View allAll Photos Tagged Relateable
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
El Relator de la CIDH, Rodrigo Escobar Gil, con la Ministra de Justicia y Derechos Humanos, Ana Pineda, en la residencia del Presidente de la República. 2 de agosto de 2013
The actions of these police officers have helped to enable an immoral and illegal occupation that is having a severely deleterious effect on the people and nation of Iraq, as well as on the USA.
The local police were armed with chemical weapons and the police used them against nonviolent and peaceably assembled protesters who were engaged in a petition for redress of grievances relating to the illegal occupation of Iraq and Afghanistan, as well as a petition to redress grievance relating to, and protest against, the foreign policy of global dominance (by means of aggression) as it is expressed in the general militarization of society.
As most people collect, they end up meeting interesting people that they can relate to. I've certainly met my share of them, and have managed to obtain a few pieces with some assistance from them. As a result, hailing all the4 way from Singapore, we have the Hot Toys Exclusive (whatever that means) Avengers 2: Age of Ultron - Maria Hill figure.
I know they weren't super expensive back in the day (MSRP I mean), but by the time Sideshow got their hands on it, this figure cost $215 USD, which definitely cost more than your run of the mill figure back in the day, all the while being less equipped than they were. I managed to snag one that was opened and resealed in a box for $170 USD shippped.
You get the figure, 3 pairs of hands, walkie talkie, Bluetooth earpiece, and a pistol. Oh, and the usual base/stand.
Now, I learned about Pleather deterioration, but completely forgot about how tropical weather like in Singapore would affect a figure. It's not the worst I've seen, as some of my Widows have similar damage, but they've lived in Canada all their lives.
But it is unfortunate seeing how I didn't exactly score this figure for Garage Sale prices. I'm hoping my coats of leather paint prevents things from getting worse.
What I wasn't expecting was the effect of humidity on paint in contact with plastic. Hot Toys gave the sculpt some lovely blush to accentuate her cheeks. Well, that all turned from pink to yellow, so it looks kinda weird.
Unfortunate, but I treat it as a learning lesson on things to look out for when I finally make my way back to Asia to unleash holy hell on the secondary toy market.
So with the downers out of the way, the rest of the figure is pretty standard. I believe Maria uses a slightly taller version of the Widow body, which is a bit tall and narrow in the torso, but overall is a closer match to Colbie Smulders than Scarlett Johansson.
Maria was made when they still made softer fabric uniforms. I'd describe the feel of what she's wearing as being whatever Jeggings are made from. The upper body generally has full use of its faculties - unfortunately the body doesn't have Butterfly style shoulders, which is unfortunate as Maria could have really used them, especially for her pistol and arm crossed poses. Legs are restricted despite the softer fabric, though isn't as bad as with Winter Soldier Black Widow.
The head sculpt I'm actually quite impressed with. It's not perfect - they never are and if anyone says so, they're probably just not looking hard at the thing... or in some instances, not looking at all. The eyes are off, and the sculpted hair throws things off. But ultimately, it comes down to the jaw being too square, even for Colbie Smulders. On the whole, however, its probably 70 - 80% there, which is a lot more than I can say about any Black Widow up to that point, and Hot Toys accomplished that with one try as well.
Paint, I'm not really in a position to comment on. But, it appears if you can see past the discoloration, you'll see that the usual high quality is there. Build Quality is the usual high level, with nothing falling apart aside from the Pleather.
Overall, despite being a simpler figure I have to say I certainly like this better than I liked AoU Widow, which was just.. weird from a MCU perspective as well as from a Hot Toy perspective. I'll probably have to hunt down a WS Nick Fury to pair with her, but this time I'll be sure to make sure everything is is one piece.
Relating to Cardiff's public telescope situated atop Penylan Hill for much of the 20th century. More info on my blog here:
ilovesthediff.tumblr.com/post/12236378058/i-should-be-dis...
The Problems Relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as Reported in Foreign Press (1904-2002). "Herculaneum / Excavations and Restorations 1710-2009." POMPEIVIVA - SSBANeP 2010.
Fonte/ Sourse: POMPEIVIVA - "Herculaneum / Excavations and Restorations 1710-2009." POMPEIVIVA - SSBANeP 2010.
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
立法會改善基層住户居住環境事宜小組委員會探訪劏房家庭及參觀位於酒店和賓館的過渡性房屋項目
立法会改善基层住户居住环境事宜小组委员会探访劏房家庭及参观位于酒店和宾馆的过渡性房屋项目
LegCo Subcommittee on Issues Relating to the Improvement of Living Conditions of the Grass-roots Tenants visits families at sub-divided units and transitional housing projects in a hotel and a guesthouse (9.8.2022)
立法會中醫藥發展事宜小組委員會參觀香港標準及檢定中心
立法会中医药发展事宜小组委员会参观香港标准及检定中心
LegCo Subcommittee on Issues Relating to the Development of Chinese Medicine visits the Hong Kong Standards and Testing Centre (2015.04.27)
This relates to the time when people used to keep livestock in their backyards { My grandparents used to keep chickens many years ago.} I don't think many people would have kept Pigs in the yard. So it is possible that this road name relates to a butchers shop or a city farm.
One story relates how, while Nicholas was visiting a remote part of his diocese, several citizens from Myra arrived with the news that, in his absence, the ruler of the city, Eustathius, had condemned three innocent men to death. Nicholas set out immediately for home. Reaching the outskirts of the city, he asked those he met on the road if they knew what had happened to the prisoners. Informed that their execution was to be carried out that morning, he hurried to the executioner's field, where he found a large crowd of people and the three men kneeling with their arms bound behind them, awaiting the blow of the sword. Nicholas passed through the crowd, took the sword from the executioner's hands and threw it to the ground, ordering that the condemned men be freed from their bonds. Later the ruler sought the saint’s forgiveness. Only after a period of public repentance did Nicholas absolve him.
Ilya Repin's painting of the same scene: www.flickr.com/photos/jimforest/995851770/
Kinetic: Relating to, caused by, or producing motion.
These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.
Most of these are shot outdoors where I have the room to literally spin and throw my little camera several feet up into the air, with some throws going as high as 15 feet or more!
None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.
Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.
To read more about Kinetic Photography click the Wikipedia link below:
en.wikipedia.org/wiki/Kinetic_photography
Albeit supremely risky this is one of my favorite ways to produce abstract photographs.
