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Les députées européens demandent l'application de la parité pour les hauts postes de l'Union Européenne.
photo Loïc de Fabritus.
This Book of Hours was created in Hainaut, France, ca. 1450-60. The first owner was likely female, as a female donor is depicted on fol. 13v. Perhaps among the most noteworthy components of the book is the heraldry present throughout. Armorial shields were added early and identified by Michel Pastoureau as arms of a member of the Buves family of Picardy. There are two heraldic coats of arms: the first is of two gold lions, the second remains unidentified. While the armorial shields are sometimes present as stand-alone images, the two are often juxtaposed below prayers, such as Matins in the Hours of the Virgin, Compline in the Hours of the Virgin, and the Office of the Dead.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
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Doncaster Gate Hospital to be Demolished / Application made by Rotherham Council
Doncaster Gate Hospital Rotherham was originally known as the Rotherham Hospital and Dispensary from 1872 to 1948,
it later became the Doncaster Gate Hospital.[1] There had been a dispensary in Rotherham since 1806.
This was initially situated on Wellgate before a new dispensary was built on College Street in 1828.
Forty five years later this institution along with its finances was incorporated into the new hospital at Doncaster Gate.
Opened to patients in 1872 it was the first purpose built hospital in the town. At the cost of just over £9,000
it was only able to be erected and maintained as a result of subscriptions donated by every section of the community
encompassing ladies living on Moorgate to the workers in the surrounding factories
Some Plaques read
"1931 This tablet is to commemorate the generous
gift of £5700 from the miners welfare fund
towards the buildings & furnishings of this
out-patients department which forms part of
ROTHERHAMS WAR MEMORIAL"
--
This Building was Erected as a
Memorial to the men of Rotherham
who fell in the Great War 1914-18.
inc my uncle killed 22nd June 1916
I was watching one of the Leopard demoes Apple has on their website and in the demo of stacks, I saw an icon for Exposé! What's the point of this?
You'll have to go to the large size to read it.
Check-Out Best Android Movies Applications
These days, it becomes easily possible for people to watch their favorite movies in a bus, train or anywhere where they are feeling bore.
bdaily.co.uk/technology/24-05-2013/check-out-best-android...
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I don't like to leave them behind..
My friends, my familly and all the other people of Hostville.
But Blackhaven is in some serious trouble, when I say this, you probably think of super criminals and gangleaders, but thats not the only problem..
Blackhaven is full of the worst type of scum, the people that dare to call themself heroes, the people that don't care about human lifes.
The people that think there doing good.
They are only making it worse...
Name: John (last name unknown) AKA - Punchline
Attack: 16
Defence: 15
Agility: 16
Intelligence: 17
Charisma: 16
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Okay guys, this is my B4B application, I will make a backstory on him, but not right now.
While building this, I realized it looked alot like Peppersalts Wolverine build, so I made some slight changes.
We Work On Mobile Application Technology To Help You Get Wider Audience. Young Innovators is an organization that deals with everything that is related to web designing. They help you in creating things right from best SEO designed websites to logos and template designs. They provide all kinds of services that are needed to give you and your users, best viewing and usage experiences.
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With the growing usage of mobile applications, it has been proven that in the present economy, businesses are required to examine their relationship with their consumers based on their mobile experience, to keep money flowing in and the growth of business. Having mobile apps ensures a much deeper connection with the buyers. goo.gl/c2WUl
The application process was long and arduous. Applicants were forced to wait, fill out the application form, occasionally in triplicate, or with a different color, and then were subjected to an interview.
Usually these interviews consisted of the hiring manager and his 'sexretary' insulting the applicant and/or their heritage/physical traits. Applicants were then numbered and sent to work, or made to wait until a position was available.
π during Undergraduate Pilot Training Class 82-04 at Laughlin AFB in Del Rio, Texas. Application of π was introduced to our class as a way to address perceived or actual training failures of one sort or another. the strategy was that humiliation on the ground was much better than death after screwing up in the air. thankfully, i never got pied. if i had, i probably would have planned retribution. i expressed my opposition to this new pogrom when it was announced by our class commander, but as our attrition rate was over 40% at the time, i was outvoted. something had to be done. nothing like good old-fashioned negative reinforcement. strangely, this photo reminds me of RFK's last moments in the kitchen.
