Central Hall Research Articles

Women's Contributions to Modernism: Discover, Recover, or Revise?

12. On the painting and its sources, see Bohrer, pp. 201 ? 3. 13. Among popular music, consider They Might Be Giants, The Mesopotamia , and Chumbawamba, On Ehay [from Babylon back to Babylon]. Among contemporary music drama, see Robert Wilson, The Forest (1988) and Bohuslav Martinu, The Epic of Gilgamesh (19S5). The BM exhibit listed none of these and instead displayed a table of music that looked like the result of a hasty Google search. 14. A particular lost opportunity was just across the Thames, where Cildo Meireles' Babel, 2001 (a tower of radios tuned to different stations) was at Tate Modern as part of the artist's retrospective there. It would have looked great in the BM's central hall (Cildo Meireles (Tate Publishing: London, 2008), p. 168). Another possibility is Leon Ferrari, Torre de Babel of 1963, which Tate Modern recently acquired. 15. A work by J&K, entitled 'The Babylon Case' was, in fact, installed in the 'Reality' section of the Berlin show. On Sundaram, see Saloni Mathur, 'Art and Empire: On Oil, Antiquities, and the War in Iraq', New Formations, vol. 65, Autumn 2008, pp. 119 ? 38. For Rakowitz, Brian Boucher, 'Babylon without Borders', Art in America, April 2007, pp. 124?7. For Kim Jones 'War Paintings', Stephen Maine, 'Things He Carried', Art in America, November 2007, esp. p. 239. 16. Iraq's Past Speaks to Its Present, 10 November 2008 to 15 March 2009. 17. In fact, the British Museum even lent a Babylonian boundary stone to the earlier ground-breaking exhibition Strokes of Genius, Maysaloun Faraj (ed.), Strokes of Genius: Contemporary Iraqi Art (Saqi Books: London, 2001).

Simulating effects of gas flow on arc plasma to anode heat transfer during incinerator ash treatment

The conventional method for converting incineration ash to slag employs a plasma type furnace. An analysis of ash melting characteristics was undertaken by changing the inner shield N 2 gas flow rate, assuming a hollow cathode and the ash anode. Results show that heat input intensity characteristics on the ash depend strongly on the gas flow rate through the central hall of the tube cathode arc (TCA). The maximum temperature of the ash surface becomes about 3000–4000 K in a melting state. For a gas flow rate greater than 2 L/min, the shape of the heat input intensity on the ash is annular because of the gas flow. By adjustment of the inner shield gas flow rate, more practical melting of a wider area of the ash can be achieved with the intense annular heat input on the ash.

"Let his Memory be Holy to Us!": Jewish Interpretations of Martin Luther from the Enlightenment to the Holocaust

In 1883, Emil Gustav Hirsch (1851–1953), rabbi of the Sinai Reform Congregation in Chicago, one of the formative figures in modern, socially engaged liberal American Judaism at the end of the nineteenth century,1 triggered a huge scandal amongst the Jewish public in the USA. Hirsch had been given the honour (inconceivable in Germany for a representative of the rabbinate) of giving the speech in Chicago's Central Music Hall on the occasion of the commemoration of the 400th anniversary of Luther's birth—an indication of the good relations between the Reform congregation and the German Lutherans in the city. Two days later, in a sermon to his congregation, he painted an unusually positive picture of the reformer, praising his Bible translation as a “cornerstone of modern German literature”, an “outstanding, eternal monument to the German spirit”, and calling upon his audience to take Luther as a model for a modernisation of Judaism that seemed so desperately needed to him.2 The immediate source of the scandal may have been the fact that Hirsch polemically compared one of his fiercest Jewish opponents, the founder of the Hebrew Union College in Cincinnati, Isaac Mayer Wise (1819–1900), to the infamous preacher Johannes Tetzel, and in doing so implicitly portrayed himself as a kind of Jewish Luther. However, the discussion quickly shifted to the fact that Hirsch had defended Luther's role in the peasants’ revolt during the 1520s and, above all, played down the importance of the reformer's later anti-Jewish writings. From Hirsch's point of view, the fall of the “one-time friend of the Jews … from the height of tolerance to the abyss of fanaticism” essentially had to be attributed to Luther's bitter disappointment that the Jews stubbornly clung to their Jewish identity, despite Christianity's spiritual reorientation, the Reformation movement's unveiling of the true Gospel. In Hirsch's opinion, not too much importance needed to be accorded to this stance, influenced as it was by the times; rather, Luther's greatness and originality deserved to be honoured. Without these qualities, the modern era would have been unthinkable—and consequently a range of fundamental changes in the social and cultural position of the Jews.3

