View allAll Photos Tagged act
I am thinking of them like a wrestling double-act. If anybody could take on the UBU/Tusk Juggernaut, it's this pair. That Doge is a menace.
Equal opposing madnesses, even, though I know which side I would be on, or rather am on, having yet to affect sublime indifference.
So here they are, the oiled-up marathoners, Spartans 'R' Us, assuming the 'Ready Position', even, with the lead firmly placed in their revolving pencils (there's an image).
Rest assured, both are wearing loincloths over (not backless) athletic pouches (Invisible details), and no jiggery pokery is suggested (none at all, at all, to be sure).
CIGAAUH? (Can I get an Amen up here?)
Description: Although Thomas Smillie, the Smithsonian's first photographer and curator of photography, used images to catalog much of the institution's physical object collection, he also extensively photographed pages of books on topics of personal interest to him as a way of copying the material for future use. Smillie also photographed letters and documents as a method of preserving the Smithsonian's records.
Creator/Photographer: Thomas Smillie
Birth Date: 1843
Death Date: 1917
Born in Edinburgh, Scotland, in 1843, Thomas William Smillie immigrated to the United States with his family when he five years old. After studying chemistry and medicine at Georgetown University, he took a job as a photographer at the Smithsonian Institution, where he stayed for nearly fifty years until his death in 1917. Smillie's duties and accomplishments at the Smithsonian were vast: he documented important events and research trips, photographed the museum's installations and specimens, created reproductions for use as printing illustrations, performed chemical experiments for Smithsonian scientific researchers, and later acted as the head and curator of the photography lab. Smillie's documentation of each Smithsonian exhibition and installation resulted in an informal record of all of the institution's art and artifacts. In 1913 Smillie mounted an exhibition on the history of photography to showcase the remarkable advancements that had been made in the field but which he feared had already been forgotten.
Medium: Cyanotype
Culture: American
Geography: USA
Date: 1890
Collection: Thomas Smillie Collection (Record Unit 95) - Thomas Smillie served as the first official photographer for the Smithsonian Institution from 1870 until his death in 1917. As head of the photography lab as well as its curator, he was responsible for photographing all of the exhibits, objects, and expeditions, leaving an informal record of early Smithsonian collections.
Repository: Smithsonian Institution Archives
Accession number: RU95_Box77_0030
With the Tea Act in 1773, tea was still actually cheaper in the American Colonies than it was in Britain. By this time, however, the colonists in Boston were frustrated and angered over the perpetual taxes from the mother-country. Enlightenment ideas mixed with salutary neglect led the colonist believe more in their own sovereignty. Britain, however, saw these taxes as the colonist paying their fair share for the empire
Today 11/7/17 I visited the harbour a little later than normal around 18pm, the weather was poor with only one PSV due to arrive within the hour, hence I listened in to VTS on my scanner, eavesdropping I picked up that four ships would be leaving to head back to sea shortly.
The sky was cloudy and denied the sun at quay side though still let sun shine through at the exit of the harbour at the north pier, hence the light issues with my captures, anyways I've posted a few of the ones I took to enjoy on my Flickr, though doubt I'll visit in conditions such as tonights again, I keep telling myself this : )
Vessel STANDARD VIKING (IMO: 9363728, MMSI: 232007485) is an offshore tug/supply ship built in 2007 and currently sailing under the flag of United Kingdom. STANDARD VIKING has 93m length overall and beam of 19m. Her gross tonnage is 4183 tons.
Standard Drilling increases fleet to 10 PSVs
S.D. Standard Drilling has made plans to buy three large Norwegian-built platform supply vessels (PSVs) on a wholly owned basis, increasing its fleet to 10 PSVs.
The company informed on Thursday that, through wholly owned subsidiaries, it has agreed to acquire the three ST-216L CD PSVs Volstad Viking, Volstad Supplier and Volstad Princess from Volstad Shipping.
The vessels are large PSVs, all built at Aker Brattvaag, Norway in 2007-2008, with 1,060m2 deck space and equipped with ice class (ICE- 1B) capabilities. The vessels are to be acquired for a total en-bloc consideration of $40 million.
Following the acquisition, the company will control a fleet of 10 Norwegian built PSVs. To remind, earlier in January, Standard Drilling bought interest in two platform supply vessels.
Martin Nes, Chairman of the company, said: “The vessels grow our asset base and fleet significantly and are favorably priced at $13.3m per unit, representing a discount of 67% to $40.6m actual newbuild price and a discount of 47% to the 25-year current newbuild parity of a 9 year old vessel with an implied value of $25m.”
He also added: “The vessels have an impeccable operating track record and enable the company to enter the Norwegian market. With their ice class capabilities the vessels are also likely to be deployed for operations in harsh/sub-Arctic regions.”
Fletcher Shipping will act as technical and commercial manager for the vessels. The acquisition of the vessels is expected to be completed, subject to inspection, in February 2017. It will be financed through the company’s cash holding, the share contributions from the subsequent offers and (to the extent necessary) a credit facility.
In connection with the acquisition of the vessels, the company will enter into a six months revolving credit facility at market terms with Saga Tankers totaling $10 million in order to secure the company’s available liquidity reserves.
To get out of my malaise, my wife suggested that I do a bit of a walk around of Civic with my camera.
These are the photos I captured.
Oh, the furore. The Enterprise and Regulatory Reform Act has photographers up in arms after pundits released broad-brush statements to the effect that ‘The government have made a law that removes my copyright control from my photographs’.
UK photographers have responded angrily, saying (in a variety of ways) that the new Act means that anyone anywhere can strip the data from a photograph that they want to use, declare it an ‘orphaned work’ (one for which the originator cannot be found) and use it as they wish without any payment. So once again the government are vilified in the electronic press and on forums because someone took what someone else said as correct.
This vitriol is fairly typical of our reactionary times and, as is so often the case, based on opinions that are not quite correct because the ‘respected authors’ have reacted to the headline without examining the content.
ERR has to comply with the Berne Convention for the Protection of Literary and Artistic Works, in which there are already certain provisions for the use of images and textual extracts without payment to the originator or author or, as appropriate, any estate. UK law already complies with the Berne Convention.
Amongst other things, the Act repeals S52 of the Copyright Designs and Patents Act 1988, which limited a design’s copyright period to ‘the life of the originator plus 25 years’ – a measure taken despite international law maintaining the copyright for 70 years after the originator’s death. The UK will fall into line with the international community on design, as it already does with other creative works – such as photographs.
Ranting about ‘diligent search’ quality – in that people wanting to use an image will just say that they conducted a diligent search – is such a waste of time and effort. The search is to be conducted under an existing commercial process, approved by government, following application (and payment, of course) from an intending user. Part of the payment will, no doubt, cover the administrative cost of the search with the remainder going into a Royalties nest-egg in case the originator suddenly springs up to claim misuse. The original suggestion that the forthcoming 'Use Authorising' department should conduct searches has been blocked on two grounds.
