OSAKA-GA ┃ 大 阪 画
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A very hard to capture butterfly. Because the transparant wings, my autofocus often miss the right spot. I had to focus this buterfly manualy.
Glaswing butterfly, Glasvleugelvlinder, Butterfly garden Vlinders aande Vliet, Leidschendam, The Neherlands
NEW SONG !! link.tl/kIB6 2015 ! :) :) Yeni kanal açtım eğitim videoları artık o kanal üzerinden yayınlanacak, yeni kanalıma abone olursanız sevinirim istek eğitimleri videoların altına yorum yaparak iletebilirsiniz. Yeni Kanal adres : goo.gl/ZmMSDt link.tl/jP4Y Click Song: All Izz Well Film : 3 Idiots Sanatcı: Sonu Nigam, Swanand Kirkire, Shaan Lyricist: Swanand Kirkire Music: Shantanu Moitra Artist : Aamir Khan, Kareena Kapoor, R. Madhavan, Sharman Joshi Süper bir film izlemenizi tavsiye ederim :) Lütfen bir tık yaparak abone olunuz :) Şarkı sözleri ; Jab Life Ho Out Of Control Honthon Ko Kar Ke Gol Honthon Ki Kar Ke Gol Seeti Bajaa Ke Bol Jab Life Ho Out Of Control Honthon Ko Kar Ke Gol Honthon Ki Kar Ke Gol Seeti Bajaa Ke Bol Aal Izzz Well Murgi Kya Jaane Aande Ka Kya Hoga Aree Life Milegi Ya Tawee Pe Fry Hoga Koi Na Jaane Apna Future Kya Hoga Honth Ghuma Seeti Bajaa Seeti Bajaa Ke Bol Bhaiyaa Aal Izz Well Aree Bhaiyaa All Izz Well Aree Chachu Aal Izz Well Aree Bhaiyaa All Izz Well Confusuin Hi Confusion Hai Solution Kuch Pata Nahin Solution Jo Mila To Saala Question Kya Tha Pata Nahin Lyricsmasti.Com Dil Jo Tera Baat Baat Pe Ghabraaye Dil Pe Rakh Ke Haath Usae Tu Fuslaa Le Dil Idiot Hai Pyaar Se Usko Samjha Le Honth Ghuma Seeti Bajaa Seeti Bajaa Ke Bol Bhaiyaa Aal Izz Well Aree Bhaiyaa All Izz Well Aree Chachu Aal Izz Well Aree Bhaiyaa All Izz Well Scholarship Ki Pi Gayaa Daaru Ghum To Phir Bhi Mitaa Nahin Agarbattiyan Raakh Ho Gayi God To Phir Bhi Dikha Nahi Bakra Kya Jaan Uski Jaan Ka Kya Hoga Sekh Ghusegi Ya Saala Keema Hoga Koi Na Jaane Apna Future Kya Hoga To Honth Ghuma Seeti Bajaa Seeti Bajaa Ke Bol Bhaiyaa Aal Izz Well Lyricsmasti.Com Aree Bhaiyaa All Izz Well Aree Chachu Aal Izz Well Aree Bhaiyaa All Izz Well Jab Life Ho Out Of Control Honthon Ko Kar Ke Gol Honthon Ki Kar Ke Gol Seeti Bajaa Ke Bol Aal Izzz Well Murgi Kya Jaane Aande Ka Kya Hoga Aree Life Milegi Ya Tawee Pe Fry Hoga Koi Na Jaane Apna Future Kya Hoga Honth Ghuma Seeti Bajaa Seeti Bajaa Ke Bol Bhaiyaa Aal Izz Well Aree Bhaiyaa All Izz Well Aree Chachu Aal Izz Well Aree Bhaiyaa All Izz Well Na Na Na Aree Bhaiyaa All Izz Well Aree Bhaiyaa All Izz Well
This 1931 Master Mason's Apron was for sale for $35.00 at the Barrie Antiques Centre from dealer 52. It came with a leather case. I emailed the lodge secretary to see if they'd like to retrieve the apron. I received no response. I then purchased the apron and took it to be cleaned as a North York dry cleaners said that they could do the job. All that was left after their cleaning was the metal fittings and the manufacturers tag. The rest became a puddle of disintigrated material fit for the garbage can.
Postcard - Ariel view of Sharbot Lake, Ontario area. Possibly 1950's.
www.flickr.com/photos/44831858@N00/6300989526/in/photolis...
Another interesting clasp: www.flickr.com/photos/35171459@N02/5626082522/
It is not ornamental, the cost is not great,
There are other things far more useful, yet truly I state,
Tho of all my possessions, there's none can compare,
With that white leather apron, which all Masons wear.
