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The Project Gutenberg EBook of Rambles of an Archaeologist Among Old Books and in Old Places, by Frederick William Fairholt This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Rambles of an Archaeologist Among Old Books and in Old Places Being Papers on Art, in Relation to Archaeology, Painting, Art-Decoration, and Art-Manufacture Author: Frederick William Fairholt Release Date: August 28, 2008 [EBook #26449] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK RAMBLES OF AN ARCHAEOLOGIST *** Produced by Julia Miller and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) Transcriber's Note Obvious typographical errors have been corrected. A list of corrections is found at the end of the text. Inconsistencies in spelling and hyphenation have been maintained. A list of inconsistently spelled and hyphenated words is found at the end of the text. Text printed in a black-letter typeface in the original has been rendered in bold in this text. [ii] THE GREAT HORSE. From an Allegorical Engraving by Albert Dürer. RAMBLES OF AN ARCHÆOLOGIST AMONG OLD BOOKS AND IN OLD PLACES: BEING Papers on Art, IN RELATION TO ARCHÆOLOGY, PAINTING, ART-DECORATION, AND ART- MANUFACTURE. BY FREDERICK WILLIAM FAIRHOLT, F.S.A., AUTHOR OF "DICTIONARY OF TERMS IN ART," ETC. [iii] T Illustrated with Two Hundred and Fifty-nine Wood Engravings. LONDON: VIRTUE AND CO., 26, IVY LANE, PATERNOSTER ROW. 1871. EDITORIAL NOTE. HE following Papers originally appeared in the Art-Journal, for which they were specially written. They are from the pen of that painstaking and accurate archæologist, the late F. W. Fairholt, F.S.A. The illustrations also were engraved from original sketches by the Author. It has been suggested that the results of so much labour and research should be still further utilised; and that the merit and value of these Essays entitle them to a more lasting form than is afforded by the pages of a magazine. The Editor confidently believes that the popular style in which these articles are written, and the fund of anecdote and curious information they contain, will render them acceptable to a large number of general readers. A second series of Art-papers, by the same Author, is in the press, and will shortly be published, under the title of "Homes, Haunts, and Works of Rubens, Vandyke, Rembrandt, and Cuyp; and of the Dutch Genre-Painters." January, 1871. CONTENTS. RAMBLES OF AN ARCHÆOLOGIST AMONG OLD BOOKS AND IN OLD PLACES. Ancient art—Mediæval art—The Renaissance—Heraldry—Enamelling—Mosaic—Glass-painting—Gothic metal work —Raffaelle ware—Wood panelling—Decorative furniture—Book illumination—Engraved book ornaments— Metal-workers—Ancient jewellery—Decorative art in the sixteenth century—The Renaissance style—Italian art —The Gothic GROTESQUE DESIGN, AS EXHIBITED IN ORNAMENTAL AND INDUSTRIAL ART. Origin of the term grotesque—Egyptian boxes and spoons—Roman knives and lamps—Mediæval grotesque— Misereres, bosses, and capitals—Domestic utensils—The Ars Memorandi—Decorative plate—The Italian, German, and French goldsmiths—Book illustrations—Grotesque pottery FACTS ABOUT FINGER-RINGS. Antique rings:—Egyptian rings—Legend concerning the ring of Polycrates—Assyrian, Etruscan, and Greek rings— Roman rings— Inscriptions and devices—Key rings—Gaelic, Celtic, and Saxon rings. Mediæval rings:— Episcopal rings—Thumb rings—Religious rings—Charm rings—The crapaudine, or toad-stone—The "Kings of Cologne"—Mottoes, or "reasons"—"Tower" rings—Martin Luther's wedding-ring. Modern rings:—Signet rings —Story connected with the ring of the Earl of Essex—Shakespere's ring—"Gimmal" rings— Wedding-rings and their "poesies"—Poison rings—Modern versions of the Eastern tale of "The Fish and the Ring"—Memorial and relic rings—Death's-head rings—"Giardinetti" rings—Indian and Moorish rings—"Harlequin-rings"—"Regard- rings"—"Fisherman's ring" of the Pope [iv] [v] [vi] [vii] 1-44 45-70 71-157 [viii] ANCIENT BROOCHES AND DRESS FASTENINGS. Greek and Roman fibulæ—Roman enamelled brooches—Bow or harp-shaped fibulæ—Bust of the Emperor Constantine Pogonatus—Early grotesque brooches—Circular fibulæ—Anglo-Saxon pins—Irish and Scotch brooches and pins ALBERT DÜRER: HIS WORKS, HIS COMPATRIOTS, AND HIS TIMES. Nürnberg—Birth of Dürer—His early youth—Michael Wohlgemuth—Dürer's early works—He settles at Nürnberg— His house—Martin Kötzel—Nürnberg Castle—Dürer's paintings, woodcuts, and engravings—Melchior Pfintzing —Pirkheimer—Peter Vischer—Shrine of St. Sebald—Adam Krafft—Veit Stoss—Hans Sachs, "the cobbler- bard"—Albert Kügler—Death of Dürer—The Cemetery of St. John, Nürnberg—Grave of Dürer decorative RAMBLES OF AN ARCHÆOLOGIST AMONG OLD BOOKS AND IN OLD PLACES. RAMBLES OF AN ARCHÆOLOGIST AMONG OLD BOOKS AND IN OLD PLACES. CHAPTER I. ONG after the extinction of the practical art-power evolved from the master-minds of Greece and Rome, though rudely shattered by the northern tribes, it failed not to enforce from them an admission of its grandeur. Loving, as all rude nations do, so much of art as goes to the adornment of life, they also felt that there was a still higher aim in the enlarged spirit of classic invention. It is recorded that one of these ancient chieftains gazed thoughtfully in Rome upon the noble statuary of the fallen race, and declared it the work of men superior to any then remaining, and that all the creations of such lost power should be carefully preserved. The quaint imaginings of uncivilised art-workmanship bore the impress of a strong but ruder nature; elaboration took the place of elegance, magnificence that of grandeur. Slowly, as centuries evolved, the art-student came back to the purity of antique taste; but the process was a tardy one, each era preferring the impress of its own ideas: and though the grotesque contortions of mediæval statuary be occasionally modified by the influence of better art on the Gothic mind, it was not till the revival of the study of classic literature, in the fifteenth century, that men began to inquire into the art of the past ages, and endeavoured to obtain somewhat of its sacred fire for the use of their own time. The study was rewarded, and the style popularly known as that of the Renaissance rapidly spread its influence over the world of art, sanctioned by the favour of such master-minds as Raphael, and the great men of his era. 159-183 185-259 [1] [2] [3] [4] Fig. 2. Fig. 2. Fig. 3. Fig. 3. Fig. 1. Fig. 1. It was not, however, to be expected that any style should be resuscitated in all its purity without the admixture of some peculiarity emanating from the art which adopted it, and which was more completely the mode of the era. The Renaissance is, therefore, a Gothic classicality, engrafting classic form and freedom on the decorative quaintnesses of the middle ages. Fig. 1 is as pertinent a specimen as could be obtained of this characteristic: the Greek volute and the Roman foliage are made to combine with the hideous inventions of monkery, the grotesque heads that are exhibited on the most sacred edifices, and which are simply the stone records of the strife and rivalry that prevailed between monks and friars up to the date of the Reformation, and are therefore of great value to the student of ecclesiology and ecclesiastical history. In this instance they seem to typify death and hell, over whom the Saviour was victorious by his mortal agony: the emblems of which occupy the central shield, and tell with much simple force the story of man's redemption. Mediæval art has not unfrequently the merit of much condensation of thought, always particularly visible in its choice of types by which to express in a simple form a precise religious idea, at once appealing to the mind of the spectator, and bringing out a train of thought singularly diffuse when its slight origin is considered. The easy applicability of the revived art to the taste for fanciful display which characterised the fifteenth century, led to its universal adoption in decoration; but the wilder imaginings of the living artist always tampered with the grand features of the design. The panel, Fig. 2, is an instance. The griffins have lost their classic character, and have assumed the Gothic; the foliations are also subjected to the same process. The design is, however, on the whole, an excellent example of the mode in which the style appeared as a decoration in the houses of the nobility, whose love of heraldic display was indulged by the wood carver in panelled rooms rich with similar compartments. Heraldry, with all its adjuncts, had become so great a passion with the noble, that the invention of the artist and student was taxed for badges and mottoes by noble families. The custom flourished most in Italy, where the impresa of a noble house spoke to the eye at once, whether it was found on a sword-hilt or over a church-door. We give as an instance, in Fig. 3, that adopted by the bold Dukes of Burgundy, sovereigns in their own dominions, and exciting much terror of rivalry in the minds of the kings of France themselves. Their badge, or impresa, was indicative of their rude power; a couple of knotted clubs, saltier-wise, help to support a somewhat conventional figure of the steel used for striking the flint to produce fire; the whole surmounted by the crown, and intended to indicate by analogous reflection the vigour of the ducal house. As a bold defiance, a rival house adopted the rabot, or carpenter's plane, by which they indicated their determination to smooth by force the formidable knots from the clubs of the proud rulers of Burgundy. The art of enamelling, which had reached a high degree of perfection in the Roman era, was refined upon in the middle ages, and ultimately its character was so much altered thereby that it ended in rivalling painting, rather than retaining its own particular [5] [6] [7] Fig. 4. Fig. 4. Fig. 5. Fig. 5. features, as all arts should do. It may be fairly considered that originally it was used simply to enrich, by vitrified colour, articles of use and ornament. Metal was incised, and the ornamental spaces thus obtained filled with one tint of enamel colour, each compartment having its own. By this means very brilliant effects were often produced, all the more striking from the pure strength of their simplicity. It was not till the twelfth century that an attempt at floating colours together was made, and this led ultimately to a pictorial treatment of enamel which destroyed its truest character. The very old form was, however, practised in the latest days of its use; and our engraving of the very beautiful knife-handle designed by Virgil Solis at the end of the sixteenth century (Figs. 4 and 5), was intended to be filled with a dark blue enamel, in the parts here represented in black, while the interstices of the cross-shaped ornaments above would receive some lighter tint of warmer hue. The birds and foliage would be carefully engraved, the lines of shadow filled with a permanent black, thus assuring a general brilliancy of effect. Such knives were by no means an uncommon decoration of the table at the period when this was designed: it is now a branch of art utilised until all trace of design has gone from it; for we cannot accept the slight scroll work and contour of a modern silver knife-handle as a piece of art-workmanship, when we remember the beautiful objects of the kind produced in the sixteenth and seventeenth centuries, gorgeous in design and colour, and occasionally enriched by jewels or amber. Fig. 6. Fig. 6. There is one class of ancient manufacturing art which has been revived for the use of the modern world with considerable success. We allude to the Roman works in mosaic, which have furnished designs for our encaustic tile- manufacturers and our floor-cloth painters. Quaint and peculiar in its necessary features, it is singularly well adapted for artisans in both materials. There is also a great variety in the ornamental details of ancient pavements, at home and abroad; the geometric forms being at times very peculiar, as in the specimen we give in the previous page (Fig. 6), [8] [9] Fig. 7. Fig. 7. which has been selected from one discovered at Aldborough, in Yorkshire (the Isurium Brigantum of the Romans), a lonely spot, containing many traces of its ancient importance, and which has furnished an abundance of relics for the notice of the antiquary from the days of Camden, who describes it with that happy brevity that accompanies full knowledge. The pavement we engrave may be seen in full coloured detail in Mr. Ecroyd Smith's volume on Isurium; the borders placed on each side are portions of other pavements from the same place, selected as showing the commonest and the most unusual patterns. The variety and beauty of design and colour in encaustic tiles adopted by mediævalists, may be slightly illustrated by the quaint specimen of foliation copied in Fig. 7. The conjunction of four such tiles produces great variety in pattern, and excellent contrasts of colour. Figs. 8 and 9. Figs. 8 and 9. Geometric form, in all its endless variety, was particularly studied in the Middle Ages, and decorative enrichments of all kind subjected to its ruling control. We add two specimens of glass-painting (Figs. 8 and 9), which are in reality the same design slightly varied in the disposition of the tints, and the interlacing of the double or strap-lines of one, while the other has them single only. The striking variety that any given design may elicit, by a mere rearrangement of this interlaced work, or by a different disposition of the coloured compartments, will at once be apparent; it was worked out with singularly good effect by the older artists in decoration of all kinds. The key (Fig. 10) and the latch (Fig. 11) are examples of quaint old Gothic metal works. The latter is copied from the old Hôtel de Ville of Bruges; the dragon is used as a lever to lift the latch, and is one of those grotesque imaginings in which the old art-workmen frequently indulged. Fig. 10. Fig. 10. Fig. 11. Fig. 11. When the Dukes of Urbino, dazzled with the brilliancy of the Moorish potters, had determined to rival their workmanship in manufactories upon their own principality, the so-called Raffaelle-ware soon afterwards fascinated the Italians, by the quaint design and beautiful colour of the dishes and vases there produced. Though popularly named after the great painter, it was unlikely that he had aught to do therewith; but his designs were occasionally adapted to its use by the workmen. The circular plateau (Fig. 12) is a good example of the bold character and vigour of effect occasionally produced in these works. [10] [11] [12] Fig. 14. Fig. 14. Fig. 15. Fig. 15. Fig. 12. Fig. 12. Wood panelling we have already alluded to, and the large amount of decoration it occasionally displayed. Fig. 13 is a beautiful instance of the grace that characterised the style known as the Flamboyant, from the flowing or flame-like curve adopted for the leading lines. In this instance they are happily blended with the earlier Gothic cusps, and the quaint ivy-leaves that spring easily out of the severer lines. The ease with which heraldry may be introduced in the design, gave it a peculiar charm to our ancestors; in this instance the shields bear the sacred monograms—a purpose to which they were very commonly devoted in the church; sometimes being further enriched with religious emblems, as terse and striking as the heraldic ones we have given in a previous page. Fig. 13. Fig. 13. We give two small drawings of cabinet-handles in Figs. 14 and 15, part of the elaborate fittings of a piece of furniture which occupied the place of honour in the state-rooms of the wealthy, and upon which the art of the day was generally lavished with a most liberal hand. Ivory, ebony, and the rarest woods were employed in their construction, occasionally plaques of lapis lazuli, or coloured marbles, were used for the panels; ultimately the whole surface became an encrusted mosaic of figures, birds, and flowers, in coloured wood and stone, occasionally framed in the precious metals. The gorgeous taste of Louis Quatorze excited the fancy of the ébenistes of his court to the most costly invention. Furniture inlaid with engraved metal-work, or embossed with coloured stones, oppressed the sense of utility; and when tables, chairs, and picture-frames were made of silver, chased and overloaded with the scroll-work he so abundantly patronised, common sense seems to have yielded its place to mere display. Despite of the costly character of such works, and their destination as the decoration of a palace, they are positive vulgarisms, and we feel little regret when we read in history of the disastrous wars at the close of the king's career, which obliged him to melt down the silver furniture of Versailles, and convert it into cash for the payment of his soldiers. There was more honesty of purpose in the old art-workers, who never swerved from a leading principle. Hence the educated eye can at once detect a piece of genuine old decorative furniture from a Wardour Street made-up bit of pseudo-imitation. It must be borne in mind that specimens of genuine old work are by no means common; the [13] [14] [15] abundance which this street and other localities can supply to order by the cart-load, are ingenious adaptations of fragments of old work pieced and placed together for a general effect; but which are sometimes ludicrous, from the mixture of bits of all ages and style in one cabinet or sideboard. Some twenty years ago the city of Rouen was a mine of wealth to furniture makers. The elaborately carved panels and chimney-pieces in the stately houses of the old Norman capital, were converted into all kinds of articles for domestic display. The progress of "improvement," as well as the slower process of decay, have cleared that place of many of its fine features of domestic architecture; but its beauties have had an enduring memento in the curious volumes by the artist Langlois, of Pont-de-l'Arche, completed after his death by M. Delaquérrière. In this work every ancient building is carefully noted and described, throughout every street of the city; and the finest or most curious examples engraved with a minute truthfulness for which Langlois was justly celebrated; and which drew forth the plaudits of Dr. Dibdin, in the sumptuous work devoted to his foreign tour in search of rarities.15-* We propose presently to follow the Doctor in his investigation of old books, and exhibit some few of the enrichments that artist and engraver gave to the written or printed volumes which passed from their hands; at the same time we shall endeavour to take a more general survey of the adaptation of art to works of ordinary use. Fig. 16. Fig. 16. The quaint manner in which letters were sometimes braced together may be seen in Fig. 16. Occasionally, a name thus formed in monogram would require much ingenuity to unravel, inasmuch as the entire letters made but one interlaced and closely compacted group, each limb or portion of a letter helping also to form part of another. In the hospital founded at Edinburgh by the famous goldsmith, George Heriot,—the favourite goldsmith and jeweller of James I., a monarch who fully appreciated his art,—the name of "Jingling Geordie," as his majesty playfully called him, is sculptured in such a group, which appears at first sight an enigma few could unravel; indeed, without knowing what letters to look for, and how to arrange them, it is a chance if they would be arranged correctly. Such a mode of marking would, however, have its advantages, for it would enable those who were in the secret to unravel the mystery of the true proprietorship of any valuable article unfairly abstracted. The shields in Fig. 13 are filled with monograms less elaborate, but bearing a sufficient affinity to those alluded to, to aid in understanding the rest. decorative CHAPTER II. E owe the term illumination, as applied to the decoration of old manuscripts, to the mediæval Latin name of the artist himself, alluminor, the root of our English word limner, and of the French word enlumineur, one who colours or paints upon paper or parchment, giving light and ornament to letters and figures. The brilliancy and beauty of much of this ancient art are marvellous to look upon, but the names of few of the patient artists, who devoted their lives to book illustration, have descended to us. There are, however, one or two names well-known to us, a Julio Clovio and a Girolamo da Libri (Jerome Veronese), affording a sufficient warrant of the high-class minds who honoured their art by honouring literature. There can be no greater pleasure than in turning over the matchless pages of these old volumes, and seeing them reveal the passages of the poet or romancist, as understood by the men of the Middle Ages, to whom they were addressed, or giving us pictures of life and manners of which we possess no other record. Their value as adjuncts to books, when simply decorative, is now very generally acknowledged; and the ladies of the present day rival the cloistered recluses in labouring, like them, to enrich a cherished volume. It is, however, the art of the fourteenth and fifteenth centuries that is [16] [17] [18] [19] now especially imitated, and the reason is to be found in its showy elaboration of design and colour. There is an earlier style that presents strong claims to attention, that of the two preceding centuries, specimens of which are given in Figs. 17-21. In them will be noticed the Orientalism that occasionally prevails, and shows its Byzantine parentage; a trace of the Greek volute and acanthus leaf is visible in Figs. 20 and 21; in the others we seem to look on Turkish design. The applicability of such fragments of ornament is manifold. Fig. 17. Fig. 17. Fig. 18. Fig. 18. Fig. 20. Fig. 20. Fig. 19. Fig. 19. Fig. 21. Fig. 21. Figs. 22, 23, 24, and 25. Figs. 22, 23, 24, and 25. When the art of engraving aided the press in producing works of a decorative order, we occasionally turn over pages in which the master-minds of the day taxed their powers of invention. The old wood-engravers were supplied by designers with drawings of the best class, and very quaint and original are the ornaments which embellish the books of the sixteenth and seventeenth centuries,—particularly such as were published in Germany, or at Lyons, the latter city being then most eminent for the taste and beauty of its illustrated volumes, the former for a bolder but quainter character of art. There are useful hints to be had in the pages of all, for such as would avail themselves of minor book-ornament. To render our meaning more clear, we select a series of scrolls (Figs. 22-25) for inscriptions from German books, of the early part of the sixteenth century, and which might be readily and usefully adapted to modern exigencies, when dates or mottoes are required either by the painter or sculptor. Ornamental frameworks for inscriptions abound in old books, and are not unfrequently of striking design and peculiar elaboration; we give an example in Fig. 26, from a volume dated 1593, as an excellent specimen of this particular branch of design. Such tablets not unfrequently headed the first page of a volume, and received in the centre the title of the book. The wood-engraver is thus the legitimate successor of the older illuminator. [19] [20] [21] [22] Fig. 26. Fig. 26. A large demand was made on the imaginative faculties of the designers of that day by the metal-workers, the gold and silversmiths, the jewellers, and all connected with such decorative manufactures as the luxury of wealth and taste calls into exertion. The name of Cellini stands prominently forth as the inventor and fabricator of much that was remarkable; the pages of his singular autobiography detail the peculiar beauty of many of his designs; the Viennese collection still boasts some of the finest of the works so described, particularly the golden salt-cellar he made for Francis I. of France. The high art which he brought to bear on design applied to jewellery was followed by other artist- workmen, such as Stephanus of Paris, and Jamnitzer of Nuremberg. The metal-workers of the latter city, and of Augsburg, had a universal reputation at the close of the sixteenth century for their jewellery and plate, particularly the latter. They kept in employ the best designers of the day, and such men as Hans Holbein, Albert Aldegræf, Virgilius Solis, and a host known as the "little masters," supplied the demand with apparent abundance, but it could only be satisfied by the multiplication of these designs by means of the engraver's art. Hence we have at this period, and the early part of the seventeenth century, an abundance of small engravings, comprising a vast variety of designs for all articles of ornament; and from them we have selected, in Figs. 27 and 28, two specimens of those intended to be used in the manufacture of the pendent jewels, then so commonly worn on the breast of rich ladies. These jewels were sometimes elaborately modelled with scriptural and other scenes in their centre, chased in gold, enriched by enamel colours, and resplendent with jewels. The famed "Grüne Gewölbe" at Dresden have many fine examples, in the Louvre are others, and some few of a good kind are to be seen in the Museum at South Kensington. The portraits of the age of Francis I. and our Queen Elizabeth, frequently represent ladies in a superfluity of jewellery, of a most elaborate character. The portrait of Mary, Queen of Scots, in our National Portrait Gallery, is loaded with chains, brooches, and pendants, enough to stock the show-case of a modern manufacturer. This love of elaborate jewellery was a positive mania with many nobles in the olden time. James I. was childishly fond of such trinkets, and most portraits represent the king with hat-bands of jewels, or sprays of jewellery at their sides. His letters to his favourite, Buckingham, are often full of details of the jewels in which his majesty delighted. Fig. 27. Fig. 27. Fig. 28. Fig. 28. [23] [24] Fig. 29. Fig. 29. Perhaps no article of personal ornament has exhibited a greater variety of design and decorative enrichment than the cross. It has at once been made an embellishment and a badge of faith. We select in Fig. 29 one of singular elaboration and beauty, now the property of Lady Londesborough. It is a work of the early part of the sixteenth century; the ground is of frosted gold, upon which is a foliated ornament in cloissonné enamel of various colours. It is also enriched with pearl and crystal; the lower part of this cross is furnished with a loop, from which a jewel of value might be suspended. Figs. 30 and 31. Figs. 30 and 31. By way of curious contrast, as well as to show the style of various ages in the article of necklaces, we give, in Figs. 30 and 31, two examples of widely different eras. The upper one is that of a Roman lady, whose entire collection of jewellery was accidentally discovered at Lyons, in 1841, by some workmen who were excavating the southern side of the heights of Fourvières, on the opposite side of the Seine. From an inscribed ring and some coins deposited in the jewel-box, the lady appears to have lived in the time of the Emperor Severus, and to have been the wife of one of the wealthy traders, who then, as now, were enriched by the traffic of the Rhone. The necklace we engrave is of gold, set with pearls and emeralds; the cubical beads are cut in lapis lazuli, as are the pendants which hang from others. This love of pendent ornament was common to all antique necklaces, from the days of ancient Greece to the end of the sixteenth century. Our second specimen is an illustration of this: it is copied from the portrait of a lady (bearing date 1593), and composed of a series of enamelled plaques, with jewels inserted, connected with each other by an ornamental chain. We have already alluded to the constant demand on the inventive faculty of the art-workman for articles of all kinds in the olden times; nothing was thought unworthy his attention. We give a selection of articles of ordinary use which have received a considerable amount of decorative enrichment. The spur-rowels (Figs. 32 and 33), from the collection of M. Sauvageot, of Paris, are remarkable proofs of the faculty of invention possessed by the ancient armourers. So simple a thing as a spur-rowel, in our days of utilitarianism, would seem to be incapable of variety, or at least unworthy to receive much attention. It was not so in past times, when workmen even delighted to adorn their own tools. We engrave an armourer's hammer (Figs. 34 and 35), from the collection of Lord Londesborough, which has received an amount of enrichment of a very varied character. The animals on one side, and in foliated scrolls, connect the design across the summit of the implement with a totally new composition on the opposite side. We would not insist on any part of the design as remarkable for high character; it is simply given as an instance of the love of decoration so prevalent in the sixteenth century. [25] [26] [27] [28] Figs. 32 and 33. Figs. 32 and 33. Figs. 36 and 37. Figs. 36 and 37. Fig. 38. Fig. 38. Figs. 34 and 35. Figs. 34 and 35. The highly-enriched knocker and door-handle (Fig. 36) were sketched from the original, on one of the ancient houses of the quaint city of Nuremberg. The bell-pull beside it (Fig. 37) is also from the same locality. There is probably no town in Germany where more artistic old iron-work is to be seen than in this place,—once the richest of trading communities, when Albert Durer flourished within its walls, and the Emperor Maximilian held royal state in its old castle. To all who would realise the chivalric days of the old German Empire, we would say, "Go to Nuremberg." The bellows of carved chestnut-wood (Fig. 39) is in the possession of the Count de Courval. It is of simpler and "severer" design than common, inasmuch as it was usual to enrich these useful domestic implements with an abundance of elaborate designs, and fill their centres with scenes from sacred and profane history. When ladies delighted in lace-working, and in starching and preparing their produce most carefully, they showed their good housewifery in washing and ironing it with their own hands. It was gallantry on the part of their spouses to make befitting presents of all things requisite for their labours, and worthy their use. The box-iron we engrave in Fig. 39 is one which has thus been given; it bears the monogram of the fair lady who originally owned it, engraved within a "true lover's knot." The cupidons of the handle ending in flowers may be an emblem of Love and Hymen, forming an appropriate embellishment. Fig. 39. Fig. 39. CHAPTER III. PPLICABILITY is the most useful characteristic of the style popularly known as the Renaissance; it is confined to no one branch of art, but is capable of extension to all, from the most delicate work of the jeweller to the boldest scroll-ornament adopted by the sculptor in wood or stone. The Loggie of the Vatican is the best original example of the style as perfected by Raffaelle and his scholars, and applied to [29] [30] wall-painting. It was a free rendering of the antique fresco ornament then just discovered in the Baths of Petus, where extensive excavations were undertaken in 1506, under the superintendence of the Papal authorities. The classic forms were "severer" than those in use by the artists who resuscitated the style, and were somewhat overlaid with ornament. The details of Raffaelle's own work will not always bear adverse criticism, inasmuch as there are heterogeneous features introduced occasionally, which are not visible in the purer style of antiquity. As the fashion for this decoration travelled northward, it increased in freedom from classic rule, and more completely deserved the term "grotesque," which it occasionally received, a term derived from grotte, an underground room of the ancient baths, and which we now use chiefly in the sense of a ludicrous composition. Such compositions were not unfrequent on the walls of Greek and Roman buildings; and the German and Flemish artists, with a nationally characteristic love of whimsical design, occasionally ran riot in invention, having no rule beyond individual caprice. This unfortunate position offering too great a licence to mere whimsicality, was felt in ancient as well as in modern times. Pliny objected, on the grounds of false or incongruous taste, to the arabesques of Pompeii, though they approached nearer to the Greek model; and Vitruvius, with that purity of taste which was his grand characteristic, endorsed the opinion, and enforced it in his teaching. We are often in error when we blindly admire, or unhesitatingly adopt, the works of the ancients as perfection. In Athens and Rome in past time, as in Paris and London at present, we may meet with instances of bad taste; for vulgarity belongs to no age or station, and may be visible in the costly decoration of a rich mansion, whose owner is uneducated in art, and insists on having only what he comprehends. The decadence of the better-class Renaissance design was a natural consequence of the licence its features might assume, and in the progress of the sixteenth century it became thoroughly vitiated. The troubles which distracted Europe in the later part of that century, and which led to the devastating wars and revolutions of the earlier part of the following one, completed the debasement of art-workmanship. Louis XIV. had the glory, such as it was, of its resuscitation; but his taste was merely that of an over-wealthy display, which not unfrequently lapses into positive vulgarisms. The style known distinctively by the name of this monarch—with all its heterogeneous elements, its scrolls of the most obtrusive form, fixed to ornament having no proper cohesion, and overlaid with festoons of flowers and fruit—is more remarkable for the oppressive ostentation which was the characteristic of the monarch and his age, than for good taste or real elegance. What a very little exaggeration could make of this style may be seen in the productions of the era of his successor, and which the Italians stigmatised by the term rococo. Fig. 40. Fig. 40. Fig. 41. Fig. 41. The examples of Renaissance given in our pages exhibit a fair average of its applicability. The pendent ornament (Fig. 40) includes details adopted by jewellers. The shield, with the sacred monogram (Fig. 41), is such as appeared in wood-panelling. The handle (Fig. 42) exhibits as much freedom of design as the style could admit; it is quaint and peculiar, but not without elegance in the mode of bringing the classic dolphin within the scope of the composition. Fig. 42. Fig. 42. The distinctive features of the style may be more readily comprehended by contrasting it with a few specimens of the so-called "Gothic style," a style which possesses the strongest original features, and one which will yield to none in peculiar beauty and applicability. We give two examples—the one German, the other French; they are both wood panel, filled with tracery which bears the distinctive characteristics of the two schools. The German (Fig. 43) is remarkable for the sudden termination of its flowing lines, which occasionally gives to the carving of the epoch an appearance of having been suddenly broken, or chopped off, in parts. At Nuremberg this peculiarity is very observable; our specimen is selected from the church at Rottweil, in the Black Forest, which bears the date of 1340. The French (Fig. 44) is a favourable example of the Flamboyant style, which gave freedom to the mediæval rigidity of the Gothic, and paved the way for the ready adoption of the style of Francis I., which was based on that of the Italians. [31] [32] [33] Fig. 43. Fig. 43. Fig. 44. Fig. 44. Figs. 45 and 47 display one peculiarity in this northern adaptation—the introduction of busts, in high relief, in central medallions. It is sometimes introduced so unscrupulously in the carved panelling of Elizabethan mansions, that it has almost the effect of a row of wooden dolls peeping through shutters. The latter of the two examples may be received as one of the best of its kind, exhibiting the utmost enrichment of which the style was generally capable, and as few heterogeneous features, though here they are not entirely absent. By way of useful contrast, we give in Fig. 48, a very pure specimen of a panel in Italian workmanship, from a tomb of the sixteenth century, in the church of the Ara Cœli, at Rome. The flow of line here is exceedingly graceful; the whole of the details are characterised by a delicacy unknown to the artists of Germany and Flanders; the torches and volutes point unmistakably to the classic origin of the whole. Fig. 45. Fig. 45. Fig. 46. Fig. 46. Fig. 47. Fig. 47. Fig. 48. Fig. 48. It was not natural to the Roman people ever to forget their great art-works of antiquity; the influence of the "departed spirits" still "ruled them from their urns," as Byron truthfully expresses it. The artists of Greece and Rome based their compositions on the unvarying truth of nature; and though the barbaric mind might bear sway for awhile, it could not triumph but through ignorance. Rome is now the great art-teacher only because it is the conservator of its ancient relics; and they have had their influence undiminished from the days of Raffaelle and Michael Angelo. There are many pleasing bits of design in the antique city, that show the classic source of inspiration from which their inventors obtained them. [34] [35] [36]
Rambles of an Archologist Among Old Books and in Old Places by Frederick William Fairholt PDF
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Team fees are to be submitted to the province by the region. (Regions may add additional fees).
- All Team Officials with players under 18 must submit a Vulnerable Sector Police Check or Declaration Form as per B3.3.
- All F.B.A.O. Executive Officers, Regional Board of Directors, Officials' Committee Chairperson, Coaching Committee Chairperson, Disciplinary Chairperson, Major Officials, and Minor Officials must submit a Vulnerable Sector Police Check or Declaration Form as per C7.1.13 & AB9.0.1.
Dec. 15, 2018 - Registration package (forms and money) due to F.B.A.O. - Marilyn Squibb.
** Individuals may register as a player until January 15th of the playing season, as long as they are not already.
*** Individuals may register as a team Official, Major or Minor Officials and/or Executive until January 15th of the playing season, even if they are already signed.
**** This fee has been waived for the 2018-2019 season.


