Amnon of Mainz

Amnon of Mainz or Amnon of Mayence is the subject of a medieval legend that became very popular. It tells of Rabbi Amnon, of Mainz (Mayence), Germany, in the 11th century, whom the Archbishop of Mainz, at various times, tried to convert to Christianity. On one occasion Amnon evasively asked to be given three days' time for consideration, but when he left the Archbishop's palace he immediately regretted even appearing to waver in his Jewish faith. When he failed to appear on the appointed day, the archbishop had him brought guarded into his presence. Amnon, rebuked for his failure to keep his promise, pleaded guilty, and said that his tongue should be amputated, because it had expressed a doubt as to the truth of Judaism. The archbishop, however, pronounced the sentence that Amnon's feet, which had refused to come, and his hands, be cut off. This was accordingly done.
Amnon gave orders that he be carried into the synagogue, where Rosh Hashanah was being observed. The reader was about to begin the Kedushah, when he was asked by Amnon to wait. The latter then recited the prayer known as "Unetanneh Tokef," ("Let us tell how overwhelming [is the holiness of this day]") which is a description of the Day of Judgment. No sooner had he finished the prayer than he died. Three days later he appeared to Rabbi Kalonymus (died 1096) in a dream, taught him the prayer, and asked him to spread it throughout all Jewry.
The notes on Asheri, written by Israel of Krems or Kremsier, about 1400. says: The "Unetanneh Tokef" was written by Amnon of Mayence with reference to his own history. He gives Isaac ben Moses of Vienna's work, "Or Zaru'a," as his source. The story, as given above, is found in the Mahzor of the Roman rite for the New Year's Day, published 1541. From it Gedaliah ibn Yahya ben Joseph took it; and the other historians followed him. The Mahzor editions reprinted it; and so the story became very popular. The Russian poet Semyon Frug adapted it into an epic; and Schakschansky wove it into a drama in Yiddish.


List of Pennsylvania state historical markers in Jefferson County

This is a list of the Pennsylvania state historical markers in Jefferson County.
This is intended to be a complete list of the official state historical markers placed in Jefferson County, Pennsylvania by the Pennsylvania Historical and Museum Commission (PHMC). The locations of the historical markers, as well as the latitude and longitude coordinates as provided by the PHMC's database, are included below when available. There are 11 historical markers located in Jefferson County.


Hostile Action Service Medal

The Hostile Action Service Medal is awarded by the Central Intelligence Agency for direct exposure to a specific life-threatening incident in the foreign field or in the U.S. where the employee was in close proximity to death or injury, but survived and sustained no injuries. The incident must have occurred during work-related activities or events, which were targeted by armed forces or persons unfriendly to the U.S. Government.


Black Tears (film)

Black Tears is a lost 1927 silent film society drama directed by John Gorman and starring Bryant Washburn. An independent production from director Gorman released through B movie Hollywood Pictures.


Krukowski coat of arms

Krukowski - is a Polish coat of arms. It was used by one szlachta family in the times of the Polish–Lithuanian Commonwealth.
Notable bearers.
Notable bearers of this coat of arms include:


Confidential Lady

Confidential Lady is a 1939 British comedy drama film, directed by Arthur B. Woods and starring Ben Lyon and Jane Baxter. It is now classed as a lost film.
Plot.
Jill Trevor (Baxter) vows revenge on newspaper baron Sir Joshua Morple (Athole Stewart), who she holds responsible for ruining her father. Her very public antics to draw attention to Morple's despicable conduct come to the notice a rival newspaper, who send journalist Jim Brent (Lyon) to offer to write up Jill's story, in the hope that he will be able to dig up some dirt on Morple. Jim is initially sceptical, seeing Jill as a silly attention-seeking airhead, but as he gets to know her he changes his mind and realises there is substance to her claims, so the pair join forces to discredit Morple publicly, at the same time as starting to fall in love with each other.