St Andrew, Westhall, Suffolk
I'm currently preparing a new page for Westhall at suffolkchurches.co.uk - I'm parking the old one here so it doesn't get lost forever.
Listen: come with me. We’ll set off from the Queen’s Head at Blyford, a fine and welcoming pub across the road from that village’s little church. Perhaps we’ll have just had lunch, and we’ll be sitting outside with a couple of pints of Adnams. You’d like to stay there in the sunshine for the rest of the afternoon, but I’m going to take you somewhere special, so stir yourself. You are probably thinking it is Holy Trinity at Blythburgh, Suffolk’s finest church a couple of miles away on the main A12. But it isn’t.
Nor is it St Andrew at Wenhaston, a mile away across the bridge, and home of the Doom, one of Suffolk’s greatest medieval art treasures. You’ve already seen that.
No. Within a few miles of the pub sign (notice that it features St Etheldreda, whose father King Anna was killed in battle on the Blyth marshes) there is a third of Suffolk’s finest churches. It is the least known of the three, partly because it is so carefully hidden, so secreted away, and partly because Simon Jenkins, inconceivably, unforgivably, missed it out of his book England’s Thousand Best Churches.This may yet have serious consequences, as we shall see.
Blyford is on the main road between Halesworth and Dunwich, but we are going to take a narrow lane that you might almost miss if you weren’t with me. It leads northwards, and is quickly enveloped by oak-buttressed hedgerows, beyond which thin fields spread. Pheasants scuttle across the road in front of us; a hare watches warily for a moment before kicking sulkily back into the ditch (we are on foot perhaps, or bicycle). Occasional lanes thread off towards the woods and the sea.
After a couple of miles, we reach the obscenity of a main road, and cross it quickly, leaving it behind us. Now, the lane narrows severely, the banks steepening, trees arching above us. They guard the silence, until our tunnel doglegs suddenly, and an obscure stream appears beyond the hedgerow. Once, on a late winter afternoon, my dream was disturbed here by a startled heron rising up, its bony legs clacking dryly as it took flight over my head. I felt the rush of its wings.
This road was not designed for cars. Instead, it traces the ancient field pattern, cutting across the ends of strips and then along the sides, connecting long-vanished settlements. The lane splits (we take the right fork) and splits again (the left) and suddenly we are descending steeply into a secret glade shrouded in ancient tree canopies. The lane curves, narrows and opens – and here we are. Still, you might not notice it, because the church is still camouflaged by the trees, and the absurdity of the neighbouring bungalow with its kitschy garden may distract you; but to your right, in a silent velvet graveyard sits St Andrew, Westhall. It has been described in one book as Suffolk’s best kept secret.
I hope that I can convey to you something of why this place is so special. Firstly, notice the unusual layout of the building as you walk around it. That fine late 13th century tower, not too high despite its post-Reformation bell-stage, organic and at one with the trees; the breathtaking little Norman church that spreads to the east of it. And then, to the north, a large 13th century nave, thatched and rustic. It was designed for this graveyard, for this glade. Neither has changed much. Beyond it, the grand 14th century chancel, rudely filling almost the entire east end of the graveyard. Perhaps as we step around to the north side the same thing will happen as happened to me one muggy Saturday afternoon in July 2003 – a tawny owl sat watching me on a headstone, and then threw itself furiously into the air and away.
Your first thought may be that here we have two churches joined together – and this is almost exactly right. You can see the same thing on a similar timescale at Ufford, although the development there is rather more subtle than it is here.
Here at Westhall, there was a Norman church – an early one. Several hundred years later a tower was built to the west of it, and then the vast new nave to the north. A hundred years later came the chancel. Perhaps the east end of the Norman church was rebuilt at this time. Mortlock thinks that there was once a Norman chancel, and this may be so. The old church became a south aisle, the particular preserve perhaps of the Bohun family. They married into the famous Coke family, who we have already met at nearby Bramfield.
And so, we step inside. We may do so through the fine north porch; it is a wide, open one, clearly intended for the carrying out of parish business. It was probably the last substantial part of the church to be built, on the eve of the Reformation. The door appears contemporary. Or, I might send you round to step in through the Norman doorway on the south side, into the body of the original church.
