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At the Elizabeth Board of Education meeting of May 10 at Juan Pablo Duarte - José Julián Martí School No. 28, Taneka Bowles presented Elizabeth Public Schools with a very generous donation of $25,000 on behalf of Taneka and Todd Bowles for Elizabeth’s Special Olympics program. This marks the fourth straight year the Bowles family has supported the district’s Special Olympics program, raising the total to $100,000 in donations.
The evening also took on a multicultural theme as the Board recognized the Cuban, Haitian, and Portuguese heritages.
In honor of Cuban heritage, Juan Pablo Duarte - José Julián Martí School No. 28 Kindergarten students performed “Mambo numero 8” by Damaso Perez and “Mi Tierra” by Gloria Estefan and community members Julio Sabater, Miguel Socarras, and Marita De Varona were recognized for their outstanding contributions to the community.
In honor of Haitian heritage, John E. Dwyer Technology Academy student Kerline Francois performed a lyrical solo to "Human" Written by Christine Perry and the Dwyer Technology Academy Haitian Club was recognized for its commitment to promoting the beauty of the Haitian culture through educational and social opportunities available within the school environment.
In honor of Portuguese heritage, Alexander Hamilton Preparatory Academy students Karina Almeida and Tiago Matos performed “Vira do Minho”, Danca E Cantares De Portugal from the Portuguese Instructive Social Club performed a Portuguese folklore dance, Portuguese world language teachers were recognized for their outstanding efforts to instill the passion of the Portuguese culture into our students, and the Elizabeth Portugal Day Pageant 2018-2019 Royal Family was recognized for their contributions to the Elizabeth community.
Juan Pablo Duarte - José Julián Martí School No. 28 Principal Evelyn Rodriguez-Salcedo presented to the Board the approach she has taken to be able to address various issues that resulted in School No. 28 being designated a Focus School by the New Jersey Department of Education (NJDOE). In April 2012, former New Jersey Governor Chris Christie’s administration announced the final list of Priority, Focus, and Reward Schools as part of its new statewide accountability system, which included 183 Focus Schools. A Focus School is a school that has room for improvement in areas that are specific to the school. As part of the process, Focus Schools receive targeted and tailored solutions to meet the school’s unique needs. The types of Focus schools include those with low graduation rates, largest within-school gaps, and lowest subgroup performance.
As a result of this approach by Rodriguez-Salcedo and the team members of School No. 28, the NJDOE has announced that School No. 28 will be exiting Focus School status in June 2018.
During the meeting, the Board celebrated and recognized excellent achievements of members of the Elizabeth Public Schools Professional Learning Community and the greater Elizabeth community.
Easter Monday afternoon in Salisbury Cathedral: a rather fine Easter Garden right against the nave altar, at the crossing under the spire. I practically fell over it, after spending time up in the choir. As a photographer I couldn't resist the (rather obvious) lead-in of the path to the empty tomb. But the scene meant more than this.
Slightly flat light from behind: after some good fun taking advantage of a dull afternoon, which makes it much easier to avoid blown-out highlights in a cathedral, the sun came out and flooded the nave behind me with light. Some nice side-lighting up in the choir though.
An instructive afternoon: Salisbury is a local cathedral and I've shot there before, but I now realise there is a lot more that can be done, and also continuing delight at what the D600 can do...
Redcar Cemetery
"This story started when a friend of mine gave me some images of old Redcar. This is one of them showing the Baptist Church Hall in Station Road. There was only one reference I could find for this building. In 1893 where there was a held conversazione in aid of the church. (Image1). This was an instructive lecture on ‘The Eye of the Beetle.’ They had microscopes around the room so members of the audience could have a closer look.
At the end of this talk a J. Shewell provided musical entertainment, it was I think much needed. I had seen that name before on a very imposing headstone in the cemetery. For those living in Redcar if you want to find the stone, go through the main arch to the old section, turn sharp left past the old mortuary across the grass to a small path to edge of section B.
The inscription reads
Joseph Shewell died 26.4.22, aged 76 years.
Caroline, his wife died 28.6.1921, aged 75 years.
And of these children
Francis Osmund 20.2.1888, aged 7 months.
Evelyn 10.9.1899, aged 22 years.
Theodore 2.5.1949, aged 60 years.
The epitaph ‘I know whom I have believed’
Further research revealed this line is a refrain from a beautiful hymn that you can hear on U Tube. The text taken from 2 Timothy 1.12
The census revealed that they were a Quaker family. Joseph’s father, Joseph Talwin was born in 1819 in Deptford Kent, he was a draper and mercer. His wife Mary was born in 1820. They had sons and daughters including Joseph born in 1847. They moved from Deptford to Darlington between the dates 1851-1861.
In 1881 at Hurworth Darlington, Joseph now 34 married Caroline. He was a bridge and boiler manufacturer employing 40 men and 6 boys. In 1901 and 1911 they lived at 5 Turner Street Redcar. This is a large double fronted house near Rosie O’Grady’s pub.
Joseph and Caroline had children including Theodore born in 1889 they were educated at the Society of Friends Schools both in Ackworth Pontefract and The Mount School in York.
Joseph became established in the town and he was one of the founders of the Redcar Literary Institute and was Chairman in 1898-1902 and 1914-1917. He was also their lanternist (showing slides).
In 1916 the war had been raging for two years and men had started to be called up. This had become a major issue for Theodore as he was 27 and of fighting age. He was a bank cashier and relatively fit but because of his beliefs as a Conscientious Objector (CO) he would not fight.
On May 16th 1916 Theodore was called before the justices on a charge of failing to report himself at an earlier date. Sarg-Major Wood who was in charge of Redcar Recruiting Office said the defendant ought to have reported on May 10th. It was his instructions to ask for a fine and for the defendant to be remanded to await escort.
Theodore appealed against joining the army on religious grounds, but his appeals were turned down. The bench decided to adjourn the case for a fortnight and Sir Alfred Pease expressed the hope that in the meantime his certificate of exemption would be reconsidered.
On the 30th May the justices met again and he was charged with failing to report. Councillor A. M. Hall the local military representative finally handed him over from the civil court to the military and instructions were given to the police.