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If you'd like to see more please check out my set, "Vertigo:"
www.flickr.com/photos/motorpsiclist/sets/72157630591282642/
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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.
Description: Page of Glen Dawson memoirs relating to several college winter sports trips with Dr. Walter Mosaur and other early notable ski mountaineers. Covers years 1933-36.
Photographer: N/A
Donor: Glen Dawson
Original: Paper holdings of Angeles Chapter Archives
Credit: Glen Dawson Collection, Sierra Club-Angeles Chapter Archives
Photo ID (file name): Dawson G 1398
NO KNOWN COPYRIGHT RESTRICTIONS:
By asserting "no known copyright restrictions," the SIERRA CLUB ANGELES CHAPTER HISTORY COMMITTEE is sharing the benefit of our research without providing an expressed or implied warranty to others who would like to use or reproduce the photograph. This means that we are unaware of any current copyright restrictions on the works so designated, either because the term of copyright may have expired without being renewed, because no evidence has been found that copyright restrictions apply, because the original creator has granted us permission to post the image on the Internet, or because we own the copyright but are not exercising that control. The HISTORY COMMITTEE cannot guarantee that private or commercial use of the images shared herein will not violate the rights of unidentified copyright holders and we cannot be responsible for any liability resulting from the use of these images.
If you make use of a photo from this source, you are reminded to conduct an independent analysis of applicable law before proceeding with a particular new use.
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
Played my ukulele today, both tim minchin and lucy spraggan released music today so that was pretty exciting.
立法會動物權益事宜小組委員會視察位於西貢的流浪牛遷移地
立法会动物权益事宜小组委员会视察位于西贡的流浪牛迁移地
LegCo Subcommittee to Study Issues Relating to Animal Rights visits a site in Sai Kung for relocated stray cattle (2017.11.14)
Young Giraffe at the Albquerque Zoo
2007
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Orphan Works Act
If you don’t register every photo and work of art in government certified private databases, you are about to give the legal right for anyone to infringe on your copyright.
“The Orphan Works Act of 2008”, (H.R. 5889) and the “Shawn Bentley Orphan Works Act of 2008” (S.2913), were released to the House of Representatives and the Senate recently. While at first glance the law seems to be a ‘last resort’ for a search for the owner of any photograph, artwork or sculpture, the devil, as they say, is in the details.
An “orphan”, as it relates to this legislation, is an original creative work such as a photograph, graphic image, or sculpture, which is still protected by its term of copyright, but the copyright holder can’t be found. Actually, this bill makes it easy for searchers to pretend it’s hard not to find copyright holders!
REGISTRIES WILL REMOVE YOUR COPYRIGHT PROTECTION!
CONTACT YOUR LEGISLATOR:
Go to www.usa.gov/Contact/Elected.shtml to quickly find the phone number, address, e-mail of every U.S. Senator, U.S. Representative, Governor and State Legislator. Please be polite. Threats only work against us artists. We need to make a professional impression to be taken seriously.
Make yourself be heard. Protect your creations. Every voice counts and so does your right to control your own creations. YOU NEED TO WRITE LETTERS NOW!
We only have a few days to make ourselves heard, as the Senate and House will only allow a short time for comments. Call them, send e-mails and fax letters.
excerpts from www.sellyourtvconceptnow.com/orphan.html
Please read up on this, become informed and based on that decision: NOTIFY YOUR CONGRESSMEN of your opinion!!!! You can tell them how you want them to vote! If enough people speak out against this, we are sure to make a difference! MAKE YOUR VOICE HEARD!
This affects EVERYONE, not just professional photographers (I'm not one). You could lose copyright to your own personal snapshots as well.
Dundalk overwhelm Bangor in All Ireland Final
by Roger Corbett
Bangor’s amazing run in the All Ireland Junior Cup came to an abrupt end when they were comprehensively beaten by Dundalk, eventually losing by 55-5.
Where do you start when trying to relate and absorb the events of Saturday’s final at Chambers Park? Firstly, congratulations to worthy winners Dundalk who nullified the Bangor attack, then went on to produce some stunning plays which racked up no less than 8 tries, each by a different player. For Bangor’s part, they were unable to respond to the intensity of Dundalk’s game, and lacked the cutting edge which their opponents used to great effect.
The day started full of promise, as the strong support from North Down made their way to Chambers Park in Portadown, knowing Bangor would be fielding their best team. Once again, the pundits had Bangor as the underdogs – just as they had done so in the previous three rounds! In confounding the experts earlier, Bangor produced some awesome performances against top quality opposition to get to the final. Dundalk had produced some convincing wins in the early rounds of the competition, but had struggled to get past CIYMS in the semi-final, just managing to squeeze ahead at the second time of asking. However, with a number of key players returning to the side in time for this game, they were now back at full strength and would be a formidable force to contend with.
Having won the toss, captain Jamie Clegg elected to play into the stiff wind in the first half. For the first 5 minutes, Bangor doggedly retained possession and tried to play their way into Dundalk’s half through a series of determined forward moves. However, little ground was made and, when possession was finally lost, the Dundalk back line produced a burst that simply cut through the Bangor defence resulting in an easy touch down under Bangor’s posts for a 7-0 lead.
Bangor stuck to their plan and slowly, but patiently, got their attack moving forward, eventually winning a penalty to the left of Dundalk’s posts, but Mark Widdowson’s kick into the wind drifted just wide of the mark.
The contrast in play between the two teams was becoming clear, with Bangor trying to keep the ball close while Dundalk were throwing it wide. The latter strategy was proving to be the more effective as, with 20 minutes gone, a quick back line move with players looping around resulted in an overlap on the right wing which gave a clear run in to again, score under the posts. A further 9 minutes later, they did it again and, although the Bangor defence had sensed the danger and moved across to cover it, their tackling let them down allowing Dundalk to get over in the right hand corner, taking their lead to 19-0.
By now, Bangor were trying to hang on until half time when they could regroup and come out with the wind at their backs. Dundalk, on the other hand were anxious to press home their advantage and give them a more comfortable lead. To Bangor’s credit, although camped on their own line for lengthy spells, they dug in and managed to hold on until the referee’s half time whistle.
