View allAll Photos Tagged virtuous
The Great Marzipan Project -
Follow in Franzisca Baruch's footsteps.
Franzisca was a German Jewish virtuous Graphic designer and a typographer,a colleague and a friend of my grandfather the typographer Henri Friedlaender.
In the first years after she had moved to Jerusalem (Back in 1933),To earn a living she sold Marzipan cakes by her own special design under the brand name "Tufiney Baruch" (Baruch's Biscuits).
This project of Ronit Vered and mine is a homage to her work .
We had this project in our minds for a long time, and we waited patiently for the perfect timing-
On 20 October 2015 The Israel Museum, Jerusalem opened the exhibition "New Types: Three Pioneers of Hebrew Graphic Design," in collaboration with the German Literature Archive at Marbach and with the support of the Goethe Institute. The exhibition, curated by graphic designer Ada Wardi, will present the work of three groundbreaking designers, each an expert in his or her field: Dr. Moshe Spitzer ; Franzisca Baruch and Henri Friedlaender .
For further reading-
Wildhearts + AntiProduct @ Wulfrun Hall, Wolverhampton - 21st December 2009
Photograph by John Colson for Midlands Rocks
© 2009 Virtuous Circle Photography
Sorry and the Sinatras + Vincent and the Onepotts + Obsessive Compulsive + Chris Catalyst @ Birmingham Asylum 2, 25th April 2010
Photograph by John Colson for Midlands Rocks
© 2010 Virtuous Circle Photography / John Colson
Erected in loving memory of Esther beloved wife of D T Belding, born November 14th 1839, died October 14th 1873 at Great Yarmouth.
A virtuous woman is a crown to her husband; she looketh well to the ways of her household, and eateth not the bread of idleness, her children arise up and call her blessed; her husband also, and he praiseth her -- Church of Our Lady St Mary, South Creake, Norfolk
Stupid, penny-pinching, miserley, cheesepairing, parsimonious hominid. He may claim that his motivations are virtuous (small carbon foot print, economising, credit crunch) but thats bunkum, he's being cheap plain and simple. He was stuck in the studio pushing his pixels and said I could knock off early to get a proper nights sleep for my giant cupcake escapades tomorrow. Little did I know the clouds were about to open. I had to run home as fast as my little trotters could carry me for fear of soggy beans.
"He never is alone that is accompanied with noble thoughts."
John Fletcher
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Flower XXX
Second year of the Tweed ride, and my first. Matthew put together a beautiful antique bike, we got a spot of sunshine and an enjoyable tea & croquet stop near Forest Park. The Vice Tweed ride is in April.
www.tabij.in/delhi/ : I find tabij.in website on Google when I was searching Black Magic Specialist In Delhi. Really this is the right place for Best Astrologer In Delhi. When i talk with this then i find Love Marriage Specialist In Delhi, Vashikaran Specialist In Delhi etc.
The Virtuous Woman Inc goal through our program Project Destiny is to spread awareness for the issue of of how sex trafficking affects our communities and how Project Destiny can help. We want to change the perception that a girl or boy on the streets is not there by choice. A more than likely scenario is that he or she is being forced into prostitution to bring money back to a pimp or predator that has helped them with a place to live, food and other necessities.
The enactment of House Bill 2539 memorializes Saint Marianne Cope for her charitable works, virtuous deeds, and enduring legacy in Hawaii.
It has caused numerous guests to look for other results or druthers in response to Backpage’s exit from the assiduity. Therefore, the rise of cityxlife, a successful, dependable, and well- known Backpage volition that brings all the virtuousness of classic “ Backpage” into a whole new different style.
Just like the most well- loved Backpage, the cityxlife allows people to post and publish employment advertisements, property rosters, and indeed porn services and Dating service providers. Just name it; they've it! Still, there might be apprehensions, and you may question the authenticity of cityxlife.
Is it a dependable source or a fiddle? Are the users safe when using the point? These are only a many questions we ’ll bandy below. So, keep on reading! Cityxlife is now new backpage to post ads in personal and dating
What's Cityxlife?
Backpage.com was an extremely well- known and well- used classified business in theU.S. The website first launched in 2004, where people could post colorful announcements, including real estate, buy and vend, adult services advertisements, and multitudinous others.
After 2012,Backpage.com, a free online classifieds platform, was second, only surpassed by others. The ease of use, the simple interface, and the worldwide exposure have made this website so successful among its users.
Visit Now - www.cityxlife.com/
cityxlife los angles find your partners - www.cityxlife.com/backpage-losangeles
For login - www.cityxlife.com/login
For Signup - www.cityxlife.com/signup
Post an ads - www.cityxlife.com/choose-plan
Hamburger Arts
“The fact is that a man who wants to act virtuously in every way necessarily comes to grief among so many who are not virtuous.”
