HALLOWEEN SUNCATCHERS skull jack o lantern spooky cute light catcher tim burton
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HALLOWEEN SUNCATCHERS skull jack o lantern spooky cute light catcher tim burton. Check out our other new and used items>>>>>HERE! (click me) FOR SALE: A spooky-cute set of Halloween-themed light catchers SPOOKY VILLAGE HALLOWEEN SUNCATCHER PAINT KIT DETAILS: Sure to thrill trick-or-treaters and Halloween fanatics! This
creepy-cute suncatcher kit features iconic Halloween-themed images and the tools needed to give them color. Paint them and then hang them by their hanging loop where they can get some sun or light - just add some twine or cord. The suncatchers (or light catchers) have a design style that may remind some of the art and
animation aesthetic of the eccentric artist, animator, and filmmaker,
Tim Burton. Both light catcher line drawings look like they could have come from the Nightmare Before Christmas
or Corpse Bride universe! Makes an awesome gift for your favorite trick-or-treater(s) or for Halloween enthusiasts,
especially those who love Tim Burton and his artistic offerings. The paint brush appears neon green in the photos but it's actually neon yellow. What's included: 4 Paint Colors 1 Paint Brush 2 Suncatchers Retired Halloween 2020 product! CONDITION: New in package. The paints have dried out therefore unusable. The packaging has some shelf wear and its top section has been cut off. Please see photos. *To ensure safe delivery all items are carefully packaged before shipping out.* THANK YOU FOR LOOKING. QUESTIONS? JUST ASK. *ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.* "A suncatcher or light catcher is a small reflective, refractive, and/or iridescent ornament. It may include glass or nacre pieces and be hung indoors near a window to "catch" sunlight. A suncatcher is like the optical equivalent of a wind chime. Some designs are simple and abstract with perhaps some mobile-like chained elements, while more complex designs often evoke flora or fauna. Many designs combine suncatchers with wind chimes. It is believed that suncatchers were first made by the Southwestern Native-Americans.[citation needed] Suncatchers may be mass-produced or handmade, and vary in simplicity of design from an arts-and-crafts project to a professionally handmade glass sculpture." (wikipedia.org) "Halloween or Hallowe'en (a contraction of "All Hallows' evening"),[5] also known as Allhalloween,[6] All Hallows' Eve,[7] or All Saints' Eve,[8] is a celebration observed in many countries on 31 October, the eve of the Western Christian feast of All Hallows' Day. It begins the observance of Allhallowtide,[9] the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed.[10][11] One theory holds that many Halloween traditions may have been influenced by ancient Celtic harvest festivals, particularly the Gaelic festival Samhain, which may have had pagan roots;[12][13][14][15] some scholars hold that Samhain may have been Christianized as All Hallow's Day, along with its eve, by the early Church.[16] Other academics believe, however, that Halloween began solely as a Christian holiday, being the vigil of All Hallow's Day.[17][18][19][20] Halloween activities include trick-or-treating (or the related guising and souling), attending Halloween costume parties, carving pumpkins into jack-o'-lanterns, lighting bonfires, apple bobbing, divination games, playing pranks, visiting haunted attractions, telling scary stories, as well as watching horror films.[21] In many parts of the world, the Christian religious observances of All Hallows' Eve, including attending church services and lighting candles on the graves of the dead, remain popular,[22][23][24] although elsewhere it is a more commercial and secular celebration.[25][26][27] Some Christians historically abstained from meat on All Hallows' Eve, a tradition reflected in the eating of certain vegetarian foods on this vigil day, including apples, potato pancakes, and soul cakes.... Etymology The word appears as the title of Robert Burns' "Halloween" (1785), a poem traditionally recited by Scots. The word Halloween or Hallowe'en dates to about 1745[32] and is of Christian origin.[33] The word "Hallowe'en" means "Saints' evening".[34] It comes from a Scottish term for All Hallows' Eve (the evening before All Hallows' Day).[35] In Scots, the word "eve" is even, and this is contracted to e'en or een.[36] Over time, (All) Hallow(s) E(v)en evolved into Hallowe'en. Although the phrase "All Hallows'" is found in Old English, "All Hallows' Eve" is itself not seen until 1556.[35][37] History Gaelic influence An early 20th-century Irish Halloween mask displayed at the Museum of Country Life Today's Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.[38] Jack Santino, a folklorist, writes that "there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived".[39] Historian Nicholas Rogers, exploring the origins of Halloween, notes that while "some folklorists have detected its origins in the Roman feast of Pomona, the goddess of fruits and seeds, or in the festival of the dead called Parentalia, it is more typically linked to the Celtic festival of Samhain, which comes from the Old Irish for 'summer's end'."[40] Samhain was the first and most important of the four quarter days in the medieval Gaelic calendar and was celebrated on 31 October – 1 November[41] in Ireland, Scotland and the Isle of Man.[42][43] A kindred festival was held at the same time of year by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany; a name meaning "first day of winter". For the Celts, the day ended and began at sunset; thus the festival began on the evening before 7 November by modern reckoning (the half point between equinox and solstice).[44] Samhain is mentioned in some of the earliest Irish literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century,[45] and are still the Gaelic and Welsh names for Halloween. Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland. Samhain marked the end of the harvest season and the beginning of winter or the 'darker half' of the year.[46][47] Like Beltane/Calan Mai, it was seen as a liminal time, when the boundary between this world and the Otherworld thinned. This meant the Aos Sí, the 'spirits' or 'fairies', could more easily come into this world and were particularly active.[48][49] Most scholars see the Aos Sí as "degraded versions of ancient gods [...] whose power remained active in the people's minds even after they had been officially replaced by later religious beliefs".[50] The Aos Sí were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings.[51][52] At Samhain, it was believed that the Aos Sí needed to be propitiated to ensure that the people and their livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for the Aos Sí.[53][54][55] The souls of the dead were also said to revisit their homes seeking hospitality.[56] Places were set at the dinner table and by the fire to welcome them.[57] The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures throughout the world.[58] In 19th century Ireland, "candles would be lit and prayers formally offered for the souls of the dead. After this the eating, drinking, and games would begin".[59] Throughout Ireland and Britain, the household festivities included rituals and games intended to foretell one's future, especially regarding death and marriage.[60] Apples and nuts were often used in these divination rituals. They included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.[61] Special bonfires were lit and there were rituals involving them. Their flames, smoke and ashes were deemed to have protective and cleansing powers, and were also used for divination.[46] In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them.[45] It is suggested that the fires were a kind of imitative or sympathetic magic – they mimicked the Sun, helping the "powers of growth" and holding back the decay and darkness of winter.[57][62][63] In Scotland, these bonfires and divination games were banned by the church elders in some parishes.[64] In Wales, bonfires were lit to "prevent the souls of the dead from falling to earth".[65] Later, these bonfires served to keep "away the devil".[66] photograph A plaster cast of a traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland[67] From at least the 16th century,[68] the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.[69] This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food. It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to the custom of souling (see below). Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[70] It is suggested that the mummers and guisers "personify the old spirits of the winter, who demanded reward in exchange for good fortune".[71] In parts of southern Ireland, the guisers included a hobby horse. A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses – some of which had pagan overtones – in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[72] In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[69] F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked (or blackened) with ashes taken from the sacred bonfire.[68] In parts of Wales, men went about dressed as fearsome beings called gwrachod.[69] In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.[69] Elsewhere in Europe, mumming and hobby horses were part of other yearly festivals. However, in the Celtic-speaking regions, they were "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[69] From at least the 18th century, "imitating malignant spirits" led to playing pranks in Ireland and the Scottish Highlands. Wearing costumes and playing pranks at Halloween spread to England in the 20th century.[69] Traditionally, pranksters used hollowed out turnips or mangel wurzels often carved with grotesque faces as lanterns.[69] By those who made them, the lanterns were variously said to represent the spirits,[69] or were used to ward off evil spirits.[73][74] They were common in parts of Ireland and the Scottish Highlands in the 19th century,[69] as well as in Somerset (see Punkie Night). In the 20th century they spread to other parts of England and became generally known as jack-o'-lanterns.[69] Christian influence Today's Halloween customs are thought to have been influenced by Christian dogma and practices derived from it.[75] Halloween is the evening before the Christian holy days of All Hallows' Day (also known as All Saints' or Hallowmas) on 1 November and All Souls' Day on 2 November, thus giving the holiday on 31 October the full name of All Hallows' Eve (meaning the evening before All Hallows' Day).[76] Since the time of the early Church,[77] major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils that began the night before, as did the feast of All Hallows'.[78] These three days are collectively called Allhallowtide and are a time for honoring the saints and praying for the recently departed souls who have yet to reach Heaven. Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.[79] In 609, Pope Boniface IV re-dedicated the Pantheon in Rome to "St Mary and all martyrs" on 13 May. This was the same date as Lemuria, an ancient Roman festival of the dead, and the same date as the commemoration of all saints in Edessa in the time of Ephrem the Syrian.[80] The feast of All Hallows', on its current date in the Western Church, may be traced to Pope Gregory III's (731–741) founding of an oratory in St Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors".[81][82] In 835, All Hallows' Day was officially switched to 1 November, the same date as Samhain, at the behest of Pope Gregory IV.[83] Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea,[83] although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.[84] They may have seen it as the most fitting time to do so, as it is a time of 'dying' in nature.[83][84] It is also suggested that the change was made on the "practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it", and perhaps because of public health considerations regarding Roman Fever – a disease that claimed a number of lives during the sultry summers of the region.[85] On All Hallows' Eve, Christians in some parts of the world visit cemeteries to pray and place flowers and candles on the graves of their loved ones.[86] The top photograph shows Bangladeshi Christians lighting candles on the headstone of a relative, while the bottom photograph shows Lutheran Christians praying and lighting candles in front of the central crucifix of a graveyard. By the end of the 12th century they had become holy days of obligation across Europe and involved such traditions as ringing church bells for the souls in purgatory. In addition, "it was customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls."[87] "Souling", the custom of baking and sharing soul cakes for all christened souls,[88] has been suggested as the origin of trick-or-treating.[89] The custom dates back at least as far as the 15th century[90] and was found in parts of England, Flanders, Germany and Austria.[58] Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers' friends and relatives.[90][91][92] Soul cakes would also be offered for the souls themselves to eat,[58] or the 'soulers' would act as their representatives.[93] As with the Lenten tradition of hot cross buns, Allhallowtide soul cakes were often marked with a cross, indicating that they were baked as alms.[94] Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).[95] On the custom of wearing costumes, Christian minister Prince Sorie Conteh wrote: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognized by any soul that might be seeking such vengeance, people would don masks or costumes to disguise their identities".[96] It is claimed that in the Middle Ages, churches that were too poor to display the relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.[97][98] Some Christians continue to observe this custom at Halloween today.[99] Lesley Bannatyne believes this could have been a Christianization of an earlier pagan custom.[100] While souling, Christians would carry with them "lanterns made of hollowed-out turnips".[101] It has been suggested that the carved jack-o'-lantern, a popular symbol of Halloween, originally represented the souls of the dead.[102] On Halloween, in medieval Europe, fires served a dual purpose, being lit to guide returning souls to the homes of their families, as well as to deflect demons from haunting sincere Christian folk.[103][104] Households in Austria, England and Ireland often had "candles burning in every room to guide the souls back to visit their earthly homes". These were known as "soul lights".[105][106][107] Many Christians in mainland Europe, especially in France, believed "that once a year, on Hallowe'en, the dead of the churchyards rose for one wild, hideous carnival" known as the danse macabre, which has often been depicted in church decoration.[108] Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that "Christians were moved by the sight of the Infant Jesus playing on his mother's knee; their hearts were touched by the Pietà; and patron saints reassured them by their presence. But, all the while, the danse macabre urged them not to forget the end of all earthly things."[109] This danse macabre was enacted at village pageants and at court masques, with people "dressing up as corpses from various strata of society", and may have been the origin of modern-day Halloween costume parties.[101][110][111] In parts of Britain, these customs came under attack during the Reformation as some Protestants berated purgatory as a "popish" doctrine incompatible with their notion of predestination. Thus, for some Nonconformist Protestants, the theology of All Hallows' Eve was redefined; without the doctrine of purgatory, "the returning souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert. Instead, the so-called ghosts are thought to be in actuality evil spirits. As such they are threatening."[106] Other Protestants maintained belief in an intermediate state, known as Hades (Bosom of Abraham),[112] and continued to observe the original customs, especially souling, candlelit processions and the ringing of church bells in memory of the dead.[76][113] Mark Donnelly, a professor of medieval archaeology, and historian Daniel Diehl, with regard to the evil spirits, on Halloween, write that "barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they traveled the earth."[114] In the 19th century, in some rural parts of England, families gathered on hills on the night of All Hallows' Eve. One held a bunch of burning straw on a pitchfork while the rest knelt around him in a circle, praying for the souls of relatives and friends until the flames went out. This was known as teen'lay.[115] Other customs included the tindle fires in Derbyshire and all-night vigil bonfires in Hertfordshire which were lit to pray for the departed.[116] The rising popularity of Guy Fawkes Night (5 November) from 1605 onward, saw many Halloween traditions appropriated by that holiday instead, and Halloween's popularity waned in Britain, with the noteworthy exception of Scotland.[117] There and in Ireland, they had been celebrating Samhain and Halloween since at least the early Middle Ages, and the Scottish kirk took a more pragmatic approach to Halloween, seeing it as important to the life cycle and rites of passage of communities and thus ensuring its survival in the country.[117] In France, some Christian families, on the night of All Hallows' Eve, prayed beside the graves of their loved ones, setting down dishes full of milk for them.[105] On Halloween, in Italy, some families left a large meal out for ghosts of their passed relatives, before they departed for church services.[118] In Spain, on this night, special pastries are baked, known as "bones of the holy" (Spanish: Huesos de Santo) and put them on the graves of the churchyard, a practice that continues to this day.[119] Spread to North America The annual Greenwich Village Halloween Parade in Manhattan is the world's largest Halloween parade. Lesley Bannatyne and Cindy Ott write that Anglican colonists in the southern United States and Catholic colonists in Maryland "recognized All Hallow's Eve in their church calendars",[120][121] although the Puritans of New England maintained strong opposition to the holiday, along with other traditional celebrations of the established Church, including Christmas.[122] Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.[123] It was not until mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in America,[123] confined to the immigrant communities during the mid-19th century. It was gradually assimilated into mainstream society and was celebrated coast to coast by people of all social, racial, and religious backgrounds by the first decade of the 20th century.[124] "In Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night. Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside".[125] The yearly Greenwich Village Halloween Parade was begun in 1974 by puppeteer and mask maker Ralph Lee of Greenwich Village; it is the world's largest Halloween parade and America's only major nighttime parade, attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience.[126] Symbols At Halloween, yards, public spaces, and some houses may be decorated with traditionally macabre symbols including witches, skeletons, ghosts, cobwebs, and headstones. Development of artifacts and symbols associated with Halloween formed over time. Jack-o'-lanterns are traditionally carried by guisers on All Hallows' Eve in order to frighten evil spirits.[102][127] There is a popular Irish Christian folktale associated with the jack-o'-lantern,[128] which in folklore is said to represent a "soul who has been denied entry into both heaven and hell":[129] On route home after a night's drinking, Jack encounters the Devil and tricks him into climbing a tree. A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil. Jack strikes a bargain that Satan can never claim his soul. After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies. Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him. It was a cold night, so Jack places the coal in a hollowed out turnip to stop it from going out, since which time Jack and his lantern have been roaming looking for a place to rest.[130] In Ireland and Scotland, the turnip has traditionally been carved during Halloween,[131][132] but immigrants to North America used the native pumpkin, which is both much softer and much larger – making it easier to carve than a turnip.[131] The American tradition of carving pumpkins is recorded in 1837[133] and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.[134] Decorated house in Weatherly, Pennsylvania The modern imagery of Halloween comes from many sources, including Christian eschatology, national customs, works of Gothic and horror literature (such as the novels Frankenstein and Dracula) and classic horror films (such as Frankenstein and The Mummy).[135][136] Imagery of the skull, a reference to Golgotha in the Christian tradition, serves as "a reminder of death and the transitory quality of human life" and is consequently found in memento mori and vanitas compositions;[137] skulls have therefore been commonplace in Halloween, which touches on this theme.[138] Traditionally, the back walls of churches are "decorated with a depiction of the Last Judgment, complete with graves opening and the dead rising, with a heaven filled with angels and a hell filled with devils", a motif that has permeated the observance of this triduum.[139] One of the earliest works on the subject of Halloween is from Scottish poet John Mayne, who, in 1780, made note of pranks at Halloween; "What fearfu' pranks ensue!", as well as the supernatural associated with the night, "Bogies" (ghosts), influencing Robert Burns' "Halloween" (1785).[140] Elements of the autumn season, such as pumpkins, corn husks, and scarecrows, are also prevalent. Homes are often decorated with these types of symbols around Halloween. Halloween imagery includes themes of death, evil, and mythical monsters.[141] Black cats, which have been long associated with witches, are also a common symbol of Halloween. Black, orange, and sometimes purple are Halloween's traditional colors.[142] Trick-or-treating and guising Main article: Trick-or-treating Trick-or-treaters in Sweden Trick-or-treating is a customary celebration for children on Halloween. Children go in costume from house to house, asking for treats such as candy or sometimes money, with the question, "Trick or treat?" The word "trick" implies a "threat" to perform mischief on the homeowners or their property if no treat is given.[89] The practice is said to have roots in the medieval practice of mumming, which is closely related to souling.[143] John Pymm wrote that "many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church."[144] These feast days included All Hallows' Eve, Christmas, Twelfth Night and Shrove Tuesday.[145][146] Mumming practiced in Germany, Scandinavia and other parts of Europe,[147] involved masked persons in fancy dress who "paraded the streets and entered houses to dance or play dice in silence".[148] Girl in a Halloween costume in 1928, Ontario, Canada, the same province where the Scottish Halloween custom of guising is first recorded in North America In England, from the medieval period,[149] up until the 1930s,[150] people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic,[113] going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.[91] In the Philippines, the practice of souling is called Pangangaluwa and is practiced on All Hallow's Eve among children in rural areas.[21] People drape themselves in white cloths to represent souls and then visit houses, where they sing in return for prayers and sweets.[21] In Scotland and Ireland, guising – children disguised in costume going from door to door for food or coins – is a traditional Halloween custom.[151] It is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[132][152] In Ireland, the most popular phrase for kids to shout (until the 2000s) was "Help the Halloween Party".[151] The practice of guising at Halloween in North America is first recorded in 1911, where a newspaper in Kingston, Ontario, Canada reported children going "guising" around the neighborhood.[153] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book-length history of Halloween in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America".[154] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries".[155] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[156] The earliest known use in print of the term "trick or treat" appears in 1927, in the Blackie Herald, of Alberta, Canada.[157] An automobile trunk at a trunk-or-treat event at St. John Lutheran Church and Early Learning Center in Darien, Illinois The thousands of Halloween postcards produced between the turn of the 20th century and the 1920s commonly show children but not trick-or-treating.[158] Trick-or-treating does not seem to have become a widespread practice in North America until the 1930s, with the first US appearances of the term in 1934,[159] and the first use in a national publication occurring in 1939.[160] A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgating), occurs when "children are offered treats from the trunks of cars parked in a church parking lot", or sometimes, a school parking lot.[119][161] In a trunk-or-treat event, the trunk (boot) of each automobile is decorated with a certain theme,[162] such as those of children's literature, movies, scripture, and job roles.[163] Trunk-or-treating has grown in popularity due to its perception as being more safe than going door to door, a point that resonates well with parents, as well as the fact that it "solves the rural conundrum in which homes [are] built a half-mile apart".[164][165] Costumes Main article: Halloween costume Halloween costumes are traditionally modeled after supernatural figures such as vampires, monsters, ghosts, skeletons, witches, and devils.[89] Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses. Halloween shop in Derry, Northern Ireland, selling masks Dressing up in costumes and going "guising" was prevalent in Scotland and Ireland at Halloween by the late 19th century.[132] A Scottish term, the tradition is called "guising" because of the disguises or costumes worn by the children.[152] In Ireland the masks are known as 'false faces'.[166] Costuming became popular for Halloween parties in the US in the early 20th century, as often for adults as for children, and when trick-or-treating was becoming popular in Canada and the US in the 1920s and 1930s.[157][167] Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows' Eve, suggesting that by dressing up as creatures "who at one time caused us to fear and tremble", people are able to poke fun at Satan "whose kingdom has been plundered by our Saviour". Images of skeletons and the dead are traditional decorations used as memento mori.[168][169] "Trick-or-Treat for UNICEF" is a fundraising program to support UNICEF,[89] a United Nations Programme that provides humanitarian aid to children in developing countries. Started as a local event in a Northeast Philadelphia neighborhood in 1950 and expanded nationally in 1952, the program involves the distribution of small boxes by schools (or in modern times, corporate sponsors like Hallmark, at their licensed stores) to trick-or-treaters, in which they can solicit small-change donations from the houses they visit. It is estimated that children have collected more than $118 million for UNICEF since its inception. In Canada, in 2006, UNICEF decided to discontinue their Halloween collection boxes, citing safety and administrative concerns; after consultation with schools, they instead redesigned the program.[170][171] Since the late 2010s, ethnic stereotypes as costumes have increasingly come under scrutiny in the United States.[172] Such and other potentially offensive costumes have been met with increasing public disapproval.[173][174] Pet costumes According to a 2018 report from the National Retail Federation, 30 million Americans will spend an estimated $480 million on Halloween costumes for their pets in 2018. This is up from an estimated $200 million in 2010. The most popular costumes for pets are the pumpkin, followed by the hot dog, and the bumble bee in third place.[175] Games and other activities In this 1904 Halloween greeting card, divination is depicted: the young woman looking into a mirror in a darkened room hopes to catch a glimpse of her future husband. There are several games traditionally associated with Halloween. Some of these games originated as divination rituals or ways of foretelling one's future, especially regarding death, marriage and children. During the Middle Ages, these rituals were done by a "rare few" in rural communities as they were considered to be "deadly serious" practices.[176] In recent centuries, these divination games have been "a common feature of the household festivities" in Ireland and Britain.[60] They often involve apples and hazelnuts. In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.[177] Some also suggest that they derive from Roman practices in celebration of Pomona.[89] Children bobbing for apples at Hallowe'en The following activities were a common feature of Halloween in Ireland and Britain during the 17th–20th centuries. Some have become more widespread and continue to be popular today. One common game is apple bobbing or dunking (which may be called "dooking" in Scotland)[178] in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin. A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple. Another common game involves hanging up treacle or syrup-coated scones by strings; these must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face. Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other. The rod is spun round and everyone takes turns to try to catch the apple with their teeth.[179] Image from the Book of Hallowe'en (1919) showing several Halloween activities, such as nut roasting Several of the traditional activities from Ireland and Britain involve foretelling one's future partner or spouse. An apple would be peeled in one long strip, then the peel tossed over the shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[180][181] Two hazelnuts would be roasted near a fire; one named for the person roasting them and the other for the person they desire. If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.[182][183] A salty oatmeal bannock would be baked; the person would eat it in three bites and then go to bed in silence without anything to drink. This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.[184] Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.[185] However, if they were destined to die before marriage, a skull would appear. The custom was widespread enough to be commemorated on greeting cards[186] from the late 19th century and early 20th century. Another popular Irish game was known as púicíní ("blindfolds"); a person would be blindfolded and then would choose between several saucers. The item in the saucer would provide a hint as to their future: a ring would mean that they would marry soon; clay, that they would die soon, perhaps within the year; water, that they would emigrate; rosary beads, that they would take Holy Orders (become a nun, priest, monk, etc.); a coin, that they would become rich; a bean, that they would be poor.[187][188][189][190][191] The game features prominently in the James Joyce short story "Clay" (1914).[192][193][194] In Ireland and Scotland, items would be hidden in food – usually a cake, barmbrack, cranachan, champ or colcannon – and portions of it served out at random. A person's future would be foretold by the item they happened to find; for example, a ring meant marriage and a coin meant wealth.[195] Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person. In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.[45] Telling ghost stories, listening to Halloween-themed songs and watching horror films are common fixtures of Halloween parties. Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday. Haunted attractions Main article: Haunted attraction (simulated) Humorous tombstones in front of a house in California File:US Utah Ogden 25th Street Halloween 2019.ogvPlay media Humorous display window in Historic 25th Street, Ogden, Utah Haunted attractions are entertainment venues designed to thrill and scare patrons. Most attractions are seasonal Halloween businesses that may include haunted houses, corn mazes, and hayrides,[196] and the level of sophistication of the effects has risen as the industry has grown. The first recorded purpose-built haunted attraction was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England. This attraction actually most closely resembles a carnival fun house, powered by steam.[197][198] The House still exists, in the Hollycombe Steam Collection. It was during the 1930s, about the same time as trick-or-treating, that Halloween-themed haunted houses first began to appear in America. It was in the late 1950s that haunted houses as a major attraction began to appear, focusing first on California. Sponsored by the Children's Health Home Junior Auxiliary, the San Mateo Haunted House opened in 1957. The San Bernardino Assistance League Haunted House opened in 1958. Home haunts began appearing across the country during 1962 and 1963. In 1964, the San Manteo Haunted House opened, as well as the Children's Museum Haunted House in Indianapolis.[199] The haunted house as an American cultural icon can be attributed to the opening of the Haunted Mansion in Disneyland on 12 August 1969.[200] Knott's Berry Farm began hosting its own Halloween night attraction, Knott's Scary Farm, which opened in 1973.[201] Evangelical Christians adopted a form of these attractions by opening one of the first "hell houses" in 1972.[202] The first Halloween haunted house run by a nonprofit organization was produced in 1970 by the Sycamore-Deer Park Jaycees in Clifton, Ohio. It was cosponsored by WSAI, an AM radio station broadcasting out of Cincinnati, Ohio. It was last produced in 1982.[203] Other Jaycees followed suit with their own versions after the success of the Ohio house. The March of Dimes copyrighted a "Mini haunted house for the March of Dimes" in 1976 and began fundraising through their local chapters by conducting haunted houses soon after. Although they apparently quit supporting this type of event nationally sometime in the 1980s, some March of Dimes haunted houses have persisted until today.[204] On the evening of 11 May 1984, in Jackson Township, New Jersey, the Haunted Castle (Six Flags Great Adventure) caught fire. As a result of the fire, eight teenagers perished.[205] The backlash to the tragedy was a tightening of regulations relating to safety, building codes and the frequency of inspections of attractions nationwide. The smaller venues, especially the nonprofit attractions, were unable to compete financially, and the better funded commercial enterprises filled the vacuum.[206][207] Facilities that were once able to avoid regulation because they were considered to be temporary installations now had to adhere to the stricter codes required of permanent attractions.[208][209][210] In the late 1980s and early 1990s, theme parks entered the business seriously. Six Flags Fright Fest began in 1986 and Universal Studios Florida began Halloween Horror Nights in 1991. Knott's Scary Farm experienced a surge in attendance in the 1990s as a result of America's obsession with Halloween as a cultural event. Theme parks have played a major role in globalizing the holiday. Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey's Not-So-Scary Halloween Party events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.[211] The theme park haunts are by far the largest, both in scale and attendance.[212] Food Pumpkins for sale during Halloween On All Hallows' Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.[213] A candy apple Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, candy apples (known as toffee apples outside North America), caramel apples or taffy apples are common Halloween treats made by rolling whole apples in a sticky sugar syrup, sometimes followed by rolling them in nuts. At one time, candy apples were commonly given to trick-or-treating children, but the practice rapidly waned in the wake of widespread rumors that some individuals were embedding items like pins and razor blades in the apples in the United States.[214] While there is evidence of such incidents,[215] relative to the degree of reporting of such cases, actual cases involving malicious acts are extremely rare and have never resulted in serious injury. Nonetheless, many parents assumed that such heinous practices were rampant because of the mass media. At the peak of the hysteria, some hospitals offered free X-rays of children's Halloween hauls in order to find evidence of tampering. Virtually all of the few known candy poisoning incidents involved parents who poisoned their own children's candy.[216] One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (Irish: báirín breac), which is a light fruitcake, into which a plain ring, a coin, and other charms are placed before baking.[217] It is considered fortunate to be the lucky one who finds it.[217] It has also been said that those who get a ring will find their true love in the ensuing year. This is similar to the tradition of king cake at the festival of Epiphany. A jack-o'-lantern Halloween cake with a witches hat List of foods associated with Halloween: Barmbrack (Ireland) Bonfire toffee (Great Britain) Candy apples/toffee apples (Great Britain and Ireland) Candy apples, candy corn, candy pumpkins (North America) Chocolate Monkey nuts (peanuts in their shells) (Ireland and Scotland) Caramel apples Caramel corn Colcannon (Ireland; see below) Halloween cake Sweets/candy Novelty candy shaped like skulls, pumpkins, bats, worms, etc. Roasted pumpkin seeds Roasted sweet corn Soul cakes Pumpkin Pie Christian religious observances The Vigil of All Hallows' is being celebrated at an Episcopal Christian church on Hallowe'en On Hallowe'en (All Hallows' Eve), in Poland, believers were once taught to pray out loud as they walk through the forests in order that the souls of the dead might find comfort; in Spain, Christian priests in tiny villages toll their church bells in order to remind their congregants to remember the dead on All Hallows' Eve.[218] In Ireland, and among immigrants in Canada, a custom includes the Christian practice of abstinence, keeping All Hallows' Eve as a meat-free day, and serving pancakes or colcannon instead.[219] In Mexico children make an altar to invite the return of the spirits of dead children (angelitos).[220] The Christian Church traditionally observed Hallowe'en through a vigil. Worshippers prepared themselves for feasting on the following All Saints' Day with prayers and fasting.[221] This church service is known as the Vigil of All Hallows or the Vigil of All Saints;[222][223] an initiative known as Night of Light seeks to further spread the Vigil of All Hallows throughout Christendom.[224][225] After the service, "suitable festivities and entertainments" often follow, as well as a visit to the graveyard or cemetery, where flowers and candles are often placed in preparation for All Hallows' Day.[226][227] In Finland, because so many people visit the cemeteries on All Hallows' Eve to light votive candles there, they "are known as valomeri, or seas of light".[228] Halloween Scripture Candy with gospel tract Today, Christian attitudes towards Halloween are diverse. In the Anglican Church, some dioceses have chosen to emphasize the Christian traditions associated with All Hallow's Eve.[229][230] Some of these practices include praying, fasting and attending worship services.