He was fined and he was taken to Richmond Castle and held there on 1.6.1916. His father Joseph’s signature was on the documents so he must have accompanied his son to support him. Richmond Castle was the headquarters of the Non- Combatant Company. Some men who were in that company would agree to do some work that was not in a fighting role, they may have worked on roads, unloading goods etc. Theodore was an absolutist, in that he would not do any work that would be related to the war. It was unclear if he was transferred to France as many of these men were. The records were burnt so it is difficult to discover what happened to him. This burning happened in a bombing raid in 1940 when a German bomb struck the Arnside Street War Office in London.
The conscience objectors were roughly treated at times. Although the records are there they say little of what happened to him. Some of the men were put in the cells at the castle for a time and fed on bread and water. At the castle there is much graffiti left by the prisoners which has been recorded. They were not allowed to write letters so the family would be concerned about what was happening to him. He wasn’t discharged until the 31.3.1920. His mother died the following year and his father the year after.
He must have taken up his employment again as he eventually became the Halifax Building Society District manager in Exchange Place Middlesbrough.
1939
In later life Theodore was involved in many worthwhile causes and I wonder if he thought about the injustices of the past. He was the Chairman of the Religious and Racial Persecution Society. There was a protest meeting held at the Town Hall in Middlesbrough where the Bishops of Durham and Middlesbrough were making people aware of the persecution of the Jews in Germany. Theodore’s name was on the poster and hand bills advertising this event.
(Image 2)
He was the chair of the group opening the new institute for South Durham and Cleveland Mission for the Deaf and Dumb (these were the words of the day) in the Avenue Linthorpe Middlesbrough. This image was taken on the day of the opening showing the Bishop of Whitby, the Mayor and Mayoress of Middlesbrough and Theodore (with glasses).
(image 3 ) 1946
He was a member of the Redcar Literary Institute and was one of the trustees.
The Little Theatre Middlesbrough
William Little in his book the History of Middlesbrough (1926 – 1951) stated that Theodore had built a successful organisation that was in a position to build its own theatre. Ten years later In 1957 the beautiful theatre was opened by Sir John Gielgud.
Theodore lived at the Cliff 200 High Street, he did not marry. He died on May 2nd 1949 in North Ormesby Hospital. He left £10,018 in his will.
There is one regret that when we were undertaking our WW1 research in 2014 to mark the centenary of WW1 we didn’t know this story We could have shared it with a lot more local people, It belongs to old Redcar and is part of our past." Dot Ahmed Friends of Redcar Cemetery
101 Oil Studies, No. 54
Rainbow Monas Set (Nos. 52–55)
The Rainbow Monas began as studies in skin tones but evolved into Mona Lisa pretenders, each a portrait of a woman against a dramatic, natural background. Fun, and very instructive on my path toward oll proficiency. Which Mona do you like best?
Mona Maya painted in 15 sessions: 7 January to 7 March 2025
Pigments (Winsor & Newton Artists' oil colour unless otherwise note): Yellow ochre, terra rosa, Vandyke brown, ivory black, permalba white (Weber), Naples yellow light, Winsor yellow, cerulean blue, cobalt blue, burnt sienna. Mediums: Gamsol, Oleogel.
Centurion OP DLX oil primed linen, 27.9 x 35.6 cm (11 x 14 inches)
At the Elizabeth Board of Education meeting of May 10 at Juan Pablo Duarte - José Julián Martí School No. 28, Taneka Bowles presented Elizabeth Public Schools with a very generous donation of $25,000 on behalf of Taneka and Todd Bowles for Elizabeth’s Special Olympics program. This marks the fourth straight year the Bowles family has supported the district’s Special Olympics program, raising the total to $100,000 in donations.
The evening also took on a multicultural theme as the Board recognized the Cuban, Haitian, and Portuguese heritages.
In honor of Cuban heritage, Juan Pablo Duarte - José Julián Martí School No. 28 Kindergarten students performed “Mambo numero 8” by Damaso Perez and “Mi Tierra” by Gloria Estefan and community members Julio Sabater, Miguel Socarras, and Marita De Varona were recognized for their outstanding contributions to the community.
In honor of Haitian heritage, John E. Dwyer Technology Academy student Kerline Francois performed a lyrical solo to "Human" Written by Christine Perry and the Dwyer Technology Academy Haitian Club was recognized for its commitment to promoting the beauty of the Haitian culture through educational and social opportunities available within the school environment.
In honor of Portuguese heritage, Alexander Hamilton Preparatory Academy students Karina Almeida and Tiago Matos performed “Vira do Minho”, Danca E Cantares De Portugal from the Portuguese Instructive Social Club performed a Portuguese folklore dance, Portuguese world language teachers were recognized for their outstanding efforts to instill the passion of the Portuguese culture into our students, and the Elizabeth Portugal Day Pageant 2018-2019 Royal Family was recognized for their contributions to the Elizabeth community.
Juan Pablo Duarte - José Julián Martí School No. 28 Principal Evelyn Rodriguez-Salcedo presented to the Board the approach she has taken to be able to address various issues that resulted in School No. 28 being designated a Focus School by the New Jersey Department of Education (NJDOE). In April 2012, former New Jersey Governor Chris Christie’s administration announced the final list of Priority, Focus, and Reward Schools as part of its new statewide accountability system, which included 183 Focus Schools. A Focus School is a school that has room for improvement in areas that are specific to the school. As part of the process, Focus Schools receive targeted and tailored solutions to meet the school’s unique needs. The types of Focus schools include those with low graduation rates, largest within-school gaps, and lowest subgroup performance.
As a result of this approach by Rodriguez-Salcedo and the team members of School No. 28, the NJDOE has announced that School No. 28 will be exiting Focus School status in June 2018.
During the meeting, the Board celebrated and recognized excellent achievements of members of the Elizabeth Public Schools Professional Learning Community and the greater Elizabeth community.