As a young lad I wondered just what it all meant,
When Dad hustled around, and so much time was spent
On shaving and dressing and looking just right,
Until Mother would say: "It's the Masons tonight."
And some winter nights she said: "What makes you go,
Way up there tonight thru the sleet and the snow,
You see the same things every month of the year."
Then Dad would reply: "Yes, I know it, my dear."
Forty years I have seen the same things, it is true.
And though they are old, they always seem new,
For the hands that I clasp, and the friends that I greet,
Seem a little bit closer each time that we meet."
Years later I stood at that very same door,
With good men and true who had entered before,
I knelt at the alter, and there I was taught
That virtue and honor can never be bought.
That the spotless white lambskin all Masons revere,
If worthily worn grows more precious each year,
That service to others brings blessings untold,
That man may be poor tho surrounded by gold.
I learned that true brotherhood flourishes there,
That enmities fade 'neath the compass and square,
That wealth and position are all thrust aside,
As there on the level men meet and abide.
So, honor the lambskin, may it always remain
Forever unblemished, and free from all stain,
And when we are called to the Great Father's love,
May we all take our place in that Lodge up above.
By Brother Edgar A. Guest (1881-1959)
THE BADGE OF A MASON - APRON CHARGES
THE MASTER MASON - MARCH 1925
Among the gems to be found in "The Treasury of Masonic Thought," a book edited by two Brethren of Dundee Lodge, Scotland, the earnings of which are to be added to the funds of the Lodge for the erection of a new Temple, we find a series of four Apron Charges - two for the second degree. In Scottish Lodges, it seems, the Apron is presented in each of the degrees, and these charges are given accordingly, choice being made between the two provided for the second degree. We reproduce them, in order to spread news of the book, and also as a matter of interest to American Masons, whose customs are different.
APRON CHARGE 1ST DEGREE
As given in Lodge "Dundee St. Mary," No. 1149, S.C.
BROTHER ______ In the name of the Great Architect of the Universe, and by command of the Right Worshipful Master, I present and will invest you with the distinguishing badge of a Mason. it is more ancient than the Golden Fleece or Roman Eagle,
(An aquila, or eagle, was a prominent symbol used in ancient Rome, especially as the standard of a Roman legion. A legionary known as an aquilifer, or eagle-bearer, carried this standard. Each legion carried one eagle. The eagle was extremely important to the Roman military, beyond merely being a symbol of a legion.)
en.m.wikipedia.org/wiki/Aquila_(Roman)
more honourable than the Order of the Thistle, or any other order in existence, it being the badge of Innocence and the bond of Friendship, and I would exhort you ever to wear and consider it as such. It may be that in the coming years upon your brow may rest the laurel leaves of victory, upon your breast may hang jewels fit to grace the diadem of an Eastern potentate; nay, more than these, with light added to the coming light your ambitious feet may tread round after round of the ladder that leads to fame in our mystic circles, and even the purple of our fraternity may rest upon your honoured shoulders. But never again from mortal hands, never again until your enfranchised spirit shall have passed upwards and inwards through the pearly gates, shall any honour so distinguished, so emblematical of purity and innocence and all perfection be bestowed upon you. It is yours to wear throughout an honoured life, and at your death to be placed upon the coffin which shall contain your earthly remains, and with them laid beneath the silent clods of the valley. May its pure and spotless surface be an ever-present reminder of a purity of life and rectitude of conduct, a never-ending argument for nobler deeds, higher thoughts, and greater achievements, and when at last your weary feet shall have reached the end of life's toilsome journey, and from your nerveless grasp shall drop for ever the working tools of life, may the record of your life and actions be as pure and spotless as this fair emblem with which I am about to invest you. And at last when your trembling soul shall stand naked and alone before the Great White Throne, may it be your portion to bear from Him who sitteth as judge Supreme the welcome words, "Well done, good and faithful servant, enter thou into the joy of thy Lord." You will observe that this badge is made of lambskin, and as the lamb has been in all ages the acknowledged emblem of innocence and purity, it will remind you of that purity of life and action which should at all times characterise Freemasons. I trust you will live many years to wear this badge (invests candidate) with credit to yourself, usefulness to mankind, and an honour to the Lodge of which this night you have become a member; and I would further exhort you never to disgrace that badge, for you can rest assured it never disgrace you."So Mote It Be.
APRON CHARGE, 2ND DEGREE
As given in Lodge "Dundee St. Mary," No. 1149, S.C.
IN THE NAME of the G.G.O.T.U., and by command of the R.W.M. I now invest you with the distinguishing badge of a F.O.T.C. This badge is bestowed in recognition of the progress you have made in the Science, and it is but right that for each degree there should be a distinctive badge, for you have now completed your apprenticeship, and have passed from being a HAND to an intelligent HEAD AND HAND - having learnt the ART of building, you now turn to the study of the SCIENCE of building and design.