[1][2][3] O LORD our God, increase, we pray thee, and multiply upon us the gifts of thy grace: that we, who do prevent the glorious festival of all thy Saints, may of thee be enabled joyfully to follow them in all virtuous and godly living. Through Jesus Christ, Our Lord, who liveth and reigneth with thee, in the unity of the Holy Ghost, ever one God, world without end. Amen. —Collect of the Vigil of All Saints, The Anglican Breviary[231] Votive candles in the Halloween section of Walmart Other Protestant Christians also celebrate All Hallows' Eve as Reformation Day, a day to remember the Protestant Reformation, alongside All Hallow's Eve or independently from it.[232] This is because Martin Luther is said to have nailed his Ninety-five Theses to All Saints' Church in Wittenberg on All Hallows' Eve.[233] Often, "Harvest Festivals" or "Reformation Festivals" are held on All Hallows' Eve, in which children dress up as Bible characters or Reformers.[234] In addition to distributing candy to children who are trick-or-treating on Hallowe'en, many Christians also provide gospel tracts to them. One organization, the American Tract Society, stated that around 3 million gospel tracts are ordered from them alone for Hallowe'en celebrations.[235] Others order Halloween-themed Scripture Candy to pass out to children on this day.[236][237] Belizean children dressed up as Biblical figures and Christian saints Some Christians feel concerned about the modern celebration of Halloween because they feel it trivializes – or celebrates – paganism, the occult, or other practices and cultural phenomena deemed incompatible with their beliefs.[238] Father Gabriele Amorth, an exorcist in Rome, has said, "if English and American children like to dress up as witches and devils on one night of the year that is not a problem. If it is just a game, there is no harm in that."[239] In more recent years, the Roman Catholic Archdiocese of Boston has organized a "Saint Fest" on Halloween.[240] Similarly, many contemporary Protestant churches view Halloween as a fun event for children, holding events in their churches where children and their parents can dress up, play games, and get candy for free. To these Christians, Halloween holds no threat to the spiritual lives of children: being taught about death and mortality, and the ways of the Celtic ancestors actually being a valuable life lesson and a part of many of their parishioners' heritage.[241] Christian minister Sam Portaro wrote that Halloween is about using "humor and ridicule to confront the power of death".[242] In the Roman Catholic Church, Halloween's Christian connection is acknowledged, and Halloween celebrations are common in many Catholic parochial schools in the United States.[243][244] Many fundamentalist and evangelical churches use "Hell houses" and comic-style tracts in order to make use of Halloween's popularity as an opportunity for evangelism.[245] Others consider Halloween to be completely incompatible with the Christian faith due to its putative origins in the Festival of the Dead celebration.[246] Indeed, even though Eastern Orthodox Christians observe All Hallows' Day on the First Sunday after Pentecost, The Eastern Orthodox Church recommends the observance of Vespers or a Paraklesis on the Western observance of All Hallows' Eve, out of the pastoral need to provide an alternative to popular celebrations.[247] Analogous celebrations and perspectives Judaism According to Alfred J. Kolatch in the Second Jewish Book of Why, in Judaism, Halloween is not permitted by Jewish Halakha because it violates Leviticus 18:3, which forbids Jews from partaking in gentile customs. Many Jews observe Yizkor communally four times a year, which is vaguely similar to the observance of Allhallowtide in Christianity, in the sense that prayers are said for both "martyrs and for one's own family".[248] Nevertheless, many American Jews celebrate Halloween, disconnected from its Christian origins.[249] Reform Rabbi Jeffrey Goldwasser has said that "There is no religious reason why contemporary Jews should not celebrate Halloween" while Orthodox Rabbi Michael Broyde has argued against Jews' observing the holiday.[250] Islam Sheikh Idris Palmer, author of A Brief Illustrated Guide to Understanding Islam, has ruled that Muslims should not participate in Halloween, stating that "participation in Halloween is worse than participation in Christmas, Easter, ... it is more sinful than congratulating the Christians for their prostration to the crucifix".[251] It has also been ruled to be haram by the National Fatwa Council of Malaysia because of its alleged pagan roots stating "Halloween is celebrated using a humorous theme mixed with horror to entertain and resist the spirit of death that influence humans".[252][253] Dar Al-Ifta Al-Missriyyah disagrees provided the celebration is not referred to as an 'eid' and that behaviour remains in line with Islamic principles.[254] Hinduism Hindus remember the dead during the festival of Pitru Paksha, during which Hindus pay homage to and perform a ceremony "to keep the souls of their ancestors at rest". It is celebrated in the Hindu month of Bhadrapada, usually in mid-September.[255] The celebration of the Hindu festival Diwali sometimes conflicts with the date of Halloween; but some Hindus choose to participate in the popular customs of Halloween.[256] Other Hindus, such as Soumya Dasgupta, have opposed the celebration on the grounds that Western holidays like Halloween have "begun to adversely affect our indigenous festivals".[257] Neopaganism There is no consistent rule or view on Halloween amongst those who describe themselves as Neopagans or Wiccans. Some Neopagans do not observe Halloween, but instead observe Samhain on 1 November,[258] some neopagans do enjoy Halloween festivities, stating that one can observe both "the solemnity of Samhain in addition to the fun of Halloween". Some neopagans are opposed to the celebration of Hallowe'en, stating that it "trivializes Samhain",[259] and "avoid Halloween, because of the interruptions from trick or treaters".[260] The Manitoban writes that "Wiccans don't officially celebrate Halloween, despite the fact that 31 Oct. will still have a star beside it in any good Wiccan's day planner. Starting at sundown, Wiccans celebrate a holiday known as Samhain. Samhain actually comes from old Celtic traditions and is not exclusive to Neopagan religions like Wicca. While the traditions of this holiday originate in Celtic countries, modern day Wiccans don't try to historically replicate Samhain celebrations. Some traditional Samhain rituals are still practised, but at its core, the period is treated as a time to celebrate darkness and the dead – a possible reason why Samhain can be confused with Halloween celebrations."[258] Around the world Main article: Geography of Halloween Halloween display in Kobe, Japan The traditions and importance of Halloween vary greatly among countries that observe it. In Scotland and Ireland, traditional Halloween customs include children dressing up in costume going "guising", holding parties, while other practices in Ireland include lighting bonfires, and having firework displays.[151][261][262] In Brittany children would play practical jokes by setting candles inside skulls in graveyards to frighten visitors.[263] Mass transatlantic immigration in the 19th century popularized Halloween in North America, and celebration in the United States and Canada has had a significant impact on how the event is observed in other nations.[151] This larger North American influence, particularly in iconic and commercial elements, has extended to places such as Ecuador, Chile,[264] Australia,[265] New Zealand,[266] (most) continental Europe, Finland,[267] Japan, and other parts of East Asia.[268] In the Philippines, during Halloween, Filipinos return to their hometowns and purchase candles and flowers,[269] in preparation for the following All Saints Day (Araw ng mga Patay) on 1 November and All Souls Day – though it falls on 2 November, most Filipinos observe it on the day before." (wikipedia.org) "The term stained glass refers to coloured glass as a material and to works created from it. Throughout its thousand-year history, the term has been applied almost exclusively to the windows of churches and other significant religious buildings. Although traditionally made in flat panels and used as windows, the creations of modern stained glass artists also include three-dimensional structures and sculpture. Modern vernacular usage has often extended the term "stained glass" to include domestic lead light and objets d'art created from foil glasswork exemplified in the famous lamps of Louis Comfort Tiffany. As a material stained glass is glass that has been coloured by adding metallic salts during its manufacture, and usually then further decorating it in various ways. The coloured glass is crafted into stained glass windows in which small pieces of glass are arranged to form patterns or pictures, held together (traditionally) by strips of lead and supported by a rigid frame. Painted details and yellow stain are often used to enhance the design. The term stained glass is also applied to windows in enamelled glass in which the colours have been painted onto the glass and then fused to the glass in a kiln; very often this technique is only applied to parts of a window. Renaissance roundel, inserted into a plain glass window, using only black or brown glass paint, and silver stain in a range of yellows and gold. The local bishop-saint Lambrecht of Maastricht stands in an extensive landscape, 1510–20. The diameter is 8+3⁄4 in (22 cm), and the piece was designed to be placed low, close to the viewer, very possibly not in a church. Stained glass, as an art and a craft, requires the artistic skill to conceive an appropriate and workable design, and the engineering skills to assemble the piece. A window must fit snugly into the space for which it is made, must resist wind and rain, and also, especially in the larger windows, must support its own weight. Many large windows have withstood the test of time and remained substantially intact since the Late Middle Ages. In Western Europe, together with illuminated manuscripts, they constitute the major form of medieval pictorial art to have survived. In this context, the purpose of a stained glass window is not to allow those within a building to see the world outside or even primarily to admit light but rather to control it. For this reason stained glass windows have been described as "illuminated wall decorations". The design of a window may be abstract or figurative; may incorporate narratives drawn from the Bible, history, or literature; may represent saints or patrons, or use symbolic motifs, in particular armorial. Windows within a building may be thematic, for example: within a church – episodes from the life of Christ; within a parliament building – shields of the constituencies; within a college hall – figures representing the arts and sciences; or within a home – flora, fauna, or landscape.... Glass production This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2017) (Learn how and when to remove this template message) During the late medieval period, glass factories were set up where there was a ready supply of silica, the essential material for glass manufacture. Silica requires a very high temperature to melt, something not all glass factories were able to achieve. Such materials as potash, soda, and lead can be added to lower the melting temperature. Other substances, such as lime, are added to rebuild the weakened network and make the glass more stable. Glass is coloured by adding metallic oxide powders or finely divided metals while it is in a molten state.[1] Copper oxides produce green or bluish green, cobalt makes deep blue, and gold produces wine red and violet glass. Much of modern red glass is produced using copper, which is less expensive than gold and gives a brighter, more vermilion shade of red. Glass coloured while in the clay pot in the furnace is known as pot metal glass, as opposed to flashed glass. Cylinder glass or Muff Using a blow-pipe, a "gather" (glob) of molten glass is taken from the pot heating in the furnace. The gather is formed to the correct shape and a bubble of air blown into it. Using metal tools, molds of wood that have been soaking in water, and gravity, the gather is manipulated to form a long, cylindrical shape. As it cools, it is reheated so that the manipulation can continue. During the process, the bottom of the cylinder is removed. Once brought to the desired size it is left to cool. One side of the cylinder is opened. It is put into another oven to quickly heat and flatten it, and then placed in an annealer to cool at a controlled rate, making the material more stable. "Hand-blown" cylinder (also called muff glass) and crown glass were the types used in ancient stained-glass windows. Stained glass windows were normally in churches and chapels as well as many more well respected buildings. Crown glass This hand-blown glass is created by blowing a bubble of air into a gather of molten glass and then spinning it, either by hand or on a table that revolves rapidly like a potter's wheel. The centrifugal force causes the molten bubble to open up and flatten. It can then be cut into small sheets. Glass formed this way can be either coloured and used for stained-glass windows, or uncoloured as seen in small paned windows in 16th- and 17th-century houses. Concentric, curving waves are characteristic of the process. The centre of each piece of glass, known as the "bull's-eye", is subject to less acceleration during spinning, so it remains thicker than the rest of the sheet. It also has the pontil mark, a distinctive lump of glass left by the "pontil" rod, which holds the glass as it is spun out. This lumpy, refractive quality means the bulls-eyes are less transparent, but they have still been used for windows, both domestic and ecclesiastical. Crown glass is still made today, but not on a large scale. Rolled glass Rolled glass (sometimes called "table glass") is produced by pouring molten glass onto a metal or graphite table and immediately rolling it into a sheet using a large metal cylinder, similar to rolling out a pie crust. The rolling can be done by hand or by machine. Glass can be "double rolled", which means it is passed through two cylinders at once (similar to the clothes wringers on older washing machines) to yield glass of a specified thickness (typically about 1/8" or 3mm). The glass is then annealed. Rolled glass was first commercially produced around the mid-1830s and is widely used today. It is often called cathedral glass, but this has nothing to do with medieval cathedrals, where the glass used was hand-blown. Flashed glass Architectural glass must be at least 1/8 of an inch (3 mm) thick to survive the push and pull of typical wind loads. However, in the creation of red glass, the colouring ingredients must be of a certain concentration, or the colour will not develop. This results in a colour so intense that at the thickness of 1/8 inch (3 mm), the red glass transmits little light and appears black. The method employed is to laminate a thin layer of red glass to a thicker body of glass that is clear or lightly tinted, forming "flashed glass". A lightly coloured molten gather is dipped into a pot of molten red glass, which is then blown into a sheet of laminated glass using either the cylinder (muff) or the crown technique described above. Once this method was found for making red glass, other colours were made this way as well. A great advantage is that the double-layered glass can be engraved or abraded to reveal the clear or tinted glass below. The method allows rich detailing and patterns to be achieved without needing to add more lead-lines, giving artists greater freedom in their designs. A number of artists have embraced the possibilities flashed glass gives them. For instance, 16th-century heraldic windows relied heavily on a variety of flashed colours for their intricate crests and creatures. In the medieval period the glass was abraded; later, hydrofluoric acid was used to remove the flash in a chemical reaction (a very dangerous technique), and in the 19th century sandblasting started to be used for this purpose. Modern production of traditional glass There are a number of glass factories, notably in Germany, the United States, England, France, Poland and Russia, which produce high-quality glass, both hand-blown (cylinder, muff, crown) and rolled (cathedral and opalescent). Modern stained-glass artists have a number of resources to use and the work of centuries of other artists from which to learn as they continue the tradition in new ways. In the late 19th and 20th centuries there have been many innovations in techniques and in the types of glass used. Many new types of glass have been developed for use in stained glass windows, in particular Tiffany glass and Dalle de verre. Colours Part of German panel of 1444 with the Visitation; pot metal of various colours, including white glass, black vitreous paint, yellow silver stain, and the "olive-green" parts are enamel. The plant patterns in the red sky are formed by scratching away black paint from the red glass before firing. A restored panel with new lead cames. "Pot metal" and flashed glass The primary method of including colour in stained glass is to use glass, originally colourless, that has been given colouring by mixing with metal oxides in its melted state (in a crucible or "pot"), producing glass sheets that are coloured all the way through; these are known as "pot metal" glass.[2] A second method, sometimes used in some areas of windows, is flashed glass, a thin coating of coloured glass fused to colourless glass (or coloured glass, to produce a different colour). In medieval glass flashing was especially used for reds, as glass made with gold compounds was very expensive and tended to be too deep in colour to use at full thickness.[3] Glass paint Another group of techniques give additional colouring, including lines and shading, by treating the surfaces of the coloured sheets, and often fixing these effects by a light firing in a furnace or kiln. These methods may be used over broad areas, especially with silver stain, which gave better yellows than other methods in the Middle Ages. Alternatively they may be used for painting linear effects, or polychrome areas of detail. The most common method of adding the black linear painting necessary to define stained glass images is the use of what is variously called "glass paint", "vitreous paint", or "grisaille paint". This was applied as a mixture of powdered glass, iron or rust filings to give a black colour, clay, and oil, vinegar or water for a brushable texture, with a binder such as gum arabic. This was painted on the pieces of coloured glass, and then fired to burn away the ingredients giving texture, leaving a layer of the glass and colouring, fused to the main glass piece.[4] German glass, Nuremberg, after a drawing by Sebald Beham, c. 1525. Silver stain produces a range of yellows and gold, and painted on the reverse of the blue sky, gives the dark green of the cross.[5] Silver stain "Silver stain", introduced soon after 1300, produced a wide range of yellow to orange colours; this is the "stain" in the term "stained glass". Silver compounds (notably silver nitrate)[6] are mixed with binding substances, applied to the surface of glass, and then fired in a furnace or kiln.[7] They can produce a range of colours from orange-red to yellow. Used on blue glass they produce greens. The way the glass is heated and cooled can significantly affect the colours produced by these compounds. The chemistry involved is complex and not well understood. The chemicals actually penetrate the glass they are added to a little way, and the technique therefore gives extremely stable results. By the 15th century it had become cheaper than using pot metal glass and was often used with glass paint as the only colour on transparent glass.[8] Silver stain was applied to the opposite face of the glass to silver paint, as the two techniques did not work well one on top of the other. The stain was usually on the exterior face, where it appears to have given the glass some protection against weathering, although this can also be true for paint. They were also probably fired separately, the stain needing a lower heat than the paint.