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AMONG the many debts which we owe to the supreme aesthetic faculty of Goethe is that he was the first to teach us to define beauty in terms the most concrete possible, to realise it, I mean, always in its special manifestations. So, in the lecture which I have the honour to deliver before you, I will not try to give you any abstract definition of beautyany such universal formula for it as was sought for by the philosophy of the eighteenth centurystill less to communicate to you that which in its essence is incommunicable, the virtue by which a particular picture or poem affects us with a unique and special joy; but rather to point out to you the general ideas which characterise the great English Renaissance of Art in this century, to discover their source, as far as that is possible, and to estimate their future as far as that is possible.
I call it our English Renaissance because it is indeed a sort of new birth of the spirit of man, like the great Italian Renaissance of the fifteenth
It has been described as a mere revival of Greek modes of thought, and again as a mere revival of mediaeval feeling. Rather I would say that to these forms of the human spirit it has added whatever of artistic value the intricacy and complexity and experience of modern life can give: taking from the one its clearness of vision and its sustained calm, from the other its variety of expression and the mystery of its vision. For what, as Goethe said, is the study of the ancients but a return to the real world (for that is what they did); and what, said Mazzini, is mediaevalism but individuality?
It is really from the union of Hellenism, in its breadth, its sanity of purpose, its calm possession of beauty, with the adventive, the intensified individualism, the passionate colour of the romantic spirit, that springs the art of the nineteenth century in England, as from the marriage of Faust and Helen of Troy sprang the beautiful boy Euphorion.
Such expressions as classical and romantic
There are two spirits, then: the Hellenic spirit and the spirit of romance may be taken as forming the essential elements of our conscious intellectual tradition, of our permanent standard of taste. As regards their origin, in art as in politics there is but one origin for all revolutions, a desire on the part of man for a nobler form of life, for a freer method and opportunity of expression. Yet, I think that in estimating the sensuous and intellectual spirit which presides over our English Renaissance, any attempt to isolate it in any way from
Alien then from any wild, political passion, or from the harsh voice of a rude people in revolt, as our English Renaissance must seem, in its passionate cult of pure beauty, its flawless devotion to form, its exclusive and sensitive nature, it is to the French Revolution that we must look for the most primary factor of its production, the first condition of its birth: that great Revolution of which we are all the children though the voices of some of us be often loud against it; that Revolution to which at a time when even such spirits as Coleridge and Wordsworth lost heart in England, noble messages of love blown across seas came from your young Republic.
It is true that our modern sense of the continuity of history has shown us that neither in politics nor in nature are there revolutions ever but evolutions only, and that the prelude
Yet in the womb of the Revolution itself, and in the storm and terror of that wild time, tendencies were hidden away that the artistic Renaissance bent to her own service when the time camea scientific tendency first, which has borne in our own day a brood of somewhat noisy Titans, yet in the sphere of poetry has not been unproductive of good. I do not mean merely in its adding to enthusiasm that intellectual basis which is its strength, or that
The great and golden rule of art as well as of life, wrote William Blake, is that the more distinct, sharp and defined the boundary line, the more perfect is the work of art; and the less keen and sharp the greater is the evidence of weak imitation, plagiarism and bungling. Great inventors in all ages knew thisMichael Angelo and Albert Dürer are known by this and by this alone; and another time he wrote, with all the simple directness of nineteenth-century prose, to generalise is to be an if idiot.
And this love of definite conception, this clearness of vision, this artistic sense of limit, is the characteristic of all great work and poetry;
He is indeed the only true realist: symbolism, which is the essence of the transcendental spirit, is alien to him. The metaphysical mind of Asia will create for itself the monstrous, many-breasted idol of Ephesus, but to the Greek, pure artist, that work is most instinct with
The storm of revolution, as André Chenier said, blows out the torch of poetry. It is not for some little time that the real influence of such a wild cataclysm of things is felt: at first the desire for equality seems to have produced personalities of more giant and Titan stature than the world had ever known before. Men heard the lyre of Byron and the legions of Napoleon; it was a period of measureless passions and of measureless despair; ambition, discontent, were the chords of life and art; the age was an age of revolt: a phase through which the human spirit must pass, but one in which it cannot rest. For the aim of culture is not rebellion but peace, the valley perilous where ignorant armies clash by night being no dwelling-place meet for her to whom the gods have assigned the fresh uplands and sunny heights and clear, untroubled air.
And soon that desire for perfection, which lay at the base of the Revolution, found in a young English poet its most complete and flawless realisation.
Phidias and the achievements of Greek art are foreshadowed in Homer: Dante prefigures for us the passion and colour and intensity of Italian painting: the modern love of landscape
Byron was a rebel and Shelley a dreamer; but in the calmness and clearness of his vision, his perfect self-control, his unerring sense of beauty and his recognition of a separate realm for the imagination, Keats was the pure and serene artist, the forerunner of the pre-Raphaelite school, and so of the great romantic movement of which I am to speak.
Blake had indeed, before him, claimed for art a lofty, spiritual mission, and had striven to raise design to the ideal level of poetry and music, but the remoteness of his vision both in painting and poetry and the incompleteness of his technical powers had been adverse to any real influence. It is in Keats that the artistic spirit of this century first found its absolute incarnation.
And these pre-Raphaelites, what were they ? If you ask nine-tenths of the British public what is the meaning of the word aesthetics, they will tell you it is the French for affectation or the German for a dado; and if you inquire about the pre-Raphaelites you will hear something about an eccentric lot of young men to whom a sort of divine crookedness and holy awkwardness in drawing were the chief objects
As regards the pre-Raphaelites the story is simple enough. In the year 1847 a number of young men in London, poets and painters, passionate admirers of Keats all of them, formed the habit of meeting together for discussions on art, the result of such discussions being that the English Philistine public was roused suddenly from its ordinary apathy by hearing that there was in its midst a body of young men who had determined to revolutionise English painting and poetry. They called themselves the pre-Raphaelite Brotherhood.
In England, then as now, it was enough for a man to try and produce any serious beautiful work to lose all his rights as a citizen; and besides this, the pre-Raphaelite Brotherhoodamong whom the names of Dante Rossetti, Holman Hunt and Millais will be familiar to youhad on their side three things that the English public never forgives: youth, power and enthusiasm.
Satire, always as sterile as it is shameful and as impotent as it is insolent, paid them that usual homage which mediocrity pays to geniusdoing, here as always, infinite harm to the public, blinding them to what is beautiful,
As regards the ideas these young men brought to the regeneration of English art, we may see at the base of their artistic creations a desire for a deeper spiritual value to be given to art as well as a more decorative value.
Pre-Raphaelites they called themselves; not that they imitated the early Italian masters at all, but that in their work, as opposed to the facile abstractions of Raphael, they found a stronger realism of imagination, a more careful realism of technique, a vision at once more fervent and more vivid, an individuality more intimate and more intense.
For it is not enough that a work of art should conform to the aesthetic demands of its age: there must be also about it, if it is to affect us with any permanent delight, the impress of a distinct individuality, an individuality remote from that of ordinary men, and coming near to
La personalité, said one of the greatest of modern French critics, voilà ce qui nous sauvera.
But above all things was it a return to Nature that formula which seems to suit so many and such diverse movements: they would draw and paint nothing but what they saw, they would try and imagine things as they really happened. Later there came to the old house by Blackfriars Bridge, where this young brotherhood used to meet and work, two young men from Oxford, Edward Burne-Jones and William Morristhe latter substituting for the simpler realism of the early days a more exquisite spirit of choice, a more faultless devotion to beauty, a more intense seeking for perfection: a master of all exquisite design and of all spiritual vision. It is of the school of Florence rather than of that of Venice that he is kinsman, feeling that the close imitation of Nature is a disturbing element in imaginative art. The visible aspect of modern life disturbs him not; rather is it for him to render eternal all that is beautiful in Greek, Italian, and Celtic legend. To Morris we owe poetry whose perfect precision and clearness of
But the revolution accomplished by this clique of young men, with Ruskin's faultless and fervent eloquence to help them, was not one of ideas merely but of execution, not one of conceptions but of creations.
For the great eras in the history of the development of all the arts have been eras not of increased feeling or enthusiasm in feeling for art, but of new technical improvements primarily and specially. The discovery of marble quarries in the purple ravines of Pentelicus and on the little low-lying hills of the island of Paros gave to the Greeks the opportunity for that intensified vitality of action, that more sensuous and simple humanism, to which the Egyptian sculptor working laboriously in the hard porphyry and rose-coloured granite of the desert could not attain. The splendour of the Venetian school began with the introduction of the new oil medium for painting. The progress in modern music has been due to the invention of new instruments entirely, and in no way to an increased consciousness on the part of the musician of any wider social aim. The critic may try and
to some sense of the incompleteness of the modern intellectual spirit, but the artist would have answered, as one of them did afterwards, Let them pick out the fifths and leave us at peace.[Footnote: As an instance of the inaccuracy of published reports of this lecture, it may be mentioned that all unauthorised versions give this passage as The artist may trace the depressed revolution of Bunthorne simply to the lack of technical means!]
And so it is in poetry also: all this love of curious French metres like the Ballade, the Villanelle, the Rondel; all this increased value laid on elaborate alliterations, and on curious words and refrains, such as you will find in Dante Rossetti and Swinburne, is merely the attempt to perfect flute and viol and trumpet through which the spirit of the age and the lips of the poet may blow the music of their many messages.
And so it has been with this romantic movement of ours: it is a reaction against the empty conventional workmanship, the lax execution of previous poetry and painting, showing itself in the work of such men as Rossetti and Burne-Jones by a far greater splendour of colour, a far more intricate wonder of design than English imaginative art has shown before. In Rossetti's poetry and the poetry of Morris, Swinburne and