Victorian painting

Victorian painting refers to the distinctive styles of painting in the United Kingdom during the reign of Queen Victoria (1837–1901). Victoria's early reign was characterised by rapid industrial development and social and political change, which made the United Kingdom one of the most powerful and advanced nations in the world. Painting in the early years of her reign was dominated by the Royal Academy of Arts and by the theories of its first president, Joshua Reynolds. Reynolds and the academy were strongly influenced by the Italian Renaissance painter Raphael, and believed that it was the role of an artist to make the subject of their work appear as noble and idealised as possible. This had proved a successful approach for artists in the pre-industrial period, where the main subjects of artistic commissions were portraits of the nobility and military and historical scenes. By the time of Victoria's accession to the throne this approach was coming to be seen as stale and outdated. The rise of the wealthy middle class had changed the art market, and a generation who had grown up in an industrial age believed in the importance of accuracy and attention to detail, and that the role of art was to reflect the world, not to idealise it.
In the late 1840s and early 1850s, a group of young art students formed the Pre-Raphaelite Brotherhood as a reaction against the teaching of the Royal Academy. Their works were based on painting as accurately as possible from nature when able, and when painting imaginary scenes to ensure they showed as closely as possible the scene as it would have appeared, rather than distorting the subject of the painting to make it appear noble. They also felt that it was the role of the artist to tell moral lessons, and chose subjects which would have been understood as morality tales by the audiences of the time. They were particularly fascinated by recent scientific advances which appeared to disprove the biblical chronology, as they related to the scientists' attention to detail and willingness to challenge their own existing beliefs. Although the Pre-Raphaelite Brotherhood was relatively short-lived, their ideas were highly influential.
The Franco-Prussian War of 1870 led to a number of influential French Impressionist artists moving to London, bringing with them new styles of painting. At the same time, a severe economic depression and the increasing spread of mechanisation made British cities an increasingly unpleasant place to live, and artists turned against the emphasis on reflecting reality. A new generation of painters and writers known as the aesthetic movement felt that the domination of art buying by the poorly-educated middle class, and the Pre-Raphaelite emphasis on reflecting the reality of an ugly world, was leading to a decline in the quality of painting. The aesthetic movement concentrated on creating works depicting beauty and noble deeds, as a distraction from the unpleasantness of reality. As the quality of life in Britain continued to deteriorate, many artists turned to painting scenes from the pre-industrial past, while many artists within the aesthetic movement, regardless of their own religious beliefs, painted religious art as it gave them a reason to paint idealised scenes and portraits and to ignore the ugliness and uncertainty of reality.
The Victorian age ended in 1901, by which time many of the most prominent Victorian artists had already died. In the early 20th century the Victorian attitudes and arts became extremely unpopular. The modernist movement, which came to dominate British art, was drawn from European traditions and had little connection with 19th-century British works. Because Victorian painters had generally been extremely hostile towards these European traditions, they were mocked or ignored by modernist painters and critics in the first half of the 20th century. In the 1960s some Pre-Raphaelite works came back into fashion amongst elements of the 1960s counterculture, who saw them as a predecessor of 1960s trends. A series of exhibitions in the 1960s and 1970s further restored their reputation, and a major exhibit of Pre-Raphaelite work in 1984 was one of the most commercially successful exhibitions in the Tate Gallery's history. While Pre-Raphaelite art enjoyed a return to popularity, non-Pre-Raphaelite Victorian painting remains generally unfashionable, and the lack of any significant collections in the United States has restricted wider knowledge of it.
Background.
When the 18-year-old Alexandrina Victoria inherited the throne of the United Kingdom of Great Britain and Ireland as Queen Victoria in 1837, the country had enjoyed unbroken peace since the final victory over Napoleon in 1815. In 1832 the Representation of the People Act (commonly known as the Reform Act) and its equivalents in Scotland and Ireland had abolished many of the corrupt practices of the British political system, giving the country a stable and relatively representative government. The Industrial Revolution was underway, and in 1838 the London and Birmingham Railway opened, linking the industrial north of England to the cities and ports of the south; by 1850 over of railways were in place and Britain's transformation into an industrial superpower was complete. The perceived triumph of technology, progress and peaceful trade was celebrated in the 1851 Great Exhibition, organised by Victoria's husband Albert, which attracted over 40,000 visitors per day to view the over 100,000 exhibits of manufacturing, farming and engineering on display.
While Britain's economy had traditionally been dominated by the landowning aristocracy of the countryside, the Industrial Revolution and political reforms had greatly reduced their influence, and created a booming middle class of merchants, manufacturers and engineers in London and the industrial cities of the north. The newly rich were generally keen to show off their affluence through the display of art, and rich enough to pay high prices for art works, but generally had little interest in the old masters, preferring modern works by local artists. In 1844 Parliament ruled art unions legal, which commissioned artworks by famous artists, paying for them by means of a lottery in which the finished artwork was the prize; this not only offered an entrance to the art world for people who may not have been able to afford to buy a significant painting, but stimulated a growing market for prints.
Reynolds and the Royal Academy.
British painting had been strongly influenced by Joshua Reynolds (1723–1792), the first president of the Royal Academy of Arts, who believed that the purpose of art was "to conceive and represent their subjects in a poetical manner, not confined to mere matter of fact", and that artists should aspire to emulate the Italian Renaissance painter Raphael in making their subjects appear as close to perfection as possible.
By the time of Victoria's accession the Royal Academy dominated British art, with the annual Royal Academy Summer Exhibition the most important event in the arts world. The Royal Academy also controlled the prestigious Royal Academy art schools, which taught with a very narrow focus on approved techniques. Painting in Raphael's style had proved commercially successful for artists serving a nobility primarily interested in family portraiture, military scenes and scenes from history, religion and classical mythology, but by the time of Victoria's accession was coming to be seen as a dead end. The destruction of the Houses of Parliament in late 1834, and the subsequent competitions to select artists to decorate its replacement, threw into sharp focus the lack of competent British artists able to paint historic and literary topics, which at the time were considered the most important form of painting. From 1841 the new, and highly influential, satirical magazine "Punch" increasingly ridiculed the Royal Academy and contemporary British artists.
John Ruskin's seminal "Modern Painters", the first volume of which was published in 1843, argued that it was the purpose of art to represent the world and allow the viewer to form their own opinions of the subject, not to idealise it. Ruskin believed that only by representing nature as accurately as possible could the artist reflect the divine qualities within the natural world. An upcoming generation of young artists, the first to have grown up in an industrial age in which the accurate representation of technical detail was considered a virtue and a necessity, came to agree with this view. In 1837 Charles Dickens began to publish novels attempting to reflect the reality of the problems of the present day, rather than the past or an idealised present; his writings were greatly admired by many of the rising generation of artists.
In 1837 painter Richard Dadd and a group of friends formed The Clique, a group of artists rejecting the Academy's tradition of historical subjects and portraiture in favour of populist genre painting. While the majority of The Clique returned to the Royal Academy in the 1840s, after the incarceration of Dadd following his 1843 murder of his father, they were the first group of significant artists to challenge the positions of the Royal Academy.
J. M. W. Turner.
At the time of Victoria's accession, the most significant living British artist was J. M. W. Turner. Turner had made his name in the late 18th century with a series of well-regarded landscape watercolours, and exhibited his first oil painting in 1796. A staunch ally of the Royal Academy throughout his life, he was elected a full Royal Academician in 1802 at the age of 27. In 1837 he resigned from his post as professor of perspective at the Royal Academy, and in 1840 first met John Ruskin. The first volume of Ruskin's "Modern Painters" was a defence of Turner, arguing that Turner's greatness had developed despite, not because of, the influence of Reynolds and a consequent desire to idealise the subjects of his paintings.
By the 1840s, Turner was drifting out of fashion. Despite Ruskin's defence of his work as being ultimately "an entire transcript of the whole system of nature", Turner (who by 1845 had become the eldest Academician and deputy president of the Royal Academy) had come to be seen by younger artists to embody bombast and wilfulness, and to be a product of an earlier, Romantic period out of touch with the modern age.
Pre-Raphaelite Brotherhood.
In 1848 three young students at the Royal Academy art schools, William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti, formed the Pre-Raphaelite Brotherhood (PRB). The PRB rejected the ideas of Joshua Reynolds, and had a philosophy based on working from nature as accurately as possible wherever possible, and when it was necessary to paint from imagination to strive to show the event as it most likely would have happened, not in the way that would appear most attractive or noble.
The PRB took their inspiration from scientific exhibitions, and felt this scientific approach was in itself an instrument of moral good. The intensely laboured detail and attention to accuracy showed that hard work and dedication had gone into their paintings, and thus illustrated the virtue of work, as contrasted to the "loose, irresponsible handling" of the Old Masters' techniques or the "defiant indolence" of Impressionism. As well as this, they felt it was the duty of the artist to choose subjects which illustrated moral lessons of some kind. Early PRB works were noted for their inclusion of flowers, which suited their purpose well. Flowers could be used in almost any scene, they could be used to convey messages in the then-popular language of flowers, and accurately illustrating them showed the artist's dedication to scientific accuracy.
The Victorian age was characterised by rapid scientific advance, and by rapidly changing attitudes to religion as advances in geology, astronomy and chemistry disproved the biblical chronology. The PRB found these advances fascinating, based as they were in attention to detail and a willingness to challenge existing beliefs on the basis of observed fact. PRB founder William Holman Hunt led a revolution in English religious art, visiting the Holy Land and studying archaeological evidence and the clothing and appearance of local people to paint biblical scenes as accurately as possible.
By 1854 the PRB had collapsed as an organisation, but their style continued to dominate British painting. An exhibit of Pre-Raphaelite works at the 1855 Paris Exposition Universelle was well received. The 1857 Art Treasures Exhibition in Manchester, which exhibited the works of contemporary artists alongside 2000 works by European masters saw 1,300,000 visitors, further increasing awareness of modern painting styles. In 1856 art collector John Sheepshanks presented his collection of modern paintings to the nation, which together with the exhibits from the Great Exhibition formed the South Kensington Museum in June 1857 (later divided into the Victoria and Albert Museum of visual arts and the Science Museum of engineering and manufacturing technology).
Painting remained a field dominated by male artists at this time. In 1859 a petition by 38 female artists was circulated to all Royal Academicians requesting the opening of the Academy to women. Later that year Laura Herford submitted a qualifying drawing to the Academy signed simply "A. L. Herford"; when the Academy accepted it, the Academy accepted her as its first female student in 1860. The Slade School of Fine Art, founded in 1871, actively recruited female students.
Love, lust and beauty.
In the 1860s, the Pre-Raphaelite movement splintered, with some of its adherents abandoning strict realism in favour of poetry and attractiveness. Particularly in the case of Rossetti, this tended to be embodied in paintings of women. As with many other artists and writers of the time, as his religious faith waned Rossetti increasingly saw love as the most important subject.
This move towards depicting the effects of love became explicit in "Venus Verticordia" ("Venus the turner of hearts"), painted by Rossetti in the mid-1860s. The title and subject come from John Lemprière's "Bibliotheca Classica", and refers to a prayer to Venus to turn the hearts of Roman women away from debauchery and lust and back towards modesty and virtue. Surrounding Venus, roses represent love, honeysuckle represents lust, and the bird represents the shortness of human life. She holds the Golden Apple of Discord and Cupid's arrow, thought to be a reference to the Trojan War and the destructiveness of love.
John Ruskin disliked the painting intensely. While it is now thought that his dislike of the painting was due to a dislike of the representation of the naked female form, he claimed his issues with the painting were with the depiction of the flowers, writing to Rossetti to advise him that "They were wonderful to me, in their realism; awful—I can use no other word—in their coarseness: showing enormous power, showing certain conditions of non-sentiment which underlie all you are doing now". Ruskin's hostility towards the painting led to a quarrel between Ruskin and Rossetti, and Rossetti drifted away from Pre-Raphaelite thinkings and towards the new doctrine of art for art's sake expounded by Algernon Charles Swinburne.