The process of life, the perennial stability of the Universe, and the manifold activities of Nature, are all governed by fundamental principles. We, in our human ignorance, are but vaguely aware of the driving force, the omnipotent factor which correlates seemingly opposing phenomena, which unites divergent interests into a common path in the furtherance of the Divine will.
You and I, my brother, are but atoms in the Universe, links in the unbroken chain of mankind. Each has his part to play, not only in the acquisition of his own personal supreme good, but in the carrying out of the Divine plan.
Freemasonry teaches you the means whereby you may try to emulate in your own sphere the Guiding Force of the Universe by bringing to your notice the Seven Liberal Arts and Sciences, and I would solemnIy and earnestly entreat you to give them your most careful study. For he who call claim even a superficial knowledge of these call well claim to be an educated man, and is thus on the high road to the acquisition of that genuine culture which is only attained by the building up of character through knowledge.
In ascending the second rung of the ladder of Freemasonry, you have made noble progress, for, carrying with you the fruits and lessons of your previous step - that of the labourer - you are now, elevated to the degree of the thinker, and the task to which you are to devote yourself is so to develop and render lustrous your intellectual faculties, as to reflect in the small universe of your own individuality such a pleasing perfection of order and harmony as prevails throughout the immense Universe which is ordered by the G. G.
So is the corner of your apron turned up that it may not impede you in the pursuit of that end which I have outlined. And when at last you reach the goal, having accomplished your task, and stand before the Ancient S.W. in that Grand Lodge above, may you be able to place within the folds of your apron your just reward - the rich and lasting treasures of Masonic industry and zeal.
So Mote It Be.
APRON CHARGE, SECOND DEGREE
As given in Lodge "Dundee St. Mary," No. 1149, S.C.
BROTHER _____, In the name of the Grand Geometrician of the Universe, and by command of the R.W.M., I will invest you with the distinguishing badge of a F.O.T.C. Mason. This badge is bestowed in recognition of the progress you have made in the Science, but you are not to suppose that your progress is now at all end. There still remains much that you must do and learn.
"Let no man think that suddenly in a minute
All is accomplished and the work is done;
Though with thine earliest dawn thou should'st begin it,
Scarce were it elided with thy setting sun."
The manner in which the F.O.T.C. wears his apron is in itself a suggestion of further work and progress. The corner is turned tip in order that the apron may not impede your movements as you strive after the privileges which may still be won.
The virtues which you should cultivate and exercise with a view to further progress are the intellectual virtues. These you call best employ by making the "Liberal Arts and Sciences," your constant and careful study. From time immemorial the Seven Liberal Arts have been viewed as a means whereby man is assisted to win the mastery over self and circumstance, and to secure the glorious heritage of wisdom and virtue. One of the wise men of the twelfth century wrote a beautiful allegory to show how the soul may be carried to the very gate of heaven with the help of the Seven Liberal Arts. The Arts - so runs the allegory - fashioned a chariot. Grammar formed the pole which goes before the axle-tree, Logic made the axle-tree, and Rhetoric adorned the pole with gems and the axle-tree with flowers. Then Arithmetic constructed one wheel, Music the second, Geometry the third, and the fourth wheel was made by Astronomy. To this chariot there were yoked the five Senses - Sight, Hearing, Smell, Taste, and Touch. Reason mounted with Prudence as a companion and soared off amid the plaudits of all the other gifts and graces.
They flew, past the citadel of the sun, through the regions where Venus and Mercury sing together, and where Lucifer proclaims, with a shout, the advent of the dawn. Onward they went, past the Palace of Mars seething with fire and wrath, onward to the glad light and unhurtful flames of Jupiter, onward to Saturn's bright sphere. They ascended the stellar region where the pole-stars contend in brightness, and where they beheld Hercules and Orion, Leda's twins, the Fiery Crab, the Lion, and all the rest of the Zodiac's constellations. Here at length the chariot halted. It could ascend higher, but it had halted at the gleaming gates of the Celestial Realm. Thus far had Reason and Prudence been borne by the Seven Liberal Arts - to Heaven's gate.
It is with like purpose that you, as a F.O.T.C. are urged to cultivate those Liberal Arts in Masonic symbolism as in the allegory of which I have told you. They are represented as a means of raising men to the altitudes of knowledge. The allegory depicted them as a chariot, but we depict them as a stairway which the eager F.O.T.C. ascends, to reach the Middle Chamber of King Solomon's Temple, there to receive the reward.
