Jupiter (mythology)
Jupiter known as Jove, was the god of the sky and thunder and king of the gods in Ancient Roman religion and mythology. Jupiter was the chief deity of Roman state religion throughout the Republican and Imperial eras, until Christianity became the dominant religion of the Empire. In Roman mythology, he negotiates with Numa Pompilius, the second king of Rome, to establish principles of Roman religion such as offering, or sacrifice. Jupiter is thought to have originated as an aerial god, his identifying implement is the thunderbolt and his primary sacred animal is the eagle, which held precedence over other birds in the taking of auspices and became one of the most common symbols of the Roman army. The two emblems were combined to represent the god in the form of an eagle holding in its claws a thunderbolt seen on Greek and Roman coins; as the sky-god, he was a divine witness to oaths, the sacred trust on which justice and good government depend. Many of his functions were focused on the Capitoline Hill.
In the Capitoline Triad, he was the central guardian of the state with Minerva. His sacred tree was the oak; the Romans regarded Jupiter as the equivalent of the Greek Zeus, in Latin literature and Roman art, the myths and iconography of Zeus are adapted under the name Iuppiter. In the Greek-influenced tradition, Jupiter was the brother of Neptune and Pluto, the Roman equivalents of Poseidon and Hades respectively; each presided over one of the three realms of the universe: sky, the waters, the underworld. The Italic Diespiter was a sky god who manifested himself in the daylight identified with Jupiter. Tinia is regarded as his Etruscan counterpart; the Romans believed that Jupiter granted them supremacy because they had honoured him more than any other people had. Jupiter was "the fount of the auspices upon which the relationship of the city with the gods rested." He personified the divine authority of Rome's highest offices, internal organization, external relations. His image in the Republican and Imperial Capitol bore regalia associated with Rome's ancient kings and the highest consular and Imperial honours.
The consuls swore their oath of office in Jupiter's name, honoured him on the annual feriae of the Capitol in September. To thank him for his help, they offered him a white ox with gilded horns. A similar offering was made by triumphal generals, who surrendered the tokens of their victory at the feet of Jupiter's statue in the Capitol; some scholars have viewed the triumphator as embodying Jupiter in the triumphal procession. Jupiter's association with kingship and sovereignty was reinterpreted as Rome's form of government changed. Rome was ruled by kings. Nostalgia for the kingship was considered treasonous; those suspected of harbouring monarchical ambitions were punished, regardless of their service to the state. In the 5th century BC, the triumphator Camillus was sent into exile after he drove a chariot with a team of four white horses —an honour reserved for Jupiter himself; when Marcus Manlius, whose defense of the Capitol against the invading Gauls had earned him the name Capitolinus, was accused of regal pretensions, he was executed as a traitor by being cast from the Tarpeian Rock.
His house on the Capitoline Hill was razed, it was decreed that no patrician should be allowed to live there. Capitoline Jupiter found himself in a delicate position: he represented a continuity of royal power from the Regal period, conferred power on the magistrates who paid their respects to him. During the Conflict of the Orders, Rome's plebeians demanded the right to hold political and religious office. During their first secessio, they threatened to found their own; when they agreed to come back to Rome they vowed the hill where they had retreated to Jupiter as symbol and guarantor of the unity of the Roman res publica. Plebeians became eligible for all the magistracies and most priesthoods, but the high priest of Jupiter remained the preserve of patricians. Jupiter was served by the patrician Flamen Dialis, the highest-ranking member of the flamines, a college of fifteen priests in the official public cult of Rome, each of whom was devoted to a particular deity, his wife, the Flaminica Dialis, had her own duties, presided over the sacrifice of a ram to Jupiter on each of the nundinae, the "market" days of a calendar cycle, comparable to a week.