text:
Rendon has 4 hits, Nationals pound Rays 11-2
AP Jun 6, 2018 at 6:26p ET
WASHINGTON (AP) Washington's Tanner Roark hasn't had a lot to show for some solid pitching of late.
Nationals hitters, including Roark, made sure he was rewarded on Wednesday.
Anthony Rendon had four hits and drove in three runs, Roark hit a two-run single and the Nationals routed the Tampa Bay Rays 11-2 for a two-game sweep.
After scoring 16 runs in Roark's previous seven starts, the Nationals took a 5-0 lead in the first off Jonny Venters (1-1), who made his first big league start after 244 relief appearances.
"His run support from us hasn't been great," Rendon said of Roark. "It was good to see us back him early in the game and him not really coast but continue to battle and do what he does."
Roark (3-6), coming off a loss in relief on Sunday in Atlanta, allowed two runs and six hits in six innings.
"It just gives you a lot more confidence in your stuff and that you can just go and attack these guys even more and not try to be too fine," Roark said after the Nationals scored five runs in the first inning, two on his two-out single.
Michael A. Taylor had three hits and three RBIs. Trea Turner and Juan Soto had two hits each for Washington, which has won 11 of its last 15 games.
Rendon also scored three times on his 28th birthday and raised his average from .250 to .268.
"He's the constant. He's the guy that goes out there every day and helps us win ballgames every day," manager Dave Martinez said.
C.J. Cron hit his 13th homer and Brad Miller had three hits for the Rays, who have lost six straight and have scored six runs in their last four.
Venters started as the Rays used their unconventional strategy of opening with a reliever for the eighth time in 17 games. He lasted only six batters.
Turner singled on his first pitch, Bryce Harper walked and Rendon hit a two-run double on Venters' seventh pitch. Mark Reynolds struck out, Juan Soto walked and Taylor's RBI double chased Venters after 23 pitches. Roark singled off Ryan Yarbrough.
Venters, who had given up one run in 14 games prior to Wednesday in his comeback season, became the first pitcher in major league history to start a game after three Tommy John surgeries. The Rays are 3-5 when starting with a reliever.
"When it works, it feels pretty good," manager Kevin Cash said. "But when it doesn't, it's pretty gut-wrenching because you sit there and say: `You're asking two guys to do something differently.' We're all human in this. You care about emotions, feelings, thoughts and all that."
Washington openesd a 10-2 lead with a four-run sixth off Yarbrough, who allowed five runs – four earned – in 5 1/3 innings.
Washington is 5-0 in interleague play and the Rays are 0-7.
Tampa Bay has used 12 starting pitchers, its most through 60 games and four more than in all of last season.
Rays: SS Daniel Robertson received a day off, his first time out of the starting lineup since May 15. … Tampa Bay plans to recall top prospect 1B/OF Jake Bauers from Triple-A Durham on Thursday. Bauer is hitting .279 with five homers and 24 RBIs.
Nationals: OF Adam Eaton (left ankle bone bruise) was scheduled to DH in a rehab game for Class A Potomac on Wednesday night.
Rays: RHP Ryne Stanek (1-1, 3.65) starts Thursday's opener of a four-game series against Seattle.
Nationals: RHP Stephen Strasburg (6-5, 3.20 ERA) is slated to open Friday against visiting San Francisco.