The ancient arithmeticians taught that seven was a perfect number, the symbol of completeness; thus the Seven Liberal Arts represent the whole compendium of human knowledge, and in recommending them to your attention we are urging you to acquire all the knowledge you can, for we believe that by so doing you will discover that the vast universe is planned by the Grand Geometrician upon the principles of Order, Symmetry, and Rectitude; and when you realise that these sublime principles dominate the whole universe, and are perfectly expressed alike in the orbits of the whirling masses and in the movements of the tiny atoms, you will desire that the small universe of your own life should reflect the order and harmony of the immense universe within which you are placed; so seeking and striving you will not be disappointed. As the apron you now wear suggests that you are expected to advance without "let or hindrance," it also suggests that you will receive at the end the due reward of your labour, and into the fold of your apron there will be poured the rich and lasting treasures of Masonic industry and zeal.
So Mote It Be.
APRON CHARGE, 3RD DEGREE
As given in Lodge "Dundee St. Mary," No. 1149, S.C.
THE NAME, of the M.H. and by command of the R.W.M., I now invest you with the badge of a M.O.T.C. While this badge no doubt indicates that you have attained to the Sublime Degree, it also remind you of the duties devolving upon you. Remember true dignity and honour are best maintained by a faithful study of our art, by an earnest endeavour to do your part in the great work of Masonry, and by ever remembering the complete five points of fellowship, those grand connecting links of love and duty which unite Masons one to another throughout the Globe.
Masonry regards the man, not the garb he wears, the house he lives in, or the luxuries with which he surrounds himself. The great Fraternity therefore ordains that all its votaries shall be clothed alike - with an apron. For each Mason an Apron - for each Apron a meaning. The colour of the apron is white, the perfection of all colour is white, and white and spotless, shining like crystal in the noon-day sun must be the hearts and lives of all who wear it.
But, Brethren, each of you wear two aprons, - one is visible, one invisible. One is our symbolic gift to you, the first gift of Masonry, coming from the lamb, decay-doomed, as all things material are. The other the gift of the Omnipotent, spiritual, undecaying, eternal. Man seeth one, God seeth both. The one which we have given you will, when your life's work is o'er, be worn and stained, tarnished, discoloured, and torn, and honour shall be measured unto you in accordance with the unselfish work which you have given in so soiling it. But look to it, as you value life, - and life again, that you keep the unseen (seen only by the M.H.) pure and spotless. For the day shall come when the apron which we have given you, having found its last rest with your earthly remains 'neath the silent clods of the valley, shall be seen no more; but when the unseen garment, with which One greater than I this day invests you, shall be seen by all men, living and dead alike, to your glory or your shame, my Brethren, even as you have worn it.
Strive, therefore, to penetrate the veil which enshrouds the true secrets of our Order, realise the beauteous perfection of its tenets, and realising them you will not fall in your endeavours to live the life of a true Mason.
So Mote It Be.
Format: Fotopositiv
Dato / Date: 1850 (avfotograferingen 1897)
Fotograf / Photographer: Erik Olsen (1835-1920)
Kunstner / Artist: Harro Paul Harring (1798-1870)
Sted / Place: Latinskolen, Trondheim
Oppdatert / Update: 19.10.2018 [lenke til Due, Erichsen & Øveraas 1952, oppdatert lenke til folketelling 1801]
Due, Erichsen & Øveraas: Trondheim katedralskoles historie 1152-1952 (Trondheim 1952) s. 294, 300-303, 306, 314, 339.
Digitalarkivet: Otto Thott Fritzners husstand - Fana prestegård (Folketellingen 1801)
Diktbasen: Johan Sebastian Welhaven - Overlærer Otto Thott Fritzner (dagbladet.no)
Eier / Owner Institution: Trondheim byarkiv, The Municipal Archives of Trondheim
Arkivreferanse / Archive reference: Tor.H41.B38.F2836
Merknad: Fra utstillingen i anledning Trondhjems 900-årsjubileum i 1897.
Utstillingstekst for bildet i Trondhjems 900 Aars Jubilæum: Katalog for Den Historiske Udstilling i Trondhjem 1897:
755-757. Fritzner, Otto Thott, f. 1779, d. 1860 i Kra., Søn af Johan F., Sognepræst til Fane (d. 1803); Lærer ved Trondhjems Skole 1815, Overlærer 1821, tog Afsked 1838 og flyttede 1841 til Kra.
755. OM., Brystbill. i fuld Størr., sign.: Harro [Harring] Christian[ia] 1850. No. 7. * Latinskolen.
756. Lithografi. I. W. Tegner lith. efter Photographi. I. W. Tegner og Kittendorfs lith. Inst. (Str. 830 d.) * Fru Rektor Müller, Kra.