You expect dust and decay, perhaps, in such a remote place. But this is a well-kept church, lovingly maintained and well-used. Although there are a couple of old benches scattered about, most of the seating is early 19th century, with that delightful cinema curve to the western row which was fashionable immediately before the Oxford Movement and the Camden Society sent out their great resacramentalising waves, and English churches were never the same again.
If you step in from the south, then you are immediately confronted with something so stunning, so utterly wonderful, that we are going to pretend you cannot believe your eyes, and you pass it by. Instead, draw back the curtain, and step into the space beneath the tower. Walk to the western wall, and turn back.
You are confronted with the main entrance of a grand post-conquest church, probably about 1100. Surviving faces in the unfinished ranges look like something out of Wallace and Grommit. Above, an arcade of windows, the central one open. Almost a thousand years ago, it would have thrown summer evening light on the altar.
As you step back into the aisle, it is now easy to see it as the nave it once was. The northern wall has now gone, replaced by a low arcade, and you step through into the wideness of the modern (it is only 600 years old!) nave.
Here, then, let us at last allow ourselves an exploration of Suffolk’s other great medieval art survival. This is Westhall’s famous font, one of the seven sacrament series, but more haunting than all the others because it still retains almost all its original colour.
The Mass panel is the most familiar, because it is the cover of Eamonn Duffy’s majestic The Stripping of the Altars. The other panels, anti-clockwise from this, are Last Rites, Reconciliation, Matrimony, Confirmation, Baptism, Ordination, and the odd panel out, the Baptism of Christ.
The font asks more questions than it answers. How did it survive? Suffolk has 13 Seven Sacrament fonts in various states of repair. Those nearby at Blythburgh, Wenhaston and Southwold are clearly from the same group as this one, but have been completely effaced. Other good ones survive nearby at Weston and Great Glemham, at Monk Soham, at neighbours Woodbridge and Melton, neighbours Cratfield and Laxfield, at Denston in the south west and at Badingham. We don’t know how many others there might have been; probably not many, for most East Anglian churches have a surviving medieval font of another design. The surviving panels were probably plastered over during the long puritan night (the damage to the figures is probably a result of making the faces flush rather than any attempt at iconoclasm) but they were also all probably once coloured. So why has only this one survived in that state?
The other feature of the font that is quite, quite extraordinary is the application of gessowork for the tabernacled figures between the faces. This is plaster of Paris which is moulded on and allowed to dry – it can then be carved. It is sometimes used on wood to achieve fine details, but rarely on stone. Was it once found widely elsewhere? How has it survived here?
If it was just for the font, then St Andrew would still be an essential destination for anyone interested in medieval churches. But there are several other features that, in any other church, would be considered equally essential.
There is the screen. It is a bit of a curiosity. Firstly, the two painted ranges are clearly the work of different artists. On the south side are female Saints, very similar in style to those on the screen at Ufford. The artists helpfully labelled them, and they are St Etheldreda (the panel bearing her left half has been lost) St Sitha, St Agnes, St Bridget, St Catherine, St Dorothy, St Margaret of Aleppo and finally one of the most essential Saints in the medieval economy of grace, St Apollonia - she it was who could be asked to intercede against toothache. With the possible exception of St Margaret, modern Anglicans would think of all of these as peculiarly Catholic Saints, a reminder that St Andrew was built, after all, as a Catholic church.
The depictions on the northern part of the screen are much simpler (Pevsner thought them crude) and are probably painted by a local artist. Note the dedicatory inscription along the top on this side; it is barely legible, but the names Margarete and Tome Felton and Richard Lore and Margaret Alen are still discernible. I think the figures on this screen are equally fascinating, if not more so. They are all easily recognisable, and are fondly rendered. With one remarkable exception, they are familiar to us from many popular images.
The first is Saint James in his pilgrim's garb, as if about to set out for Santiago de Compostella. The power of such an image to medieval people in a backwater like north-east Suffolk should not be underestimated. Next comes St Leonard, associated with the Christian duty of visiting prisoners - perhaps this had a local resonance. Thirdly, there is a triumphant St Michael, one of the major Saints of the late medieval panoply, and then St Clement, the patron Saint of seafarers. This is interesting, because although Westhall is a good six miles from the sea, it is much closer to the Blyth river, which was probably much wider and faster in medieval times. It seems strange to think of Westhall as having a relationship with the sea, but it probably did.
