Seattle Seahawks rosterview· talk · edit

Quarterbacks

• 7 Tarvaris Jackson
• 2 Josh Portis
• 6 Charlie Whitehurst

Running Backs

• 20 Justin Forsett
• 24 Marshawn Lynch
• 26 Michael Robinson FB/RB
• 33 Leon Washington RS

Wide Receivers

• 15 Doug Baldwin
• 16 Kris Durham
• 87 Benjamin Obomanu
• 18 Sidney Rice
• 81 Golden Tate
• 17 Mike Williams

Tight Ends

• 85 Anthony McCoy
• 86 Zach Miller
• 88 Cameron Morrah

• 75 James Carpenter T
• 72 Robert Gallery G
• 68 Breno Giacomini T
• 61 Lemuel Jeanpierre G
• 77 Jarriel King T
• 67 Paul McQuistan G
• 74 John Moffitt G
• 76 Russell Okung T
• 60 Max Unger C

Defensive Linemen

• 99 Alan Branch DT
• 98 Raheem Brock DE
• 79 Red Bryant DE
• 91 Chris Clemons DE
• 94 Anthony Hargrove DT/DE
• 69 Clinton McDonald DT/DE
• 92 Brandon Mebane DT
• 90 Al Woods DT

• 55 Heath Farwell OLB
• 57 David Hawthorne MLB
• 56 Leroy Hill OLB
• 53 Malcolm Smith OLB
• 54 David Vobora OLB
• 50 K. J. Wright OLB

Defensive Backs

• 27 Atari Bigby SS
• 39 Brandon Browner CB
• 31 Kam Chancellor SS
• 35 Kennard Cox CB
• 32 Jeron Johnson SS
• 34 Roy Lewis CB
• 42 Chris Maragos FS
• 41 Byron Maxwell CB
• 36 Ron Parker CB
• 25 Richard Sherman CB
• 29 Earl Thomas FS

Special Teams

• 49 Clint Gresham LS
• 4 Steven Hauschka K
• 9 Jon Ryan P

• 11 Deon Butler WR (PUP)
• 89 John Carlson TE (IR)
• 58 Dexter Davis DE (IR)
• 46 Jameson Konz OLB/DE (IR)
• 52 Matt McCoy OLB (IR)
• 28 Walter Thurmond CB (IR)
• 23 Marcus Trufant CB (IR)
• 97 Jimmy Wilkerson DE (IR)

Practice Squad

• 22 Allen Bradford RB
• 66 Paul Fanaika G
• 93 Lazarius Levingston DT
• 83 Ricardo Lockette WR
• -- Michael Morgan MLB
• 82 John Nalbone TE
• 62 Brent Osborne G
• 47 Vai Taua RB

(loan) (noun) money machine, ATM (automated teller machine).

(loan) (noun) money, cash. He Kai, he taonga rānei te koha i ngā wā o mua, engari, ko te moni kē i ēnei rā.Food or gifts were koha in the past but these days it's money. (Te Kākano Textbook (Ed. 2): 48;)

1. (verb) (-a,-ngia) to work, do, perform, make, accomplish, practise, raise (money). Kei te taka mai ngā rā e mahia nuitia ai e te Pākehā te mahi whakamaroke me te mahi tini i te paramu me ērā atu huarākau (Pipi 12/1905 wh7).The days are approaching when Pākehā will be busy drying and canning plums and other fruit.

2. (noun) work, job, employment, trade (work), practice, occupation, activity, exercise, operation. Kei te taka mai ngā rā e mahia nuitia ai e te Pākehā te mahi whakamaroke me te mahi tini i te paramu me ērā atu huarākau (Pipi 12/1905 wh7).The days are approaching when Pākehā will be busy drying and canning plums and other fruit.

3. (noun) abundance, lots of, many, heaps of. I ētahi tau he tino kaha kē te hua o ngā piki nei, ā, he tino reka hoki mō te Kai. I ētahi rā, i te haere kē mātau, hoki rawa mai kua pau ngā hua te Kai i te mahi a te tamariki (HP wh13).In some years these fig trees fruited prolifically and they were very tasty to eat. Some days, when we went elsewhere, when we returned the fruit had all been eaten by the many children.Kua kapi taua wāhi i te mahi a te whare.That place was covered with lots of houses. (Te Māhuri Textbook (Ed. 2): 113;) See also http://wiki.answers.com/index.cfm?wordID=7909.