1.HMG lacks the expertise necessary to do the job efficiently.
2.HMG does not wish to be seen as competing with existing commercial agencies.
Obviously this will all reduce the time and money spent on litigation for copyright breach which, while not mentioned in the committee’s impact assessment, has to be a consideration because of the corresponding reduction of the burden on the Court Service.
The main purpose of this part of the bill is to enable and encourage archives and museums to monetise orphaned works that gather dust in dark corners of storage areas.
I’ve yet to see anyone complaining about the part of the Act that removes the onus on retailers to inform TV Licensing of any sales or rentals of television sets (Wireless Telegraphy Act 1967 (as amended)) because it has become an onerous burden and in part, because of international sales, unenforceable.
Organizational chart listing responsibilities and authorities was laid out July 12,1978. It was assembled from what fit together as shown in a photo of parts “laid out on sheet or muslin cloth.” The chart describes individual areas of activity listing the persons in charge of and those working with their implementation.
A description of Jonestown organization and fuller display from this chart and others can be found in Alternative Considerations of Jonestown and Peoples Temple under Research.
Photo released under the Freedom of Information Act and are in the public domain. Please credit The Jonestown Institute.
I was caught in the act by street art photographer Mitch who sneaked up on me and I had no idea he was there,
lordhicks.wordpress.com/2016/10/28/fellow-street-art-hunter/
Ficha Técnica:
Cliente: ACT
Produto: Anúncio Institucional
Campanha: Outono/Inverno 2008
Direção de Arte: Gustavo Ruiz
Atendimento: Marco Dib
Aprovação: Hector Santos
The 18th Annual Original GLBT Expo
The Fourth Annual Video Lounge
The Jacob K. Javits Convention Center of New York
655 West 34th Street
New York, NY 10001
March 12th 2011 - 12 noon to 7pm
March 13th 2011 - 12 noon to 6 pm
Presents the Fourth Annual VIDEO LOUNGE
Hosted by
The Long Island Gay and Lesbian Film Festival &
The Rhode Island International Film Festival
Main Curator
Ryan Janek Wolowski of both Film and Television
THE ORIGINAL GLBT EXPO FOURTH ANNUAL VIDEO LOUNGE
***********************
Saturday March 12th 2011 12:00 – 7:00PM
12:00 Stephen Flynn - Director of the Long Island Gay and Lesbian Film Festival HOSTS
Best in LGBT and our friends Music Music Videos including Brian Kent and Jason Walker
12:30 Ms. Demure HOSTS from Dayton, Ohio host of Harper's Bazzaroworld Present's The Ms.Demure Show
"16th and 8th" preview with Stephen Schulman from SASi Public Relations & Marketing
1:00 Randolfe Wicker LGBT Activist HOSTS
Gender bending music videos in Japanese Pop culture
Sekiya Dorsett director of "Saving Julian" a short film for and about LGBT homeless youth
1:30 Anu Singh from GLAAD The Gay & Lesbian Alliance Against Defamation HOSTS
Bollywood goes pink
Desi Music Video Mix
Engendered / I View Film Festival Highlights
Guest from Karan Johar film कभी अलविदा न कहना "Kabhi Alvida Naa Kehna"
2:00 Neal Bennington - Broadway Commentator as seen on The Wendy Williams Show HOSTS
- NOREEN CRAYTON (National Tour of Rent, Independent Music Award winner)
- RICHARD DeFONZO (VH1's "Boys Will Be Girls", Tribute Artist)
- TERESE GENECCO (MAC Award Winner, Longest running nightclub act on Broadway)
- PAUL GOLIO & TINSEL (Ventriloquist)
- BOBBY CRONIN (Theatre Composer/Lyricist, Welcome to My Life)
2:30 Tym Moss from Artists Exposed HOSTS
Phil Putnam
Gabrielle Lindau "These Showers Can Talk" short film with Lori Michaels
Deepa Soul aka Diedra Meredith (recording artist) / executive director of OUTMUSIC, the LGBT Academy of Recording Artists
Josh Zuckerman
3:00 Lady Gaga - Rare clips from 2008 before "The Fame" was released + more
3:30 Ryan Janek Wolowski of MTV Networks HOSTS
Oh My Josh! International pop recording artist "Out My Face (Wah Wah Wah)"
MAOR - Recording Artist/Music Producer originally from Tel Aviv/Israel will perform his latest single "Kmo Shir Chadash" & Victory - NO More Rain
Check out www.maormusic.com/home
4:00 Appolonia Cruz from FX GAY TV previously known as Fruta Extrana TV as seen on The Wendy Williams Show HOSTS
Miss America 2011's Claire Buffie (Miss New York)
www.missnyorg.com/miss-ny-2010.html
LOVARI w/ special guest entertainers from his music videos:
Demanda Dahhling/Thomas Bistriz(Author)
Janifer (Recording Artist)
King Ralphy (Promoter)
Seth Clark Silberman (PHDJ)
DJ Sparrow - www.LovariWorld.Com
Simply Rob (spoken word poet) from El Grito de Poetas
Jorge Merced the director of the fabulous "Pregones" Bronx Theater
India M. (India Mendelsohn)
Barnacle Billl (Bill Murray)
Ova Floh
5:00 Ms. Demure HOSTS from Dayton, Ohio host of Harper's Bazzaroworld Present's The Ms.Demure Show
Joe E. Jeffreys presents "Drag Show Video Verite"
Candy Samples
5:30 Soce the Elemental Wizard / Andrew Singer HOSTS
Comedy Stop
Brad Loekle
Claudia Cogan
6:15 "White House Presidential Proclamation LGBT Pride Month" with Samara Riviera from www.VivaLaRiviera.com, Sassy Parker from Chic and Sassy, Ryan Janek Wolowski
6:15 - 7:00 Best in LGBT and our friends Music Music Videos incl LaVonna Harris, Yozmit, R. Sky Palkowitz The Delusional Diva, Peppermint, Kid Akimbo, Josh Zuckerman, Ari Gold, Pepper Mashay, Erika Jayne and more
*******************************************************
Sunday March 13th 2011 12:00 – 6:00PM
12:00 Stephen Flynn - Director of the Long Island Gay and Lesbian Film Festival HOSTS
Long Island Gay and Lesbian Film Festival video highlights incl David Kittredge, David Kilmnick, Ron Soper, Carmella Cann aka Michael Ferreira and amberRose Marie
12:30 Neal Bennington - Broadway Commentator as seen on The Wendy Williams Show HOSTS
- NOREEN CRAYTON (National Tour of Rent, Independent Music Award winner)
- NATASCIA DIAZ (Broadway's Man of La Mancha & The Capeman)
- REBECCA LARKIN (Broadway's Avenue Q & South Pacific
1:00 Randolfe Wicker LGBT Activist HOSTS
Gender bending music videos in Japanese Pop culture
Colleen Whitaker speaking on behalf of Susi Graf "Lost in the Crowd" documentary on NYC LGBT homeless youth
Paul Golio & Tinsel Ventriloquist / Jokes / Sketch Comedy
1:30 Tym Moss from Artists Exposed HOSTS
Robbie Cronrod, from Robbie and Allan (www.LoveAtFirstWink.com/vote ; Crate and Barrel's Ultimate Wedding Challenge, Currently 2nd Pl)
Ariel Aparicio
Athena Reich
"What Happens Next" feature film sneak peak with Thom Cardwell and guest stars from the movie showing of some clips and the Q&A with Jon Lindstrom, Chris Murrah, and Ariel Shafir
2:00 Anu Singh from GLAAD The Gay & Lesbian Alliance Against Defamation HOSTS
Ricky Martin Recipient of GLAAD's Vito Russo Award music video spotlight
Juan Fortino
Vermex Van Croix
Kid Akimbo originally from Brazil
2:30 Soce the Elemental Wizard / Andrew Singer HOSTS
Comedy Stop
Mike Cotayo
Joanne Filan
3:00 Appolonia Cruz from FX GAY TV previously known as Fruta Extrana
TV as seen on The Wendy Williams Show HOSTS
*JANID (Recording Academy and Billboard Recognized Zonisphere
Recording Artist) - "Alias" music video
LIVE Q&A with
JANID and Kaydean (Alias video director, Recording Academy
Recognized 3x Gold and 1x Platinum record producer and CEO of
Zonisphere Records)
*Chanel International (Drag Star)
*Johnathan Cedano (actor) - portraying adult film actor Tiger Tyson
in the one-man show "Confessions of a Homo Thug Porn Star,"
"INDIO" Producer/Director of Johnathan Cedano's "Portrait of a Porn Star"
*Mike Todd GOOTH Magazine
Samara Riviera from www.VivaLaRiviera.com, Sassy Parker from Chic and Sassy
*Adam Barta
*amberRose Marie Upclose & Personal: a videomentary. LIVE Q&A
with Billboard recording artist amberRose Marie follows, with a
special surprise. National SAG LGBT committee member Ron B.
