Campania
Campania is a region in Southern Italy. As of 2018, the region has a population of around 5,820,000 people, making it the third-most-populous region of Italy. Located on the Italian Peninsula, with the Mediterranean Sea to the west, it includes the small Phlegraean Islands and Capri for administration as part of the region. Campania was part of Magna Græcia. During the Roman era, the area maintained a Greco-Roman culture; the capital city of Campania is Naples. Campania is rich in culture in regard to gastronomy, architecture and ancient sites such as Pompeii, Oplontis, Aeclanum and Velia; the name of Campania itself is derived from Latin, as the Romans knew the region as Campania felix, which translates into English as "fertile countryside" or "happy countryside". The rich natural sights of Campania make it important in the tourism industry along the Amalfi Coast, Mount Vesuvius and the island of Capri; the original inhabitants of Campania were three defined groups of the Ancient peoples of Italy, who all spoke the Oscan language, part of the Italic family.
During the 8th century BC, people from Euboea in Greece, known as Cumaeans, began to establish colonies in the area around the modern day province of Naples. Another Oscan tribe, the Samnites, moved down from central Italy into Campania. Since the Samnites were more warlike than the Campanians, they took over the cities of Capua and Cumae, in an area, one of the most prosperous and fertile in the Italian Peninsula at the time. During the 340s BC, the Samnites were engaged in a war with the Roman Republic in a dispute known as the Samnite Wars, with the Romans securing rich pastures of northern Campania during the First Samnite War; the major remaining independent Greek settlement was Neapolis, when the town was captured by the Samnites, the Neapolitans were left with no other option than to call on the Romans, with whom they established an alliance, setting off the Second Samnite War. The Roman consul Quintus Publilius Filo recaptured Neapolis by 326 BC and allowed it to remain a Greek city with some autonomy as a civitas foederata while aligned with Rome.
The Second Samnite War ended with the Romans controlling southern Campania and additional regions further to the south. Campania was a full-fledged part of the Roman Republic by the end of the 4th century BC, valued for its pastures and rich countryside, its Greek language and customs made it a centre of Hellenistic civilization, creating the first traces of Greco-Roman culture. During the Pyrrhic War the battle took place in Campania at Maleventum in which the Romans, led by consul Curius Dentatus, were victorious, they renamed the city Beneventum, which grew in stature until it was second only to Capua in southern Italy. During the Second Punic War in 216 BC, Capua, in a bid for equality with Rome, allied with Carthage; the rebellious Capuans were isolated from the rest of Campania. Naples resisted Hannibal due to the imposing walls. Capua was starved into submission in the Roman retaking of 211 BC, the Romans were victorious; the rest of Campania, with the exception of Naples, adopted the Latin language as official and was Romanised.
As part of the Roman Empire, with Latium, formed the most important region of the Augustan divisions of Italia. In ancient times Misenum, at the extreme northern end of the bay of Naples, was the largest base of the Roman navy, since its port was the base of the Classis Misenensis, the most important Roman fleet, it was first established as a naval base in 27 BC by Marcus Agrippa, the right-hand man of the emperor Augustus. Roman Emperors chose Campania as a holiday destination, among them Claudius and Tiberius, the latter of whom is infamously linked to the island of Capri, it was during this period that Christianity came to Campania. Two of the apostles, St. Peter and St. Paul, are said to have preached in the city of Naples, there were several martyrs during this time; the period of relative calm was violently interrupted by the epic eruption of Mount Vesuvius in 79 which buried the cities of Pompeii and Herculaneum. With the Decline of the Roman Empire, its last emperor, Romulus Augustus, was put in a manor house prison near Castel dell'Ovo, Naples, in 476, ushering in the beginning of the Middle Ages and a period of uncertainty in regard to the future of the area.