Animal painting.
Since the time of George Stubbs (1724–1806), Britain has had a strong tradition of animal painting, a field which had gained respect owing to James Ward's highly proficient animal paintings of the early 19th century. Selective breeding of livestock, particularly dogs, had become highly popular, leading to a lucrative market in drawings and paintings of prize-winning animals. In the early 19th century the Scottish Highlands experienced a dramatic upsurge in popularity among the wealthy of Britain, particularly for the opportunities they offered for hunting. One painter in particular, Edwin Landseer (1802–1873), took the opportunity offered by the boom in Scottish travel, travelling to Scotland for the first time in 1824 and returning each year to hunt, shoot, fish and sketch.
Landseer became well known for his paintings of the landscapes, people and particularly wildlife of Scotland, to the extent that his paintings, along with the novels of Sir Walter Scott, became the primary means through which people in the rest of the United Kingdom came to picture Scotland. His works were in such high demand that the engraving rights (the right to make printed duplicates of a work) would generally sell for at least three or four times the sale cost of each work, and it was rare for a work of his to sell for less than £1000. In 1840 Landseer suffered a bout of mental illness and suffered alcoholism and mental illness throughout the rest of his life, although he continued to work successfully. In later years he became best known as the designer of the bronze lions at the base of Nelson's Column, unveiled in 1867.
Landseer and other animal painters such as Briton Rivière also became well known for sentimental paintings of dogs. Landseer's "The Old Shepherd's Chief Mourner", showing a sheepdog sitting beside a coffin, was particularly well-regarded by John Ruskin, who described it as "a touching poem upon canvas, which, it cannot be doubted, has caused many a stout heart to 'play the woman' by moving it to tears". Many of the artists of the period were keen huntsmen, and accepted as a given that nature was inherently cruel and that learning to embrace this cruelty was a mark of manliness. In this context, dogs exhibiting emotions were a highly popular topic in a time of rapidly declining religious faith, suggesting the possibility of a nobility within nature that transcended cruelty and the will to live as a driving force.
Aesthetic movement.
In the 1870s the Long Depression wrecked the economy and confidence of Britain, and the spirit of progress symbolised by the Great Exhibition began to fade, to the extent that in 1904 G. K. Chesterton described the Crystal Palace as "the temple of a forgotten creed". Some rising artists such as George Frederic Watts complained that the increasing mechanism of daily life, and the importance of material prosperity to Britain's increasingly dominant middle class, were making modern life increasingly soulless. The Franco-Prussian War of 1870 caused large numbers of French artists such as Claude Monet and Camille Pissarro to relocate to London, bringing with them new styles of painting. Art critic Walter Pater's "The Renaissance", published in 1873, led a backlash against Pre-Raphaelitism, arguing that the only worthy way to conduct one's life was through the pursuit of pleasure and the love of art and beauty for their own sakes.
Against this background, a new generation of painters such as Frederic Leighton and James Abbott McNeill Whistler departed from the traditions of storytelling and moralising, painting works designed for aesthetic appeal rather than for their narrative or subject. Whistler disparaged the Pre-Raphaelite obsession with accuracy and realism, complaining that their audience had developed "the habit of looking not "at" a picture, but "through" it". The Pre-Raphaelites and their remaining champions protested vigorously against this new style of art, as did the Royal Academy, leading Sir Coutts Lindsay to set up the Grosvenor Gallery in 1877 to show the work of artists overlooked by the Royal Academy.
Matters reached a head in 1877, when John Ruskin visited an exhibition of Whistler's "Nocturne" paintings at the Grosvenor Gallery. He wrote of the painting "Nocturne in Black and Gold – The Falling Rocket", that Whistler was "asking two hundred guineas for flinging a pot of paint in the public's face". Whistler sued for libel, the case reaching the courts in 1878. The judge in the case caused laughter in the court when, referring to "", he asked Whistler "Which part of the picture is the bridge?"; the case ended with Whistler awarded token damages of one farthing, the costs of the trial driving him into bankruptcy.
The aesthetic movement, as Pater and his successors came to be known, became increasingly influential; it was championed by Whistler and Oscar Wilde and until his death in 1883 by former Pre-Raphaelite Dante Gabriel Rossetti, and was popularised with the public by the successful Gilbert and Sullivan comic opera "Patience". The movement considered the rise of middle-class of art buyers in Birmingham and Manchester, wealthy enough to buy art but insufficiently educated to show good taste, as having led to the decline of quality in British art. Coupled with this, they felt that since industrialisation and capitalism were making the world increasingly unattractive, the emphasis of Pre-Raphaelite painters and those influenced by them upon reflecting reality as closely as possible was itself leading to the loss of beauty from art. Consequently, the artists of the aesthetic movement saw the task of the artist as providing a distraction from the ugliness of reality for their viewers, readers and listeners, and of trying to highlight and emphasise the beauty of the world and the nobility of good deeds, even if the artist no longer themselves believed in such things. The 1878 election of Frederick Leighton as the Royal Academy's president went some way to healing the breach within the British art world, as Leighton endeavoured to ensure the Summer Exhibition was open to young artists and artists working in new styles.
The painters of the aesthetic movement prided themselves on their detachment from reality, working from studios and rarely mingling with the public. Likewise, the subjects of their paintings were rarely engaged in activity of any kind; human figures typically stand, sit or lie still, generally with blank facial expressions.
Classical revival.
As the century progressed and the combination of mechanisation, economic decline, political chaos and religious faith made Britain an increasingly unpleasant place in which to live, the population increasingly came to look back to pre-industrial times as a golden age. As part of this trend, artists became drawn to pre-industrial subjects and techniques, and art buyers were particularly drawn to artists who could make connections between the present day and these idealised times such as to the Middle Ages, which were seen as the period in which the key institutions of modern Britain had begun and which had been popularised in the public imagination by the novels of Sir Walter Scott.
Against this background there arose a great fashion for paintings on mediaeval themes, particularly Arthurian legend and religious themes. Many of the most noteworthy artists of the period, particularly from the aesthetic movement, chose to work on such themes despite their lack of religious faith, as it gave a legitimate excuse to paint idealised figures and scenes and to avoid reflecting the reality of industrial Britain. (Edward Burne-Jones, who despite his lack of Christian belief was the most significant painter of religious imagery in the period, told Oscar Wilde that "The more materialistic science becomes, the more angels I shall paint".) Other painters took to painting different periods of the idealised past; Lawrence Alma-Tadema painted scenes of Ancient Rome, former Pre-Raphaelite John Everett Millais took to painting in the style of painters from the period immediately preceding the Industrial Revolution such as Joshua Reynolds and Thomas Gainsborough, and Frederic Leighton specialised in highly idealised scenes from Ancient Greece.
While there had been fashions for historical paintings before in British history, that of the late 19th century was unique. In previous revivals, dating from the Renaissance to the late 18th century, the ancient world symbolised greatness, dynamism and virility. In contrast, the aesthetic movement and their followers sought to emulate the most passive (and generally female) works of the classical world, such as the Venus de Milo. Painters of this period emphasised passivity and internal drama, rather than the dynamism seen in previous works depicting the classical world. They also, again unlike previous classical revivals, worked primarily in bright colours, rather than trying to suggest the bright but bleak appearance of classical stonework.
Not all members of the aesthetic movement subscribed to the backlash against the present in favour of an idealised past. Whistler, in particular, was scathing of this view, dismissing the sentiment as "this lifting of the brow in deprecation of the present—this pathos in reference to the past".
French influence and the rise of art colonies.
Even among artists who did not paint pictures of the past, the influence of the backlash against modernity often had an effect. In landscape painting in particular, artists generally abandoned the effort to paint realistic depictions of views, and instead focused on effects of lighting, and on the capturing of elements of the pre-industrial countryside that they felt were likely to be destroyed. Country scenes, and images of country people (particularly farmers and fishermen and their families), became a highly popular topic both in Britain and throughout industrialising Europe. Art colonies began to open in locations thought particularly picturesque, allowing artists and students to work in the countryside and meet genuine country people, while still in the company of like-minded people. The most influential of these colonies was the Newlyn School in western Cornwall, which was heavily influenced by the style of Jules Bastien-Lepage in which individual brushstrokes remain visible, suggesting the coarse simplicity of the idealised country life. The techniques introduced by the Newlyn School and other similar French impressionist styles such as those of Edgar Degas were in turn taken up by painters elsewhere in the country such as Walter Sickert, while John William Waterhouse fused backgrounds painted in Bastien-Lepage's style with Pre-Raphaelite images of historical and classical legends.
This spread of French techniques was viewed with deep scepticism by the preceding generation of painters. British painters had historically prided themselves on each having a distinct and easily recognisable style, and viewed French and French-influenced painters as being unduly similar to each other in style, and as John Everett Millais said "content to lose their identity in their imitation of their French masters". George Frederic Watts saw the rise of the French style as reflecting a growing culture of laziness within Britain as a whole, while William Holman Hunt was troubled by the lack of significance of the paintings' subjects. Despite Leighton's reforms of the Royal Academy the Summer Exhibition remained mainly closed to these painters, leading to the foundation in 1886 of the New English Art Club as an exhibition space in London for French-influenced painters. The New English Art Club in turn suffered a schism in 1889 between those painters who painted rural life and nature, and a faction led by Walter Sickert who felt themselves more influenced by impressionism and experimental techniques.
Legacy.
The opening of the Tate Gallery in 1897, opened to display sugar merchant Sir Henry Tate's collection of Victorian art, proved the last triumph of Victorian painting. Leighton and Millais had died the preceding year; Burne-Jones died in 1898, followed by Ruskin in 1900 and Victoria herself in 1901.
In the 1910s, Victorian styles of art and literature fell dramatically out of fashion in Britain, and by 1915 the word "Victorian" had become a derogatory term. Many people blamed the outbreak of the First World War, which devastated Britain and Europe, on the legacy of the Victorian age, and arts and literature associated with the period became deeply unpopular. Lytton Strachey's "Eminent Victorians" (1918) and Max Beerbohm's "Rossetti and His Circle" (1922), both extremely successful and influential, brought parody of the Victorian age and Victorian artists into the literary mainstream, while the increasingly influential modernism movement, which came to dominate British art in the 20th century, drew its inspiration from Paul Cézanne and had little regard for 19th-century British painting.
Throughout the 20th century the work of the 19th-century French impressionists and post-impressionists rose in value and importance. Because the Pre-Raphaelites and the members of the aesthetic movement, who between them had dominated Victorian painting, had united in the late 19th century in condemnation of French influence and the perceived laziness and insignificance of impressionism and post-impressionism, they were mocked or dismissed by many modernist painters and critics in the first half of the 20th century.
In the 1940s William Gaunt's "The Pre-Raphaelite Tragedy", coupled with a general desire during wartime to celebrate the achievements of British culture, led to a revival of interest in Victorian art. A number of major British museums held events and exhibits in 1948 to mark the centenary of the Pre-Raphaelite Brotherhood, but fashionable art critics such as Wyndham Lewis mocked the PRB as a pretentious irrelevance.
A major exhibition in 1951–52 at the Royal Academy of Arts, "The First Hundred Years of the Royal Academy 1769–1868" brought a number of British works from the 19th century to a wider audience, but the general opinion of Victorian art remained low.
In the 1960s some aspects of Victorian art became popular in the 1960s counterculture, as Pre-Raphaelitism in particular began to be seen as a precursor of Pop art and other contemporary trends. A series of exhibitions on individual Pre-Raphaelite and PRB-influenced artists in the 1960s and 1970s further boosted their reputation, and a major exhibition in 1984 at what was then the Tate Gallery (now Tate Britain) showcasing the entire Pre-Raphaelite movement was one of the most commercially successful exhibitions in the gallery's history.
Non-Pre-Raphaelite Victorian art mainly remained unfashionable. In 1963 "Flaming June", one of the most significant among Sir Frederic Leighton's classicist pieces, went on the market in London at just £50 (about £ in today's terms), and as late as 1967 art historian Quentin Bell felt able to write that Victorian art was "aesthetically and therefore historically negligible".
Although non-Pre-Raphaelite Victorian art has experienced a slight revival in subsequent years, it remains unfashionable, and the lack of any significant collections in the United States has held back global interest in the topic.