While, then, the material of workmanship is being thus elaborated and discovered to have in itself incommunicable and eternal qualities of its own, qualities entirely satisfying to the poetic sense and not needing for their aesthetic effect any lofty intellectual vision, any deep criticism of life or even any passionate human emotion at all, the spirit and the method of the poet's workingwhat people call his inspirationhave not escaped the controlling influence of the artistic spirit. Not that the imagination has lost its wings, but we have accustomed ourselves to count their innumerable pulsations, to estimate their limitless strength, to govern their ungovernable freedom.
To the Greeks this problem of the conditions of poetic production, and the places occupied by either spontaneity or self-consciousness in any
In the last century, when the intellectual and didactic element had intruded to such an extent into the kingdom which belongs to poetry, it was against the claims of the understanding that
The heart contains passion but the imagination alone contains poetry, says Charles Baudelaire. This too was the lesson that Théophile Gautier, most subtle of all modern critics, most fascinating of all modern poets, was never tired of teachingEverybody is affected by a sunrise or a sunset. The absolute distinction of the artist is not his capacity to feel nature so much as his power of rendering it. The entire subordination of all intellectual and emotional faculties to the vital and informing poetic principle is the surest sign of the strength of our Renaissance.
We have seen the artistic spirit working, first in the delightful and technical sphere of language,
Art never harms itself by keeping aloof from the social problems of the day: rather, by so doing, it more completely realises for us that which we desire. For to most of us the real life is the life we do not lead, and thus, remaining more true to the essence of its own perfection, more jealous of its own unattainable beauty, is less likely to forget form in feeling or to accept the passion of creation as any substitute for the beauty of the created thing.
The artist is indeed the child of his own age, but the present will not be to him a whit more real than the past; for, like the philosopher of the Platonic vision, the poet is the spectator of
There is indeed a poetical attitude to be adopted towards all things, but all things are not fit subjects for poetry. Into the secure and sacred house of Beauty the true artist will admit nothing that is harsh or disturbing, nothing that gives pain, nothing that is debatable, nothing about which men argue. He can steep himself, if he wishes, in the discussion of all the social problems of his day, poor-laws and local taxation, free trade and bimetallic currency, and the like; but when he writes on these subjects it will be, as Milton nobly expressed it, with his left hand, in prose and not in verse, in a pamphlet and not in a lyric. This exquisite spirit of artistic choice was not in Byron: Wordsworth had it not. In the work of both these men there is much that
It is to no avail that the Muse of Poetry be called, even by such a clarion note as Whitman's, to migrate from Greece and Ionia and to placard REMOVED and TO LET on the rocks of the snowy Parnassus. Calliope's call is not yet closed, nor are the epics of Asia ended; the Sphinx is not yet silent, nor the fountain of Castaly dry. For art is very life itself and knows nothing of death; she is absolute truth and takes no care of fact; she sees (as I remember Mr. Swinburne insisting on at dinner) that Achilles is even now more actual and real than Wellington, not merely more noble and interesting as a type and figure but more positive and real.
Literature must rest always on a principle, and temporal considerations are no principle at all. For to the poet all times and places are one; the stuff he deals with is eternal and eternally the same: no theme is inept, no past or present preferable. The steam whistle will
Those strange, wild-eyed sibyls fixed eternally in the whirlwind of ecstasy, those mighty-limbed and Titan prophets, labouring with the secret of the earth and the burden of mystery, that guard and glorify the chapel of Pope Sixtus at Rome do they not tell us more of the real spirit of the Italian Renaissance, of the dream of Savonarola and of the sin of Borgia, than all the brawling boors and cooking women of Dutch art can teach us of the real spirit of the history of Holland?
And so in our own day, also, the two most vital tendencies of the nineteenth centurythe
But these are the intellectual speculations that underlie art. Where in the arts themselves are we to find that breadth of human sympathy which is the condition of all noble work; where in the arts are we to look for what Mazzini would call the social ideas as opposed to the merely personal ideas? By virtue of what claim do I demand for the artist the love and loyalty of the men and women of the world? I think I can answer that.
Whatever spiritual message an artist brings to his aid is a matter for his own soul. He may bring judgment like Michael Angelo or peace like Angelico; he may come with mourning like the great Athenian or with mirth like the singer of Sicily; nor is it for us to do aught but accept his teaching, knowing that we cannot
Not laughter where none should laugh, nor the calling of peace where there is no peace; not in painting the subject ever, but the pictorial charm only, the wonder of its colour, the satisfying beauty of its design.
You have most of you seen, probably, that great masterpiece of Rubens which hangs in the gallery of Brussels, that swift and wonderful pageant of horse and rider arrested in its most exquisite and fiery moment when the winds are caught in crimson banner and the air lit by the gleam of armour and the flash of plume. Well, that is joy in art, though that golden hillside be trodden by the wounded feet of Christ and it is for the death of the Son of Man that that gorgeous cavalcade is passing.
But this restless modern intellectual spirit of ours is not receptive enough of the sensuous element of art; and so the real influence of the arts is hidden from many of us: only a few,
And this indeed is the reason of the influence which Eastern art is having on us in Europe, and of the fascination of all Japanese work. While the Western world has been laying on art the intolerable burden of its own intellectual doubts and the spiritual tragedy of its own sorrows, the East has always kept true to art's primary and pictorial conditions.
In judging of a beautiful statue the aesthetic faculty is absolutely and completely gratified by the splendid curves of those marble lips that are dumb to our complaint, the noble modelling of those limbs that are powerless to help us. In its primary aspect a painting has no more spiritual message or meaning than an exquisite fragment of Venetian glass or a blue tile from the wall of Damascus: it is a beautifully coloured surface, nothing more. The channels by which all noble imaginative work in painting should touch, and do touch the soul, are not those of the truths of life, nor metaphysical truths. But that pictorial charm which does not depend on any literary reminiscence for its effect on the one hand, nor is yet a mere result of communicable technical skill on the other, comes of a certain inventive and creative handling of colour. Nearly always
And so in poetry too, the real poetical quality, the joy of poetry, comes never from the subject but from an inventive handling of rhythmical language, from what Keats called the sensuous life of verse. The element of song in the singing accompanied by the profound joy of motion, is so sweet that, while the incomplete lives of ordinary men bring no healing power with them, the thorn-crown of the poet will blossom into roses for our pleasure; for our delight his despair will gild its own thorns, and his pain, like Adonis, be beautiful in its agony; and when the poet's heart breaks it will break in music.
And health in artwhat is that? It has nothing to do with a sane criticism of life. There is more health in Baudelaire than there is in Kingsley. Health is the artist's recognition of the limitations of the form in which he works. It is the honour and the homage which he gives to the material he useswhether it be language with its glories, or marble or pigment with their gloriesknowing that the true brotherhood of the arts consists not in their borrowing one
And criticismwhat place is that to have in our culture? Well, I think that the first duty of an art critic is to hold his tongue at all times, and upon all subjects: C'est un grand avantage de n'avoir rien fait, mais il ne faut pas en abuser.
It is only through the mystery of creation that one can gain any knowledge of the quality of created things. You have listened to Patience for a hundred nights and you have heard me for one only. It will make, no doubt, that satire more piquant by knowing something about the subject of it, but you must not judge of aestheticism by the satire of Mr. Gilbert. As little should you judge of the strength and splendour of sun or sea by the dust that dances in the beam, or the bubble that breaks on the wave, as take your critic for any sane test of art. For the artists, like the Greek gods, are revealed
All these appeals to art to set herself more in harmony with modern progress and civilisation, and to make herself the mouthpiece for the voice of humanity, these appeals to art to have a mission, are appeals which should be made to the public. The art which has fulfilled the conditions of beauty has fulfilled all conditions: it is for the critic to teach the people how to find in the calm of such art the highest expression of their own most stormy passions I have no reverence, said Keats, for the public, nor for anything in existence but the Eternal Being, the memory of great men and the principle of Beauty.
Such then is the principle which I believe to be guiding and underlying our English Renaissance, a Renaissance many-sided and wonderful, productive of strong ambitions and lofty personalities,
It is not that the flawless serenity of marble cannot bear the burden of the modern intellectual spirit, or become instinct with the fire of romantic passionthe tomb of Duke Lorenzo and the chapel of the Medici show us thatbut it is that, as Théophile Gautier used to say, the visible world is dead, le monde visible a disparu.
Nor is it again that the novel has killed the play, as some critics would persuade usthe romantic movement of France shows us that. The work of Balzac and of Hugo grew up side by side together; nay, more, were complementary to each other, though neither of them saw it. While all other forms of poetry may flourish in an ignoble age, the splendid individualism of the lyrist, fed by its own passion, and lit by its own power, may pass as a pillar of fire as well across the desert as across places that are pleasant. It is none the less glorious though no man follow
Shelley felt how incomplete our movement was in this respect, and has shown in one great tragedy by what terror and pity he would have purified our age; but in spite of The Cenci the drama is one of the artistic forms through which the genius of the England of this century seeks
It is rather, perhaps, to you that we should turn to complete and perfect this great movement of ours, for there is something Hellenic in your air and world, something that has a quicker breath of the joy and power of Elizabeth's England about it than our ancient civilisation can give us. For you, at least, are young; no hungry generations tread you down, and the past does not weary you with the intolerable burden of its memories nor mock you with the ruins of a beauty, the secret of whose creation you have lost. That very absence of tradition, which Mr. Ruskin thought would rob your rivers of their laughter and your flowers of their light, may be rather the source of your freedom and your strength.
To speak in literature with the perfect rectitude and insouciance of the movements of animals, and the unimpeachableness of the sentiment of trees in the woods and grass by the roadside, has been defined by one of your poets as a flawless triumph of art. It is a triumph which you above all nations may be destined to achieve. For the voices that have their dwelling in sea and mountain are not the chosen music of Liberty only; other messages are there in the wonder of wind-swept height and the
I foresee, said Goethe, the dawn of a new literature which all people may claim as their own, for all have contributed to its foundation. If, then, this is so, and if the materials for a civilisation as great as that of Europe lie all around you, what profit, you will ask me, will all this study of our poets and painters be to you? I might answer that the intellect can be engaged without direct didactic object on an artistic and historical problem; that the demand of the intellect is merely to feel itself alive; that nothing which has ever interested men or women can cease to be a fit subject for culture.