[9] "Sanguine" or "Cousin's rose" "Sanguine", "carnation", "Rouge Jean Cousin" or "Cousin's rose", after its supposed inventor,[10] is an iron-based fired paint producing red colours, mainly used to highlight small areas, often on flesh. It was introduced around 1500.[11] Copper stain, similar to silver stain but using copper compounds, also produced reds, and was mainly used in the 18th and 19th centuries.[12] Cold painting "Cold paint" is various types of paint that were applied without firing. Contrary to the optimistic claims of the 12th century writer Theophilus Presbyter, cold paint is not very durable, and very little medieval paint has survived.[12] Scratching techniques As well as painting, scratched sgraffito techniques were often used. This involved painting a colour over pot metal glass of another colour, and then before firing selectively scratching the glass paint away to make the design, or the lettering of an inscription. This was the most common method of making inscriptions in early medieval glass, giving white or light letters on a black background, with later inscriptions more often using black painted letters on a transparent glass background.[13] "Pot glass" colours These are the colours in which the glass itself is made, as opposed to colours applied to the glass. Transparent glass Ordinary soda-lime glass appears colourless to the naked eye when it is thin, although iron oxide impurities produce a green tint which becomes evident in thick pieces or with the aid of scientific instruments. A number of additives are used to reduce the green tint, particularly if the glass is to be used for plain window glass, rather than stained glass windows. These additives include manganese dioxide which produces sodium permanganate, and may result in a slightly mauve tint, characteristic of the glass in older houses in New England. Selenium has been used for the same purpose.[14] Green glass While very pale green is the typical colour of transparent glass, deeper greens can be achieved by the addition of Iron(II) oxide which results in a bluish-green glass. Together with chromium it gives glass of a richer green colour, typical of the glass used to make wine bottles. The addition of chromium yields dark green glass, suitable for flashed glass.[15] Together with tin oxide[clarification needed] and arsenic it yields emerald green glass. Blue glass In medieval times, blue glass was made by adding cobalt blue, which at a concentration of 0.025% to 0.1% in soda-lime glass achieves the brilliant blue characteristic of Chartres Cathedral. The addition of sulphur to boron-rich borosilicate glasses imparts a blue colour. The addition of copper oxide at 2–3% produces a turquoise colour. The addition of nickel, at different concentrations, produces blue, violet, or black glass.[16] Red glass Metallic gold, in very low concentrations (around 0.001%), produces a rich ruby-coloured glass ("ruby gold"); in even lower concentrations it produces a less intense red, often marketed as "cranberry glass". The colour is caused by the size and dispersion of gold particles. Ruby gold glass is usually made of lead glass with tin added. Pure metallic copper produces a very dark red, opaque glass. Glass created in this manner is generally "flashed" (laminated glass). It was used extensively in the late 19th and early 20th centuries and exploited for the decorative effects that could be achieved by sanding and engraving. Selenium is an important agent to make pink and red glass. When used together with cadmium sulphide, it yields a brilliant red colour known as "Selenium Ruby".[14] Yellow glass This was very often achieved by "silver stain" applied externally to the sheets of glass (see above). The addition of sulphur, together with carbon and iron salts, is used to form iron polysulphides and produce amber glass ranging from yellowish to almost black. With calcium it yields a deep yellow colour.[17] Adding titanium produces yellowish-brown glass. Titanium is rarely used on its own and is more often employed to intensify and brighten other additives. Cadmium together with sulphur results in deep yellow colour, often used in glazes. However, cadmium is toxic. Uranium (0.1% to 2%) can be added to give glass a fluorescent yellow or green colour.[18] Uranium glass is typically not radioactive enough to be dangerous, but if ground into a powder, such as by polishing with sandpaper, and inhaled, it can be carcinogenic. When used with lead glass with a very high proportion of lead, it produces a deep red colour. Purple glass The addition of manganese gives an amethyst colour. Manganese is one of the oldest glass additives, and purple manganese glass has been used since early Egyptian history. Nickel, depending on the concentration, produces blue, or violet, or even black glass.[16] Lead crystal with added nickel acquires a purplish colour. White glass Tin dioxide with antimony and arsenic oxides produce an opaque white glass, first used in Venice to produce an imitation porcelain. White glass was used extensively by Louis Comfort Tiffany to create a range of opalescent, mottled and streaky glasses.... Creating stained-glass windows Swiss armourial glass of the Arms of Unterwalden, 1564, with typical painted details, extensive silver stain, Cousin's rose on the face, and flashed ruby glass with abraded white motif Design The first stage in the production of a window is to make, or acquire from the architect or owners of the building, an accurate template of the window opening that the glass is to fit. The subject matter of the window is determined to suit the location, a particular theme, or the wishes of the patron. A small design called a Vidimus (from Latin "we have seen") is prepared which can be shown to the patron. A scaled model maquette may also be provided. The designer must take into account the design, the structure of the window, the nature and size of the glass available and his or her own preferred technique. A traditional narrative window has panels which relate a story. A figurative window could have rows of saints or dignitaries. Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person to whose memory the window is dedicated. In a window of a traditional type, it is usually left to the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies. A full-sized cartoon is drawn for every "light" (opening) of the window. A small church window might typically have two lights, with some simple tracery lights above. A large window might have four or five lights. The east or west window of a large cathedral might have seven lights in three tiers, with elaborate tracery. In medieval times the cartoon was drawn directly on the surface of a whitewashed table, which was then used as a pattern for cutting, painting and assembling the window. The cartoon is then divided into a patchwork, providing a template for each small glass piece. The exact position of the lead which holds the glass in place is also noted, as it is part of the calculated visual effect. Selecting and painting the glass Each piece of glass is selected for the desired colour and cut to match a section of the template. An exact fit is ensured by "grozing" the edges with a tool which can nibble off small pieces. Details of faces, hair and hands can be painted onto the inner surface of the glass using a special glass paint which contains finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine, vinegar or (traditionally) urine. The art of painting details became increasingly elaborate and reached its height in the early 20th century. From 1300 onwards, artists started using "silver stain" which was made with silver nitrate. It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green glass. By about 1450, a stain known as "Cousin's rose" was used to enhance flesh tones. In the 16th century, a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamelled glass. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 17th century a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were then annealed to the glass before the pieces were assembled. A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass, which are then placed back to back within the lead came. This allows for the use of techniques such as Angel gilding and Eglomise to produce an effect visible from both sides but not exposing the decorated surface to the atmosphere or mechanical damage. Assembly and mounting Once the glass is cut and painted, the pieces are assembled by slotting them into H-sectioned lead cames. All the joints are then soldered together and the glass pieces are prevented from rattling and the window made weatherproof by forcing a soft oily cement or mastic between the glass and the cames. In modern windows, copper foil is now sometimes used instead of lead.[19] For further technical details, see Came glasswork. Traditionally, when a window was inserted into the window space, iron rods were put across it at various points to support its weight. The window was tied to these rods with copper wire. Some very large early Gothic windows are divided into sections by heavy metal frames called ferramenta. This method of support was also favoured for large, usually painted, windows of the Baroque period." (wikipedia.org) "Paint is any pigmented liquid, liquefiable, or solid mastic composition that, after application to a substrate in a thin layer, converts to a solid film. It is most commonly used to protect, color, or provide texture to objects. Paint can be made or purchased in many colors—and in many different types, such as watercolor or synthetic. Paint is typically stored, sold, and applied as a liquid, but most types dry into a solid. Most paints are either oil-based or water-based and each have distinct characteristics. For one, it is illegal in most municipalities to discard oil-based paint down household drains or sewers. Clean up solvents are also different for water-based paint than they are for oil-based paint.[1] Water-based paints and oil-based paints will cure differently based on the outside ambient temperature of the object being painted (such as a house.) Usually the object being painted must be over 10 °C (50 °F), although some manufacturers of external paints/primers claim they can be applied when temperatures are as low as 2 °C (35 °F).... History A charcoal and ochre cave painting of Megaloceros from Lascaux, France Paint was one of the earliest arts of humanity. Some cave paintings drawn with red or yellow ochre, hematite, manganese oxide, and charcoal may have been made by early Homo sapiens as long as 40,000 years ago.[3] Paint may be even older. In 2003 and 2004, South African archeologists reported finds in Blombos Cave of a 100,000-year-old human-made ochre-based mixture that could have been used like paint.[4][5] Further excavation in the same cave resulted in the 2011 report of a complete toolkit for grinding pigments and making a primitive paint-like substance.[5][6] Interior walls, at the 5,000 year old Ness of Brodgar have been found to incorporate individual stones painted in yellows, reds, and oranges, using ochre pigment made of haematite mixed with animal fat, milk or eggs.[7][8] Ancient colored walls at Dendera, Egypt, which were exposed for years to the elements, still possess their brilliant color, as vivid as when they were painted about 2,000 years ago. The Egyptians mixed their colors with a gummy substance and applied them separately from each other without any blending or mixture. They appear to have used six colors: white, black, blue, red, yellow, and green. They first covered the area entirely with white, then traced the design in black, leaving out the lights of the ground color. They used minium for red, generally of a dark tinge. Pliny mentions some painted ceilings in his day in the town of Ardea, which had been made prior to the foundation of Rome. He expressed great surprise and admiration at their freshness, after the lapse of so many centuries. Paint was made with the yolk of eggs and therefore, the substance would harden and adhere to the surface it was applied to. Pigment was made from plants, sand, and different soils. Most paints used either oil or water as a base (the diluent, solvent or vehicle for the pigment). A still extant example of 17th-century house oil painting is Ham House in Surrey, England, where a primer was used along with several undercoats and an elaborate decorative overcoat; the pigment and oil mixture would have been ground into a paste with a mortar and pestle. The process was done by hand by the painters, which exposed them to lead poisoning, due to the white-lead powder. In 1718, Marshall Smith invented a "Machine or Engine for the Grinding of Colours" in England. It is not known precisely how it operated, but it was a device that increased the efficiency of pigment grinding dramatically. Soon, a company called Emerton and Manby was advertising exceptionally low-priced paints that had been ground with labour-saving technology: Paint used in everyday - white paint on wall One Pound of Colour ground in a Horse-Mill will paint twelve Yards of Work, whereas Colour ground any other Way, will not do half that Quantity. By the proper onset of the Industrial Revolution, in the mid-18th century, paint was being ground in steam-powered mills, and an alternative to lead-based pigments had been found in a white derivative of zinc oxide. Interior house painting increasingly became the norm as the 19th century progressed, both for decorative reasons and because the paint was effective in preventing the walls rotting from damp. Linseed oil was also increasingly used as an inexpensive binder. In 1866, Sherwin-Williams in the United States opened as a large paint-maker and invented a paint that could be used from the tin without preparation. It was not until the stimulus of World War II created a shortage of linseed oil in the supply market that artificial resins, or alkyds, were invented. Cheap and easy to make, they also held the color well and lasted for a long time." (wikipedia.org) "The skull is a bone structure that forms the head in vertebrates. It supports the structures of the face and provides a protective cavity for the brain.[1] The skull is composed of two parts: the cranium and the mandible. In humans, these two parts are the neurocranium and the viscerocranium (facial skeleton) that includes the mandible as its largest bone. The skull forms the anterior-most portion of the skeleton and is a product of cephalisation—housing the brain, and several sensory structures such as the eyes, ears, nose, and mouth.[2] In humans these sensory structures are part of the facial skeleton. Functions of the skull include protection of the brain, fixing the distance between the eyes to allow stereoscopic vision, and fixing the position of the ears to enable sound localisation of the direction and distance of sounds. In some animals, such as horned ungulates (mammals with hooves), the skull also has a defensive function by providing the mount (on the frontal bone) for the horns. The English word "skull" is probably derived from Old Norse "skulle", while the Latin word cranium comes from the Greek root κρανίον (kranion). The skull is made up of a number of fused flat bones, and contains many foramina, fossae, processes, and several cavities or sinuses. In zoology there are openings in the skull called fenestrae.... Structure Humans For details and the constituent bones, see Neurocranium and Facial skeleton. Skull in situ Anatomy of a flat bone - the periosteum of the neurocranium is known as the pericranium Human skull from the front Side bones of skull The human skull is the bone structure that forms the head in the human skeleton. It supports the structures of the face and forms a cavity for the brain. Like the skulls of other vertebrates, it protects the brain from injury.[3] The skull consists of three parts, of different embryological origin—the neurocranium, the sutures, and the facial skeleton (also called the membraneous viscerocranium). The neurocranium (or braincase) forms the protective cranial cavity that surrounds and houses the brain and brainstem.[4] The upper areas of the cranial bones form the calvaria (skullcap). The membranous viscerocranium includes the mandible. The sutures are fairly rigid joints between bones of the neurocranium. The facial skeleton is formed by the bones supporting the face. Bones Except for the mandible, all of the bones of the skull are joined together by sutures—synarthrodial (immovable) joints formed by bony ossification, with Sharpey's fibres permitting some flexibility. Sometimes there can be extra bone pieces within the suture known as wormian bones or sutural bones. Most commonly these are found in the course of the lambdoid suture. The human skull is generally considered to consist of twenty-two bones—eight cranial bones and fourteen facial skeleton bones. In the neurocranium these are the occipital bone, two temporal bones, two parietal bones, the sphenoid, ethmoid and frontal bones. The bones of the facial skeleton (14) are the vomer, two inferior nasal conchae, two nasal bones, two maxilla, the mandible, two palatine bones, two zygomatic bones, and two lacrimal bones. Some sources count a paired bone as one, or the maxilla as having two bones (as its parts); some sources include the hyoid bone or the three ossicles of the middle ear but the overall general consensus of the number of bones in the human skull is the stated twenty-two. Some of these bones—the occipital, parietal, frontal, in the neurocranium, and the nasal, lacrimal, and vomer, in the facial skeleton are flat bones. Cavities and foramina CT scan of a human skull in 3D The skull also contains sinuses, air-filled cavities known as paranasal sinuses, and numerous foramina. The sinuses are lined with respiratory epithelium. Their known functions are the lessening of the weight of the skull, the aiding of resonance to the voice and the warming and moistening of the air drawn into the nasal cavity. The foramina are openings in the skull. The largest of these is the foramen magnum that allows the passage of the spinal cord as well as nerves and blood vessels. Processes The many processes of the skull include the mastoid process and the zygomatic processes." (wikipedia.org) "A jack-o'-lantern (or jack o'lantern) is a carved pumpkin, turnip, or other root vegetable lantern,[1] commonly associated with the Halloween holiday. Its name comes from the reported phenomenon of strange lights flickering over peat bogs, called will-o'-the-wisps or jack-o'-lanterns. The name is also tied to the Irish legend of Stingy Jack, a drunkard who bargains with Satan and is doomed to roam the Earth with only a hollowed turnip to light his way. Jack-o'-lanterns carved from pumpkins are a yearly Halloween tradition that came to the United States from Irish immigrants.[2] In a jack-o'-lantern, the top of the pumpkin or turnip is cut off to form a lid, the inside flesh is scooped out, and an image—usually a scary or funny face—is carved out of the rind to expose the hollow interior. To create the lantern effect, a light source, traditionally a flame such as a candle or tealight, is placed within before the lid is closed. However, artificial jack-'o-lanterns with electric lights are also marketed. It is common to see jack-o'-lanterns used as external and internal decorations prior to and on Halloween.... Etymology An assortment of carved pumpkins. The term jack-o'-lantern was originally used to describe the visual phenomenon ignis fatuus (lit., "foolish fire") known as a will-o'-the-wisp in English folklore. Used especially in East England, its earliest known use dates to the 1660s.