Literally (and I mean that "literally" literally, this time) stumbling upon this still life in the murky light of this sado-masochist's wet dream, at first glance I took this to be an uncharacteristically turgid (!), but venomous, coral snake. It turned out merely to be the handle of a disused floor jack. Much relieved, and with my pre-frontal cortex being occupied by thoughts of Stendhal in conjunction with the German tricolor, I gingerly stepped over the aforementioned object only to slip on the oily floor. The color I now pondered was red again, as a small but precious (since it was mine) trickle of blood ran down my leg. Fortunately no major damage was sustained by the temple which is my body. The next colors that swam into my consciousness after several days were Black & Blue ...
Let this doleful but instructive narrative serve as a cautionary tale for fellow photographers!
At the Elizabeth Board of Education meeting of May 10 at Juan Pablo Duarte - José Julián Martí School No. 28, Taneka Bowles presented Elizabeth Public Schools with a very generous donation of $25,000 on behalf of Taneka and Todd Bowles for Elizabeth’s Special Olympics program. This marks the fourth straight year the Bowles family has supported the district’s Special Olympics program, raising the total to $100,000 in donations.
The evening also took on a multicultural theme as the Board recognized the Cuban, Haitian, and Portuguese heritages.
In honor of Cuban heritage, Juan Pablo Duarte - José Julián Martí School No. 28 Kindergarten students performed “Mambo numero 8” by Damaso Perez and “Mi Tierra” by Gloria Estefan and community members Julio Sabater, Miguel Socarras, and Marita De Varona were recognized for their outstanding contributions to the community.
In honor of Haitian heritage, John E. Dwyer Technology Academy student Kerline Francois performed a lyrical solo to "Human" Written by Christine Perry and the Dwyer Technology Academy Haitian Club was recognized for its commitment to promoting the beauty of the Haitian culture through educational and social opportunities available within the school environment.
In honor of Portuguese heritage, Alexander Hamilton Preparatory Academy students Karina Almeida and Tiago Matos performed “Vira do Minho”, Danca E Cantares De Portugal from the Portuguese Instructive Social Club performed a Portuguese folklore dance, Portuguese world language teachers were recognized for their outstanding efforts to instill the passion of the Portuguese culture into our students, and the Elizabeth Portugal Day Pageant 2018-2019 Royal Family was recognized for their contributions to the Elizabeth community.
Juan Pablo Duarte - José Julián Martí School No. 28 Principal Evelyn Rodriguez-Salcedo presented to the Board the approach she has taken to be able to address various issues that resulted in School No. 28 being designated a Focus School by the New Jersey Department of Education (NJDOE). In April 2012, former New Jersey Governor Chris Christie’s administration announced the final list of Priority, Focus, and Reward Schools as part of its new statewide accountability system, which included 183 Focus Schools. A Focus School is a school that has room for improvement in areas that are specific to the school. As part of the process, Focus Schools receive targeted and tailored solutions to meet the school’s unique needs. The types of Focus schools include those with low graduation rates, largest within-school gaps, and lowest subgroup performance.
As a result of this approach by Rodriguez-Salcedo and the team members of School No. 28, the NJDOE has announced that School No. 28 will be exiting Focus School status in June 2018.
During the meeting, the Board celebrated and recognized excellent achievements of members of the Elizabeth Public Schools Professional Learning Community and the greater Elizabeth community.
CUNY Chancellor Felix Matos Rodriguez (r) visited the CUNY School of Professional Studies to speak with faculty and staff about a new initiative, CUNY Online. In photo: Minden Koopmans, director of CUNY Online explaining new instructive technology.
Osmia niveata Fabricius, 1804
Likely not Osmia latreillei as hind face of propodeum not dull but Y shaped shiny. Also not Osmia leaiana, as tips of tergite 3 ciliae do not reach the hind margin but leave open a shiny, hairless hind margin. Hairs at tergite 3 margin not feathered.
English name:
Jersey Mason Bee
Funddatum /Collection Date:
06.05.2022
Fundort /Location/temperature:
Italia, Tuscany, Castello di Potentino, Taxon Expeditions.
42°55'23.3''N 11°32'33.8''E
Sammlungsnummer / collection code:
Lkn172
Geschlecht / Sex: ♂
male
Größe des Exemplars / Size of specimen
8mm; fore wing length 6mm
Merkmale / Morphologic features:
Tergit 6 median ausgeschnitten. Tergit 7 mit zwei spitzen Zähnen.
Likely not Osmia latreillei as hind face of propodeum not dull but Y shaped shiny. Also not Osmia leaiana, as tips of tergite 3 ciliae do not reach the hind margin but leave open a shiny, hairless hind margin. Hairs at tergite 3 margin not feathered.
Bemerkungen / Notices:
I thank Gerd Reder and Paul Westrich for instructive help and discussion on the taxonomy of this specimen.
Bestimmungsreferenz / Reference of determination:
1. Scheuchl, E. 2006. Illustrierte Bestimmungstabellen der Wildbienen Deutschlands und Osterreichs: Band II Megachilidae - Melittidae. Eigenverlag.
2. Amiet, F., M. Herrmann, A. Müller, and R. Neumeyer. 2004. Fauna Helvetica 9. Apidae 4: Anthidium, Chelostoma, Coelioxys, Dioxys, Heriades, Lithurgus, Megachile, Osmia, Stelis. Centre Suisse de Cartographie de la Faune (CSCF).
Fotoinformation / Photo-Information:
(Photo Dirk-H. Lankenau)
Cannon on Motic Stereoscope 3x
Home to RVH.
www.flickr.com/photos/21728045@N08/2128204641/
www.flickr.com/search/?w=21728045@N08&q=barong
Square and Compasses - This symbolic stone was removed from above the entrance to the Lambton Mills Masonic Temple erected by Mimico Lodge on the north side of Dundas Street in 1882.
Masonic Square and Compasses:
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest.”
The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.
Masonic Square and Compasses.
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest."