text:
Management/Operators >
How the Transgender Debate has Impacted the Aquatics Industry
The debate about gender identity and who has the right to access which bathroom could be the next big issue facing the aquatics industry
By Dana Robinson
Bathroom access has once again become a topic for political debate.
For the first time since the civil rights movement of the 1950-60s, the issue of bathroom/locker room access has become a topic for political debate. This time, the discussion is not centered on skin color, but gender identity.
Within the last several years, schools, aquatics centers, health clubs and other places offering single-sex facilities have faced lawsuits surrounding the rights of transgender individuals — those who identify with the gender opposite from what they were assigned at birth. The issue at hand is their ability to use the facilities that align with that gender. Certain states have wrestled with laws that address this issue, with some falling on the side of access and the others against. The issue also has generated several court cases initiated by both sides of the argument.
The debate about gender identity and who has the right to access which bathroom could be the next big issue facing the aquatics industry.
This is the first article in a three-part series that will explore the issue of transgender bathroom/locker room access, how it's come to a head, and how it has impacted the aquatics industry.
Arguing the issues
People on either side of this debate hold strong opinions. Supporters of transgender rights believe that prohibiting individuals from using the facilities that align with their gender identity is discriminatory. They also see it as a matter of safety, protection against the violence that transgender people often experience when they walk into what some view as the "wrong" bathroom. Those who oppose transgender access fear that sexual predators may take advantage of the laws.
Legal action has been fueled by both sides.
In October 2015, a transgender man (a person born a woman who is transitioning into a man) received a $10,000 settlement from New York City after claiming his civil rights had been violated when he was not allowed to change clothes in the men's locker room at a pool in Staten Island.
On the other side, a Michigan woman filed a lawsuit against the Planet Fitness health club chain and a local franchise. She was barred from the gym after seeing a transgender woman change in the women's locker room, then refused to stop "warning" other members about the transgender-friendly locker-room policy. She sued for more than $25,000.
Both sides have sought statutory solutions, too. Seventeen states adopted laws prohibiting discrimination in places of public accommodation based on gender identity. "Only a few other states have issued formal regulations like Washington has," says David Ward, staff attorney at Legal Voice, a firm that pursues justice for women and girls in the Northwest.
Ward was referring to a Washington regulation, passed in 2015, that allows people to select restrooms and locker rooms based on their gender identity. It is a clarification of a 2006 state law prohibiting discrimination on the basis of sexual orientation or gender identity.
Nationally, rights protecting transgender people surfaced in a landmark ruling in 2012, when the Equal Employment Opportunity Commission announced that Title VII of the Civil Rights Act of 1964 protects transgender employees from discrimination. It resulted from a complaint filed by the Transgender Law Center on behalf of Mia Macy. The transgender woman applied for a position while still a man. Despite solid qualifications, she was told she wasn't a fit after revealing her transitioning process. "As a veteran and police officer, I've worked my whole career to uphold the values of fairness and equality," Macy said in a statement. "I'm proud to be a part of this groundbreaking decision. ..."
Though the EEOC and other state agencies have made rulings regarding the rights of transgender people, the issue is not resolved. The 2015 Washington regulation has faced opposition, despite a lack of negative feedback during the rule-making process. "The folks who oppose these rules have talked about putting this on the ballot next November," Ward says. As of yet, they haven't filed anything, he said, but opponents have until early July to gather 246,000 signatures to get the issue on the state's ballot.
Regardless of the outcome, it seems transgender people will continue to use the facilities of their choice. "People just don't realize that transgender people are using locker rooms and restrooms that are consistent with their gender identity right now," Ward says. "And it's not an issue because people are conducting themselves discretely and appropriately. ... There [just] need[s] to be some education about the issue."
>>Next Month: Transgender Bathroom Access and the Aquatics Community.
Dana Robinson is a senior editor at Pool & Spa News and Aquatics International.
Dana Robinson
Dana Robinson is a frequent freelancer for Pool and Spa News and Aquatics International after previously having served as senior editor for both publications. A Los Angeles-based writer, she's created content for a number of trade and consumer publications throughout her editorial career.
Lifesavers Pete DeQuincy's Lessons on Mental Health and Why We Should Look Out for Each Other and Talk
Lifesavers Lifeguard Trainers: Now's the Time to Develop Your In-Service Plan
NDPA Initiates Collaborations to Advance Drowning Prevention and Education
Lifesavers Lifeguard Training: Getting in the Mix
World Aquatic Health Conference to Take Place In Person
Born of Necessity: New Practices from the COVID-19 Pandemic