Joins Appolonia Cruz for an intimate chat with this Diva-licious
beauty. www.amberRoseMarie.com
4:00 Ryan Janek Wolowski of MTV Networks HOSTS
MAOR - Recording Artist/Music Producer originally from Tel Aviv/Israel will perform his latest single "Kmo Shir Chadash" & Victory - NO More Rain
Check out www.maormusic.com/home
BeBe Zahara Benet winner of RuPaul's Drag Race Live in person showcasing "Cameroon" plus live Q&A
4:30 Under the Pink Carpet Meet the on air personalities from the gay-themed television entertainment news series that airs on WNYE / WNYC TV Channel 25 / Dish Miss HOSTS
Lady Clover Honey
Tony Sawicki
Colton Ford, recording artist, actor (The Lair) and former gay male adult entertainment star.
5:30 - 6:00 Best in LGBT and our friends Music Music Videos including Vanessa Conde, Crystal Waters, Noa Tylo, Salme Dahlstrom, Khalid Rivera and more.
*****************************************
VIDEO LOUNGE 2011 make sure not to miss this event which only happens once a year.
Look for surprise guests throughout the day as well as giveaways all day long.
This event is OPEN TO THE PUBLIC
********************************************
Royal Navy's Agusta Westland Merlin HC3 helicopter (ZJ129 / N) helicopter, 846 Naval Air Squadron based at RN's Air Station Yeovilton, Somerset approaching Gibraltar's International Airport.
Liverpool Cathedral, 1904-78.
By Sir Giles Gilbert Scott (1880-1960).
Grade l listed.
A view from Hope Street.
—————————————————————————————————————-
Anglican Cathedral Church of Christ, St James Road, Liverpool, Merseyside, L1 7BY
Grade I listed
List Entry Number: 1361681
Summary
Anglican Cathedral, begun 1904 and completed 1978, by Sir Giles Gilbert Scott, brick with red sandstone facings, copper and reinforced concrete roofs, free and eclectic Gothic style. Lady Chapel built 1906-10 under the influence of G F Bodley. Chancel and East Transepts 1920-24, central Vestey Tower and West Transepts 1924-42, the Nave 1945-78.
Reasons for Designation
The Anglican Cathedral Church of Christ is listed at Grade I for the following principal reasons:
*Architectural Interest: it is the last undoubted masterpiece of the Gothic style, and of Gothic craftsmanship, in England. Its inspired use of light, space and height within the interior creates a feeling of awe and dramatic splendour and mark it out as one of the world's greatest modern cathedrals; *Architect: it was the life's work of the eminent C20 architect, Sir Giles Gilbert Scott, inventor of the New Gothic style; *Siting: set upon a raised plateau it forms a major landmark within Liverpool observable from all over the city and from the River Mersey ('the life of the city'); * Innovation: its construction displays great engineering skill that takes medieval concepts to their limits using C20 materials and techniques, including the tallest and widest Gothic arches in the world; *Craftsmanship: the quality of design, craftsmanship, artistry and materials is of the highest order throughout the building; *Artistry: the building's original concept has been enhanced by more modern works of art, including a powerful statue of the Welcoming Christ by Dame Elisabeth Frink.
History
In June 1901 Francis James Chavasse, 2nd Bishop of Liverpool embarked upon plans for an Anglican Cathedral on St James' Mount. An earlier scheme in 1885 for a cathedral designed by Sir William Emerson next to St George's Hall had already failed. Sir William Forwood offered his support to the bishop, along with the Earl of Derby who donated an initial £10,000. In 1902 a competition was held to find an architect and a suitable design. Out of 103 entries judged by G F Bodley and R Norman Shaw, five were shortlisted including that of Giles Gilbert Scott (son of George Gilbert Scott and grandson of Sir George Gilbert Scott, both renowned architects). Scott's Gothic design was finally selected in 1903, and he was a controversial choice for some due to his youth, inexperience and Catholicism. A compromise was reached whereby G F Bodley would act as joint architect.
Funding for the cathedral throughout its construction was raised by local subscription, including over £300,000 that was donated by Lord Vestey and his brother Sir Edmund Vestey for the construction of the Vestey Tower in memory of their parents. The builders of the cathedral were William Morrison & Son. The cathedral's sandstone came from the nearby Woolton Quarry, owned by the Marquis of Salisbury who later presented the quarry to the Cathedral Committee.
The foundation stone (inscribed by Herbert Tyson Smith) was laid on 19 July 1904 by King Edward VII. The partnership between Scott and Bodley was not happy and Scott was about to resign when Bodley died in 1907. The Lady Chapel (funded by Arthur Earle on behalf of the Earle and Langton families) was under construction at this time and the design had been heavily influenced by Bodley. Scott subsequently redesigned everything above the arcades that had not yet been constructed, and the Lady Chapel opened in 1910.