As the teams reappeared from the dressing rooms, it was obvious Bangor were ringing the changes, particularly in the backs. With the wind advantage having lessened considerably, Bangor got the second half underway. It was now Dundalk’s turn to adopt the slow, steady approach, just as Bangor had done earlier. However, their more confident off-loading and support play was, once again, taking play deep into Bangor’s territory. Frustration at not being able to gain possession and take play out of their danger area eventually resulted in a yellow card for Clegg after a succession of penalties. Dundalk kicked the penalty to touch, won their lineout and drove for the line. Although initially held up by the Bangor defence, Dundalk’s repeated drives were eventually rewarded with another converted score, extending their lead to 26-0.
From the touchline, the Bangor faithful had felt that if their players had managed to score first in the second half, they may have been able to mount a fight-back and close the gap to their opponents. As it was, this Dundalk score simply bolstered their confidence and pushed Bangor deeper into trouble. With Bangor still a man down, Dundalk added to the score with a penalty and then another score in the corner. Everything was now working for the Leinster men, as even the difficult touchline conversion into the biting wind successfully split the posts, bringing the score to 36-0.
As the game entered the final quarter, and with Dundalk all but holding the cup, Bangor were now on the ropes. By contrast, the Dundalk players were in almost total control, and were not going to slow down now. In a 10 minute spell, they ran in a further 3 tries, making the scoreline 55-0. By now, any sense of dejection the Bangor supporters may have been feeling was now moved to feelings of sympathy for their players. However, pride was at stake and once again Bangor rallied as the game entered its final minutes. At last, the forwards got within striking distance of the Dundalk line and, although their repeated attacks were repelled, they finally managed to do what their opponents had done so effectively, and quickly passed the ball wide to Davy Charles. Even though they were 55 points ahead, the Dundalk defence made Charles work hard to drive through the tackles and score Bangor’s consolation try, bringing the final score to 55-5.
From Bangor’s point of view, the final score doesn’t tell the whole story of this competition. While the final may have resulted in a sad anti-climax for Bangor, the remarkable journey to get there will be remembered for some time. On the day, Dundalk were by far the better side, and Bangor would have to concede that their game was not up to the usual standard. However, there is no doubt the experience of competing at this level is something to relish and the goal now will be to secure a top four place in the league and try again next year.
Everybody at the club has nothing but the highest respect and praise for what has been achieved this year by not just the 1sts, but all the senior teams, and one poor result isn’t going to change that – the welcome at Upritchard Park for the returning players is testament to that. With that in mind, the players now need to put this disappointment behind them and provide the best possible response against a struggling Portadown side at home in the league next Saturday.
Bangor side: J Leary, A Jackson, P Whyte, F Black, G Irvine, R Latimer, J Clegg, C Stewart, R Armstrong, K Rosson, D Charles, M Aspley, M Weir, M Widdowson, C Morgan
Subs: S Irvine, O McIlmurray, D Kelly, M Rodgers, C Harper, D Fusco, M Thompson
Bangor scores: D Charles (1T)
Dundalk Storm To Title Dundalk 55 v Bangor 5 from KnockOn.ie
Dundalk Scorers: Christopher Scully, Owen McNally, Jonathan Williams, John Smyth, Ultan Murphy, Tiernan Gonnelly, James McConnon and Stephen Murphy 1 try each. Ultan Murphy 6 cons, 1 pen.
Bangor Scorers: David Charles 1 try.
In front of a big crowd at Chambers Park on Saturday afternoon Dundalk delivered a stunning and ruthless display to see off the challenge of Bangor and capture the All Ireland Junior Cup title for the very first time.
Three first half tries had them firmly in control at 19-0 ahead having played with the elements at the Portadown venue during the first half and while the wind dropped somewhat after half time the Dundalk intensity most certainly didn’t as they cut loose scoring five more tries.
Dundalk returned to a heroes welcome at their Mill Road clubhouse on Saturday night after a display of pure brilliance throughout the afternoon.
Precision, pace and skill from the Louth men from start to finish left Bangor playing second fiddle for long periods.
立法會鐵路事宜小組委員會視察港鐵南港島線 (東段)
立法会铁路事宜小组委员会视察港铁南港岛线 (东段)
LegCo Subcommittee on Matters Relating to Railways visits MTR South Island Line (East) (2016.12.12)
立法會銀齡咭相關事宜小組委員會參觀樂齡科技教育及租賃服務中心
立法会银龄咭相关事宜小组委员会参观乐龄科技教育及租赁服务中心
LegCo Subcommittee on Issues Relating to the Silver Age Card visits Gerontech Education and Rental Service Centre (2021.07.20)
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
La scène, relatée par trois des quatre Evangiles (Marc, Matthieu et Luc), se déroule juste après le baptême du Christ. Retiré dans le désert après quarante jours de jeûne, Jésus rencontre le diable, dans un épisode que la tradition qualifiera de « tentation du Christ ». Satan multiplie alors les suggestions – transformer des pierres en pain, sauter dans le vide pour voir si Dieu le sauve, obtenir le pouvoir sur tous les royaumes du monde en échange de son allégeance – et Jésus les refuse. « Après l’avoir tenté de toutes ces manières, le diable s’éloigna de lui jusqu’à un moment favorable », conclut Luc, énigmatique.
Mais quel est le sens de cet épisode, central durant la liturgie du carême ? Le diable existe-t-il vraiment, ou n’est-ce qu’un symbole ? Des siècles de controverses théologiques n’ont pas suffi à épuiser cette question. Même au sein de l’Eglise catholique, dont les dogmes sont pourtant fixés et centralisés par Rome, le débat n’a jamais été totalement tranché.
« Nous avons créé des figures symboliques, comme le diable, pour exprimer le mal », déclarait par exemple au quotidien espagnol El Mundo, le 31 mai 2017, le père Arturo Sosa, alors fraîchement nommé supérieur de la Compagnie de Jésus. « Les symboles font partie de la réalité, et le diable existe en tant que réalité symbolique et non en tant que réalité personnelle », réitérait-il en août 2019, dans une interview à l’hebdomadaire catholique italien Tempi.
Le diable, un symbole ?
Les propos du « pape noir » – nom habituellement donné au supérieur des jésuites en raison de son pouvoir ecclésial – ont à chaque fois suscité une levée de boucliers dans les milieux cléricaux. Il faut dire que sa vision s’oppose à celle d’un autre jésuite, et pas des moindres : le pape François.
