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Formed in 1881, The Sherwood Foresters was an infantry regiment of the British Army. After nearly 90 years of service, it merged with The Worcestershire Regiment in 1970. Its traditions are now continued by the Mercian Regiment.
This is compleatly natural. It just amazes me every time I see it. I challenge all the Gettysburg Battlefield geeks out there to tell me where this is at. It is on the Battlefield.
2,118.00 USD
3.25 carat Green opaque polished diamond, briliiant round shaped from Congo, beautifully formed Green diamond
Diamond weight: 3.25 carat per diamond.
Number of Stones: 1
Total Carat Weight: 3.25 carat
Size: approx. 8 mm.
Color: Green
Clarity: opaque
Shape: briliiant round
Country of Origin: Congo (Conflict free)
You will receive the exact diamonds shown in the photos.
This is a true photo of the raw diamond; the photo has not been retouched or modified in any way.
Since most people are so used to only seeing the polished diamonds in the market, some of you may be surprised that these stones are actually diamonds. But yes, raw diamonds actually come in a variety of different colors, shapes and sizes, and are a delight to the eye!
All the diamonds we sell are real genuine diamonds. The exact same diamonds that are usually cut into polished diamonds.
But don't take our word for it, any 'diamond tester' which can be purchased on Ebay/Amazon for as low as $13 will confirm that. You can also show the diamonds to your local jeweler, and if he has any experience dealing with rough diamonds, he'll be able to attest to that too.
You can mount these uncut diamonds in jewelry as they are, or have them sent to be cut into polished diamonds.
All of our diamonds are 100% naturally mined and haven't been cut, faceted, polished, or undergone any kind of process whatsoever. This makes them ideal for an investment, since while polished diamond prices fluctuate, rough diamonds only appreciate over the years.
Our diamonds are personally guaranteed to be conflict free. We strictly follow the Kimberly Process Procedures to stop conflict diamonds or blood diamonds from entering the market.
You would be getting a Kimberly Process Guarantee in every order.
The Diamonds we sell are in full compliance with the rules and regulations set under the resolutions passed by the United Nations.
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FREE shipping anywhere in the US.
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$40 FLAT RATE international shipping.
(We can only ship to countries who are participants of the Kimberly Process)
You'll be getting an original Kimberly Certificate assuring you that the shipment was shipped according to the Kimberly process.
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FREE insurance in every order.
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30 day refund policy, no questions asked.
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Diamonds are the hardest substance in the world, created billions and billions of years ago. They represent love and romance, and were historically used for healing purposes.
Rough diamonds are known to be the April Birthstone.
Looking for a different rough diamond that is not in the shop? Feel free to send me a message, and I'll do my best to find you a diamond that suits your needs.
Interested in buying wholesale? Ask about our Wholesale pricing.
For other rough diamonds in the shop please take a look here:
NewSKU: 20150183
Forms of Resistance, a two-person exhibition featuring works on paper by Tim McFarlane and Washington, D.C.-based artist, Miguel Rodriguez. The show consists of 20 new works on paper by each artist, with all work produced in 2017.
Reception
Friday, May 5 at 6 - 9 PM
Exhibition Statement: When talking about the “why” behind this show, we made a list of some of the things which drew our interest. We spoke about survival, how it relates to cities, oppression, graffiti being put up, then erased, then put up again. Graffiti as protest art. How the traces of words and marks build up and form a sort of collective language over time. We touched on how that relates to evolutionary biology. How all organisms belong to the same tree of life and contain elements of each other, morphed into endless variety through long periods of adaptation and reproduction over time. How we are derived from microscopic meteor particles, our alien origins. How we dream of life beyond our planet, or wish that we would be rescued. Or how terms like “illegal” aliens take a whole group of people and make them the other. We found ourselves deep into the role of artists in societies, whose free speech and thinking goes against the grain of authoritarian ideologies, and how every mark we make, every painting we realize is a form of resistance.
Tim McFarlane and Miguel Rodriguez
Exhibition
May 5 - May 27
Gallery Hours
Saturdays 11 - 2 pm
ARTIST BIOS
Tim McFarlane is a painter based in Philadelphia, PA. McFarlane’s paintings and works on paper examine the fluid nature of memory, time and place, with an emphasis on color, multi-layered systems and process. A 1994 Temple University/Tyler School of Art graduate, McFarlane exhibited in various group exhibitions around the Philadelphia region before gaining representation with the Bridgette Mayer Gallery in 2002, where he has had several solo exhibitions.