On 19 July 1924 the main part of the cathedral, including the Sanctuary, Chapter House, Chancel and Eastern Transepts, was consecrated in a ceremony attended by King George V and Queen Mary. The following day Giles Gilbert Scott received a knighthood. He was later appointed to the Order of Merit in 1944.
Work on the cathedral was delayed during both World Wars due to a shortage of labour and money, and damage sustained during the Second World War.
Scott's design evolved continuously right up until his death in 1960, and the finished building bears little resemblance to that chosen in the competition of 1903, which had a longer nave and twin towers instead of the final central tower. His 1942 design for the West Wall was redesigned by Frederick G Thomas and Roger Arthur Philip Pinkney in 1967 due to a lack of funding. The final consecration service took place on 25 October 1978 when the Cathedral was officially opened by Queen Elizabeth II.
A visitor centre/shop and refectory were created in the Welsford Porch and North-West Transept in 1984, and the Western Rooms were also converted into a dining area for larger groups in the 1980s. The statue of the Welcoming Christ by Dame Elisabeth Frink above the West Door was unveiled on 11 April 1993 by her son, Lin.
Details
PLAN
Nave (also known as 'The Well') to ritual west (actual north) end, Chancel to ritual east (actual south) end with Ambulatory behind. Chancel flanked by North and South Choir Aisles. Vast Central Space under the Vestey Tower. Transepts to ritual east and west of great porches. Octagonal Chapter House to ritual north-east corner, Lady Chapel to ritual south-east corner. Set upon raised plateau of St James' Mount with former quarry to ritual north side containing early C19 grade I registered St James' Cemetery (now St James' Gardens).
EXTERIOR
Massive in scale with contrasting east and west ends; that to the east is more elaborate, that to the west is in stark simplicity. Gableted buttresses. Mortar pointing to exterior and interior deliberately designed by Scott to highlight the Cathedral's stonework structure.
WEST ELEVATION: Scott's West wall re-designed by Frederick G Thomas and Roger Arthur Philip Pinkney in 1967 (completed 1978) due to lack of funding. Massive arched recess containing 3-light Great West window with pinnacled crest and glazed tympanum, flanking buttresses surmounted by pinnacles. West Door (cathedral's ceremonial entrance) with elaborate carved niche above surmounted by 13 ft high green bronze figure of the 'Welcoming Christ' by Dame Elisabeth Frink (1992), flanking side doors.
NAVE: 3-bays, in same style as choir but with fewer carved figures, large windows to north and south sides with simple geometrical tracery incorporating 2-lights with sexfoil above, quadrant jambs, separated by widely spaced buttresses, arcaded gallery above each window.
TRANSEPTS: Two transepts to each north and south side with tall traceried arched windows of 2-lights with octofoil above, copper roofs. Low arched projections to left and right of south transepts contain undercroft entrances.
PORCHES: Space in between transepts occupied by enormous porches with wide arched entrances and flat reinforced concrete roofs; that to ritual north side known as the Welsford Porch, that to ritual south side known as the Rankin Porch (cathedral's main entrance). Both accessed by stone stair flights, Hillsborough memorial stone laid by steps to Rankin Porch. Tall iron gates to Rankin Porch surmounted by elaborate cross and fish design. Both porches contain large arch to rear containing three wide carved oak doors with flat ogee heads merging into traceried tympanum. Triple-light windows to porch side walls with pierced balustraded gallery to top, studded oak doors to each side of Rankin Porch interior. Carved figure sculpture to both porches by Edward Carter Preston (Sculptor to the Cathedral, 1931-1955) influenced by C13 French portal figures, features based upon people working in the Cathedral. Sculpture depicts themes of Natural and Supernatural Virtues, Liberal Arts and Sciences, the Resurrection, and the Active Life. Carved figures of George V, Queen Mary, George VI, and Queen Elizabeth the Queen Mother to side walls of Rankin Porch.
VESTEY TOWER: 331 ft high, spans Central Space above and behind porches, design worked on from 1910 with Burnard Green as engineer. Square lower stage with plainer masonry and single large window to each north and south side incorporating 3-lights with rose above. Upper stage of tower is tapered with more elaborate decoration, octagonal corner turrets surmounted by carved lanterns, tall paired lancet belfry windows with timber louvres, 8 pinnacles surmounting top of tower with one slightly taller than the rest (added in February 1942 with carved initials of Scott and date).
CHOIR: 3-bays with large windows to north and south sides with simple geometrical tracery incorporating 2-lights with sexfoil above, carved figures and quadrant jambs, separated by widely spaced buttresses, arcaded gallery above each window. Walled founder's plot to south side in front of choir.
EAST CHOIR ELEVATION: Dominated by massive Great East window with curvilinear tracery and wide central mullion incorporating statue niches, four small pointed arched windows below, all flanked by full-height buttresses and corner turrets with short spires. 2-storey buttressed projection to bottom of elevation with series of lunette windows with cusped lights to upper level lighting Ambulatory, plain triple-light windows to lower level lighting former vestries (now education rooms).
CHAPTER HOUSE: Octagonal in shape with conical copper roof, taller stair turret to north-east side, tall pointed arched windows with curvilinear tracery, open balustraded balcony wraps around upper part and connects to main body of cathedral via a high-level bridge. Chapter House provided by Freemasons of West Lancashire in memory of 1st Earl of Lathom (their 1st Provincial Grand Master).
LADY CHAPEL: Tall, narrow, rectangular chapel of 8-bays with end bays forming polygonal apse. Tall slender windows with Decorated-style tracery, pierced balustrades above and below windows attached to full-height buttresses. Porch attached to bay 1 on south side with tall 2-arched balcony above, carved figures of children by Lillie Read in C15 Italian Renaissance style.
INTERIOR
Massive height with exceptionally tall Gothic arches to Nave, Transepts and Chancel. Subtle Gothic styling characterised by blank masonry broken up at strategic points by sophisticated and intricate detailing. Marble floor with hypocaust system. Animals feature heavily in the interior decoration. Interior woodwork by Green & Vardy and Waring & Gillow, metalwork by the Bromsgrove Guild, sculpture by Edward Carter Preston, Walter Gilbert and Louis Weingartner.
NAVE/'WELL': Sunken floor lower than Central Space and aisles, artificial sandstone vaulting known as 'Woolston' to second bay, triforium to each side of nave; that to south side contains Elizabeth Hoare Gallery. Late C20 toilets, lift, and stair inserted behind north wall of north aisle. Vestibule off adjacent south aisle containing stairs and lift to tower and operational K6 telephone kiosk (iconic 1935 design by Scott produced to celebrate Silver Jubilee of King George V). West Door with elaborate carved surround and crest with carving of royal coat of arms above, Great West/Benedicite window above.
