instance, a bar of chocolate ,its primary quality can be portrayed as a solid brick which resembles most of all chocolate shape,and the secondary quality as 'sweetness','bitterness', 'darkness',and 'hardness' of the chocolate,depending on each individual's palatal taste or other kinds.These features do not correspond to the feature of the chocolate.They are merely sensory sources of what makes a chocolate chocolate character.The primary quality corresponds to the resemblance of material objects and are ideas of being things in themselves. In a nutshell,the ideas of primary qualities have no power to produce perceptions on us but resemble the grounds of the powers to produce such ideas, (they can depict what is there in things),whereas of secondary qualities have powers to produce perceptions and can provide corresponding attributes to the material objects. Although Locke's theory of knowledge is often attacked by many philosophers for its equivocality and inconsistency in his Essay,some other philosophers take it that his theory is only misunderstood by them. Locke's other thought: possibility of innate moral and religious ideas, human knowledge derived from experiences.
(John Locke: general ideas of his thoughts at nobunaga.demon.co.uk)

Locke's epitaph:
Original Latin:
SISTE VIATOR
Hic juxta situs est JOHANNES LOCKE. Si qualis fuerit rogas, mediocritate sua contentum se vixesse respondet. Literis innutritus eo usque tantum profecit, ut veritati unice litaret. Hoc ex scriptis illius disce, quae quod de eo reliquum est majori fide tibe exhibebunt, quam epitaphii suspecta elogia. Virtutes si quas habuit, minores sane quam sibi laudi duceret tibi in exemplum proponeret; vita una sepeliantur. Morum exemplum si squaeras in Evangelio habes: vitiorum utinam nusquam: mortalitatis certe (quod prosit) hic et ubique. 1632 Aug. 29
Mortuum Anno Dom. 1704 Oct. 28
Memorat haec tabula brevi et ipse interitura.

English Translation:
STOP TRAVELLER
Near this place lies JOHN LOCKE. If you are wondering what kind of man he was, he answers that he was contented with his modest lot. Bred a scholar, he made his learning subservient only to the cause of truth. You will learn this from his writings, which will show you everything about him more truthfully than the suspect praises of an epitaph. His virtues, if indeed he had any, were too slight to be lauded by him or to be an example to you. Let his vices be buried with him. Of virtue you have an example in the gospels, should you desire it; of vice would there were none for you; of mortality surely you have one here and everywhere, and may you learn from it.
That he was born on the 29th of August in the year of our Lord 1632 and that he died on the 28th of October in the year of our Lord 1704. This tablet, which itself will soon perish, is a record.
(From From Wikipedia, the free encyclopedia)

More about John Locke:
1. Dates
Born: Wrington, Somersetshire, 29 Aug. 1632
Died: Oates, Essex, 28 Oct. 1704
Dateinfo: Dates Certain
Lifespan: 72
2. Father
Occupation: Lawyer, Government Official
Also John Locke, the father was a lawyer and a clerk to the local Justices of the Peace. It is my impression that the position of clerk was not a governmental one but rather private employment by the JP's. However, toward the end of his life the father was county clerk for sewers.
It seems clear that he was affluent. He had inherited a good fortune from his own father, although he left his own son less than he had received.
3. Nationality
Birth: English
Career: English
Death: English
4. Education
Schooling: Oxford, M.A., M.D.
Westminister School, 1646-52.
Oxford University, Christ Church, 1652-8. B.A., 1656; M.A., 1658; M.B., 1674. Locke never received the M.D., but I am listing all medical degrees as though they were M.D.'s.
5. Career
Personal physician of Anthony Ashley Cooper, Earl of Shaftesbury
Politician
Aristocrat
His friendships with prominent government officers and scholars made him one of the most influential men of the 17th century.
(©1995 Al Van Helden at galileo.rice.edu)

MASTER OF MAKE-BELIEVE

From The Story of Snow White
By Maxfield Parrish, 1912
The California Palace of the Legion of Honor
Author Karora
From Wikimedia Commons

During the Golden Age of Illustration, Maxfield Parrish's "beautiful settings and charming figures" enchanted the American public. His work includes immense murals in office buildings and hotels, magazine covers, and advertisements as well as his book illustrations.
Many of his illustrations to children's books, still popular today, are the result of his struggle to make a living as an artist in his early years around the turn of the 20th century.