The couple were required to marry by the exclusive patrician ritual confarreatio, which included a sacrifice of spelt bread to Jupiter Farreus. The office of Flamen Dialis was circumscribed by several unique ritual prohibitions, some of which shed light on the sovereign nature of the god himself. For instance, the flamen may remove his clothes or apex only when under a roof, in order to avoid showing himself naked to the sky—that is, "as if under the eyes of Jupiter" as god of the heavens; every time the Flaminica saw a lightning bolt or heard a clap of thunder, she was prohibited from carrying on with her normal routine until she placated the god. Some privileges of the flamen of Jupiter may reflect the regal nature of Jupiter: he had the use of the curule chair, was the
Buenos Aires
Buenos Aires is the capital and largest city of Argentina. The city is located on the western shore of the estuary of the Río de la Plata, on the South American continent's southeastern coast. "Buenos Aires" can be translated as "fair winds" or "good airs", but the former was the meaning intended by the founders in the 16th century, by the use of the original name "Real de Nuestra Señora Santa María del Buen Ayre". The Greater Buenos Aires conurbation, which includes several Buenos Aires Province districts, constitutes the fourth-most populous metropolitan area in the Americas, with a population of around 15.6 million. The city of Buenos Aires is the Province's capital. In 1880, after decades of political infighting, Buenos Aires was federalized and removed from Buenos Aires Province; the city limits were enlarged to include the towns of Flores. The 1994 constitutional amendment granted the city autonomy, hence its formal name: Autonomous City of Buenos Aires, its citizens first elected a chief of government in 1996.
Buenos Aires is considered an'alpha city' by the study GaWC5. Buenos Aires' quality of life was ranked 91st in the world, being one of the best in Latin America in 2018, it is the most visited city in South America, the second-most visited city of Latin America. Buenos Aires is a top tourist destination, is known for its preserved Eclectic European architecture and rich cultural life. Buenos Aires held the 1st Pan American Games in 1951 as well as hosting two venues in the 1978 FIFA World Cup. Buenos Aires hosted the 2018 the 2018 G20 summit. Buenos Aires is a multicultural city, being home to multiple religious groups. Several languages are spoken in the city in addition to Spanish, contributing to its culture and the dialect spoken in the city and in some other parts of the country; this is because in the last 150 years the city, the country in general, has been a major recipient of millions of immigrants from all over the world, making it a melting pot where several ethnic groups live together and being considered one of the most diverse cities of the Americas.
It is recorded under the archives of Aragonese that Catalan missionaries and Jesuits arriving in Cagliari under the Crown of Aragon, after its capture from the Pisans in 1324 established their headquarters on top of a hill that overlooked the city. The hill was known to them as Bonaira, as it was free of the foul smell prevalent in the old city, adjacent to swampland. During the siege of Cagliari, the Catalans built a sanctuary to the Virgin Mary on top of the hill. In 1335, King Alfonso the Gentle donated the church to the Mercedarians, who built an abbey that stands to this day. In the years after that, a story circulated, claiming that a statue of the Virgin Mary was retrieved from the sea after it miraculously helped to calm a storm in the Mediterranean Sea; the statue was placed in the abbey. Spanish sailors Andalusians, venerated this image and invoked the "Fair Winds" to aid them in their navigation and prevent shipwrecks. A sanctuary to the Virgin of Buen Ayre would be erected in Seville.
In the first foundation of Buenos Aires, Spanish sailors arrived thankfully in the Río de la Plata by the blessings of the "Santa Maria de los Buenos Aires", the "Holy Virgin Mary of the Good Winds", said to have given them the good winds to reach the coast of what is today the modern city of Buenos Aires. Pedro de Mendoza called the city "Holy Mary of the Fair Winds", a name suggested by the chaplain of Mendoza's expedition – a devotee of the Virgin of Buen Ayre – after the Sardinian Madonna de Bonaria. Mendoza's settlement soon came under attack by indigenous people, was abandoned in 1541. For many years, the name was attributed to a Sancho del Campo, said to have exclaimed: How fair are the winds of this land!, as he arrived. But Eduardo Madero, in 1882 after conducting extensive research in Spanish archives concluded that the name was indeed linked with the devotion of the sailors to Our Lady of Buen Ayre. A second settlement was established in 1580 by Juan de Garay, who sailed down the Paraná River from Asunción.