Marc Webb videography


Rescuing Da Vinci

Rescuing Da Vinci is a largely photographic, historical book about art reclamation and preservation during and after World War II, written by American author Robert M. Edsel, published in 2006 by Laurel Publishing.
Summary.
This book focuses on an aspect of World War II that is largely ignored in many history books – the Nazi looting of Europe and Russia and the Allied recovery and repatriation of stolen art. Little known to the general public, Hitler diverted his attention from the prosecution of the war to the systematic theft of Europe's great art. His dream was to build the world's greatest collection – The Führermuseum – in his hometown of Linz, Austria. European museum officials took extraordinary measures to protect art from Hitler and the ensuing war. When U.S. forces prepared to enter Europe, they assembled a special force of largely American and British museum directors, curators, and art historians known as the Monuments, Fine Arts, and Archives program (MFAA) section, attached to the Allied armies.
These "Monuments Men" attempted to minimize damage to European monuments and architecture, and to track down stolen works of art. Their effort would become one of the greatest "treasure hunts" in history. In the end, Allied forces located more than 1,000 repositories in mines and castles across Europe, many of which were filled with art, sculpture, furniture, archives, and other cultural property stolen by the Nazis. Edsel notes that thousands of pieces are still missing, such as Raphael's "Portrait of a Young Man" from the Czartoryski Museum in Kraków, Poland.
"Rescuing Da Vinci" tells this story through brief text and more than 460 photographs, 60 of which are in color. This group of photographs has never been published in a single book, and many have not been seen in decades. Images such as Michelangelo's "David" entombed in brick for protection or a Rembrandt "Self Portrait" sitting atop crates in a salt mine, capture the story in ways beyond words.
Organization.
Forewords to "Rescuing Da Vinci" were written by Lynn Nicholas, author of "The Rape of Europa" (a scholarly 1994 book on the same subject), and Dr. Edmund Pillsbury, former director of the Kimbell Art Museum in Fort Worth, Texas.
Nine chapters document the history from Hitler's artistic ideals and his premeditated theft of Europe to the formation of the MFAA and their recovery and restitution of thousands of works of art and other cultural properties. Edsel closes the book with a chapter on the destroyed and lost monuments and works of art that are a continued legacy of Hitler's destruction.
Each chapter begins with several pages of text, followed by dozens of photographs with detailed captions. Also included are maps that mark the location of the "Mona Lisa" at all stages during the war, the location of all fourteen known Leonardo da Vinci paintings, and the locations of major Nazi repositories in Germany and Austria.
Themes.
Nazi destruction.
While art theft is not commonly associated with the Nazi reign, and perhaps thought by some to be insignificant in comparison to the number of lives lost during World War II at the hands of Hitler, Edsel points out that it was another premeditated and destructive plan of the Nazis. By classifying contemporary artists and their work as "degenerate," Hitler sought to rid Europe of what he considered to be undesirable artwork. Hundreds of paintings were removed from museums, many destroyed by Nazis in symbolic burnings. Catalogues reprinted in "Rescuing Da Vinci" list works of art in other countries which Hitler desired for his own museum, and that he was determined to obtain, by whatever means necessary. Edsel points out that the cultural loss inflicted by Nazi plundering cannot be ignored in discussing Nazi destruction.
Jewish Holocaust.
This book also reveals often-ignored aspects of the Nazi plan to rid Europe of its Jewish population. Photographs showing warehouses of furniture and household items from pianos to children's toys, all of which had been looted from Jewish families, symbolize the reach and extent of the Holocaust. Museums and mines full of stolen paintings show the work of the ERR, the organization in France that "legalized" the seizure of Jewish collections and property.
Restitution.
The effects of Nazi looting are still being felt in the early 21st century. Many victims and their families are just now having stolen paintings returned to them. Some of these cases, such as that of Maria Altmann, have made headlines. "Rescuing Da Vinci" shows the beginning stages of this restitution work, performed by the MFAA 60 years ago. Edsel argues that many more cases such as Altmann's will surface in the coming years.
Americanism.
"Rescuing Da Vinci" points out the strengths and good deeds of the U.S. military. It also demonstrates the appreciation of foreign governments for the United States' actions. However, some argue that it relies too heavily on the effects of the American involvement. "Although "Rescuing Da Vinci" mentions Allied officers throughout Europe, the focus is primarily on Americans and could benefit from greater mention of European contributions." (Shauna Isaac, "The Art Newspaper")
Research.
Edsel spent years researching the subject before writing "Rescuing Da Vinci". He used researchers in more than a dozen countries to search foreign archives for photographs, as well as performing extensive research at the National Archives in College Park, Maryland. He and his team continue to research MFAA personnel in order to develop biographies on all and honor their achievements.
Related films.
A 2007 film, "The Rape of Europa", was co-produced by Edsel and Actual Films. A 2014 film, "The Monuments Men", stars George Clooney (who also produced and directed) and has a prominent cast.


The Callahans and the Murphys

The Callahans and the Murphys is a 1927 comedy silent film directed by George W. Hill. The film was based on a novel by Kathleen Norris, and was the first of several MGM films to star Marie Dressler and Polly Moran.
The film was released on June 18, 1927, but subsequently withdrawn from distribution by MGM after protests were lodged by Irish-American organizations. The film is now presumed to be a lost film.
Plot.
Mrs. Callahan (Dressler) and Mrs. Murphy (Moran), are a couple of feuding tenement housewives working to keep control of their many children. Dan Murphy (Gray) falls in love with Ellen Callahan (O'Neill), and then later disappears after Ellen is pregnant. Mrs. Callahan (Dressler) decides to adopt the baby to save her daughters reputation, but later finds out that the baby is not illegitimate after all.


Jewish Ideas Daily

Jewish Ideas Daily was a website which reported on the news, culture, and political issues relating to Judaism and Israel. Its mission was to be "the premier aggregator and originator of Jewish ideas on the web". It was founded in January 2010 under the editorship of Neal Kozodoy. The "Jewish Ideas Daily" was a "sister" publication to the "Jewish Review of Books".
Until December 2012, "Jewish Ideas Daily" was edited by Margot Lurie, who is an expert in Jewish culture and ideals. From December 2012 on its editor was Suzanne Garment.
In addition to original articles and reviews of scholarly Jewish books, "Jewish Ideas Daily" also included five "daily picks", linking to external articles, and podcasts on the weekly Torah portion by Michael Carasik. Essays originally published in "Jewish Ideas Daily" would frequently appear in "The Jerusalem Post". A box highlighting the site's content appeared daily on many Jewish websites, including that of the Jewish Telegraphic Agency.
"Jewish Ideas Daily" drew notice for controversial features including one accusing Christopher Hitchens of antisemitism, and the public resignation of one of Peter Beinart's bloggers from the "Open Zion/Zion Square" blog.
John Podhoretz described "Jewish Ideas Daily" as "a peerless examination of intellectual, political, and cultural trends in Jewish life". According to British journalist Daniel Johnson, ""Jewish Ideas Daily" is among many manifestations of new intellectual life in the American Jewish world—a world that has always been marked by intensity and enlightenment".
In June 2013 "Jewish Ideas Daily" was succeeded by "Mosaic Magazine". A free online magazine, it offers daily summaries and links to stories around the web of interest to readers, as well as an extensive "... full-length monthly essay on an issue or theme of pressing significance for Jews, Judaism, or the Jewish state". Issue topics range from cultural or religious questions through to social and philosophical topics with in depth responses appended throughout the month for the benefit of both Jewish and gentile readers.
Like "Jewish Review of Books", and "Jewish Ideas Daily", "Mosaic Magazine" is funded by the Tikvah Fund, a philanthropic foundation established by the late Zalman Bernstein.