757. Buste i Marmor (uden Signatur). H. 50 cm. * Latinskolen.
I følge historikeren Ludvig Daae var Otto Thott Fritzner "Katedralskolens mest populære lærer i forrige hundreår". Han var født i Sokndal 17.09.1779, bodde i Fana og gikk på Bergen Katedralskole. Han ble student i 1799 og var huslærer i Leikanger før han dro til København for å studere teologi. Han gav imidlertid opp teologien til fordel for historie og språk, særskilt engelsk. Da Norge ble skilt ut av Danmark-Norge søkte han lærerstilling ved Trondhjems Katedralskole i november 1814, hvilket han fikk i mars 1815. Allerede i 1820 ble han overlærer og tjente etterhvert 600 spd. i årslønn. Han var ikke gift, og siden han bodde på skolen hadde han svært god økonomi. Ved Trondhjems Katedralskole underviste han blant annet i historie, geografi og latin og var en svært godt likt lærer med en behagelig karakter og personlighet. I 1838 søkte han om avskjed, antakelig pga sykdom. Ved avskjeden fikk han innvilget fikk 400 spd. i årlig pensjon. I sine pensjonsår flyttet Fritzner til Christiania hvor han nøt sin tilværelse, blant annet med mange av sine tidligere elever. Han døde 82 år gammel 07.11.1860. Han var en person som husket nesten alt, men som ikke maktet å skrive - derfor er det heller ingen skrifter etter ham. Imidlertid skrev Johan Sebastian Welhaven (1807-1873) en hyllest av et minnedikt om ham som lyder således:
OVERLÆRER OTTO THOTT FRITZNER
Han var en Vandrer fra det Fjerne,
der tyded svundne Tiders Tegn,
og dog han heftede saa gjerne
sit Blik ved Nuets Himmelegn.
Beredt paa sin Forvandlings Gry,
med vaagen Sjel han kunde dømme
det Spil af Liv i gamle Drømme,
som fængsle Verdens Hu paany.
Saa vandred han med Fred i Sindet,
og bar som Faa sin Alders Vægt,
og stærk ved Haabet og ved Mindet,
han fulgte med den unge Slægt.
Hans Dobbeltlys paa Mindets Vei,
og over Dødens Glemselsvande,
var Straalen af det evig Sande
og Sjelens Haab, der svigter ei.
Den Aandens Sæd, hans Liv har baaret,
skjød Rod i mangen Norges Dal,
og mens han hviled, sølverhaaret,
han havde end sin Læresal.
I Hegnet om hans Aftenstund
vi sadde ved hans Mimerskilde,
og skued i hans barnlig milde
og dog saa dybe Væsens Grund.
En Oldings Liv, saa skjønt bevæget,
er helligt paa sin Pilgrimsgang,
og derfor tankefuldt og kvæget
mangt Øie ved den Gamle hang.
Naar Sjelen lyste i hans Blik,
det var som om hans hvide Isse
af Freden, af det himmelsk Visse
en Aande og et Gjenskin fik.
Saa har hans ædle Vandring lignet
en Dag, der gaar i Klarhed ned;
saa er den Gamle kjendt og signet
i hver en Kreds, han dvæled ved.
Han lever ei i Rygtets Røst,
hans stille Færd, hans Navn skal glemmes;
men først skal dog hans Minde gjemmes
med Savn i mangt et trofast Bryst.
Liewe Marie
Hier's dit winter al weer, ennie wind ... o jinne
Ek lewe al weke betrap hier binne
Swart reën hamer teen die vensterruite
En die ys lê ses duim diep daarbuite
En jy weet ... op aande soos dié vra ek myself al weer -
Alles in ag geneem, wat die hel maak ek hier?
Weer is ellendig, dollar's amper niks werd
En SA pronk innie koerante soos 'n spogryperd
Ek lees julle het selfs misdaad bekamp
'n Paar jobs geskep en inflasie op sy kop gestamp
Is dit leuens, Marie, of issit werklik waar?
Soos jy weet ... ek twyfel oor alles in Afrika
Trekboer o mamma ek wil huis toe gaan
Ek verlang maar ek is bang
Vir Afrika, o Afrika
Saterdag het ek vir Piet Basson besoek
Daar was wors en tjops en pannekoek
En 'n klomp verlore Boere wat vriende soek
Almal het bewend langs die braai gestaan
Terwyl ons gasheer oor die swart gevaar aangaan...
Ou Piet kry e-mails van sy regse tjomme
Volgens sy bronne gaan dit nou sleg daaronder
Hy sê die Mandela-jare was net 'n wittebrood
En oor die langtermyn maak hulle al die witmense dood
Ek was lekker getrek, so ek sê, Piet, ou maat,
Jy's my vriend, maar eish, dis bog wat jy praat
Ons is net bang om te erken ons het fout gemaak
En Suid-Afrika verniet verlaat
Ja - hy't my gedonder
Trekboer o mamma ek wil huis toe gaan...
Jy weet, Marie, toe ek emigreer...