Next comes the remarkable exception. The next three panels represent between them the Transfiguration; Christ on a mountain top between the two figures of Moses and Elijah. It is the only surviving medieval screen representation of the Transfiguration in England. Eamonn Duffy, in The Stripping of the Altars, argues that here at Westhall is priceless evidence of the emergence of a new cult on the eve of the Reformation, which would snuff it out. Another representation survived in a wall painting at Hawkedon, but has faded away during the last half century.
The last panel is St Anthony of Egypt, recognisable from the dear little pig at his feet. I wonder if it was painted from the life.
There is a fascinating wall painting against the north wall. It shows St Christopher, as you might expect. St Christopher was a special devotion in the hearts of medieval churchgoers, and usually sits opposite the main entrance so that they could look in at the start of the day and receive his blessing. As a surviving inscription at Creeting St Peter reminds us, anyone who looks on the image in the morning would be spared a sudden death that day. It is the other figures in the illustration that are remarkable, though, for one of them is clearly Moses, wearing his ‘horns of light’ (an early medieval mistranslation of ‘halo’).
There are a couple of other wall-paintings, including a beautiful flower-surrounded consecration cross beside the south door, and a painted image niche alcove in the eastern splay of a window in the south wall. This is odd; it should have a figure in it, but none appears to have been painted there. Perhaps it was intended to have a statue placed in front of it, but the window sill is very steep, and it is hard to see how a statue could have been positioned there. DD surmised that there had once been a stand, the base of which was canted in some manner, and that the sill had once been less steep (the base of the painting seems to suggest this). Whatever, it is very odd.
Between the painted niche and consecration cross there are surviving traces of a large painting; it seems to consist of the leafy surrounds of seven large roundels. Mortlock wondered if it might have been a sequence of the Seven Works of Mercy as at Trotton in Sussex, but there is insufficient remaining to tell.
Nicholas Bohun's tomb, in very poor repair, sits in the south-east corner; an associated brass gives you rather more information than you might think you need. A George III royal arms hangs above.
If you haven't lost your appetite for the extraordinary, come back up into the apparently completely Victorianised chancel. Chalice brasses are incredibly rare, because of their Catholic imagery. Westhall had two of them, although unfortunately only the matrices survive. Then, look up; on one of the roof beams is an image of the Holy Trinity, with God the Father holding the Crucified Christ between his knees. There is probably a dove as well, although that is not visible from the ground. Indeed, the whole thing is too small, as if the artist hadn't really thought about the scale needed for it to be seen from the chancel floor.
So there we are, I've let you in on Suffolk's best-kept secret. But I said earlier that I was afraid Simon Jenkins’s omission of this church might have serious consequences. Here is why: there is an ongoing programme of essential repairs, and the church has had to raise tens of thousands of pounds at fairly short notice. The parish has less than a hundred people living in it, and the congregation is barely in double figures. The church is clearly a national treasure, and its continued survival is essential; but it is difficult to convince people of this, because it has been missed out of what is increasingly being treated as a heritage wish-list. It was bad enough that Pevsner’s books were used as arbiters of what should survive when redundancies loomed in the 1970s; it would be appalling if the Jenkins book was used in the same way now.
Tinted grisaille illustration
This allegorical text written in vernacular verse was inspired by Guillaume de Lorris's and Jean de Meun's Roman de la Rose. Composed in 1330-1332 CE by Guillaume de Digulleville with a second recension in 1355 CE, this text represents the earlier of the two versions. Produced in Northeast France in 1370 CE, the Walters' copy contains a frontispiece miniature with a portrait of the author, as well as eighty-three tinted grisaille illustrations. These illustrations are based on models consistent with contemporary thematic choices and contain abundant anecdotal detail, lending character to the text. As of spring 2014 the Institute for the Study of Textual History, Romance Languages in France has been gathering all reproductions of Digulleville's manuscripts. W. 141 is one of the few copies outside of France.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Work at Pacific Northwest National Laboratory (PNNL) includes the preparation and testing of lithium ion batteries and lithium/air batteries for vehicle and other mobile applications. As America and other nations look for alternatives to costly and environmentally-challenging fossil fuels, electricity continues to be an attractive energy option. Mobile—or transportation—energy storage will be critical to meet America’s aggressive vehicle electrification goals.