[3] The term "will-o'-the-wisp" uses "wisp" (a bundle of sticks or paper sometimes used as a torch) and the proper name "Will": thus, "Will-of-the-torch." The term jack o'lantern is of the same construction: "Jack of [the] lantern." History A plaster cast of a traditional Irish Jack-o'-Lantern in the Museum of Country Life, Ireland. Modern carving of a Cornish Jack-o'-Lantern made from a turnip. Origin The carving of vegetables has been a common practice in many parts of the world. It is believed that the custom of making jack-o'-lanterns at Hallowe'en time began in Ireland.[4][5][6] In the 19th century, "turnips or mangel wurzels, hollowed out to act as lanterns and often carved with grotesque faces," were used on Halloween in parts of Ireland and the Scottish Highlands.[7] In these Gaelic-speaking regions, Halloween was also the festival of Samhain and was seen as a time when supernatural beings (the Aos Sí), and the souls of the dead, walked the earth. Jack-o'-lanterns were also made at Halloween time in Somerset (see Punkie Night) during the 19th century.[7] By those who made them, the lanterns were said to represent either spirits or supernatural beings,[7] or were used to ward off evil spirits.[8] For example, sometimes they were used by Halloween participants to frighten people,[8][9][10] and sometimes they were set on windowsills to keep harmful spirits out of one's home.[9] It has also been suggested that the jack-o'-lanterns originally represented Christian souls in purgatory, as Halloween is the eve of All Saints' Day (1 November)/All Souls' Day (2 November).[11] On Halloween in 1835, the Dublin Penny Journal published a long story on the legend of "Jack-o'-the-Lantern".[12] In 1837, the Limerick Chronicle refers to a local pub holding a carved gourd competition and presenting a prize to "the best crown of Jack McLantern". The term "McLantern" also appears in an 1841 publication of the same paper.[13] There is also evidence that turnips were used to carve what was called a "Hoberdy's Lantern" in Worcestershire, England, at the end of the 18th century. The folklorist Jabez Allies outlines other derivations of the name, "Hobany's", which is most likely derived from "Hob and his", with other variations including "Hob-o'-Lantern", "Hobbedy's Lantern" and "Hobbady-lantern".[14] In North America Adaptations of Washington Irving's short story "The Legend of Sleepy Hollow" (1820) often show the Headless Horseman with a pumpkin or jack-o'-lantern in place of his severed head. (In the original story, a shattered pumpkin is discovered next to Ichabod Crane's abandoned hat on the morning after Crane's supposed encounter with the Horseman.) The application of the term to carved pumpkins in American English is first seen in 1834.[15] The carved pumpkin lantern's association with Halloween is recorded in the 1 November 1866 edition of the Daily News (Kingston, Ontario): The old time custom of keeping up Hallowe'en was not forgotten last night by the youngsters of the city. They had their maskings and their merry-makings, and perambulated the streets after dark in a way which was no doubt amusing to themselves. There was a great sacrifice of pumpkins from which to make transparent heads and face, lighted up by the unfailing two inches of tallow candle.[16] James Fenimore Cooper wrote a nautical novel titled The Jack O'lantern (le Feu-Follet), Or the Privateer (1842). The Jack O'lantern was the name of the ship.[17] The poet John Greenleaf Whittier, who was born in Massachusetts in 1807, wrote the poem "The Pumpkin" (1850):[18] Oh!—fruit loved of boyhood!—the old days recalling, When wood-grapes were purpling and brown nuts were falling! When wild, ugly faces we carved in its skin, Glaring out through the dark with a candle within! Agnes Carr Sage, in the article, "Halloween Sports and Customs" (Harper's Young People (1885):[19] It is an ancient British custom to light great bonfires (Bone-fire to clear before Winter froze the ground) on Hallowe'en, and carry blazing fagots about on long poles; but in place of this, American boys delight in the funny grinning jack-o'-lanterns made of huge yellow pumpkins with a candle inside. In the United States, the carved pumpkin was first associated with the harvest season in general, long before it became a symbol of Halloween.[20] In 1895, an article on Thanksgiving entertaining recommended a lit jack-o'-lantern as part of the festivities.[20][21] Folklore A commercial "R.I.P." pattern. Halloween jack-o'-lantern. Pumpkin projected onto the wall. The story of the jack-o'-lantern comes in many forms and is similar to the story of Will-o'-the-wisp[22] retold in different forms across Western Europe,[23] including, Italy, Norway, Spain and Sweden.[24] In Switzerland, children will leave bowls of milk or cream out for mythical house spirits called Jack o' the bowl.[25] An old Irish folk tale from the mid-18th century tells of Stingy Jack, a lazy yet shrewd blacksmith who uses a cross to trap Satan. One story says that Jack tricked Satan into climbing an apple tree, and once he was up there, Jack quickly placed crosses around the trunk or carved a cross into the bark, so that Satan couldn't get down.[26] Another version[citation needed] of the story says that Jack was getting chased by some villagers from whom he had stolen. He then met Satan, who claimed it was time for him to die. However, the thief stalled his death by tempting Satan with a chance to bedevil the church-going villagers chasing him. Jack told Satan to turn into a coin with which he would pay for the stolen goods (Satan could take on any shape he wanted); later, when the coin (Satan) disappeared, the Christian villagers would fight over who had stolen it. The Devil agreed to this plan. He turned himself into a silver coin and jumped into Jack's wallet, only to find himself next to a cross Jack had also picked up in the village. Jack had closed the wallet tight, and the cross stripped the Devil of his powers; and so he was trapped. In both folktales, Jack lets Satan go only after he agrees to never take his soul. Many years later, the thief died, as all living things do. Of course, Jack's life had been too sinful for him to go to heaven; however, Satan had promised not to take his soul, and so he was barred from hell as well.[27] Jack now had nowhere to go. He asked how he would see where to go, as he had no light, and Satan mockingly tossed him a burning coal, to light his way. Jack carved out one of his turnips (which were his favorite food), put the coal inside it, and began endlessly wandering the Earth for a resting place.[27] He became known as "Jack of the Lantern", or jack o'lantern. Cornish folklorist Dr. Thomas Quiller Couch (d. 1884) recorded the use of the term in a rhyme used in Polperro, Cornwall, in conjunction with Joan the Wad, the Cornish version of Will-o'-the-wisp. The people of Polperro regarded them both as pixies. The rhyme goes:[28] Jack o' the lantern! Joan the wad, Who tickled the maid and made her mad Light me home, the weather's bad. Jack-o-lanterns were also a way of protecting one's home against the undead. Superstitious people[29] used them specifically to ward off vampires. They thought this because it was said that the jack-o-lantern's light was a way of identifying vampires who, once their identity was known, would give up their hunt for you. Pumpkin craft A jack-o'-lantern Sections of the pumpkin or turnip are cut out to make holes, often depicting a face, which may be either cheerful, scary, or comical.[30] World records Most jack-o'-lanterns carved and lit in one place For a long time, Keene, New Hampshire, held the world record for most jack-o'-lanterns carved and lit in one place. The Life is Good Company teamed up with Camp Sunshine,[31] a camp for children with life-threatening illnesses and their families, to break the record. A record was set on October 21, 2006, when 30,128 jack-o'-lanterns were simultaneously lit on Boston Common in downtown Boston, Massachusetts.[32] Highwood, Illinois, tried to set the record on October 31, 2011, with an unofficial count of 30,919 but did not follow the Guinness regulations, so the achievement did not count.[33] On October 19, 2013, Keene, New Hampshire, broke the Boston record and reclaimed the world record for most lit jack-o'-lanterns on display (30,581). Keene has now broken the record eight times since the original attempt." (wikipedia.org) "A pumpkin is a cultivar of winter squash that is round with smooth, slightly ribbed skin, and is most often deep yellow to orange in coloration.[1] The thick shell contains the seeds and pulp. The name is most commonly used for cultivars of Cucurbita pepo, but some cultivars of Cucurbita maxima, C. argyrosperma, and C. moschata with similar appearance are also sometimes called "pumpkin".[1] Native to North America (northeastern Mexico and the southern United States),[1] pumpkins are one of the oldest domesticated plants, having been used as early as 7,500 to 5,000 BC.[1] Pumpkins are widely grown for commercial use and as food, aesthetics, and recreational purposes. Pumpkin pie, for instance, is a traditional part of Thanksgiving meals in Canada and the United States, and pumpkins are frequently carved as jack-o'-lanterns for decoration around Halloween, although commercially canned pumpkin purée and pumpkin pie fillings are usually made from different kinds of winter squash than the ones used for jack-o'-lanterns.[1] China and India combined account for half of the world's production of pumpkins.... Etymology and terminology According to the Oxford English Dictionary, the English word pumpkin is derived from the Ancient Greek word πέπων romanized pepon meaning 'melon'.[2][3] Under this theory, the term transitioned through the Latin word peponem and the Middle French word pompon to the Early Modern English pompion, which was changed to pumpkin by 17th-century English colonists, shortly after encountering pumpkins upon their arrival in what is now the northeastern United States.[2] An alternate derivation for pumpkin is the Massachusett word pôhpukun 'grows forth round'.[4] This term would likely have been used by the Wampanoag people (who speak the Wôpanâak dialect of Massachusett) when introducing pumpkins to English Pilgrims at Plymouth Colony, located in present-day Massachusetts.[5] The English word squash is also derived from a Massachusett word, variously transcribed as askꝏtasquash,[6] ashk8tasqash, or, in the closely-related Narragansett language, askútasquash.[7] The term pumpkin has no agreed upon botanical or scientific meaning,[8] and is used interchangeably with "squash" and "winter squash".[1] In North America and the United Kingdom, pumpkin traditionally refers to only certain round orange varieties of winter squash, predominantly derived from Cucurbita pepo, while in New Zealand and Australian English, the term pumpkin generally refers to all winter squash.[9] Description Cross section of a pumpkin A pumpkin flower attached to the vine Pumpkins, like other squash, originated in northeastern Mexico and southern United States.[1] The oldest evidence were pumpkin fragments dated between 7,000 and 5,500 BC found in Mexico.[1] Pumpkin fruits are a type of botanical berry known as a pepo.[1][10] Traditional C. pepo pumpkins generally weigh between 3 and 8 kilograms (6 and 18 lb), though the largest cultivars (of the species C. maxima) regularly reach weights of over 34 kg (75 lb).[11] The color of pumpkins derives from orange carotenoid pigments, including beta-cryptoxanthin, alpha and beta carotene, all of which are provitamin A compounds converted to vitamin A in the body.[12] Taxonomy All pumpkins are winter squash, mature fruit of certain species in the genus Cucurbita. Characteristics commonly used to define "pumpkin" include smooth and slightly ribbed skin,[13] and deep yellow to orange color.[13] Circa 2005, white pumpkins had become increasingly popular in the United States.[14] Other colors, including dark green (as with some oilseed pumpkins), also exist. Giant pumpkins Giant pumpkins are large squash with a pumpkin-like appearance that grow to exceptional size, with the largest exceeding 1 ton in weight.[15][16] Most are varieties of Cucurbita maxima, and were developed through the efforts of botanical societies and enthusiast farmers.[15] Cultivation Pumpkins are grown all around the world for a variety of reasons ranging from agricultural purposes (such as animal feed) to commercial and ornamental sales.[17] Of the seven continents, only Antarctica is unable to produce pumpkins. The traditional American pumpkin used for jack-o-lanterns is the Connecticut field variety.[17][18][19][20] Production Pumpkin production – 2018 (includes squash and gourds) Country millions of tonnes China 8.1 India 5.6 Ukraine 1.3 Russia 1.2 World 27.6 Source: FAOSTAT of the United Nations[21] In 2018, world production of pumpkins (including squash and gourds) was 27.6 million tonnes, with China and India accounting for half of the total. Ukraine and Russia each produced about one million tonnes.[21] In the United States A pumpkin patch in Winchester, Oregon As one of the most popular crops in the United States, in 2017 over 680 million kilograms (1.5 billion pounds) of pumpkins were produced.[22] The top pumpkin-producing states include Illinois, Indiana, Ohio, Pennsylvania, and California.[17] According to the Illinois Department of Agriculture, 95% of the U.S. crop intended for processing is grown in Illinois.[23] Nestlé, operating under the brand name Libby's, produces 85% of the processed pumpkin in the United States, at their plant in Morton, Illinois. In the fall of 2009, rain in Illinois devastated the Nestlé crop, which combined with a relatively weak 2008 crop depleting that year's reserves resulted in a shortage affecting the entire country during the Thanksgiving holiday season.[24] Another shortage, somewhat less severe, affected the 2015 crop.[25][26] The pumpkin crop grown in the western United States, which constitutes approximately 3-4% of the national crop, is primarily for the organic market.[27] Pumpkins are a warm-weather crop that is usually planted in early July. The specific conditions necessary for growing pumpkins require that soil temperatures 8 centimetres (3 in) deep are at least 15.5 °C (60 °F) and that the soil holds water well. Pumpkin crops may suffer if there is a lack of water or because of cold temperatures (in this case, below 18 °C or 65 °F). Soil that is sandy with poor water retention or poorly drained soils that become waterlogged after heavy rain are both detrimental. Pumpkins are, however, rather hardy, and even if many leaves and portions of the vine are removed or damaged, the plant can very quickly re-grow secondary vines to replace what was removed.[22] Pumpkins produce both a male and female flower, with fertilization usually effected by bees.[22] In America, pumpkins have historically been pollinated by the native squash bee, Peponapis pruinosa, but that bee has declined, probably partly due to pesticide (imidacloprid) sensitivity.[28] Ground-based bees, such as squash bees and the eastern bumblebee, are better suited to manage the larger pollen particles that pumpkins create,[29][30] but today most commercial plantings are pollinated by hives of honeybees, which also allows the production and sale of honey that the bees produce from the pumpkin pollen. One hive per acre (0.4 hectares, or 5 hives per 2 hectares) is recommended by the U.S. Department of Agriculture. If there are inadequate bees for pollination, gardeners often have to hand pollinate. Inadequately pollinated pumpkins usually start growing but fail to develop. Nutrition Pumpkin, rawNutritional value per 100 g (3.5 oz) Energy 109 kJ (26 kcal) Carbohydrates 6.5 g Sugars 2.76 g Dietary fiber 0.5 g Fat 0.1 g Protein 1 g Vitamins Quantity %DV† Vitamin A equiv. beta-Carotene lutein zeaxanthin 53% 426 μg 29% 3100 μg 1500 μg Thiamine (B1) 4% 0.05 mg Riboflavin (B2) 9% 0.11 mg Niacin (B3) 4% 0.6 mg Pantothenic acid (B5) 6% 0.298 mg Vitamin B6 5% 0.061 mg Folate (B9) 4% 16 μg Vitamin C 11% 9 mg Vitamin E 3% 0.44 mg Vitamin K 1% 1.1 μg Minerals Quantity %DV† Calcium 2% 21 mg Iron 6% 0.8 mg Magnesium 3% 12 mg Manganese 6% 0.125 mg Phosphorus 6% 44 mg Potassium 7% 340 mg Sodium 0% 1 mg Zinc 3% 0.32 mg Other constituents Quantity Water 91.6 g Link to USDA Database entry Units μg = micrograms • mg = milligrams IU = International units †Percentages are roughly approximated using US recommendations for adults. In a 100-gram amount, raw pumpkin provides 110 kilojoules (26 kilocalories) of food energy and is an excellent source (20% or more the Daily Value, DV) of provitamin A beta-carotene and vitamin A (53% DV) (table). Vitamin C is present in moderate content (11% DV), but no other nutrients are in significant amounts (less than 10% DV, table). Pumpkin is 92% water, 6.5% carbohydrate, 0.1% fat and 1% protein (table). Uses Cooking Pumpkin pie is a popular way of preparing pumpkin. Pumpkins are very versatile in their uses for cooking. Most parts of the pumpkin are edible, including the fleshy shell, the seeds, the leaves, and even the flowers. In the United States and Canada, pumpkin is a popular Halloween and Thanksgiving staple.[31] Pumpkin purée is sometimes prepared and frozen for later use.[32] Roasted pumpkin When ripe, the pumpkin can be boiled, steamed, or roasted. In its native North America, pumpkins are a very important, traditional part of the autumn harvest, eaten mashed[33] and making its way into soups and purées. Often, it is made into pumpkin pie, various kinds of which are a traditional staple of the Canadian and American Thanksgiving holidays. In Canada, Mexico, the United States, Europe and China, the seeds are often roasted and eaten as a snack. Pumpkins that are still small and green may be eaten in the same way as summer squash or zucchini. In the Middle East, pumpkin is used for sweet dishes; a well-known sweet delicacy is called halawa yaqtin. In the Indian subcontinent, pumpkin is cooked with butter, sugar, and spices in a dish called kadu ka halwa. Pumpkin is used to make sambar in Udupi cuisine. In Guangxi province, China, the leaves of the pumpkin plant are consumed as a cooked vegetable or in soups. In Australia and New Zealand, pumpkin is often roasted in conjunction with other vegetables. In Japan, small pumpkins are served in savory dishes, including tempura. In Myanmar, pumpkins are used in both cooking and desserts (candied). The seeds are a popular sunflower seed substitute. In Thailand, small pumpkins are steamed with custard inside and served as a dessert. In Vietnam, pumpkins are commonly cooked in soups with pork or shrimp. In Italy, it can be used with cheeses as a savory stuffing for ravioli. Also, pumpkin can be used to flavor both alcoholic and nonalcoholic beverages. In the southwestern United States and Mexico, pumpkin and squash flowers are a popular and widely available food item. They may be used to garnish dishes, and they may be dredged in a batter then fried in oil. Pumpkin leaves are a popular vegetable in the Western and central regions of Kenya; they are called seveve, and are an ingredient of mukimo,[34] respectively, whereas the pumpkin itself is usually boiled or steamed. The seeds are popular with children who roast them on a pan before eating them. Pumpkin leaves are also eaten in Zambia, where they are called chibwabwa and are boiled and cooked with groundnut paste as a side dish.[35] Leaves Pumpkin leaf kimchi Pumpkin leaves, usually of C. moschata varieties, are eaten as a vegetable in Korean cuisine. In various parts of India and Madheshis prepare saag and kachri/pakoda of the leaves and flowers. Seeds Main article: Pumpkin seed Pumpkin Seeds (matured) Pumpkin seeds, also known as pepitas, are edible and nutrient-rich. They are about 1.5 cm (0.5 in) long, flat, asymmetrically oval, light green in color and usually covered by a white husk, although some pumpkin varieties produce seeds without them. Pumpkin seeds are a popular snack that can be found hulled or semi-hulled at most grocery stores. Per ounce serving, pumpkin seeds are a good source of protein, magnesium, copper and zinc.