Ek het gelieg toe ek sê dat ek niks omgee
Ek dink aan jou gedurig, amper elke dag
En droom van jou in hierdie eindelose noordelike nag
Ek droom van die maanlig in Stellenbosch
Ons twee loop huis toe na 'n jol by die Dros
Daar's iets wild in jou oë, jy sê jy wil liefde maak
En ons kruip weg in die donker daar langs Dorpstraat
Ek droom van 'n strand ... moerse wit branders
Die son op my rug, jou lyf onder my hande
Ek lê op my bed, luister Madiba Bay
Strek uit my hand en daar lê jy langs my
Ag Marie...Ek wens alles kon anders wees,
Maar jy's 'n optimis, en ek's nou Kanadees
So ek wil net verneem hoe gaan dit met jou
En vra of jy ook nog vir my onthou
Die uwe,
Trekboer (Rian Malan)
And here is the music to accompany the picture...
A&E has not found this person\house; At what point does a neighbor step in and take action? The veiw of the outside of the house isn't that bad (at times). If you have walked around this neighborhood then you've seen the inside of the house via the windows, which is tremedous. I am not a home owner, nor am I the person who put this sign up! My question is- In your opinion, at what point does a neighbor step in, and take action?
Fotoo Arreglaa por mii mejor amiwoo de too el mundo *-* aunkee aveces el qLiaoo aande kon tooaa la weaa ¬¬ i mandee a la xuxaa a too el mundoo .. ii ma encimaa ura se creee randee por qe ta en la U ¬¬ ii too esoo lo adoroo wall por qee emos pasaoo miles de weas junto*-* ii lo amooooooooo (L) asii demaciiaoo aunke el wm aveces no peskee ni naa ¬¬ :L
naa ADRIAN ESTEBAN RAMIREZ RODRIGUEZ te adooroo amiwoo mejor te extraño demaciiaoo sii wm u.u en realidad io kasho qe traño kuando tabamo en el kolegiio ii weaabamo *-* oo kuandoo iivamo pa mi kasaa a komer :Z ii depee esaa vee le dijiimo a mi mama no si vamo a ir a ser un viideoo de ingles i nos juimo a la kasaa de la luzz a karretiar :O xD ii toos kuraos pa la kasaa de la makaa depee xD adkajdkadj putaa ke la pasamo iiem ii el karretee en tu kasaa :O xD i tooas las weas ke emos pasaoo te amoo ma qee la conshetumareee adrian :)
This is Lianne pulling a sad face, because i cut her thumb for her! We were waiting to pull into the hospital car park.
This Jeep for the Royal Netherlands Army was built by Nekaf ("Nederlandse Kaiser-Frazer Fabrieken") in Rotterdam. Between 1955 and 1958 Nekaf built Jeep model in license from Kaiser-Frazer.
A shot of call sign192, A WAS ambulance outside an A&E. Taken after I was on it in a 95mph thrash down a dual carrageway with a Police escort with a critically ill patient (i remember the sliding locker failing to open for me to get an oxygen cylinder out to ventilate from the vehicle into the department). Taken January 2007.
Sarah Pierce
Gag (2013) - installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Photo by Paul Greenwood
Sarah Pierce
Gag (2013) - installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Photo by Paul Greenwood
Eoghan McTigue
Empty Sign (TU, 2002) - installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Preview event
Photo by Paul Greenwood
Kya Baat Ay Dance Video | Harrdy Sandhu | Ar Rakib Choreography | Easy Hip Hop For Beginners Kya Baat Ay Dance Video | Harrdy Sandhu | Ar Rakib Choreography | Easy Hip Hop For Beginners Now Play Kya Baat Ay Dance Cover . This Song is sung by The Most popular singer Harrdy Sandhu . This Kya baat Ay dance Cover for beginners. Song Credit : Singer: Hardy Sandhu Lyrics: Jaani Music: B Praak Video by: Arvindr Khaira Starring: Hardy Sandhu, Carolina Moura Music Label: Sony Music India Cover Credit: Dancer : Ar Rakib & Nowsin Suvha Coreography: Ar Rakib ▼ Follow Me on Social▼ 🌐 Facebook : ift.tt/2zQaM3j 🌐 Facebook Page ift.tt/2j3gc3a 🌐 Twitter : :https://twitter.com/CrockxzRakib 🌐 Instagram : ift.tt/2zQaMAl 🌐 Google Plus : ift.tt/2j5asWB 🌐 For business inquiries: mdarrakib163@gmail.com Kya baat hai kids dance, Kya baat hai kids dance video, Kya baat hai kids dance performance, Kya baat hai kids dancing Kya baat hai girls dance video, Kya baat hai wedding dance, Kya baat hai wedding dance choreography, Kya baat hai bollywood dance videos, ,Kya baat hai bollywood dance videos, Kya baat