Jane Murfin

Jane Murfin (October 27, 1884 – August 10, 1955) was an American playwright and screenwriter. The author of several successful plays, she wrote some of them with actress Jane Cowl—most notably "Smilin' Through" (1919), which was adapted three times for motion pictures. In Hollywood Murfin became a popular screenwriter whose credits include "What Price Hollywood?" (1932), for which she received an Academy Award nomination. In the 1920s she lived with Laurence Trimble, writing and producing films for their dog Strongheart, the first major canine star.
Life and career.
Jane Macklem was born October 27, 1884, in Quincy, Michigan. In 1907 she married attorney James Murfin, and retained his surname when the marriage ended fewer than five years later.
Murfin began her career with the play "Lilac Time", which she co-wrote with actress Jane Cowl. The Broadway production opened February 6, 1917, and ran for 176 performances. Later that year the two women began collaborating, often under pseudonym Allan Langdon Martin, on a series of revivals of World War I melodramas. The pair later collaborated on "Daybreak", followed by "Information Please" (1918) and "Smilin' Through" (1919).
In Hollywood, Murfin became a leading screenwriter, writing many romantic comedies and dramas by herself or in collaboration.
In 1920, director Laurence Trimble persuaded Murfin to purchase a German Shepherd dog—Strongheart—that became the first major canine film star. Strongheart starred in four films that Trimble directed from Murfin's screenplays: "The Silent Call" (1921), "Brawn of the North" (1922), "The Love Master" (1924) and "White Fang" (1925).
Murfin is credited with directing one film, "Flapper Wives" (1924), before the dissolution of her partnership with Trimble. Film historian Kevin Brownlow described this partnership as both professional and personal; although some sources describe Trimble and Murfin as a husband-and-wife filmmaking team, no marriage has been substantiated.
Murfin's later screenwriting credits include "Way Back Home" (1931), "Our Betters" (1933), "The Little Minister" (1934), "Spitfire" (1934), "Roberta" (1935), "Alice Adams" (1935), "The Women" (1939), "Pride and Prejudice" (1940), and "Dragon Seed" (1944).
Murfin was married to director and actor Donald Crisp from 1932 until 1944.
She is buried near Jane Cowl at Valhalla Memorial Park Cemetery.
Personal life.
Murfin was married first to lawyer James Murfin from 1907 to 1912. Her second marriage was to actor Donald Crisp, for whom she would write parts in her scripts; the marriage lasted from 1932 to 1944.
Accolades.
Murfin and Adela Rogers St. Johns were nominated for the Academy Award for Best Story for "What Price Hollywood?" (1932). Frances Marion received the award, for "The Champ".
Select filmography.
Murfin is credited as a writer; additional production credits are noted.


Heritage Trail

Heritage Trail can refer to heritage trails in specific locations:


Charles Bertram (magician)

Charles Bertram (26 April 1853 – 28 February 1907) was a British magician known as "The Royal Conjurer" as he performed for royalty.
Career.
Bertram was born James Bassett in Woolwich, it is suspected that he adopted the name of Charles Bertram (1723-1765). He was a favourite of King Edward VII who he performed for 22 times.
He also performed many times at Maskelyne and Cooke's entertainment shows at the Egyptian Hall.
Bertram travelled to Australia, Canada, China, India and many other countries. His experiences were recorded in his book "A Magician in Many Lands".
Magician P. C. Sorcar has noted that Bertram "was a very accomplished English magician. He coined the famous magical catch-phrase, "Isn't it Wonderful?".
According to L. H. Branson whilst growing up, Bertram had taught him conjuring tricks. Branson wrote that he went to his "house one afternoon a week, and I was duly initiated into the double-handed pass, single-handed pass, palming cards, billiard balls — in short, the gamut of which a conjurer should know."
Bertram wrote about the history of magic in his book "Isn't it Wonderful? A History of Magic and Mystery" (1896). The book was criticized by Harry Houdini who wrote it was "marred by mis-statements which even the humblest of magicians could refute."
He died of cancer at Streatham in 1907.


Brazilian diaspora

The Brazilian diaspora refers to the migration of Brazilians to other countries, a mostly recent phenomenon that has been driven mainly by economic problems that afflicted Brazil in the 1980s and 1990s.
Demographics.
There are an estimated 3.1 million Brazilians living abroad, mainly in the U.S. (1,410,000), Japan (~210,000), Paraguay (201,527), Portugal (~120,000), Spain (~120,000), Germany (~100,000), United Kingdom (100,000) France (80,000), Australia (50,980), Italy (35,000), Switzerland (25,000), Angola (30,000), and another 100,000 are living in other European countries.
United States.
There were an estimated 246,000 Brazilian Americans as of 2007. Another source gives an estimate of some 800,000 Brazilians living in the U.S. in 2000, while still another estimates that some 1,100,000 Brazilians live in the United States, 300,000 of them in Florida.
Major concentrations are in Massachusetts, New York, New Jersey, Connecticut, Pennsylvania, Georgia, Florida, Wisconsin, and California.
West 46th Street has historically been a commercial center for Brazilians living or visiting New York City. In 1995 the city officially recognized it as "Little Brazil Street". Brazilians in Italy
In Massachusetts, there is a very small but significant concentration of Brazilian immigrants in the town of Framingham, which in recent years has spilt out into the neighbouring towns of Marlborough and Hudson, among others.
In the Brazilian community, it is said that Pompano Beach in Florida has the greatest concentration of Brazilians in the USA. The Brazilian communities in these towns are vibrant, having contributed much to the local cuisine and culture, but Brazilian immigrants often feel discriminated against and are often thought to be illegal immigrants by their non-Brazilian neighbours.
A disproportionate number of Brazilians who have emigrated to the US came from the town of Governador Valadares, in the state of Minas Gerais.
United Kingdom.
There are no precise figures for the number of Brazilians living in the UK. The 1991 Census recorded 9,301 Brazilian-born people in the UK, and the 2001 Census recorded 15,215. In 2004, the Brazilian Consulate in London recorded 13,000 Brazilians who had voluntarily registered themselves with them, but said this was not an accurate figure for the number living in the UK; the Brazilian Embassy estimated that figure to be about 80,000. The Office for National Statistics estimates suggest that there were 56,000 Brazilian-born people resident in the UK in 2008. In 2015, the Brazilian Consulate estimated a total of 120,000 Brazilians resident in the UK. The ONS estimated that in 2018, 87,000 people born in Brazil were living in the UK.
Japan.
The majority of Brazilians living in Japan are of Japanese descent, and they have been migrating there since 1990 when the Immigration Act was altered to allow children and grandchildren of Japanese nationals, as well as their non-Japanese spouse, to get the work permit easily. Most of them live in industrial areas where there used to be a plenty of job offers at factories, such as Aichi, Shizuoka and Gunma Prefectures, among others. While approximately 300,000 Brazilians lived there at its climax, the economic crisis in 2008 slashed their job and more than a third of them have decided to return to Brazil.
Canada.
There are an estimated 22,920 Brazilians living in Canada. Major concentrations are in Toronto, Montreal, Vancouver, and Calgary.
Portugal.
Portugal is another important destination for Brazilians, owing to a common language and given the fact that a significant number of Brazilians already hold Portuguese citizenship (particularly after Portugal modified its nationality law to be able to bestow it upon any grandchild of a verified Portuguese citizen). Cultural similarities are abundant and the Portuguese are fairly acquainted with Brazilian pop culture. Approximately a fourth of all foreigners currently residing in Portugal are Brazilian citizens and their profile ranges from working-class people without higher education to yuppies who decided to leave their home country due to a widespread belief that Brazil had become an unsafe country.
Paraguay.
Brazilians and their descendants living in Paraguay are called Brasiguayos. This numerous community of landowners is mainly involved in agriculture.


Elon (name)

Elon (אֵילוֹן in Hebrew), is a masculine first name, or Jewish surname, which means "oak tree" in the Hebrew language. Variants of the name include Alon, Eilan, Eilon, and Elan; it can also be a variant spelling of Ilan and Ilon, of the similar meaning "tree".
The given name became more popular in the 2010s (from #3,310 in 2008 to #885 in 2018 for baby boys in the United States) possibly due to the rise to fame of entrepreneur Elon Musk, but he is not Jewish.
The name may refer to:


The Digger Earl

The Digger Earl is a 1924 Australian film comedy from director Beaumont Smith. The plot is about a typical Australian (Arthur Tauchert) who takes the place of an earl.
Only eight minutes of the film survives today.
Plot.
Bill Jones is an Aussie who leaves to serve in World War I in 1917, promising to return to his girlfriend Winnie. In France he rescues two of his friends after a disastrous attack. His mates want brandy and Bill tries to get some from an officer's tent; he is captured and sent to headquarters.
After the war Bill is penniless in London. He joins the crew of a boat bound for Australia and meets the likeable Earl of Margate.
The publicity-shy Earl is not happy to discover that Sydney newspapers have made his visit to Australia widely known. He persuades Bill to take his place, with the Earl acting as his valet.
When the boat arrives in Sydney, Bill struggles to impersonate a member of the British aristocracy and encounters difficulties from Captain Halliday. Bill is eventually reunited with Winnie.
Production.
Several of the cast had appeared in films from Smith before. Heather Jones made her film debut.
Shooting began in January 1924 at the Rushcutters Bay studio and on location around Sydney, including in the Domain, near Mrs. Macquarie's Chair, on the Osterley, at Surry Hills, and at Victoria Park racecourse. Scenes of trench warfare were shot at the military training camp at Liverpool. Newsreel footage was used for re-creation of wartime Australia.
Arthur Tauchert injured his eye during a fight sequence, requiring stitches. He also received good natured ribbing from members of the public while filming in Surry Hills, according to one report:
The monocle worn by Mr. Tauchert might have been treated with a fair amount of respect in some quarters, but not when scenes for the picture were being made round Surry Hills. If the actor managed to keep it in position the crowd commented on his appearance. If it fell out, despite his contortions, somebody was bound to roar 'Get some glue!'.
Release.
Screenings of the film were often accompanied with a personal appearance by Arthur Tauchert and a song composed by Emmanuel Aarons with lyrics by Beaumont Smith, "Australia Means Heaven to Me". The "Adelaide Herald" called it an "interesting and humorous story".