(loan) (noun) pound - money, weight and animal pound. Nā, kei Ingarangi e rua rau ngā pauna pata a te kau e whāngaia ana ki te Kai mōmona, i te tau kotahi, nā, ka hokona te pata, kotahi tekau mā rima ngā pauna-moni e riro mai ki te tangata nāna te kau (AMW 31/8/1848 wh 4).In England, a cow that is feed with good feed will produce two hundred pounds of butter per year, and when the butter is sold, the person who owns the cow earns fifteen pounds.

(stative) deep pocket, wealthy, having lots of money - an idiom. Kei pōhēhē koe he pōhara ia. He hōhonu tana pūkoro.Don't be mistaken in thinking that she is poor. She's wealthy.

(loan) (noun) sum of money, fund.

1. (noun) heap, fund, sum of money.

2. (noun) space in front of the meeting house, courtyard.

(noun) gift, token, pledge, donation, tip (money).

(stative) broke, having no money - an idiom. Kua pakaru taku pūkoro.I'm broke.

(loan) (noun) money, shilling - equivalent to 10 cents. Utua ai au e rima herengi i te wiki (HP wh26).I was paid five shillings per week.Tēnā hoki tētahi wāhi mā tātou, mā te Māori, kei riro anake ngā herengi i te iwi Pākehā, kei kīia kua ringa mūhore te Māori ki te ngaki witi (TW 22/6/1878 wh4/312).That then is an option for us, the Māori people, lest only the Pākehā make money and it is said that Māori are no good at growing wheat.

The rescue of Betty Guard and her two children from Ngāti Ruanui in the spring of 1834 involved the first action by British troops on New Zealand soil. A British House of Commons inquiry into the affair in 1835 criticised what it described as the use of excessive force by the rescue party.

Betty Guard

In April 1834 the whaler John (Jacky) Guard, his wife Elizabeth and their two children returned from a trip to Sydney aboard the Harriet, commanded by Captain Hall. On the 29th the barque was caught in a gale and driven ashore near Rāhotu on the Taranaki coast.

In true survivor style the castaways made tents from the ship's sails. Several days later, they were attacked by a group of Taranaki Māori who plundered the wreck. Then Ngāti Ruanui, perhaps aggrieved at the lack of booty, attacked the party. In the ensuing struggle, 12 of theHarriet's crew were killed, including Betty's brother. Betty herself narrowly escaped death.

Betty Guard's comb

The Guards and a number of others were captured. After two weeks Jacky and several other men were released on the understanding that they would return with a cask of gunpowder as ransom for the rest of the party. They eventually reached Sydney, where Guard secured the support of Governor Bourke for the rescue of the captives.

For the four months until Jacky and the rescue party returned, Betty was under the protection of a chief, Oaoiti. According to some accounts she was well treated and lived as Oaoiti's wife. Eyewitnesses to her rescue described her as calm and collected.

[The Maori] stripped her and her children naked, dragged her to their huts, and would have killed her, had not a Chief's wife kindly interfered on her behalf, and when the bludgeon was raised with that intention, threw a rug over her person, and saved her life…. They afterwards delivered the youngest child [Louisa] to the mother, and took the other away into the bush, and Mrs. Guard did not see it [John] for two months after.

Betty Guard also described how she 'saw the Natives cut up and eat those they killed belonging to the Harriet'.

The man-of-war HMS Alligator and the colonial schooner Isabella arrived in Taranaki in September 1834 with a detachment of 60 men from the 50th Regiment. These soldiers were the first British troops to come into armed combat with Māori. Jacky Guard and some of his men accompanied the party.

Ngāti Ruanui assumed that the Europeans had come to negotiate the release of the captives and that, as was customary, they could expect something in exchange. Instead, Oaoiti was bayoneted and captured. Captain Robert Lambert, commander of the Alligator, had a firm no-ransom policy.