The southern side of the garden contains galleries and, above them, the National Art Library. From the garden, the interior of the two-story library can be seen. Fifteen mosaic panels representing scientific and artistic subjects such as Engineering, Mining, Steel Smelting, Building, Fine Arts, Drawing and Astronomy, form a frieze above the library windows | John Madejski Garden, named in honor of John Madejski, who funded the design, is known as a meeting point, resting place and home to a changing display of outdoor installations, and to many the heart of the V&A. The modern-day garden was designed in 2005 by landscape architect Kim Wilkie. The stepped, elliptical pool and water feature provide a serene reflection of the surrounding buildings while the lawn and planters impart a tranquil backdrop to the array of temporary outdoor displays. The design is based on the traditional simplicity of a garden courtyard with the drama and flexibility of a stage set. The garden design sits on the borderline between Modern and Postmodern. In its early days, a wide expanse of garden surrounded the South Kensington Museum, as the V&A was known before 1899. The lawns and trees belonged to the original house on the site, Brompton Park House, at one time the home of Queen Anne's gardener, Henry Wise. These gardens were gradually built over as the Museum expanded and today the enclosed garden courtyard, formed between 1857 and 1909, is a small reminder of the gardens which once filled most of the neighborhood that we now know as South Kensington. It was intended that a u-shaped arrangement would remain open to the south, with the entrance visible from Cromwell Road, but in the end the fourth side was filled in with an art library, completed in 1884 to enclose the courtyard. Viewing the buildings around the garden, visitors are treated to a wealth of decorative ornamentation – including terracotta modelling, mosaic and tiles – on each of the buildings' façades. The Museum's founding Director, Henry Cole, employed a team of decorative designers to apply painting, sculpture, mosaic and elaborate ironwork to the buildings, so that their exteriors were as beautiful and as instructive as the collections within them. Other sculptural details on the façades of the buildings are not carved but are modelled in terracotta. A clay-based ceramic, terracotta could be easily molded by hand or by tools, was more cost-effective and quicker to carve than other materials such as stone or marble. Reusable molds were used to produce many identical pieces, which saved money as each piece of sculpture or tile could be repeated many times using the same mold. The molds for the terracotta columns above the entrance, for instance, were reused for the façade of the Henry Cole Wing on Exhibition Road.
So here's what I'm thinking. Heh...remember when I made this King of the Britons pedal? Well, it got me thinking that the Tom Scholz sound was a reamp thing on the first album. It was a Marshall into a load box (that Scholz later released as the, "Scholz Power Soak") that then ran into an MXR 6-band EQ and out into another Marshall.
So I was thinking about building one of these King of the Britons with an MXR 6-band clone built into it. Kind of a building block for the Scholz tone chain that includes compression, chorus and delay...but I figure if I build one of these and use my own compression, chorus and delay pedals it might be an instructive exercise. Or not.
I could not figure out how to get those sounds back in the day and that unsolved mystery wasn't really solved by the Rockman stuff, which really never sounded right to me. Certainly never as Marshall-y as the King of the Britons with its RunOffGroove heritage.
Think I'll make this one blue with silver Jubilee knobs.
At the Elizabeth Board of Education meeting of May 10 at Juan Pablo Duarte - José Julián Martí School No. 28, Taneka Bowles presented Elizabeth Public Schools with a very generous donation of $25,000 on behalf of Taneka and Todd Bowles for Elizabeth’s Special Olympics program. This marks the fourth straight year the Bowles family has supported the district’s Special Olympics program, raising the total to $100,000 in donations.
The evening also took on a multicultural theme as the Board recognized the Cuban, Haitian, and Portuguese heritages.
In honor of Cuban heritage, Juan Pablo Duarte - José Julián Martí School No. 28 Kindergarten students performed “Mambo numero 8” by Damaso Perez and “Mi Tierra” by Gloria Estefan and community members Julio Sabater, Miguel Socarras, and Marita De Varona were recognized for their outstanding contributions to the community.
In honor of Haitian heritage, John E. Dwyer Technology Academy student Kerline Francois performed a lyrical solo to "Human" Written by Christine Perry and the Dwyer Technology Academy Haitian Club was recognized for its commitment to promoting the beauty of the Haitian culture through educational and social opportunities available within the school environment.
In honor of Portuguese heritage, Alexander Hamilton Preparatory Academy students Karina Almeida and Tiago Matos performed “Vira do Minho”, Danca E Cantares De Portugal from the Portuguese Instructive Social Club performed a Portuguese folklore dance, Portuguese world language teachers were recognized for their outstanding efforts to instill the passion of the Portuguese culture into our students, and the Elizabeth Portugal Day Pageant 2018-2019 Royal Family was recognized for their contributions to the Elizabeth community.
Juan Pablo Duarte - José Julián Martí School No. 28 Principal Evelyn Rodriguez-Salcedo presented to the Board the approach she has taken to be able to address various issues that resulted in School No. 28 being designated a Focus School by the New Jersey Department of Education (NJDOE). In April 2012, former New Jersey Governor Chris Christie’s administration announced the final list of Priority, Focus, and Reward Schools as part of its new statewide accountability system, which included 183 Focus Schools. A Focus School is a school that has room for improvement in areas that are specific to the school. As part of the process, Focus Schools receive targeted and tailored solutions to meet the school’s unique needs. The types of Focus schools include those with low graduation rates, largest within-school gaps, and lowest subgroup performance.
As a result of this approach by Rodriguez-Salcedo and the team members of School No. 28, the NJDOE has announced that School No. 28 will be exiting Focus School status in June 2018.
During the meeting, the Board celebrated and recognized excellent achievements of members of the Elizabeth Public Schools Professional Learning Community and the greater Elizabeth community.
Comparison of this work with the (restored) plasterwork at the Mahabodhi Temple in Bodh Gaya is instructive.
With ACTION-INSTRUMENTS BOX (activation instruments) you can collect and produce your own REVELATIONS and EVIDENCE and brings together ARGUMENTS to employ in A CRITICAL AND LEGAL JUDGMENT of art market rules.
ACTION-INSTRUMENTS BOX including:
Catalog Pages (second version), Posters, File Cards, Graphics, Instrumentals, Documents, an Instructive and a Tutorial (DVD).
ACTION-INSTRUMENTS BOX is part of Errata, a project of AUCTIONS MARKET & MONEY.
Performer Action-Instruments Box presentation: Vera Carnevale
Alicia Herrero - artist - artista
Workshop on the Judicial Reforms under the Revitalized Peace Agreement
Since the Comprehensive Peace Agreement of 2005 and after independence in 2011, South Sudan has been governed under the Interim Constitution of Southern Sudan 2005 (ICOSS) and the Transitional Constitution of South Sudan 2011 (TCOSS).