I might remind you of what all Europe owes to the sorrow of a single Florentine in exile at Verona, or to the love of Petrarch by that little well in Southern France; nay, more, how even in this dull, materialistic age the simple expression of an old man's simple life, passed away from the clamour of great cities amid the lakes and misty hills of Cumberland, has opened out for England treasures of new joy compared with which the treasures of her luxury are as barren as the sea which she has made her highway, and as bitter as the fire which she would make her slave.
But I think it will bring you something besides this, something that is the knowledge of real strength in art: not that you should imitate the works of these men; but their artistic spirit, their artistic attitude, I think you should absorb that.
For in nations, as in individuals, if the passion for creation be not accompanied by the critical, the aesthetic faculty also, it will be sure to waste its strength aimlessly, failing perhaps in the artistic spirit of choice, or in the mistaking of feeling for form, or in the following of false ideals.
For the various spiritual forms of the imagination have a natural affinity with certain sensuous forms of artand to discern the qualities of each art, to intensify as well its limitations as its powers of expression, is one of the aims that culture sets before us. It is not an increased moral sense, an increased moral supervision that your literature needs. Indeed, one should never talk of a moral or an immoral poempoems are either well written or badly written, that is all. And, indeed, any element of morals or implied reference to a standard of good or evil in art is often a sign of a certain incompleteness of vision, often a note of discord in the harmony of an imaginative creation, for all good work aims at a purely artistic effect. We must be careful,
But, as in your cities so in your literature, it is a permanent canon and standard of taste, an increased sensibility to beauty (if I may say so) that is lacking. All noble work is not national merely, but universal. The political independence of a nation must not be confused with any intellectual isolation. The spiritual freedom, indeed, your own generous lives and liberal air will give you. From us you will learn the classical restraint of form.
For all great art is delicate art, roughness having very little to do with strength, and harshness very little to do with power. The artist, as Mr. Swinburne says, must be perfectly articulate.
This limitation is for the artist perfect freedom: it is at once the origin and the sign of his strength. So that all the supreme masters of styleDante, Sophocles, Shakespeareare the supreme masters of spiritual and intellectual vision also.
Love art for its own sake, and then all things that you need will be added to you.
This devotion to beauty and to the creation of beautiful things is the test of all great civilised
For beauty is the only thing that time cannot harm. Philosophies fall away like sand, and creeds follow one another like the withered leaves of autumn; but what is beautiful is a joy for all seasons and a possession for all eternity.
Wars and the clash of armies and the meeting of men in battle by trampled field or leaguered city, and the rising of nations there must always be. But I think that art, by creating a common intellectual atmosphere between all countries, mightif it could not overshadow the world with the silver wings of peaceat least make men such brothers that they would not go out to slay one another for the whim or folly of some king or minister, as they do in Europe. Fraternity would come no more with the hands of Cain, nor Liberty betray freedom with the kiss of Anarchy; for national hatreds are always strongest where culture is lowest.
How could I? said Goethe, when reproached for not writing like Körner against the French. How could I, to whom barbarism and culture
Mighty empires, too, there must always be as long as personal ambition and the spirit of the age are one, but art at least is the only empire which a nation's enemies cannot take from her by conquest, but which is taken by submission only. The sovereignty of Greece and Rome is not yet passed away, though the gods of the one be dead and the eagles of the other tired.
And we in our Renaissance are seeking to create a sovereignty that will still be England's when her yellow leopards have grown weary of wars and the rose of her shield is crimsoned no more with the blood of battle; and you, too, absorbing into the generous heart of a great people this pervading artistic spirit, will create for yourselves such riches as you have never yet created, though your land be a network of railways and your cities the harbours for the galleys of the world.
I know, indeed, that the divine natural prescience of beauty which is the inalienable inheritance of Greek and Italian is not our inheritance. For such an informing and presiding spirit of art to shield us from all harsh and alien influences, we of the Northern races must turn rather to
And yet the truths of art cannot be taught: they are revealed only, revealed to natures which have made themselves receptive of all beautiful impressions by the study and worship of all beautiful things. And hence the enormous importance given to the decorative arts in our English Renaissance; hence all that marvel of design that comes from the hand of Edward Burne-Jones, all that weaving of tapestry and staining of glass, that beautiful working in clay and metal and wood which we owe to William Morris, the greatest handicraftsman we have had in England since the fourteenth century.
So, in years to come there will be nothing in
That is what Plato thought decorative art could do for a nation, feeling that the secret not of philosophy merely but of all gracious existence might be externally hidden from any one whose youth had been passed in uncomely and vulgar surroundings, and that the beauty of form and colour even, as he says, in the meanest vessels of the house, will find its way into the inmost places of the soul and lead the boy naturally to look for that divine harmony of spiritual life of which art was to him the material symbol and warrant.
Prelude indeed to all knowledge and all wisdom
This is that consolation des arts which is the key-note of Gautier's poetry, the secret of modern life foreshadowedas indeed what in our century is not?by Goethe. You remember what he said to the German people: Only have the courage, he said, to give yourselves up to your impressions, allow yourselves to be delighted, moved, elevated, nay instructed, inspired for something great. The courage to give yourselves up to your impressions: yes, that is the secret of the artistic lifefor while art has been defined as an escape from the tyranny of the senses, it is an escape rather from the tyranny of the soul. But only to those who worship her above all things does she ever reveal her true
And indeed I think it would be impossible to overrate the gain that might follow if we had about us only what gave pleasure to the maker of it and gives pleasure to its user, that being the simplest of all rules about decoration. One thing, at least, I think it would do for us: there is no surer test of a great country than how near it stands to its own poets; but between the singers of our day and the workers to whom they would sing there seems to be an ever-widening and dividing chasm, a chasm which slander and mockery cannot traverse, but which is spanned by the luminous wings of love.
And of such love I think that the abiding presence in our houses of noble imaginative work would be the surest seed and preparation. I do not mean merely as regards that direct literary expression of art by which, from the little red-and-black cruse of oil or wine, a Greek boy could learn of the lionlike splendour of Achilles, of the strength of Hector and the beauty of Paris and the wonder of Helen, long before he stood and listened in crowded market-place or in theatre of marble; or by which an Italian child of the fifteenth century could know of the chastity of Lucrece and the death of Camilla
I will not dwell here on what I am sure has delighted you all in our great Gothic cathedrals. I mean how the artist of that time, handicraftsman himself in stone or glass, found the best motives for his art, always ready for his hand and always beautiful, in the daily work of the artificers he saw around himas in those lovely windows of Chartreswhere the dyer dips in the vat and the potter sits at the wheel, and the weaver stands at the loom: real manufacturers these, workers with the hand, and entirely delightful to look at, not like the smug
There are two kinds of men in the world, two great creeds, two different forms of natures: men to whom the end of life is action, and men to whom the end of life is thought. As regards the latter, who seek for experience itself and not for the fruits of experience, who must burn always with one of the passions of this fiery-coloured world, who find life interesting not for its secret but for its situations, for its pulsations and not for its purpose; the passion for beauty engendered by the decorative arts will be to them more satisfying than any political or religious enthusiasm, any enthusiasm for humanity, any ecstasy or sorrow for love. For art comes to one professing
Hewers of wood and drawers of water there must be always indeed among us. Our modern machinery has not much lightened the labour of man after all: but at least let the pitcher that stands by the well be beautiful and surely the labour of the day will be lightened: let the wood be made receptive of some lovely form, some gracious design, and there will come no longer discontent but joy to the toiler. For what is decoration but the worker's expression of joy in his work? And not joy merelythat is a great thing yet not enoughbut that opportunity of expressing his own individuality which, as it is the essence of all life, is the source of all art. I have tried, I remember William Morris saying to me once, I have tried to make each of my workers an artist, and when I say an artist I mean a man. For the worker then, handicraftsman of whatever kind he is, art is no longer to be a purple robe woven by a slave and thrown over the whitened body of
And so you must seek out your workman and give him, as far as possible, the right surroundings, for remember that the real test and virtue of a workman is not his earnestness nor his industry even, but his power of design merely; and that design is not the offspring of idle fancy: it is the studied result of accumulative observation and delightful habit. All the teaching in the world is of no avail if you do not surround your workman with happy influences and with beautiful things. It is impossible for him to have right ideas about colour unless he sees the lovely colours of Nature unspoiled; impossible for him to supply beautiful incident and action unless he sees beautiful incident and action in the world about him.
For to cultivate sympathy you must be among living things and thinking about them, and to cultivate admiration you must be among beautiful things and looking at them. The steel of Toledo and the silk of Genoa did but give strength to oppression and lustre to price, as Mr. Ruskin says; let it be for you to create an art that is made by the hands of the people for the joy of the people, to please the hearts of the people,
You have heard, I think, a few of you, of two flowers connected with the aesthetic movement in England, and said (I assure you, erroneously) to be the food of some aesthetic young men. Well, let me tell you that the reason we love the lily and the sunflower, in spite of what Mr. Gilbert may tell you, is not for any vegetable fashion at all. It is because these two lovely flowers are in England the two most perfect models of design, the most naturally adapted for decorative artthe gaudy leonine beauty of the one and the precious loveliness of the other giving to the artist the most entire and perfect joy. And so with you: let there be no flower in your meadows that does not wreathe its tendrils around your pillows, no little leaf in your Titan forests that does not lend its form to design, no curving spray of wild rose or brier that does not live for ever in carven arch or window or marble, no bird in your air that is not giving the iridescent wonder of its colour, the exquisite curves of its wings in flight, to make more precious the preciousness of simple adornment.
We spend our days, each one of us, in looking for the secret of life. Well, the secret of life is in art.