Garay preserved the name chosen by Mendoza, calling the city Ciudad de la Santísima Trinidad y Puerto de Santa María del Buen Aire. The short form "Buenos Aires" became the common usage during the 17th century; the usual abbreviation for Buenos Aires in Spanish is Bs. As, it is common as well to refer to it as "B. A." or "BA". While "BA" is used more by expats residing in the city, the locals more use the abbreviation "Baires", in one word. Seaman Juan Díaz de Solís, navigating in the name of Spain, was the first European to reach the Río de la Plata in 1516, his expedition was cut short when he was killed during an attack by the native Charrúa tribe in what is now Uruguay. The city of Buenos Aires was first established as Ciudad de Nuestra Señora Santa María del Buen Ayre after Our Lady of Bonaria on 2 February 1536 by a Spanish expedition led by Pedro de Mendoza; the settlement founded by Mendoza was located in what is today the San Telmo district of Buenos Aires, south of the city centre. More attacks by the indigenous
Silent film
A silent film is a film with no synchronized recorded sound. In silent films for entertainment, the plot may be conveyed by the use of title cards, written indications of the plot and key dialogue lines; the idea of combining motion pictures with recorded sound is nearly as old as film itself, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion amplifier tube and the advent of the Vitaphone system. During the silent-film era that existed from the mid-1890s to the late 1920s, a pianist, theater organist—or in large cities, a small orchestra—would play music to accompany the films. Pianists and organists would play either from improvisation; the term silent film is a retronym—a term created to retroactively distinguish something. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as the "talkies," "sound films," or "talking pictures." Within a decade, the widespread production of silent films for popular entertainment had ceased, the industry had moved into the sound era, in which movies were accompanied by synchronized sound recordings of spoken dialogue and sound effects.
Most early motion pictures are considered lost because the nitrate film used in that era was unstable and flammable. Additionally, many films were deliberately destroyed because they had little value in the era before home video, it has been claimed that around 75 percent of silent films have been lost, though these estimates may be inaccurate due to a lack of numerical data. The earliest precursors to film began with image projection through the use of a device known as the magic lantern, which utilized a glass lens, a shutter, a persistent light source to project images from glass slides onto a wall; these slides were hand-painted, after the advent of photography in the 19th century, still photographs were sometimes used. Thus the invention of a practical photography apparatus preceded cinema by only fifty years; the next significant step toward the invention of cinema was the development of an understanding of image movement. Simulations of movement date as far back as to 1828—only four years after Paul Roget discovered the phenomenon he called "Persistence of Vision."
Roget showed that when a series of still images is shown at a considerable speed in front of a viewer's eye, the images merge into one registered image that appears to show movement. This is an optical illusion, since the image is not moving; this experience was further demonstrated through Roget's introduction of the thaumatrope, a device that spun at a high speed a disk with an image on its surface. The three features necessary for motion pictures to work were "a camera with sufficiently high shutter speed, a filmstrip capable of taking multiple exposures swiftly, means of projecting the developed images on a screen." The first projected proto-movie was made by Eadweard Muybridge between 1877 and 1880. Muybridge set up a row of cameras along a racetrack and timed image exposures to capture the many stages of a horse's gallop; the oldest surviving film was created by Louis Le Prince in 1888. It was a two-second film of people walking in "Oakwood streets" garden, titled Roundhay Garden Scene.
The development of American inventor Thomas Edison's Kinetograph, a photographic device that captured sequential images, his Kinetoscope, a device for viewing those images, allowed for the creation and exhibition of short films. Edison made a business of selling Kinetograph and Kinetoscope equipment, which laid the foundation for widespread film production. Due to Edison's lack of securing an international patent on his film inventions, similar devices were "invented" around the world. In France, for example and Louis Lumière created the Cinématographe, which proved to be a more portable and practical device than both of Edison's as it combined a camera, film processor, projector in one unit. In contrast to Edison's "peepshow"-style kinetoscope, which only one person could watch through a viewer, the cinematograph allowed simultaneous viewing by multiple people, their first film, Sortie de l'usine Lumière de Lyon, shot in 1894, is considered the first true motion picture. The invention of celluloid film, strong and flexible facilitated the making of motion pictures.
This film was 35 mm wide and was pulled using four sprocket holes, which became the industry standard. This doomed the cinematograph; the art of motion pictures grew into full maturity in the "silent era". The height of the silent era was a fruitful period, full of artistic innovation; the film movements of Classical Hollywood as well as French Impressionism, German Expressionism, Soviet Montage began in this period. Silent filmmakers pioneered the art form to the extent that every style and genre of film-making of the 20th and 21st centuries has its artistic roots in the silent era; the silent era was a pioneering one from a technical point of view. Three-point lighting, the close-up, long shot and continuity editing all became prevalent long before silent films were replaced by "talking pictures" or "talkies" in the late 1920s; some scholars claim that the artistic quality of cinema decreased for several years, during the early 1930s, until film directors and production staff adapted to the new "talkies" around the late 1930s.