— Niccolo Machiavelli
“Love and kindness are never wasted. They always make a difference. They bless the one who receives them, and they bless you,...
quotesstory.com/stories/the-uplifting-quote-you-need-toda...
The Great Marzipan Project -
Follow in Franzisca Baruch's footsteps.
Franzisca was a German Jewish virtuous Graphic designer and a typographer,a colleague and a friend of my grandfather the typographer Henri Friedlaender.
In the first years after she had moved to Jerusalem (Back in 1933),To earn a living she sold Marzipan cakes by her own special design under the brand name "Tufiney Baruch" (Baruch's Biscuits).
This project of Ronit Vered and mine is a homage to her work .
We had this project in our minds for a long time, and we waited patiently for the perfect timing-
On 20 October 2015 The Israel Museum, Jerusalem opened the exhibition "New Types: Three Pioneers of Hebrew Graphic Design," in collaboration with the German Literature Archive at Marbach and with the support of the Goethe Institute. The exhibition, curated by graphic designer Ada Wardi, will present the work of three groundbreaking designers, each an expert in his or her field: Dr. Moshe Spitzer ; Franzisca Baruch and Henri Friedlaender .
For further reading-
www.haaretz.co.il/food/dining/.premium-1.2784071
www.haaretz.co.il/gallery/art/.premium-1.2783517
Photograph by Dan Perez
Perfection is no more made for us than immensity. You cannot seek it in anything, nor demand it in anything. Neither in love, nor beauty, nor happiness, nor virtue. But one must love it to be virtuous, beautiful and happy, as much as a human being can be.
Sorry and the Sinatras + Vincent and the Onepotts + Obsessive Compulsive + Chris Catalyst @ Birmingham Asylum 2, 25th April 2010
Photograph by John Colson for Midlands Rocks
© 2010 Virtuous Circle Photography / John Colson
Virtuous Sisterhood member Denysha Taylor, junior speech pathology major from Waco, dances during Cultural Crossover, an event hosted by the Office of Multicultural Enrichment. (Optimist photo by Adrian Patenaude)
At the end of the south transept / Reynell chantry is the monument to lord of the manor Sir Richard Reynell 1519 - 1585 and wife Agnes Southcote. www.flickr.com/gp/52219527@N00/114t5k39Q9
A remnant of his manor house adjoins the church.
He was the second son and heir of John Reynell of East Ogwell and Margaret daughter of William Fortescue of Wood, in Devon.
"To divers of his kings and queens," writes Prince, "he did special duties and services, being in commission of the peace near 40 years, and high sheriff of the county of Devon in 1585 the late noble Queen Elizabeth's reign, An. 28. He was ever most virtuously affected, sound in religion, faithful and serviceable to his Princes, upright and zealous in justice, beating down vice, preferring the virtuous, and a keeper of great hospitality. His youth, in King Henry VIII's days, he spent at court, and in travel beyond the seas with honourable knights and gentlemen, first into France, Flanders, and Italy, thence they crossed the Adriatic Sea, and so into Hungary and Greece, where they served against the Turks at the siege of Buda. Also he served at Bulloin, when his king, Henry VIII was present. Also at Laundersey, and was at the siege and burning of Treport, in France, &c. Also in the Western Rebellion against Edward VI he having charge of a troop of horsemen, did special good services, when in suppressing and confounding those traytors, he being sorely wounded and hurt, it pleased the king's majesty of his princely bounty to grant his warrant to the Earl of Bedford, then general of those wars, for the rewarding the said Richard Reynell with the demesnes of Weston Peverill, and house called Pennicross, in Devon, near Plymouth. This Richard left behind him 5 sons, whereof 4 are knights, all which sons even from their infancy he ever with godly care and great charge maintain'd in the schools of virtue and learning, viz. at the universities, inns of court, their prince's court, travels into Germany, France, and Italy, &c. All which sons being virtuously disposed, religious and well qualified, are at this day serviceable in some good degree or other to their king's majesty, and their country. Lastly it is generally noted and known, that the aforesaid 5 sons are a knot of as worthy and serviceable gentlemen as any in the Western parts of this kingdom of England."
He represented the borough of Saltash in Parliament in 1559. He added to his large possessions, by purchase from the Courtenays, the manor and parish of West Ogwell, which, like East Ogwell to which it is contiguous, was, in the reign of Henry II held by Hugh Pictavensis, to whom succeeded Robert Peytevin. From his family, it came to the Courtenays, Earls of Devon, who sold it as before stated.