David R. Boxley

David Robert Boxley (born July 27, 1981), also known as Dr. Boxley, is an Alaskan Tsimshian artist and totem-pole carver from the Tsimshian community of Metlakatla, Alaska. He is the son of the carver David A. Boxley, his mentor. His mother, Elizabeth, is non-Native, but was adopted into the Tsimshian Laxsgiik (Eagle clan).
His former Tsimshian name was Lapaaygm xsgyiik, which means "He Who Flies Like the Eagle" in the Tsimshian language.
In 1999 he, along with his brother, Zach, was adopted into the Laxgyibuu (Wolf Clan), House of T'ałm Ha'ax, by Doreen Nathan, his father's aunt. This was done to correct his Eagle clan affiliation since he had to have an opposite clan from his father, David A. Boxley. (Tsimshian Indians follow the matralineal tradition of most Northwest Coast tribes.)
He was given the name Gyibaawm laxha, which means "Wolf of the Sky". This was to honor his new clan, but also to pay homage to his former clan, the Laxsgyiik (Eagle clan).
By the 1980s he was living with his parents and brother Zachary in Kingston, Washington.
Since 2000, he has carved twenty five totem poles with his father and on his own. His first solo totem pole was made in 2005.


The Radio Detective

The Radio Detective is a 1926 American adventure film serial directed by William James Craft and William A. Crinley and released by Universal Pictures. The film is considered to be lost.


Blindfolded (film)

Blindfolded is a lost 1918 American silent film directed by Raymond B. West and starring Bessie Barriscale.


Province House (Nova Scotia)

Province House () in Halifax is where the Nova Scotia legislative assembly, known officially as the Nova Scotia House of Assembly, has met every year since 1819, making it the longest serving legislative building in Canada. The building is Canada's oldest house of government. Standing three storeys tall, the structure is considered one of the finest examples of Palladian architecture in North America.
History.
Province House was built on the same location as the previous Governor's House, erected by Edward Cornwallis in 1749. (Cornwallis' table remains in the bedroom of Province House.) Province House was opened for the first time on February 11, 1819. One of the smallest functioning legislatures in North America, Province House originally housed the executive, legislative and judicial functions of the colony, all in one building.
The Supreme Court of Nova Scotia held its sessions in Province House (in what is today the legislative library). Most notably, Joseph Howe, a journalist and later Premier of Nova Scotia, was put on trial on a charge of criminal libel on March 2, 1835, at Province House. Howe had published an anonymous letter accusing Halifax politicians and police of pocketing £30,000 over a thirty-year period, and outraged civic politicians had subsequently seen to it that Howe was charged with seditious libel. The presiding judge called for Howe's conviction, but Howe's passionate speech in his own defence swayed the jury and the jurors acquitted him in what is considered a landmark case in the struggle for a free press in Canada.
On January 20, 1842, English author Charles Dickens attended the opening of the Nova Scotia Legislature. He said that it was like looking at Westminster through the wrong end of a telescope.
During 1848, Province House was the site for the first form of responsible government in the British Empire outside the United Kingdom. The building is located in downtown Halifax on a block bordered by Hollis, Granville, George and Prince streets.
Led by the efforts of Joseph Howe, the Anti-Confederation Party won a resounding majority in the first election held after Nova Scotia joined the Confederation of Canada on July 1, 1867.
Province House was designated a National Historic Site of Canada in 1996, in recognition of its status as the longest serving legislative building in Canada, and the role it played in the development of responsible government and freedom of the press in the country. It is also a Provincially Registered Property under provincial heritage legislation.
Legislative Assembly.
Province House is the home of the House of Assembly, Nova Scotia's elected legislative assembly. In 1908 and 2008, there were significant official celebrations in Nova Scotia and Canada to mark the 150th and 250th anniversary of the birth of parliamentary democracy (i.e., representative government) in Canada, which started in Nova Scotia. The first event was marked by the creation of the Dingle Tower and the second by a year-long celebration the birth of parliamentary democracy in Canada. The celebration was entitled Democracy 250.
On October 2, 1758, the Nova Scotia House of Assembly met for the first time in a modest wooden building at the corner of Argyle and Buckingham streets in Halifax. It was an assembly of twenty-two men, who came together to deliberate as a parliament on questions affecting the colony. With voting limited to Protestant, free-land holding males, it was a modest beginning, and their influence with the British-appointed Governor was questionable. It was the first elected assembly of its kind in what eventually became Canada.
On January 31, 1837, Simon d'Entremont and Frederick A. Robicheau became the first Acadians elected to the House of Assembly (Joseph Winniett, whose mother was Acadian, was elected to the Assembly in 1761). (Two months later, on March 24, 1837, black men in Canada were given the right to vote.) in 1893, Edith Archibald and others made the first official attempt to have a suffrage bill for women property holders passed in Nova Scotia, which was passed by the legislature but quashed by Attorney General James Wilberforce Longley (who opposed unions and female emancipation for the twenty years he was in office).
On April 26, 1918, as a result of the Local Council of Women of Halifax (LCWH), the House of Assembly passed "The Nova Scotia Franchise Act", which gave women the right to vote in Nova Scotia's provincial elections, the first province to do so in Atlantic Canada. (A month later Nova Scotian and Prime Minister of Canada Robert Borden – whose wife Laura Bond was former president of the LCWH – used his majority to pass women's suffrage for the whole country.) Almost forty-three years later, on February 1, 1961, Gladys Porter was the first woman elected to the Assembly. In 1993, Wayne Adams is elected the first Black member of the Assembly. The Nova Scotia legislature was the third in Canada to pass human rights legislation (1963).
The Library (former Supreme Court).
The Legislative Library, located on the second floor between the Red Chamber and Legislative Assembly, was originally the home of the Supreme Court of Nova Scotia, until the court outgrew the space. The first important trial in the court was against Richard John Uniacke Jr. for killing William Bowie in the last lethal duel in Nova Scotia (1819).
The Supreme Court chamber was the site of Joseph Howe's 1835 trial for seditious libel. On March 2, 1835, newspaper editor Joseph Howe defended himself at trial in the present-day library for seditious libel by civic politicians in Nova Scotia. Many scholars consider Howe's success in this case a landmark event in the evolution of press freedom in Canada.
The Red Chamber.
The Red Chamber was formerly the meeting place of the Nova Scotia Council and later the Legislative Council, the upper house of Nova Scotia's legislature. The Legislative Council was appointed by the governor and was abolished in 1928. Now the room is used for receptions and other meetings.
Court Yard.
Province House is flanked with two prominent statues. To the north of Province House is the South African War Memorial by Hamilton MacCarthy to the Second Boer War. (MacCarthy also made the South African War Monument in the Halifax Public Gardens and the statue to Harold Lothrop Borden.) On one of the panels is a sculpture of the Battle of Witpoort, made famous by the death of Nova Scotian Harold Lothrop Borden. To the south of Province House is a statue to the Honourable Joseph Howe, created by famed Quebec sculptor Louis-Philippe Hébert.
On the north side of Province House is a cannon from , and on the south side is a cannon of the American vessel "Shannon" captured in the War of 1812, .
Other art work.
Canadian Prime Ministers from Nova Scotia.
There are also portraits of former prime ministers John Sparrow David Thompson by Thomas Forrestall and Sir Robert Borden by Walter H. Cox.


Shelah (name)

Shelah is the Latin transcription of two Hebrew names, sh-l-h () and sh-l-ch (). "sh-l-h" may also be transcribed as Shela.
Among early historical figures, this Hebrew name was used as a single name. For instance, the Biblical figures שלה ("Shelah" or "Shela") and שלח ("Salah" or "Shelah").
Another Hebrew name that has been rendered as "Shela" is שילא, as exemplified by the early Third Century Babylonian Rabbi Rav Shela
"Shelah" has also served as a pseudonym in the form of "Shelah haKadosh", referring to Isaiah Horowitz, a 16th-century Jewish mystic. In this case, the given name "Shelah" () is a construct based on the initial letters of the Hebrew title of Horowitz' most influential work, "Shenei Luhot HaBerit" ().
In modern times, "Shelah" (in the form sh-l-ch) has become a surname, as exemplified by Saharon Shelah (b. 1945 Jerusalem).