The area had many duchies and principalities during the Middle Ages, in the hands of the Byzantine Empire and the Lombards. Under the Normans, the smaller independent states were brought together as part of the Kingdom of Sicily, before the mainland broke away to form the Kingdom of Naples, it was during this period that elements of Spanish and Aragonese culture were introduced to Campania. After a period as a Norman kingdom, the Kingdom of Sicily passed to the Hohenstaufens, who were a powerful Germanic royal house of Swabian origins; the University of Naples Federico II was founded by Frederick II in the city, the oldest state university in the world, making Naples the intellectual centre of the kingdom. Conflict between the Hohenstaufen house and the Papacy, led in 1266 to Pope Innocent IV crowning Angevin Dynasty duke Charles I as the king. Charles moved the capital from Palermo to Naples where he resided at the Castel Nuovo. During this period, much Gothic architec
Fresco
Fresco is a technique of mural painting executed upon freshly laid, or wet lime plaster. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, with the setting of the plaster, the painting becomes an integral part of the wall; the word fresco is derived from the Italian adjective fresco meaning "fresh", may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is associated with Italian Renaissance painting. Buon fresco pigment is mixed with room temperature water and is used on a thin layer of wet, fresh plaster, called the intonaco; because of the chemical makeup of the plaster, a binder is not required, as the pigment mixed with the water will sink into the intonaco, which itself becomes the medium holding the pigment. The pigment is absorbed by the wet plaster; the chemical processes are as follows: calcination of limestone in a lime kiln: CaCO3 → CaO + CO2 slaking of quicklime: CaO + H2O → Ca2 setting of the lime plaster: Ca2 + CO2 → CaCO3 + H2O In painting buon fresco, a rough underlayer called the arriccio is added to the whole area to be painted and allowed to dry for some days.
Many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name used to refer to these under-paintings. Later,new techniques for transferring paper drawings to the wall were developed; the main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, a bag of soot banged on them on produce black dots along the lines. If the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. On the day of painting, the intonaco, a thinner, smooth layer of fine plaster was added to the amount of wall, expected to be completed that day, sometimes matching the contours of the figures or the landscape, but more just starting from the top of the composition; this area is called the giornata, the different day stages can be seen in a large fresco, by a sort of seam that separates one from the next. Buon frescoes are difficult to create because of the deadline associated with the drying plaster.
A layer of plaster will require ten to twelve hours to dry. Once a giornata is dried, no more buon fresco can be done, the unpainted intonaco must be removed with a tool before starting again the next day. If mistakes have been made, it may be necessary to remove the whole intonaco for that area—or to change them a secco. An indispensable component of this process is the carbonatation of the lime, which fixes the colour in the plaster ensuring durability of the fresco for future generations. A technique used in the popular frescoes of Michelangelo and Raphael was to scrape indentations into certain areas of the plaster while still wet to increase the illusion of depth and to accent certain areas over others; the eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark'outlining' of his central figures within his frescoes. In a wall-sized fresco, there may be ten to twenty or more giornate, or separate areas of plaster.
After five centuries, the giornate, which were nearly invisible, have sometimes become visible, in many large-scale frescoes, these divisions may be seen from the ground. Additionally, the border between giornate was covered by an a secco painting, which has since fallen off. One of the first painters in the post-classical period to use this technique was the Isaac Master in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist. A secco or fresco-secco painting is done on dry plaster; the pigments thus require a binding medium, such as egg, glue or oil to attach the pigment to the wall. It is important to distinguish between a secco work done on top of buon fresco, which according to most authorities was in fact standard from the Middle Ages onwards, work done a secco on a blank wall. Buon fresco works are more durable than any a secco work added on top of them, because a secco work lasts better with a roughened plaster surface, whilst true fresco should have a smooth one.