Four days later, on 25 September, Betty and her baby daughter were located at Te Namu pā. After the pā was attacked and burnt, Betty and Louisa were given up in exchange for Oaoiti. John Guard junior had been taken to the nearby pā of Waimate. The Alligator and Isabella bombarded this for three hours on 8 October before landing a strong force with a six-pounder gun. John junior was grabbed from an elderly chief who was then summarily shot. The Sydney Herald's account was slightly different:

One of the sailors reached the boy first and, finding him fastened to the man's back by an old mat, took out his knife, and securing the boy, deliberately drew his knife across the man's throat.

John junior's rescue sparked a full-scale engagement. The Sydney Herald continued:

[F]inding the child safe, [the crew of the Harriet] now determined to take full revenge for the murder of their shipmates, and there being about 103 natives on the beach, we fired on them; and the soldiers on the hill supposing that orders had been given for firing commenced a discharge of musketry upon them.

Fighting continued for several days as rough seas delayed the re-embarkation of the troops.

The attitudes of men like Jacky Guard, who had a less-than-flattering reputation before this event, perhaps confirmed the fears of the humanitarian lobby. When asked how he believed Māori could be civilised, Guard is reputed to have said:

How would I civilise them? Shoot them to be sure! A musket ball for every New Zealander is the only way of civilising their country.

Louisa Guard died in early 1835, possibly as a result of injuries suffered in the initial skirmish. Betty was said to have given birth to 'rather dark' twins, fuelling rumours that Oaoiti was the father. However, she is also recorded as having a second son by Jacky in late 1835. She returned to Kākāpō Bay with her family early the following year, had another six children and lived until 1870.

A full list of Scrabble legal words ending in "u":