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In Vermont it is easy to come across a farm. Since a young age, I have admired the big red barns on the side of the road. I would watch as the farmers work and it amazed me how the work never ended. There are not enough hours in the day for a farmer to get all they need done, but still they are up bright and early starting something new the next morning.
When I was little we moved to a farm house in the middle of nowhere. The house was huge and old. The barn though, was the most admirable piece of the land. Resting on a hill, housing the animals in need, the barn served its purpose. For myself, the barn was an escape. This secret wonderland made it easy to pretend that everything going on in the world was invincible, and the only thing that mattered was where I was in that moment.
Although I no longer live on that old farm, I know it has touched my families life. My sister now is going to school to be a dairy farmer, and someday hopes to have a farm of her own. Living in Vermont it is impossible to escape the farmlands, but who would
- Madi smith's blog
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Hi Madi, I like how you come
Hi Madi,
I like how you come back to the barn throughout the peice. It looks like the last couple words got cut off though, is it supposed to say, "but who would want to" ?

subset: commoncrawl


text:
Link to Texas.gov
Texas Government Code, Chapter 552 gives you the right to access government records; and an officer for public information and the officer's agent may not ask why you want them. All government information is presumed to be available to the public. Certain exceptions may apply to the disclosure of the information. Governmental bodies shall promptly release requested information that is not confidential by law, either constitutional, statutory, or by judicial decision, or information for which an exception to disclosure has not been sought.
Certain information may be confidential under the Texas Public Information Act, Tex. Government Code Ann. Chapter 552. For instance, any complaints and/or investigative information involving hospitals on or after August 30, 1999, may be confidential and not releasable under the Public Information Act and the Tex. Health & Safety Code Ann. Section 241.051(d).
If you request information that is not releasable or non-existent, you will be informed.
Reasonably identify the records you are requesting:
Providing this information will make it easier for us to quickly respond to your request. Be as specific as possible about the information you are seeking. Mail your request to:
Your request should include your name, address, e-mail address (if you have one), daytime phone number and your fax number (if requesting a few pages, we may be able to fax the information to you).
Please be advised that there may be a charge for the information you are requesting.
You have the right to:
All governmental bodies responding to information requests have the responsibility to:
The Texas Department of State Health Services, Internal Open Records Policy
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Article ID: 237751 - View products that this article applies to. This article was previously published under Q237751 This article has been archived. It is offered "as is" and will no longer be updated. Symptoms
You may experience any one of the following symptoms:
This behavior can occur if the Point-to-Point Tunneling Protocol (PPTP) driver does not disconnect correctly.
To resolve this problem, obtain the Virtual Private Networking (VPN) Update for Windows 98 and Dial-Up Networking (DUN) version 1.3. For additional information about the VPN Update for Windows 98 and DUN version 1.3, please see the following article in the Microsoft Knowledge Base:
VPN Update for Windows 98 and Dial-Up Networking 1.3 Available
StatusMicrosoft has confirmed that this is a problem in the Microsoft products that are listed at the beginning of this article. PropertiesArticle ID: 237751 - Last Review: October 26, 2013 - Revision: 3.0


text:
Route Grade Votings
Adjacent Routes 170m.Pick a line up the left hand side of the buttress.Difficulties can taken or avoided at will. At the final steepening trend left to finish. USER COMMENTSNo comments on this route. Login to your ROCKFAX account to add your comments - Search for comments. |


text:
PRESTONSBURG – Big Sandy Community and Technical College's (BSCTC) Fine Arts department held its Little Sandy Singers Children's Music and Drama camp this month on its Prestonsburg campus. The camp concluded with a performance of An Evening of Disney Magic on Thursday, July 24, in the Gearheart Auditorium.
Laura Ford Hall, associate professor of communications, served as the camp instructor. For more information on BSCTC's Fine Arts Department, contact Clayton Case at (606) 886-7388 or email firstname.lastname@example.com.


text:
Apple Valley, MN, United States | Member Since 2009
"Interesting, well written characters."
Good plot development, characters with some emotional depth. But not too much. Nothing is more boring in my opinion than characters who tell us in great detail their emotional response.
My favorite part of the story was when Robin accepted the job working for Cormoran's job offer.
"Interesting, intelligent, engrossing"
Very well written. Suspenseful, sometimes funny with very interesting and imperfect characters. I can't wait to read the next one "Murder in Retribution."
The epilogue was very clever. It could have been the first chapter, but was very cleverly written to be the epilogue.
My favorite scene was in the epilogue when Action first met Kathleen,
I listened to it 3 times in one week.
"M C Beaton Does It Again"
I love the Hamish Macbeth series. The characters, the humour, the plot make for a great escape into a wonderful gentle world that you wish really existed.
"My favorite book from one of my favorite authors."
Death Benefits is a well crafted, suspensful mystery. The story brings us from California, to Florida to New England. It starts with an ambitious,young business woman out to make a sale. She seems as real a person so me, as one of my collegues. (Okay maybe a little more aggressive) But I had a real sense of who she was and even liked her.
Then she is gone. Next we meet two very interesting men who are characters, interesting, funny and real.
Thomas Perry is a master of stringing details around the story to hook up in and keep us hanging on. Of course, he brings us to a surprise ending.
I love this book.


text:
Think about Loose Coupling | |
PerlMonks |
Re: Re: Unique array w/o repeated elements and still keep the original order!by jynx (Priest) |
on Aug 09, 2002 at 20:17 UTC ( #189027=note: print w/ replies, xml ) | Need Help?? |
Particularly, what's happening to $_? It's getting set by the while loop and then forgotten about, which is to say that you'll not process all of the lines. Oops. How about this: Or alternately you could check for file EOF in the while condition like so: Either way should fix the problem... jynx
In Section
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text:
Joyce Parker, emergency financial manager for City of Ecorse
So Gov. Rick Snyder says Ecorse, which has had an emergency manager since 2009 (Yes, former Democratic Gov. Jennifer Granholm made that decision.), will no longer need state oversight.
When critics of emergency management often say this kind of intervention has never worked, I tend to think of Ecorse, which has been a pretty successful model.
Emergency manager Joyce Parker has eliminated the citys deficit, lowered annual costs and raised revenues. She hashed out cooperative agreements with River Rouge and Lincoln Park to manage municipal courts.
And she did it all pretty cooperatively. She held lots of public meetings to get citizens input, and actually worked with unions on altering collective bargaining agreements; it wasnt all kumbaya and sing-alongs, but in general, her approach was inclusive rather than purely dictatorial.
Parker leaves behind an entire community planning model thats based on citizen participation and input.
Parker also brought management of the citys department of public works back inside city government, after a former mayor had concocted a shady deal to outsource it. Remember that next time an emergency manager critic says the whole point of intervention is just to get rid of city workers and sell off city assets.
Ive met with Parker a few times since she came to Ecorse, and have watched pretty closely as she methodically, patiently worked through the citys problems, with its citizens, to make it a better place.
If there are doubts about Ecorses future, they arise from more systemic issues that are affecting all cities. Is there enough of a tax base left to support city government? Should cities like Ecorse be governed by larger jurisdictions that can leverage greater tax revenue to provide services?
In short, can Michigan (which has some 1,800 local governments) afford to maintain as much local control as it has historically?
Ecorses future will provide some answers. But for now, the city is back on firmer footing, ready to make another go at it.