In this photo: PNNL Scientist Jie Xiao
For more information, visit www.pnl.gov/news
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory." Please use provided caption information for use in appropriate context.
AkkenCloud™ at the ASA’s 2013 Staffing Law Conference demonstrating features of their software like application tracking.
Anxiety is a lightweight leopard-only to-do application that syncs with iCal and Mail. To download or read more, visit www.anxietyapp.com/
This shot shows the app's "list window". The close button in the top-left hand corner closes/fades out the application window, but the application remains active - ready to bring up the list window with a click of the menubar item or through a click to the dock item. The "tick" button in the top-right-hand corner, when clicked, slides down the add task sheet. Finally, as you can see, the list only shows you your uncompleted tasks, and ticking a task off results in it lingering for a split second before being removed from the list (it is set as completed, though, and still can be seen in Mail or iCal). Double-clicking a task in the list results in it being opened in either iCal or Mail (depending on your preference) for extended editing.
Infographics of the NRC Locations of New Nuclear Power Reactor Applications from the 2017-2018 Information Digest, NUREG 1350, Volume 29.
Updated in October 2017
For more information go to: www.nrc.gov/reading-rm/doc-collections/nuregs/staff/sr1350/
Visit the Nuclear Regulatory Commission's website at www.nrc.gov/.
To comment on this photo go to public-blog.nrc-gateway.gov/2012/04/01/nrc-moves-its-publ....
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Privacy Policy: www.nrc.gov/site-help/privacy.html.
For additional information contact: OPA Resource.
The new CAFNR app is the best way to connect with the MU College of Agriculture, Food and Natural Resources. The smart phone app features stories, highlights events, showcases CAFNR’s Agricultural Research Centers and provides users a way to easily connect to the college’s social media accounts.
Photo by Kyle Spradley | © 2014 - Curators of the University of Missouri
President Edens wrote this response to Virgil Stroud when he applied to Duke. He notes that there has been "no change in policy" (meaning Duke's unwritten policy of not admitting black students) and suggests several schools that Stroud might be interested in attending.
Repository: Duke University Archives. Durham, NC. library.duke.edu/uarchives
Trying to locate this photo at the Duke University Archives? You’ll find it in the A. Hollis Edens papers, circa 1850s - 1976.
Site specific sculpture - plaster, yoghurt, chicken wire.
A site specific sculpture rises from the soil in the woods. Covered in yoghurt, it is gradually colonized by fungi, mould and vegetation. As the plaster rots and the chicken wire rusts, the form disintegrates, becoming one with it's environment. A walking stick, concealed in it's supporting arm is the only remaining fragment.
This is an illustrated and illuminated composite volume of three poetic texts: the Khamsah (quintet) of Niẓāmī Ganjavī (d. 605 AH / 1209 CE), the Khamsah (quintet) of Amīr Khusraw Dihlavī (d. 725 AH / 1325 CE), and the Timūrnāmah (Epic of Timur) by ʿAbd Allāh Hātifī (d. 927 AH / 1520 CE), also known as the Ẓafarnāmah. The texts are written in black naskh script, with titles, section headings, and incidentals in white or red tawqīʿ/riqāʿ script. It was produced in the tenth century AH / sixteenth CE, in either India or Safavid Iran. The binding is not original to the manuscript. According to a note on front flyleaf iia, the codex was re-bound and restored by a bookbinder of Tabriz, Khwand Mullā Mahdī Ṣaḥḥāf-i Tabrīzī in 1295 AH /1878 CE.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Groundbreaking for ReNuAL (Renovation of the Nuclear Application Laboratories), Celebration of the 50th Anniversary of the Joint FAO/IAEA Division. Seibersdorf, Austria, 29 September 2014.
Front row left to right: IAEA Director General Yukiya Amano, Marta Ziakova, newly elect Chairperson, IAEA Board of Governors 2014-2015 and Maria Helena Semedo, FAO Deputy Director General and Coordinator for Natural Resources, Kwaku Aning, IAEA Deputy Director General and Head of the Department of Technical Cooperation and Alexander Bychkov, IAEA Deputy Director General and Head of the Department of Nuclear Energy.
Photo Credit: Dean Calma / IAEA