Lincolnshire Standard

The Lincolnshire Standard was a weekly newspaper published in Boston, England, attached to Lincolnshire Standard Ltd.
Founded in the 19th century, it is now published under the title "Boston Standard". Its sister titles include the "Sleaford Standard", "Skegness Standard", "Grantham Journal" and "Horncastle News".
On 26 March 1958 the "Boston Guardian", which was established in 1854, merged with the "Lincolnshire Standard".
"Lincolnshire Standard" officially ceased publication on 28 March 1958.


Nathan Field

Nathan Field (also spelled Feild occasionally) (17 October 1587 – 1620) was an English dramatist. He was also an actor.
Life.
His father was the Puritan preacher John Field, and his brother Theophilus Field became the Bishop of Llandaff. One of his brothers named Nathaniel, often confused with the actor, became a printer.
Nathan's father passionately opposed London's public entertainments: he delivered a sermon which attributed Divine judgment to the collapse of the public seating area, during a bear baiting on a Sunday, at Beargarden in 1583, which resulted in several deaths. Nathan presumably did not intend a career in the theatre; he was a student of Richard Mulcaster at St. Paul's School in the late 1590s. At some point before 1600, he was impressed by Nathaniel Giles, the master of Elizabeth's choir and one of the managers of the new troupe of boy players at Blackfriars Theatre, called alternately the Children of the Chapel Royal and the Blackfriars Children. He remained in this profession for the remainder of his life, later adding to it the profession of a playwright. John Field was buried on 26 March 1588.
When John Field died, he left seven children, of whom the eldest was only seventeen. He left all his property to his wife, Joan. The first child was a daughter, Dorcas, baptized on 7 May 1570. The first son was baptized on 4 January 1572 and was named after his father, John. Theophilus was baptized on 22 January 1574, Jonathan on 13 May 1577, Nathaniel on 13 June 1581, Elizabeth on 2 February 1583 and Nathan on 17 October 1587. Little is known of the two daughters: Dorcas was married to Edward Rice on 9 November 1590; Elizabeth was buried at St. Anne, Blackfriars, on 14 June 1603, when she had just reached twenty, the age at which Dorcas married. We know nothing of the life of John Field, junior. Jonathan Field, who died in 1640. Theophilus followed his father's profession. He married and in his will left all his possessions to his wife, Alice. He died on 2 June 1636 and was buried in Hereford Cathedral.
As a member of the Children of the Queen's Revels, Field acted in the innovative drama staged at Blackfriars in the first years of the 17th century. Cast lists associate him with Ben Jonson's "Cynthia's Revels" (1600) and "The Poetaster" (1601); a 1641 quarto associated him with George Chapman's "Bussy D'Ambois".
Later in the decade, he performed in "Epicoene" and, perhaps, played Humphrey in Francis Beaumont's "The Knight of the Burning Pestle". During the same years, he wrote commendatory verses for Jonson's "Volpone" and , and for John Fletcher's "The Faithful Shepherdess".
Field was presumably also among those of the children's company briefly imprisoned for the official displeasure occasioned by "Eastward Hoe" and John Day's "The Isle of Gulls"; the latter imprisonment was in Bridewell Prison.
Field stayed with a children's company until 1613, his twenty-sixth year. He appears to be the only one of the boy actors of 1600 to remain with the Blackfriars troupe when, in 1609, Philip Rosseter and Robert Keysar assumed control of the company. In this company, he performed in the theatre in Whitefriars and, frequently, at court, in plays such as Beaumont and Fletcher's "The Coxcomb". From the latter years of this period come the first of his plays: "A Woman is a Weathercock" and "The Honest Man's Fortune" (the latter with Fletcher and Philip Massinger).
In 1613, Rosseter combined his company with the Lady Elizabeth's Men, managed by Philip Henslowe. Performing at the Swan Theatre and Hope Theatre, Field acted in Thomas Middleton's "A Chaste Maid in Cheapside" and Jonson's "Bartholomew Fair". For the latter play, in which he may have performed as Cokes or Littlewit, he received payment for the company after a performance at court. These years witnessed some degree of tumult; Henslowe's business practices resulted in his actors' drawing up certain "articles of grievance" against him, and Rosseter's attempt to build a new private theater (Porter's Hall) in Blackfriars was blocked by the city and Privy Council. This period ended when Henslowe died, Rosseter abandoned his plans, and Lady Elizabeth's Men briefly merged and then separated from Prince Charles's Men, thereafter touring in the country. For Field, the period had a presumably more satisfactory end: by late 1616, he had joined the King's Men.
With the King's Men, Field seems to have performed as Voltore in "Volpone" and as Face in "The Alchemist". It is not clear what other parts he played; an epigram, produced by John Payne Collier, that associated the actor with the role of Othello is an apparent forgery. Edmond Malone supposed that Field played women's roles with the company; O. J. Campbell, however, suggests that he played young second leads. Of course he acted in a number of Fletcher's plays, as well as Shakespeare's; presumably he also acted in his own "Amends for Ladies" (printed 1618, though probably written earlier), and in "The Fatal Dowry", which he wrote with Philip Massinger. Field died some time between May 1619 and August 1620.
Scholars and critics have argued for authorial contributions from Field in a number of plays of his era, most commonly in "Four Plays in One," "The Honest Man's Fortune," "The Queen of Corinth" and "The Knight of Malta," four dramas in the canon of Fletcher and his collaborators.
Field had a contemporary reputation as a ladies' man; gossip reported by William Trumbull charges him with a child of the Countess of Argyll. A portrait believed to be of Field can be seen at Dulwich Picture Gallery in London, UK. Where he is depicted as a melancholy figure with hand on heart, it has been said that this painting may be one of the first depictions of an actor "in character". The portrait artist is unknown, but some believe it was painted by William Larkin.
Works.
Solo plays
With John Fletcher and Philip Massinger:
With Philip Massinger:
With John Fletcher:
Cultural reference.
Susan Cooper's children's novel "King of Shadows" features Nathan Field as a character. Set in 1599, it uses Field's background as a student of Richard Mulcaster's at St Paul's as a springboard. The Nathan Field in the story, who briefly works at Shakespeare's Globe Theatre, is actually a like-named boy from 1999, who has switched places with the young Elizabethan actor.


Victor Quesada

Victor Quesada (born in Ibagué, April 28, 1985) is a Colombian theatre director, playwright and writer.
Life.
He was educated at the Pontifical Javeriana University of Bogotà, Colombia, where he got a bachelor's degree in Political Science in 2007, followed by a MA in Theatre Directing at the University of Essex, England, in 2009.
He attended and did significant work at GITIS in Moscow and at Odin Teatret in Denmark, he also worked with the Malayerba Group in Ecuador, with the playwright Jô Bilac in Brazil, with Lluis Pasqual in the Lliure in Barcelona and with Miguel de Arco in Kamikaze Producciones in Madrid.


Yahlom


Shadowline (Epic Comics)

The Shadowline Saga is a comic book imprint from Marvel Comics that was published in its original incarnation from 1988 to 1990. It was created and edited by Archie Goodwin.
The Shadowline Saga was Marvel's first attempt at creating a mature-themed line of superhero comics. Further, it was the first line produced by Epic Comics utilizing a pre-conceived shared universe concept. The central concept tied all of the titles together, allowing them to serve as one unified crossover. The line could either be read as individual titles or the entire line of titles could tell a much broader story when read together chronologically.
Original era.
The Shadow Dwellers were a race that were almost human. Their evolution paralleled humanity, though they evolved swifter and a great deal better. Meanwhile, humans evolved in far greater numbers. After reaching maturity, Shadow Dwellers would not age any further, until they had reproduced. This provided a natural balance, preventing their potential immortality from leading to overpopulation.
Individually, they were superior but they were no match for the great tide of humankind that came in time to rule the Earth. So they became a shadow race, living among us, speaking our languages, but secretly, eternally apart. Sometimes as protectors, sometimes as predators. Over the centuries, they became the stuff of our legends and our myths. Sometimes heroes. Often monsters.
But as the Twentieth Century moved nearer and nearer its close, the world had shrunk to the point that there was little room for living in secret and the power of humankind had grown to doomsday proportions. There was a more pressing need than ever to emerge, to make themselves felt; to influence, to control the destiny of the planet they shared with us.
Scattered on the Earth, separated from each other by centuries of secrecy and hiding, torn by their own feuds and personal strife, the need to emerge was answered in ways as varied as the people of the shadows themselves varied. But it was answered. By the likes of Doctor Zero, Powerline, and The Order of St. George. Cautiously, recklessly, with responsibility and without, they entered into the mainstream of human life.
Sometimes heroes. Often monsters.
Titles.
The original line of The Shadowline Saga titles included:
All of The Shadowline Saga stories were set in a shared universe within the Marvel Comics Multiverse which was retroactively designated Earth-88194.
Second era.
"Doctor Zero", "Power Line", and "St. George" #9 - 13 were supposed to be part of The Shadowline Saga "Critical Mass" Crossover. Due to poor sales, Epic cancelled the three Shadowline series and published the story in an anthology format as the "Critical Mass" limited series.
Other versions.
Alternate reality versions of Doctor Zero and St. George appear in the first issue of Squadron Sinister as a part of the Marvel Secret Wars event.