text:
By Tambay A. Obenson | Shadow and Act January 28, 2013 at 12:49PM
From newly-formed Nigerian production company Cinema Kpatakpata, comes a new dramedy titled Confusion Na Wa, directed by Kenneth Gyang, from a script penned by Tom Rowlands-Rees and Kenneth Gyang.
Starring Ramsey Nouah (Kunle Afolayan's The Figurine), Confusion Na Wa traces the lives of a disparate group of individuals as their paths cross over the course of one day, resulting in tales of lust, infidelity, friendship, revenge, heartbreak and, of course, confusion.
Ali Nuhu, OC Ukeje, Ikponmwosa Gold, Tony Goodman, Tunde Aladese and Nat Deme co-star in the social-commentary dramedy that is Cinema Kpatakpata's first film as a company. It was funded by the Hubert Bals Fund of the Rotterdam Film Festival.
Cinema Kpatakpata was formed in 2010 by Kenneth Gyang, Yinka Edward and Tom Rowlands-Rees, with their goal being to produce feature films, documentary and television, in Nigeria and throughout Africa. They tell me that they'll be hosting a private screening of Confusion Na Wa at Rotterdam this week, and are aiming for a summer release.
By the way, "na wa" is akin to let's say an exclamation mark - as in if you're really taken, overwhelmed, or enamored by something. It can both be a positive or a negative. That's the best way I can think of to translate it at the moment. But I'm sure some of my Nigerian friends may come up with something better.
Check out the trailer and full poster for the film below:


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Richard Mouw
This biographical article needs additional citations for verification. (March 2010) |
Richard J. Mouw | |
Era | Contemporary philosophy |
Region | Western Philosophy |
School | Calvinist, Christian Philosophy |
Main interests
Common Grace |
Richard John Mouw (born April 22, 1940) is an American theologian and philosopher. He held the position of President at Fuller Theological Seminary for 20 years (1993-2013), and continues to hold the post of Professor of Faith and Public Life.[1]
Education and career[edit]
Mouw received the BA from Houghton College. He then studied at Western Theological Seminary. He was awarded the MA from the University of Alberta, and his PhD from the University of Chicago.
Mouw was Professor of Christian philosophy at Calvin College for seventeen years. He has also served as a visiting professor to the Free University of Amsterdam. He was appointed Professor of Christian Philosophy and Ethics at Fuller Theological Seminary in 1985. In 1993 he was elected president of Fuller Theological Seminary, retiring after the 2012-2013 academic year after 20 years of service.
In 2007, Mouw, who sees Abraham Kuyper as a personal hero,[2] was awarded the Abraham Kuyper Prize for Excellence in Reformed Theology and Public Life at Princeton Theological Seminary by the Abraham Kuyper Center for Public Theology.[3]
Dialogue with Catholics[edit]
In 2009, he signed a public statement encouraging all Christians to "read, wrestle with, and respond to Caritas in Veritate", the social encyclical by Pope Benedict XVI.[4] He participated in an interfaith dialogue with Fr. Donald Senior, C.P., President of Catholic Theological Union and Professor of New Testament Studies, at the Arts Club of Chicago, Chicago, Illinois, November 14, 2011, which can be viewed on Vimeo.
Dialogue with Mormons[edit]
In November 2004, Mouw offered introductory remarks at a speaking event where Christian evangelist and apologist Ravi Zacharias was the featured speaker, at the Salt Lake Tabernacle at Temple Square in Salt Lake City, Utah.[5][6] In his remarks, he apologized to Mormons for the way in which many Evangelicals have treated the Mormon faith.[5][6]
- Political Evangelism (Grand Rapids: William B. Eerdmans, 1973).
- Politics and the Biblical Drama (Grand Rapids: William B. Eerdmans, 1976).
- Called to Holy Worldliness (Philadelphia: Fortress Press, 1980).
- Objections to Christianity (Grand Rapids: Bible Way, 1981).
- When The Kings Come Marching In: Isaiah and the New Jerusalem (Grand Rapids: William B. Eerdmans, 1983).
- Distorted Truth: What Every Christian Needs to Know About the Battle for the Mind (San Francisco: Harper and Row, 1989).
- Stained Glass: Worldviews and Social Science, ed. with Paul A. Marshall and Sander Griffioen (Lanham: University Press of America, 1989).
- The God Who Commands (Notre Dame: University of Notre Dame, 1990).
- Uncommon Decency: Christian Civility in an Uncivil World (Downers Grove: InterVarsity Press, 1992).
- Pluralisms and Horizons: An Essay in Christian Public Philosophy, with Sander Griffioen (Grand Rapids: William B. Eerdmans, 1993).
- Consulting the Faithful: What Christian Intellectuals Can Learn from Popular Religion (Grand Rapids: William B. Eerdmans, 1994).
- The Smell of Sawdust: What Evangelicals Can Learn from Their Fundamentalist Heritage (Grand Rapids: Zondervan, 2000).
- He Shines in all that's Fair: Culture and Common Grace (Grand Rapids: William B. Eerdmans, 2001).
- Wonderful Words of Life: Hymns in American Protestant History and Theology, with Mark A. Noll (Grand Rapids: William B. Eerdmans, 2004).
- Calvinism in the Las Vegas Airport: Making Connections in Today's World (Grand Rapids: Zondervan, 2004).
- Praying at Burger King (Grand Rapids: William B. Eerdmans, 2007).
- "Talking with Mormons: An Invitation to Evangelicals" (Grand Rapids: William B. Eerdmans, 2012).
- "Foreword" in The New Mormon Challenge, Francis J. Beckwith, Carl Mosser and Paul Owen, eds. (Grand Rapids: Zondervan, 2002), pp. 11–13.
- ^ "Faculty Profile: Richard J. Mouw". Fuller Theological Seminary. August 4, 2014. Retrieved 2014-08-04.
- ^ "Realizing Christ's Authority in Heaven and on Earth". Trinity Evangelical Divinity School. January 1, 2009. Retrieved 2013-06-27.
- ^ "Awards and Prizes". Princeton Theological Seminary.
- ^ Evangelical scholars call for broad discussion of Pope's social encyclical
- ^ a b Olson, Ted (November 2004). "Weblog: Ravi Zacharias, Rich Mouw Speak in Mormon Tabernacle". Christianity Today. Retrieved 2010-03-17.
- ^ a b Moore, Carrie A. (November 14, 2004). "Evangelical preaches at Salt Lake Tabernacle". Deseret News.
External links[edit]
- Richard J. Mouw at Fuller Theological Seminary
- Richard J. Mouw Resources at Trinity Evangelical Divinity School, Henry Center for Theological Understanding
- 1940 births
- Living people
- American Calvinist and Reformed theologians
- Calvin College faculty
- Calvinist and Reformed philosophers
- University of Alberta alumni
- American people of Dutch descent
- Critics of Mormonism
- Seminary presidents
- Fuller Theological Seminary faculty
- University of Chicago alumni
- 20th-century Calvinist and Reformed theologians
- Houghton College alumni


text:
Quality Assurance Division
(A Government of India Enterprise)
An ISO 9001 Company / Accreditation to ISO/IEC 17020
Note: Please ensure Inspection Call is submitted at least seven(7) working days before the expiry of the delivery period , otherwise Call shall not be accepted. Inspection call format is now revised from 5th March 2013. Henceforth all requests for inspection should be submitted in the new format only with all entries filled up. Any incomplete inspection call not be considered and summarily rejected.
For quick response from RITES LTD, Kindly mention Email-ID and Contact Person's Mobile No. in the Call Format.
As per latest Railway Board order, the offered material value should be of minimum 1.5 Lakh for RITES Inspection.
Some Vendors are directly depositing payments throught DD/NEFT ro RITES Account without informing payment details & Case particulars. All Vendors are kindly requested to always inform concerned regional office immidiately through E-Mail, Such payments details indicating Case No. for proper accountal of their credits.
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Vast pool of experienced personnel from within and drawn from the pool of railway engineers and managers
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Panel of NABL & Government approved labs for testing & QA support
In-house laboratories with state-of-the-art facilities provide vital technical support
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text:
Optiray Injection
Acetaminophen Prescription Combination Drug Products Warning »
"FDA is recommending health care professionals discontinue prescribing and dispensing prescription combination drug products that contain more than 325 milligrams (mg) of acetaminophen per tablet, capsule or other dosage unit. There are no"...
Read the Acetaminophen Prescription Combination Drug Products Warning article »
Optiray Injection
Patients receiving iodinated intravascular contrast agents should be instructed to:
- Inform your physician if you are pregnant.
- Inform your physician if you are diabetic or if you have multiple myeloma, pheochromocytoma, homozygous sickle cell disease or known thyroid disorder. (See WARNINGS).
- Inform your physician if you are allergic to any drugs or food, or if you had any reactions to previous injections of dyes used for x-ray procedures. (See PRECAUTIONS, General).
- Inform your physician about any other medications you are currently taking including non-prescription drugs.
Last reviewed on RxList: 6/18/2008
This monograph has been modified to include the generic and brand name in many instances.
Optiray Injection FDA Prescribing Information
Additional Optiray Injection Information
Report Problems to the Food and Drug Administration
You are encouraged to report negative side effects of prescription drugs to the FDA. Visit the FDA MedWatch website or call 1-800-FDA-1088.
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text:
Costume Information
General | |
Cost : | 70 |
Awards : | masquerade award |
Time Taken : | plenty time. maybe a month? |
OMG This is one of my all time favourite characters!!!!
Great job you look awesome!!!
This is one of my favorite digimon characters! You did such a fantastic job, I love all your other mascots too, awesome job keep up the great work! 8D
This is AMAZING!
I saw it and my jaw dropped.
Well done.
I love it! just amazing! and it cost you liek nothing! sooo cool ^__^
ur feet are so bid its soooooooo cute >,<
Oh my gawd, woow <3
Absolutely amazing o.o
DAYUM. This is incredible!
Really great work here. I have a lt to beat, if there even is anything to beat when I make him!
this looks sooo awesome!!
Liking the fur :)
That, that, that...WOW that's awesome


text: Chris Ahlstrom wrote: > chrisv belched: > >> Roy Schestowitz wrote: >> >>>There are several important projects -- including Flash -- which are available >>>for 64-bit Linux but not for 64-bit Windows. >> >> You sure? I've seen Flash working on Win7 64b... > >But was it 64-bit Flash, or 32-bit Flash? Don't know. How does one tell?