The additional a secco work would be done to make changes, sometimes to add small details, but because not all colours can be achieved in true fresco, because only some pigments work chemically in the alkaline environment of fresh lime-based plaster. Blue was a particular problem, skies and blue robes were added a secco, because neither azurite blue nor lapis lazuli, the only two blue pigments available, works well in wet fresco, it has become clear, thanks to modern analytical techniques, that in the early Italian Renaissance painters quite employed a secco techniques so as to allow the use of a broader range of pigments. In most early examples this work has now vanished, but a whole painting done a secco on a surface roughened to give a key for the paint may survive well
Kochi-Muziris Biennale
The Kochi-Muziris Biennale is an international exhibition of contemporary art held in Kochi, Kerala. It is the biggest contemporary art festival in Asia; the Kochi-Muziris Biennale is an initiative of the Kochi Biennale Foundation with support from the Government of Kerala. The exhibition is set in spaces across Kochi, with shows being held in existing galleries and site-specific installations in public spaces, heritage buildings and disused structures. Indian and international artists exhibit artworks across a variety of mediums including film, painting, new media and performance art. Through the celebration of contemporary art from around the world, the Kochi-Muziris Biennale seeks to invoke the historic cosmopolitan legacy of the modern metropolis of Kochi, its mythical predecessor, the ancient port of Muziris. Alongside the exhibition the Biennale offers a rich programme of talks, screenings, music and educational activities for school children and students; the second edition of the biennale cost about Rs 17 crore up from the Rs 16.5 crore spent on the first edition.
The Kerala government’s contribution fell to Rs 3 crore from Rs 9 crore despite pleas for financial assistance. The organisers relied on sponsorship and online crowd funding for meeting the expenses; the number of visitors grew to five lakhs in the second edition, an increase of one lakh from the first edition. The Biennale was visited by more than six lakh people in its third edition. In May 2010, Mumbai based contemporary artists of Kerala origin, Bose Krishnamachari and Riyaz Komu, were approached by culture minister of Kerala, M. A Baby to start an international art project in the state. Acknowledging the lack of an international platform for contemporary art in India and Riyas proposed the idea of a Biennale in Kochi on the lines of the Venice Biennale; the Kochi Biennale Foundation is a non-profit charitable trust engaged in promoting art & culture and educational activities in India. KBF works around the year to strengthen contemporary art infrastructure and to broaden public access to art across India.
The Kochi Biennale Foundation is engaged in the conservation of heritage properties and monuments and the upliftment of traditional forms of art and culture. KBF was founded in 2010 by artists Bose Riyas Komu; the First Kochi-Muziris Biennale began on 12 December 2012. The Biennale hosted 80 artists with nearly 50 percent foreign artists, site-specific works and a sustained education programme in the three months; as a run-up to the event, in April, the Durbar Hall Kochi will host German modern artist Eberhard Havekost's exhibition "Sightseeing Trip", held in collaboration with Dresden State Art Collections. The Aspinwall House exhibits the art works of 44 artists spread across the premises. Entry was free till 23 December, replaced by ticketed entry at Rs.50 to help pay for daily running costs. According to artist and Kochi-Muziris Biennale artistic director Bose Krishnamachari support has come in many forms. Shalini and Sanjay Passi held a INR 25,000-per-head dinner in the capital to raise funds, raising ₹550,000.
Google met with the foundation and has offered help with the website, which received 7.5 million hits in the first month. The Jindals of Jindal Steel and Power Limited, the late Kerala Congress leader T. M. Jacob, R. K. Krishna Kumar of Tata group, Jayanta Matthews of Malayala Manorama and the businessman Shibu Mathai have all donated; the sites for the Kochi-Muziris Biennale were: According to Tate Modern, Kochi-Muziris Biennale was the best biennale they had seen. The biennale accrued 150,000 visitors in its first month and 250,000 visitors in its second, averaging a thousand visitors a day. Local people have stepped up, on an individual level, realising what the biennale has done for them, socio-economically and culturally, in terms of putting Kochi on the international culture map, something that does not go unappreciated in Kerala. McKinsey and companies have expressed their interest in studying the Biennale to know its economic effects. According to Karthyayani G. Menon, director of Jehangir Art Gallery in Mumbai, Kerala — unlike Mumbai, Baroda or Kolkata had not been in the forefront in encouraging artists and giving them good platforms but now she hoped that the biennale would mark a change to that situation.
