The Uffington White Horse is a prehistoric hill figure, 110 m long, formed from deep trenches filled with crushed white chalk. The figure is situated on the upper slopes of White Horse Hill in the English civil parish of Uffington, some 10 mi east of Swindon, 8 km south of the town of Faringdon and a similar distance west of the town of Wantage; the hill forms a part of the scarp of the Berkshire Downs and overlooks the Vale of White Horse to the north. The best views of the figure are obtained from the air, or from directly across the Vale around the villages of Great Coxwell and Fernham; the site is a Scheduled Ancient Monument. The Guardian stated in 2003 that "for more than 3,000 years, the Uffington White Horse has been jealously guarded as a masterpiece of minimalist art." The Uffington Horse is by far the oldest of the white horse figures in Britain and is of an different design from the others inspired by it. The figure has long been presumed to date to "the prehistory" – the Iron Age or the late Bronze Age.
This view was held by scholars before the 1990s, based on the similarity of the horse's design to comparable figures in Celtic art. This theory was confirmed following a 1990 excavation led by Simon Palmer and David Miles of the Oxford Archaeological Unit: deposits of fine silt removed from the horse's'beak' were scientifically dated to the late Bronze Age, some time between 1380 and 550 BC, they discovered the figure was cut into the hill up to a metre deep, not scratched into the chalk surface. Iron Age coins that bear a representation comparable to the Uffington White Horse have been found, supporting the early dating of this artefact. Darvill dismisses as "folklore" the suggestion that the horse had been fashioned in the Anglo-Saxon period, more during Alfred's reign: there is no evidence to support this; the medieval Welsh book Llyfr Coch Hergest states: "Gerllaw tref Abinton y mae mynydd ac eilun march arno a gwyn ydiw. Ni thyf dim arno." This translates as "Near to the town of Abinton there is a mountain with a figure of a stallion upon it, it is white.
Nothing grows upon it." Until the late 19th century, the horse was scoured every seven years as part of a more general local fair held on the hill. Francis Wise wrote in 1736: "The ceremony of scouring the Horse, from time immemorial, has been solemnized by a numerous concourse of people from all the villages roundabout." After the work was done a rural festival was held sponsored by “the lord of the manor.”If regular cleaning is halted, the figure becomes obscured. Periodic scouring continues, organized by the National Trust: on chalking day volunteers with hammers, buckets of chalk, kneepads kneel and smash the chalk to a paste, whitening the paths cut in the grass inch by inch. During the Second World War the figure recognizable from the air, was covered over with turf and hedge trimmings so that Luftwaffe pilots could not use it for navigation during bombing raids, it was uncovered after the war by Welsh archaeology professor William Francis Grimes. In August 2002 the figure was defaced with the addition of a rider and three dogs by members of the "Real Countryside Alliance".
The act was denounced by the Countryside Alliance. Soon afterwards for a couple of days in May 2003, a temporary hill figure advertisement for the fourth series of Channel 4's series Big Brother was controversially placed near the figure. In March 2012, as part of a pre-Cheltenham Festival publicity stunt, a bookmaker added a large jockey to the figure, it has long been debated whether the chalk figure was intended to represent a horse or some other animal, such as a dog or a sabre-toothed cat. However, it has been called a horse since the 11th century at least. A cartulary of Abingdon Abbey, compiled between 1072 and 1084, refers to "mons albi equi" at Uffington; the horse is thought to represent a tribal symbol connected with the builders of Uffington Castle. It is similar to horses depicted on Celtic coinage, the currency of the pre-Roman-British population, on the Marlborough Bucket. Another theory proposed by University of Southampton archaeologist Joshua Pollard points to the horse's alignment with the sun in midwinter when the sun appears to overtake the horse, to indicate that it was created as a depiction of a "solar horse", reflecting mythological beliefs that the sun was carried across the sky on a horse or in a chariot.
The most significant nearby feature is the Iron Age Uffington Castle, located on higher ground atop a knoll above the White Horse. This hillfort comprises an area of 3 hectares enclosed by a single, well-preserved bank and ditch. Dragon Hill is a natural chalk hill with an artificial flat top, associated in legend with St George. Whitehorse Hill is designated a Site of Special Scientific Interest, it is a geological SSSI due to its Pleistocene sediments, a biological SSSI as it has one of the few remaining unploughed grasslands along the chalk escarpment in Oxfordshire. To the west are ice-cut terraces known as the "Giant's Stair"; some believe these terraces at the bottom of this valley are the result of medieval farming, or alternatively were used for early farming after being formed by natural processes. The steep sided dry valley below the horse is known as the Manger and legend says that the horse grazes there at night; the Blowing Stone, a
Ondine, ou La naïade is a ballet in three acts and six scenes with choreography by Jules Perrot, music by Cesare Pugni, a libretto inspired by the novel Undine by Friedrich de la Motte Fouqué. Pugni dedicated his score to Augusta, Duchess of Cambridge, a long-time balletomane and patron of the arts in London. Whilst the original London production used the title Ondine, ou La naïade, Perrot staged a revival of the ballet under the title, La naïade et le pêcheur, a title, used for all subsequent productions of the ballet; the ballet was first presented by the ballet of Her Majesty's Theatre, London on 22 June 1843. Fanny Cerrito danced the title rôle, while Perrot himself played her mortal beloved, the fisherman Mattéo; the original scenery was designed by William Grieve. A contemporary review described it as "... one of the most beautiful productions that any stage boasted of." And praised Cerrito as a "... step-revealing goddess."Cesare Pugni's score was hailed as a masterwork of ballet music.