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Office / Industrial Warehouse for sale, want to buy office building or industrial building, office space for rent. |
This is a posting on Investment Sales! Freehold industrial unit in Macpherson area *Desmond @ 97441866* within the Office / Industrial forums, part of the Free Property Classified Ads: buy, sell & rent houses & rooms category; - Quartz Industrial Building - Freehold - upper floor - tenanted @ approx $46k per year - 1830sqft, asking $1.2M ...
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« Bear in Heaven playing Brooklyn show before ATP UK (dates) | Morrissey played 'The Colbert Report' (interview too!), begins his three-night NYC run tonight at Radio City »
Posted in dance | music | tour dates on October 10, 2012
Over the summer, tropical pop Aussies Van She released Idea of Happiness, the followup to their 2008 debut, V, via Modular. You can watch the video for that album's single, "Jamaica," and stream the entire album via a spotify widget below.
Along with Cut Copy and The Presets, Van She have been one of the leaders of bright, bouncy synth pop over in their home country since the latter part of the last decade (The Presets are touring North America now.) This week the band comes over to play a NYC show at Tammany Hall on Saturday (10/13) with Plastic Plates. The first presale for that show sold out but a second presale is happening now. The flyer for this show is below.
Before that, they'll DJ a party in NYC on Thursday (10/11) at DL (95 Delancey at Ludlow) with Luke Jenner of The Rapture (also DJing) and Sean Glass & Alex English. That show is free with RSVP and there will be 2-for-1 drinks from 10 PM to 11 PM. The flier for this show is below.
Before leaving the US, Van She will head to California for two shows after the NYC shows. A list of all tour dates, both show flyers, that video and spotify stream are below.
Van She - "Jamaica" Official Video
Van She -- 2012 Tour Dates
October 11, 2013 DL New York, NY (DJ) w/ Luke Jenner of The Rapture
October 13, 2012 Tammany Hall New York, USA
October 17, 2012 Dim Mak Studios LA, USA
October 18, 2012 Popscene San Francisco, USA
October 20, 2012 Armando Records Bogota, Colombia
November 24, 2012 Stereosonic Sydney Showgrounds Sydney
November 24, 2012 Foreshore Festival Canberra
December 1, 2012 Stereosonic Melbourne Showgrounds Melbourne
December 2, 2012 Stereosonic Brisbane RNA Showgrounds Brisbane
December 30, 2012 Pyramid Rock Festival Philip Island
Comments (37)
This music is so strong, it almost transcends the need for a publicist.
Posted by Anonymous | October 10, 2012 10:11 AM
The Van She have played Midway in NYC back in 2006 as part of CMJ. Here is a video http://www.youtube.com/watch?v=AtSGgwRIPVA
Posted by rohan | October 10, 2012 10:25 AM
I also saw them perform for the same CMJ at Galapagos Art Space when it was in Williamsburg, NYC on Nov. 2, 2006.
Posted by Josh | October 10, 2012 11:07 AM
holy shit! it totally is!
smh@ u buckeyed shrimper
Posted by Anonymous | October 10, 2012 12:46 PM
LOL, Vegan even covered the concert back then... http://www.brooklynvegan.com/archives/2006/11/van_she_midway.html
Posted by Anonymous | October 10, 2012 2:13 PM
well.. that's embarrassing. yeah, of course Van She played here before. Not sure where that idea came from or how that got live. fixed, thanks!
Posted by brooklynvegan | October 11, 2012 1:50 AM
Posted by Anonymous | October 11, 2012 3:14 PM
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Great collection of cool pictures, really enjoyed watching these photos. Thanks for sharing with us.
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Say "thanks" you to your parents that they gave you the world
Posted by produk k link | August 9, 2013 8:30 PM
he is even making his little sucking face
Posted by Video more exciting places in the body of the woman YouTube | April 24, 2014 6:01 PM
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text:
Lexington, KY Interior Design
Janice's Interiors
Janice's Interiors of Lexington, KY, specializes in traditional interior design. We offer design services and also specializes in fine American and English antique reproductions. We also have the largest selection of fine lamps in this part of the country. Our friendly staff and designers are available to help you with your selections.
We are located in the heart of Chevy Chase. Parking is located directly behind the shop.
Contact Janice's Interiors today at 859-266-2300 for more details.
Hours of Business:


text:
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Customer AwarenessEach year more and more Americans have their identify stolen and the staff and management of First Bank of Coastal Georgia want to give you the information you need to help protect yourself against ID theft. This includes educating all our customers to be cautious and mindful of cyber crimes and other forms of fraud. While we cannot guarantee that your ID will never be stolen, we want you to be aware of the following:
What is Identify Theft? How do thieves steal an identity?
What steps to take if your identity has been stolen? http://www.ftc.gov/bcp/edu/microsites/idtheft
** To report a lost or stolen First Bank of Coastal Georgia ATM/debit card call 1-800-500-1044 If you believe you have mistakenly given your personal information to a fraudster, file a complaint at http://www.ftc.gov/complaint. How to protect your identity?
Online Security Information
How you can protect your internet security.
Please visit us at the bank and pick up any of the complimentary brochures we have on site regarding your financial protection. |
©2014 First Bank of Coastal Georgia. All rights reserved. Website powered by ProfitStars. | ||||||||||||||||


text: The City of Cape May no longer administers the Section 8 Housing Assistance Program, which is funded by the U.S. Department of Housing and Urban Development (HUD). The Program subsidizes a portion of the rent for safe and decent year round housing. It is designed to assist income eligible elderly, disabled, and single member households and families based on the income limits established by HUD. In order to apply, you must be 18 years of age or older, or an emancipated minor. Please contact: Cape May County - Board of Social Services


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A chemical reaction is a process that leads to the transformation of one set of chemical substances to another. Classically, chemical reactions encompass changes that only involve the positions of electrons in the forming and breaking of chemical bonds between atoms, with no change to the nuclei (no change to the elements present), and can often be described by a chemical equation. Nuclear chemistry is a sub-discipline of chemistry that involves the chemical reactions of unstable and radioactive elements where both electronic and nuclear changes may both occur.
The substance (or substances) initially involved in a chemical reaction are called reactants or reagents. Chemical reactions are usually characterized by a chemical change, and they yield one or more products, which usually have properties different from the reactants. Reactions often consist of a sequence of individual sub-steps, the so-called elementary reactions, and the information on the precise course of action is part of the reaction mechanism. Chemical reactions are described with chemical equations, which graphically present the starting materials, end products, and sometimes intermediate products and reaction conditions.
Quantum chemistry is a branch of chemistry whose primary focus is the application of quantum mechanics in physical models and experiments of chemical systems. It involves heavy interplay of experimental and theoretical methods:
In these ways, quantum chemists investigate chemical phenomena.
A chemical bond is an attraction between atoms that allows the formation of chemical substances that contain two or more atoms. The bond is caused by the electrostatic force of attraction between opposite charges, either between electrons and nuclei, or as the result of a dipole attraction. The strength of chemical bonds varies considerably; there are "strong bonds" such as covalent or ionic bonds and "weak bonds" such as dipole–dipole interactions, the London dispersion force and hydrogen bonding.
Since opposite charges attract via a simple electromagnetic force, the negatively charged electrons that are orbiting the nucleus and the positively charged protons in the nucleus attract each other. An electron positioned between two nuclei will be attracted to both of them, and the nuclei will be attracted toward electrons in this position. This attraction constitutes the chemical bond. Due to the matter wave nature of electrons and their smaller mass, they must occupy a much larger amount of volume compared with the nuclei, and this volume occupied by the electrons keeps the atomic nuclei relatively far apart, as compared with the size of the nuclei themselves. This phenomenon limits the distance between nuclei and atoms in a bond.
In the physical sciences, subatomic particles are the particles smaller than an atom. (although some subatomic particles have mass greater than some atoms). There are two types of subatomic particles: elementary particles, which according to current theories are not made of other particles; and composite particles. Particle physics and nuclear physics study these particles and how they interact.
The elementary particles of the Standard Model include:
In chemistry and physics, atomic theory is a scientific theory of the nature of matter, which states that matter is composed of discrete units called atoms, as opposed to the earlier]citation needed[ concept which held that matter could be divided into any arbitrarily small quantity. It began as a philosophical concept in ancient Greece (Democritus) and entered the scientific mainstream in the early 19th century when discoveries in the field of chemistry showed that matter did indeed behave as if it were made up of particles.
The word "atom" (from the ancient Greek adjective atomos, 'indivisible'. 19th century chemists began using the term in connection with the growing number of irreducible chemical elements. While seemingly apropos, around the turn of the 20th century, through various experiments with electromagnetism and radioactivity, physicists discovered that the so-called "indivisible atom" was actually a conglomerate of various subatomic particles (chiefly, electrons, protons and neutrons) which can exist separately from each other. In fact, in certain extreme environments, such as neutron stars, extreme temperature and pressure prevents atoms from existing at all. Since atoms were found to be divisible, physicists later invented the term "elementary particles" to describe the 'indivisible', though not indestructible, parts of an atom. The field of science which studies subatomic particles is particle physics, and it is in this field that physicists hope to discover the true fundamental nature of matter.
Antibonding (or anti-bonding) is a type of chemical bonding. An antibonding orbital is a form of molecular orbital (MO) that is located outside the region of two distinct nuclei. The overlap of the constituent atomic orbitals is said to be out of phase, and as such the electrons present in each antibonding orbital are repulsive and act to destabilize the molecule as a whole.
Antibonding molecular orbitals (MOs) are normally higher in energy than bonding MOs. Bonding and antibonding orbitals form when atoms combine into molecules as a result of the Pauli exclusion principle. Consider two hydrogen atoms that are initially far apart and are brought together. When they are far apart and isolated, the atoms have identical energy levels. However, as the spacing between the two atoms becomes smaller, the electron wave functions begin to overlap. The Pauli principle dictates that no two electrons in an interacting system may have the same quantum state. Therefore, each energy level of the isolated atoms splits into two molecular orbitals belonging to the pair, one lower in energy than the original atomic level and one higher. For example, the ground state energy level, 1s, splits into two molecular orbitals. Since the lower orbital is lower in energy than the original atomic orbitals of the separate atoms, it is more stable, and promotes the bonding of the two H atoms into H2. This is the bonding orbital. The higher orbital is higher in energy than the original atomic orbitals and is less stable, and therefore opposes the bonding. This is the antibonding orbital. In a molecule such as H2, the two electrons normally occupy the bonding orbital, since it is lower in energy, and therefore the molecule is more stable than the separate H atoms.
The 'God particle' and atom
Nuclear bonding has similarities to chemical bonding
Discovery of new sub-atomic particle a major leap forward
In Subatomic Tracking, Clues to the Unseen Universe
Subatomic particles and giant magnets