Tim McFarlane has exhibited his work extensively in the U.S. in group exhibitions and featured at art fairs in New York, Miami, Dallas and San Francisco. He has been a visiting artist at several universities, participated in artist panels and has been a juror for exhibitions and grants. McFarlane’s paintings and works on paper reside in numerous private and public collections, including those of West Virginia University, Bucknell University, Temple University, the Hyatt Hotel at the Bellevue and more.
Miguel Rodriguez is a Washington D.C. based painter. He is a graduate of Tufts University/School of the Museum of Fine Arts, Boston, and has shown his work in Philadelphia, Trenton and Boston. He is part of the Earth Issue Artist's Collective, and was interviewed recently for Young Space, an online platform dedicated to emerging artists. His work is included in numerous private collections.
Images left to right:
Miguel Rodgriquez: Ange, 2017, acrylic and collage on paper, 15" x 11"
Tim McFarlane Uncharted (Blue Seas), 2017, acrylic on paper, 15" x 11"
Observar la relación entre la pantalla de pilotes ( aquí sólo se representa uno, pero esta previsto que se construyan en una longitud de 230 metros). Observar la cercanía física entre la pantalla de pilotes de 41 m de largo y 1,5m de diámetro (en rojo), y los cimientos de la Sagrada Familia (con el extremo de sus cimientos engrosado en rojo en forma de bulbo) En realidad estos cimientos de 16 m de longitud, tienen unos límites reales muy difíciles de precisar pues la técnica de construcción de pilotes no está tan avanzada como la de las tuneladoras. Y bien pudiera suceder que llegaran a tocarse con alguno de los pilotes de la pantalla "protectora" en el momento de la construcción. No hay más espacio para proceder de otra manera. Son problemas que se presentan al ir definiendo los detalles de los proyectos y que hay que re-estudiar atentamente.
Visita a las obras del Templo de la Sagrada Familia 2008.09.30
BISBITA CAMPESTRE (Anthus campestris)
Los bisbitas forman un grupo diverso de aves adaptadas a medios abiertos —muchas veces áridos— de todo el mundo. Sin embargo, las estepas ibéricas, ricas en otras aves, carecen de bisbitas nidificantes, a excepción del bisbita campestre, una especie común en las estepas continentales y parameras del norte y este de la Península, pero casi ausente en el cuadrante suroeste. De presencia estival, emite —como otros bisbitas grandes— un sencillo y repetitivo canto, integrado por dos únicas notas.
Clasificación y Identificación
Orden Passeriformes; familia Motacillidae
Longitud 17 cm. Envergadura 27 cm.
Identificación
Bisbita caracterizado por su tamaño grande, aspecto de lavandera y coloración clara y lisa. Exhibe dorso gris arenoso, débilmente rayado, y partes inferiores de tono crema y sin estrías. Posee alas redondeadas; cola larga y con plumas externas blancas; pico anaranjado por abajo y oscuro por arriba; y patas finas de color naranja amarillento. En la cabeza muestra varias líneas contrastadas: ceja clara, línea ocular oscura, bigotera blanca con borde inferior negro, y garganta blanca. Resulta singular entre nuestros bisbitas por sus tonos arenosos claros y por la ausencia de estrías en el pecho. Ambos sexos son iguales. Los jóvenes, diferentes a los adultos, recuerdan más a otros bisbitas por su dorso rayado y escamoso y, sobre todo, por el pecho intensamente estriado (dibujo 2). El patrón de la cara, sin embargo, resulta similar al de los adultos y muy útil en la identificación. Se trata de un ave territorial que suele observarse en solitario y en el suelo, pues raramente vuela y prefiere moverse andando.
Canto
El bisbita campestre emite varias llamadas y reclamos simples de una o dos notas agudas (chiip, chuuií, siip). El canto, proferido en vuelo o desde un posadero, consiste en una serie monótona de dos o tres notas (chir-li), repetidas cada pocos segundos durante un minuto o más.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
A crowd forms on Market Street outside the courthouse in Snow Hill, Maryland November 6, 1931 after information leaked out that Euel Lee was to appear in court the following day.
Lee did not make an appearance on November 7th, but his attorney Bernard Ades and a female companion showed up for a court appearance and were attacked and beaten outside the courthouse.