Many eminent artists in Kerala raised concern over the alleged lack of transparency in the way the funds were spent by Kochi-Muziris Biennale foundation. At the same time many known contemporary artists of the state of Kerala had come out in support of the event as it could help in enhancing the image of Kochi. With the 2016 demonetization of the Indian economy, several artists and the organizers of the Biennale had to overcome a struggle to get things in place for the opening of the exhibition. However, the Biennale received a boost when at the official opening, the government of the southern state of Kerala promised $1.1m funding and support for a permanent venue to cement its place as the Venice Biennale of South Asia. Chief Minister Pinarayi Vijayan, the leader of the Left Democratic Front government and long-time secretary of the Indian Communist Party in the state, said the Biennale matched Kochi’s multi-layered history of settlement by Arabs, Jews, Dutch and different migrant communities from India.
Vijayan announced 75m rupees in funding for the Biennale, the highest sum a state government in India had given an arts event. His government would support a permanent venue for the "mega-prestigious" event that
Mosaic
A mosaic is a piece of art or image made from the assembling of small pieces of colored glass, stone, or other materials. It is used in decorative art or as interior decoration. Most mosaics are made of small, flat square, pieces of stone or glass of different colors, known as tesserae; some floor mosaics, are made of small rounded pieces of stone, called "pebble mosaics". Mosaics have a long history, starting in Mesopotamia in the 3rd millennium BC. Pebble mosaics were made in Tiryns in Mycenean Greece. Early Christian basilicas from the 4th century onwards were decorated with ceiling mosaics. Mosaic art flourished in the Byzantine Empire from the 6th to the 15th centuries. Mosaic fell out of fashion in the Renaissance, though artists like Raphael continued to practise the old technique. Roman and Byzantine influence led Jewish artists to decorate 5th and 6th century synagogues in the Middle East with floor mosaics. Mosaic was used on religious buildings and palaces in early Islamic art, including Islam's first great religious building, the Dome of the Rock in Jerusalem, the Umayyad Mosque in Damascus.
Mosaic went out of fashion in the Islamic world after the 8th century. Modern mosaics are made by professional artists, street artists, as a popular craft. Many materials other than traditional stone and ceramic tesserae may be employed, including shells and beads; the earliest known examples of mosaics made of different materials were found at a temple building in Abra and are dated to the second half of 3rd millennium BC. They consist of pieces of colored stones and ivory. Excavations at Susa and Chogha Zanbil show evidence of the first glazed tiles, dating from around 1500 BC. However, mosaic patterns were not used until the times of Roman influence. Bronze age pebble mosaics have been found at Tiryns. Mythological subjects, or scenes of hunting or other pursuits of the wealthy, were popular as the centrepieces of a larger geometric design, with emphasized borders. Pliny the Elder mentions the artist Sosus of Pergamon by name, describing his mosaics of the food left on a floor after a feast and of a group of doves drinking from a bowl.
Both of these themes were copied. Greek figural mosaics could have been copied or adapted paintings, a far more prestigious artform, the style was enthusiastically adopted by the Romans so that large floor mosaics enriched the floors of Hellenistic villas and Roman dwellings from Britain to Dura-Europos. Most recorded names of Roman mosaic workers are Greek, suggesting they dominated high quality work across the empire. Splendid mosaic floors are found in Roman villas across North Africa, in places such as Carthage, can still be seen in the extensive collection in Bardo Museum in Tunis, Tunisia. There were two main techniques in Greco-Roman mosaic: opus vermiculatum used tiny tesserae cubes of 4 millimeters or less, was produced in workshops in small panels which were transported to the site glued to some temporary support; the tiny tesserae allowed fine detail, an approach to the illusionism of painting. Small panels called emblemata were inserted into walls or as the highlights of larger floor-mosaics in coarser work.