“Let his Memory be Holy to Us!”: Jewish Interpretations of Martin Luther from the Enlightenment to the Holocaust

In 1883, Emil Gustav Hirsch (1851–1953), rabbi of the Sinai Reform Congregation in Chicago, one of the formative figures in modern, socially engaged liberal American Judaism at the end of the nineteenth century,1 triggered a huge scandal amongst the Jewish public in the USA. Hirsch had been given the honour (inconceivable in Germany for a representative of the rabbinate) of giving the speech in Chicago's Central Music Hall on the occasion of the commemoration of the 400th anniversary of Luther's birth—an indication of the good relations between the Reform congregation and the German Lutherans in the city. Two days later, in a sermon to his congregation, he painted an unusually positive picture of the reformer, praising his Bible translation as a “cornerstone of modern German literature”, an “outstanding, eternal monument to the German spirit”, and calling upon his...

A STUDY ON THE PROPOSALS OF THE BUDAPEST CENTRAL CITY HALL AROUND THE TURN OF THE CENTURY

This paper examined the plans of the Budapest central city hall proposed between 1891 and 1914. During this period, especially private architects tried to create a new urban core by locating the city hall appropriately in the redevelopment area. Around 1892, they planned the city hall along the Danube or near the new bridge to treat the two parts of the city separated by the river equally. In the proposals after 1898, the city hall was placed on the axis of a wide street or on the focal point of several radial streets. The officially accepted plan in 1914 emphasizes the view from a car approaching the city hall through a curved street.

The Tomb of Grenna, Cyrene

AbstractThis tomb, recorded by Jean-Raimond Pacho in 1825 and partially excavated in 1848 by Vattier de Bourville, contained four decorated marble sarcophagi, three of them placed in large recesses, the fourth on the floor of the central hall. It was next mentioned in 1949 by Morgan, the Antiquities Officer, and recorded by Cassels in 1954. In 1958 Goodchild and Ward-Perkins partially cleared it, but left no known account of their findings. In 2000 James Thorn found that the interior walls were originally clad with marble veneer and the floor was mosaic, evidently a tomb of imperial grandeur.

Selected Summary Highlights from the 55th Meeting of the intergovernmental Marine Environment Protection Committee (MEPC 55) of the International Maritime Organisation (IMO), 9–13 October 2006, held at Central Hall, Westminster, London

Selected Summary Highlights from the 55th Meeting of the intergovernmental Marine Environment Protection Committee (MEPC 55) of the International Maritime Organisation (IMO), 9–13 October 2006, held at Central Hall, Westminster, London