Relates to UNDP-supported LDCF-funded project ‘Enhancing National Food Security in the Context of Global Climate Change’ www.adaptation-undp.org/projects/kiribati-denhancing-nati...
Acrylic on panel installation (part 2), 25" x 98", 2013. Installed at 516ARTS in Albuquerque, New Mexico.
Wake Forest students learn the history of the 1918 flu pandemic, and discuss ethical issues relating to it, during the Dining Dilemmas event at Reynolda House on Tuesday, April 17, 2018, sponsored by the biology department and the Center for Bioethics, Health, and Society. The students engage in discussions at their tables about the ethical considerations.
"relating to the motion of material bodies and the forces and energy associated therewith"
A creative outing with my photo club - Inland Empire Photo Club - where we played with light and motion and long exposures to create kinetic art. It was a wonderful, creative evening.
The two letters which follow in the series are both dated “Tripoli, October 24, 1821,” and relate principally to what occurred on the passage from England to Africa.
“We are here at last, and a pretty place it is; so built, however, that three can scarcely walk a-breast in the streets: every few yards a house is in ruins, for there exists among the Moors a strange dislike to repair any thing, particularly houses. Whether that arises from indolence or superstitious notions, I cannot tell, but the fact is evident to the most superficial observer. Our passage to Malta was exceedingly agreeable—long certainly, but pleasant company prevented tedium. I visited the galleries at Gibraltar, and was highly pleased with the grandeur of the design. Your favourite fort, Malta, excited very little interest in my mind, not that the place is deficient in interest, but we were fretful from experiencing great harassment from individuals who ought to have forwarded our views, so that a disinclination to enjoy any thing was induced. On our arrival here, we found matters far beyond our expectation; far to the south of Bornou is[13] open to us, and almost entirely subject to the pasha of Tripoli. All our route is clear and free from danger. The pasha’s word is a law not to be disobeyed, and he has pledged himself to protect us fifty-seven days’ journey beyond Bornou. On our landing, that favourable intelligence made us leap for joy. The Mahometans here are a most liberal sort of men, and tolerate people of every religious persuasion—a circumstance almost unknown in any other Mahometan country. The police is admirable, so that a stranger may traverse every part of the city without the least apprehension. As to the moral condition of the people, I can say but little, as I have had very imperfect opportunities of observing them.
“I must now describe to you my introduction to the pasha. The court-yard was filled with people of very different complexions, mostly the servants, guards, and relations of the pasha. The group had a most motely appearance; many were superbly dressed, others were in rags and filthy in the extreme. The room in which his Highness was seated was decent, with nothing gaudy. He sat at the farther end of the room, and his two sons sat on chairs at the other end of it; while many of his guards and ministers stood in different positions round the chamber. He was grave, and his muscles were as motionless as those of a statue, so much so that I was several times inclined to laugh. The gravity, however, ceased after a little[14] conversation, and then a scene was displayed far from being disagreeable. He conversed with apparent pleasure on the success of his arms, and on the great distance to which he could convey the mission in perfect safety. That, you may be assured, was agreeable intelligence to us, and inspired us with hopes of almost certain success. I had to prescribe for him, for no sooner had I entered the room than my advice was requested. The two sons present were tolerably good-looking men; the elder of them was corpulent and very like his father; and the younger of them tall, slender, and, upon the whole, a good-looking young man. The pasha’s dress was clean, plain and neat. I hope we shall be able to set off early in December—a fine season for travelling—and expect to eat our new yearday’s dinner in Mourzuk. We travel in European dresses, and in this respect we shall be different from most of the former travellers in this part of Africa. The pasha approves of our resolution, and the consul is highly delighted with it. Indeed, on reflecting seriously on the matter, I think the plan is by far the most judicious. Hypocrisy almost always engenders suspicions; and the people well know that our pretensions to be of their religion are only feigned.”
The Painting
This painting is currently (2025) on display at the Tate Britain in Millbank, London. The Tate provides the following information relating to the work:
'John Everett Millais 1829 - 1896
Born Southampton, lived St. Helens
(Jersey), Dinan (France), London.
Ophelia 1851 - 2
Oil paint on canvas.
This painting depicts the death of
Ophelia from Shakespeare's Hamlet.
Traumatised by her family, her cancelled
betrothal and the murder of her father
by her fiancé, Ophelia drowns in a stream
after roaming the countryside looking for
flowers.
John Everett Millais painted the setting
leaf-by-leaf by the Hogsmill River in
Surrey.
The artist and model Elizabeth Siddal
posed as Ophelia by wearing a wedding
dress in a filled bathtub.
Siddal and the other working-class women
who joined the Pre-Raphaelite circle as
colleagues, friends and wives challenged
Victorian expectations of arranging marriages
for money and status.
Presented by Sir Henry Tate, 1894.'
John Everett Millais
Sir John Everett Millais, who was born on the 8th. June 1829, was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood.
He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street (now number 7).
Millais became the most famous exponent of the style, his painting Christ in the House of His Parents (1849–50) generating considerable controversy, and he produced a picture that could serve as the embodiment of the historical and naturalist focus of the group, Ophelia, in 1851–52.
By the mid-1850's, Millais was moving away from the Pre-Raphaelite style in order to develop a new form of realism in his art.
His later works were enormously successful, making Millais one of the wealthiest artists of his day, but some former admirers, including William Morris, saw this as a sell-out (Millais notoriously allowed one of his paintings to be used for a sentimental soap advertisement).
While these and early 20th.-century critics, reading art through the lens of Modernism, viewed much of his later production as wanting, this perspective has changed in recent decades, as his later works have come to be seen in the context of wider changes and advanced tendencies in the broader late nineteenth-century art world, and can now be seen as predictive of the art world of the present.
Millais' personal life has also played a significant role in his reputation. His wife Effie was formerly married to the critic John Ruskin, who had supported Millais's early work. The annulment of the Ruskin marriage and Effie's subsequent marriage to Millais have sometimes been linked to his change of style, but she became a powerful promoter of his work, and they worked in concert to secure commissions and expand their social and intellectual circles.
-- John Everett Millais - The Early Years
Millais was born in Southampton of a prominent Jersey-based family. His parents were John William Millais and Emily Mary Millais (née Evermy). Most of his early childhood was spent in Jersey, to which he retained a strong devotion throughout his life.