From pomegranate.stores

He was born Frederick Parrish in 1870 in Philadelphia, but he took the name Maxfield after his Quaker grandmother. His father, Stephen, was also an artist and Parrish's greatest influence. He originally studied architecture, an interest that is evident in his paintings. He married his wife Lydia 1895.
In 1900, Parrish contracted tuberculosis, and then suffered a nervous breakdown. Around that time, he switched from illustrations to oil painting. His oil paintings became very popular, with their brilliant colors and magical luminosity, until well into the 1940s. To achieve these magical effects, he would apply numerous layers of thin, transparent oil, alternating with varnish over stretched paper, a painstaking process that achieved both high luminosity and extraordinary detail.
The tuberculosis hung on and Parrish went to Arizona to convalesce in the dry heat there. While in Arizona, he was commissioned to do a series of landscapes. He began painting and traveling on commission and his career took off.
Parrish worked at his home in Cornish, New Hampshire, called The Oaks. The Oaks was a popular destination for guests during the summers but in the frozen New Hampshire winters, Parrish dedicated himself to his painting.
In 1905, Parrish's met Susan Lewin, a 16-year old girl hired as a nanny for his son Dillwyn. Her image appears often in paintings from this time through the 1920s. Over time, Susan became Parrish's assistant, model for his paintings, and eventually his lover. His wife, Lydia, and Maxfield grew increasingly estranged and she left him in 1911. Susan stayed with Maxfield for another 50 years.
From the 1930s until 1960, when he stopped painting, Maxfield Parrish refocused his attention on the world around him, producing a series of calendar landscapes. Yet even these retain the magical, window-to-the-otherworld quality that permeates all of his work.
Parrish died at 95 in 1966, at a time when his work was enjoying a renaissance of interest.
(From parrish.artpassions.net)

Maxfield Parrish
(From americanartarchives.com)

We perceive color in objects by the spectrum of light not absorbed by the pigment. The darker the color, the less light gets reflected. The less light reaching our eyes, the murkier the color becomes. We perceive color in light in just the opposite manner. Shining a light through a color causes that portion of the spectrum to be absorbed. The purer the color, the more light is available to our eyes and the brighter the color appears. Parrish explained his technique at length in Ludwig's Maxfield Parrish Color & Light.
(From bpib.com)

Ecstasy 1929
Model: Jean Parrish
Project: General Electric Mazda Lamp Calendar

Commissioned for the 1930 General Electric Mazda Lamp Calendar, this painting depicts a young woman standing on the edge of a cliff, back arched, her hands lifting her hair, clearly enjoying the sun on her face and the wind whipping through her hair and clothing. Distant mountains and a “Parrish blue” sky with fluffy white clouds make up the background. A blue river winds below the cliff.
Parrish’s youngest child, Jean, born in 1911, posed for Ecstasy just before leaving for Smith College. Jean was the only child to follow her parents’ profession. She also posed for Parrish more often than her three older brothers, Dillwyn, Max Jr., and Stephen. Jean also modeled for Mary, Mary Quite Contrary (1921), Jack and the Beanstalk (1923), Evening (1921 or 1944), Daybreak (1922, standing girl), Knave of Hearts (1922, Prince), Stars (1926), and Dreaming (1928).

Sunrise 1931
Project: General Electric Mazda Lamp Calendar, 1933

General Electric Mazda Lamp Calendar, 1933. The artist painted the figures out after General Electric’s use.

Moonlight 1934
Model: Kathleen Philbrick Read
Project: General Electric Mazda Lamp Calendar, 1934

General Electric Mazda Lamp Calendar, 1934. Poor Kathleen: Parrish painted her out as early as February 1935. He was getting tired of painting “girls on rocks.”
This is just one of several pictures that Parrish revisited to remove the figures and turn into a landscape.
Parrish loved painting landscapes and did such work throughout his career. In fact, many of his pictures feature a landscape, even if it’s only glimpsed through a window or an arch. Around 1933 Parrish began to paint landscapes exclusively. He even revisited some of his earlier works, painting out the featured figure in order to “strengthen the composition.” He also complained that he was tired of painting “girls on rocks.”