• ABOIDEAUa type of dike [n -DEAUS or -DEAUX]
• ABOITEAUaboideau (a type of dike) [n -TEAUS or -TEAUX]
• ACAJOUa tropical tree [n -S]
• ADIEUa farewell [n ADIEUS or ADIEUX]
• AMADOUa substance prepared from fungi for use as tinder [n -S]
• AMUa unit of mass [n -S]
• ANTIFLUcombating the flu [adj]
• APERCUa brief summary [n -S]
• BABASSUa palm tree [n -S]
• BABUbaboo (a Hindu gentleman) [n -S]
• BANDEAUa headband (a band worn on the head) [n -DEAUX or -DEAUS]
• BATEAUa flat-bottomed boat [n BATEAUX]
• BATTEAUbateau (a flat-bottomed boat) [n -TEAUX]
• BATTUpertaining to a ballet movement [adj]
• BAYOUa marshy body of water [n -S]
• BEAUa boyfriend [n BEAUX or BEAUS] : BEAUISH ~adj
• BEBEERUa tropical tree [n -S]
• BEDUa bedouin (a nomadic Arab) [n BEDU]
• BERIMBAUa Brazilian musical instrument [n -S]
• BIGARREAU[n -S]
• BIJOUa jewel [n -JOUX or -JOUS]
• BORDEREAU[n -REAUX]
• BOUBOUa long flowing garment [n -S]
• BUBUboubou (a long flowing garment) [n -S]
• BUNRAKUa Japanese puppet show [n -S]
• BUREAUa chest of drawers [n -REAUS or -REAUX]
• CACHOUcatechu (a resin used in tanning) [n -S]
• CARCAJOUa carnivorous mammal [n -S]
• CARIBOUa large deer (a ruminant mammal) [n -S]
• CATECHUa resin used in tanning [n -S]
• CENTUCENTAS, a monetary unit of Lithuania [n]
• CHALUMEAU[n -S]
• CHANOYUa Japanese tea ritual [n -S]
• CHAPEAUa hat [n -PEAUX or -PEAUS]
• CHATEAUa large country house [n -TEAUX or -TEAUS]
• CHIRUa Tibetan antelope [n -S]
• COINTREAU[n -S]
• CONGOUa Chinese tea [n -S]
• CORNUa hornlike bone formation [n -NUA] : CORNUAL ~adj
• COTEAUthe higher ground of a region [n -TEAUX]
• COUMAROUthe seed of a tropical tree [n -S]
• COUTEAUa knife (a sharp-edged instrument used for cutting) [n -TEAUX]
• COYPOUa coypu (an aquatic rodent) [n -S]
• COYPUan aquatic rodent [n -S]
• CRUa grade or class of wine [n -S]
• DIDJERIDU[n -DUS]
• EAUwater [n EAUX]
• ECRUa yellowish brown color [n -S]
• ECUan old French coin [n -S]
• EISTEDDFODAUEISTEDDFOD [n]
• EMEUemu (a large, flightless bird) [n -S]
• EMUa large, flightless bird [n -S]
• FABLIAUa short metrical tale popular in medieval France [n -AUX]
• FEUto grant land to under Scottish feudal law [v -ED, -ING, -S]
• FICHUa woman's scarf [n -S]
• FLAMBEAUa flaming torch [n -BEAUX or -BEAUS]
• FLUa virus disease [n -S]
• FONDUfondue [n -S]
• FOUdrunk (intoxicated) [adj]
• FRICANDEAU[n -S]
• FROUFROUa rustling sound [n -S]
• FUGUa toxin-containing fish [n -S]
• GAGAKUancient court music of Japan [n -S]
• GASPEREAU[n -EAUX]
• GATEAUa fancy cake [n -TEAUS or -TEAUX]
• GENUthe knee [n GENUA]
• GNUa large antelope (a ruminant mammal) [n -S]
• GRUGRUa palm tree [n -S]
• GURUa Hindu spiritual teacher [n -S]
• HABUa poisonous snake [n -S]
• HAIKUa Japanese poem [n -S]
• HAKUa crown of flowers [n -S]
• HALERUHALER, a coin of the Czech Republic [n]
• HAUSFRAUa housewife [n -FRAUS or -FRAUEN]
• HOKKUhaiku (a Japanese poem) [n HOKKU]
• IGLUigloo (an Eskimo dwelling) [n -S]
• IMPROMPTU[n -S]
• INCONNUa large food fish [n -S]
• JABIRUa wading bird [n -S]
• JAMBEAUa piece of armor for the leg [n -BEAUX]
• JEHUa fast driver [n -S]
• JEUa game [n JEUX]
• JIUJITSUjujitsu (a Japanese art of self-defense) [n -S]
• JIUJUTSUjujitsu (a Japanese art of self-defense) [n -S]
• JUJITSUa Japanese art of self-defense [n -S]
• JUJUan object regarded as having magical power [n -S]
• JUJUTSUjujitsu (a Japanese art of self-defense) [n -S]
• JUKUan additional school in Japan for preparing students for college [n -S]
• KABELJOUa large food fish [n -S]
• KAGUa flightless bird [n -S]
• KANZUa long white garment worn in Africa [n -S]
• KEIRETSUa coalition of business groups in Japan [n -S]
• KINKAJOUan arboreal mammal [n -S]
• KOMBUkelp used in Japanese cooking [n -S]
• KUDUa large antelope (a ruminant mammal) [n -S]
• KUDZUan Asian vine [n -S]
• KURUa disease of the nervous system [n -S]
• LANDAUa type of carriage (a wheeled, horse-drawn vehicle) [n -S]
• LATULATS, a monetary unit of Latvia [n]
• LEKULEK, a monetary unit of Albania [n]
• LEUa monetary unit of Romania [n LEI]
• LIEUplace; stead [n -S]
• LITULITAS, a former monetary unit of Lithuania [n]
• LUAUa Hawaiian feast [n -S]
• LULUsomething remarkable [n -S]
• MANITOUan Algonquian Indian deity [n -S]
• MANITUmanitou (an Algonquian Indian deity) [n -S]
• MANTEAUa loose cloak [n -TEAUS or -TEAUX]
• MARABOUan African stork [n -S]