Pakistan to host 'AdAsia – Asian Advertising Congress' this year | Emerging Pakistan - your gateway to Pakistan!
In a logo unveiling ceremony held at Faletti's Hotel Lahore, on Sunday, it was revealed that AdAsia 2019 —Asian Advertising Congress is going to be held in Pakistan this year.
AdAsia is the largest and most prestigious advertising congress in Asia, organized bi-annually by the Asian Federation of Advertising Associations (AFAA).
The AdAsia 2019 Congress will be held in Lahore at the Lahore International Expo Centre from December 3 to 5. The theme for the Congress is 'Celebrasian: Celebration of Advertising and Creativity in Asia'.
"Welcome back after 30 years. Held under the ageis of the World Advertising Federation and the Asia Advertising Federation, AdAsia is the most celebrated 3-day biannual moot of advertising and marketing professionals of Asia. This year it is coming back to Pakistan," announced a message on the website.
The event is expected to feature more than 1000 participants from advertising and creative communications from around the world, majorly Asia and more particularly South Asia.
AdAsia 2019 is the 31st advertising congress being hosted by Pakistan from December 2-5 this year.
It is the second AdAsia to be held in Pakistan. In 1989 Pakistan hosted the 16th AdAsia.
Prime Minister Imran Khan along with Finance Minister Asad Umar have also been invited as guest speakers to speak at the occasion.
Former Marketing Director of Manchester United Peter Draper and CNN's Chief Business Correspondent Richard Quest have already agreed to speak at the Congress.