From tfoi.com

Maxfield Frederick Parrish (1870-1966) was a unique figure in American art, not belonging to any school, part traditionalist, part inventor, sometime illustrator of gnomes and dragons, other times finding inspiration in the oak trees of his New Hampshire environs.
A meticulous craftsman, Parrish's idiosyncratic painting method involved applying numerous layers of thin, transparent oil, alternating with varnish over stretched paper, yielding a combination of great luminosity and extraordinary detail. In his hands, this method gives the effect of a glimpse through a window....except that the scene viewed is from the fairy tale world.
In spite of the long time it took to perfect a painting, Parrish was prolific over the course of his productive years, from his children's books of the turn of the century, to his famous prints of androgynous, lounging nudes during the 1920s, to his calendar landscapes of the 1930s through the 1960s.
(From illustration-house.com)

Gallery Index:
Gallery1905-1913Nine Images
Gallery1913-1920Seven Images
Gallery1920-1924Nine Images
Gallery1924-1931Nine Images
Gallery1931-1949Seven Images
Gallery1949-1958Six Images
(By Galileo at Maxfield Parrish Online Gallery)

He was well known for the illustrations of fairies, gnomes and goblins in many children's books. He designed covers for Harper's Weekly and other popular magazines early in the twentieth century and he was the most popular advertising design artist of his time. He created paintings specifically for the color print market and reproductions of romantic scenes with lush colors sold well.
Parrish believed that the artist benefited when he used technology. He used photography in his studio and constructed his own 4x5 inch glass plate camera and developed the image in a positive form on another glass plate in his darkroom. He created a projector so he could project the image from his camera on a sheet of tracing paper. He would trace what he wanted from the photograph and transfer the image to a painting surface. He usually combined several photographs for one painting and never painted from live models.

Fisk Tires Prints
Gilded Age (1877-1900)
George Krevsky Gallery
©2009 artnet - The art world online

The Dream Garden
By Maxfield Parrish and Louis Comfort Tiffany
The The Curtis Building
Author Bruce Andersen
From Wikimedia Commons

Picture of Ali Baba 1909
Author: Maxfield Parrish
From Wikimedia Commons

The dramatic and highly colored paintings were the result of a complex glazing technique. He was fascinated by iridescent qualities of color and unusual effects of light. Later in his career he used glazes almost exclusively. He worked to create the effect of stained glass like the Tiffany designs that were popular at the time. It was a process that involved putting one color over another in a series of layers. The process created an intensely luminous canvas that is mostly lost in reproductions.

Dinky Bird 1904
Lantern Bearers 1908
Reveries 1913
Garden Of Allah 1918
Morning (aka Spring) 1922
Daybreak 1922
Interlude (The Lute Players) 1922
The Canyon 1924
The Knave 1925
Waterfall 1930
(From tragsnart.co.uk)