• MENUa list of the dishes available in a restaurant [n -S]
• MEOUmeow (to make the crying sound of a cat) [v -ED, -ING, -S]
• MIAOUto meow (to make the crying sound of a cat) [v -ED, -ING, -S]
• MILIEUenvironment [n -LIEUS or -LIEUX]
• MORCEAUa short literary or musical composition [n -CEAUX]
• MUa Greek letter [n -S]
• MUMUmuumuu (a long, loose dress) [n -S]
• MUUMUUa long, loose dress [n -S]
• NAIRUthe lowest rate of unemployment at which there is no inflation [n -S]
• NILGAUnilgai (a large antelope (a ruminant mammal)) [n -S]
• NILGHAUnilgai (a large antelope (a ruminant mammal)) [n -S]
• NOUVEAUnewly arrived or developed [adj]
• NUa Greek letter [n -S]
• NUNCHAKUa Japanese weapon [n -S]
• NYLGHAUnilgai (a large antelope (a ruminant mammal)) [n -S]
• ORMOLUan alloy used to imitate gold [n -S]
• PAREUa Polynesian garment [n -S]
• PARVENUone who has suddenly risen above his class [n -S]
• PERDUa soldier sent on a dangerous mission [n -S]
• PILAUpilaf (a dish made of seasoned rice and often meat) [n -S]
• PIRARUCUa large food fish [n -S]
• PISTOUa sauce made of olive oil, garlic, basil, and often cheese [n -S]
• PIUmore -- used as a musical direction [adv]
• PLATEAUa level stretch of elevated land [n -TEAUS or -TEAUX] / to reach a period or condition of stability [v -ED, -ING, -S]
• POILUa French soldier [n -S]
• PORTMANTEAU[n -TEAUX or -TEAUS]
• POYOUan armadillo of Argentina [n -S]
• PRAHUprau (a swift Malaysian sailing vessel) [n -S]
• PRAUa swift Malaysian sailing vessel [n -S]
• PRIEDIEUa piece of furniture for kneeling on during prayer [n -DIEUS or -DIEUX]
• PUPUa dish of Asian foods served as an appetizer [n -S]
• PURLIEUan outlying or neighboring area [n -S]
• QUIPPUquipu (an ancient calculating device) [n -S]
• QUIPUan ancient calculating device [n -S]
• RAKUa form of Japanese glazed pottery [n -S]
• RESEAUa filter screen for making color films [n -SEAUS or -SEAUX]
• RONDEAUa short poem of fixed form [n -DEAUX]
• ROULEAUa roll of coins wrapped in paper [n -LEAUX or -LEAUS]
• ROUSSEAUfried pemmican [n -S]
• SADDHUsadhu (a Hindu holy man) [n -S]
• SADHUa Hindu holy man [n -S]
• SAJOUa capuchin (a long-tailed monkey) [n -S]
• SAMSHUa Chinese liquor [n -S]
• SANTIMUSANTIMS, a formerly used coin of Latvia [n]
• SAPAJOUa capuchin (a long-tailed monkey) [n -S]
• SAUxu (a monetary unit of Vietnam) [n SAU]
• SENRYUa Japanese poem [n SENRYU]
• SEPPUKUa Japanese form of suicide [n -S]
• SHIATSUa massage using finger pressure [n -S]
• SHIATZUshiatsu (a massage using finger pressure) [n -S]
• SHOYUsoy sauce [n -S]
• SNAFUto bring into a state of confusion [v -ED, -ING, -S]
• SOUa former French coin [n -S]
• SUBBUREAU[n -REAUX or -REAUS]
• SUBMENUa secondary list of options for a computer [n -S]
• SULUa Melanesian skirt [n -S]
• TABLEAUa picture [n -LEAUX or -LEAUS]
• TABUto taboo (to exclude from use, approach, or mention) [v -ED, -ING, -S]
• TAMANDUtamandua (an arboreal anteater) [n -S]
• TAMARAUa small buffalo of the Philippines [n -S]
• TAUa Greek letter [n -S]
• TELEDUa carnivorous mammal [n -S]
• TENDUan Asian ebony tree [n -S]
• THOUto address as "thou" (the 2d person sing. pronoun in the nominative case) [v -ED, -ING, -S]
• THRUthrough (by way of) [prep]
• TIMARAUtamarau (a small buffalo of the Philippines) [n -S]
• TINAMOUa South American game bird [n -S]
• TIRAMISUa dessert made with ladyfingers, mascarpone, chocolate, and espresso [n -S]
• TOFUa soft Oriental cheese made from soybean milk [n -S]
• TOLUa fragrant resin [n -S]
• TONNEAUthe rear seating compartment of an automobile [n -NEAUS or -NEAUX]
• TROUSSEAU[n -SEAUX or -SEAUS]
• TRUMEAUa column supporting part of a doorway [n -MEAUX]
• TURACOUtouraco (an African bird) [n -S]
• TUTUa short ballet skirt [n -S] : TUTUED ~adj
• ULUan Eskimo knife [n -S]
• UNAUa two-toed sloth [n -S]
• VATUa monetary unit of Vanuatu [n -S]
• VAUvav (a Hebrew letter) [n -S]
• VERMOULUeaten by worms [adj]
• VERTUvirtu (a love or taste for the fine arts) [n -S]
• VIRTUa love or taste for the fine arts [n -S]
• VODOUvodun (a primitive religion of the West Indies) [n -S]
• WAMEFOUa bellyful (an excessive amount) [n -S]
• WILLIWAUwilliwaw (a violent gust of cold wind) [n -S]
• WUSHUChinese martial arts [n WUSHU]
• XUa monetary unit of Vietnam [n XU]
• YOUsomething identified with the person addressed [n -S]
• ZAIBATSUa powerful family combine in Japan [n ZAIBATSU]
• ZEBUan Asian ox [n -S]