The visual
Lost film
A lost film is a feature or short film, no longer known to exist in any studio archives, private collections, or public archives, such as the U. S. Library of Congress. During most of the 20th century, U. S. copyright law required at least one copy of every American film to be deposited at the Library of Congress, at the time of copyright registration, but the Librarian of Congress was not required to retain those copies: "Under the provisions of the act of March 4, 1909, authority is granted for the return to the claimant of copyright of such copyright deposits as are not required by the Library." Of American silent films, far more have been lost than have survived, of American sound films made from 1927 to 1950 half have been lost. The phrase "lost film" can be used in a literal sense for instances where footage of deleted scenes and alternative versions of feature films are known to have been created, but can no longer be accounted for. Sometimes, a copy of a lost film is rediscovered. A film that has not been recovered in its entirety is called a lost film.
For example, the 1922 film Sherlock Holmes was discovered, but some of the footage is still missing. Most film studios had a still photographer with a large-format camera working on the set during production, taking pictures for potential publicity use; the high-quality photographic paper prints that resulted – some produced in quantity for display use by theaters, others in smaller numbers for distribution to newspapers and magazines – have preserved imagery from many otherwise lost films. In some cases, such as London After Midnight, the surviving coverage is so extensive that an entire lost film can be reconstructed scene by scene in the form of still photographs. Stills have been used to stand in for missing footage when making new preservation prints of lost films. Most lost films are from the silent film and early talkie era, from about 1894 to 1930. Martin Scorsese's Film Foundation estimates that more than 90% of American films made before 1929 are lost, the Library of Congress estimates that 75% of all silent films are lost forever.
The largest cause of silent film loss was intentional destruction, as silent films were perceived as having little or no commercial value after the end of the silent era by 1930. Film preservationist Robert A. Harris has said, "Most of the early films did not survive because of wholesale junking by the studios. There was no thought of saving these films, they needed vault space and the materials were expensive to house."Many other early motion pictures are lost because the nitrate film used for nearly all 35 mm negatives and prints made before 1952 is flammable. When in badly deteriorated condition and improperly stored, nitrate film can and will spontaneously combust. Fires have destroyed entire archives of films. For example, a storage vault fire in 1937 destroyed all the original negatives of Fox Pictures' pre-1935 films; the 1965 MGM vault fire resulted in the loss of early talkies. Nitrate film is chemically unstable and over time can decay into a sticky mass or a powder akin to gunpowder.
This process can be unpredictable: some nitrate film from the 1890s is still in good condition today, while some much nitrate had to be scrapped as unsalvageable when it was 20 years old. Much depends on the environment. Ideal conditions of low temperature, low humidity, adequate ventilation can preserve nitrate film for centuries, but in practice, the storage conditions were far from ideal; when a film on nitrate base is said to have been "preserved", this always means that it has been copied onto safety film or, more digitized. Eastman Kodak introduced a nonflammable 35 mm film stock in spring 1909. However, the plasticizers used to make the film flexible evaporated too making the film dry and brittle, causing splices to part and perforations to tear. By 1911, the major American film studios were back to using nitrate stock. "Safety film" was relegated to sub-35 mm formats such as 16 mm and 8 mm until improvements were made in the late 1940s. Some pre-1931 sound films made by Warner Bros. and First National have been lost because they used a sound-on-disc system with a separate soundtrack on special phonograph records.
If some of a film's soundtrack discs could not be found in the 1950s when 16 mm sound-on-film reduction prints of early "talkies" were being made for inclusion in television syndication packages, that film's chances of survival plummeted: many sound-on-disc films have survived only by way of those 16 mm prints. Before the eras of sound film and home video, films were viewed as having little future value when their theatrical runs ended. Thus, many were deliberately destroyed to save the cost of storage. Many Technicolor two-color negatives from the 1920s and 1930s were thrown out when the studios refused to reclaim their films, still being held by Technicolor in its vaults; some used prints were sold to scrap dealers and cut up into short segments for use with small, hand-cranked 35 mm movie projectors, which were sold as a toy for showing brief excerpts from Hollywood movies at home. As a consequence of this widespread lack of care, the work of many early filmmakers and performers has made its way to the present in fragmentary form.