The glazing technique itself is a painting method of the old masters. Over a smooth white ground, several thin layers of transparent paint are applied. Each layer, because it is transparent, is visible through the subsequent layers. The underlying color is seen through the reflective qualities of the white behind it. The layers of paint build up and create subtle blend of luminous color. The effect is like many layers of colored glass laid one over the other.
The drawing was outlined in pencil on the white ground. The underpainting was usually a strong monochrome of ultramarine blue and designed to dominate the following layers and provide the shadows. Then he would build the transparent layers and use opaque pigments only for trees.
Parrish squeezed some oil pigment from the tube on a glass palette without mixing it
because in its pure state pigment is most transparent. Then he added linseed oil to the pigment to make it more transparent and checked his mixture on the glass palette which was placed over a white background. He placed a very thin layer of the paint in small areas and press the pigment against the surface of the panel with a rag to flatten out completely and remove any trace of brushstrokes.
Between each layer of paint he applied an equally thin layer of varnish. The varnish kept the underlying layer from mixing with the following layer and added the gloss that increased the transparency and the brilliance of the original oil color which dulls on drying. The varnishing process was as difficult as glazing because it can only be applied after the layer of oil paint is absolutely dry and took about 2 weeks. It had to be done in a warm room to a warmed painting so that no hint of moisture clouded the color. The varnish then had to dry completely before he could go on to the next layer. When the varnish was dry, Parrish would roughen the varnished surface by rubbing lightly with pumice so the next layer of glaze would adhere to it well. Since so much time was required for the drying, Parrish often worked on nearly a dozen paintings at one time. He hurried the drying time by placing the canvases in the sun during the summer or heat lamps in the winter.
He used a stipple brush, like that used for stenciling to apply the thin layers of paint. The paint was pounced on the surface in areas that were uneven like dots so that the underlying surface was still partially visible. The effect is similar to that of an airbrush which Parrish did not use. There are soft graduations from light to dark or one color to the next in his paintings. Sometimes Parrish textured the glazes with course paper, wipe them with cheesecloth or clean edges with a knife to achieve the effects he sought.
Throughout his long life Parrish painted with attention to craftsmanship and design. The techniques and innovations that he used to create his work were tools to enable him to explore the luminous qualities of color. The resulting paintings contain an elegant beauty that is a feast to the eye.
-Information from "America's Great Illustrators" by Susan E. Meyer, published by Galahad Books. It has chapters on Remington, Leyendecker, Flagg, Gibson, Christy, Pyle, Held Jr, Rockwell and Wyeth. © 1998 - 2007 ArtCafe Network
There are a few of Parrish's half-finished paintings around. In Dreaming (1928), there was originally a nude woman seated by a large tree. After publication, Parrish decided to remove the girl and change various elements. He never completed the job. This painting clearly demonstrates his technique.

Dreaming October
Oil painting on masonite
(From painterskeys.com)

The tree on the right represents the first stage in producing the full colour image. Cyan in varying degrees of intensity has been laid down with the full knowledge of what other "process" colours will do when laid over them. The "stipple" effect--as if some areas are put on with a sponge--contributes to the impressionistic dazzle seen in close examination. Parrish’s order of application varied. In many cases he worked from a carefully planned black "grisaille"--then overlaid cyan, magenta and yellow in that order. In this case the amorphous nature of the tree lent itself directly to colour. Another artist, and friend of Parrish, who used a similar technique was the Alaskan painter Fred Machetanz.
(Copyright 2006 Robert Genn at painterskeys.com)
Quotations:
"There are countless artists whose shoes I am not worthy to polish--whose prints would not pay the printer," he said, "the question of judgment is a puzzling one."
"The hard part is how to plan a picture so as to give to others what has happened to you. To render in paint an experience, to suggest the sense of light and color, of air and space." (Maxfield Parrish)

Artist Letters December 9th 1902
Windsor, Vermont
Source Don Kurtz
From artrenewal.org

Of Parrish, Norman Rockwell said, “Maxfield Parrish was certainly one of our most prominent illustrators and hardly a home in America existed that didn’t have a Maxfield Parrish print. I’m an illustrator. Maxfield Parrish was a painter-illustrator. He was in the Golden Age of Illustration. When I was in art school I admired him.”
The most popular American artist of his day, Maxfield Parrish (1870–1966) mingled mythical and real landscapes so naturally as to create worlds that can be briefly entered and savored: you can almost smell the snow on his distant peaks, feel the pine duff underfoot in his forests. Here are a dozen of his classics: Ecstasy, The Millpond, Wild Geese, The Reservoir at Villa Falconieri, Solitude, Contentment, and six others.
(From pomegranate.stores.yahoo.net)

Maxfield Parrish 2009 Wall Calendar
From pomegranate.stores.yahoo.net

More about Maxfield Parrish:
AKA Frederick Maxfield Parrish
Born: 25-Jul-1870
Birthplace: Philadelphia, PA
Died: 10-Mar-1966
Location of death: Plainfield, NH
Cause of death: unspecified
Gender: Male
Race or Ethnicity: White
Sexual orientation: Straight
Occupation: Artist
Nationality: United States
Executive summary: American book and magazine illustrator
Father: Stephen Parrish (landscape painter)
Mother: Elizabeth Bancroft
Wife: Lydia Austin (ethnologist, m. Jun-1895, d. 1953)
Son: John Dillwyn Parrish (b. 1904)
Son: Maxfield Parrish, Jr, (b. 1906)
Son: Stephen (b. 1909)
Daughter: Jean (b. 1911)
(Copyright ©2008 Soylent Communications)