text:
Oxie er en forstad til Malmø, Skåne län i Sverige. Den ligger i Malmø Kommune og har 11.493 indbyggere. Oxie er en forholdsvis grøn bydel, hvor den almindeligste boligform er hus.

Eksterne henvisinger
 Malmø-Oxie

Bydele i Malmø

redpajama_set_name: RedPajamaWikipedia


Wohnwand Shabby Chic. wohnwand glow in braun wei shabby chic. wohnwand shabby chic my blog. wohnwand shabby chic andere. wohnwand cabana chic lowboard und 2 vitrinen. wohnwand york shabby chic cremeweiss massiv pick up m bel. wohnwand shabby die neuesten innenarchitekturideen. massivholz wohnwand als set bestehend aus mehreren teilen. wohnwand aragona in wei shabby chic. wohnwand river shabby look mit beleuchtung. shabby chic wohnzimmer. [Jasonaldeantourtickets.com].


text:
Q: Smarty template not working on local server I am having trouble getting the Smarty Template Engine to work correctly on my local test server. I have it set up like this:
<?php
// put full path to Smarty.class.php
require('smarty/Smarty.class.php');
$smarty = new Smarty();
$smarty->testInstall();
$smarty->setTemplateDir('smarty/templates');
$smarty->setCompileDir('smarty/templates_c');
$smarty->setCacheDir('smarty/cache');
$smarty->setConfigDir('smarty/configs');

$smarty->assign('name', 'Ned');
$smarty->display('index.tpl');

?>

However, I keep getting this error:
Fatal error: Uncaught exception 'SmartyException' with message 'Unable to load template file 'index.tpl'' in /var/www/WEBSITE/smarty/sysplugins/smarty_internal_templatebase.php:127 Stack trace: #0 /var/www/WEBSITE/smarty/sysplugins/smarty_internal_templatebase.php(374): Smarty_Internal_TemplateBase->fetch('index.tpl', NULL, NULL, NULL, true) #1 /var/www/WEBSITE/test.php(13): Smarty_Internal_TemplateBase->display('index.tpl') #2 {main} thrown in /var/www/WEBSITE/smarty/sysplugins/smarty_internal_templatebase.php on line 127

I used the testInstall function and this was returned:
Smarty Installation test...
Testing template directory...
/var/www/SteamKing/templates is OK.
Testing compile directory...
FAILED: /var/www/SteamKing/templates_c is not writable.
Testing plugins directory...
/var/www/SteamKing/smarty/plugins is OK.
Testing cache directory...
FAILED: /var/www/SteamKing/cache is not writable.
Testing configs directory...
FAILED: ./configs/ does not exist.
Testing sysplugin files...
... OK
Testing plugin files...
... OK
Tests complete.

I went through the whole making sure the folders are actually writable and everything but I still get the error. Any ideas?

A: Well for one thing the paths to your templates are wrong where you're assigning paths. The path is /var/www/SteamKing not smarty/
It's usually a good idea to use absolute paths so you can move your files around without worrying about where your templates go.
As for why your cache and template_c is not writable you need to show the actual paths or show the command you used to try to make them writable.

redpajama_set_name: RedPajamaStackExchange


We located 33 people named Dolores Shea living in Massachusetts, Ohio, Michigan and 18 other states.
Lived in Agawam and East Longmeadow, MA.
Possible Associates Dolores D Shea could have been associated with Bailey Katherine Hunter and Mallory Ann Schirr.
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Lived in Oak Park, Elmhurst, Westmont, and Lombard, IL.
Lived in Oak Park, Brookfield, and Berwyn, IL.
Possible Associates Dolores R Shea could have been associated with Cheryl M Mrase.
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Lived in South Weymouth, Dorchester Center, Quincy, and Boston, MA.
Possible Associates Dolores F Shea could have been associated with Ellen M Jaukkuri.
Possible Associates Dolores H Shea could have been associated with Robert W Fitzgerald.
Lived in Lynwood, Pico Rivera, and Covina, CA.
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Lived in Queens Village and Bohemia, NY.
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Possible Associates Dolores Shea could have been associated with Giacoma Maria Brazzel and Kathleen Margie Wertish.
Lived in Rumson, Shrewsbury, Red Bank, Asbury Park, Bradley Beach, and Lincroft, NJ.
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Possible Associates Dolores O Shea could have been associated with Michael J Hess, Joseph J Oshea, Peggy A Oshea, and Mary Beth Tedisco.
Lived in Hartsdale, Selden, Bohemia, and Huntington, NY.
Flat Rock and Hendersonville, NC.
Possible Associates Dolores M Shea could have been associated with Anthony M Gregory, Charles C Gregory, Joanne Rose Gregory, Margaret J Gregory, Richard M Gregory, and Roger M Gregory.
Lived in Sussex and Vernon, NJ.
Possible Associates Dolores O Shea could have been associated with Peter F Oshea.
Lived in New Haven, East Haven, Branford, North Haven, and Milford, CT.
Chino Hills, Rancho Cucamonga, and Claremont, CA.
Possible Associates Dolores R Shea could have been associated with Jeanne L Rapuano, Mark Anthony Rapuano, Mary Rapuano, and Maryann A Rapuano.
Lived in Salem, Peabody, and Danvers, MA.
Possible Associates Dolores A Shea could have been associated with Paul J Tierney.
Lived in Omaha and Fort Calhoun, NE.
Possible Associates Dolores E Shea could have been associated with Erin Cecilia Browne, Carole A Davick, Dorothy Mae Hall, June K Hall, William Timothy Hall, and Jesse Franklin Hill.
Lived in Saint Petersburg, Tampa, Bunnell, Cottondale, Chipley, Fountain, and Altha, FL.
Frankfort, Grove City, and Columbus, OH.
Possible Associates Dolores Heaven Shea could have been associated with Fred Allen Herring, Misty Spring Herring, Steve Leslie Herring, Edward Raymond Lewis, Jeffrey J Lewis, and Jeffrey Lee Lewis.
Lived in Milton, Fiskdale, Plymouth, Weymouth, and Boston, MA.
Possible Associates Dolores A Shea could have been associated with Douglas Adam Craig, Kelsey D Craig, Noreen E Craig, Richard Bartholemew Craig, Richard J Craig, and William J Craig.
Lived in Sebastian, Palm Bay, and Vero Beach, FL.
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Possible Associates Dolores Jean Shea could have been associated with Harold James Hake, Rochelle Lyn Kropinak, Melissa Shea Victoria, and Krista Diane Wick.
Lived in Maplewood, Edison, and Brick, NJ.
Can't find the Dolores Shea you're looking for? Try a deep search to uncover even more personal info.


The FBI NICS background check system recorded 2.6 million checks in February, the 3rd highest number of background checks on record.
February was the third-biggest month on record for gun background checks, according to data released Wednesday by the FBI.
Background checks, which the FBI conducts every time someone tries to buy a gun from a federally licensed dealer, rose to 2.6 million in February, according to the bureau.
February's total falls short of the record set in December, 2015, when 3.3 million background checks were recorded.
The second biggest month was in December, 2012, the month of the Sandy Hook school massacre that killed 26, when the FBI logged 2.8 million checks.
Not all gun sales result in NICS checks, and not all checks are for just one firearm. A single NICS check can result in the purchase of multiple firearms.
In some states, concealed carry permits are accepted in lieu of a NICS check because the concealed carry permitting process requires a more intensive background investigation, and so firearms purchased by concealed carriers are not recorded. Likewise, private gun sales between citizens are not recorded in most states.
While there is, by design, no mechanism to record the number of gun owners in the United States, most estimates put the number of gun owners in the range of 100-110 million gun owners.


New York maple syrup whipped into a cream and coated in our certified organic 74% dark chocolate. Available in a box of 12, 16, 32, or 48.
Ingredients: Certified organic 74% dark chocolate* (cocoa beans, evaporated raw cane juice, cocoa butter, soy lecithin (an emulsifier) and whole vanilla beans), and natural maple syrup. *Indicates organic ingredients.
May contain traces of milk, nuts, peanuts, and soybeans. Read more about our chocolate here.
© 2017 Life By Chocolate, a DBA of Woodchuck Ventures Inc. | All rights reserved.