He m Agnes daughter of John Southcote of Indio, in the parish of Bovey Tracey, Devon, an MP for Lostwithiel, Cornwall. & Joanna Hankford , widow of .. Sydenham
Children
1. Sir Thomas Reynell (1545–1621), eldest son and heir; m1 Frances daughter of John Aylworth of Poslewe / Polstow , (parents of Sir Richard Reynell (1583–1648) www.flickr.com/gp/52219527@N00/X539x2Fh9P ; m2 Elizabeth daughter of Sir Henry Killigrew & Katherine daughter of Sir Anthony Cooke, KB, MP and Anne Fitzwilliam flic.kr/p/WbaKkZ
2. Sir George 1628 m1 Etheldred 1618 daughter of Sir Edward Peacock of Finchley and Elizabeth Denton; m2 Elizabeth daughter of Valentine Browne
3. Sir Richard Reynell 1633/ 34 of Forde in the parish of Wolborough, near Newton Abbot , barister of the Middle Temple m Lucy 1652 daughter of Robert Brandon 1591 "the queens jeweler" & 2nd wife Elizabeth Osborne
4. Sir Carew Reynell dsp 1624 MP m Susan widow of Michael Erneley of Bishops Canning, Wiltshire and previously of Sir John Marvyn, and daughter of Walter Hungerford, of Farleigh Castle, Somerset and Hungerford, Wilts
5. Josias of Pennicross & Weston Peverill
1. Mary 1630 m1 Sir Edmund Prideaux 1628, 1st Bart of Netherton Hsll, Farway www.flickr.com/gp/52219527@N00/qAyR7k0qjn son of Roger Prideaux, MP by Philippa daughter of Roger Yorke, Sergeant at Law and Eleanor Luttrell / Lutterell Yorke; m2 Arthur Fowell
This is a fine Elizabethan monument (without effigy) under an arch, over which is a pediment, surmounted by a small cross at the apex and supported on two columns, on the face of which are two plumed figures. The spandrels of the arch are each decorated with an open rose, rosebuds, and leaves. On the pediment are the arms of John Reynell, Richard's father, which are, quarterly:
1. Argent, masonry a chief indented sable (Reynell);
2. Argent, on a bend sable three bezants (Burden);
3. Azure, on a fess engrailed argent three lozenges gules (Stighull of East Ogwell);
4. Per pale argent and gules, on a chevron azure three cross-crosslets botonee or (Thorber),
impaling Azure, a bend engrailed argent cotised or a crescent for difference (Fortescue, for John Reynell's wife Margerie Fortescue, a daughter of William Fortescue of Preston in the parish of Newton Ferrers and of Wood in the parish of Woodleigh, both in Devon).
For a crest, a cherub's head, and for supporters, two angels, which are obviously non-heraldic.
Under the main arch are the arms of Richard Reynell (d.1585), namely, quarterly: 1, Reynell; 2, Burden; 3, Stighull ; 4, Obliterated, impaling quarterly 1 and 4 Argent, a chevron engrailed gules between three coots sable (Southcote); 2 and 3 Argent, on a fess sable between three birds of the last three mullets or (Pury, of Oxfordshire (and of Chudleigh, Devon (Vivian, p.697)); see quarterings of Callard in Heraldic Visitations of 1620; An heiress of Pury married Southcote, whose heiress married Callard (Adams, p.233, footnote 8)). This shield is surmounted by an esquire's helmet, on which is a fox passant or for the crest (canting crest, French: reynard = fox) and two foxes for supporters.
The inscription is: "Virtus Post Funera Vivit" (Virtue lives after death"), between the initials "ER" and "AR", for Richard Reynell and his wife Agnes Southcote.
Below on the panels on the front of the tomb are three shields: (1) Reynell, quartered with Burden, Stighull, and Thorber, as in the shield on the pediment, impaling: Chequy or and gules a chief vair (Chichester), for John Reynell, MP for Devon (great uncle of John Reynell) and his wife Agnes Chichester; (2)Reynell impaling: Argent, three bull's heads sable armed or (Walrond), for Walter Reynell (d.1478) of Malston in the parish of Sherford, Devon, MP for Devon (grandfather of John Reynell) and his wife Joane Walrond, a daughter of William Walrond of Bradfield in the parish of Uffculme, Devon; and (3) Reynell impaling (blank
- Church of St Bartholomew, East Ogwell, Devon
Tim britishlistedbuildings.co.uk/101096697-church-of-st-barth...
www.tudorplace.com.ar/Bios/RichardReynell.htm en.wikipedia.org/wiki/Carew_Reynell_(politician) en.wikipedia.org/wiki/Carew_Reynell_(politician)
Wildhearts + AntiProduct @ Wulfrun Hall, Wolverhampton - 21st December 2009
Photograph by John Colson for Midlands Rocks
© 2009 Virtuous Circle Photography
The Great Marzipan Project -
Follow in Franzisca Baruch's footsteps.