Fans of Maxfield Parrish should check out The Knave of Hearts
Alma M. Gilbert’s essay Maxfield Parrish: Master of Make-Believe
(From mentalfloss.com)

Maxfield ParrishThis biography was prepared by Natalie M. Yurkoski at pabook.libraries.psu.edu

THE NATURAL WORLD

A painter of both mammals and birds, Martin Ridley has spent much time developing a knowledge of the field, which is clearly reflected in his work. Combined with conceptual composition his attention to animal behaviour, habitat detail and lighting creates an amazingly accurate and artistic record of his nature encounters.
He graduated in 1988 with the highest awards ever given to a student completing the wildlife illustration course. He was not only awarded a distinction but was nominated course, faculty and college student of the year. A plethora of his images have gone into printed circulation including illustrations for books, prints, card and calendar designs.
His work has featured in The Artist, BBC Wildlife, The Field and Heritage magazines and a book entitled "The Best of Wildlife Art", published in the USA. Works of art have been utilized as covers for the following publications; 1999 autumn issue of the Wildfowl and Wetlands Trust magazine, the WeBs Wetland Bird Survey 1994-95 and 1997-98. Published images for 2002 include; a twelve-piece calendar, which is being sold in aid of The Royal Society for the Protection of Birds and the cover image for "The Birdwatchers Yearbook and Diary".

Poolewe Stags (Detail from the painting)
Watercolour
Wildlife paintings using digital camera shots

At The Wildlife Art Society's 1995 Exhibition at the Westminster Galleries in London, Martin was awarded Best Painting in Show, Best Oil Painting and Best Newcomer. In 1997 he was a finalist in the Laing sponsored seascape and landscape painting competition and in the following year two works were finalists in the touring Nature in Art exhibition. Works of art have been utilized as covers for the following publications; 1999 autumn issue of the Wildfowl and Wetlands Trust magazine, the WeBs Wetland Bird Survey 1994-95 and 1997-98. Published images include; several twelve-piece calendars, which were sold in aid of The Royal Society for the Protection of Birds and the cover image for The Birdwatchers Yearbook and Diary.
(© copyright 2008 - Martin Ridley)

The Interloper
Brown Hares in the Snow

A wildlife print depicting three brown hares in a snow covered landscape. The painting shows a doe with a buck in attendance as an interloper canters onto the scene. Hares start courtship behaviour early in spring. This painting was created at the beginning of a wintry week one March. The low winter sun creates long shadows on the snow.

Red Deer Stag and Screes

A red deer stag print reproduced from an original oil painting. The stag wanders into view in front of a striking mountainside of rock scree patches broken by the lines of traversing deer paths. This rocky landscape is very typical of the wild mountains of Scotland

Below the Surface

This otter painting was produced following a kayaking fieldtrip along the shores of Loch Shieldaig and Loch Torridon. I added a fitting to my paddle so that I was able to attach an underwater camera. Once out on the water above flowing seaweeds I set up the camera and simply pressed the ten second timer before lowering the paddle and attached camera under the kayak. The resulting photos were rather hit and miss and were never going to provide a photo of an otter chasing a fish, but they did provide me with enough of a perspective from beneath the surface to produce this painting.

Shooting the Rapids, Otters

The otter is a large member of the weasel family (mustelids), which includes badgers, polecats, martens, weasels, stoats and mink. In the wild they are elusive, secretive animals and live in undisturbed rivers, streams and estuaries. In the early 1960’s they were on the verge of extinction due to river pollution, habitat loss and hunting. Now with full legal protection, cleaner rivers and managed habitat it is returning to its former haunts, although its distribution will always be limited by the availability of fish.
The male otter is called a dog and the female a bitch. As otters are very territorial they tend to live alone, except during mating and for a period, dependent on the mother, after the cubs are born. They have large lungs and can stay submerged under water for 4 minutes, often swimming 400 metres before resurfacing. They can reach speeds of 12 km/h under water and can outrun man on land.