Ochre is a family of earth pigments, which includes yellow ochre, red ochre, purple ochre, sienna, and umber. The major ingredient of all the ochres is iron(III) oxide-hydroxide, known as limonite, which gives them a yellow color.

• Yellow ochre, FeO(OH)·nH2O, is a hydrated iron hydroxide(limonite) also called gold ochre
• Red ochre, Fe2O3, takes its reddish color from the mineral hematite, which is an anhydrous iron oxide.
• Purple ochre, is identical to red ochre chemically but of a different hue caused by different light diffraction properties associated with a greater average particle size.
• Brown ochre, also FeO(OH), (goethite), is a partly hydrated iron oxide.
• Sienna contains both limonite and a small amount of manganese oxide (less than five percent), which makes it darker than ochre.
• Umber pigments contain a larger proportion of manganese (five to twenty percent) which make them a dark brown.[3]

When natural sienna and umber pigments are heated, they are dehydrated and some of the limonite is transformed into hematite, giving them more reddish colors, called burnt sienna and burnt umber.

Ochres are non-toxic, and can be used to make an oil paint that dries quickly and covers surfaces thoroughly.

Modern ochre pigments often are made using synthetic iron oxide. Pigments which use natural ochre pigments indicate it with the name PY-43 (Pigment yellow 43) on the label, following the Colour Index International system.

• Limonite, a mineraloid containing iron hydroxide, is the main ingredient of all the ochre pigments.

• Hematite is a more reddish variety of iron oxide, and is the main ingredient of red ochre. When limonite is roasted, it turns partially to the more reddish hematite and becomes red ochre or burnt sienna.

• Goethite, named for the German poet Goethe, is the main ingredient of brown ochre. This sample comes from theLeadville District inColorado.

• The clay hills ofRoussillon, Vaucluse, inProvence have been an important source of ochre pigment since the 18th century.

• Yellow and red ochre along the Path of Ochres in Roussillon.

• A keg of ochre pigment at the ochre mines in Roussillon.

• Red ochre underground mining. Province ofJaén, Spain.

Iron oxide is one of the most common minerals found on earth, and there is much evidence that yellow and red ochre pigment was used in prehistoric and ancient times by many different civilizations on different continents. Pieces of ochre engraved with abstract designs have been found at the site of the Blombos Cave in South Africa, dated to around 75,000 years ago.[4]

Paintings of animals made with red and yellow ochre pigments have been found in neolithic sites at Pech Merle in France (ca. 25,000 years old), and the cave of Altamira in Spain (ca. 15,000-16,500 BC). The cave of Lascaux has an image of a horse colored with yellow ochre estimated to be 17,300 years old.