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Research Article
The optimization of lane assignment and signal timing at the tandem intersection with pre-signal
Article first published online: 15 FEB 2013
DOI: 10.1002/atr.1222
Copyright © 2013 John Wiley & Sons, Ltd.
Additional Information
How to Cite
Zhou, Y. and Zhuang, H. (2014), The optimization of lane assignment and signal timing at the tandem intersection with pre-signal. J. Adv. Transp., 48: 362–376. doi: 10.1002/atr.1222
Publication History
- Issue published online: 11 JUN 2014
- Article first published online: 15 FEB 2013
- Manuscript Accepted: 14 JAN 2013
- Manuscript Revised: 13 JAN 2013
- Manuscript Received: 21 SEP 2012
- Abstract
- Article
- References
- Cited By
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Madonna Announces 2015 World Tour
Madonna is hitting the road, and we can bet there will be no capes. Repeat, no capes.
Madonna Promises No More Capes After 'Nightmare' Fall at Brit Awards
Madonna followed the advice of Chumbawumba and after getting knocked down at the Brit Awards, she got back up again. But, she didn't get up unscathed.
Madonna Blames Her Cape for BRITs Fall, But She's Fine
Presumably the singer will stick to wearing Givenchy for future performances.
Madonna Fell On Stage at the Brit Awards
Madonna performed at the Brit Awards on Wednesday night and suffered a pretty bad fall. The good news is she's ok, she just got right up and kept singing! After the show, Madonna posted a pic of […]
Watch Madonna Fall Down a Flight of Stairs at the BRITs Again & Again
While Twitter went up in flames over Kanye West's epic debut of "All Day" about an hour ago, now social media is in an uproar over a different type of incident at the BRIT Awards today.
Madonna Has a 'Plan' to Get Everyone to Stop Asking If She & Lady Gaga Hate Each Other
What's that plan? Stay tuned.
Madonna Finally Responded to Drake's Song About Her
Spoiler: she digs it.
Morrissey Is Grumpy Again, Rails Against BRITs, Madonna, Taylor Swift
He's at it again! This time, his focus is on the preeminent British music awards.
Can People Please Stop Leaking Madonna's New Album?
Hackers really have in for Madonna, with the deluxe edition of her new album leaking all over the internet well ahead of the release date.
Madonna Calls Taylor Swift the 'Princess' of Pop, Now Taylor Swift is 'Dead'
R.I.P. Tay Tay, but at least you have something to write on your tombstone.


text: 1st United Bancorp Inc Company Profile (NASDAQ:FUBC) Tweet Analyst RatingsEarningsDividendsInsider TradesCompany ProfileSocial ActivityToday's Chart Consensus Ratings for 1st United Bancorp Inc (NASDAQ:FUBC) (?) The ratings breakdown includes the most recent rating from each analyst that has rated the stock within the last twelve months. The ratings score is a calculation of the average number of sell, hold, buy and strong buy ratings (0-1.5 = Sell, 1.5-2.5 = Hold, 2.5-3.5 = Buy, >3.5 = Strong Buy). The consensus price target is a mean average of the most recent price target set by each analyst that has set a price target for the stock in the last twelve months.Ratings Breakdown: 2 Hold Rating(s)Consensus Rating:Hold (Score: 2.00)Consensus Price Target: $8.50 (3.95% downside) Analysts' Ratings History for 1st United Bancorp Inc (NASDAQ:FUBC) Show: All Ratings For This Stock Only the Most Recent Rating From Each Brokerage DateFirmActionRatingPrice TargetDetailsShare5/9/2014Raymond JamesDowngradeOutperform -> Market PerformView 5/8/2014FIG PartnersDowngradeOutperform -> Market Perform$8.50View 4/22/2014FBR & Co.Boost Price TargetMarket Perform$7.50 -> $8.25View 4/8/2014MacquarieInitiated CoverageNeutral$8.50View 9/30/2013FIG PartnersInitiated CoverageOutperform$8.50View 7/26/2013Keefe, Bruyette & WoodsBoost Price Target$7.25 -> $8.25View 7/3/2013TheStreetUpgradeHold -> BuyView 6/20/2013MLV & Co.Reiterated RatingBuy$8.00View 6/10/2013Raymond JamesUpgradeMarket Perform -> OutperformView 6/7/2013TheStreetDowngradeBuy -> HoldView (Data available from 4/27/2013 forward) Earnings History for 1st United Bancorp Inc (NASDAQ:FUBC)DateQuarterConsensus EstimateActual EPSRevenue EstimateActual RevenueRelease LinkConference CallDetailsShare7/29/2014Q114$0.09$0.06$17.60 millionViewN/AView 4/18/2014Q114$0.08$0.08$18.23 millionViewN/AView 2/10/2014Q4 13$0.08$0.08ViewN/AView 10/21/2013Q412$0.05$0.13ViewN/AView (Data available from 1/1/2011 forward) Dividend History for 1st United Bancorp Inc (NASDAQ:FUBC)AnnouncedPeriodAmountYieldEx-Dividend DateRecord DatePayable DateShare7/30/2014quarterly$0.020.96%8/7/20148/11/20148/26/2014 4/21/2014quarterly$0.021.05%5/1/20145/5/20145/23/2014 2/11/2014quarterly$0.021.1%2/20/20142/24/20143/7/2014 12/23/2013special$0.100.51%1/2/20141/6/20141/20/2014 10/22/2013quarterly$0.010.52%10/31/201311/4/201311/15/2013 7/23/2013quarterly$0.010.52%8/1/20138/5/20138/15/2013 4/22/2013quarterly$0.014/30/20135/2/20135/8/2013 12/11/2012special$0.1012/19/201212/21/201212/28/2012 (Data available from 1/1/2013 forward) Insider Trading History for 1st United Bancorp Inc (NASDAQ:FUBC)Transaction DateInsider NameTitleBuy/SellNumber of SharesAverage Share PriceTotal TransactionSEC LinkShare12/9/2013Joseph Veccia, Jr.DirectorBuy37,500$7.92$297,000.00View 5/1/2013Carlos MorrisonDirectorBuy7,000$6.28$43,960.00View 4/30/2013Carlos MorrisonDirectorBuy7,744$6.49$50,258.56View 4/26/2013Carlos MorrisonDirectorBuy2,256$6.37$14,370.72View 11/15/2012Carlos MorrisonDirectorBuy3,300$5.45$17,985.00View (Data available from 1/1/2013 forward) About 1st United Bancorp Inc 1st United Bancorp, Inc. (Bancorp) is a financial holding company. 1st United Bank, a Florida state chartered bank, is Bancorp's wholly owned subsidiary. The Company offers its customers, professionals, high net-worth individuals and small and medium-sized businesses, a variety of traditional loan, deposit and cash management products. As of December 31, 2010, Bancorp operated banking center from 15 locations consisting of four banking centers in Palm Beach County, four banking centers in Broward County, four banking centers in Miami-Dade County, and one banking center each in Sebastian, Vero Beach and Barefoot Bay, Florida. As of December 31, 2010, the total assets of Bancorp were at 1.268 billion and the total loans of the Company were at $847.7 million. In July 2013, 1st United Bancorp Inc completed its acquisition by merger of Enterprise Bancorp Inc (EBI) and its wholly owned subsidiary Enterprise Bank of Florida. Industry, Sector and Symbol: Sector: Financials Industry: Commercial Banks Sub-Industry: Regional Banks Exchange: NASDAQ Symbol: FUBC CUSIP: 33740N10 Key Metrics: Previous Close: $0.0050 Day Moving Average: $200 Day Moving Average: $P/E Ratio: P/E Growth: Market Cap: $Current Quarter EPS Consensus Estimate: $ EPS Additional Links: View FUBC on Google FinanceView FUBC on Yahoo FinanceView FUBC's Company Profile on ReutersSearch for 1st United Bancorp Inc on Google 1st United Bancorp Inc (NASDAQ:FUBC) Chart for Monday, April, 27, 2015 (Chart Provided by Yahoo Finance)