After independence in July 2011, the Government of the Republic of South Sudan (GRSS) initiated a permanent constitution making process, led by the National Constitutional Review Commission, which was truncated by the outbreak of conflict in December 2013. The Agreement on the Resolution of the Conflict in the Republic of South Sudan (ARCSS) 2015 contained provisions for a permanent constitution-making process, but these were not activated before the outbreak of further conflict in Juba in July 2016, which ultimately resulted in the collapse of the ARCSS.
A critical element of the governance reforms stipulated in the Revitalized Agreement on the Resolution of the Conflict in the Republic of South Sudan (R-ARCSS) 2018 is the process of making a Permanent Constitution. Chapter 6 of the R-ARCSS outlines the permanent constitution making process, which is expected, inter alia, to pave the way for elections at the end of the transitional period.
In terms of peacebuilding in post-conflict South Sudan, the role of the judiciary as a primary accountability and conflict resolution mechanism cannot be overstated especially given that many key political and other disputes will eventually come before the judiciary.
The judiciary in South Sudan has attained many significant milestones since the independence of the young nation. In the current post-conflict context of the country, the judiciary is facing major infrastructure, capacity and financial challenges.
In the case of South Sudan, accountability mechanisms include statutory judicial institutions and traditional or customary system both of which discharge justice across the country. In cognizance of the interdependence of these two systems, judicial reforms will encompass all these areas. It is instructive to note that judicial reforms must ‘culminate in strengthening institutions of government, thereby enhancing constitutional democracy.’
The scope, content and process of the judicial reforms envisaged under the R-ARCSS therefore require in-depth discussion and review by the relevant stakeholders in order to ensure effective implementation of the judicial reforms and the permanent constitution-making process.
Some experiments in the lab in lightpainting .. a long way from perfect .. but a fun and instructive start...
HCLS Chapters-of-Our-Lives Time Capsule installed in a beautiful circular bench in the lobby at HCLS Central Branch in Columbia, Maryland. A plaque displayed on the site that reads:
Within this bench rests a Time Capsule that captures the essence of Howard County Library System (HCLS) in 2015, our 75th Anniversary.
Its contents reflect our unwavering heritage as a 20th and 21st century educational institution with a mission to deliver equal opportunity in education for everyone through a curriculum that comprises Three Pillars: Self-Directed Education, Research Assistance & Instruction, and Instructive & Enlightening Experiences.
Symbolic of our timeless mission, this Time Capsule is a collection of three containers, all part of a 75-year plan:
To connect our past, present, and future, HCLS appointed 136 Howard County middle students to serve as Guardians. On October 24, 2015, they pledged to champion the HCLS legacy, keeping it safe for the next 25 years.
October 27, 2040 – The Class of 2015 will reconvene to pass on the role of Guardian to the next generation (Class of 2040). Together, the two generations will open and reseal the 2015 container, then fill the 2040 container.
October 24, 2065 – The Class of 2040 will gather to pass on the role of Guardian to the Class of 2065. Together, they will open and re-seal the 2015 and 2040 containers, then fill the 2065 container.
October 21, 2090 – The Class of 2065 will gather on the occasion of Howard County Library System’s sesquicentennial (150th) anniversary to open the Time Capsule.
Dedicated this 24th day of October, 2015 to the always forward-looking citizens of Howard County, MD.
The Masonic Gavel of the Worshipful Master.
Masonic Square and Compasses:
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest.”
The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.
Masonic Square and Compasses.
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest."
aperture didn’t work, I should repeat this shot with round ones and some of the “creative” ones because I should get more instructive failures
More Goops and How Not to be Them: A Manual of Manners for Impolite Infants. Authored, published and copyrighted 1903 by Gelett Burgess. A Manual of Manners for Impolite Infants Depicting the Characteristics of Many Naughty and Thoughtless Children With Instructive Illustrations. Found at www.gutenberg.org/etext/13004.
The southern side of the garden contains galleries and, above them, the National Art Library. From the garden, the interior of the two-story library can be seen. Fifteen mosaic panels representing scientific and artistic subjects such as Engineering, Mining, Steel Smelting, Building, Fine Arts, Drawing and Astronomy, form a frieze above the library windows | John Madejski Garden, named in honor of John Madejski, who funded the design, is known as a meeting point, resting place and home to a changing display of outdoor installations, and to many the heart of the V&A. The modern-day garden was designed in 2005 by landscape architect Kim Wilkie. The stepped, elliptical pool and water feature provide a serene reflection of the surrounding buildings while the lawn and planters impart a tranquil backdrop to the array of temporary outdoor displays. The design is based on the traditional simplicity of a garden courtyard with the drama and flexibility of a stage set. The garden design sits on the borderline between Modern and Postmodern. In its early days, a wide expanse of garden surrounded the South Kensington Museum, as the V&A was known before 1899. The lawns and trees belonged to the original house on the site, Brompton Park House, at one time the home of Queen Anne's gardener, Henry Wise. These gardens were gradually built over as the Museum expanded and today the enclosed garden courtyard, formed between 1857 and 1909, is a small reminder of the gardens which once filled most of the neighborhood that we now know as South Kensington. It was intended that a u-shaped arrangement would remain open to the south, with the entrance visible from Cromwell Road, but in the end the fourth side was filled in with an art library, completed in 1884 to enclose the courtyard. Viewing the buildings around the garden, visitors are treated to a wealth of decorative ornamentation – including terracotta modelling, mosaic and tiles – on each of the buildings' façades. The Museum's founding Director, Henry Cole, employed a team of decorative designers to apply painting, sculpture, mosaic and elaborate ironwork to the buildings, so that their exteriors were as beautiful and as instructive as the collections within them. Other sculptural details on the façades of the buildings are not carved but are modelled in terracotta. A clay-based ceramic, terracotta could be easily molded by hand or by tools, was more cost-effective and quicker to carve than other materials such as stone or marble. Reusable molds were used to produce many identical pieces, which saved money as each piece of sculpture or tile could be repeated many times using the same mold. The molds for the terracotta columns above the entrance, for instance, were reused for the façade of the Henry Cole Wing on Exhibition Road.