The Resort Bad Boekelo is set in its own spacious grounds, with 25 hectares of woodland. Here you can enjoy the countryside in quiet surroundings. Towns like Enschede and Haaksbergen are, however, only 8 kilometres away, and the hotel is easily accessible from the A35 motorway.As our guest, you are free to decide how to enjoy your stay at the Golden Tulip Hotel Bad Boekelo, making full use of our wide range of services and facilities. These include an indoor swimming pool, two outdoor tennis courts, the Labyrinth der Zinnen Experience park, free parking, and a footpath in our grounds. You can also hire a bicycle to get to know the local countryside of Twente. And if it�s relaxation you want, why not visit our sauna, Turkish bath or solarium, or spend the day in our professional Beauty Centre?


text:
Home Latest News Ranking: Top 6 Thug Life Cricket Moments
Ranking: Top 6 Thug Life Cricket Moments
ranked top 6 thug life moments in cricket
What Are Some "Thug Life" Moments In Cricket History?
#6 Virat Kohli to James Faulkner
#5 Ravi Shastri to Mike Whitney
#4 Yuvraj Singh's response to Andrew Flintoff's sledge
#3 Ravichandran Ashwin to Tim Paine
#2 Sourav Ganguly to Geoffrey Boycott:
#1 Venkatesh Prasad to Aamir Sohail:
Cricket is a great leveller. The game always gives you a chance to make a comeback. Teams and players have staged wonderful comebacks scripting history. There have been many player battles that have lit up the screens. On occasions, players have also engaged in duels with officials. At times things have even gone out of hand but players refused to hold themselves in. These battles have given rise to many thug life cricketing moments. Lets find What Are Some "Thug Life" Moments In Cricket History?
Virat Kohli was in sensational batting form in 2016 during India's tour to Australia. In order to dent his concentration, Faulkner engaged Kohli in a sledge asking him to take him on and score runs off his bowling. However, Kohli came up with an epic reply and the stump microphone recorded his words. "You're wasting your energy. There's no point, I've smashed you enough in my life. Just go and bowl," replied Kohli. True to his word, Faulkner hasn't played active International cricket post that season.
Ravi Shashtri opened the innings for India during the 2nd Test against Australia in 1991-92 on their tour down under. Australia's fast-bowler Mike Whitney was on the field as a substitute and he went in to have a heated exchange with Shastri. Shastri had smashed the ball towards Whitney and was contemplating taking a quick single. This irked Whitney. He quipped, "Stay in your crease or I'll break your fucking head." Credit to Shastri though he didn't lose his cool. He came up with a befitting reply. Shastri retorted, "If you could bowl as well as you talk, you wouldn't be the fucking 12th man!" he said.
India were in a good position batting first against England in a super-8 game in the 2007 T20 World Cup. Andrew Flintoff had bowled quite an ordinary 18th over. Yuvraj Singh got off to a flier smashing Flintoff for a boundary. Flintoff then went on to say something unparliamentary to Yuvraj. Yuvraj was agitated. He almost followed Flintoff to the boundary. It felt as if Singh had lost his cool. But what transpired was nothing short of magic. Yuvraj went on to smash 6 sixes in an over off Stuart Broad. This remains an iconic moment in Indian cricket!
Tim Paine had the unwanted record of being the first Australian captain to lose a home Test series against India in 2018-19. Paine was the captain when India toured again in 2020-21. The series was tied at 1-1 heading into the 3rd Test at Sydney. India were battling hard on the final day to save the Test.
Ravichandran Ashwin and Hanuma Vihari put their bodies on the line to hold the fort. Paine frustrated with Ashwin's stoic defence remarked that he can't wait for him to come to Gabba. Ashwin responded saying he can't wait for Paine to come to India which might be his last series as well. But Ashwin won the final battle when an injury-ridden young Indian team breached fortress Gabba and won the series 2-1!
The English media to date couldn't fathom that an Indian captain waved his shirt from the Lord's balcony. Former England captain, Geoffrey Boycott was commentating along with Sourav Ganguly. Boycott was hell-bent on making Ganguly feel sheepish about what he did. Boycott really tried riling up Ganguly but the former India captain had the last laugh.
Geoff Boycott asked Ganguly about his jersey unfurling experience and to do it at the Mecca of cricket. Boycott went on to call Ganguly a naughty boy. Ganguly quickly replied, "One of your boys (referring to Flintoff) also took off his jersey here in Mumbai." Boycott replied in a dismissive tone saying, "Ya, but Lord's is the Mecca of cricket." Ganguly had enough by then, he said the golden words, "Lord's is your Mecca, Wankhede is ours."
Aamir Sohail was on the offensive against India at Bangalore in the 1996 World Cup quarter-finals. He smashed a Venkatesh Prasad delivery towards cover. Sohail then went on to point a finger at Prasad saying he will smash even the next ball in the same direction. Prasad chose not to respond. But when he did, the whole stadium erupted. Prasad clean bowled Sohail the very next delivery and animatedly pointed towards the dressing room. It was a watershed moment in the India-Pakistan rivalry.
Also read: 5 Lies About IPL You Believed Were True
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Many times boarding schools are out in the country. Though bucolic and spacious, it's hard for people to find a boarding school via local advertising, especially if students are coming from cities and across the nation and around the globe. Most boarding schools have students from around the world, and it's the school's job for applicants to find them. That is why SEO (Search Engine Optimization) is such a useful tool for boarding schools in this technology-driven world.
First of all, think of how your students originally found you. I bet some of them said word of mouth, while others knew your school's stellar reputation. And others will probably say: the Internet. When students and parents look for a school that suits their needs, these days they are looking toward Internet searches. For instance, if a student from across the world wants to find an excellent boarding school in the US with a strong tennis team, she will go online. Or if a parent from three states away is looking for a school that puts an emphasis on foreign languages, she will also do an Internet search. That is why a boarding school's most powerful tool can be its website.
SEO is a game changer in today's world of education. It can allow a student and his family to find the perfect boarding school match for them. Back in the old days, it was all about having a "name." Today, it's about making a name and ensuring that this name is seen on the Internet. With the right SEO strategy, it can bring a school from obscurity to front and center. So, you may be asking, how does SEO work? SEO uses a system of strategically researched keywords that are embedded into useful, informative content. For example, a blog post or an article can have SEO. Therefore, a school website can provide a strong framework in which to incorporate SEO principles and move up in the search engine rankings. We all want to be #1 in a Google search, right? SEO makes that happen.
At QThinker, we are happy to discuss how to incorporate the best SEO practices into your boarding school website, and the best part is, we will do it for you. We've had years of expertise in search engine optimization (SEO), social media, content creation, and management of websites, especially in regard to top search results in Google. If you'd like to make your website mobile friendly, please contact us at 617-816-2969 or use our contact form.
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We are at a critical moment in human history: climate change is upon us, food prices are skyrocketing, and tropical rainforests continue to fall.
imbalance in which the rate of growth in demand for land-based products (food, fuel, fiber and feed) is outpacing the rate of growth in supply.
The Food Price Index has almost doubled over the past 20 years (108.6 from 1990-2006, 194.9 from 2007-2013).
Estimates show that the greatest potential for crop expansion in the world lies in Latin America.
Per capita GDP in the United States (US $51,749) is eight and a half times higher than in China (US $6,091).
Trends in global commodity prices as compared with food prices.
Global demand is rising largely through rapid growth in per capita consumption in China, India, Brazil, and other emerging economies, whose burgeoning consumption levels are still far below average per capita consumption in the USA. Growth in production is increasingly constrained by the dwindling supply of new arable land, declines in the rate at which yields are increasing, and extreme weather events.
A critical challenge over the next decade is to initiate and sustain a worldwide transition of the current prevailing rural development model, to an alternate model where we produce more with less, decrease the environmental "footprint" of the wealthiest nations, and support emerging economies to move directly into sustainable, low-emissions economies.


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Patty Duke Biography, Life, Interesting Facts
Activist, Movie Actress, Television Actress, Television Producer, Theater Actress
New York City, New York, United States of America
Chinese Zodiac :
Birth Element :
Academy Award Winning American film, television and stage actress Patty Duke was born Anna Marie Duke on December 14, 1946, to John Patrick Duke and Frances Margaret in Elmhurst, Queens, New York City, New York, United States of America. Her father earned his livelihood by driving cabs and doing several odd jobs.
He was an alcoholic. Her mother was a cashier by profession and suffered a psychological disorder called clinical depression. She was quite susceptible to violence on account of her psychological problem. Patty was the youngest of three children born to her parents comprising of elder brother Raymond and elder sister Carol.
All three of them had a difficult childhood due to their father's alcohol-related problem and mother's psychological disorientation. Her mother parted with her father when she was six-years-old. At age eight, she was handed over to John and Ethel Ross, who was entrusted to look after the acting career of her brother Raymond, for suitable grooming to make her a child actor.
They became her guardians in due course of time. In her later life, she revealed that both her so-called guardians abused her sexually and also forced her to consume drugs. They exploited her to the hilt in making her acting career.
They also often presented wrong information about her acting career to lure prospective employers and obtained a major share of her earnings quite unreasonably. They changed her name from Anna to Patty with the hope that she will replicate the success of the actress Patty McCormack.
Patty's acting career began by appearing on a few commercials and a few movies in minor roles. During the 1950s, she appeared on the soap opera 'The Brighter Day,' which is one of her earlier acting roles. At age 12, she participated in a spelling contest called 'The $64,000 Question' and won $32,000. It was later found out that the program was orchestrated.
Patty Duke was summoned to testify before a US Senate investigation panel and admitted to speaking falsely under specific instruction to do so. In 1959, she appeared in a television adaptation of 'Meet Me in St. Louis', a 1944 MGM musical film. She played the role of Tootie Smith, portrayed by Margaret O'Brien in the original film version.
Her first breakthrough role happened when she played the role of Helen Keller in the Broadway play 'The Miracle Worker.' The play was staged successfully from October 1959 to July 1961. In 1962, the play was made into a film of the same name with Patty again featuring as Helen Keller. Patty earned an Academy Award for her performance in the category of Best Supporting Actress, making her the youngest ever person, at the age of 16, to win an Oscar Award at that point of time.
The record was later broken in 1973 by Tatum O'Neal for her performance in the film 'Paper Moon.' Patty also won a Golden Globe Award as the most promising newcomer for the film 'The Miracle Worker.' In 1961, she appeared in a television program titled 'The Power and the Glory' based on a novel of the same name by British author Graham Greene.
Following the euphoria of winning an Oscar so early in her career, Patty began to unwind herself a bit. The trauma she faced from her alcoholic father and a maniac mother in her childhood and her sexual exploitation by her so-called mentor-cum-guardians started taking its toll on her.
Though she continued to work diligently, her private life slowly disintegrated with a binge of heavy drinking and drug abuse. She also attempted suicide several times during this period.
Well-known American writer and producer Sidney Sheldon created a special situational comedy show for her and named it 'The Patty Duke Show.' The ABC sitcom started airing on September 1963. Patty was already showing the signs of the psychological disease called the bipolar disorder inherited from her mother.
Sidney Sheldon observed a split personality trait inside Patty and decided to cast her in the dual roles of two cousin sisters with contrasting personalities. The TV program successfully ran for three full seasons. Patty Duke earned an Emmy Award nomination for her performance in the sitcom.
After the conclusion of 'The Patty Duke Show' in 1966, she played the character of Neely O'Hara in the 1967 American drama film 'Valley of the Dolls'. The film was a commercial success.
However, critics and a major portion of audiences were unable to come to terms with the depiction of an American teenager as an alcoholic and drug-addicted singing star. Though the film almost destroyed Petty's career immediately after its release, it was considered among the cult classics in later days mainly due to her strong, over-the-top performance.
In 1969, Patty again stole the limelight after her starring performance in the 1969 comedy-drama film 'Me, Natalie'. She won her second Golden Globe Award for Best Actress (Musical or Comedy) for her portrayal of an ugly Brooklyn teenager trying to meet both ends and grappling to make a living.
Patty Duke won her first Emmy Award in 1970 for her portrayal of a pregnant teenager fleeing away in the television movie 'My Sweet Charlie'. She received her second Emmy Award in 1977 for her performance in the TV miniseries 'Captains and the Kings'. She earned a third Emmy Award in 1980 for the television version of the original Broadway play 'The Miracle Worker', once again reprising the role of Helen Keller for the third time.
Personal Life And Legacy
Patty Duke married director Harry Falk on November 26, 1965. They were divorced on March 24, 1970, without any issue. On June 26, 1970, she married Michael Tell after becoming pregnant with his child. However, the marriage was a nulled on July 9, 1970.
The couple was blessed with a child. Her third marriage was with John Astin, solemnized on August 5, 1972. They together have a child. This marriage also ended in divorce on November 3, 1985. On March 15, 1986, Patty Duke tied the nuptial knot for the fourth time to Michael Pearce, a drill sergeant. They remained together until her death. They too have a child together.
On March 29, 2016, Patty Duke died in Coeur d'Alene, Idaho after having contracted sepsis due to her ruptured intestine. She was 69 at the time of her death.
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With the excellent support of our talented employees, we have gained the reputation as the most trusted manufacturer and supplier of PU Wiper Seal. It is also recognized as scraper seal or wiper scraper and is made from high-grade PU (Polyurethane) material. It is widely used in hydraulic cylinders to scrape dirt, chips, or moisture from the piston rods as they retract into the system. The offered PU Wiper Seal is famous for its high load-bearing capacity and wide resiliency range.