Golden Eagles (Aquila chrysaetos)

This huge bird of prey has a wingspan of 6.5 to 7.5 ft (1.8 to 2.3 m) MALE 3.5-4 kg (8-9 lb.) FEMALE 4.5-6 kg (10-14 lb.). Only the white-tailed eagle is larger in the United Kingdom. Golden Eagles are are dark brown, with lighter golden-brown plumage on their heads and necks. Immature birds can be recognised by the presence of distinct white patches on the under-wing and by a large white tail with dark band. Golden Eagles are extremely fast in the air, and can dive upon their prey at terrific speeds. Eagles are a very important part of the environment. As hunters they keep animal populations strong. They do this by killing weak, old, and slower animals, leaving only the healthiest to survive. Golden eagles prefer to attack upwind, which increases both their ability to control speed and maneuverability. They also feed on carrion, which unfortunately sometimes results in death from poisoning.

Bouncing Along, Brown Hare Studies

Pencil and watercolour sketches of brown hares bouncing along. The images have been made available as a short run limited edition print

Approaching Sunrise, Red Deer Triptych
Limited edition on three block canvases

At the Earth
Red Fox

Sharpened by the Cold
Sparrowhawk chasing fieldfares

High Screes - Red Deer - Roaring Stag

Peregrine falcon

'My specialist area is British wildlife and landscape paintings. Most of the original artwork is created using oils or watercolours. Since early childhood I've been an enthusiast of the natural world and my paintings are an expression of this. Through painting I aim to create a variety of stimulating visual images that originate from my day-to-day experiences and knowledge of the natural world. I draw and paint birds, mammals and landscapes at locations all over Great Britain. I very much enjoy working in watercolours. As a painting medium, watercolours provide me with a completely different range of effects and make a refreshing contrast to my lengthier oil painting projects. I have decided that my most successful watercolours are those that retain a freshness. Most importantly I'm striving for a strong and lively pencil drawing that captures the essence of the animal's character. The drawings structure is the core of the picture. I try to complete the watercolour painting rapidly, because painting watercolors for too long endangers translucency and pigment clarity.'
-Martin Ridley in martinridley.com

HOW DO WE KNOW THAT WE KNOW WHAT WE KNOW

From nowpublic.com
Uploaded by jamesinger June 14, 2006 at 05:44 pm

After answering the question, “what can we know?” Kant was naturally confronted with the next question: “what should we do?” and the closely related third question, “what can we hope for?”
Kant was born in Königsberg; he spent his life there; he died there. At the age of forty-six, Kant received an appointment as a professor of logic and metaphysics at his alma mater the University of Königsberg.

The old building of the Albertina
The old building is where Kant taught
It no longer exists, because of World War II
From Wikipedia, the free encyclopedia

Immanuel Kant was a German philosopher whose comprehensive and systematic work in the theory of knowledge, ethics, and aesthetics greatly influenced all subsequent philosophy, especially the various schools of Kantianism and Idealism. He was the foremost thinker of the Enlightenment and one of the greatest philosophers of all time. In him were subsumed new trends that had begun with the Rationalism (stressing reason) of René Descartes and the Empiricism (stressing experience) of Francis Bacon. He thus inaugurated a new era in the development of philosophical thought.
During the 1760s he became increasingly critical of Leibnizianism. According to one of his students, Kant was then attacking Leibniz, Wolff, and Baumgarten, was a declared follower of Newton, and expressed great admiration for the moral philosophy of the Romanticist Jean-Jacques Rousseau.
Image by Raquel at © 2005-2009 Listal.com
He argued that philosophy must begin with concepts that are already given, “though confusedly or insufficiently determined,” so that philosophers cannot begin with definitions without thereby shutting themselves up within a circle of words. Philosophy cannot, like mathematics, proceed synthetically; it must analyze and clarify. The importance of the moral order, which he had learned from Rousseau, reinforced the conviction received from his study of Newton that a synthetic philosophy is empty and false.
In 1781 the Kritik der reinen Vernunft (spelled “Critik” in the first edition; Critique of Pure Reason) was published, followed for the next nine years by great and original works that in a short time brought a revolution in philosophical thought and established the new direction in which it was to go in the years to come. Full Text of The Critique of Pure Reason, translated by J. M. D. Meiklejohn from Kant Archive at marxists.org.
Kant had accounted for the application of the mind’s a priori principles to objects by demonstrating that the objects conform to the mind: in knowing, it is not the mind that conforms to things but instead things that conform to the mind.
(From britannica.com)