The author Thackeray once asked him "when England conquered Jersey". Millais replied "Never! Jersey conquered England." The family moved to Dinan in Brittany for a few years in his childhood.
John's mother's forceful personality was the most powerful influence on his early life. She had a keen interest in art and music, and encouraged her son's artistic bent, promoting the relocating of the family to London in order to help develop contacts at the Royal Academy of Art. He later said:
"I owe everything
to my mother."
In 1840, John's artistic talent won him a place at the Royal Academy Schools at the still unprecedented age of eleven. While there, he met William Holman Hunt and Dante Gabriel Rossetti with whom he formed the Pre-Raphaelite Brotherhood (known as the "PRB") in September 1847 in his family home on Gower Street, off Bedford Square.
-- Millais' Pre-Raphaelite Works
Millais's Christ in the House of His Parents (1849–50) was highly controversial because of its realistic portrayal of a working class Holy Family labouring in a messy carpentry workshop.
Later works were also controversial, though less so. Millais achieved popular success with A Huguenot (1851–52), which depicts a young couple about to be separated because of religious conflicts. He repeated this theme in many later works.
All these early works were painted with great attention to detail, often concentrating on the beauty and complexity of the natural world.
In paintings such as Ophelia (1851–52), Millais created dense and elaborate pictorial surfaces based on the integration of naturalistic elements. This approach has been described as a kind of "pictorial eco-system".
Mariana is a painting that Millais painted in 1850–51 based on the play Measure for Measure by William Shakespeare and the poem of the same name by Alfred, Lord Tennyson, from 1830. In the play, the young Mariana was to be married, but was rejected by her betrothed when her dowry was lost in a shipwreck.
-- Millais and Euphemia Gray
John's style was promoted by the critic John Ruskin, who had defended the Pre-Raphaelites against their critics. Millais's friendship with Ruskin introduced him to Ruskin's wife Effie (1828 - 1897).
Soon after they met, she modelled for his painting The Order of Release. As Millais painted Effie, they fell in love. Despite having been married to Ruskin for several years, Effie was still a virgin. Her parents realised something was wrong, and she filed for an annulment.
In 1855, after her marriage to Ruskin was annulled, Effie and John Millais married. He and Effie eventually had eight children. Their youngest son, John Guille Millais, became a naturalist, wildlife artist, and Millais's posthumous biographer.
Their daughter Alice (1862–1936), later Alice Stuart-Worsley, was a close friend and muse of the composer Edward Elgar, and is thought to have been an inspiration for themes in his Violin Concerto.
Effie's younger sister Sophie Gray sat for several pictures by Millais, prompting some speculation about the nature of their apparently fond relationship.
-- Millais' Later works
After his marriage, Millais began to paint in a broader style, which was condemned by Ruskin as "a catastrophe". It has been argued that this change of style resulted from Millais's need to increase his output in order to support his growing family.
Unsympathetic critics such as William Morris accused him of "selling out" to achieve popularity and wealth.
His admirers, in contrast, pointed to the artist's connections with Whistler and Albert Moore, and influence on John Singer Sargent. Millais himself argued that as he grew more confident as an artist, he could paint with greater boldness. In his article "Thoughts on our Art of Today" (1888), he recommended Velázquez and Rembrandt as models for artists to follow.
Paintings such as The Eve of St. Agnes and The Somnambulist clearly show an ongoing dialogue between the artist and Whistler, whose work Millais strongly supported.
Other paintings by Millais from the late 1850's and 1860's can be interpreted as anticipating aspects of the Aesthetic Movement. Many deploy broad blocks of harmoniously arranged colour, and are symbolic rather than narratival.
From 1862, the Millais family lived at 7 Cromwell Place, Kensington, London.
Later works from the 1870's onwards demonstrate Millais's reverence for Old Masters such as Joshua Reynolds and Velázquez. Many of these paintings were on an historical theme. Notable among these are The Two Princes Edward and Richard in the Tower (1878), The Northwest Passage (1874) and the Boyhood of Raleigh (1871).
Such paintings indicate Millais's interest in subjects connected to Britain's history and expanding empire. Millais also achieved great popularity with his paintings of children, notably Bubbles (1886) – famous, or perhaps notorious, for being used in the advertising of Pears soap – and Cherry Ripe.
John's last project (1896) was to be a painting entitled "The Last Trek". Based on his illustration for his son's book, it depicted a hunter lying dead in the veldt, his body contemplated by two onlookers.
-- Millais' Later Career
John's many later landscape paintings usually depict difficult or dangerous terrain. The first of these, Chill October (1870), was painted in Perth, near his wife's family home. It was the first of the large-scale Scottish landscapes that Millais painted periodically throughout his later career.
Usually autumnal and often bleakly unpicturesque, they evoke a mood of melancholy and sense of transience that recalls his cycle-of-nature paintings of the later 1850's, especially Autumn Leaves and The Vale of Rest, though with little or no direct symbolism or human activity to point to their meaning.
In 1870 Millais returned to full landscape pictures, and over the next twenty years painted a number of scenes of Perthshire where he was annually found hunting and fishing from August until late into the autumn each year.
Most of these landscapes are autumnal or early winter in season and show bleak, dank, water-fringed bog or moor, loch, and riverside. Millais never returned to "blade by blade" landscape painting, nor to the vibrant greens of his own outdoor work in the early fifties, although the assured handling of his broader, freer later style is equally accomplished in its close observation of scenery.
Christmas Eve (1887), John's first full landscape snow scene, was a view looking towards Murthly Castle.
-- Millais' Illustrations
Millais was also very successful as a book illustrator, notably for the works of Anthony Trollope and for the poems of Tennyson. His complex illustrations of the parables of Jesus were published in 1864. His father-in-law commissioned stained-glass windows based on them for Kinnoull Parish Church, Kinnoull.
John also provided illustrations for magazines such as Good Words. As a young man, Millais frequently went on sketching expeditions to Keston and Hayes. While there he painted a sign for an inn where he used to stay, near to Hayes church.
-- Millais' Academic Career and Baronetage
Millais was elected as an associate member of the Royal Academy of Arts in 1853; a decade later in 1863, he was elected as a full member of the Academy, in which he was a prominent and active participant.
In July 1885, Queen Victoria created him a baronet, of Palace Gate, in the parish of St. Mary Abbot, Kensington, in the county of Middlesex, and of Saint Ouen, in the Island of Jersey. This make him the first artist to be honoured with a hereditary title.