DULVERTON BRIDGE/NAVE BRIDGE: Completed 1961, spans first bay of Nave and draws eye down length of cathedral. Surmounted by pierced oak balustrade and gallery, accessed by two stairs; that to south side with dedication stone reading 'THIS STONE WAS UNVEILED BY HER MAJESTY QUEEN ELIZABETH II ON 25TH OCTOBER 1978 AT THE SERVICE OF DEDICATION TO MARK THE COMPLETION OF THIS CATHEDRAL', that to north side with stone displaying carved initials of Queen Elizabeth and Duke of Edinburgh with entwined lovers' knot.
NORTH-WEST TRANSEPT: Contains shop and mezzanine cafe, converted in late C20.
SOUTH-WEST TRANSEPT (BAPTISTRY): Ornate dodecagon font of buff coloured marble with carved figures of apostles to each side by Edward Carter Preston, 39 ft high elaborate oak baldachino (ornamental canopy) designed by Scott with painted and gilded ornamented panelled ceiling, 15 ft high carved oak font cover with pulley system concealed in columns of baldachino, all set upon black marble platform with inlaid mosaic depicting breaking waves and fishes representing Christianity. Robing rooms below transepts converted into the Western Rooms (banqueting rooms).
CENTRAL SPACE (area between transepts underneath tower): Circular inlaid marble memorial to Scott to centre of floor reads '1880-1960/SIR GILES GILBERT SCOTT/O.M..R.A./ARCHITECT'. Three doorways to each north and south side lead to Rankin and Welsford Porches, similarly styled to the outer doors with sculpture by Edward Carter Preston, tower windows above, vaulted vestibule beyond doors to Welsford Porch now contains a cafe. Two paintings by Adrian Wiszniewski depict the parable of the Good Samaritan and the House built upon Rock, donated by the Jerusalem Trust in 1996. Star-shaped vaulted ceiling to Central Space with central circular opening through which the bells were hauled, Corona Gallery immediately below vaulting (originally used by cathedral's choir).
TOWER: Reinforced concrete girdle to base, steel cradle supports 14 bells (highest and heaviest peal in the world) including the great Bourdon Bell ('Great George'), bells cast by Whitechapel Bell Foundry, psalm texts incorporated onto each bell. Massive bell chamber with tall oak louvres, concrete stairs lead up to roof.
NORTH-EAST TRANSEPT/WAR MEMORIAL CHAPEL: Ornate alabaster and gilt altarpiece. Low rectangular carved alabaster cenotaph set on shallow plinth to front of chapel surmounted by bronze case containing the Roll of Honour (names of 40,000 soldiers, sailors and airmen from the Liverpool area lost during the First World War), bronze angels set to each corner of the case face inwards with kneeling figures of a soldier, sailor, airman and marine facing outwards. Wide arched porch surmounted by balustraded gallery to each side of transept; that to east side has glass case with decorative carved surround containing King's Regiment's Roll of Honour. Military colours displayed to each side wall with carved regiment badges above. Ship's bell of HMS Liverpool commemorating Liverpool's role as allied headquarters during Battle of the Atlantic in the Second World War.
SOUTH-EAST TRANSEPT (DERBY TRANSEPT): Contains tomb of 16th Earl of Derby (first chairman of Cathedral Committee) designed by Scott, bronze memorial depicts recumbent effigy of the Earl resting his head on a sculpture of the Cathedral with a timorous mouse peering out from his drapery.
CHANCEL: Divided into Choir and Sanctuary. Carved stone pulpit with pierced balustrade and statue niches to left of Chancel entrance, incorporates carved inscription in memory of Sir Arthur Forwood and John Torr who raised the Bishopric Endowment Fund. Elaborate carved oak organ cases either side of Choir take up a complete bay, designed by Scott, project slightly into the Choir, contain organ by Henry Willis III installed 1926, rebuilt in 1958-60 and made electric by Henry Willis IV, console to north side, organ gifted by Mrs Barrow. Carved oak clergy and choir stalls (latter gifted by Lord & Lady Waring), incorporate carved paired Liver birds guarding the choir stall steps, Bishop's Throne with Diocesan crest carved above gifted by Miss Watt, crest replicated to mosaic in Presbytery floor (eastern part of Choir) in front. Two paintings behind choir stalls by Christopher Le Brun depict Good Samaritan and Return of the Prodigal Son, donated by the Jerusalem Trust in 1996. Decorative patterned marble floor to Sanctuary. Altar set upon stepped platform (steps in alternating light and dark coloured marble). Highly elaborate carved stone and gilded reredos behind by Weingartner & Gilbert, overall design by Scott influenced by Spain, gifted by Mrs Mark Wood, figures designed and carved by Walter Gilbert, figures in lighter coloured Wooler sandstone carved by Arthur Turner. Lower reredos panel depicts Last Supper, centre panel depicts Crucifixion flanked by scenes of the Passion, outer panels depict Nativity and Resurrection. Altar rail supported by ten bronze figures depicting Ten Commandments, by Weingartner & Gilbert.
NORTH CHOIR AISLE: Memorial inscriptions to walls, door to west end leads into Chapel of the Holy Spirit with alabaster altarpiece depicting Jesus praying at Sea of Galilee by William Gough, 'Redemption' artwork by Arthur Dooley and Ann McTavish.
CHAPTER HOUSE: Tall geometric-patterned metal entrance gates by Keith Scott (1980s). Concrete domed ceiling, patterned marble floor. Panelled oak stalls to lower part of walls with carved detailing to Bishops' and Dean's stalls, plain panelled oak altar with altar painting of Crucifixion (Craigie Aitchison, 1998). Large carved stone relief crests in between stained glass windows. Oak door with ornate metal strap hinges incorporating Lancashire rose motifs and carved stone surround set to north-east corner leads to turret stair and high-level gallery above Chapter House floor.
AMBULATORY: Situated behind High Altar, lower floor level, corbelled ribbed vaulted ceiling with carved bosses. Four arched openings to west side (with stained glass windows above) lead into lobby area with series of oak doors with decorative ironwork and carved stone surrounds (one of which depicts a rose and Bishop's mitre), former vestries behind now used as education rooms. Two wide arched openings to west side of Ambulatory provide processional route in and out of Sanctuary. Stair flights to each north and south end set within arched openings accessing choir aisles, small corbelled balconies above.
SOUTH CHOIR AISLE: Monuments to Bishop Chavasse, Bishop Ryle and Dean Frederick Dwelly to north side, foundation stone to south side with inscriptions by Herbert Tyson Smith reading 'TO THE GLORY OF GOD THIS FOUNDATION STONE WAS LAID BY KING EDWARD THE SEVENTH ON THE 19TH DAY OF JULY 1904', and 'OTHER FOUNDATION CAN NO MAN LAY THAN THAT WHICH IS LAID, WHICH IS JESUS CHRIST'. Stained glass rose windows to west end of each Choir Aisle. Two doors towards east end of south wall of South Choir Aisle lead to Lady Chapel; that to west accesses a stone stair leading to the chapel floor, door to east leads to arcaded gallery to west end of Lady Chapel with short stair flight connecting to main chapel stair.