John Clarke's outline of Kant's first Critique at userpages.bright.net
Kelley Ross's Overview of Kant at friesian.com with a concentration on Kant's view of space; Dr. Ross teaches philosophy at Los Angeles Valley College
(From David Hume: Links (web resources on Hume)maintained by Richard Lee)

Geoffrey Warnock on Kant: Section 1 (Time: 8:46)
©2007-2008 Mahalo.com Incorporated

Kant's analysis of commonsense ideas begins with the thought that the only thing good without qualification is a ‘good will’. While the phrases ‘he's good hearted’, ‘she's good natured’ and ‘she means well’ are common, ‘the good will’ as Kant thinks of it is not the same as any of these ordinary notions. The idea of a good will is closer to the idea of a ‘good person’, or, more archaically, a ‘person of good will’. The basic idea is that what makes a good person good is his possession of a will that is in a certain way ‘determined’ by, or makes its decisions on the basis of, the moral law. The idea of a good will is supposed to be the idea of one who only makes decisions that she holds to be morally worthy, taking moral considerations in themselves to be conclusive reasons for guiding her behavior. Courage may be laid aside if it requires injustice, and it is better not to be witty if it requires cruelty. possessing and maintaining one's moral goodness is the very condition under which anything else is worth having or pursuing. Intelligence and even pleasure are worth having only on the condition that they do not require giving up one's fundamental moral convictions.
Duties are created by rules or laws of some sort. For instance, the bylaws of a club lay down duties for its officers. City and state laws establish the duties of citizens. Thus, if we do something because it is our ‘civic’ duty, or our duty ‘as a boy scout’ or ‘a good citizen’, our motivation is respect for the code that makes it our duty. Thinking we are duty bound is simply respecting certain laws pertaining to us.
As it turns out, the only (non-moral) end that we must will in Kant's view (by ‘natural necessity’ he says) is our own happiness. Any imperative that applied to us because we will our own happiness would thus be an assertoric imperative. As it turns out, however, rationality can issue no imperative if the end is indeterminate, and happiness is an indeterminate end. Although we can say for the most part that if one is to be happy, one should save for the future, take care of one's health and nourish one's relationships, these fail to be genuine commands. Some people are happy without these, and whether you could be happy without them is, although doubtful, an open question.
we may think of a person as free when bound only by her own will and not by the will of another. Her actions then express her own will and not the will of someone or something else. The authority of the principles binding her will is then also not external to her will. It comes from the fact that she willed them. So autonomy, when applied to an individual, ensures that the source of the authority of the principles that bind her is in her own will. Kant's view can be seen as the view that the moral law is just such a principle.
Kant's says that a will that cannot exercise itself except under the Idea of its freedom is free from a practical point of view (im practischer Absicht). In saying such wills are free from a practical point of view, he is saying that in engaging in practical endeavors — trying to decide what to do, what to hold oneself and others responsible for, and so on — one is justified in holding oneself to all of the principles to which one would be justified in holding wills that are autonomous free wills. Thus, once we have established the set of prescriptions, rules, laws and directives that would bind an autonomous free will, we then hold ourselves to this very same of set prescriptions, rules, laws and directives. And one is justified in this because rational agency can only operate by seeking to be the first cause of its actions, and these are the prescriptions, and so on, of being a first cause of action.
Crucially, rational wills that are negatively free must be autonomous, or so Kant argues. This is because the will is a kind of cause — willing causes action. Kant took from Hume the idea that causation implies universal regularities: if x causes y, then there is some universally valid law connecting Xs to Ys. So, if my will is the cause of my φing, then Φing is connected to the sort of willing I engage in by some universal law. But it can't be a natural law, such as a psychological, physical, chemical or biological law. These laws, which Kant thought were universal too, govern the movements of my body, the workings of my brain and nervous system and the operation of my environment and its effects on me as a material being.
Kant defines virtue as “the moral strength of a human being's will in fulfilling his duty” (6:405) and vice as principled immorality.
Kant's account of virtue presupposes an account of moral duty already in place. Thus, rather than treating admirable character traits as more basic than the notions of right and wrong conduct, Kant takes virtues to be explicable only in terms of a prior account of moral or dutiful behavior. Virtue is for Kant a strength of will, and hence does not arise as the result of instilling a ‘second nature’ by a process of habituating or training ourselves to act and feel in particular ways. It is indeed a disposition, but a disposition of one's will, not a disposition of emotions, feelings, desires or any other feature of human nature that might be amenable to habituation.
A virtue is some sort of excellence of the soul , but one finds classical theorists treating wit and friendliness along side courage and justice. Since Kant holds moral virtue to be a trait grounded in moral principle, the boundary between non-moral and moral virtues could not be more sharp. Morality is ‘duty’ for human beings because it is possible (and we recognize that it is possible) for our desires and interests to run counter to its demands. Should all of our desires and interests be trained ever so carefully to comport with what morality actually requires of us, this would not change in the least the fact that morality is still duty for us. The lack of virtue is compatible with possessing a good will. That one acts from duty, even repeatedly and reliably can thus be quite compatible with an absence of the moral strength to overcome contrary interests and desires. Indeed, it may often be no challenge at all to do one's duty from duty alone. Someone with a good will, who is genuinely committed to duty for its own sake, might simply fail to encounter any significant temptation that would reveal the lack of strength to follow through with that commitment.
-'Kant's Moral Philosophy', First published Mon Feb 23, 2004
Copyright © 2008 by Robert Johnson at Stanford Encyclopedia of Philosophy