The Intellectual Bully of Baltimore

The Intelectual Bully of Baltimore Richard O'Mara Marion Elizabeth Rodgers , Mencken: The American Iconoclast: The Life and Times of the Bad Boy of Baltimore. Oxford University Press, 2005. 662 pages. $35; Terry Teachout , The Skeptic: A Life of H. L. Mencken. HarperCollins, 2002. xviii + 396 pages. Illustrated. $29.95, $15.95 pb. I've been walked through H. L. Mencken's life before, each time convinced the claim has been overworked. Yet each time more is brought forth about the man—how he lived, worked, and related to people; successive biographers, critics, idolaters bore in closer in ten or more works since 1925, much to the reader's interest and the subject's disparagement. William Manchester (Disturber of the Peace) wrote an affectionate tribute. Carl Bode (Mencken) was correct, objectively academic. Terry Teachout (The Skeptic, now available in paperback) may have seized the essence of the man: it was all in the writing. Mencken proved that extraordinary style, when animated by a specific skeptical disposition, could trump substance, even want of it. I have just emerged from Marion Elizabeth Rodgers's long book, jammed with more facts about the man than stones on a shingle beach, but the mystery, to me at least, remains: I don't know for certain why H. L. Mencken was so famous, though I am ready to admit he was, still is. A single fact related by Vincent Fitzpatrick, the scholar and Mencken biographer who keeps the Mencken Room on the third floor in the Enoch Pratt Central Library in downtown Baltimore, persuaded me. According to the sharp-eyed minions of the clipping service Dr. Fitzpatrick employs, Mencken remains the most frequently quoted American author, even today. (Well, it's either he or Mark Twain.) Every year Fitzpatrick fills hundreds of pages of a scrapbook with articles about Mencken or with quotations from his work. In fact, a few years back, while living in Mexico, I sent Fitzpatrick a copy of Mencken's posthumous advice to those who might want to honor his spirit, urging them to "forgive some sinner and wink your eye at some homely girl." That's what I call staying power. That's what I call global reach. Marion Rodgers worked hard on this book; she seems to have tracked down and talked to every living person who had some kind of connection with Mencken. She read millions of words in libraries and private collections, his dossier in the fbi. Her book, says the blurb on its cover, is "the full portrait of one of America's most colorful and influential men." Why do I think Oscar Wilde? Why do I think The Picture of Dorian Gray? Yet I am grateful to her. Anyone with even the faintest interest in the "Sage of Baltimore," the "Glare of the Sunpapers," or, her preferred epithet, the "Bad Boy of Baltimore," should be as well. Owing to all that industry [End Page 146] she's gotten to things few people knew about before, and she treats more thoroughly incidents only touched upon by other biographers—such as her account of Mencken's brief tenure as editor of the editorial page of the Evening Sun. I never met the man; he died nine years before I landed at the Sunpapers. (This is the way Baltimoreans referred to the two papers published here; they still do, though only the morning paper remains.) My only connection, tenuous indeed, is that I worked for six years on the editorial page whose staff Mencken terrorized during the three months he served as its editor. I have met three, and briefly knew two, of the victims of that horrific tenure: Robin Harriss and Gerald Johnson, a noted Maryland historian whose bust is positioned in the Pratt's soaring Central Hall. Mencken was put in charge by the publisher, Paul Patterson, and told to rattle the Ivory Tower. This he did—and in the process revealed himself as a raging ideologue and vicious propagandist. He thought the staff a pack of second-raters, harried them, rejected their ideas, rewrote their copy, nudged aside those whose opinions, especially on FDR and the New Deal, collided with his. He ordered two of...

The Cast Collection at the Academy of Fine Arts in Vienna

The Viennese collection of plaster casts at the Academy of Fine Arts (Academie der Bildende Kunst) dates to the beginning of this institution in the late seventeenth century. In 1851 a part of the collection was first opened to the public and therefore, besides its use as study material for the Academy's students, its second task became the representation of the history of sculpture. In the course of the nineteenth century the taste changed in favor of Renaissance art and therefore some works by Michelangelo were acquired including the Moses. From 1885 onwards Sigmund Freud frequently visited the collection. The architect of the new Academy building at the Schillerplatz—still the site of today's Academy—Theophil Hansen, designated the central hall and eight rooms on the ground floor to house the Museum of Plaster Casts (Gipsmuseum) which was opened in January 1878 and was going to be the biggest museum for plastic works in the history of the city until its closing and clearance in 1935. The article is focused not only on the history but also on the presentation of the collection especially at Freud's time.

Politics Page UK

The article presents updates on politics and special education in Great Britain as of June 2006. The discussion paper Changing Britain for Good, was launched in Westminster Central Hall on January 30. The law dealing with Special Education in Northern Ireland is contained in the Education Order 1996 as amended by the Special Educational Needs and Disability Order 2005. A plan by the Healthcare Commission in England to improve services for people with learning disabilities was launched in November 2005.

An examination of the gardens at Langdon Court

The modest manor house of Langdon Court, near Plymouth in south Devon, has a complicated but decipherable architectural history . The history of its garden, however, is more mysterious. Sited in a sheltered combe above the River Yealm, Langdon was originally a modest Domesday manor. In 1564 it was granted by Elizabeth I, for services to the Navy, to Vincent Cahnady, a Devon lawyer; and Langdon remained a seat of the Calmadys, prosperous merchants and lawyers, until 1875. Vincent constructed a new manor house there in 1577 on traditional medieval lines with projecting gabled wings on either side of a central hall, using stone and timber from the nearby dissolved Plympton Priory. Minor sequential improvements followed with increased prosperity (the plaque over the porch on the east front is dated 1688 and the sundial plaques on the garden front are dated 1693); and the house was extensively reworked in 1707 by Vincent's great-grandson, Josias (d. 1714). Josias Calmady was a wealthy and influential man: MP for Okehampton from 1679 to 1680, High Sheriff of Devon from 1694 to 1695, and Deputy Lieutenant from 1701 to 1714; and both the house and garden flourished under his ownership. He created a new west front, infilling between the wings to create a more substantial, square mansion with a central open court yard; and significantly developed the formal gardens.

Calculated organ doses for Mayak production association central hall using ICRP and MCNP.