[36] Pumpkin seed oil Pumpkin seed oil, a thick oil pressed from roasted pumpkin seeds, appears red or green in color depending on the oil layer thickness, container properties and hue shift of the observer's vision.[37][38] When used for cooking or as a salad dressing, pumpkin seed oil is generally mixed with other oils because of its robust flavor.[39] Pumpkin seed oil contains fatty acids, such as oleic acid and alpha-linolenic acid.[40] Other uses Canned pumpkin is sometimes recommended by veterinarians as a dietary supplement for dogs and cats that are experiencing certain digestive ailments such as constipation, diarrhea, or hairballs. The high fiber content may aid digestion.[41][42] Raw pumpkin can be fed to poultry, as a supplement to regular feed, during the winter to help maintain egg production, which usually drops off during the cold months.[43] Pumpkins have been used as folk medicine by Native Americans to treat intestinal worms and urinary ailments, and this Native American remedy was adopted by American doctors in the early nineteenth century as an anthelmintic for the expulsion of worms.[44][qualify evidence] In Germany and southeastern Europe, seeds of C. pepo were also used as folk remedies to treat irritable bladder and benign prostatic hyperplasia.[45][46][qualify evidence] In China, C. moschata seeds were also used in traditional Chinese medicine for the treatment of the parasitic disease schistosomiasis[47] and for the expulsion of tape worms.[48][qualify evidence] Chinese studies have found that a combination of pumpkin seed and areca nut extracts was effective in the expulsion of Taenia spp. tapeworms in over 89% of cases.[49][50][51] Culture Halloween A pumpkin carved into a jack-o'-lantern for Halloween Pumpkins are commonly carved into decorative lanterns called jack-o'-lanterns for the Halloween season. Traditionally Britain and Ireland would carve lanterns from vegetables, particularly the turnip, mangelwurzel, or swede,[52] they continue to be popular choices today as carved lanterns in Scotland and Northern Ireland, although the British purchased a million pumpkins for Halloween in 2004.[53] The practice of carving pumpkins for Halloween originated from an Irish myth about a man named "Stingy Jack".[17] The turnip has traditionally been used in Ireland and Scotland at Halloween,[54] but immigrants to North America used the native pumpkin, which are both readily available and much larger – making them easier to carve than turnips.[54] Not until 1837, does jack-o'-lantern appear as a term for a carved vegetable lantern,[55] and the carved pumpkin lantern association with Halloween is recorded in 1866.[56] In the United States, the carved pumpkin was first associated with the harvest season in general, long before it became an emblem of Halloween.[57] In 1900, an article on Thanksgiving entertaining recommended a lit jack-o'-lantern as part of the festivities that encourage kids and families to join together to make their own jack-o'-lanterns.[57] Association of pumpkins with harvest time and pumpkin pie at Canadian and American Thanksgiving reinforce its iconic role. Starbucks turned this association into marketing with its pumpkin spice latte, introduced in 2003.[58] This has led to a notable trend in pumpkin and spice flavored food products in North America.[59] This is despite the fact that North Americans rarely buy whole pumpkins to eat other than when carving jack-o'-lanterns. Illinois farmer Sarah Frey is called "the Pumpkin Queen of America" and sells around five million pumpkins annually, predominantly for use as lanterns.[60][61] Chunking Pumpkin chunking is a competitive activity in which teams build various mechanical devices designed to throw a pumpkin as far as possible. Catapults, trebuchets, ballistas and air cannons are the most common mechanisms. Some pumpkin chunkers breed and grow special varieties of pumpkin under specialized conditions to improve the pumpkin's chances of surviving a throw. Pumpkin festivals and competitions Growers of giant pumpkins often compete to see whose pumpkins are the most massive. Festivals are often dedicated to the pumpkin and these competitions. The record for the world's heaviest pumpkin, 1,190.5 kg (2,624.6 lb), was established in Belgium in 2016.[16] In the United States, the town of Half Moon Bay, California, holds an annual Art and Pumpkin Festival, including the World Champion Pumpkin Weigh-Off.[62] Folklore and fiction There is a connection in folklore and popular culture between pumpkins and the supernatural, such as: The custom of carving jack-o-lanterns from pumpkins derives from folklore about a lost soul wandering the earth. In the fairy tale Cinderella, the fairy godmother turns a pumpkin into a carriage for the title character, but at midnight it reverts to a pumpkin. In some adaptations of Washington Irving's ghost story The Legend of Sleepy Hollow, the headless horseman is said to use a pumpkin as a substitute head." (wikipedia.org) "A paintbrush is a brush used to apply paint or sometimes ink. A paintbrush is usually made by clamping the bristles to a handle with a ferrule. They are available in various sizes, shapes, and materials. Thicker ones are used for filling in, and thinner ones are used for details. They may be subdivided into decorators' brushes used for painting and decorating and artists' brushes use for visual art.... Brush parts Brush parts Bristles: Transfer paint onto the substrate surface Ferrule: Retains the bristles and attaches them to the handle Handle: The intended interface between the user and the tool[1] Trade painter's brushes Brush handle styles Brushes for use in non-artistic trade painting are geared to applying an even coat of paint to relatively large areas. Following are the globally recognized handles of trade painter's brushes:[2] Gourd Handle: Ergonomic design that reduces stress on the wrist and hand whilst painting. Short Handle: The shorter handle provides greater precision when painting small spaces such as corners, trims & detail areas. Flat Beavertail Handle: This shape is rounded and slightly flattened to fit perfectly into the palm of the hand whilst painting. Square Handle: Square shaped handle with bevelled corners is featured mainly in trim or sash brushes and is comfortable to hold when painting. Rat Tail Handle: This handle is longer & thinner than the standard making it easy to hold to give greater control. Long Handle: Rounded and thin, a long handle is easy to hold like a pencil giving great control & precision when cutting in & painting tricky spaces. Decorators' brushes Decorators' brushes Using a paintbrush The sizes of brushes used for painting and decorating. Decorators' brush sizes Decorators' brush sizes are given in millimeters (mm) or inches (in), which refers to the width of the head. Common sizes are: Metric: 10 mm, 20 mm, 40 mm, 50 mm, 60 mm, 70 mm, 80 mm, 90 mm, 100 mm. Customary: 1⁄8 in,1⁄4 in, 3⁄8 in, 1⁄2 in, 5⁄8 in, 3⁄4 in, 7⁄8 in, 1 in, 1+1⁄4 in, 1+1⁄2 in, 2 in, 2+1⁄2 in, 3 in, 3+1⁄2 in, 4 in. Decorators' brush shapes Angled: For painting edges, bristle length viewed from the wide face of the brush uniformly decrease from one end of the brush to the other Flat: For painting flat surfaces, bristle length viewed from the wide face of the brush does not change Tapered: Improves control, the bristle length viewed from the narrow face of the brush is longer in the center and tapers toward the edges Striker: Large round (cylindrical) brush for exterior painting difficult areas Decorators' brush bristles Bristles may be natural or synthetic. If the filaments are synthetic, they may be made of polyester, nylon or a blend of nylon and polyester. Filaments can be hollow or solid and can be tapered or untapered. Brushes with tapered filaments give a smoother finish. Synthetic filaments last longer than natural bristles. Natural bristles are preferred for oil-based paints and varnishes, while synthetic brushes are better for water-based paints as the bristles do not expand when wetted. A decorator judges the quality of a brush based on several factors: filament retention, paint pickup, steadiness of paint release, brush marks, drag and precision painting. A chiseled brush permits the painter to cut into tighter corners and paint more precisely. Brush handles may be made of wood or plastic while ferrules are metal (usually nickel-plated steel). Artists' brushes Short handled brushes are usually used for flat or slightly tilted work surfaces such as watercolor painting and ink painting, while long handled brushes are held horizontally while working on a vertical canvas such as for oil paint or acrylic paint.[3]:51 Artist's brush shapes The styles of brush tip seen most commonly are:[4][1][3]:52–59 Round: pointed tip, long closely arranged bristles for detail. Flat: for spreading paint quickly and evenly over a surface. They will have longer hairs than their Bright counterpart. Bright: shorter than flats. Flat brushes with short stiff bristles, good for driving paint into the weave of a canvas in thinner paint applications, as well as thicker painting styles like impasto work. Filbert: flat brushes with domed ends. They allow good coverage and the ability to perform some detail work. Fan: for blending broad areas of paint. Angle: like the filbert, these are versatile and can be applied in both general painting application as well as some detail work. Mop: a larger format brush with a rounded edge for broad soft paint application as well as for getting thinner glazes over existing drying layers of paint without damaging lower layers to protect the paintbrush Rigger: round brushes with longish hairs, traditionally used for painting the rigging in pictures of ships. They are useful for fine lines and are versatile for both oils and watercolors. Stippler and deer-foot stippler: short, stubby rounds Liner: elongated rounds Dagger looks like angle with longish hairs, used for one stroke painting like painting long leaves. Scripts: highly elongated rounds Egbert Types of brushes Brushes used in one stroke painting Some other styles of brush include: Sumi: Similar in style to certain watercolor brushes, also with a generally thick wooden or metal handle and a broad soft hair brush that when wetted should form a fine tip. Also spelled Sumi-e (墨絵, Ink wash painting). Hake (刷毛): An Asian style of brush with a large broad wooden handle and an extremely fine soft hair used in counterpoint to traditional Sumi brushes for covering large areas. Often made of goat hair. Spotter: Round brushes with just a few short bristles. These brushes are commonly used in spotting photographic prints. Stencil: A round brush with a flat top used on stencils to ensure the bristles don't get underneath. Also used to create texture. Artists' brush sizes Artists' brushes are usually given numbered sizes, although there is no exact standard for their physical dimensions. From smallest to largest, the sizes are: 20/0, 12/0, 10/0, 7/0, 6/0, 5/0, 4/0 (also written 0000), 000, 00, 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 16, 18, 20, 22, 24, 25, 26, 28, 30. Brushes as fine as 30/0 are manufactured by major companies, but are not a common size. Sizes 000 to 20 are most common.[1][3]:51 Artists' brush bristles Closeup of an oil paintbrush Bristles may be natural—either soft hair or hog bristle—or synthetic.[3]:50 Types include: watercolor brushes which are usually made of sable, synthetic sable or nylon; oil painting brushes which are usually made of sable or bristle; acrylic brushes which are almost entirely nylon or synthetic. Turpentine or thinners used in oil painting can destroy some types of synthetic brushes. However, innovations in synthetic bristle technology have produced solvent resistant synthetic bristles suitable for use in all media. Natural hair, squirrel, badger or sable are used by watercolorists due to their superior ability to absorb and hold water. Soft hair brushes The best of these are made from kolinsky sable, other red sables, or miniver (Russian squirrel winter coat; tail) hair. Sabeline is ox hair dyed red to look like red sable and sometimes blended with it. Camel hair is a generic term for a cheaper and lower quality alternative, usually ox. It can be other species, or a blend of species, but never includes camel. Pony, goat, mongoose and badger hair are also used. Hog bristle Often called China bristle or Chungking bristle. This is stiffer and stronger than soft hair. It may be bleached or unbleached. Synthetic bristles These are made of special multi-diameter extruded nylon filament, Taklon or polyester. These are becoming ever more popular with the development of new water based paints. Artists' brush handles Artists' brush handles are commonly wooden but can also be made of molded plastic. Many mass-produced handles are made of unfinished raw wood; better quality handles are of seasoned hardwood. The wood is sealed and lacquered to give the handle a high-gloss, waterproof finish that reduces soiling and swelling. Metal ferrules may be of aluminum, nickel, copper, or nickel-plated steel. Quill ferrules are also found: these give a different "feel" to the brush, and are staple of French-style aquarel wash brushes." (wikipedia.org) "The distinction between horror and terror is a standard literary and psychological concept applied especially to Gothic and horror fiction.[1] Terror is usually described as the feeling of dread and anticipation that precedes the horrifying experience. By contrast, horror is the feeling of revulsion that usually follows a frightening sight, sound, or otherwise experience. Horror has also been defined by Noel Carroll as a combination of terror and revulsion.... Literary Gothic Figure 20 from Charles Darwin's The Expression of the Emotions in Man and Animals (1872). Caption reads "FIG. 20.—Terror, from a photograph by Dr. Duchenne." The distinction between terror and horror was first characterized by the Gothic writer Ann Radcliffe (1764–1823), horror being more related to being shocked or scared (being horrified) at an awful realization or a deeply unpleasant occurrence, while terror is more related to being anxious or fearful.[3] Radcliffe considered that terror is characterized by "obscurity" or indeterminacy in its treatment of potentially horrible events, something which leads to the sublime. She says in an essay published posthumously in 1826, 'On the Supernatural in Poetry', that terror "expands the soul and awakens the faculties to a high degree of life". Horror, in contrast, "freezes and nearly annihilates them" with its unambiguous displays of atrocity. She goes on: "I apprehend that neither Shakespeare nor Milton by their fictions, nor Mr Burke by his reasoning, anywhere looked to positive horror as a source of the sublime, though they all agree that terror is a very high one; and where lies the great difference between horror and terror, but in uncertainty and obscurity, that accompany the first, respecting the dreader evil."[4] According to Devendra Varma in The Gothic Flame (1966): The difference between Terror and Horror is the difference between awful apprehension and sickening realization: between the smell of death and stumbling against a corpse. Horror fiction Horror is also a genre of film and fiction that relies on horrifying images or situations to tell stories and prompt reactions or jump scares to put their audiences on edge. In these films the moment of horrifying revelation is usually preceded by a terrifying build up, often using the medium of scary music.[5] In his non-fiction book Danse Macabre, Stephen King stressed how horror tales normally chart the outbreak of madness/the terrible within an everyday setting.[6] He also elaborated on the twin themes of terror and horror, adding a third element which he referred to as "revulsion". He describes terror as "the finest element" of the three, and the one he strives hardest to maintain in his own writing. Citing many examples, he defines "terror" as the suspenseful moment in horror before the actual monster is revealed. "Horror," King writes, is that moment at which one sees the creature/aberration that causes the terror or suspense, a "shock value". King finally compares "revulsion" with the gag-reflex, a bottom-level, cheap gimmick which he admits he often resorts to in his own fiction if necessary, confessing: I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify, I'll go for the gross-out. I'm not proud.[7] Psychoanalytic views Freud likened the experience of horror to that of the uncanny.[8] In his wake, Georges Bataille saw horror as akin to ecstasy in its transcendence of the everyday;[9] as opening a way to go beyond rational social consciousness.[10] Julia Kristeva in turn considered horror as evoking experience of the primitive, the infantile, and the demoniacal aspects of unmediated femininity.[11] Horror, helplessness and trauma The paradox of pleasure experienced through horror films/books can be explained partly as stemming from relief from real-life horror in the experience of horror in play, partly as a safe way to return in adult life to the paralysing feelings of infantile helplessness.[12] Helplessness is also a factor in the overwhelming experience of real horror in psychological trauma.[13] Playing at re-experiencing the trauma may be a helpful way of overcoming it." (wikipedia.org) "Timothy Walter Burton[a] (born August 25, 1958) is an American film director, producer, writer, and artist known for his gothic fantasy and horror films such as Beetlejuice (1988), Edward Scissorhands (1990), Ed Wood (1994), Sleepy Hollow (1999), Corpse Bride (2005), Sweeney Todd: The Demon Barber of Fleet Street (2007), and Frankenweenie (2012). Burton also directed the superhero films Batman (1989) and Batman Returns (1992), the sci-fi film Planet of the Apes (2001), the fantasy-drama Big Fish (2003), the musical adventure film Charlie and the Chocolate Factory (2005), and the fantasy films Alice in Wonderland (2010) and Miss Peregrine's Home for Peculiar Children (2016). Burton has often worked with actor Johnny Depp, composer Danny Elfman (who has composed scores for all but three of the films Burton has directed) and Helena Bonham Carter, Burton's former domestic partner. He wrote and illustrated the poetry book The Melancholy Death of Oyster Boy & Other Stories, published in 1997 by British publishing house Faber and Faber, and a compilation of his drawings, sketches, and other artwork, entitled The Art of Tim Burton, was released in 2009. A follow-up to that book, entitled The Napkin Art of Tim Burton: Things You Think About in a Bar, containing sketches made by Burton on napkins at bars and restaurants he visited, was released in 2015. His accolades include nominations for two Academy Awards and three BAFTA Awards, and wins for an Emmy Award and a Golden Globe Award.... Early life Burton was born in 1958, in Burbank, California, the son of Jean Burton (née Erickson, 1933–2002), later the owner of a cat-themed gift shop, and William "Bill" Burton (1930–2000), a former minor league baseball player who was working for the Burbank Parks and Recreation Department.[4][5] As a preteen, Burton would make short films in his backyard on 2101 N Evergreen Street using crude stop motion animation techniques or shooting on 8 mm film without sound (one of his oldest known juvenile films is The Island of Doctor Agor, which he made when he was 13 years old). Burton attended Providencia Elementary School in Burbank, and afterward to Burbank High School but was not a particularly good student. He played on the water polo team at Burbank High. Burton was an introspective person and found pleasure in painting, drawing, and watching movies. His future work would be heavily influenced by the works of such childhood heroes as Dr. Seuss and Roald Dahl.[6] After graduating from Burbank High School, Burton attended the California Institute of the Arts in Valencia, Santa Clarita, to study character animation.[7] As a student at CalArts, Burton made the shorts Stalk of the Celery Monster and King and Octopus.