The Times, a London newspaper, described Pugni's score as The ballet bore little resemblance to de la Motte Fouqué's Undine: The plot is no more like the romantic baron's story than it is like that of Robinson Crusoe, excepting so far as a water-nymph is the heroine. Therefore, the readers of Undine have to unlearn all they know, if they would avoid mystification while witnessing the marvels of the new ballet, their only point in common appears to be the ill-fated love of a water sprite, with for a mortal man who has a mortal sweetheart. However, the ballet's divergence from the original novel "derive from intermediary works linking the book and the ballet, which Perrot used to enrich and enhance his theatrical conception"; the greatest changes that Perrot made to the basic plot were the change of location from the darkly evocative Danube to the sunnier shores of Sicily, the transformation of the aristocratic Sir Huldbrand into the humble fisherman Matteo, while Undine's rival Bertalda became the orphan Giannina.
In many ways, Perrot's ballet is more similar to René-Charles Guilbert de Pixerécourt's play of the story, Ondine, ou la Nymphe des Eaux, first presented in Paris in 1830 while Perrot was performing there. During his engagement as Premier Maître de Ballet of the St. Petersburg Imperial Theatres in Russia, Jules Perrot presented an elaborately expanded production of Ondine, ou La Naïade under the title La Naïade et le pêcheur at the Imperial Bolshoi Kamenny Theatre on 11 February 1851. For the production, Cesare Pugni, who had accompanied Perrot to Russia, extensively revised and expanded his original score of 1843; the production premiered to great success. On 23 July 1851, Perrot presented his production for a performance at Peterhof Palace staged for the celebrations held in honor of the name-day of the Grand Duchess Olga Nikolaevna, daughter of Emperor Nicholas I. For the performance, a stage was erected above the water of the lake of the Ozerky Pavilion. Marius Petipa revived Perrot's La Naïade et le pêcheur for the Imperial Ballet on several occasions throughout his career as Premier Maître de Ballet during the latter half of the 19th century.
In 1867 he revised much of the choreography for the performance of Ekaterina Vazem, with Pugni composing two new variations for her performance. Petipa staged his own complete revivals of the full-length work: 7 November 1874 for the prima ballerina Eugenia Sokolova, with musical revisions by Ludwig Minkus. 2 October 1892 for the prima ballerina Anna Johansson, with musical revisions by Riccardo Drigo. Cesare Pugni's grandson, Second Maître de Ballet of the Imperial Theatres and former premier danseur Alexander Shiryaev, mounted a revival of La Naïade et le pêcheur for the prima ballerina Anna Pavlova; the revival premiered on 20 December 1903, was the last revival of Perrot's ballet staged in Imperial Russia, though the full-length ballet continued being performed by the Leningrad ballet until 1931. The Ballet Master Pierre Lacotte staged a revival of Perrot's ballet under the title Ondine for the Kirov/Mariinsky Ballet, a production that opened on 16 March 2006 at the Mariinsky Theatre of St. Petersburg, with a new version of Cesare Pugni's score assembled from his original composition of 1843 and his revised edition of 1851.
The 2013–14 Santa Clara Broncos men's basketball team represented Santa Clara University during the 2013–14 NCAA Division I men's basketball season. It was head coach Kerry Keating's seventh season at Santa Clara; the Broncos played their home games at the Leavey Center and were members of the West Coast Conference. They finished the season 6 -- 12 in WCC play to finish in a tie for eighth place, they advanced to the quarterfinals of the WCC Tournament. Five players joined Santa Clara for the 2013-14 season. Of the five, four are freshman. Three of the players joined in the winter. Series History: First Meeting Series History: Santa Clara leads 74-29 Series History: Santa Clara leads 1-0 Series History: Notre Dame leads 1-0 Announcers: Mike Couzens and Darrin Horn Series History: First Meeting Series History: Series 1-1 Series History: Santa Clara leads 3-0 Series History: Santa Clara leads 4-1 Series History: First Meeting Series History: First Meeting Series History: First Meeting Series History: UNLV leads 9-7 Broadcasters: Brent Stover, Steve Lappas, Doug Gottlieb Series History: Gonzaga leads series 49-30 Broadcasters: Roxy Bernstein and Miles Simon Series History: Santa Clara leads 57-30 Broadcasters: Roxy Bernstein and Kris Johnson Series History: Santa Clara leads 76-50 Broadcasters: Rich Cellini, John Stege, Amanda Blackwell Series History: Santa Clara leads 83-57 Broadcasters: Glen Kuiper and Dan Belluomini Series History: Santa Clara leads 136-82 Broadcasters: Barry Tompkins and Dan Belluomini Series History: Santa Clara leads 89-41 Broadcasters: Barry Tompkins and Jarron Collins Series History: Santa Clara leads 41-33 Broadcasters: Glen Kuiper and Dan Belluomini Series History: BYU leads 19-5