According to some scholars, Neolithic burials used red ochre pigments symbolically, either to represent a return to the earth or possibly as a form of ritual rebirth, in which the color symbolizes blood and the Great Goddess.[5]

In Ancient Egypt, yellow was associated with gold, which was considered to be eternal and indestructible. The skin and bones of the gods were believed to be made of gold. The Egyptians used yellow ochre extensively in tomb painting, though occasionally they usedorpiment, which made a brilliant color but was highly toxic, since it was made with arsenic. In tomb paintings, men were always shown with brown faces, women with yellow ochre or gold faces.[6]

Red ochre in Ancient Egypt was used as a rouge, or lip gloss for women.[7]Ochre-colored lines were also discovered on the Unfinished Obelisk at the northern region of the Aswan Stone Quarry, marking work sites. Ochre clays were also used medicinally in Ancient Egypt: such use is described in the Ebers Papyrus from Egypt, dating to about 1550 BC.

Ochre was the most commonly used pigment for painting walls in the ancient Mediterranean world. In Ancient Greece, red ochre was called μίλτος, míltos (hence Miltiades, red-haired or ruddy). In Athens when Assembly was called, a contingent of public slaves would sweep the open space of the Agora with ropes dipped in miltos: those citizens that loitered there instead of moving to the Assembly area would risk having their clothes stained with the paint. This prevented them from wearing these clothes in public again, as failure to attend the Assembly incurred a fine. It was also known as "raddle", "reddle" or "ruddle"[8]and was used to mark sheep and can also be used as a waxy waterproof coating on structures. The reddle was sold as a ready-made mixture to farmers and herders by travelling workers called reddlemen.[9] A reddleman named Diggory Venn was prominently described in Thomas Hardy's 1878 novel entitled The Return of the Native.

In classical antiquity, the finest red ochre came from a Greek colony on the Black Sea where the modern city of Sinop in Turkey is located. It was carefully regulated, expensive and marked by a special seal, and this color was called sealed Sinope. Later the Latin and Italian name sinopia was given to wide range of dark red ochre pigments.[10]The Romans used yellow ochre in their paintings to represent gold and skin tones, and as a background color. It is found frequently in the murals of Pompeii.

The Ancient Picts were said to paint themselves "Iron Red" according to the Gothic historian Jordanes. Frequent references in Irish myth to "red men" (Gaelic: Fer Dearg) make it likely that such a practice was common to the Celts of the British Isles, bog iron being particularly abundant in the midlands of Ireland.

• Image of a horse colored with yellow ochre(17,300 BC) fromLascaux cave, France.

• Image of a human hand created with red ochre inPech Merle cave, France (Gravettian era, 25,000 BC).

• Image of a bison from the cave of Altamira in Spain, painted with red ochre between 16,500 and 15,000 BC.

• Paintings in the Tomb of Nakht in ancient Egypt(15th century BC).

• Yellow ochre was often used in wall paintings in Ancient Roman villas and towns.

During the Renaissance, yellow and red ochre pigments were widely used in painting panels and frescoes. The colors vary greatly from region to region, depending upon whether the local clay was richer in yellowish limonite or reddish hematite. The red earth fromPozzuoli near Naples was a salmon pink, while the pigment from Tuscany contained manganese, making it a darker reddish brown called terra di siena, or Siana earth.[11]

The 15th century painter Cennino Cenninidescribed the uses of ochre pigments in his famous treatise on painting.

This color is found in the earth in the mountains, where there are found certain seams resembling sulphur; and where the seams are, there is found sinoper, and terre-verte, and other kinds of color... And these colors showed up in this earth just the way a wrinkle shows up in the face of a man or woman.... I picked out the wrinkle of this color with a pen knife, and I do assure you that there never was a better color. And know that this ochre is an all-round color, especially for work in fresco; for it is used, with other mixtures, as I shall explain to you, for flesh colors, for draperies, for painted mountains, and buildings and horses, and in general for many purposes.[12]

The industrial process for making ochre pigment was developed by the French scientist Jean-Étienne Astier in the 1780s. He was from Roussillon in the Vaucluse department of Provence, and he was fascinated by the cliffs of red and yellow clay in the region. He invented a process to make the pigment on a large scale. First the clay was extracted from open pits or mines. The raw clay contained about 80 to 90 percent sand and 10 to 20 percent ochre. Then he washed the clay to separate the grains of sand from the particles of ochre. The remaining mixture was then decanted in large basins, to further separate the ochre from the sand. The water was then drained, and the ochre was dried, cut into bricks, crushed, sifted, and then classified by color and quality. The best quality was reserved for artists' pigments.[3]

In Britain, ochre was mined at Brixham England. It became an important product for the British fishing industry, where it was combined with oil and used to coat sails to protect them from seawater, giving them a reddish color. The ochre was boiled in great caldrons, together with tar, tallow and oak bark, the last ingredient giving the name of barking yards to the places where the hot mixture was painted on to the sails, which were then hung up to dry.