Green Davis and his wife Ivy and two children were murdered in 1931 in their Berlin, Maryland home purportedly over a wage dispute, setting off a two-year sensational prosecution and defense of Euel Lee who was also known as Orphan Jones.
Lee’s case was taken up by the Maryland Communist Party and they waged a public campaign with demonstrations, letters and telegrams while his attorney Bernard Ades fought tenaciously in the courts. Ades succeeded in obtaining several changes of venue that thwarted lynch mobs and overturned Maryland’s longstanding practice of barring African Americans from juries.
Despite the efforts, Lee was executed October 28, 1933 and the state refused to hand the body over to Ades despite Lee’s written wishes. Lee was then buried in an unmarked grave.
Disbarment proceedings were brought against Ades and he was defended in Maryland courts by Charles Hamilton Houston and Thurgood Marshall—the first white man in Maryland defended by black lawyers. Ades escaped disbarment with a reprimand.
For more information and related images, see flic.kr/s/aHsk3cXm2f
The photographer is unknown. The image is an auction find.
The Banks Peninsula.
This stunning volcano formed peninsula was named by Captain Cook in 1770 believing that it was an island after he saw Lake Ellesmere which he thought was the sea. He named it after the botanist on his voyage – Joseph Banks. We know that the peninsula is made up of two volcanic cones with breached sides on the calderas - with one forming Lyttelton Harbour and the other Akaroa Harbour. The volcanoes were active 1.6 to 5 million years ago. The volcanic cones or calderas have steep indented sides producing dramatic coastal and cliff formations. The first settlement that we reach on Banks Peninsula is called Little River which is known for its grass seed industry. On top of the caldera we should have superb views of Akaroa harbour if it is clear.
Apart from Maori occupation Akaroa was first settled by two Frenchmen who created the village of Duvauchelle in 1840. A little further on is Akaroa. The harbour is known for its wildlife including the rare Hector Dolphins and many seabirds. Since the Polynesian invasion of NZ about 1,000 years ago three successive waves of Maori have occupied Akaroa Harbour – the Waitaha, the Kati Mamoe and finally from the 1600s to the arrival of white settlers the Ngai Tahu. In 1830 the Maori settlement on the south side of the harbour was the scene of a notorious incident with the British ship named Elizabeth. British Captain John Stewart helped the North Island chieftain Ngata Toa to capture the local chieftain Te Maiharanui which resulted in a battle and massacre. The British wanted to establish a whaling station at Akaroa but the Ngai Tahu would not agree to this. Partly as a result of this James Busby was sent to New Zealand to negotiate with the Maoris for British occupation which he did through the Treaty of Waitangi in 1840. In the meantime Akaroa was left alone until 1838 when French whaler Captain Langlois decided to use Akaroa for a whaling station. He “purchased” some Maori land through a dubious agreement with the Maoris. He returned to France, floated the Nanto-Bordelaise Company and returned to Akaroa with a group of French families with the intention of founding a French colony there. But by the time he arrived back in Akaroa the Treaty of Waitangi had been signed, including by the Akaroa chiefs and Britain had declared sovereignty over all of New Zealand’s three main islands. But the French stayed and settled anyway with villagers at Duvauchelle and Akaroa itself. New Zealand’s first Governor Hobson despatched a British ship the Britomart from the Bay of Islands to Akaroa to ensure British sovereignty was respected. The French laid out the streets of Akaroa with French names and they planted many walnut trees and bush roses. By the time the British arrived in Christchurch with the Canterbury Associated in 1850(based like SA on the ideas of Edward Gibbon Wakefield) Akaroa was already well established albeit with a French flavour. Look at the street names- Rue Lavaud, Rue Pompallier, Rue Jolie, Rue Balguerie, Rue Benoit, Rue Viard and Rue Grehan. The hill behind the town is L’Aube Hill (Sunrise Hill).
Historical walk in Akaroa with buildings numbered.
1. L’aube hill. Site of the pioneer French cemetery.
2. Trinity Church. A Presbyterian church opened here in 1860 by Mr Eteveneaux. Replaced 1886. Hall 1916.
3. Mrs Eteveneaux’s shop. No 42 Rue Lavaud.
4. No 43. A typical early colonial French style house.
5. Chez La Mer and the Madeira Hotel. Erected 1871 by Mr Rodrigues of the Madeira Islands.
6. Nos 45 and 47 were sites sold by the Nanto-Bordelaise Company in 1842 to a German settler, Jacob Waeckerle. House built 1877 with gallery added 1905.