hai dance choreography, Kya baat hai Bollywood dance choreography, Kya Baat Ay Lyrics Play kya baat ay Tera mukhda chaand da tukda Ni tere ainak, tere shoe Kya baat ay, aya baat ay Ni tera kajal karda ae pagal Hypnotize kare jatt nu Kya baat ay, aya baat ay Tere lakk ton tu lagda Karachi di Fan marjaniye Bugatti di Dil kare tere naal banneya ravaan Tere jism ch khushbu ilachi di Teri ankh te tikka nakk Te utton masha allah munh Kya baat ay, aya baat ay Ni tera kajal karda ae pagal Hypnotize kare jatt nu Kya baat ay, aya baat ay Tera kangna kangna kangna Kya baat ae? Lakk ni paaiyan Paaiyan badi hot marjaniye Tainu takk ke Mainu aande gande thought marjaniye x (2) Gallan ne gulabi vich toye nakhro Kar de ne munde hoye hoye nakhro Jehda tainu takk leve ik vaar ni 3-4 mahine taan na soye nakhro Teri chaal te gallan laal Te saari di saari hi tu Kya baat ay, aya baat ay Ni tera kajal karda ae pagal Hypnotize kare jatt nu Kya baat ay, aya baat ay Janni jaani jaani jaani jaani Jaani nu tu aa gayi aen pasand balliye Tappne nu phire tere kandh balliye Mainu seene naal la lai Naa keh no no no Tere bina mainu maar dun ae thand balliye Ni bull gulabi, karn sharabi Jutti kar di ae chu chu Tuhada kangna kangna kangna
Harry Eccleston - installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Preview event
Photo by Paul Greenwood
Jun Yang
Paris Syndrome (2007-8)
Installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Preview event
Photo by Paul Greenwood
Trust Your Struggle
Oscar Grant (2013)
Installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Photo by Paul Greenwood
Berthe Morisot
Jeann-Marie (1888)
Installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Preview event
Photo by Paul Greenwood
Sarah Pierce
Gag (2013) - installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Photo by Paul Greenwood
Fotograf: Erik Olsen.
År: 1897.
Format: Fotopositiv.
I følge historikeren Ludvig Daae var Otto Thott Fritzner "Katedralskolens mest populære lærer i forrige hundreår". Han var født i Sokndal 17.09.1779, bodde i Fana og gikk på Bergen Katedralskole. Han ble student i 1799 og var huslærer i Leikanger før han dro til København for å studere teologi. Han gav imidlertid opp teologien til fordel for historie og språk, særskilt engelsk. Da Norge ble skilt ut av Danmark-Norge søkte han lærerstilling ved Trondhjems Katedralskole i november 1814, hvilket han fikk i mars 1815. Allerede i 1820 ble han overlærer og tjente etterhvert 600 spd. i årslønn. Han var ikke gift, og siden han bodde på skolen hadde han svært god økonomi. Ved Trondhjems Katedralskole underviste han blant annet i historie, geografi og latin og var en svært godt likt lærer med en behagelig karakter og personlighet. I 1838 søkte han om avskjed, antakelig pga sykdom. Ved avskjeden fikk han innvilget fikk 400 spd. i årlig pensjon. I sine pensjonsår flyttet Fritzner til Christiania hvor han nøt sin tilværelse, blant annet med mange av sine tidligere elever. Han døde 82 år gammel 07.11.1860. Han var en person som husket nesten alt, men som ikke maktet å skrive - derfor er det heller ingen skrifter etter ham. Imidlertid skrev Johan Sebastian Welhaven (1807 - 1873) en hyllest av et minnedikt om ham som lyder således:
OVERLÆRER OTTO THOTT FRITZNER
Han var en Vandrer fra det Fjerne,
der tyded svundne Tiders Tegn,
og dog han heftede saa gjerne
sit Blik ved Nuets Himmelegn.
Beredt paa sin Forvandlings Gry,
med vaagen Sjel han kunde dømme
det Spil af Liv i gamle Drømme,
som fængsle Verdens Hu paany.
Saa vandred han med Fred i Sindet,
og bar som Faa sin Alders Vægt,
og stærk ved Haabet og ved Mindet,
han fulgte med den unge Slægt.
Hans Dobbeltlys paa Mindets Vei,
og over Dødens Glemselsvande,
var Straalen af det evig Sande
og Sjelens Haab, der svigter ei.
Den Aandens Sæd, hans Liv har baaret,
skjød Rod i mangen Norges Dal,
og mens han hviled, sølverhaaret,
han havde end sin Læresal.
I Hegnet om hans Aftenstund
vi sadde ved hans Mimerskilde,
og skued i hans barnlig milde
og dog saa dybe Væsens Grund.
En Oldings Liv, saa skjønt bevæget,
er helligt paa sin Pilgrimsgang,
og derfor tankefuldt og kvæget
mangt Øie ved den Gamle hang.