As noted above, the industrial process for making ochre pigment was developed by the French scientist Jean-Étienne Astier in the 1780s, using the ochre mines Roussillon in the Vaucluse department of Provence, in France. Thanks to the process invented by Astier and refined by his successors, ochre pigments from Roussillon were exported across Europe and around the world. It was not only used for artists paints and house paints; it also became an important ingredient for the early rubber industry.

Ochre from Roussillon was an important French export until the mid-20th century, when major markets were lost due to the Russian Revolution and the Spanish Civil War. Ochre also began to face growing competition from newly synthetic pigment industry. The mines in Roussillon closed, though the production of natural ochre pigments continued at mines in Cyprus and other sites.

Multicolored ochre rocks used inAboriginal ceremony and artwork.Ochre Pits, Namatjira Drive, Northern Territory

Ochre has been used for millennia by Aboriginal people in Australia and by natives in New Zealand for body decoration, mortuary practices, cave painting, bark painting and other artwork, and the preservation of animal skins, among other uses. At Lake Mungo, in Western New South Wales, burial sites have been excavated and burial materials, including ochre-painted bones, have been dated to the arrival of people in Australia[13]Ochre pigments are plentiful across Australia, especially the Western Desert, Kimberley and Arnhem Land regions, and occur in many archaeological sites.[14]The National Museum of Australia has a large collection of samples of ochre from many sites across Australia.[15]

The Maori people of New Zealand were in the early neolithic period of development when Europeans arrived, and were found to be making extensive use of mineral ochre mixed with fish oil. Ochre was the predominant coloring agent used by Maori, and was used to paint their large waka taua (war canoe). Ochre prevented the drying out of the wood in canoes and the carvings of meeting houses; later missionaries estimated that it would last for 30 years. It was also roughly smeared over the face, especially by women, to keep off insects. Solid chunks of ochre were ground on a flat but rough surfaced rock to produce the powder.

In Newfoundland[16]its use is most often associated with the Beothuk, whose use of red ochre led them to be referred to as "Red Indians" by the first Europeans to Newfoundland.[17]It was also used by the Maritime Archaic as evidenced by its discovery in the graves of over 100 individuals during an archaeological excavation at Port au Choix. Its use was widespread at times in the Eastern Woodlandscultural area of Canada and the US; the Red Ocher peoplecomplex refers to a specific archaeological period in the Woodlands ca. 1000-400 BC. California Native Americans such as the Tongva and Chumash were also known to use red ochre as body paint.[18]

In Newfoundland, red ochre was the pigment of choice for use in vernacular outbuildings and work buildings associated with the cod fishery. Deposits of ochre are found throughout Newfoundland, notably near Fortune Harbor and at Ocher Pit Cove. While earliest settlers may have used locally collected ochre, people were later able to purchase pre-ground ochre through local merchants, largely imported from England.

The dry ingredient, ochre, was mixed with some type of liquid raw material to create a rough paint. The liquid material was usually seal oil or cod liver oil in Newfoundland and Labrador, while Scandinavian recipes sometimes called for linseed oil. Red ochre paint was sometimes prepared months in advance and allowed to sit, and the smell of ochre paint being prepared is still remembered by many today.

Variations in local recipes, shades of ore, and type of oil used resulted in regional variations in color. Because of this, it is difficult to pinpoint an exact shade or hue of red that would be considered the traditional "fishing stagered". Oral tradition in the Bonavista Bay area maintains that seal oil mixed with the ochre gave the sails a purer red color, while cod liver oil would give a "foxy" color, browner in hue.

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