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By KS95 | September 15, 2021
Octavia Spencer apologizes to Britney Spears for "prenup" comment: "Let's show them love"
Britney & Sam: Kevin Winter/Getty Images; Octavia Spencer: Steve Granitz/WireImage
After Britney Spears announced her engagement to Sam Asghari, fans flooded her comments section with warnings about keeping her money on lock. Even Oscar-winning actress Octavia Spencer wrote, "Make him sign a prenup." Well, now Spencer is apologizing for her seemingly flippant remark.
On Wednesday, Spencer posted a beautiful picture of Britney and Sam and wrote on Instagram, "Y'all, a few days ago Sam and Britney announced their engagement and me being me I made a joke. My intention was to make them laugh not cause pain."
"I've reached out to this lovely couple privately to apologize and now want to restore just a smidge of happiness they were robbed of," she continued. "Britney's fans have seen her through a lot of pain and she's found happiness. We're thrilled for her. So let's show them love."
Sam responded in the comments, "You are very kind to clarify but i have no hard feelings whatsoever. Jokes and misconceptions come with the territory."
We're not sure how Britney feels about Spencer's apology, since she's currently taking a break from social media. Meanwhile, Britney's ex-husband Jason Alexander — the one to whom she was married to for 55 hours — told Inside Edition, "If she's happy with Sam and that's going to happen, I'm happy for her."
Alexander added, ""He's really the only person that's been around for a few years, so without him she would've been alone."
A post shared by Octavia Spencer (@octaviaspencer)


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Notre Dame Football 2017: Team Stats, Schedule, News Preview
Posted on September 23, 2017 by spark
The Notre Dame Fighting Irish football team is the intercollegiate football team representing the University of Notre Dame in Notre Dame, Indiana. The team is currently coached by Brian Kelly and plays its home games at the campus's Notre Dame Stadium, which has a capacity of 80,795 fans. Notre Dame is one of four schools that competes as an Independent at the National Collegiate Athletic Association (NCAA) Football Bowl Subdivision level; however, they play five games a year against opponents from the Atlantic Coast Conference (ACC), which Notre Dame is a member of in all other sports except ice hockey.
Notre Dame is one of the most iconic and successful programs in college football. The team has 21 national championships that are recognized by the NCAA, which is first out of all FBS schools in the NCAA era. Notre Dame and Ohio State share the record of seven Heisman Trophy winners, and the program has produced 97 consensus All-Americans, 33 unanimous All-Americans, and 50 members of the College Football Hall of Fame, all NCAA records. Notre Dame has had 495 players selected in the NFL Draft, second only to USC.
All Notre Dame home games have been televised by NBC since 1991, and Notre Dame is the only school to have such a contract. It was the only independent program to be part of the Bowl Championship Series coalition and its guaranteed payout, and it has one of the largest, most widespread fan bases in college football. These factors help make Notre Dame one of the most financially valuable football programs in the country, which allows the school to remain an independent. wiki
Notre Dame Football Schedule 2017
2017 Notre Dame Fighting Irish Schedule
DATE OPPONENT RESULT/TIME RECORD/TICKETS
Sat, Sept 2
#15 Georgia
Sat, Sept 16
8:00 PM ET FOX 1,022 available from $45
Miami (OH)
5:00 PM ET NBC Sports Network 724 available from $99
Sat, Oct 7
TBD 2,957 available from $65
Sat, Oct 21
#5 USC
7:30 PM ET NBC 1,212 available from $179
3:30 PM ET NBC 1,751 available from $81
Sat, Nov 4
Sat, Nov 11
#14 Miami
TBD 4,457 available from $104
TBD 137 available from $128
Notre Dame Fighting Irish Teams Stats
Passing Statistics
NAME CMP ATT YDS CMP% YDS/A TD INT RAT
Brandon Wimbush 47 93 491 50.5 5.28 2 2 97.7
Totals 47 96 491 49.0 5.12 2 2 94.6
Rushing Statistics
NAME CAR YDS AVG LONG TD
Josh Adams 56 443 7.9 65 2
Brandon Wimbush 49 314 6.4 65 (TD) 6
Dexter Williams 12 174 14.5 66 3
Deon McIntosh 4 24 6.0 12 0
Tony Jones Jr. 9 23 2.6 7 (TD) 2
Cameron Smith 1 12 12.0 12 0
Ian Book 1 2 2.0 2 0
Totals 132 992 7.5 66 13
Receiving Statistics
NAME REC YDS AVG LONG TD
Alize Mack 9 101 11.2 32 0
Equanimeous St. Brown 7 99 14.1 34 1
Josh Adams 8 69 8.6 32 0
Durham Smythe 3 67 22.3 33 0
Cameron Smith 6 55 9.2 29 0
Chris Finke 3 36 12.0 17 0
Chase Claypool 3 24 8.0 16 0
Nic Weishar 3 20 6.7 12 (TD) 1
Tony Jones Jr. 3 9 3.0 8 0
Freddy Canteen 1 7 7.0 7 0
Michael Young 1 4 4.0 4 0
Totals 47 491 10.4 34 2
Kicking Statistics
Name XPM XPA XP% FGM FGA FG% 1-19 20-29 30-39 40-49 50+ LNG PTS
Justin Yoon 15 15 100 4 6 66.7 0/0 1/1 2/2 1/3 0/0 42 27
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Notre Dame Football Schedule 2018, Dates, Times & more →
Notre Dame Football schedule 2019, dates, times & TV info.
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Bemis Center for Contemporary Arts operates on a land that has been a site of human activity for thousands of years. This site was the territory of the UmonHon (Omaha), Ponca, Pawnee, Otoe, Missouri, and the Ioway peoples. UmonHon means "upstream," a name marking the tribe's settlement location on the banks of the Missouri River. Nebraska's name is derived from the word "Nibthaska" meaning "atwater" in the UmonHon language. In 1854, the UmonHon tribe was led to believe that they were securing U.S. protection by signing a treaty, giving up the land that now makes up the city of Omaha. Through several broken treaties, the UmonHon have a reservation one hour north of Omaha. Bemis Center for Contemporary Arts operates on a land that has been a site of human activity for thousands of years. This site was the territory of the UmonHon (Omaha), Ponca, Pawnee, Otoe, Missouri, and the Ioway peoples. UmonHon means "upstream," a name marking the tribe's settlement location on the banks of the Missouri River. Nebraska's name is derived from the word "Nibthaska" meaning "atwater" in the UmonHon language. In 1854, the UmonHon tribe was led to believe that they were securing U.S. protection by signing a treaty, giving up the land that now makes up the city of Omaha. Through several broken treaties, the UmonHon have a reservation one hour north of Omaha. Bemis Center for Contemporary Arts operates on a land that has been a site of human activity for thousands of years. This site was the territory of the UmonHon (Omaha), Ponca, Pawnee, Otoe, Missouri, and the Ioway peoples. UmonHon means "upstream," a name marking the tribe's settlement location on the banks of the Missouri River. Nebraska's name is derived from the word "Nibthaska" meaning "atwater" in the UmonHon language. In 1854, the UmonHon tribe was led to believe that they were securing U.S. protection by signing a treaty, giving up the land that now makes up the city of Omaha. Through several broken treaties, the UmonHon have a reservation one hour north of Omaha. Bemis Center for Contemporary Arts operates on a land that has been a site of human activity for thousands of years. This site was the territory of the UmonHon (Omaha), Ponca, Pawnee, Otoe, Missouri, and the Ioway peoples. UmonHon means "upstream," a name marking the tribe's settlement location on the banks of the Missouri River. Nebraska's name is derived from the word "Nibthaska" meaning "atwater" in the UmonHon language. In 1854, the UmonHon tribe was led to believe that they were securing U.S. protection by signing a treaty, giving up the land that now makes up the city of Omaha. Through several broken treaties, the UmonHon have a reservation one hour north of Omaha. Bemis Center for Contemporary Arts operates on a land that has been a site of human activity for thousands of years. This site was the territory of the UmonHon (Omaha), Ponca, Pawnee, Otoe, Missouri, and the Ioway peoples. UmonHon means "upstream," a name marking the tribe's settlement location on the banks of the Missouri River. Nebraska's name is derived from the word "Nibthaska" meaning "atwater" in the UmonHon language. In 1854, the UmonHon tribe was led to believe that they were securing U.S. protection by signing a treaty, giving up the land that now makes up the city of Omaha. Through several broken treaties, the UmonHon have a reservation one hour north of Omaha. Bemis Center for Contemporary Arts operates on a land that has been a site of human activity for thousands of years. This site was the territory of the UmonHon (Omaha), Ponca, Pawnee, Otoe, Missouri, and the Ioway peoples. UmonHon means "upstream," a name marking the tribe's settlement location on the banks of the Missouri River. Nebraska's name is derived from the word "Nibthaska" meaning "atwater" in the UmonHon language. In 1854, the UmonHon tribe was led to believe that they were securing U.S. protection by signing a treaty, giving up the land that now makes up the city of Omaha. Through several broken treaties, the UmonHon have a reservation one hour north of Omaha. Bemis Center for Contemporary Arts operates on a land that has been a site of human activity for thousands of years. This site was the territory of the UmonHon (Omaha), Ponca, Pawnee, Otoe, Missouri, and the Ioway peoples. UmonHon means "upstream," a name marking the tribe's settlement location on the banks of the Missouri River. Nebraska's name is derived from the word "Nibthaska" meaning "atwater" in the UmonHon language. In 1854, the UmonHon tribe was led to believe that they were securing U.S. protection by signing a treaty, giving up the land that now makes up the city of Omaha. Through several broken treaties, the UmonHon have a reservation one hour north of Omaha. Bemis Center for Contemporary Arts operates on a land that has been a site of human activity for thousands of years. This site was the territory of the UmonHon (Omaha), Ponca, Pawnee, Otoe, Missouri, and the Ioway peoples. UmonHon means "upstream," a name marking the tribe's settlement location on the banks of the Missouri River. Nebraska's name is derived from the word "Nibthaska" meaning "atwater" in the UmonHon language. In 1854, the UmonHon tribe was led to believe that they were securing U.S. protection by signing a treaty, giving up the land that now makes up the city of Omaha. Through several broken treaties, the UmonHon have a reservation one hour north of Omaha. Bemis Center for Contemporary Arts operates on a land that has been a site of human activity for thousands of years. This site was the territory of the UmonHon (Omaha), Ponca, Pawnee, Otoe, Missouri, and the Ioway peoples. UmonHon means "upstream," a name marking the tribe's settlement location on the banks of the Missouri River. Nebraska's name is derived from the word "Nibthaska" meaning "atwater" in the UmonHon language. In 1854, the UmonHon tribe was led to believe that they were securing U.S. protection by signing a treaty, giving up the land that now makes up the city of Omaha. Through several broken treaties, the UmonHon have a reservation one hour north of Omaha. Bemis Center for Contemporary Arts operates on a land that has been a site of human activity for thousands of years. This site was the territory of the UmonHon (Omaha), Ponca, Pawnee, Otoe, Missouri, and the Ioway peoples. UmonHon means "upstream," a name marking the tribe's settlement location on the banks of the Missouri River. Nebraska's name is derived from the word "Nibthaska" meaning "atwater" in the UmonHon language. In 1854, the UmonHon tribe was led to believe that they were securing U.S. protection by signing a treaty, giving up the land that now makes up the city of Omaha. Through several broken treaties, the UmonHon have a reservation one hour north of Omaha.
LOW END is Bemis Center's music venue and an integral part of the Sound Art + Experimental Music Program. The unique artist-designed space located in Bemis's lower level includes custom seating, theatrical lighting, an anamorphic perspective stage, and industrial-grade audio equipment. LOW END features free live shows by local, national, and international sound artists, composers, and experimental musicians. These performances aim to not only build new audiences and a greater appreciation for nontraditional forms of music but also to liberate artists to take risks and present truly avant-garde work.
FREE ADMISSION THANKS TO THE ANDREW W. MELLON FOUNDATION
> See all events
Live @ LOW END | Molly Joyce
Thursday, February 10, 2022 8:00–9:00 PM
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Ical Google
Live @ LOW END | TALsounds
Saturday, February 19, 2022 8:00–9:00 PM
Live @ LOW END | Elder Ones
Tuesday, March 29, 2022 8:00–9:00 PM
Past LOW END Events
LOW END Design
Graduate students participating in the University of Nebraska-Lincoln's design-build program, FACT (Fabrication and Construction Team), worked in close collaboration with Jeff Day, UNL professor and architect with Actual Architecture, artist and carpenter Sean Ward, musicians, sound engineers, mechanical experts, and Bemis staff to envision the new facilities for Bemis's Sound Art + Experimental Music Program. Under the guidance of Day, the students designed and helped build the Program's custom facilities including a recording and rehearsal studio and music venue, LOW END. Forthcoming amenities as part of this program include a green room for performers, a custom bar, and pre-event lounge.
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LOW END performances and Bemis Center's Sound Art + Experimental Music Program are made possible by:
LOW END performances are also supported, in part, by:
Trudy and Larry Lundquist
Additional support provided by New Music USA's New Music Organizational Development Fund.
The LOW END venue is made possible, in part, by:
Mammel Foundation
Lisa and Tyler Owen
Annette and Paul Smith
Anonymous*
Special thanks to our partners:
Actual Architecture Company
AO*
Eyman Plumbing, Heating & Air
FACT (Fabrication And Construction Team), University of Nebraska-Lincoln
Harpo Foundation
Lund-Ross Constructors
Robert Peters Company
Security National Bank
Sean Ward
Robert Webber