7. Bon accord. Interesting house with two front doors. Used as Catholic school room and offices.
8. Chemist Shop. Henri Citron opened this pharmacy in 1883. During World War 2 a plane crashed into the shop.
9. No 60 was erected 1864 as a Town hall. Façade remodelled in 1993.
10. First Police Station built in 1864 and extended in 1904. Now a residence.
11. Akaroa Museum. The complex includes the Courthouse 1880, the Langlois-Eteveneaux house 1841.
12. The Old Criterion Hotel. Began as a shop in 1850s and became a hotel in 1860s.
13. The Customs House opened in 1853 closed 1880.
14. The old Post Office opened in 1914. Now the Information Centre.
15. Bank of New Zealand. A bank opened in 1863 but this one was built in 1905.
16. St Peters Church in Rue Balguerie. Built 1864 in English style. Graveyard contains grave of an early vicar who became the first Anglican Bishop of Dunedin.
17. Blythcliffe at no 37. Two storey house from 1857.
18. War Memorial which was unveiled in 1924.
Nozeroy est une cité médiévale dans le département du Jura, dans la région Bourgogne-Franche-Comté.
Le puissant et richissime seigneur Jean Ier de Chalon choisit un site de hauteur, défendable à proximité de la route du sel, qui de Salins à Jougne permet les échanges commerciaux et culturels entre le duché de Bourgogne et la Suisse et au-delà entre la Flandre et l'Italie. Jean de Chalon crée alors en 1262 au centre de son domaine jurassien, une forteresse d'où est conduite sa politique et sont administrés ses biens : le château de Nozeroy et sa ville fortifiée.
Formed of 70015, 90048, 86610 and 66504. This convoy was heading to the Crewe Heritage Centre for a charity event.
Apprezzo la cioccolata perchè
lei è l'unica che sostituisce la mancanza di ciò che è impossibile da sostituire.
El ocelote (del náhuatl océlotl) (Leopardus pardalis, antes Felis pardalis) es una especie de mamífero carnívoro de la familia Felidae.2 Se encuentra ampliamente distribuido en América, donde se diferencia en numerosas subespecies.
El ocelote se conoce también como jaguarcito (Chaco), manigordo (Costa Rica y Panamá), cunaguaro (en Venezuela), tigrillo (en Colombia, México, Ecuador, El Salvador y Perú), tigrecillo o gato montés (en Bolivia), jaguatirica (en tupí jaguara (jaguar) + tyryk (escabullirse)) (en Brasil), jaguarete´i o mbarakaja (en guaraní "pequeño jaguarete" o "gato" respectivamente) (en Paraguay), y gato onza (en Argentina). Es de notar que los nombres de ocelote y de tigre son compartidos, según las zonas, con el distinto y mucho mayor félido llamado usualmente jaguar (Panthera onca).
El ocelote es una especie de felino de mediano tamaño, con una longitud de cabeza y cuerpo de 70 - 90 cm, cola relativamente corta (30-40 cm, un 45% de la longitud de cabeza y cuerpo) y un peso en el entorno de los 11 kg. Poseen grandes orejas y gran sentido del oído, con unos ojos grandes y expresivos. Las extremidades anteriores tienen cinco dedos y las posteriores cuatro; las zarpas están provistas de almohadillas, que permiten al animal caminar sin hacer ruido, y con uñas largas, afiladas y completamente retráctiles, esto le resulta muy útil cuando no es necesario utilizarlas como, por ejemplo, al correr, y evitar, de este modo, su deterioro. Sus ojos están muy bien adaptados a los cambios de luminosidad: las pupilas se contraen hasta formar una fina y negra línea vertical durante los días de mucha luz, pero se abren y se redondean en situaciones de oscuridad.
El ocelote está presente desde el sur de Estados Unidos hacia el sur, en todos los países de América continental, el norte de Argentina y de Uruguay.
Presenta una gran versatilidad en el uso de hábitat pudiendo habitar selvas húmedas, zonas montañosas y hasta semidesérticas, su hábitat se extiende desde Texas a Argentina. Son de hábitos nocturnos, pasando la mayor parte del día durmiendo en las ramas de los árboles o escondidos entre la vegetación. Es de hábitos solitarios. Tiende a emboscar a sus presas.