LADY CHAPEL: By Bodley and Scott, richly decorated, dedicated to Mary, mother of Jesus. Black and white marble chequerboard floor with interspersed motifs, decorative metal pendant lights by Scott, elaborate rib vaulted ceiling. Fine decorative stone carving by Joseph Phillips. Original choir stalls now removed. Wall piers linked by arches and pierced by narrow passage aisles, support triforium surmounted by elaborate crest, 38 carved angels with instruments project out above triforium, stylised stone inscription of the text 'GOD SO LOVED THE WORLD, THAT HE GAVE HIS ONLY BEGOTTEN SON...' (St John 3:16) carved below triforium, tall stained glass windows above and behind. Altar to east end with ornate tryptych reredos designed by Bodley and Scott, figures by G W Wilson, constructed by Rattee & Kent, centrepiece with delicate gilt filigree surrounding painted panels depicting the Nativity and Christ's early ministry, flanked by blue panelled wings to each side with gilt text. C15 kneeling figure of Our Lady by Giovanni della Robbia to left of altar. 'Alleluia Door' to north side of chapel with bronze handle incorporating a snail and salamander, ornate carved stone surround incorporating 'ALLELUIA' and relief crown above door. Elaborate carved oak organ case designed by Scott to west end above arcaded gallery.
STAINED GLASS: Window themes chosen by stained glass committee led by Sir Frederick Radcliffe with large input from Scott.
GREAT WEST WINDOW/BENEDICITE WINDOW: By Carl Edwards, 3 lancets over 52ft high depicting creation with separate lunette window to top depicting the Risen Lord, covers 1600 sq ft in total, installed in 1978.
NAVE AISLES: Windows depict historical development of the ministry, teaching and liturgy of the Church of England. Bishops' window by William Wilson depicts various historical bishops. All remaining windows to Nave by Carl Edwards; Parsons' window depicts various clergy members. Laymen's window depicts tradesmen who worked on the cathedral and committee members, including G F Bodley, Sir Giles Gilbert Scott, Sir William Forwood & the Earl of Derby. Musicians' Window depicts contributors to Anglican music. Hymnologists' window depicts hymn writers. Scholars' window depicts Oxford & Cambridge scholars, including the first Dean of Liverpool, Dean Frederick W Dwelly.
NORTH-WEST TRANSEPT: Window by Herbert Hendrie depicts theme of Church and State, including King George V and Queen Mary at 1924 consecration.
SOUTH-WEST TRANSEPT (BAPTISTRY): Window by Herbert Hendrie depicts salvation and healing through water, and baptisms.
CENTRAL SPACE: Old Testament window to north side of Central Space by James H Hogan depicts Old Testament figures and scenes, including Call of Abraham. New Testament window to south side of Central Space (also by Hogan) depicts New Testament figures and scenes, including Nativity and Crucifixion.
NORTH-EAST TRANSEPT/WAR MEMORIAL CHAPEL: Window by J W Brown & James H Hogan has theme of sacrifice and risen life.
SOUTH-EAST TRANSEPT: Window by J W Brown destroyed during the Second World War, replaced with simplified version by James H Hogan in same theme of Jesus' miracles.
GREAT EAST WINDOW/TE DEUM WINDOW: By J W Brown of Whitefriars Studios, gifted by Mrs Ismay, illustrates traditional hymn of the church 'Te Deum Laudamus', alternating bands of colour and clearer glass as dictated by Scott. Septfoil window to top depicts risen Jesus surrounded by heavenly chorus, two sets of paired lancets below with curvilinear-style tracery to top depict heavenly choirs with representatives of the faithful on Earth below, including apostles, saints, martyrs, and figures from the arts, science, law, commerce, scholarship, architecture and the army.
NORTH CHOIR AISLE: North Choir Aisle windows by J W Brown. 'Sapphire' window depicts St Matthew (symbolised as an angel) and Epiphany, 'Gold' window depicts St Luke (symbolised as an ox) and feeding of the five thousand, rose window to east end depicts journeys across the sea undertaken in faith.
CHAPTER HOUSE: Windows originally by Morris & Co, damaged in the Second World War and repaired by James Powell & Sons, depict interests and traditions of the Freemasons. Corn Merchants' window to Chapter House stair by C E Kempe & Co Ltd commemorates Woodward family (Liverpool corn merchants) 1803-1915.
AMBULATORY: Four windows by Burlison & Grylls each depict a pair of saints associated with the four nations of the British Isles.
SOUTH CHOIR AISLE: Windows by James H Hogan. 'Ruby' window depicts St John (symbolised as an eagle) and various biblical events, 'Emerald' window depicts St Mark (symbolised as a lion) and scenes from his gospel, rose window to east end by J W Brown depicts biblical demonstrations of God's power in and through water.
LADY CHAPEL: Windows illustrate role of women in history of faith from biblical times to C20, scroll runs across all windows displaying words of the Magnificat. Original glass designed by J W Brown destroyed during the Second World War, replaced by simplified adaptations by James H Hogan and Carl Edwards, gallery window above and behind organ by Hogan depicts Annunciation. Noble Women windows on west stair and atrium by J W Brown, 1921, donated by Girls' Friendly Society. Damaged in the Second World War but re-made to original designs, depict women who contributed to society, including Elizabeth Fry, Louisa Stewart, Grace Darling & Kitty Wilkinson.
Legacy
The contents of this record have been generated from a legacy data system.
Legacy System number: 359401
Legacy System:
LBS
Sources
Books and journals
Brooks, J, Crampton, M, Liverpool Cathedral Guidebook, (2007)
Brown, S, de Figuereido, P, Religion and Place: Liverpool's Historic Places of Worship, (2008), 53-58
Kennerley, P (ed), The Building of Liverpool Cathedral, (2008)
Sharples, J, Pevsner Architectural Guides: Liverpool, (2004), 73-82
Vincent, N T, The Stained Glass of Liverpool Cathedral, (2002)
Websites
Scott, Sir Giles Gilbert (1880-1960), accessed from www.oxforddnb.com/view/article/35987
Sir Giles Gilbert Scott, accessed from www.britannica.com/EBchecked/topic/529593/Sir-Giles-Gilbe...
War Memorials Online, accessed 16 August 2017 from www.warmemorialsonline.org.uk/memorial/108701
War Memorials Online, accessed 16 August 2017 from www.warmemorialsonline.org.uk/memorial/120295
War Memorials Online, accessed 16 August 2017 from www.warmemorialsonline.org.uk/memorial/120084
War Memorials Online, accessed 16 August 2017 from www.warmemorialsonline.org.uk/memorial/108709
War Memorials Register, accessed 16 August 2017 from www.iwm.org.uk/memorials/item/memorial/15157
War Memorials Register, accessed 16 August 2017 from www.iwm.org.uk/memorials/item/memorial/62832
War Memorials Register, accessed 16 August 2017 from www.iwm.org.uk/memorials/item/memorial/62833
War Memorials Register, accessed 16 August 2017 from www.iwm.org.uk/memorials/item/memorial/15149
Rolls-Royce has launched R² Data Labs, to act as an acceleration hub for data innovation. Using advanced data analytics, industrial Artificial Intelligence and machine learning techniques, R² Data Labs develops data applications that unlock design, manufacturing and operational efficiencies within Rolls-Royce and creates new service propositions for customers.