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Tuesday, April 10, 2012
Robotics;Notes to Feature Nae Tennouji
According to a leaked magazine scan, R;N is going to feature Nae (Mr. Braun's daughter) from Steins;Gate, 10 years later. Interesting...
6 comments:
- AnonymousApril 10, 2012 at 7:31 AM
It might not be the same mad scientist as official summary from MAL says year 2012 divergence ratio over 1%.
ReplyDelete I just hope she's not the cold killing machine she was in one part of the game (I don't think it was touched upon in the S;G anime, but the world where Braun suicided led the Nae of that world line to... well read it here http://steins-gate.wikia.com/wiki/Nae_Tennouji#Vengeful_Nae).
But a cameo from Okabe would be AWESOME. One can only hope...
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Extension of the SPARTECA (TCF Provisions) SchemeFriday, 23 December 2011ICS status: Fully Functional
The Australian Government has approved an extension of the SPARTECA (TCF Provisions) Scheme to 31 December 2014. The Scheme is administered through item 68 in Schedule 4 to the Customs Tariff Act 1995. Australian Customs and Border Protection has arranged for the publication of a Notice in the Commonwealth Gazette to give effect to the extension. This action will allow the Scheme to continue without interruption from 1 January 2012. Australian Customs Notice 2011/65 refers. A revised Customs Tariff Working Page will be published in early 2012 to reflect this change. |


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No way! Roots love helping others. They drain water from the soil. That keeps the soil from staying too wet. And when the soil gets too dry, roots draw up water. This water has all kinds of good stuff in it that living things need to stay healthy. Roots help make soil, too. They split rocks into pieces that later become soil.
This technical information on natural resource conservation and related subjects was provided by the USDA/Natural Resources Conservation Service. Providing this information does not constitute endorsement by the U.S. Department of Agriculture of any commercial products or services.
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text: What Is Obama's Middle East Peace Doctrine? News & Features NPR · May 19, 2011 Listen Story audio 4min 48sec Copyright 2015 NPR. Stay Informed The news on your schedule from MPR News Update Email Address* Zip Code MPR News Update AM Edition MPR News Update PM Edition See our Privacy Policy. Must be age 13.


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Bishop says pastor not removed for comments By Kevin Graham, Globe Correspondent, Globe Staff, 5/31/2002
Richard Malone, regional bishop for Boston's south region, said Law didn't even know McDonagh had called for him to step down when the pastor was placed on administrative leave last week. ''There have been literally dozens of priests who criticize Cardinal Law to his face. This one wouldn't stand out,'' Malone said. ''Whether people like him or not, he's not a retaliation bishop.'' Yet the archdiocesan newspaper, The Pilot, is denouncing priests who call for Law's resignation. An editorial to be published in today's edition of The Pilot says that ''for a priest to use the position of trust conferred by the bishop to betray that very trust, and to misguide his congregation by promoting dissent against their bishop, is a scandal.'' The editorial, the paper's first rebuke of priests who have spoken out against Law, is running the same week that the newspaper declined to publish an opinion piece written by the leaders of the Priests' Forum, a new organization of Boston priests seeking to respond to the clergy sexual abuse crisis. The paper's publisher is Law, and this is the paper's second week under a new editor, Antonio Enrique. The editorial laments that some priests ''are using the sad situation we are living in to advance their agendas.'' Last night, some of nearly 500 parishioners who packed into the gymnasium at St. Ann's asked Malone when McDonagh might return. ''Where do we go from here?'' asked Linnea Maloney, a parishioner at St. Ann's for six years who says she and other supporters have made hundreds of signs supporting McDonagh. Former parishioner Leah Lacina said she has chosen to pray for McDonagh, whom she has known for 10 years. He baptized both her children, and although she now lives in Cape Cod, Lacina said she still comes to McDonagh for spiritual guidance. ''I sent him a letter with the advice he's always given me: `Don't worry. Just put it in God's hands.''' Michael Paulson of the Globe Staff contributed to this report.
This story ran on page A34 of the Boston Globe on 5/31/2002. | ||||||||


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Rosemarie Teti, Administrative Coordinator email@example.com 508-655-6403
Kathy Hodge, Accounts Coordinator email@example.com 508-655-6405
BASE Site Coordinators 2014-15
Will Leona, Claypit Hill School Grades K-4 firstname.lastname@example.com 508-358-7008
Teresa Creber, Happy Hollow School Grades K-4 email@example.com 508-358-7004
Jennifer Rice, Loker School Grades K-4 email@example.com 508-655-4781
Linda Ryan, Wayland Middle School Grades 5-8 email@example.com 508-655-8585
Before/After School Extension (BASE) is located in each elementary school and at Wayland Middle School, providing before and after school programming for children in kindergarten through eighth grade. (Before school is offered for K-5 only). At the elementary schools, a K-4 after-school program is offered at Happy Hollow, Claypit Hill, and Loker School. Grade 5 pupils are transported to Wayland Middle School for a Grades 5-8 program.
Children enrolled in BASE have use of school gymnasiums, libraries, cafeterias, computers or computer labs, assigned classrooms, playgrounds, and playing fields. Daily activities vary and are always fine-tuned to reflect children's changing interests and abilities. Flexible schedules are available, offering 2, 3, 4 or 5 afternoons until 4:30 or 6:00. Kindergartners may enroll in a Kindergarten BASE program, which begins upon the completion of morning Kindergarten. More detailed information can be obtained by calling the WSCP office at 508-655-6403.
Please note that Before-School is the only program that offers a drop-in option. After-School programs are enrolled on a contractual basis, and there is a two-day minimum. 2014-15 PARENT MANUAL Below is the link to the BASE Parent Manual, which outlines policies and procedures. Parent Handbook November 2014 (1).docx BASE Photo/Image Opt Out 2014-15
As part of the BASE registration process, parents/guardians acknowledged the need to complete an "Opt-Out" form if they did not give BASE permission to use photos/images of their child(ren). The form is below and must be completed and returned to BASE only if BASE does not have permission to photograph the child. PhotoOptOut (1).doc
BASE Registration for 2015-16 Academic Year
The BASE program uses an online registration system.
The registration site is: www.familyid.com/wayland-school-community-programs.
When enrolling, families need to select the school and grade their child or children will be entering in the coming fall. There are separate forms for before and after school programs, so if a child will be attending both programs, two forms will need to be completed. A separate registration form is needed for each child in a family. Your registration will be complete when you pay the $60 per family annual registration fee. As you conclude the online registration process, you will see a link to make the registration fee payment online.
Registering early is always advisable since some programs fill quickly. Before (K-5) and after school programs (K-4) are held in Claypit Hill, Happy Hollow and Loker Schools. At Wayland Middle School, there is an after school program for Grades 5 – 8. Fifth graders are bused to Wayland Middle School.
Contact: 508-655-6403, Wayland School Community Programs
During February and April vacation weeks, Wayland School Community Programs offers programs held at Loker School for children in Kindergarten through Grade Five. Each day offers a mix of free play and scheduled activity periods for cooking, science, arts and crafts, active games, music, and more. Children also enjoy special events daily. A typical week might include field trips for mini-golf, bowling, roller skating, or indoor playgrounds. Mask-Making was one activity during February Vacation week. Children also enjoyed learning about the phases of the moon, and drew pictures showing what the moon will look like on their birthdays. They also learned about popular children's names and toys in Venezuela. They made a popular toy: ball-in-a-cup.
Outdoor time is an important part of each day in the BASE program. Children enjoy the play structures, games like football, basketball, soccer, four-square, or baseball. It's also a great time to interact with BASE staff and each other.
TV Production is one of the after-school activities offered. Here, twin brothers Sean and Adam prepare to go on camera and present SportsTalk, a report they co-wrote about football positions. Students travel to the WayCAM (cable access) studio at Wayland High School for production sessions. Scripts are displayed on a teleprompter for the "talent," and a member of the tech crew operates it in the control room. Each program is unique in what it offers. The Middle School enjoys visiting elderly residents at Traditions, walking to Cochituate Village locations, and bowling or mini-golf. Happy Hollow's community service projects include making sandwiches for a homeless mission and brightening the recipients' day by decorating the bags with drawings, stickers, and supportive messages.


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Top Definition
The section in clothing stores for heavier set ladies.
I'm going to Omar-the-Tent-Maker for a mumu.
viết bởi snickerz78
18 Tháng bảy, 2006
2 more definitions
a reference to oversized clothing (usually on fat people)
her underwear must have been made by Omar the tentmaker.
she got that dress from Omar the tentmaker
she got that dress from Omar the tentmaker
viết bởi John R.
09 Tháng mười hai, 2003
A slang expression for a person experiencing an erection that raises the cloth (trousers or sheet) covering his genitals much like a tent.
Yerleena...lookit Bubba...Omar-the-tent-maker!
viết bởi harry flashman
12 Tháng bảy, 2003