Alcanzan la madurez sexual a partir de los 24 meses.Tras un periodo de gestación que oscila entre los 72 y 82 días, las hembras paren de una a dos crías, excepcionalmente tres o cuatro.Al nacer pesan unos 250 g y no abren sus ojos hasta 15 o 18 días más tarde.En cautividad se le estima una longevidad de unos 20 años; es posible que sea mucho más corta en la naturaleza.
Se alimenta de mamíferos medianos y pequeños; como zarigüeyas, monos, murciélagos, conejos e incluso ciervos adultos y otros. También comen reptiles (caimanes jóvenes, lagartos y serpientes) y los huevos de las tortugas. Cazan aves y algunos son buenos pescadores. Además, se han registrado casos de canibalismo. Cazan en solitario o en grupos familiares, y el éxito de la captura dependerá sobre todo de la vista y el oído; el olfato también está muy desarrollado, pero éste lo suelen emplear en el examen de la presa y en el reconocimiento del territorio marcado con orina por otros machos de la especie. Las técnicas empleadas para cazar son variadas: en unos casos acechan a la presa y, en otros, en esperar escondidos y lanzarse después por sorpresa sobre sus víctimas.
This is a picture of Kairi from Kingdom Hearts someone from DeviantArt drew...I decided to use this to describe my fanmade character, Kairi's twin, Hikari. All credit goes to you, whoever drew this!
checking that the tube is bent at the right angle
Visit at the Reynolds factory by Witcomb Cycles - 24 January 2008
Feminine form fitting and comfortable T-shirt with screen printed Koi Fish design. Absolutely gorgeous Swarovski crystals in Hyacinth and Fire Opal colors decorate the guitar inside of the Koi.
Color: Black
Material: 100% cotton
Style: Short sleeve V-neck
* 5.9-ounce, 100% ring spun combed cotton
* 1x1 rib knit
* Self-fabric binding at neck and cuffs
* Double-needle hem
☀Guitar (front) and leaf&writing(back) glows in the dark.☀
Size: Small (or e-mail me for a custom made shirt in your size)
Twitter:
☠ @POSHinks
Facebook:
☠ Hatvan Kilenc
KPM Berlin um 1885 Tasse Form Antiqueglatt mit Bunter Blumenmalerei, Ränder in Purpur, Zylindrisch, www.kabelitz-porzellan.de
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Two days of botanizing with good friends in the upstate of South Carolina provided us with lots of Spring wildflowers -- a few of which were "lifers" for a couple of the guys. I was joined on Saturday by Walter Ezell, and on Sunday by Alan Cressler, Bruce Roberts, and Nate Miller.
We visited the following locations: Peach Orchard Branch (Pickens County), Nine Times Preserve (Pickens County), and Devil's Fork State Park (Oconee County).
For the full trip report, please go to Jim's Blog.
Rapid Industrialized concrete housing construction using handset aluminum concrete forms. For more information visit www.wallties.com/securetech.htm
English (Co Eyre) is a recently formed hundred in the N W part of the county, containing but a small part of purchased land. [Bailliere’s South Australian Gazetteer and Road Guide 1866]
Thomas English was a leading colonial architect in South Australia. He was Mayor of Adelaide 1862–63, and a member of the South Australian Legislative Council 1865–1878 and 1882–1884. As Mayor of the city Mr English was conspicuous for his integrity, urbanity, and hospitality.
The Hundred of English was named after English when it was proclaimed in 1866.
English was born in Maryport, Cumberland, England. He arrived in Adelaide 11 January 1850 on the barque ‘Richardson’ commanded by his brother James English: he was accompanied by Mrs English and his brother-in-law Mr Henry Brown.
The ship which Mr English’s brother commanded was chartered to bring out the plant and machinery and the miners and mechanics for the Burra Mine and the English and Australian Smelting Works.
The firm of English & Brown were large employers of labour. They opened the Glen Ewin Freestone Quarries at Teatree Gully.
They erected some of the finest public buildings in the province, including the Town Hall, the Post Office, Parliament Houses, Chalmers Church, the National Bank, Flinders Street Baptist Church and numerous residences.