[Loi sur les indiens]
2000-3
Glass beads, copy of pages of the "Indian Act", adhesive tape, thread, felt
Pages 1, 2, 3, 16, 17, 42, 43, 44: Loan courtesy of Art Mûr
Pages 30 and 41: The Montreal Museum of Fine Arts, gift of Stéphane Cauchies
P.1: Nadia Myre
P.2: Chantal Léger, Christina Finlayson, Donovan E. Brass, Francis Dupuis-Déri, Helen Beverton, Isabelle Chapman, Jessica Adley, Luci Dillus, Sasha Kleinplatz, Sophie Cabot
P.3: Ashley Kearns, John Davis, Mirna Saffouri
P.16: Cheryl Donison, Jessie Pratt, Lise Bergeron
P.17: Philip Kitt
P.30: Faith La Rocque, Kirsten, Boehm, Michelle Jospe
P.31: Chloé Frommer, Morin Dubois, Randee Frommer
p.32: Dolorès Contré-Migwans, Leigh Morton, Magola Gombos, Mélanie Deveault, Melissa Krencisz, Neil S. Maclummis, Oronitya Gros-Louis, Samantha Combaluzier, Sarah Steeves
P.33: Nadia Myre
P.34: Alexandre DeGroot, Anthony Stille, Camyle Gaudreau, Catherine Bégin, Christine Le ROy, Denis Lessard, Leah Fontaine, Marie-Andrée Crevier, Marie-Josée Lamarre, Maude LeFrançois, Nathalie DeRome, Pascal Poinlane, Paul Arany, Rebecca Hershfield
P.35: Andrea Richter, Carolyn Teow, Catherine, Denise Brend, Lita Fontaine, Matt Byers, Mehdi Medjoloub, Rita Albert, Santina Gatia, Sarah Normand, Saskia, Yang Man
P.36: Duncan Murdoch
P.37: Andrée-Christine Godin, Leanne L'Hirondelle
P.38: Adrianne Cleary, Caroline Goyer, Will Mouatt
P.39: Nadia Myre
P.40: Carley Humphrey, Dessa Harhay, Giancarlo Zerbino, Jennier Pragai, Jennifer Raso, Karen Fleming, Lara Evoy, Lorraine Chick, Magalie Raymond, Maya with Valérie D. Walker, Susana Ponte, Vincent Bonin
P.41: Nadia Myre
P"42: Emilie Caron, Imelda Grégoire, Marthe Gilbert, Mindy Yan Miller
P.43: Amy Drover, Caroline Aubé, Karin Hazé
P.44: Nadia Myre
To see Canada's Indian Act, please click here.
See Title 25 for the American laws relating to Native Americans.
Indian Act to the sounds of Diane Régimbald
Indian Act to the words and sounds of Sivulivinivut
Balancing Act by Sherri McCauley, Frances Holliday Alford, Barb Forrister, Connie Husdon, Leslie Tucker Jenison, Susan Lewis Story, and Kathy York of Lakeway, Texas.
Group dynamics are complicated. Working together is a balancing act. With our mutual fascination with cairns and balanced rock sculptures, we independently created our rocks and worked on the rock placement together. As a group, we were able to form the balanced stacks, and as a group, we balance. Techniques: Machine pieced, machine and hand quilter, hand embroidered, appliqued with fusible and by hand; background pieces are individually machine quilted and joined with zig zag; shadows are hand painted. Materials: Hand-dyed cottons, felts, velvet, silk organza, and batiks; metallic foils, fabric paint, ink; commercial fabrics, embroidery floss, batting, fusible. Original Design
[Loi sur les indiens]
2000-3
Glass beads, copy of pages of the "Indian Act", adhesive tape, thread, felt
Pages 1, 2, 3, 16, 17, 42, 43, 44: Loan courtesy of Art Mûr
Pages 30 and 41: The Montreal Museum of Fine Arts, gift of Stéphane Cauchies
P.1: Nadia Myre
P.2: Chantal Léger, Christina Finlayson, Donovan E. Brass, Francis Dupuis-Déri, Helen Beverton, Isabelle Chapman, Jessica Adley, Luci Dillus, Sasha Kleinplatz, Sophie Cabot
P.3: Ashley Kearns, John Davis, Mirna Saffouri
P.16: Cheryl Donison, Jessie Pratt, Lise Bergeron
P.17: Philip Kitt
P.30: Faith La Rocque, Kirsten, Boehm, Michelle Jospe
P.31: Chloé Frommer, Morin Dubois, Randee Frommer
p.32: Dolorès Contré-Migwans, Leigh Morton, Magola Gombos, Mélanie Deveault, Melissa Krencisz, Neil S. Maclummis, Oronitya Gros-Louis, Samantha Combaluzier, Sarah Steeves
P.33: Nadia Myre
P.34: Alexandre DeGroot, Anthony Stille, Camyle Gaudreau, Catherine Bégin, Christine Le ROy, Denis Lessard, Leah Fontaine, Marie-Andrée Crevier, Marie-Josée Lamarre, Maude LeFrançois, Nathalie DeRome, Pascal Poinlane, Paul Arany, Rebecca Hershfield
P.35: Andrea Richter, Carolyn Teow, Catherine, Denise Brend, Lita Fontaine, Matt Byers, Mehdi Medjoloub, Rita Albert, Santina Gatia, Sarah Normand, Saskia, Yang Man
P.36: Duncan Murdoch
P.37: Andrée-Christine Godin, Leanne L'Hirondelle
P.38: Adrianne Cleary, Caroline Goyer, Will Mouatt
P.39: Nadia Myre
P.40: Carley Humphrey, Dessa Harhay, Giancarlo Zerbino, Jennier Pragai, Jennifer Raso, Karen Fleming, Lara Evoy, Lorraine Chick, Magalie Raymond, Maya with Valérie D. Walker, Susana Ponte, Vincent Bonin
P.41: Nadia Myre
P"42: Emilie Caron, Imelda Grégoire, Marthe Gilbert, Mindy Yan Miller
P.43: Amy Drover, Caroline Aubé, Karin Hazé
P.44: Nadia Myre
To see Canada's Indian Act, please click here.
See Title 25 for the American laws relating to Native Americans.
Indian Act to the sounds of Diane Régimbald
Indian Act to the words and sounds of Sivulivinivut
The Pegasus Hotel in Georgetown, where many of the Concerned Relatives stayed. Photo released under the Freedom of Information Act. Available through the public domain. Please credit The Jonestown Institute.