Naar Sjelen lyste i hans Blik,
det var som om hans hvide Isse
af Freden, af det himmelsk Visse
en Aande og et Gjenskin fik.
Saa har hans ædle Vandring lignet
en Dag, der gaar i Klarhed ned;
saa er den Gamle kjendt og signet
i hver en Kreds, han dvæled ved.
Han lever ei i Rygtets Røst,
hans stille Færd, hans Navn skal glemmes;
men først skal dog hans Minde gjemmes
med Savn i mangt et trofast Bryst.
Kilder:
Due, Erichsen & Øveraas: Trondheim Katedralskoles Historie 1152 - 1952 (Trondheim 1952) s. 294, 300-303, 306, 314, 339
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Utstillingstekst for bildet i Trondhjems 900 Aars Jubilæum: Katalog for Den Historiske Udstilling i Trondhjem 1897:
755-757. Fritzner, Otto Thott, f. 1779, d. 1860 i Kra., Søn af Johan F., Sognepræst til Fane (d. 1803); Lærer ved Trondhjems Skole 1815, Overlærer 1821, tog Afsked 1838 og flyttede 1841 til Kra.
755. OM., Brystbill. i fuld Størr., sign.: Harro [Harring] Christian[ia] 1850. No. 7. * Latinskolen.
756. Lithografi. I. W. Tegner lith. efter Photographi. I. W. Tegner og Kittendorfs lith. Inst. (Str. 830 d.) * Fru Rektor Müller, Kra.
757. Buste i Marmor (uden Signatur). H. 50 cm. * Latinskolen.
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Mer informasjon om kunsteren Harro Paul Harring i Store norske leksikon.
matt and chris came round tonight, for a few pre drinks before we were gonna go out in town with the second years. but matt decided to drink a whole bottle of vodka before we left, he got extremely drunk, to the point that he couldnt remember his own name... we tried to take him for a short walk to sober him up, but he fell over and hit his head on a curb, and had blood pouring out of his head. we called and ambulance and it took him to a and e. me and chris got there shortly afterwards, at around 12 oclock. he went straight into triage, and then we had to wait till 4:30 in the morning before he got seen by the doctors. i didnt get to bed till about 5:15 ish in the morning. this was taken at 4:30 in the waiting room whislt matt was being seen to by the doctors, i look like im smiling, im not sure why, i wasnt exactly happy haha
Sarah Pierce
Gag (2013) - installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Photo by Paul Greenwood
The Graphic
The End of the Commune
Installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Preview event
Photo by Paul Greenwood
Installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Preview event
Photo by Paul Greenwood
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Preview event
Photo by Paul Greenwood
Sarah Pierce
Gag (2013) - installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Photo by Paul Greenwood
Michelangelo Antonioni
Chung Kuo, Cina (1972)
Installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Preview event
Photo by Paul Greenwood
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Preview event
Photo by Paul Greenwood
Andreas Bunte
Kunstliche Diamanten (Artificial Diamonds, 2013)
Installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Preview event
Photo by Paul Greenwood
Sarah Pierce
Gag (2013) - installation view
Anguish and Enthusiasm
13 April - 18 August 2013
Cornerhouse, Manchester
Photo by Paul Greenwood
Roger Raveel is one of Belgium’s greatest post-war artists. He would have celebrated his 100th birthday in 2021. Raveel was born on July 15, 1921 in Machelen-aan-de-Leie in East Flanders (Belgium), where he continued to work and live until his death in 2013.
In a world in which the arts are increasingly international, he remained local. He did not choose for a particular school or movement but developed his own style. His exceptional visual language, balancing between figuration and abstraction, often inspired by his immediate surroundings, set him radically apart from his contemporaries.
A retrospective of his work was presented in Brussels (BOZAR) in 2021.
The outdoor scenes set in Raveel’s village, Machelen-aande-Leie, usually include the artist’s father as a character. The indoor scenes, by contrast, centre on Zulma, whom Raveel married in 1948. After the death of Raveel’s mother, Zulma De Nijs kept managing her liqueur shop in order to bring in some sorely needed income, the young couple being poorly off. In 1950 Raveel paints her at a small wooden table. Before Zulma are a number of objects. Everything was worth painting, he thought, including therefore the most banal, everyday things. That had to be possible in contemporary painting. And so he painted a chromed coffee pot (quite modern at the time), a wine glass, a book (the Bible?) and a small bowl. But why did he paint a revolver? It is a bizarre, rather mysterious object, which is completely out of place here. Raveel never gave an explanation for its presence. Whatever the case may be, it is a fact that he painted each object in a different way – the coffee pot as realistically as possible, the glass only in outline. As if there was not the slightest connection between the objects.