http://etext.library.adelaide.edu.au/index.html (The University of Adelaide)
The Critique of Judgement (translated by James Creed Meredith)
The Critique of Pure Reason (translated by J. M. D. Meiklejohn)
Fundamental Principles of the Metaphysic of Morals (translated by Thomas Kingsmill Abbott)
Introduction to the Metaphysic of Morals (translated by W. Hastie)
The Metaphysical Elements of Ethics (translated by Thomas Kingsmill Abbott)
The Science of Right (translated by W. Hastie)

1 Life and works
2 Kant's work to 1770
3 The Inaugural Dissertation of 1770 and the problem of metaphysics
4 The project of the Critique of Pure Reason
5 Space, time and transcendental idealism
6 Pure concepts of the understanding
7 The principles of judgment and the foundations of science
8 The illusions of theoretical reason
9 The value of autonomy and the foundations of ethics
10 Duties of right and duties of virtue
11 Freedom of the will and the highest good
12 Taste and autonomy
13 Design and autonomy
14 The final decade of Kant's public and private career
(GUYER, PAUL (1998, 2004). Kant, Immanuel. In E. Craig (Ed.), Routledge Encyclopedia of Philosophy. London: Routledge. Retrieved January 03, 2009, from rep.routledge.com)

Of his parents he said:
"My two parents (from the class of tradesmen) were perfectly honest, morally decent, and orderly. They did not leave me a fortune (but neither did they leave me any debts). Moreover, they gave me an education that could not have been better when considered from the moral point of view. Every time I think of this I am touched by feelings of the highest gratitude".
"I will never forget my mother, for she implanted and nurtured in me the first germ of goodness; she opened my heart to the impressions of nature; she awakened and furthered my concepts, and her doctrines have had a continual and beneficial influence in my life."
(From stanford.edu)

Kaliningrad: homage to German philosopher Immanuel Kant
Photo by G.Frysinger
Image is part of Travel-Images.com

Kaliningrad: Immanuel Kant tomb / Grabmal Immanuel Kants
Photo by G.Frysinger
Image is part of Travel-Images.com