After the death of Lord Leighton in 1896, Millais was elected President of the Royal Academy.
-- Millais' Death and Legacy
John died in Kensington at the age of 67 on the 13th. August 1896 from throat cancer, and was laid to rest in the crypt of St Paul's Cathedral.
Following his death, the Prince of Wales (later to become King Edward VII) chaired a memorial committee which commissioned a statue of the artist. The statue, by Thomas Brock, was installed at the front of the National Gallery of British Art (now Tate Britain) in the garden on the east side in 1905.
On the 23rd. November 1905, the Pall Mall Gazette called it:
"A breezy statue, representing the
man in the characteristic attitude in
which we all knew him".
In 1953, Tate director Norman Reid attempted to have John's statue replaced by Auguste Rodin's John the Baptist, and in 1962 again proposed its removal, calling its presence "positively harmful".
Reid's efforts were frustrated by the statue's owner, the Ministry of Works. Ownership was transferred from the Ministry to English Heritage in 1996, and by them in turn to the Tate. In 2000, under Stephen Deuchar's directorship, the statue was removed to the side of the building to welcome visitors to the refurbished Manton Road entrance.
In 2007, the artist was the subject of a major retrospective at Tate Britain, London visited by 151,000 people. The exhibition then traveled to the Van Gogh Museum, Amsterdam, followed by venues in Fukuoka and Tokyo, Japan, and seen by over 660,000 visitors in total.
Millais's relationship with Ruskin and Effie has been the subject of several dramas, beginning with the silent film The Love of John Ruskin from 1912. There have also been stage and radio plays and an opera.
The 2014 film Effie Gray, written by Emma Thompson, featured Tom Sturridge as Millais.
The Pre-Raphaelites have been the subjects of two BBC period dramas. The first, entitled The Love School, was shown in 1975, starring Peter Egan as Millais. The second was Desperate Romantics (2009), in which Millais is played by Samuel Barnett.
Laurie Kynaston portrayed Millais in the Paramount+ adaptation of Elizabeth Macneal's The Doll Factory (2023).
Final thought from Ian Dury and the Blockheads:
"There ain’t half been
some clever bastards ..."
This selection of images relates to a table I picked up at the weekend. This table differs from the last two that I worked on in that it is a later one, this is highlighted by the full length hinge and leg bosses which are like the ones used on 'Pebble' tables. That aside the table cleaned up with ease to show off its distinctive grain pattern.
Additional notes this table has been finished in Danish Oil.
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
立法會發展智慧城市事宜小組委員會參觀香港國際機場
立法会发展智慧城市事宜小组委员会参观香港国际机场
LegCo Subcommittee on Matters Relating to the Development of Smart City visits the Hong Kong International Airport (8.8.2022)
Herculaneum / Pompeii, Italy- The Problems relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii during the 20th / 21st century as reported in THE NEW YORK TIMES, THE TIMES (LONDON), and THE WASHINGTON POST (WASHINGTON DC, USA), ca. (1904-2002). [forthcoming].
Ercolano / Pompei, Italia-i problemi relativi alla gestione e scavi degli Scavi Archeologici di Ercolano / Pompei durante il 20 ° / 21 ° secolo come riportato dal New York Times, The Times (London), e il Washington Post (Washington DC, USA), ca. (1904-2002). [Prossima].
via
Tips about how to Prevent Sewer Blockages from Fats, Oils and Grease (FOG) in Horace, North Dakota
What exactly is FOG?
FOG relates particularly to fats, oils and grease getting into the sewer system when put down drain pipes in houses, apartments rentals, eating places, market and public venues.
As a end result of cooking, FOG is normally present in:
Baking goods
Butter, lard, shortening
Cooking oil
Fats and oil from cooked meats
Food scraps
Gravy
Mayonnaise
Salad dressings
Sauces
Sour cream
Why is FOG an issue?
Obstruction can cause sewer line overflows in your yard. More often than not, fats, oils and grease are discarded incorrectly in the course of preparing food and kitchen area clean-up. When put down the sink (drain or floors), FOG can accumulate and form up, obstructing clean sewer lines. This build up but not only cuts down on the capability with the wastewater collection system, additionally it changes its usefulness.
In serious instances, obstruction can result in:
Sewage back ups into businesses and homes and
Sewers that flood on to roads and real estate, ultimately pass into nearby rivers, leading to contaminants.
How will you assist?
The simplest way to resolve the grease issue and assist to stop overflows of raw sewage would be to keep this substance out from the sewer system. As a result of education and learning and also by implementing specific behavior, you can easily reduce FOG places in your own home.
In the kitchen area, fats, oils and grease (FOG) will come mainly from pre-rinsing pots and pans or cleaning cookware. When cooking food FOG is permitted to go down the sink, it cools down within the wastewater system and stays with plumbing, making FOG accumulation. The accumulation leads to blockages and backups in businesses and homes, wastewater overflows, and leaks on personal residences, roadways, and local surface areas. FOG accumulation also raises the expense of sustaining Horace wastewater treatment methods, therefore affecting prices and will also generate community health issues.
Suggestions to maintain your drainpipes fat-free:
Put cooled down fats, oils and grease in to a jar and place the jar inside the garbage. If you do not possess a pot, put aluminum foil in to a coffee mug or comparable, add FOG, let it cool and get rid of.
Prior to cleaning, make use of a paper napkin or paper hand towel to clean FOG from pots and pans and dump it inside the garbage.
Use kitchen sink strainers to capture food items waste materials.
Place food leftovers inside the garbage, not over the garbage disposer.
The easiest method to handle grease and fats will be to clean them off of or put them into storage containers and get rid of them in the garbage disposal. By no means place fats or grease down the kitchen sink drain pipes or in to the commode.
There’s a nationwide marketing campaign called “Can the Grease” all through the USA that promotes using correct removal of FOG.
Restaurants along with other business kitchen areas have to have grease traps or interceptors put in. These companies are controlled by inspection regularly by Local personnel. Make sure you call us to learn more.
Exactly what is a grease trap or grease interceptor and just how do you use it?
Grease traps and interceptors are units built to maintain Fats, Oils and Grease (FOG) from getting into public sewage lines. They may be found inside of or outside of the kitchen area, based on the application. Generally, they are created to keep FOG-laden discharge for enough time for grease within the water to cool down, firm up and separate from the rest of the waste materials. When the grease has split up, it may be discarded correctly.