One day at the waste water treatment plant in our town. Very instructive for children (and their parents).
At the Elizabeth Board of Education meeting of May 10 at Juan Pablo Duarte - José Julián Martí School No. 28, Taneka Bowles presented Elizabeth Public Schools with a very generous donation of $25,000 on behalf of Taneka and Todd Bowles for Elizabeth’s Special Olympics program. This marks the fourth straight year the Bowles family has supported the district’s Special Olympics program, raising the total to $100,000 in donations.
The evening also took on a multicultural theme as the Board recognized the Cuban, Haitian, and Portuguese heritages.
In honor of Cuban heritage, Juan Pablo Duarte - José Julián Martí School No. 28 Kindergarten students performed “Mambo numero 8” by Damaso Perez and “Mi Tierra” by Gloria Estefan and community members Julio Sabater, Miguel Socarras, and Marita De Varona were recognized for their outstanding contributions to the community.
In honor of Haitian heritage, John E. Dwyer Technology Academy student Kerline Francois performed a lyrical solo to "Human" Written by Christine Perry and the Dwyer Technology Academy Haitian Club was recognized for its commitment to promoting the beauty of the Haitian culture through educational and social opportunities available within the school environment.
In honor of Portuguese heritage, Alexander Hamilton Preparatory Academy students Karina Almeida and Tiago Matos performed “Vira do Minho”, Danca E Cantares De Portugal from the Portuguese Instructive Social Club performed a Portuguese folklore dance, Portuguese world language teachers were recognized for their outstanding efforts to instill the passion of the Portuguese culture into our students, and the Elizabeth Portugal Day Pageant 2018-2019 Royal Family was recognized for their contributions to the Elizabeth community.
Juan Pablo Duarte - José Julián Martí School No. 28 Principal Evelyn Rodriguez-Salcedo presented to the Board the approach she has taken to be able to address various issues that resulted in School No. 28 being designated a Focus School by the New Jersey Department of Education (NJDOE). In April 2012, former New Jersey Governor Chris Christie’s administration announced the final list of Priority, Focus, and Reward Schools as part of its new statewide accountability system, which included 183 Focus Schools. A Focus School is a school that has room for improvement in areas that are specific to the school. As part of the process, Focus Schools receive targeted and tailored solutions to meet the school’s unique needs. The types of Focus schools include those with low graduation rates, largest within-school gaps, and lowest subgroup performance.
As a result of this approach by Rodriguez-Salcedo and the team members of School No. 28, the NJDOE has announced that School No. 28 will be exiting Focus School status in June 2018.
During the meeting, the Board celebrated and recognized excellent achievements of members of the Elizabeth Public Schools Professional Learning Community and the greater Elizabeth community.
Richard Wessel, Directorate of Plans, Training and Mobilization and Security operations and plans officer,(center) recieves US Army Lean Six Sigma Green Belt Certification during the award ceremony Sept. 25 on Village Green. The two congratulatory letters from Lt. Gen. Robert Wilson, Installation Management Command commanding general, and Brig. Gen. John Uberti, IMCOM-Korea commanding general, along with the the certification were given to Wessel in recognition of his achievement as well. Lean Six Sigma is a system of methods for continuous process improvements utilized by the Army. Its primary goal is to reduce costs and improve efficiency by reviewing and reforming existing processes. To be declared a green belt, candidates must get though instructive courses as well as succesfuly finish a project that make substantial improvements in the existing process. Green belt is the second level of Lean Six Sigma training, which are granted to project team leaders. — U.S. Army photo by Cpl. Kim Tae Hoon
At the Elizabeth Board of Education meeting of May 10 at Juan Pablo Duarte - José Julián Martí School No. 28, Taneka Bowles presented Elizabeth Public Schools with a very generous donation of $25,000 on behalf of Taneka and Todd Bowles for Elizabeth’s Special Olympics program. This marks the fourth straight year the Bowles family has supported the district’s Special Olympics program, raising the total to $100,000 in donations.
The evening also took on a multicultural theme as the Board recognized the Cuban, Haitian, and Portuguese heritages.
In honor of Cuban heritage, Juan Pablo Duarte - José Julián Martí School No. 28 Kindergarten students performed “Mambo numero 8” by Damaso Perez and “Mi Tierra” by Gloria Estefan and community members Julio Sabater, Miguel Socarras, and Marita De Varona were recognized for their outstanding contributions to the community.
In honor of Haitian heritage, John E. Dwyer Technology Academy student Kerline Francois performed a lyrical solo to "Human" Written by Christine Perry and the Dwyer Technology Academy Haitian Club was recognized for its commitment to promoting the beauty of the Haitian culture through educational and social opportunities available within the school environment.
In honor of Portuguese heritage, Alexander Hamilton Preparatory Academy students Karina Almeida and Tiago Matos performed “Vira do Minho”, Danca E Cantares De Portugal from the Portuguese Instructive Social Club performed a Portuguese folklore dance, Portuguese world language teachers were recognized for their outstanding efforts to instill the passion of the Portuguese culture into our students, and the Elizabeth Portugal Day Pageant 2018-2019 Royal Family was recognized for their contributions to the Elizabeth community.
Juan Pablo Duarte - José Julián Martí School No. 28 Principal Evelyn Rodriguez-Salcedo presented to the Board the approach she has taken to be able to address various issues that resulted in School No. 28 being designated a Focus School by the New Jersey Department of Education (NJDOE). In April 2012, former New Jersey Governor Chris Christie’s administration announced the final list of Priority, Focus, and Reward Schools as part of its new statewide accountability system, which included 183 Focus Schools. A Focus School is a school that has room for improvement in areas that are specific to the school. As part of the process, Focus Schools receive targeted and tailored solutions to meet the school’s unique needs. The types of Focus schools include those with low graduation rates, largest within-school gaps, and lowest subgroup performance.
As a result of this approach by Rodriguez-Salcedo and the team members of School No. 28, the NJDOE has announced that School No. 28 will be exiting Focus School status in June 2018.