As part of an ongoing dose reconstruction project, equivalent organ dose rates from photons and neutrons were estimated using the energy spectra measured in the central hall above the graphite reactor core located in the Russian Mayak Production Association facility. Reconstruction of the work environment was necessary due to the lack of personal dosimeter data for neutrons in the time period prior to 1987. A typical worker scenario for the central hall was developed for the Monte Carlo Neutron Photon-4B (MCNP) code. The resultant equivalent dose rates for neutrons and photons were compared with the equivalent dose rates derived from calculations using the conversion coefficients in the International Commission on Radiological Protection Publications 51 and 74 in order to validate the model scenario for this Russian facility. The MCNP results were in good agreement with the results of the ICRP publications indicating the modeling scenario was consistent with actual work conditions given the spectra provided. The MCNP code will allow for additional orientations to accurately reflect source locations.

Antwerp Law Courts, Belgium

The new building will accommodate a number of disparate judicial functions, comprising eight courts. The complex includes 36 hearing rooms, administrative offices, judges' and barristers' chambers, the central hall known as the Salle des Pas Perdus, linking the six radiating office wings, a library and dining-room, as well as underground car-parking for both legal staff and members of the public.

Isotopic Composition of Uranium in Lava-Like Fuel-Containing Masses from the Fourth Block and Radioactive Fallout of the Chernobyl NPP Service Area

Available data on the abnormal enrichment with respect to 235U (up to 27%) of hot fuel particles in soils of the CNPP service zone are analyzed. The isotopic composition of fuel extracted from faulty fuel assemblies found in the debris of the central hall of the 4th block is studied. Abnormal 235U/238U isotopic ratios were found in some of the fuel samples studied; the deviations from the normal value to both higher and lower values were observed. The need in further studies in this area is substantiated.

Model of the Destruction of the Reactor in the No. 4 Unit of the Chernobyl Nuclear Power Plant

The authors, who participated in 1986–1995 in the investigations of the destroyed power-generating unit of the Chernobyl nuclear power plant, have made an attempt to reconstruct, on the basis of an analysis of the results of investigations, the processes leading to the destruction of the reactor system. It is shown how the ideas concerning the accident processes developed as data on the postaccident state of the structures of the reactor system were obtained and analyzed. A model of the destruction of the reactor system is proposed. This model substantiates that fact that the core was lifted by 30 m from the reactor shaft and exploded above the central hall.