[8] Career 1980s Stalk of the Celery Monster attracted the attention of Walt Disney Productions' animation division, which offered Burton an animator's apprenticeship at the studio.[7] He worked as an animator, storyboard artist, graphic designer, art director, and concept artist on films such as The Fox and the Hound (1981), Tron (1982), and The Black Cauldron (1985). His concept art never made it into the finished films. While at Disney in 1982, Burton made his first short, Vincent, a six-minute black-and-white stop motion film based on a poem written by Burton, which depicts a young boy who fantasizes that he is his hero Vincent Price, with Price himself providing narration. The film was produced by Rick Heinrichs, whom Burton had befriended while working in the concept art department at Disney. The film was shown at the Chicago Film Festival and released, alongside the teen drama Tex, for two weeks in one Los Angeles cinema. This was followed by Burton's first live-action production, Hansel and Gretel, a Japanese-themed adaptation of the Brothers Grimm fairy tale for the Disney Channel, which climaxes in a kung fu fight between Hansel and Gretel and the witch. Having aired once in 1983 at 10:30 pm on Halloween and promptly shelved, prints of the film are extremely difficult to locate, fueling rumors that the project did not exist. The short would finally go on public display in 2009 at the Museum of Modern Art, and again in 2011 as part of the Tim Burton art exhibit at LACMA.[9][10] It was again shown at the Seoul Museum of Art in 2012.[11] Burton's next live-action short film, Frankenweenie, was released in 1984. It tells the story of a young boy who tries to revive his dog after it is run over by a car. Filmed in black-and-white, it stars Barret Oliver, Shelley Duvall (with whom he would work again in 1986, directing an episode of her television series Faerie Tale Theatre), and Daniel Stern. After Frankenweenie was completed, Disney fired Burton, under the pretext of him spending the company's resources on a film that would be too dark and scary for children to see.[12] Actor Paul Reubens saw Frankenweenie and chose Burton to direct the cinematic spin-off of his popular character Pee-wee Herman, stating on the audio commentary of 2000 DVD release of Pee-wee's Big Adventure that as soon as the short began, he was sold on Burton's style. Pee-wee Herman gained mainstream popularity with a successful stage show at The Groundlings and the Roxy which was later turned into an HBO special. The film, Pee-wee's Big Adventure, was made on a budget of $8 million and grossed more than $40 million at the North American box office. Burton, a fan of the eccentric musical group Oingo Boingo, asked songwriter Danny Elfman to provide the music for the film. Since then, Elfman has scored every film that Tim Burton has directed, except for Ed Wood,[13] Sweeney Todd: The Demon Barber of Fleet Street, and Miss Peregrine's Home for Peculiar Children. After directing episodes for the revitalized version of '50s/'60s anthology horror series Alfred Hitchcock Presents and Shelley Duvall's Faerie Tale Theatre, Burton directed his next big project: Beetlejuice (1988), a supernatural comedy horror about a young couple forced to cope with life after death and the family of pretentious yuppies who invade their treasured New England home. Their teenage daughter, Lydia (Winona Ryder), has an obsession with death which allows her to see the deceased couple. Starring Alec Baldwin and Geena Davis, and featuring Michael Keaton as the obnoxious bio-exorcist Beetlejuice, the film grossed $80 million on a relatively low budget and won an Academy Award for Best Makeup. It would be converted into a cartoon of the same name, with Burton playing a role as executive producer, that ran on ABC and later Fox. Burton's ability to produce hits with low budgets impressed studio executives, and he received his first big budget film, Batman. The production was plagued with problems. Burton repeatedly clashed with the film's producers, Jon Peters and Peter Guber, but the most notable debacle involved casting. For the title role, Burton chose to cast Michael Keaton as Batman following their previous collaboration in Beetlejuice, despite Keaton's average physique, inexperience with action films, and reputation as a comic actor. Although Burton won in the end, the furor over the casting provoked enormous fan animosity, to the extent that Warner Brothers' share price slumped.[citation needed] Burton had considered it ridiculous to cast a "bulked-up" ultra-masculine man as Batman, insisting that Batman should be an ordinary man who dressed up in an elaborate bat costume to frighten criminals. Burton cast Jack Nicholson as The Joker (Tim Curry being his second choice) in a move that helped assuage fans' fears, as well as attracting older audiences not as interested in a superhero film. When the film opened in June 1989, it was backed by the biggest marketing and merchandising campaign in film history at the time, and became one of the biggest box office hits of all time, grossing over $250 million in the U.S. and $400 million worldwide (numbers not adjusted for inflation) and earning critical acclaim for the performances of both Keaton and Nicholson, as well as the film's production aspects, which won the Academy Award for Best Art Direction. The success of the film helped establish Burton as a profitable director, and it proved to be a huge influence on future superhero films, which eschewed the bright, all-American heroism of Richard Donner's Superman for a grimmer, more realistic look and characters with more psychological depth. It also became a major inspiration for the successful 1990s cartoon Batman: The Animated Series, as the darkness of Burton's film and its sequel allowed for a darker Batman on television. Burton claimed that the graphic novel Batman: The Killing Joke was a major influence on his film adaptation of Batman: "I was never a giant comic book fan, but I've always loved the image of Batman and the Joker. The reason I've never been a comic book fan – and I think it started when I was a child – is because I could never tell which box I was supposed to read. I don't know if it was dyslexia or whatever, but that's why I loved The Killing Joke, because for the first time I could tell which one to read. It's my favorite. It's the first comic I've ever loved. And the success of those graphic novels made our ideas more acceptable."[14] 1990s In 1990, Burton co-wrote (with Caroline Thompson) and directed Edward Scissorhands, re-uniting with Winona Ryder from Beetlejuice. His friend Johnny Depp, a teen idol at the end of the 1980s due primarily to his work on the hit TV series 21 Jump Street, was cast in the title role of Edward, who was the creation of an eccentric and old-fashioned inventor (played by Vincent Price in one of his last screen appearances). Edward looked human, but was left with scissors in the place of hands due to the untimely death of his creator. Set in suburbia (and shot in Land o' Lakes, Florida), the film is largely seen as Burton's autobiography of his childhood in Burbank. Burton's idea[15] for the character of Edward Scissorhands came from a drawing he created in high school. Depp wrote a similar comment in the foreword to Mark Salisbury's book, Burton on Burton, regarding his first meeting with Burton over the casting of the film. Edward Scissorhands is considered one of Burton's best movies by some critics.[16] Burton has stated that this is his most personal and meaningful film because it's a representation of him not being able to communicate effectively with others as a teenager. After the success of Batman, Burton agreed to direct the sequel for Warner Bros. on the condition that he would be granted total control. The result was Batman Returns, which featured Michael Keaton returning as Batman, and a new triad of villains: Danny DeVito (as the Penguin), Michelle Pfeiffer (as Catwoman) and Christopher Walken (as Max Shreck, an evil corporate tycoon and original character created for the film). Darker and considerably more personal than its predecessor, concerns were raised that the film was too scary for children. Audiences were more uncomfortable at the film's overt sexuality, personified by the sleek, fetish-inspired styling of Catwoman's costume. Burton made many changes to the Penguin which would subsequently be applied to the character in both comics and television. While in the comics, he was an ordinary man, Burton created a freak of nature resembling a penguin with webbed, flipper-like fingers, a hooked, beak-like nose, and a penguin-like body (resulting in a rotund, obese man). Released in 1992, Batman Returns grossed $282.8 million worldwide, making it a financial success, though not to the extent of its predecessor. Due to schedule constraints on Batman Returns, Burton produced, but did not direct, The Nightmare Before Christmas (1993) for Disney, originally meant to be a children's book in rhyme. The film was directed by Henry Selick and written by Caroline Thompson, based on Burton's original story, world, and characters. The film received positive reviews for the stop motion animation, musical score, and original storyline. It was a box office success, grossing $50 million. Because of the nature of the film, it was not produced under Disney's name, but rather Disney owned Touchstone Pictures. Disney wanted the protagonist to have eyes,[17] but the final iteration did not. Over 100 people worked on this motion picture just to create the characters, and it took three years of work to produce the film.[17] Burton collaborated with Selick again for James and the Giant Peach (1996), which Burton co-produced. In 1994, Burton and frequent co-producer Denise Di Novi produced the 1994 fantasy-comedy Cabin Boy, starring comedian Chris Elliott and directed/written by Adam Resnick. Burton was originally supposed to direct the film after seeing Elliott perform on Get a Life, but he handed the directing responsibility to Resnick once he was offered Ed Wood. Burton's next film, Ed Wood (1994), was of a much smaller scale, depicting the life of infamous director Ed Wood. Starring Johnny Depp in the title role, the film is an homage to the low-budget science fiction and horror films of Burton's childhood and handles its comical protagonist and his motley band of collaborators with surprising fondness and sensitivity. Owing to creative squabbles during the making of The Nightmare Before Christmas, Danny Elfman declined to score Ed Wood, and the assignment went to Howard Shore. While a commercial failure at the time of its release, Ed Wood was well received by critics. Martin Landau received the Academy Award for Best Supporting Actor for his portrayal of Bela Lugosi, and the film received the Academy Award for Best Makeup. Despite Burton's intention to still lead the Batman franchise, Warner Bros. considered Batman Returns too dark and unsafe for children. To attract the young audience, it was decided that Joel Schumacher, who had directed films like The Client, would lead the third film, while Burton would only produce it in conjunction with Peter MacGregor-Scott. Following this change and the changes made by the new director, Michael Keaton resigned from the lead role and was replaced by Val Kilmer. Filming for Batman Forever began in late 1994 with new actors: Tommy Lee Jones as Harvey Dent/Two-Face, Nicole Kidman as Dr. Chase Meridian, Chris O'Donnell as Dick Grayson/Robin and Jim Carrey as Edward Nygma/The Riddler; the only two actors who returned after Batman Returns were Pat Hingle as Commissioner Gordon and Michael Gough as Alfred Pennyworth. The film, a combination of the darkness that characterized the saga and colors and neon signs proposed by Schumacher, was a huge box office success, earning $336 million. Warner Bros. demanded that Schumacher delete some scenes so the film did not have the same tone as its predecessor, Batman Returns (later they were added as deleted scenes on the 2005 DVD release). In 1996, Burton and Selick reunited for the musical fantasy James and the Giant Peach, based on the book by Roald Dahl which contains magical elements and references to drugs and alcohol.[18] The film, a combination of live action and stop motion footage, starred Richard Dreyfuss, Susan Sarandon, David Thewlis, Simon Callow and Jane Leeves among others, with Burton producing and Selick directing. The film was mostly praised by critics and was nominated for the Academy Award for Best Original Musical or Comedy Score (by Randy Newman). Elfman and Burton reunited for Mars Attacks! (1996). Based on a popular science-fiction trading card series, the film was a hybrid of 1950s science fiction and 1970s all-star disaster films. Coincidence made it an inadvertent spoof of the blockbuster Independence Day, which had been released five months earlier. The film boasted an all-star cast, including Jack Nicholson, Glenn Close, Annette Bening, Danny DeVito, Pierce Brosnan, Michael J. Fox, Sarah Jessica Parker, Natalie Portman, Lukas Haas, Martin Short, Rod Steiger, Christina Applegate, and Jack Black. Sleepy Hollow, released in late 1999, had a supernatural setting and starred Johnny Depp as Ichabod Crane, a detective with an interest in forensic science rather than the schoolteacher of Washington Irving's original tale. With Sleepy Hollow, Burton paid homage to the horror films of the English company Hammer Films. Christopher Lee, one of Hammer's stars, was given a cameo role. A host of Burton regulars appeared in supporting roles (Michael Gough, Jeffrey Jones, and Christopher Walken, among others), and Christina Ricci was cast as Katrina van Tassel. A well-regarded supporting cast was headed by Miranda Richardson, Michael Gambon, Richard Griffiths and Ian McDiarmid. Mostly well received by critics, and with a special mention to Elfman's gothic score, the film won an Academy Award for Best Art Direction, as well as two BAFTAs for Best Costume Design and Best Production Design. A box office success, Sleepy Hollow was also a turning point for Burton. Along with change in his personal life (separation from actress Lisa Marie), Burton changed radically in style for his next project, leaving the haunted forests and colorful outcasts behind to go on to directing Planet of the Apes which, as Burton had repeatedly noted, was "not a remake" of the earlier film. 2000s Burton (right) and Pedro Almodóvar at the première of Sweeney Todd: The Demon Barber of Fleet Street in Madrid, in 2007 Planet of the Apes was a commercial success, grossing $68 million in its opening weekend. The film has received mixed reviews and is widely considered inferior to the first adaptation of the novel. In 2003, Burton directed Big Fish, based on the novel Big Fish: A Novel of Mythic Proportions by Daniel Wallace. The film is about a father telling the story of his life to his son using exaggeration and color. Starring Ewan McGregor as young Edward Bloom and Albert Finney as an older Edward Bloom, the film also stars Jessica Lange, Billy Crudup, Danny DeVito, Alison Lohman and Marion Cotillard. Big Fish received four Golden Globe nominations as well as an Academy Award nomination for Elfman's score. The film was also the second collaboration between Burton and Helena Bonham Carter, who played the characters of Jenny and the Witch. Charlie and the Chocolate Factory (2005) is an adaptation of the book of the same name by Roald Dahl. Starring Johnny Depp as Willy Wonka, Freddie Highmore as Charlie Bucket, and Deep Roy as the Oompa-Loompas, the film generally took a more faithful approach to the source material than the 1971 adaptation, Willy Wonka & the Chocolate Factory, although some liberties were taken, such as adding Wonka's issue with his father (played by Christopher Lee). Charlie and the Chocolate Factory was later nominated for the Academy Award for Best Costume Design. The film made over $207 million domestically. Filming proved difficult as Burton, Depp, and Danny Elfman had to work on this and Burton's Corpse Bride (2005) at the same time, which was Burton's first full-length stop motion film as a director, featuring the voices of Johnny Depp as Victor and Helena Bonham Carter as Emily . Burton directed his first music video, "Bones", in 2006. "Bones" is the sixth overall single by American indie rock band The Killers and the second released from their second studio album, Sam's Town. Starring in this video were actors Michael Steger and Devon Aoki. Burton went to direct a second music video for The Killers, "Here with Me", starring Winona Ryder, released in 2012.[19] The DreamWorks/Warner Bros. production Sweeney Todd: The Demon Barber of Fleet Street, based on the 1979 Broadway musical, was released on December 21, 2007. Burton's work on Sweeney Todd won the National Board of Review Award for Best Director,[20] received a Golden Globe nomination for Best Director,[21] and won an Academy Award for Best Art Direction. The film blends explicit gore and Broadway tunes, and was well received by critics. Johnny Depp's performance as Sweeney Todd was nominated for the Academy Award for Best Actor. In 2005, filmmaker Shane Acker released his short film 9, a story about a sentient rag doll living in a post-apocalyptic world who tries to stop machines from destroying the rest of his eight fellow rag dolls. The film won numerous awards and was nominated for an Academy Award for Best Animated Short Film. After seeing the short film, Tim Burton and Timur Bekmambetov, director of Wanted, showed interest in producing a feature-length adaptation of the film. Directed by Acker, the full-length film was produced by Burton, written by Acker (story) and Pamela Pettler (screenplay, co-writer of Corpse Bride), and featured the voice work of Elijah Wood, John C. Reilly, Jennifer Connelly, Christopher Plummer, Martin Landau, and Crispin Glover, among others. 2010s Burton speaking about 9 at Comic-Con, 2009 Tim Burton appeared at the 2009 Comic-Con in San Diego, California, to promote both 9 and Alice in Wonderland; the latter won two Academy Awards, for Best Art Direction and Best Costume Design. In Burton's version of Alice in Wonderland, the story is set 13 years after the original Lewis Carroll tales. Mia Wasikowska was cast as Alice. The original start date for filming was May 2008.[22] Torpoint and Plymouth were the locations used for filming from September 1 – October 14, and the film remains set in the Victorian era. During this time, filming took place in Antony House in Torpoint.[23] 250 local extras were chosen in early August.[24][25] Other production work took place in London.[26] The film was originally to be released in 2009, but was pushed to March 5, 2010.[27] The film starred Johnny Depp as the Mad Hatter; Matt Lucas as both Tweedledee and Tweedledum; Helena Bonham Carter as the Red Queen; Stephen Fry as the Cheshire Cat; Anne Hathaway as the White Queen; Alan Rickman as Absolem the Caterpillar; Michael Sheen as McTwisp the White Rabbit; and Crispin Glover's as the Knave of Hearts, with his face and voice added onto a CGI body. Burton produced the film's sequel, Alice Through the Looking Glass (2016).[28] Dark Shadows once again saw the collaboration of Burton with actors Johnny Depp and Helena Bonham Carter, composer Danny Elfman, and costume designer Colleen Atwood. The film was released on May 11, 2012, and received mixed reviews from critics. Burton co-produced Abraham Lincoln: Vampire Hunter with Timur Bekmambetov, who also served as director (they previously worked together in 9). The film, released on June 22, 2012, was based on the novel by Seth Grahame-Smith, who wrote the film's screenplay and also authored Pride and Prejudice and Zombies. The film starred Benjamin Walker as Abraham Lincoln, Anthony Mackie as William H. Johnson, Joseph Mawle as Lincoln's father Thomas, Robin McLeavy as Lincoln's mother, Nancy, and Mary Elizabeth Winstead as Lincoln's love interest (and later wife), Mary Ann Todd. The film received mixed reviews.[29][30] He then remade his 1984 short film Frankenweenie as a feature-length stop motion film, distributed by Walt Disney Pictures.