A high-profile example is the case of Theda Bara. One of the best-known actresses of the early silent era, she made 40 films, but only six are now known to exist. Clara Bow was celebrated in her heyday, but 20 of her 57 films are lost, another five are inc
Quirino Cristiani
Quirino Cristiani was an Italian-born Argentine animation director and cartoonist, responsible for the world's first two animated feature films as well as the first animated feature film with sound though the only copies of these two films were lost in a fire. He is the first person to create animation using cardboard cutouts. Quirino Cristiani was born on July 1896, in Santa Giuletta, Italy, his family moved to Buenos Aires, Argentina, in 1900, Quirino spent his childhood soaking up the fast pace and left-leaning politics of the great southern metropolis. He came to consider himself an Argentine second; as a teenager, he developed a passion for drawing, which led him through a brief course with the Academy of Fine Arts to the publication of political caricatures for the city newspapers. Soon the perfect target for his satire presented himself; the national elections of 1916 peacefully ended the thirty-six-year-long rule of the Conservative party and placed Radical party leader Hipólito Yrigoyen in the President's seat.
Yrigoyen favored the lower middle class in Buenos Aires, granted unprecedented freedom to the press. The press in response turned on him, mocking his social awkwardness, his replacement of Conservative corruption with Radical corruption in the government, his decision to keep Argentina out of World War I, a decision, unpopular with the germanophile Argentine military, he was soon dubbed "Peludo" for his lack of personal grooming. Living in the capital was another Italian immigrant, Federico Valle, once a cameraman and director in Europe, now a producer of newsreels for his adopted country. Valle was apolitical, he hired the twenty-year-old Cristiani off the street, gave him Émile Cohl's Les Allumettes animées to teach him the technique, set him loose. Before 1916 was out, Valle's newsreel Actualides Valle came out with an episode including the one-minute cartoon La Intervención en la provincia de Buenos Aires by Quirino Cristiani; the cartoon was about Yrigoyen's ouster of Buenos Aires governor Marcelino Ugarte for dishonesty.
This film used cardboard cutouts as the form of animation, a choice Cristiani would stick with throughout his career. This short film did well, Valle announced a new project: the green animator would next create the world's first feature-length animated film, with President Yrigoyen as the subject; the funding would come from a Mr. Franchini, who owned a chain of movie theatres to show the finished film. Cristiani would get his character designs from newspaper cartoonist Diógenes Taborda Cristiani managed to accomplish his goal, doing the lion's share of the animation, the 58,000-frame El Apóstol premiered on November 9, 1917 and destroyed in 1926; the movie was a satire, with President Yrigoyen ascending to the heavens to use Jupiter's thunderbolts to cleanse Buenos Aires of immorality and corruption. The result is a burnt city; the film was well-received, but most of the praise went to producer Valle, with what was left over going to Taborda. In 1918, the German commander in Argentina, Baron von Luxburg, decided to manipulate Argentina into joining World War I on its side by sinking an Argentine ship and blaming the act on the Entente.
The tales of the survivors of the incident led nearly everyone to realize what happened, but Yrigoyen swung his political weight to cover the incident up, out of fear that Argentina might be pushed into the war as an enemy of Germany, an outcome he feared just as much as a German alliance. Cristiani saw the incident as the perfect opportunity, with a new set of producers created the world's second feature-length animated film, Sin dejar rastros in 1918; the title was a reference to von Luxburg's supposed order to the German U-boat captain who sank the ship. President Yrigoyen felt he had no choice but to order the Ministry of Foreign Affairs to confiscate the film the day after it premiered. In doing this, the Radical showed himself little better than the repressive Conservative presidents he had replaced. On the other hand, Cristiani was not imprisoned and spent the next several years creating political cartoons and caricatures for the newspapers. Two other animated features were put out at this time by Andrés Ducaud, the man who designed the fire effects in El Apóstol.
To support his growing family, Cristiani founded the advertising company Publi-Cinema, where he made short commercial cartoons. To show these cartoons, he traveled to the poorer parts of town, where no movie theatres were to be found, showed the paying public Chaplin shorts and other films interspersed with his animation; this did so well that the police shut him down for "disturbing the peace and interrupting traffic". President "Peludo" finished out his six-year term in 1922, was succeeded by another Radical, Marcelo Torcuato de Alvear. During Alvear's presidency, Cristiani started making animated shorts for entertainment purposes; some of the titles included Firpo-Dempsey on the boxing match between American heavyweight champion Jack Dempsey and Argentinian champion Luis Firpo, Uruguayos Forever on Uruguay's Olympic gold medal in soccer, Humberto de garufa, on the visit of Italian Prince Umberto of Savoy to Buenos Aires. In 1918 and 1926, a fire destroyed Federico Valle's film vaults.