Humor's Body: Jackie Gleason, Roseanne, and Some Others

NEIL SCHMITZ Humor's Body: Jackie Gleason, Roseanne, and Some Others 1 very affliction has its hall offame. Anyone seriously impaired 'or singularly afflicted knows his or her hall of fame. Stuttering has Demosthenes, dealer of phillipics, right there at its entrance. Epilepsy has St. Paul, Julius Caesar, Fyodor Dostoyevsky. Satyriasis, a vast hall, has its row upon row of greatly brooding Demented Ones. Some afflictions , like Lou Gehrig's Disease, have only modest pantheons, a single room. In Fatness, which has a great central hall, numerous wings and many new additions, Jackie Gleason is being installed. He's not with Oliver Hardy and Lou Costello. He's in the Defiant Wing, where Orson Welles is, and Gertrude Stein, the Gertrude Stein of Tender Buttons and Lifting Belly. Jackie Gleason's space is almost as large as Gertrude Stein's. One turns a corner and there he is, The Great One, eyes, jowls, girth. His text is being assembled: sitcoms, specials, performances, musical compositions , films, interviews. Boxes are everywhere, excelsior. Monitors, already up, are continuously showing The Honeymooners, the classic thirty-nine episodes. As the curators deliberate and reconsider, still not sure about tbie place of the films, where to put them, how to put them, visitors stand and watch Jackie Gleason, Audrey Meadows, and Art Carney do Ralph Kramden, Alice, and Ed Norton. Some watchers know the lines word for word, can do entire scenes, all the parts. "I am the king in my castle." Episode Seven, "Better Living Through TV," November 12, 1955, Writers: Marvin Marx, Walter Stone, Director: Frank Satenstein. "I got a biiig mouth!!!," Episode Three, "The Golfer," October 15, Arizona Quarterly Volume 56, Number 2, Summer 2000 Copyright © 2000 by Arizona Board of Regents ISSN 0004-1610 98Neil Schmitz 1955, Writers: A. J. Russell, Herbert Finn, Director: Frank Satenstein (McCrohan 23). In twentieth-century Anglo-American comic performance, Charles Chaplin, who is in Littleness, that hall offame, did the quick little man definitively, effacing weak. Jackie Gleason does the strong fat man definitively , effacing sfow. In Charlie Chaplin's silent comedy, the big fat man (Eric Campbell) is too slow, is baffled, upended, the butt. In The Honeymooners, Alice, the quick little person, is married to fatness, to bigness, is content, loyal, loving. Jackie Gleason enters the set, door flung open, always improvising, scripts flung, doing Ralph Kramden, doing Ralph, as in Nicholas Udall's 1 545 Ralph Roister Doister, first complete English comedy, that tutbulent blustering Ralph, doing Kramden as power crammed in. Udall's play is a cornucopia of fat jokes. Says Matthew Merrygreek to Ralph: "Ten men can scarce match you with a spoon in a pie" (3.7.18). As J. Hoberman has it in his Film Comment essay on The Honeymooners: "There's Shakespeare's Falstaff, and then there's Gleason's Kramden" (66). Tudor fat comedy, on the edge of modernity, still instances humoral psychology , still cites fatness as sinful, the sign of gluttony, of sloth. Prince Hal as Alice, think of it, affectionate, contemptuous, blistering in his body remarks: "that trunk of humours, that bolting-hutch of beastliness, that swollen parcel of dropsies, that huge bombard of sack, that stuffed cloak-bag of guts" (1H4 2.4.337-40). Alice is always similarly contemplating Ralph's girth, lovingly dealing him cruel jibes. Hal finally rejects Falstaff, whose fatness expresses medieval indulgence, medieval luxury. Hal's new Britain needs lean trim producers, young persons who will sacrificially labor for Hal's modern Britain. Falstaff's fatness is all ingestive, self-centered. "Thou art so fat-witted, with drinking of old sack and unbuttoning thee after supper and sleeping upon benches after noon," says Hal early in Henry IV, Part I (1.2.2-4). Then, at last, this cold admonition, Shakespeare's advice to the overweight, to the fat Falstaffs of the world: "Leave gourmandizing; know the grave doth gape / For tbiee thrice wider than fot other men" (2H4 5-5-53-54). Ralph Kramden's ego ("I am the king in my castle"), Ralph's desire ("I got a biiig mouth!!!"), pent up by his poverty, by his circumstances, held in by the gray anonymity of his bus...

三金堂形式の起源としての二金堂形式の可能性 : 高句麗佛寺址を中心として

The origin of three image hall pattern of the early Buddhist architecture was often discussed but not clearly identified. The paper intend to criticize a few theories proposed earlier and to establish a new possibility that could be summerized as followings : 1) During the fourth century the inclusion of image halls on each side of the pagada was modeled after the paird buildings of East & West Hall on each side of the Central Hall which was the new development of contemporary palace architecture. 2) This could have resulted the pattern of two image halls as the beginning stage of three image hall pattern as can be traced by the excavated sites of Koguryo such as ChongRung-sa.

Divine Display or Secular Science: Defining Nature at the Natural History Museum in London

Pterodactyls and saber-toothed cats peer down from the parapet of the Natural History Museum in London, a grand Victorian edifice designed and built over a twenty-three-year period. Conflicting definitions of nature during this period, ranging from nature as the unwritten Book of God to nature as secular science, affected the architectural development of the institution. Although Victorian scientists, politicians, and architects agreed on the cultural worth of museums, they disagreed on the proper presentation of science to the public. Alfred Waterhouse, the museum's architect, bravely entered this storm, designing a monumental building which needed to respond to impermanent accounts of natural history. This article retraces three issues in the museum's architectural history: the scope of the displays, the suitability of exhibition architecture, and the appropriateness of ecclesiastical imagery in the final building. Beginning in the 1850s, Richard Owen (1804-1892), an upper-class conservative natural theologian, and Thomas H. Huxley (1825-1895), a middle-class secular evolutionist of the younger generation, debated the breadth of the museum's displays, with Owen proposing an encyclopedic museum of the entire imperial collection, while Huxley preferred a small didactic museum for the public and a private research center for scientists. Just after the competition in 1864, the architect Robert Kerr and the engineer Francis Fowke disagreed about the extent to which the lightly framed, iron and glass architecture used for exhibition buildings should encroach upon museum design, revealing a tension between the ideas of the museum as showplace and the museum as a place of scientific study. Finally, the article looks at the reception in journals and newspapers of the museum's architecture, especially the ornament and the nave-like central hall. Owen had divided the collections into living and extinct species, located on either side of the Great Hall; Waterhouse's ornament was correspondingly based on either familiar animals or prehistoric beasts. This schism in the planning and decorative program of the museum appealed to newspaper reporters, but it did not represent nature as seen by most late Victorian biologists, since by 1881, when the museum opened, almost all scientists believed in the continuity of nature over time. The scientific journal Nature objected to the church-like interior, calling the