[31] Burton has said, "The film is based on a memory that I had when I was growing up and with my relationship with a dog that I had."[32] The film was released on October 5, 2012, and met with positive reviews.[33] Burton directed the 2014 biographical drama film Big Eyes about American artist Margaret Keane (Amy Adams), whose work was fraudulently claimed in the 1950s and 1960s by her then-husband, Walter Keane (Christoph Waltz), and their heated divorce trial after Margaret accused Walter of stealing credit for her paintings. The script was written by the screenwriters behind Burton's Ed Wood, Scott Alexander and Larry Karaszewski. Filming began in Vancouver, British Columbia, in mid-2013. The film was distributed by The Weinstein Company and released in U.S. theaters on December 25, 2014. It received generally positive reviews from critics.[34][35] In September 2016, an adaptation of Ransom Riggs's novel Miss Peregrine's Home for Peculiar Children, directed by Burton, was released, starring Asa Butterfield and Eva Green.[36] Burton also directed a live-action adaptation of Dumbo, released in 2019, with Colin Farrell, Danny DeVito, Eva Green, and Michael Keaton starring. Unrealized projects Further information: Tim Burton's unrealized projects After Kevin Smith had been hired to write a new Superman film, he suggested Burton to direct.[37] Burton came on and Warner Bros. set a theatrical release date for the summer of 1998, the 60th anniversary of the character's debut in Action Comics.[38] Nicolas Cage was signed on to play Superman, Burton hired Wesley Strick to rewrite Smith's script, and the film entered pre-production in June 1997. For budgetary reasons, Warner Bros. ordered another rewrite from Dan Gilroy, delayed the film, and ultimately put it on hold in April 1998. Burton then left to direct Sleepy Hollow.[38] Burton has depicted the experience as a difficult one, citing differences with producer Jon Peters and the studio, stating, "I basically wasted a year. A year is a long time to be working with somebody that you don't really want to be working with."[39] In 2001, The Walt Disney Company began to consider producing a sequel to The Nightmare Before Christmas, but rather than using stop motion, Disney wanted to use computer animation.[40] Burton convinced Disney to drop the idea. "I was always very protective of ['Nightmare'], not to do sequels or things of that kind," Burton explained. "You know, 'Jack visits Thanksgiving world' or other kinds of things, just because I felt the movie had a purity to it and the people that like it... Because it's a mass-market kind of thing, it was important to kind of keep that purity of it."[41] Regardless, in 2009, Henry Selick stated that he could make a sequel to Nightmare if he and Burton could create a good story for it.[42] In 2012, Shane Acker confirmed that Burton would work with Valve to create his next animated feature film, Deep. Like 9, the film would take place in a post-apocalyptic world (although set in a different universe). Deep would be another darker animated film, as Shane Acker has expressed his interest in creating more PG-13 animated films.[43] Since then, there have been no further mentions of Deep, with Acker focusing on another project announced in 2013 (Beasts of Burden).[44][45] On January 19, 2010, it was announced that after Dark Shadows, Burton's next project would be Maleficent, a Wicked-like film that showed the origin and the past of Sleeping Beauty's antagonist Maleficent. In an interview with Fandango published February 23, 2010, however, Burton denied he was directing any upcoming Sleeping Beauty film.[46] However, on November 23, 2010, in an interview with MTV, Burton confirmed that he was indeed putting together a script for Maleficent.[47] It was announced by The Hollywood Reporter on May 16, 2011, that Burton was no longer attached to Maleficent.[48] It was reported that Burton would direct a 3D stop motion animation adaptation of The Addams Family, which was confirmed by Christopher Meledandri,[49] but the project was scrapped on July 17, 2013.[50] On July 19, 2010, Burton was announced as the director of the upcoming film adaptation of Monsterpocalypse.[51] In 2011, it was reported that Burton was working on a live-action adaptation of The Hunchback of Notre-Dame starring Josh Brolin, who would also be co-producing. The project did not move forward.[52][53] In July 2012, following the release of both Dark Shadows and Abraham Lincoln: Vampire Hunter, it was announced that screenwriter and novelist Seth Grahame-Smith was working alongside Burton on a potential Beetlejuice sequel. Actor Michael Keaton has also expressed interest in reprising his role as the title character along with Winona Ryder.[54][55] In October 2017, Deadline Hollywood reported that Mike Vukadinovich was hired to write a script in time for the film's 30th anniversary.[56] In April 2019, Warner Bros. stated the sequel had been shelved.[57] Frequent collaborators Main article: List of frequent Tim Burton collaborators Personal life Burton was married to Lena Gieseke, a German-born artist. Their marriage ended in 1991 after four years.[58] He went on to live with model and actress Lisa Marie; she acted in the films he made during their relationship from 1992 to 2001, most notably in Sleepy Hollow, Ed Wood, and Mars Attacks!. Burton developed a romantic relationship with English actress Helena Bonham Carter, whom he met while filming Planet of the Apes. Marie responded in 2005 by holding an auction of personal belongings that Burton had left behind, much to his dismay.[59] Burton and Bonham Carter have two children: a son, William Raymond, named after his and Bonham Carter's fathers, born in 2003; and a daughter, Nell, born in 2007.[60] Bonham Carter's representative said in December 2014 that she and Burton had broken up amicably earlier that year.[61] It is unclear whether or not they were married; Bonham Carter has used the word divorce when discussing the end of their relationship[62] while other news outlets state that they never married.[61] On March 15, 2010, Burton received the insignia of Chevalier of Arts and Letters from then-Minister of Culture Frédéric Mitterrand.[63] The same year, Burton was the President of the Jury for the 63rd annual Cannes Film Festival, held from May 12 to 24 in Cannes, France.[64] Exhibitions From November 22, 2009, to April 26, 2010, Burton had a retrospective at the MoMA in New York with over 700 "drawings, paintings, photographs, storyboards, moving-image works, puppets, maquettes, costumes and cinematic ephemera", including many from the filmmaker's personal collection.[65] From MoMA, the "Tim Burton" exhibition traveled directly to Australian Centre for the Moving Image in Melbourne. Running from June 24 to October 10, 2010, the ACMI exhibition incorporated additional material from Burton's Alice in Wonderland, which was released in March 2010.[66] "The Art of Tim Burton" was exhibited at the Los Angeles County Museum of Art from May 29 to October 31, 2011, in the Museum's Resnick Pavilion.[67] LACMA also featured six films of Tim Burton's idol, Vincent Price.[68] "Tim Burton, the exhibition/Tim Burton, l'exposition" was exhibited at the Cinémathèque Française from March 7 to August 5, 2012, in Paris, France.[69] All of Tim Burton's movies were shown during the exhibition. "Tim Burton at Seoul Museum of Art" was exhibited as a promotion of Hyundai Card at Seoul Museum of Art from December 12, 2012, to April 15, 2013, in Seoul, South Korea.[70] This exhibition featured 862 of Burton's works including drawings, paintings, short films, sculptures, music, and costumes that have been used in the making of his feature-length movies. The exhibition was divided into three parts: the first part, "Surviving Burbank", covered his younger years, from 1958 to 1976. The second, "Beautifying Burbank", covers 1977 to 1984, including his time with CalArts and Walt Disney. The last segment, "Beyond Burbank", covers 1985 onward.[71] "Tim Burton and His World" was exhibited at the Stone Bell House from March 3 to August 8, 2014, in Prague, Czech Republic.[72] The exhibition later premiered at the Museu da Imagem e do Som in São Paulo, Brazil, on February 4, 2016, and lasted until June 5.[73] The exhibition was later held in Artis Tree in Taikoo Place, Hong Kong, from November 5, 2016, to January 23, 2017.[74] The exhibition returned to Brazil from May 28 to August 11, 2019, being held at the Centro Cultural Banco do Brasil in Brasília.[75] Burton's first exhibition in the United States in nearly a decade, Lost Vegas: Tim Burton, opened in October 2019 at The Neon Museum in Las Vegas.[76] Filmography See also: Tim Burton filmography and Tim Burton's unrealized projects Awards Academy Awards Directed features Year Title Distributor 1985 Pee-wee's Big Adventure Warner Bros. 1988 Beetlejuice 1989 Batman 1990 Edward Scissorhands 20th Century Fox 1992 Batman Returns Warner Bros. 1994 Ed Wood Touchstone Pictures 1996 Mars Attacks! Warner Bros. 1999 Sleepy Hollow Paramount Pictures 2001 Planet of the Apes 20th Century Fox 2003 Big Fish Sony Pictures Releasing 2005 Charlie and the Chocolate Factory Warner Bros. Pictures Corpse Bride 2007 Sweeney Todd: The Demon Barber of Fleet Street 2010 Alice in Wonderland Walt Disney Pictures 2012 Dark Shadows Warner Bros. Pictures Frankenweenie Walt Disney Pictures 2014 Big Eyes The Weinstein Company 2016 Miss Peregrine's Home for Peculiar Children 20th Century Fox 2019 Dumbo Walt Disney Pictures Year Nominated work Category Result Ref(s) 2006 Corpse Bride Best Animated Feature Nominated [77] 2013 Frankenweenie Nominated BAFTA Awards British Academy of Film Awards Year Nominated work Category Result 2004 Big Fish Best Direction Nominated Best Film Nominated 2013 Frankenweenie Best Animated Film Nominated British Academy Children's Awards Year Nominated work Category Result 2005 Charlie and the Chocolate Factory Best Feature Film Nominated Emmy Awards (Daytime) Year Nominated work Category Result Ref(s) 1990 Beetlejuice Outstanding Children's Animated Program Won [78] Golden Globe Awards Year Nominated work Category Result 2008 Sweeney Todd: The Demon Barber of Fleet Street Best Director Nominated Best Motion Picture – Musical or Comedy Won 2011 Alice in Wonderland Nominated 2013 Frankenweenie Best Animated Film Nominated Saturn Awards Year Nominated work Category Result 1990 Beetlejuice Best Director Nominated Edward Scissorhands Best Fantasy Film Won 1993 Batman Returns Nominated Best Director Nominated 1994 The Nightmare Before Christmas Best Fantasy Film Won 1997 Mars Attacks! Best Director Nominated 2000 Sleepy Hollow Nominated 2006 Corpse Bride Best Animated Film Won 2008 Sweeney Todd: The Demon Barber of Fleet Street Best Director Nominated 2013 Frankenweenie Best Animated Film Won Other awards Cannes Film Festival (1994) Nominated—Palme d'Or / Ed Wood National Board of Review Awards (2008) Won—Best Director / Sweeney Todd: The Demon Barber of Fleet Street Chicago Film Critics Association Awards (2004) Nominated—Best Director / Big Fish Producers Guild of America Awards (2006) Nominated—Animated Motion Picture / Corpse Bride (2008) Honored—Scream Awards: Scream Immortal Award, for his unique interpretation of horror and fantasy (2009) Won—Best Producer / 9 64th Venice International Film Festival (2007) Honored—Golden Lion for Lifetime Achievement Inkpot Award (2009)[79] Lacanian Psychoanalysis Prize (2010) Won—Alice in Wonderland[80] The Order of the Arts and Letters (2010) Knighted by Culture Minister of France Moscow International Film Festival (2012) "Golden George" for his contribution to world cinema. David di Donatello Awards (2019) "Honorary David di Donatello" Awards received by Burton films Year Film Academy Awards BAFTA Awards Golden Globe Awards Nominations Wins Nominations Wins Nominations Wins 1988 Beetlejuice 1 1 2 1989 Batman 1 1 6 1 1990 Edward Scissorhands 1 4 1 1 1992 Batman Returns 2 2 1993 The Nightmare Before Christmas 1 1 1994 Ed Wood 2 2 2 3 1 1995 Batman Forever 3 1 1996 James and the Giant Peach 1 1999 Sleepy Hollow 3 1 3 2 2001 Planet of the Apes 2 2003 Big Fish 1 7 4 2005 Charlie and the Chocolate Factory 1 4 1 Corpse Bride 1 2007 Sweeney Todd: The Demon Barber of Fleet Street 3 1 2 4 2 2010 Alice in Wonderland 3 2 5 2 3 2012 Frankenweenie 1 1 1 2014 Big Eyes 2 3 1 Total 25 8 42 6 22 4 Reception Critical, public and commercial reception to films Burton has directed as of August 2020. Year Film Rotten Tomatoes[81] Metacritic[82] CinemaScore[83] Budget Box office[84] 1985 Pee-wee's Big Adventure 87% (45 reviews) (7.8/10) 47 (14 reviews) N/A $7 million $40.9 million (domestic) 1988 Beetlejuice 85% (56 reviews) (7/10) 70 (18 reviews) B $15 million $74.2 million (domestic) 1989 Batman 71% (75 reviews) (6.6/10) 69 (21 reviews) A $35 million[85] $411.5 million 1990 Edward Scissorhands 90% (58 reviews) (7.7/10) 74 (19 reviews) A– $20 million $86 million 1992 Batman Returns 80% (83 reviews) (6.7/10) 68 (23 reviews) B $80 million[86] $266.9 million 1994 Ed Wood 92% (63 reviews) (8/10) 70 (19 reviews) B+ $18 million[87] $5.9 million (domestic) 1996 Mars Attacks! 54% (82 reviews) (5.9/10) 52 (19 reviews) B $70 million $101.4 million 1999 Sleepy Hollow 69% (121 reviews) (6.3/10) 65 (35 reviews) B– $100 million[88] $206.1 million 2001 Planet of the Apes 44% (157 reviews) (5.5/10) 50 (34 reviews) B– $100 million[89] $362.2 million 2003 Big Fish 75% (217 reviews) (7.2/10) 58 (42 reviews) B+ $70 million[90] $122.9 million 2005 Charlie and the Chocolate Factory 83% (229 reviews) (7.2/10) 72 (40 reviews) A– $150 million[91] $475 million 2005 Corpse Bride 84% (188 reviews) (7.2/10) 83 (35 reviews) B+ $40 million $118.1 million 2007 Sweeney Todd: The Demon Barber of Fleet Street 86% (231 reviews) (7.7/10) 83 (39 reviews) N/A $50 million[92] $153.4 million 2010 Alice in Wonderland 51% (271 reviews) (5.7/10) 53 (38 reviews) A– $200 million[93] $1.02 billion 2012 Dark Shadows 35% (250 reviews) (5.3/10) 55 (42 reviews) B– $150 million[94] $245.5 million 2012 Frankenweenie 87% (200 reviews) (7.6/10) 74 (38 reviews) B+ $39 million[95] $81.5 million 2014 Big Eyes 72% (166 reviews) (6.6/10) 62 (40 reviews) N/A $10 million $29.3 million 2016 Miss Peregrine's Home for Peculiar Children 64% (238 reviews) (5.9/10) 57 (43 reviews) B+ $110 million[96] $296.5 million 2019 Dumbo 46% (334 reviews) (5.55/10) 51 (54 reviews) A– $170 million[97] $353.2 million[98] Total 71.3% 64 $1.434 billion $4.447 billion Books Burton on Burton, edited by Mark Salisbury (1995, revised editions 2000, 2006) The Melancholy Death of Oyster Boy & Other Stories (1997) The Art of Tim Burton, written by Leah Gallo (2009) The Napkin Art of Tim Burton: Things You Think About in a Bar, edited by Holly Kempf and Leah Gallo (2015)" (wikipedia.org) "In works of art, the adjective macabre (US: /məˈkɑːb/ or UK: /məˈkɑːbrə/; French: [makabʁ]) means "having the quality of having a grim or ghastly atmosphere". The macabre works to emphasize the details and symbols of death. The term also refers to works particularly gruesome in nature.... History The quality is not often found in ancient Greek and Latin writers[citation needed], though there are traces of it in Apuleius and the author of the Satyricon. Outstanding instances in English literature include the works of John Webster, Robert Louis Stevenson, Mervyn Peake, Charles Dickens, Roald Dahl, Thomas Hardy and Cyril Tourneur.[1] In American literature, authors whose work feature this quality include Edgar Allan Poe, H. P. Lovecraft, and Stephen King. The word has gained its significance from its use in French as la danse macabre for the allegorical representation of the ever-present and universal power of death, known in English as the Dance of Death and in German as Totentanz. The typical form which the allegory takes is that of a series of images in which Death appears, either as a dancing skeleton or as a shrunken shrouded corpse, to people representing every age and condition of life, and leads them all in a dance to the grave. Of the numerous examples painted or sculptured on the walls of cloisters or church yards through medieval Europe, few remain except in woodcuts and engravings. The series at Basel originally at the Klingenthal, a nunnery in Little Basel, dated from the beginning of the 14th century. In the middle of the 15th century this was moved to the churchyard of the Predigerkloster at Basel, and was restored, probably by Hans Kluber, in 1568. The collapse of the wall in 1805 reduced it to fragments, and only drawings of it remain. A Dance of Death in its simplest form still survives in the Marienkirche at Lübeck as 15th-century painting on the walls of a chapel. Here there are 24 figures in couples, between each is a dancing Death linking the groups by outstretched hands, the whole ring being led by a Death playing on a pipe. In Tallinn (Reval), Estonia there is a well-known Danse Macabre painting by Bernt Notke displayed at St. Nikolaus Church (Niguliste), dating the end of 15th century. At Dresden there is a sculptured life-size series in the old Neustädter Kirchhoff, moved here from the palace of Duke George in 1701 after a fire. At Rouen in the cloister of St Maclou there also remains a sculptured danse macabre. There was a celebrated fresco of the subject in the cloister of Old St Pauls in London. There was another in the now destroyed Hungerford Chapel at Salisbury, of which only a single woodcut, "Death and the Gallant", remains. Of the many engraved reproductions of the Old St Pauls fresco, the most famous is the series drawn by Holbein. The theme continued to inspire artists and musicians long after the medieval period, Schubert's string quartet Death and the Maiden (1824) being one example, and Camille Saint-Saëns' tone poem Danse macabre, op. 40 (1847). In the 20th century, Ingmar Bergman's 1957 film The Seventh Seal has a personified Death, and could thus count as macabre. The origin of this allegory in painting and sculpture is disputed. It occurs as early as the 14th century, and has often been attributed to the overpowering consciousness of the presence of death due to the Black Death and the miseries of the Hundred Years' War. It has also been attributed to a form of the Morality, a dramatic dialogue between Death and his victims in every station of life, ending in a dance off the stage.[2] The origin of the peculiar form the allegory has taken has also been found in the dancing skeletons on late Roman sarcophagi and mural paintings at Cumae or Pompeii, and a false connection has been traced with "The Triumph of Death", attributed to Orcagna, in the Campo Santo at Pisa. Etymology The etymology of the word "macabre" is uncertain. According to Gaston Paris[3] it first occurs in the form "macabre" in Jean le Fèvre's Respit de la mort (1376), Je fis de Macabré la danse, and he takes this accented form to be the true one, and traces it in the name of the first painter of the subject. The more usual explanation is based on the Latin name, Machabaeorum chorea (Dance of Maccabees). The seven tortured brothers, with their mother and Eleazar (2 Maccabees 6 and 7) were prominent figures on this hypothesis in the supposed dramatic dialogues.[4] Other connections have been suggested, as for example with St. Macarius, or Macaire, the hermit, who, according to Vasari, is to be identified with the figure pointing to the decaying corpses in the Pisan Triumph of Death, or with an Arabic word maqābir (مقابر), cemeteries (plural of maqbara." (wikipedia.org)
- Condition: Open box
- Condition: New in package. The paints have dried out. Please see photos and description.
- Size: Small
- Shape: Skull
- Country/Region of Manufacture: China
- Material: Plastic
- Theme: Halloween
- Number of Items: 7
- Type: Suncatcher
- Features: Hangable, Paintable
- Color: Clear
- Year Manufactured: 2020
- MPN: SZ-101878
- Occasion: Halloween
- Brand: Spooky Village
- Set Includes: 4 Paint Colors, 1 Paint Brush, 2 Suncatchers
- Time Period Manufactured: 2020-Now
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