Franzisca was a German Jewish virtuous Graphic designer and a typographer,a colleague and a friend of my grandfather the typographer Henri Friedlaender.
In the first years after she had moved to Jerusalem (Back in 1933),To earn a living she sold Marzipan cakes by her own special design under the brand name "Tufiney Baruch" (Baruch's Biscuits).
This project of Ronit Vered and mine is a homage to her work .
We had this project in our minds for a long time, and we waited patiently for the perfect timing-
On 20 October 2015 The Israel Museum, Jerusalem opened the exhibition "New Types: Three Pioneers of Hebrew Graphic Design," in collaboration with the German Literature Archive at Marbach and with the support of the Goethe Institute. The exhibition, curated by graphic designer Ada Wardi, will present the work of three groundbreaking designers, each an expert in his or her field: Dr. Moshe Spitzer ; Franzisca Baruch and Henri Friedlaender .
For further reading-
Elizabeth Welham, wife of John Welham, only daughter to Robert Sanderson of Wisbech 1728 aged 63, who left a son and daughter viz John and Elizabeth. This stone was laid down by her daughter Elizabeth Welham in memory of her. She was a good, virtious wife to her husband, a tender and indulgent mother to her children .
(John died 1713 www.flickr.com/gp/52219527@N00/VL77RQ ) - Church of All Saints, Old Buckenham Norfolk
Second year of the Tweed ride, and my first. Matthew put together a beautiful antique bike, we got a spot of sunshine and an enjoyable tea & croquet stop near Forest Park. The Vice Tweed ride is in April.
George Romney, 1734–1802
Ann Wilson (née Harrison) and Her Daughter, Sybill
between 1776 and 1777
Sibyll, the young girl in this portrait, was the only child of Anne and George Wilson, early patrons of Romney. Sibyll died in 1773, aged just six, and her sorrowful parents commissioned this tender commemorative portrait of her as if she had returned to console her grieving mother. The portrait was delayed by Romney’s sojourn in Italy between 1773 and 1775 and was probably not finished until 1777. Its austere, sculptural quality betrays his study of ancient funerary marbles while in Rome.
Romney was on close terms with the heiress Ann Sibyll Wilson and her husband, Colonel George Wilson of Dallam Tower, who was one of his best early patrons. He painted this tender maternal group as a memorial to their only child, Sibyll Elizabeth, who had died in February 1773 at the age of six. The mother sits with her head bowed in grief and eyes downcast, her daughter like a memory or apparition at her side. In the gloomy, tomb-like setting of plain stonework, wearing classical dress, she resembles one of the virtuous, suffering matrons of ancient Roman legend. The suggestions of antique style were clearly self-conscious, and reflect Romney's admiration for the neoclassical style, which deepened during the period he lived in Italy (1773-75).
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Romney: Brilliant Contrasts in Georgian England
March 28, 2025 – September 14, 2025
artgallery.yale.edu/exhibitions/exhibition/romney-brillia...
Romney: Brilliant Contrasts in Georgian England, co-organized by the Yale University Art Gallery and the Yale Center for British Art to celebrate the YCBA’s reopening, features the work of the British portrait painter George Romney (1734–1802). Remembered today for his fashionable likenesses of wealthy patrons, Romney was rivaled in late 18th-century London only by the now better-known artists Thomas Gainsborough and Sir Joshua Reynolds. His aspirations to be a history painter were never realized, but his many drawings serve as a testament to those greater ambitions. These swiftly executed sketches reveal a mastery of form, line, and light, while his proficiency as a musician and early experience building musical instruments distinguish him among his polymath contemporaries. To fully explore the era’s subjects and sensibilities, paintings and drawings by Romney from both museums are shown alongside selections from the Morris Steinert Collection of Musical Instruments. Unveiling the contrasts in his artistic practice, the exhibition presents a forceful vision—one that has resonated with admirers through the centuries, from William Blake in Romney’s own time to the portraitist Kehinde Wiley today.
Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
Second year of the Tweed ride, and my first. Matthew put together a beautiful antique bike, we got a spot of sunshine and an enjoyable tea & croquet stop near Forest Park. The Vice Tweed ride is in April.
Sorry and the Sinatras + Vincent and the Onepotts + Obsessive Compulsive + Chris Catalyst @ Birmingham Asylum 2, 25th April 2010
Photograph by John Colson for Midlands Rocks
© 2010 Virtuous Circle Photography / John Colson