Thomas English’s work as an architect also included the Kent Town Brewery buildings, corner of Rundle Street and Dequetteville Terrace, Kent Town. He died at his residence in Parkside, South Australia 17 December 1884. [Ref: South Australian Register 20-12-1884]
The District Council of English was a local government area in South Australia from 1878 to 1932 when it was amalgamated with the newly constituted District Council of Robertstown. Prior to 1932 the council had four wards: Bower Ward, Emmaus Ward, Robertstown Ward and Point Pass Ward.
The District Council of English was proclaimed 31 October 1878, and a Council Chamber was built in 1887.
The council seat was located at Point Pass although Robertstown was the largest town in the district. The council had four wards: Bower, Emmaus, Robertstown and Point Pass.
The town was named by Anne Richards, one of the town’s first residents: after Poynzpass (Northern Ireland), a locality known to her.
*Following are some snippets from council meetings:
English Council meeting
Mr Morris, Anlaby, offered to exchange land for the new road in Point Pass paddock: to stand over until replied have been received from Commissioner of Crown Land and District Council of Julia. [Ref: South Australian Chronicle and Weekly Mail 6-11-1880]
English Council meeting October 7
Apoinga Council asked if council were willing to purchase copies of “Instructions to District Constables”, printed in German.
Clerk to order one dozen copies. [Ref: South Australian Weekly Chronicle 22-10-1881]
English Council meeting August 3
Resignation from Rudloff as overseer of government tank at Point Pass.
Charles Heinze appointed collector of rates and registrar of dogs. [Ref: South Australian Weekly Chronicle 18-8-1883]
English Council meeting October 3
Messrs D Suebuer, C Jochinke and G Reinhold were sworn in district constables for the ensuing year. [Ref: South Australian Weekly Chronicle 24-10-1885]
English Council meeting September 24
Neales Council wrote suggesting that meeting should be held to consider advisability of amalgamating district councils of Neales, Julia and English into one district: clerk to ask Neales Council to appoint day and meeting to be held at council office, Point Pass.
Messrs G Wrote, W Fettke and Henry Farley sworn in as district constables. [Ref: South Australian Weekly Chronicle 1-10-1887]
English Council meeting Saturday April 16
Clerk instructed to write to Neales and Apoinga councils to ask their co-operation to wait on Royal Commission on Main Roads to request them to place the road north of Eudunda passing through portions of Neales, English and Bundey on schedule of main roads as there is a large amount of traffic, and the expense to keep road in repairs is too great for the councils. [Ref: Kapunda Herald 10-5-1892]
Following is information from the first meeting of the District Council of Robertstown:-
*District Council of Robertstown
The first meeting of the newly constituted District of Robertstown was held in the Robertstown Peace Institute hall 24 May 1932.
The District Council of Apoinga and the District Council of English having been amalgamated with the District Council of Robertstown were represented at the meeting.
At that meeting it was stated now that the amalgamation had come into force it remained for the Council to do it's level best for the whole of the district. Cr Farley said it gave him pleasure to rise to the occasion to welcome the Council to Robertstown.
He felt that the amalgamation of the two councils would lead to economy.
C Sandland, on behalf of the old Apoinga Council, thanked the sitting members of the old District of English, and congratulated them on the cordial spirit in which they had attended the meeting. [Ref: Burra Record 1-6-1932]
Stainless steel and cast aluminum construction. Motor driven, 220 volts, 60 cycles. Interchangeable molder for fish / squid ball, quekiam and orion cutter molder.
For Thanksgiving dinner, my wife made homemade crescent rolls. Here they are ready to go into the oven.
The 2012 scholarship forms will be mailed out next week to all of the sponsors that requested the same student. We still have lots of students that don't have a sponsor. Due to the current economic climate in the US, some of our long-time sponsors have not been able to support their student for the 2012 school year. Here is one of our unsponsored students. A fifth grade girl named Angie Lorena Rojas Parra. You can see her thank you drawing below as well.
If you would like to sponsor Angie, or one of the other students that do not have sponsors let us know. Each sponsorship is $228 for the school year, that amount covers part of their tuition. If you would like to cover their full tuition you can send in $300. To read more about our Colegio Peniel Scholarship Program here.
Colegio Peniel scholarships make great Sunday School, Small Group, or Children's Church projects. Consider supporting a student today, you will make a huge difference in the life of a poor Colombian child by providing them with a quality Christian education.