During the meeting, the Board celebrated and recognized excellent achievements of members of the Elizabeth Public Schools Professional Learning Community and the greater Elizabeth community.
South door.
. Unbuttressed, late w tower with pyramid roof. But the nave is Norman and has in its s doorway and chancel arch two of the very best and most characteristic pieces of the Herefordshire school of carvers. Both pieces are clearly the work of one man. His obsession was birds, especially cocks. Cocks are e.g. on the capitals of the one order of shafts of the S doorway. The abacus has intertwined trails. In the arch a thick roll moulding and a band of rosettes. But the tympanum is what really matters, a tympanum that helps much to reconstruct the all but lost one of Shobdon, of which Rowlstone is to all intents and purposes a copy. It represents Christ in Glory. The legs are placed in the typically Romanesque way, with knees wide apart and feet together. The folds have the tense, stringy parallel curves of the Herefordshire school. The figure is in a halo, not almond-shaped as usual, but with top and bottom rounded. Four angels hold the halo, and all four are represented flying head downwards. This allows the carver again to display his curved parallels. The composition is highly accomplished. What is against nature is in accordance with stylistic principles. In the capitals of the chancel arch there are again birds. The capitals it are of one piece with the outer adjoining panel of two small figures on each side. On the 1. (N) they are an angel and a bishop, on the r. it is not so easy to recognize them, as they stand upside down. That does not seem quite so accomplished, and the most baffling fact is that the whole stone was not rejected. Such indulgence is attractive; it is instructive too. Many birds once more in the abaci. In the doorway arch a thick roll and an outer band of saltire crosses. Norman windows in nave and chancel.
(Pevsner: The Buildings of England, Herefordshire)
Workshop on the Judicial Reforms under the Revitalized Peace Agreement
Since the Comprehensive Peace Agreement of 2005 and after independence in 2011, South Sudan has been governed under the Interim Constitution of Southern Sudan 2005 (ICOSS) and the Transitional Constitution of South Sudan 2011 (TCOSS).
After independence in July 2011, the Government of the Republic of South Sudan (GRSS) initiated a permanent constitution making process, led by the National Constitutional Review Commission, which was truncated by the outbreak of conflict in December 2013. The Agreement on the Resolution of the Conflict in the Republic of South Sudan (ARCSS) 2015 contained provisions for a permanent constitution-making process, but these were not activated before the outbreak of further conflict in Juba in July 2016, which ultimately resulted in the collapse of the ARCSS.
A critical element of the governance reforms stipulated in the Revitalized Agreement on the Resolution of the Conflict in the Republic of South Sudan (R-ARCSS) 2018 is the process of making a Permanent Constitution. Chapter 6 of the R-ARCSS outlines the permanent constitution making process, which is expected, inter alia, to pave the way for elections at the end of the transitional period.
In terms of peacebuilding in post-conflict South Sudan, the role of the judiciary as a primary accountability and conflict resolution mechanism cannot be overstated especially given that many key political and other disputes will eventually come before the judiciary.
The judiciary in South Sudan has attained many significant milestones since the independence of the young nation. In the current post-conflict context of the country, the judiciary is facing major infrastructure, capacity and financial challenges.
In the case of South Sudan, accountability mechanisms include statutory judicial institutions and traditional or customary system both of which discharge justice across the country. In cognizance of the interdependence of these two systems, judicial reforms will encompass all these areas. It is instructive to note that judicial reforms must ‘culminate in strengthening institutions of government, thereby enhancing constitutional democracy.’
The scope, content and process of the judicial reforms envisaged under the R-ARCSS therefore require in-depth discussion and review by the relevant stakeholders in order to ensure effective implementation of the judicial reforms and the permanent constitution-making process.
At the Elizabeth Board of Education meeting of May 10 at Juan Pablo Duarte - José Julián Martí School No. 28, Taneka Bowles presented Elizabeth Public Schools with a very generous donation of $25,000 on behalf of Taneka and Todd Bowles for Elizabeth’s Special Olympics program. This marks the fourth straight year the Bowles family has supported the district’s Special Olympics program, raising the total to $100,000 in donations.
The evening also took on a multicultural theme as the Board recognized the Cuban, Haitian, and Portuguese heritages.
In honor of Cuban heritage, Juan Pablo Duarte - José Julián Martí School No. 28 Kindergarten students performed “Mambo numero 8” by Damaso Perez and “Mi Tierra” by Gloria Estefan and community members Julio Sabater, Miguel Socarras, and Marita De Varona were recognized for their outstanding contributions to the community.
In honor of Haitian heritage, John E. Dwyer Technology Academy student Kerline Francois performed a lyrical solo to "Human" Written by Christine Perry and the Dwyer Technology Academy Haitian Club was recognized for its commitment to promoting the beauty of the Haitian culture through educational and social opportunities available within the school environment.
In honor of Portuguese heritage, Alexander Hamilton Preparatory Academy students Karina Almeida and Tiago Matos performed “Vira do Minho”, Danca E Cantares De Portugal from the Portuguese Instructive Social Club performed a Portuguese folklore dance, Portuguese world language teachers were recognized for their outstanding efforts to instill the passion of the Portuguese culture into our students, and the Elizabeth Portugal Day Pageant 2018-2019 Royal Family was recognized for their contributions to the Elizabeth community.
Juan Pablo Duarte - José Julián Martí School No. 28 Principal Evelyn Rodriguez-Salcedo presented to the Board the approach she has taken to be able to address various issues that resulted in School No. 28 being designated a Focus School by the New Jersey Department of Education (NJDOE). In April 2012, former New Jersey Governor Chris Christie’s administration announced the final list of Priority, Focus, and Reward Schools as part of its new statewide accountability system, which included 183 Focus Schools. A Focus School is a school that has room for improvement in areas that are specific to the school. As part of the process, Focus Schools receive targeted and tailored solutions to meet the school’s unique needs. The types of Focus schools include those with low graduation rates, largest within-school gaps, and lowest subgroup performance.
As a result of this approach by Rodriguez-Salcedo and the team members of School No. 28, the NJDOE has announced that School No. 28 will be exiting Focus School status in June 2018.
