American painter and academic, invented the Morse code Samuel Morse died #OTD in 1872.
Morse's invention of the telegraph, patented in 1837, allowed for the transmission of electrical signals over long distances, enabling rapid communication across vast territories. The key component of the telegraph was Morse code, a system of dots & dashes representing letters and numbers. This system allowed messages to be sent &received quickly and efficiently.
Morse at PG:
https://www.gutenberg.org/ebooks/author/3797
American painter and academic, invented the Morse code Samuel Morse died #OTD in 1872.
Morse's invention of the telegraph, patented in 1837, allowed for the transmission of electrical signals over long distances, enabling rapid communication across vast territories. The key component of the telegraph was Morse code, a system of dots & dashes representing letters and numbers. This system allowed messages to be sent &received quickly and efficiently.
Morse at PG:
https://www.gutenberg.org/ebooks/author/3797
![Photographic portrait of Paul Verlaine. [Paris, 1893]. Original negative on glass plate (11.7 x 17.8 cm), captioned on verso on a strip of Verlaine glue paper.
Swedish-born photographer Otto Wegener (1849-1922) settled in Paris, Place de la Madeleine, in 1883. He quickly became the portraitist of society, including Marcel Proust, who admired him. In 1893, Otto devoted a session of six poses to Verlaine. Dressed in a pelisse, he is sometimes wearing a top hat, sometimes bareheaded (Van Bever & Monda, Bibliographie et iconographie de Paul Verlaine, 1926, p. 218). Three years before his death, the poet appears with a Socratic face, his forehead humped, his gaze sunken under the arch of his eyebrows, sporting the gaudy scarf of which he was so proud. One of Verlaine's most famous portraits: in three-quarter view, with his right hand in his vest, the candidate for the Académie française poses for posterity. The superb embroidered scarf from Charvet was a gift from Robert de Montesquiou. The scarf's design is reminiscent of the Japanese motifs in vogue at the time. The photograph was reproduced in the special issue of La Plume devoted to Verlaine in 1896.](/images/status/91fcfb12-a9be-4f4c-830e-54640b267b9a.jpeg "Photographic portrait of Paul Verlaine. [Paris, 1893]. Original negative on glass plate (11.7 x 17.8 cm), captioned on verso on a strip of Verlaine glue paper.
Swedish-born photographer Otto Wegener (1849-1922) settled in Paris, Place de la Madeleine, in 1883. He quickly became the portraitist of society, including Marcel Proust, who admired him. In 1893, Otto devoted a session of six poses to Verlaine. Dressed in a pelisse, he is sometimes wearing a top hat, sometimes bareheaded (Van Bever & Monda, Bibliographie et iconographie de Paul Verlaine, 1926, p. 218). Three years before his death, the poet appears with a Socratic face, his forehead humped, his gaze sunken under the arch of his eyebrows, sporting the gaudy scarf of which he was so proud. One of Verlaine's most famous portraits: in three-quarter view, with his right hand in his vest, the candidate for the Académie française poses for posterity. The superb embroidered scarf from Charvet was a gift from Robert de Montesquiou. The scarf's design is reminiscent of the Japanese motifs in vogue at the time. The photograph was reproduced in the special issue of La Plume devoted to Verlaine in 1896.")
![Photograph of Virginia Woolf with hand on face wearing a fur stole (10 x 15 centimeters). This is a picture from one of Virginia Woolf's own photo albums at Monk's House which were acquired at an auction at Sotheby's in 1982 (cf. Maggie Humm, Snapshots of Bloomsbury: The Private Lives of Virginia Woolf and Vanessa Bell, p. 187), gifted in 1983 by Frederick R. Koch to the Harvard Theater Collection, Houghton Libray, Harvard University, and afterwards scanned and uploaded by the library. The Guide published by the library describes collectively the photographs in the album as "snapshots possibly taken by Virginia Woolf or by her friends and family". When the Harvard librarians know who took the picture, they generally indicate it (e.g. Man Ray for this one). This particular photograph is simply described as "Woolf Virginia [1927]". The verso of the photograph bears no mention allowing an identification of the photographer, but simply indicates - faintly pencilled - the portrait has been made in London (see file:Virginia Woolf 1927 verso detail.png).](/images/status/64a6b17c-7336-427b-a96a-26c40a2bf1d3.jpeg "Photograph of Virginia Woolf with hand on face wearing a fur stole (10 x 15 centimeters). This is a picture from one of Virginia Woolf's own photo albums at Monk's House which were acquired at an auction at Sotheby's in 1982 (cf. Maggie Humm, Snapshots of Bloomsbury: The Private Lives of Virginia Woolf and Vanessa Bell, p. 187), gifted in 1983 by Frederick R. Koch to the Harvard Theater Collection, Houghton Libray, Harvard University, and afterwards scanned and uploaded by the library. The Guide published by the library describes collectively the photographs in the album as \"snapshots possibly taken by Virginia Woolf or by her friends and family\". When the Harvard librarians know who took the picture, they generally indicate it (e.g. Man Ray for this one). This particular photograph is simply described as \"Woolf Virginia [1927]\". The verso of the photograph bears no mention allowing an identification of the photographer, but simply indicates - faintly pencilled - the portrait has been made in London (see file:Virginia Woolf 1927 verso detail.png).")