Hipólito Yrigoyen
Juan Hipólito del Sagrado Corazón de Jesús Yrigoyen was a two-time President of Argentina who served his first term from 1916 to 1922 and his second term from 1928 to 1930. His activism became the prime impetus behind the obtainment of universal suffrage in Argentina in 1912. Known as "the father of the poor," Yrigoyen presided over a rise in the standard of living of Argentina's working class together with the passage of a number of progressive social reforms, including improvements in factory conditions, regulation of working hours, compulsory pensions, the introduction of a universally accessible public education system, he was worked as a school teacher before entering politics. In 1882 he became a Freemason. In 1891 he co-founded the Radical Civic Union together with Leandro Alem. Yrigoyen was popularly known as "el peludo" due to his introverted character and aversion to being seen in public. Following Alem's suicide in 1896, Yrigoyen assumed sole leadership of the Radical Civic Union, it adopted a policy of intransigence, a position of total opposition to the regime known as "The Agreement".
Established by electoral fraud, this was an agreed formula among the political parties of that time for alternating in power. The Radical Civic Union took up arms in 1893 and again in 1905. However, Yrigoyen adopted a policy of nonviolence, pursuing instead the strategy of "revolutionary abstention", a total boycott of all polls until 1912, when President Roque Sáenz Peña was forced to agree to the passage of the Sáenz Peña Law, which established secret and compulsory male suffrage. Yrigoyen was elected President of Argentina in 1916, he found himself hemmed in, however, as the Argentine Senate was appointed by the legislatures of the provinces, most of which were controlled by the opposition. Several times, Yrigoyen resorted to federal intervention in numerous provinces by declaring a state of emergency, removing willful governors, deepening the confrontation with the landed establishment. Yrigoyen was popular, among middle and working class voters, who felt integrated for the first time in political process, the Argentinian economy prospered under his leadership.
Yrigoyen preserved Argentine neutrality during World War I, which turned out to be a boon, owing to higher beef prices and the opening up of many new markets to Argentina's primary exports. Yrigoyen promoted energy independence for the growing country, obtaining Congressional support for the establishment of the YPF state oil concern, appointing as its first director General Enrique Mosconi, the most prominent advocate for industrialization in the Argentine military at the time. Generous credit and subsidies were extended to small farmers, while Yrigoyen settled wage disputes in favour of the unions. Following four years of recession caused by war-related shortages of credit and supplies, the Argentine economy experienced significant economic growth, expanding by over 40% from 1917 to 1922. Argentina was known as "the granary of the world", its gross domestic product per capita placing it among the wealthiest nations on earth. Yrigoyen expanded the bureaucracy and increased public spending to support his urban constituents following an economic crisis in 1919, although the rise in urban living standards was gained at the cost of higher inflation, which adversely affected the export economy.
Constitutionally barred from re-election, Yrigoyen was succeeded by Marcelo Torcuato de Alvear. On the expiration of Alvear's term in 1928, Yrigoyen was overwhelmingly elected President for the second time. In December of that year, U. S. President-elect Herbert Hoover visited Argentina on a goodwill tour, meeting with President Yrigoyen on policies regarding trade and tariffs. Radical anarchist elements attempted to assassinate Hoover by attempting to place a bomb near his rail car, but the bomber was arrested before he could complete his work. President Yrigoyen accompanied Hoover thereafter as a personal guarantee of safety until he left the country. In his late seventies, he found himself surrounded by aides who censored his access to news reports, hiding from him the reality of the effects of the Great Depression, which hit towards the end of 1929. On 24 December of this year he survived an assassination attempt. Fascist and conservative sectors of the army plotted for a regime change, as did Standard Oil of New Jersey, who opposed both the president's efforts to curb oil smuggling from Salta Province to Bolivia, as well as the existence of YPF itself.
On 6 September 1930, Yrigoyen was deposed in a military coup led by General José Félix Uriburu. This was the first military coup since the adoption of the Argentine constitution. After the coup d'état Enrique Pérez Colman, Minister of Finance in the Yrigoyen cabinet; the new government of Uriburu adopted the most severe measures to prevent reprisals and counter-revolutionary tactics by friends of the ousted administration of ex–President Yrigoyen. The aforementioned Yrigoyenist personalities were released. After his overthrow, Yrigoyen was placed under house arrest and confined several times to Martín García Island, he was buried in La Recoleta Cemetery. Media related to Hipólito Yrigoyen at Wikimedia Commons Newspaper clippings about Hipólito Yrigoyen in the 20th Century Press Archives of the German National Library of Economics