Variability of fluxes of particulate material in a submarine cave with chemolithoautotrophic inputs of organic carbon

MEPS Marine Ecology Progress Series Contact the journal Facebook Twitter RSS Mailing List Subscribe to our mailing list via Mailchimp HomeLatest VolumeAbout the JournalEditorsTheme Sections MEPS 139:205-217 (1996) - doi:10.3354/meps139205 Variability of fluxes of particulate material in a submarine cave with chemolithoautotrophic inputs of organic carbon Airoldi L, Cinelli F The composition and vertical fluxes of particulate material were studied in February, May and October 1994 and in February 1995 in a submarine cave (Grotta Azzurra, Capo Palinuro, southwestern coast of Italy) influenced by the presence in its innermost dark region (Snow Hall) of hot sulphurous springs supporting dense mats of chemolithoautotrophic bacteria. A multifactorial sampling design was used to specifically address whether there were differences in the quantity and quality of particles sedimenting at different sites within Snow Hall and in the outer non sulphurous region of the cave (Central Hall), and whether patterns were consistent over time. Material collected in sediment traps was analysed to quantify the content of coarse particles, total particulate material, particulate organic carbon, particulate organic nitrogen, chlorophyll a, phaeopigments, total carbohydrates, total proteins and total lipids. Microscopic analyses were also carried out in order to characterise coarse and particulate material. The most abundant recognisable particles in the traps were faecal pellets, Posidonia and algal debris and fragments of organisms living on the vault of the cave, while a great proportion of coarse material consisted of generally unidentifiable amorphous aggregates. Both the magnitude of flux and nature of the sedimented material were heterogeneous. Such variability was especially evident on a small spatial scale. Significant variation among sites sampled in each region was detected during each sampling period for the majority of the compounds that were analysed. Conversely, differences between the 2 regions were generally low and were not consistent through time. A clear spatial trend emerged only for chloropigments, whose sedimentation rates consistently decreased from Central Hall to Snow Hall. In contrast to the general paradigm of caves as simplified oligotrophic ecosystems driven by their proximity to an outside source of energy, the observed patterns suggest that vertical fluxes of particulate material in this peculiar environment are influenced by local processes acting on a small spatial scale within the cave. It is also indicated that bacterial chemosynthetic production supplies fresh organic material to the cave benthos in the form of sinking particles. Spatial variability · Particulate material · Fluxes · Sources · Biochemical composition · Sediment traps · Submarine caves · Chemosynthesis Full text in pdf format PreviousNextExport citation RSS - Facebook - Tweet - linkedIn Cited by Published in MEPS Vol. 139. Publication date: August 29, 1996 Print ISSN:0171-8630; Online ISSN:1616-1599 Copyright © 1996 Inter-Research.

Un Art nouveau pour le peuple. De « l’art dans tout » à « l’art pour tous »

During the period of the blossoming of Art Nouveau, France, like Great Britain and Belgium, witnessed a lively development of social art. In intellectual circles, the leading personalities militating for an art for the people were the architects Frantz Jourdain, Charles Plumet, Louis Sorel, Léon Bénouville and Henri Sauvage along with the writers Octave Mirbeau, Henri Cazalis (alias Jean Lahor) and Roger Marx. Associated in groups such as the «Groupe des cinq » or «L’Art dans tout », these architects tried in vain to participate in the 1900 Universal Exhibition in Paris, presenting models of workers’ housing which were both salubrious and elegant. In 1903, at the Exposition de l’habitation, Bénouville, Lavirotte and Plumet, associated with Selmersheim, presented some housing pavilions, organised around a central hall, according to English conceptions, built out of industrial materials and furnished by the architects. No orders were forthcoming from workers’ associations, and Plumet ’s model finished up as a holiday home. Bénouville built houses at Beauvais, Epinal and Bogny, all of them equipped with a workshop for family handicraft work, and based on the idea of popular education through art, under the guidance of the family head, the father. This same crusade, organised in the Société nationale de l’art à l’école, a society for the teaching of art in schools, also invited teachers to join in the mission.