The normal technique was opus tessellatum, using larger tesserae, laid on site. There was a distinct native Italian style using black on a white background, no doubt cheaper than coloured work. In Rome and his architects used mosaics to cover some surfaces of walls and ceilings in the Domus Aurea, built 64 AD, wall mosaics are found at Pompeii and neighbouring sites; however it seems that it was not until the Christian era that figural wall mosaics became a major form of artistic expression. The Roman church of Santa Costanza, which served as a mausoleum for one or more of the Imperial family, has both religious mosaic and decorative secular ceiling mosaics on a round vault, which represent the style of contemporary palace decoration; the mosaics of the Villa Romana del Casale near Piazza Armerina in Sicily are the largest collection of late Roman mosaics in situ in the world, are protected as a UNESCO World Heritage Site. The large villa rustica, owned by Emperor Maximian, was built in the early 4th century.
The mosaics were covered and protected for 700 years by a landslide that occurred in the 12th Century. The most important pieces are the Circus Scene, the 64m long Great Hunting Scene, the Little Hunt, the Labours of Hercules and the famous Bikini Girls, showing women undertaking a range of sporting activities in garments that resemble 20th Century bikinis; the peristyle, the imperial apartments and the thermae were decorated with ornamental and mythological mosaics. Other important examples of Roman mosaic art in Sicily were unearthed on the Piazza Vittoria in Palermo where two houses were discovered; the most important scenes there depicted are an Orpheus mosaic, Alexander the Great's Hunt and the Four Seasons. In 1913 the Zliten mosaic, a Roman mosaic famous for its many scenes from gladiatorial contests and everyday life, was discovered in the Libyan town of Zliten. In 2000 archaeologists working
Solomon R. Guggenheim Museum
The Solomon R. Guggenheim Museum referred to as The Guggenheim, is an art museum located at 1071 Fifth Avenue on the corner of East 89th Street in the Upper East Side neighborhood of Manhattan, New York City, it is the permanent home of a continuously expanding collection of Impressionist, Post-Impressionist, early Modern and contemporary art and features special exhibitions throughout the year. The museum was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance of its first director, the artist Hilla von Rebay, it adopted its current name after the death of its founder, Solomon R. Guggenheim, in 1952. In 1959, the museum moved from rented space to its current building, a landmark work of 20th-century architecture. Designed by Frank Lloyd Wright, the cylindrical building, wider at the top than the bottom, was conceived as a "temple of the spirit", its unique ramp gallery extends up from ground level in a long, continuous spiral along the outer edges of the building to end just under the ceiling skylight.
The building underwent extensive expansion and renovations in 1992 and from 2005 to 2008. The museum's collection has grown organically, over eight decades, is founded upon several important private collections, beginning with Solomon R. Guggenheim's original collection; the collection is shared with the museum's sister museums in Bilbao and elsewhere. In 2013, nearly 1.2 million people visited the museum, it hosted the most popular exhibition in New York City. Solomon R. Guggenheim, a member of a wealthy mining family, had been collecting works of the old masters since the 1890s. In 1926, he met artist Hilla von Rebay, who introduced him to European avant-garde art, in particular abstract art that she felt had a spiritual and utopian aspect. Guggenheim changed his collecting strategy, turning to the work of Wassily Kandinsky, among others, he began to display his collection to the public at his apartment in the Plaza Hotel in New York City. As the collection grew, he established the Solomon R. Guggenheim Foundation, in 1937, to foster the appreciation of modern art.