Should i use a grease trap or interceptor inside my eatery or food service business?
Any business that deals with any kind of food really should use a grease trap or interceptor. Even smaller food providers like coffee houses who serve items with dairy products need to use a grease trap or interceptor to help keep FOG from heading down the sink. A business will have to use a grease trap or interceptor if the side sewer line contains a visually apparent build up of fat, oil or grease. Make reference to the most recent Standard Plumbing Code (offered at your public library) for dimensions requirements.
Just how much will a grease trap or interceptor cost and who should I contact to obtain one to get set up?
They range in price, based on dimension and application and will begin as little as a few hundred to thousands. Make sure you speak to a licensed pluming company in your community for costs.
Who decides if I require a grease trap or interceptor?
In the event your food company business deals with food items and washes pots and pans, you probably have to use a grease trap or interceptor. Your decision depends on the kind of use and decided upon from the professional and local staff.
Who is mainly responsible for setting up a grease interceptor?
Each and every business that deals with food items of any type – from your coffee house offering dairy along with milk products to your bistro preparing deep-fried meals – is likely releasing FOG. All food providers are accountable for putting in a unit to help keep FOG from getting into their side sewer line and also the general public sewer range.
What happens if I do not install a grease trap or interceptor?
If your business handles any food items which contains fat, oil and grease, you may ultimately experience a maintenance issue for instance a obstruction within the building sewer line. A obstruction can certainly create sewage back-up circumstance and consequently a possible health issue for your business. If the issue is within the building sewer line, then your business is directly accountable for having to pay for the clean-up fees and damage to property. A business can also be instructed to shut down the business until an examiner certifies all health problems are solved.
When the obstruction is incorporated in the public sewer main and Horace, North Dakota can validate how the methods of the particular business has resulted in the obstruction, then that business might have to pay for any public clean-up expenses, damage to property and public sewer servicing expenses to alleviate the obstruction. The business may also be instructed to put in a grease trap or interceptor or update a current system to intercept food and FOG.
Septic Tank Cleaning Horace ND
How frequently do i need to thoroughly clean my grease trap/grease interceptor?
A grease trap or interceptor needs to be on a regular basis taken care of in order to meet the 25% Rule – no more than 25%, by volume, from the trap or interceptor ought to accumulate of food and FOG. If in excess of 25% of food and FOG build up within the trap or interceptor, it is more probable not to work correctly and releasing food and FOG to your building sewer line as well as the public sewer system. Exclusions to the 25% Rule are suitable for devices that can keep greater than 25% FOG and will also be exclusively produced in the manufacturers specs.
Every business ought to figure out a particular cleaning routine that suits their organization. Some organizations will have to clean their trap or interceptor more frequently than others. It is very important to keep in mind that using kitchen very best management methods, like scraping your dishes, cooking pots, and pans, will decrease the volume of food and FOG that release right into a trap or interceptor, consequently reducing the regularity for cleaning.
Just how do i keep clean and maintain my grease trap/grease interceptor?
Grease trap maintenance is generally done by maintenance employees or any other workers from the business. Grease interceptor (GI) maintenance, that is generally done by authorized haulers or recyclers, includes taking out the total quantity (liquids and solids) from the GI and effectively getting rid of the FOG in compliance with all federal government, state, and/or local laws. When executed correctly and at the correct regularity, grease interceptor and trap maintenance can help reduce the release of FOG in to the wastewater collection system. The necessary routine maintenance frequency for grease interceptors and traps will depend on significantly on the volume of FOG a center yields together with any best management practices (BMPs) that the business utilizes to cut back the FOG released into its sanitary sewer system. In most cases, a business that utilizes BMPs will recognize financial advantage via a decrease in their needed grease interceptor and trap maintenance regularity.
from Portapro Septic Services portaprosepticservices.com/grease-trap-cleaning-horace-nd/ portaprosepticservices.tumblr.com/post/158654019470
Fairy Tail draws pictures relating to San Valentin anime.saqibsomal.com/2016/02/26/anime/fairy-tail-draws-pi...
Kenneth Adrian Wilson, Kenneth Adrian Wilson photographs relating to Wellington, Alexander Turnbull Library, Reference: 1/2-136016-F
Published in the Wellingtonian 21 October 2010
On a wet and windy winter day in 1901 the Duke and Duchess of Cornwall came to town. It was the first of last century’s grand royal tours. Nearly everyone poured onto the streets to welcome them.
One of the features of the visit were our grand welcoming arches. We excelled. On landing at Queen’s Wharf the royal couple were driven up Jervois Quay, under a tri-coloured "Citizens' Arch" and a Woollen Company arch made of wool bales. In Cuba Street there was a Māori arch and a Marlborough arch featuring sheaves of grain. Manners Street featured a Chinese arch. Along Lambton Quay there was the buttermen's arch "cunningly made of butter boxes and trade brands", and a Westport arch featuring huge lumps of coal.
Almost at the end, outside the Government buildings, was the impressively turreted Government arch shown here, and just out of the picture to the right, at the entrance to Parliament, was the main Māori arch – "the best Māori arch in all New Zealand" according to the official history of the visit.
No other town did so well, although they tried. Christchurch, for example, proudly featured a meat arch showing off carcasses of frozen mutton, and their agricultural arch had penned bullocks at its base, cages of sheep, and clucking poultry on top.
See other images of the 1901 royal visitors in Wellington
Permission of the National Library of New Zealand Te Puna Mātauranga O Aotearoa, must be obtained before any reuse of this image.
Wellingtonians: From the Turnbull Collections contains revised and expanded entries, and some new ones too. This high-quality publication is available for just $29.99. You can pick it up from from good bookshops or get it straight from the publisher, Steele Roberts.
This relates to my blog post
www.heatheronhertravels.com/how-to-eat-well-in-sardinia/
This photo is licenced under Creative commons for use including commercial on condition that you link back to or credit http://www.heatheronhertravels.com/.
See my profile for more detail.
Kinetic: Relating to, caused by, or producing motion.
These are called “Kinetic” photographs because there is motion, energy, and movement involved, specifically my and the camera’s movements.
Most of these are shot outdoors where I have the room to literally spin and throw my little camera several feet up into the air, with some throws going as high as 15 feet or more!
