Private George ‘Dick’ Whittington was temporarily blinded after being shot by a sniper above the eye. Raphael Oimbari wasn’t identified until the 1970s when ‘Dick’ Whittington’s widow put a call out in the media because she wanted to thank him.
Through the work of ‘Dick’ Whittington’s widow they were able to find out the identity of the carrier, and Raphael Oimbari went on to become quite a strong advocate for remembering the Papuan contribution to the war effort through the 1980s and into the 1990s.
After the war, Raphael Oimbari continued to live in Hanau Village. After being identified in the 70s as the Fuzzy Wuzzy Angel he was made an Officer of the Order of the British Empire.
In the Underground Chamber of the Sansevero Chapel, housed in two glass cases, are the famous Anatomical Machines, i.e. the skeletons of a man and a woman in an upright position with their arteriovenous system almost perfectly intact.
c. 1756-64
The Machines were made by Palermo doctor Giuseppe Salerno, and some recently brought to light eighteenth-century sources attest that the male anatomical machine was purchased in 1756 by Raimondo di Sangro following a public exhibition that the Sicilian pathologist held in Naples.
The prince took Salerno into his employ and, granting him a substantial annual pension, commissioned him to make the other anatomical machine.
Colorized by me: Australian soldier, Private George "Dick" Whittington, being aided by Papuan orderly Raphael Oimbari near Buna on 25 December 1942. Whittington died in February 1943 from typhus.
Fuzzy Wuzzy Angels was the name given by Australian soldiers to Papua New Guinean war carriers who, during World War II, were recruited to bring supplies up to the front and carry injured Australian troops down the Kokoda trail during the Kokoda Campaign.
📸 George Silk
In June 1942, Australian Major General Basil Morris issued an "Employment of Natives Order", which allowed native Papuans to be recruited as carriers for three years.
Ida Laherty, age 16, became one of the first women incarcerated at the Idaho State Penitentiary when she began a sentence for Grand Larceny in 1903. She remained one of the youngest women to serve time there.
Born in Washington, Ida lost her father when she was 11 years old, and her mother was left to raise six children alone. Ida left home at fifteen, settling in Moscow, Idaho. There she met and fell in love with a young man from Reardon, Washington named William Loomis.
One day, Loomis hatched a plan for Ida to hire a team of horses for one day from a livery stable in Moscow and ride by herself to Sprague, Washington where William would meet her and the two would sell the horses for a large profit.
Pliny the Younger was invited to dinner in Rome in 97-8 AD. He then wrote a letter to his friend Avitus in which he basically trashed the party:
"It would be a long story, and of no great importance, to tell you by what accident I found myself dining the other day with...
... an individual with whom I am by no means intimate, and who, in his own opinion, does things in good style and economically as well, but according to mine, with meanness and extravagance combined.
Some very elegant dishes were served up to himself and a few more of us, whilst those placed before the rest of the company consisted simply of cheap dishes and scraps.
Maria Coventry, Countess of Coventry was a famous Irish beauty and London society hostess during the reign of King George II.
She died at a young age (27) from lead and mercury poisoning, killed by the toxins used in her makeup.
Throughout the 17th and 18th centuries, it was fashionable for ladies to have pale white skin and red rouged cheeks. To achieve this look, lead-based Venetian ceruse was often used.
The noxious effects of lead caused skin eruptions...
... which then encouraged ladies to apply more ceruse to cover the blemishes, eventually causing blood poisoning.
Maria eventually became known in society circles as a "victim of cosmetics". Her face was eaten away by acid.
There’s a huge gap between colorizing photos, usually presenting them beside the original and preserving all the elements that were there + providing the historical background, and manipulating facial expressions. The latter changes the context and is potentially dangerous.
This whole thing makes me sad. It affects artists who have been working hard for years to make people understand that we are not playing around with crayons. There’s usually a huge sense of responsibility involved.
I've been working on a piece to explain the process. There are serious people working in this field.