During the meeting, the Board celebrated and recognized excellent achievements of members of the Elizabeth Public Schools Professional Learning Community and the greater Elizabeth community.
A repeat of the iPhone shot, but it can be instructive to take images with both.
I think my smartphone monochromes actually usually come out better - VSCOcam is so much better at it than Aperture is out of the box. When I hopefully get a new computer soon, I'll probably go ahead and finally buy VSCO plug-ins for Mac.
Osmia niveata Fabricius, 1804
Likely not Osmia latreillei as hind face of propodeum not dull but Y shaped shiny. Also not Osmia leaiana, as tips of tergite 3 ciliae do not reach the hind margin but leave open a shiny, hairless hind margin. Hairs at tergite 3 margin not feathered.
English name:
Jersey Mason Bee
Funddatum /Collection Date:
06.05.2022
Fundort /Location/temperature:
Italia, Tuscany, Castello di Potentino, Taxon Expeditions.
42°55'23.3''N 11°32'33.8''E
Sammlungsnummer / collection code:
Lkn171
Geschlecht / Sex: ♂
male
Größe des Exemplars / Size of specimen
8mm; fore wing length 6mm
Merkmale / Morphologic features:
Tergit 6 median ausgeschnitten. Tergit 7 mit zwei spitzen Zähnen.
Likely not Osmia latreillei as hind face of propodeum not dull but Y shaped shiny. Also not Osmia leaiana, as tips of tergite 3 ciliae do not reach the hind margin but leave open a shiny, hairless hind margin. Hairs at tergite 3 margin not feathered.
Bemerkungen / Notices:
I thank Gerd Reder and Paul Westrich for instructive help and discussion on the taxonomy of this specimen.
Bestimmungsreferenz / Reference of determination:
1. Scheuchl, E. 2006. Illustrierte Bestimmungstabellen der Wildbienen Deutschlands und Osterreichs: Band II Megachilidae - Melittidae. Eigenverlag.
2. Amiet, F., M. Herrmann, A. Müller, and R. Neumeyer. 2004. Fauna Helvetica 9. Apidae 4: Anthidium, Chelostoma, Coelioxys, Dioxys, Heriades, Lithurgus, Megachile, Osmia, Stelis. Centre Suisse de Cartographie de la Faune (CSCF).
Fotoinformation / Photo-Information:
(Photo Dirk-H. Lankenau)
Congnisys stack shot
ROWLSTONE
ST PETER. Unbuttressed, late w tower with pyramid roof. But the nave is Norman and has in its s doorway and chancel arch two of the very best and most characteristic pieces of the Herefordshire school of carvers. Both pieces are clearly the work of one man. His obsession was birds, especially cocks. Cocks are e.g. on the capitals of the one order of shafts of the S doorway. The abacus has intertwined trails. In the arch a thick roll moulding and a band of rosettes. But the tympanum is what really matters, a tympanum that helps much to reconstruct the all but lost one of Shobdon, of which Rowlstone is to all intents and purposes a copy. It represents Christ in Glory. The legs are placed in the typically Romanesque way, with knees wide apart and feet together. The folds have the tense, stringy parallel curves of the Herefordshire school. The figure is in a halo, not almond-shaped as usual, but with top and bottom rounded. Four angels hold the halo, and all four are represented flying head downwards. This allows the carver again to display his curved parallels. The composition is highly accomplished. What is against nature is in accordance with stylistic principles. In the capitals of the chancel arch there are again birds. The capitals it are of one piece with the outer adjoining panel of two small figures on each side. On the 1. (N) they are an angel and a bishop, on the r. it is not so easy to recognize them, as they stand upside down. That does not seem quite so accomplished, and the most baffling fact is that the whole stone was not rejected. Such indulgence is attractive; it is instructive too. Many birds once more in the abaci. In the doorway arch a thick roll and an outer band of saltire crosses. Norman windows in nave and chancel.
(Pevsner: The Buildings of England, Herefordshire)
Would have preferred a more interesting background for this shot, but the lock did not belong to me (nor did I know the owner) making it impossible to relocate. Used a diffuser to soften the natural lighting, as well as a tin foil reflector to illuminate the subject from below.
On their return to the hotel, the participants engaged in a session with the Women's Leadership Forum where they learned about committing themselves to their missions. In the evening, DC Impact Founder Carol Middleton led them in an instructive self-defense class.
Either/Or presents compelling new works for unconventional ensemble formations rarely heard elsewhere.
At MIT, the experimental and fiercely virtuosic group is working with students to workshop their compositions in-progress, educating them in the intricacies of their instruments and proposing novel ways of composing. The residency culminates in Either/Or performing student compositions, an exciting and instructive opportunity for students to benefit from masterful contemporary musicians performing their work in public. Either/Or is also performing the work of MIT Associate Professor of Music Keeril Makan, recently described by The New Yorker as “an arrestingly gifted young American composer.”
This residency will work in parallel and overlapping ways with the residency of Robin Rimbaud (Scanner) and Stephen Vitiello, which explores sonic production primarily from the perspective of installation. During their residency, Either/Or will perform a concert focused on the works of Alvin Lucier, whose music at the intersection of concert work and installation provides a critical point of departure for the investigation of sound and space.
Learn more at artsm.it/1fX3eZX
All photos ©L. Barry Hetherington
Please ask before use
Paradajs Hill (939 m) is part of Geological instructive path Paradajs.
The nature situated in the surroundings of Banská Štiavnica town is included in the Protected Landscape Area called as Štiavnické vrchy. The highest situated oaks (Quercus cerris) and the lowest situated naturally growing firs grow in this area. You can find here a hidden set of mining works, and a gem of the Slovak towns, as well, and it is Banská Štiavnica town. Thanks to its manifold nature and magnificent phenomenon, this highest volcanic mountain is a favourite place of the Slovak and foreign tourists, as well.
More Goops and How Not to be Them: A Manual of Manners for Impolite Infants. Authored, published and copyrighted 1903 by Gelett Burgess. A Manual of Manners for Impolite Infants Depicting the Characteristics of Many Naughty and Thoughtless Children With Instructive Illustrations.
Found at www.gutenberg.org/etext/13004.