The foundation's first venue for the display of art, the "Museum of Non-Objective Painting", opened in 1939 under the direction of Rebay, in midtown Manhattan. Under Rebay's guidance, Guggenheim sought to include in the collection the most important examples of non-objective art available at the time by early modernists such as Rudolf Bauer, Kandinsky, Piet Mondrian, Marc Chagall, Robert Delaunay, Fernand Léger, Amedeo Modigliani and Pablo Picasso. By the early 1940s, the foundation had accumulated such a large collection of avant-garde paintings that the need for a permanent museum building had become apparent. In 1943, Rebay and Guggenheim wrote a letter to Frank Lloyd Wright asking him to design a structure to house and display the collection. Wright accepted the opportunity to experiment with his organic style in an urban setting, it took him 15 years, 700 sketches, six sets of working drawings to create the museum. In 1948, the collection was expanded through the purchase of art dealer Karl Nierendorf's estate of some 730 objects, notably German expressionist paintings.
By that time, the foundation's collection included a broad spectrum of expressionist and surrealist works, including paintings by Paul Klee, Oskar Kokoschka and Joan Miró. After Guggenheim's death in 1949, members of the Guggenheim family who sat on the foundation's board of directors had personal and philosophical differences with Rebay, in 1952 she resigned as director of the museum, she left a portion of her personal collection to the foundation in her will, including works by Kandinsky, Alexander Calder, Albert Gleizes and Kurt Schwitters. The museum was renamed the Solomon R. Guggenheim Museum in 1952. Rebay conceived of the space as a "temple of the spirit" that would facilitate a new way of looking at the modern pieces in the collection, she wrote to Wright that "each of these great masterpieces should be organized into space, only you... would test the possibilities to do so.... I want a temple of spirit, a monument!" The critic Paul Goldberger wrote that, before Wright's modernist building, "there were only two common models for museum design: Beaux-arts Palace... and the International Style Pavilion."
Goldberger thought the building a catalyst for change, making it "socially and culturally acceptable for an architect to design a expressive, intensely personal museum. In this sense every museum of our time is a child of the Guggenheim." From 1943 to early 1944, Wright produced four different sketches for the initial design. While one of the plans had a hexagonal shape and level floors for the galleries, all the others had circular schemes and used a ramp continuing around the building, he had experimented with the ramp design in 1948 at the V. C. Morris Gift Shop in San Francisco and on the house he completed for his son in 1952, the David and Gladys Wright House in Arizona. Wright's original concept was called an inverted "ziggurat", because it resembled the steep steps on the ziggurats built in ancient Mesopotamia, his design dispensed with the conventional approach to museum layout, in which visitors are led through a series of interconnected rooms and forced to retrace their steps when exiting.
Wright's plan was for the museum guests to ride to the top of the building by elevator, to descend at a leisurely pace along the gentle slope of the continuous ramp, to view the atrium of the building as the last work of art. The open rotunda afforded viewers the unique possibility of seeing several bays of work on different levels and to interact with guests on other levels. At the
Fort Lauderdale, Florida
Fort Lauderdale is a city in the U. S. state of Florida, 28 miles north of Miami. It is the county seat of Broward County; as of the 2017 census, the city has an estimated population of 180,072. Fort Lauderdale is a principal city of the Miami metropolitan area, home to an estimated 6,158,824 people in 2017; the city is a popular tourist destination, with an average year-round temperature of 75.5 °F and 3,000 hours of sunshine per year. Greater Fort Lauderdale, encompassing all of Broward County, hosted 12 million visitors in 2012, including 2.8 million international visitors. In 2012, the county collected $43.9 million from the 5% hotel tax it charges, after hotels in the area recorded an occupancy rate for the year of 72.7 percent and an average daily rate of $114.48. The district has 561 motels comprising nearly 35,000 rooms. Forty-six cruise ships sailed from Port Everglades in 2012. Greater Fort Lauderdale has over 4,000 restaurants, 63 golf courses, 12 shopping malls, 16 museums, 132 nightclubs, 278 parkland campsites, 100 marinas housing 45,000 resident yachts.