None of these are Photoshopped, layered, or a composite photo...what you see occurs in one shot, one take.
Aren’t I afraid that I will drop and break my camera? For regular followers of my photostream and this series you will know that I have already done so. This little camera has been dropped many times, and broken once when dropped on concrete outside. It still functions...not so well for regular photographs, but superbly for more kinetic work.
Albeit supremely risky this is one of my favorite ways to produce abstract photographs.
If you'd like to see more please check out my set, "Vertigo:"
www.flickr.com/photos/motorpsiclist/sets/72157630591282642/
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To read more about Kinetic Photography click the Wikipedia link below:
en.wikipedia.org/wiki/Kinetic_photography
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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.
Title
Letter to Canon [Frederick Evans] from Hubert H M Bartleet
Date
24 Sep 1923
Description
In this letter Bartleet tells Frederick that he is currently revising the 'George Eliot Dictionary', and would be grateful for assistance on a few points. Written from The Willows, Orchard Road, Great Malvern. Signed Hubert H M Bartleet.
Transcript
I enclose
envelope to
save you trouble
The Willows,
Orchard Road,
Great Malvern
Septr. 24th 1923
My dear Canon
Thank you so much for your letter, telling me about your sister. You have all been much in my thoughts and I hope that you and Mrs. Evans have been helped through the long sad strain of this summer. You know how closely I have been with you in spirit - and I doubt if a day passes without my thoughts turning towards you as memories of my happy 8 1/2 years in Warwickshire rise before me. In one sense, you are visibly before me, daily, in that long catalogue of persons and places in the "George Eliot" Dictionary which I am steadily revising, at the compilers' request. I have nearly finished my share in the work, but there are a few points about which I should be most grateful for your help, if you can spare time to give it. For your convenience, I will write out the questions in columns, leaving spaces for whatever you can most kindly send, in the way of answers. I am thankful that this Dictionary is forthcoming- George Eliot as you know, has been my favourite novelist and beloved companion for nearly, (will you believe it?) 40 years, ever since I was given a copy of Middlemarch in 1884 - so I am one who rejoices at the study which her writings attract.
I have been asked to hold the Higher Education classes in English Literature under the County Council for Malvern, for this coming term, and the next, till Easter - and have chqsen my subject,a detailed examination of each of George Eliot's novels and poems, up till Christmas:- and afterwards, the longer poems of Wordsworth (i.e. "Prelude" and "Excursion", with perhaps a few others).
And, as I know you take a very kind, almost Fatherly interest in me, I will tell you what not many know, that I have been asked to preach in Westminster Abbey - though it will indeed be an ordeal!
However, I hope to be helped in this and all else - for what can we do, alone?
With our kindest remembrances and love to you both, and hoping that you are keeping up well, and that you and Mrs. Evans may get some little restful change, away together, somewhere, before Winter sets in,
Ever cordially yours
Hubert H. M. Bartlett
P.S. I have had a most interesting correspondence, as to the prototye of "Lydgate" in Middlemarch- Did I tell you of this - and of the famous man who admits that he may have been in some respects in George Eliot's mind, when she described Lydgate? Have you seen all Miss Mudge's notes on the G.E. characters & places? She ought to submit something to you, before it goes to the press. There are various family statements.
All Right's Reserved. All images are subject to copyright restrictions. Contact Warwickshire Libraries for further details. Part of Warwickshire Libraries' George Eliot Collection.
Original held at Warwickshire County Record Office.
Various papers relating to Mr.Thomas Wheeler my late Grandfather.Sadly he died when I was just eleven years of age.I do however recall it was he that took me on my very first fishing trip using the first fishing rod and reel that he bought me.The images here are from WWII papers when he was an active serviceman and I only recently found these in an old album of my late father`s.These are the first twenty images in nigh on eighty images of both his army papers and my Great Grandparents (to come later) images.Some images are somewhat the same but have different focus points and apertures,mainly to suit prospective customers on Alamy.com stock images.I sincerely hope you enjoy the images and hope you see,as I did,what I think is one of many of the Identity Card issued during WWII.As you can see my Grandfather first signed up in September 1940 and seved right up until the end of the war 1945.He was then signed up for the reserves.Do Not Use Without Express Permisison From Peter Wheeler.
Assaig obert de l'espectacle Asteroid de la companyia Campi Qui Pugui a la Plaça del Sitjar de Castellserà (Urgell), dins de les activitats del CastellSerà de Nit i que és presentarà el Proper setembre a FiraTàrrega.
Un meteorit ha impactat a la via pública. La policia científica fa un primer acostament i extreu algunes mostres. Però comencen a passar coses inesperades. Un espectacle que, mitjançant l'humor absurd, afronta la forma de relacionar-nos amb el desconegut, les diferències culturals i els marcs mentals que limiten la nostra capacitat per entendre el món que ens envolta. Producció dirigida per Toti Toronell que combina els titelles i els actors reals amb l'objectiu d'aconseguir un impacte sorprenent i transformador en l'espai públic.
Open rehearsal of the Asteroid show of the company Campi Qui Pugui in Castellserà (Urgell), within the activities of the CastellSerà de Nit and which will be presented next September in FiraTàrrega.
A meteorite has fallen in the street. The scientific police approach it and take some samples. But unexpected events start to happen. A show that, through absurd humour, confronts how we relate to the unknown, cultural differences and mental frameworks that limit our ability to understand the world that surrounds us. A production managed by Toti Toronell that combines puppets and actors with the aim of achieving a surprising and transforming impact in a public space.
Ensayo abierto del espectáculo Asteroid de la compañía Campi Qui Pugui en la Plaza del Sitjar de Castellserà (Urgell), dentro de las actividades del CastellSerà de Nit y que se presentará el próximo septiembre en FiraTàrrega.
Un meteorito ha impactado en la vía pública. La policía científica realiza un primer acercamiento y extrae algunas muestras. Pero empiezan a suceder cosas inesperadas. Un espectáculo que, mediante el humor absurdo, afronta la forma de relacionarnos con lo desconocido, las diferencias culturales y los marcos mentales que limitan nuestra capacidad para entender el mundo que nos rodea. Producción dirigida por Toti Toronell que combina los títeres y los actores reales con el objetivo de conseguir un impacto sorprendente y transformador en el espacio público.