[Loi sur les indiens]
2000-3
Glass beads, copy of pages of the "Indian Act", adhesive tape, thread, felt
Pages 1, 2, 3, 16, 17, 42, 43, 44: Loan courtesy of Art Mûr
Pages 30 and 41: The Montreal Museum of Fine Arts, gift of Stéphane Cauchies
P.1: Nadia Myre
P.2: Chantal Léger, Christina Finlayson, Donovan E. Brass, Francis Dupuis-Déri, Helen Beverton, Isabelle Chapman, Jessica Adley, Luci Dillus, Sasha Kleinplatz, Sophie Cabot
P.3: Ashley Kearns, John Davis, Mirna Saffouri
P.16: Cheryl Donison, Jessie Pratt, Lise Bergeron
P.17: Philip Kitt
P.30: Faith La Rocque, Kirsten, Boehm, Michelle Jospe
P.31: Chloé Frommer, Morin Dubois, Randee Frommer
p.32: Dolorès Contré-Migwans, Leigh Morton, Magola Gombos, Mélanie Deveault, Melissa Krencisz, Neil S. Maclummis, Oronitya Gros-Louis, Samantha Combaluzier, Sarah Steeves
P.33: Nadia Myre
P.34: Alexandre DeGroot, Anthony Stille, Camyle Gaudreau, Catherine Bégin, Christine Le ROy, Denis Lessard, Leah Fontaine, Marie-Andrée Crevier, Marie-Josée Lamarre, Maude LeFrançois, Nathalie DeRome, Pascal Poinlane, Paul Arany, Rebecca Hershfield
P.35: Andrea Richter, Carolyn Teow, Catherine, Denise Brend, Lita Fontaine, Matt Byers, Mehdi Medjoloub, Rita Albert, Santina Gatia, Sarah Normand, Saskia, Yang Man
P.36: Duncan Murdoch
P.37: Andrée-Christine Godin, Leanne L'Hirondelle
P.38: Adrianne Cleary, Caroline Goyer, Will Mouatt
P.39: Nadia Myre
P.40: Carley Humphrey, Dessa Harhay, Giancarlo Zerbino, Jennier Pragai, Jennifer Raso, Karen Fleming, Lara Evoy, Lorraine Chick, Magalie Raymond, Maya with Valérie D. Walker, Susana Ponte, Vincent Bonin
P.41: Nadia Myre
P"42: Emilie Caron, Imelda Grégoire, Marthe Gilbert, Mindy Yan Miller
P.43: Amy Drover, Caroline Aubé, Karin Hazé
P.44: Nadia Myre
To see Canada's Indian Act, please click here.
See Title 25 for the American laws relating to Native Americans.
Indian Act to the sounds of Diane Régimbald
Indian Act to the words and sounds of Sivulivinivut
2019 is a big year for health insurance developments affecting consumers and coverage options.
For over 30 years, Short term health insurance has provided coverage for a defined period of time and generally includes a much lower premium than other types of major medical coverage.
Until April of 2017, the coverage period was determined by state law, with the majority of states permitting terms of 364 days or less. Now, the final rule extends the duration of short term coverage from 3 months to 12 months (364 days) depending on state availability and limitations.
Specifically, the language in the plan must inform insureds that the plans do not comply with the Minimum Essential Coverage requirements of the Affordable Care Act. This is important because the ACA currently issues an individual mandate penalty, which equates to 2.5% of one’s yearly household income, or $695 per adult plus $347.50 per child with a $2,085 household maximum - whichever amount is greater.
This penalty will, however, be phased out as of January 1, 2019, meaning you could find and even apply for the best short term health insurance policy for you today without the financial burden of paying the individual mandate penalty.
The outgoing Obama administration made a significant change, issuing a regulatory final rule which cut the maximum duration term limit of short term health insurance from 12 to less than 3 months. This limit was changed on August 1, 2018 by another regulation designed to expand access to short term health coverage. The rule reinstates the 364 day maximum term limit and allows carriers to offer reapply options for up to 36 months. The changes officially took effect on October 2, 2018.
One of the most attractive aspects of short term health insurance is the cost, but many people shy away from short term plans because they are so limited. Why is that? When a plan is limited to three months, it may not address insurance needs fully. Now, however, the legislative change allows individuals to take advantage of more affordable health care for up to three years.
When you apply for a short term plan, you will need to go through medical underwriting. Applications can be rejected. Short term plans often do not cover many of the same things that ACA-compliant plans will address.
The Trump Regulation specifically states that the expansion will “expand more affordable coverage options to consumers who desire and need them, to help individuals avoid paying for benefits provided in individual health insurance coverage that they believe are not worth the cost, to reduce the number of uninsured individuals, and to make available more coverage options with broader access to providers than certain individual health insurance coverage has.”
With this rule now in place, Americans have more affordable choices than ever when it comes to finding the right health insurance for their budget.
7 Major Changes to Health Insurance in 2019
1. No Penalty: In 2019, there is no fine for not having health insurance from the ACA Healthcare Exchange
2. Longer Short Term Medical Plans: Plans can for up to 364 days in most states and 36 months in some others
3. Association Health Plans: Smaller companies and industry groups can now offer health plans with less comprehensive coverage at a lower rate.
4. Health Reimbursement Arrangements: As an alternative to group plans, employers can offer reimbursements for employees who buy their own health insurance.
5. Medicare Enrollment Changes: If you have Medicare Advantage, open enrollment now lasts from January 1st to March 31st where you can change your plan, or switch to Original Medicare.
6. More Ways to Get Insurance: Compare ACA plans with other alternatives on open marketplaces like AgileHealthInsurance.com to find health insurance that works for you.
Click to learn more, get a quote and save on quality short-term health insurance coverage today
www.agilehealthinsurance.com/...
GENERAL DISCLAIMERS
These Short Term Medical plans do not provide coverage for preexisting conditions nor the mandated coverage necessary to avoid a penalty under the Affordable Care Act. Each state has specific mandates for coverage so your plan may include additional benefits. Please consult your state-specific insurance certificate for more information. Short Term Health Insurance products underwritten by their respective companies. Product prices, benefits and availability may vary by state.
ACA DISCLAIMER
AFFORDABLE CARE ACT TAX (ELIMINATED UNDER CONGRESSIONAL TAX REFORM ACT STARTING IN 2019). SHORT TERM HEALTH INSURANCE IS HEALTH INSURANCE OUTSIDE OF THE AFFORDABLE CARE ACT ("OBAMACARE"). IT DOES NOT INCLUDE ALL TEN OF THE MINIMUM ESSENTIAL BENEFITS OF OBAMACARE AND IT DOES NOT COVER PRE-EXISTING CONDITIONS. TO LEARN MORE ABOUT THE TAX AND ITS EXEMPTIONS, SEE HERE. TO LEARN MORE ABOUT THE DIFFERENCES BETWEEN SHORT TERM HEALTH INSURANCE AND OBAMACARE, www.agilehealthinsurance.com/...