Fort Lauderdale is named after a series of forts built by the United States during the Second Seminole War. The forts took their name from Major William Lauderdale, younger brother of Lieutenant Colonel James Lauderdale. William Lauderdale was the commander of the detachment of soldiers. However, development of the city did not begin until 50 years after the forts were abandoned at the end of the conflict. Three forts named "Fort Lauderdale" were constructed: the first was at the fork of the New River, the second was at Tarpon Bend on the New River between the present-day Colee Hammock and Rio Vista neighborhoods, the third was near the site of the Bahia Mar Marina; the area in which the city of Fort Lauderdale would be founded was inhabited for more than two thousand years by the Tequesta Indians. Contact with Spanish explorers in the 16th century proved disastrous for the Tequesta, as the Europeans unwittingly brought with them diseases, such as smallpox, to which the native populations possessed no resistance.
For the Tequesta, coupled with continuing conflict with their Calusa neighbors, contributed to their decline over the next two centuries. By 1763, there were only a few Tequesta left in Florida, most of them were evacuated to Cuba when the Spanish ceded Florida to the British in 1763, under the terms of the Treaty of Paris, which ended the Seven Years' War. Although control of the area changed between Spain, United Kingdom, the United States, the Confederate States of America, it remained undeveloped until the 20th century; the Fort Lauderdale area was known as the "New River Settlement" before the 20th century. In the 1830s there were 70 settlers living along the New River. William Cooley, the local Justice of the Peace, was a farmer and wrecker, who traded with the Seminole Indians. On January 6, 1836, while Cooley was leading an attempt to salvage a wrecked ship, a band of Seminoles attacked his farm, killing his wife and children, the children's tutor; the other farms in the settlement were not attacked, but all the white residents in the area abandoned the settlement, fleeing first to the Cape Florida Lighthouse on Key Biscayne, to Key West.
The first United States stockade named Fort Lauderdale was built in 1838, subsequently was a site of fighting during the Second Seminole War. The fort was abandoned in 1842, after the end of the war, the area remained unpopulated until the 1890s, it was not until Frank Stranahan arrived in the area in 1893 to operate a ferry across the New River, the Florida East Coast Railroad's completion of a route through the area in 1896, that any organized development began. The city was incorporated in 1911, in 1915 was designated the county seat of newly formed Broward County. Fort Lauderdale's first major development began during the Florida land boom; the 1926 Miami Hurricane and the Great Depression of the 1930s caused a great deal of economic dislocation. In July 1935, an African-American man named Rubin Stacy was accused of robbing a white woman at knife point, he was being transported to a Miami jail when police were run off the road by a mob. A group of 100 white men proceeded to hang Stacy from a tree near the scene of his alleged robbery.
His body was riddled with some twenty bullets. The murder was subsequently used by the press in Nazi Germany to discredit US critiques of its own persecution of Jews and Catholics; when World War II began, Fort Lauderdale became a major US base, with a Naval Air Station to train pilots, radar operators, fire control operators. A Coast Guard base at Port Everglades was established. On July 4, 1961 African Americans started a series of protests, wade-ins, at beaches that were off-limits to them, to protest "the failure of the county to build a road to the Negro beach". On July 11, 1962 a verdict by Ted Cabot went against the city's policy of racial segregation of public beaches. Today, Fort Lauderdale is a major yachting center, one of the nation's largest tourist destinations, the center of a metropolitan division with 1.8 million people. After the war ended, service members returned to the area, spurring an enormous population explosion which dwarfed the 1920s boom; the 1960 Census counted 83,648 people in about 230 % of the 1950 figure.
A 1967 report estimated that the city was 85% developed, the 1970 population figure was 139,590. After 1970, as Fort Lauderdale became built out, growth in the area shifted to suburbs to the west; as cities such as Coral Springs and Pembroke Pines experienced explosive growth, Fort Lauderdale's population stagnated, the ci
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