Holland America Line is offering a 14-night exploration of Asia covering Japan, South Korea and China on two incredible voyages in October 2017.
Guests can enjoy full board accommodation in an inside stateroom and an abundance of dining choices as they sail to some of the most incredible destinations in Asia aboard ms Volendam.
Enjoy a luxury cruise to some of Asia's most exotic spots onboard Holland America Line's beautiful garden-themed ship ms Volendam. Departing from Yokohama in Tokyo, ms Volendam makes her way into Shimizu before docking up in Osaka known as the combination city of Los Angeles and Chicago. From here, you can sail across to South Korea where you can delve deep into the history of the Korean War which took almost 40,000 American soldier's lives. In contrast to the quiet area of Seoul, you then find yourself waking up in the almighty city that is Beijing where you can spend the night. Heading for Shanghai as the Volendam's final destination, travellers can finish off their cruise in style by dining in one of Shanghai's 30,000 restaurants.
Itinerary: Yokohama | Shimizu | Osaka | Scenic Cruising Inland Sea of Japan | Jeju City | Incheon, Seoul (overnight in port) | At Sea | Tianjin (Beijing), China (overnight in port) | At Sea | Qingdao | At Sea | Shanghai (overnight in port before disembarkation).
View this cruise in full here.
Ms Volendam offers guests elegant travel with her array of artwork on show and fresh flowers on display across all of her 10 decks. Volendam will stay in dock for one night at the port of Shanghai, meaning you can enjoy the delicacies of one of Asia's most bustling and dynamic cities. From here and a few stops in, it's not long before you can soak up the history of Nagasaki as Japan's third-largest island and take a trip to the Atomic Bomb Museum. After leaving Japan, you can explore the natural beauty and palaces of Taipei before heading on to the 'Island of Gold' that is Manila of the Philippines. Heading back to China, ms Volendam sails her way to Hong Kong as the final destination with an overnight stay in one of the world's most glamorous cities.
Itinerary: Shanghai (overnight in port) | At Sea | Fukuoka, Japan | Nagasaki | At Sea | Naha | Ishigaki Island | Keelung, Taiwan | Kaohsiung, Taiwan | At Sea | Manila, Philippines | At Sea x2 | Hong Kong (overnight in port before disembarkation).
For more information on these voyages with Holland America Line and any special offers that are available, please call one of our Cruise Experts on 0800 008 6677.


Home / Muscle Car Fan / There's a Place in Russia Where You Can Definitely HEAR America!
There's a Place in Russia Where You Can Definitely HEAR America!
Detroit may be steeped in its automotive past, but the Motor City is not feeling all that nostalgic about its contributions to the car industry. In the past, the North American International Auto show has been defined by muscle cars, concepts that celebrated iconic brand history, and pure unadulterated horsepower. But as the week of vehicle debuts kicks off at Cobo Hall, the news is all about the practical present, and a nod toward the uncertain future.
Kia building plans to steal muscle car buyers that could include a tilt at Bathurst.
The post There's a Place in Russia Where You Can Definitely HEAR America! appeared first on Muscle Car Fan.


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Whole site New York only
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Vernon Avenue Bridge
Queens County, New York, and Kings County, New York
Photo taken by Douglas Butler in April 2013
Lost Warren through truss with all verticals bridge over Newtown Creek on Vernon Avenue
New York City, Queens County, New York, and Kings County, New York
Replaced by new bridge
Built 1905, removed 1954 upon completion of the Pulaski Bridge to the east
- Scherzer Rolling Lift Bridge Co. of Chicago, Illinois
- Brooklyn-Manhattan Transit Corporation (BMT)
- Streetcar
Warren through truss with all verticals bascule
Bascule (1,039)
Brooklyn-Manhattan Transit Corporation (3)
Kings County, New York (62)
Lost 1954 (59)
Lost during 1950s (582)
Movable (2,863)
New York (3,875)
New York City, New York (314)
Queens County, New York (82)
Rail-and-Road (364)
Railroad (14,505)
Scherzer Rolling Lift Bridge Co. (123)
Streetcar (256)
Through truss (14,196)
Warren through truss (1,560)
Warren through truss with all verticals (371)
Warren truss (6,291)
May 8, 2012: Added by Frank Hicks
Related Bridges
Manhattan Avenue Bridge (Predecessor)
Pulaski Bridge (Successor)
Frank Hicks
Douglas Butler
This page's URL is http://bridgehunter.com/ny/queens/vernon-avenue/