Hochwald House

The Hochwald House is a Victorian -story house on 211 West Grand Avenue in Marshall, Texas. Built 1894 to 1895, the house was named after Isaac Hochwald (1865-1956), a prominent Jewish merchant. In 1912, the house was renovated to include classical revival features. Hochwald, who built the house with his wife Amelia Raphel Hochwald, lived in the house until 1956.
The house was made a Recorded Texas Historic Landmark in 1978 and a historic marker was installed the following year.


Leontopolis (Heliopolis)

Leontopolis (Egyptian: "Ney-ta-hut") is the Greek name for the modern area of Tell el Yehudiye or Tell el-Yahudiya (Egyptian Arabic: "Jewish Mound"). It was an ancient city of Egypt in the 13th nome of Lower Egypt (the Heliopolite Nome), on the Pelusiac branch of the Nile. This site is known for its distinctive pottery known as Tell el-Yahudiyeh Ware.
Discovery.
Linant identified the site in 1825, but Niebuhr had identified it earlier, in the late 18th century.
Earthwork enclosures.
The site includes some massive rectangular earthwork enclosures of the late Middle Kingdom or Second Intermediate Period. They measure around 515m by 490m, and their purpose is probably defensive. These earthen walls were sloping and plastered on the outer face, and almost vertical on the inner face. Egyptian parallels for such a structure are lacking. This enclosure is often interpreted as a fortification built by the Hyksos; it is generally known as the "Hyksos Camp". There are also cemeteries from the Middle Kingdom and later. A temple and palace of Ramesses II has also been excavated. Also, there was a palace of Ramesses III with some fine decorations.
Jewish temple.
In the reign of Ptolemy VI Philometor (180–145 BC) a temple, modelled after that of Jerusalem, was founded by the exiled Jewish priest Onias IV. The Hebrew colony, which was attracted by the establishment of their national worship at Leontopolis, and which was increased by the refugees from the oppressions of the Seleucid kings in Judea, flourished there for more than three centuries afterwards. After the outbreak of the Jewish War, the Leontopolite temple was closed in the first century CE, amid the general backlash against Judaism.


Tomer (name)

Tomer is a Hebrew given name, usually masculine given name. It may refer to:


Yalom

Yalom (Hebrew: יהלום or יאלום, meaning: Diamond) is a surname. Notable people with the surname include:


Finnerty

Finnerty is a surname of Irish origin. It literally means "Fair snow".
The Celtic version of the name "Finnerty" is "Fionnachta" or "O' Fionnachta";
"Fionnachta" is a composite of two Celtic words: "Fionn" and "Sneachta"; "Fionn" in Celtic means "fair" - as in shade of white, and "Sneachta" means "snow"; "Fionn-Sneachta" (i.e. "fair snow" literally - but meaning “snow-white") was a man or a woman with snow-white hair, or snow-white skin: or possibly both. It seems people of such appearance were greatly revered by the ancient Celts.
Similarly for people with snow-white skin and red hair; and Queen Meave of Connacht - who the ancient Celts believed was a goddess (and not a human being) – is thought to be one such person.
There is a very similar Celtic word to "Fionnachta" (which can be seen in modern Irish Language dictionaries) spelled "Fionnachtaí"; and the English meanings given are "discoverer" and "inventor". Whether or not there is any substantial relationship between the origins of these two words is not known.
When Ireland came fully under English control (in the 1600s) all, or almost all, Celtic family names (and place names) were forced through a very "rough and ready, any old way will do" translation process which was highly distorting: often (and perhaps deliberately) to an extent which meant the end result was completely meaningless in all languages.
In this hit-or-miss way, busy English scribes – who would have had no knowledge of Celtic languages (or very little) – quickly wrote down place names on maps, and drew up lists of tenants' names etc., based on what they heard and what was easiest for them to pronounce. Under these circumstances, Ó Fionnachta was transformed into Finnerty by one scribe, to O'Finaghty or Finaghty by another, and so on. Some of the other variations we know of include: O'Fenaghty, Fenaughty, Finaughity, Feenaghty, Fennaghty, Fennaughty, Finerty, Finnearty, O'Finnearty, Finnarty, Fennerty, Fenerty, Fenety, Fenarty, and Finnesty.
Had the English scribes been more accurate then, "Ó Fionnachta" would probably have been translated to "Fairsnow", or "Snowfair".
The earliest written recorded reference regarding a permanent Finnerty "birth place" appears in the "Annals of the Four Masters" (written between 1632 and 1636); and it very firmly links the Ó Fionnachta family with an ancient fortress where Donamon Castle which stands approximately 10 miles due west of Roscommon town (in the Province of Connacht). The site on which Donamon Castle now stands is believed to be one of the very oldest and longest inhabited sites in Ireland. (Since 1939 it has been home to the Irish branch of the Divine Word Missionaries community.)
There are further references linking "Fionn Sneachta" kings to Ulster, Rathcrogan, and Tara.
According to "Annals of the Four Masters", the first "Fionn Sneachta" King of Ireland reigned from 1277 to 1257 BC.
Notable people with the surname Finnerty:


Good Gracious, Annabelle

Good Gracious, Annabelle is a lost 1919 American silent society comedy film starring Billie Burke. It is based on the 1916 Broadway play, "Good Gracious, Annabelle" by Clare Kummer. This film was produced by Famous Players-Lasky with distribution by Paramount Pictures.
Plot.
As described in film magazines, Annabelle Leigh (Burke) lives extravagantly on a quarterly allowance that she spends monthly, until she is tricked out of two shares of a mining stock by crude, western miner John Rawson (Rawlinson), who compelled her to marry him after the death of her father in a squabble over the stock. The marriage is little more than form and rather than keeping her in a lonesome cabin where she cries perpetually, her magnanimous husband sets her free to go to New York City where she lives in an extravagant style. During a struggle for possession of her stock certificates with financier George Wimbledon (Kent), she takes a violent fancy towards a mysterious millionaire whom she meets during a party at Kent's Long Island estate. She tells him that she is resorting to all of the tricks she plays simply to save her husband, whose interests are threatened. The mysterious millionaire turns out to be that husband, who has shaved off his beard and wins her this time through love.
Later adaptation.
The play was also the basis of the 1931 romantic comedy "Annabelle's Affairs".


Tang Hao

Tang Hao () or Tang Fan Sheng (1887–1959) was a Chinese lawyer and expert on chinese martial arts.
Biography.
Tang studied many Chinese and Japanese martial arts, including taijiquan (with Chen Fake), xingyiquan, judo and kendo.
Tang was arrested in 1927, during or just after the Shanghai massacre of 1927, under suspicion of links to the Communist Party, but was later acquitted and released. He then went to Japan to study law and martial arts. Tang was impressed by Japan's ongoing modernization, and wrote several articles advocating reform and modernization of the Chinese martial arts, with an emphasis on practical martial skills that could be used to strengthen the nation. After returning to China, Tang was hired as an editor by the Central Guoshu Institute, a martial arts academy which had been established by the Nationalist government under a similar philosophy to his own.
In 1932, Tang travelled to the Chen family village to study Chen-style taijiquan, the oldest and original taijiquan style. Tang intended to clarify the origins of the art by studying the historical documents and records of the Chen family.
After the Japanese invasion of Manchuria in 1931, Tang began participating in anti-Japanese activities. He advocated training in military saber and bayonet fighting techniques, and developed his own training equipment to do so. While living in occupied Shanghai in 1941, Tang went into hiding to avoid arrest by the Japanese-controlled puppet government. After returning to his home, Tang blamed his wife for having allowed his collection of martial arts books to be damaged by rats while he was in hiding, and she subsequently hanged herself. Tang was then arrested and tortured for his political activities, but there was no proof of any crime and he was released.
In 1955, after the Communists won the Chinese Civil War, Tang began working for the Commission of Sports to study the history of Chinese sports. Having spent much of his money on collecting historical materials, Tang spent much of his life in and out of poverty. After completing "The Preliminary Study of the Historical Materials for Ancient Chinese Ball Games", Tang fell ill and died in Beijing on January 20, 1959.
Tang Hao is widely considered to be the first serious historian of the Chinese martial arts, and his works continue to be cited by contemporary scholars today. Tang published a dozen books and many articles on the history of Chinese martial arts. Much of his work focused on debunking the mythology and folklore of Chinese martial arts, in particular the false lineages purporting to link traditional martial arts to various ancient mythological or historical figures. Tang's "Study of Shaolin and Wudang" ("Shaolin Wudang kao") attacked the myths, still popular today, that attributed Shaolin martial arts to the Buddhist monk Bodhidharma, and taijiquan to the legendary Taoist sage Zhang Sanfeng.


Armorial of the United States Army

Coats of arms of US Army units are heraldic emblems associated with units in the US Army. Under Army Regulation 840-10, each regiment and separate table of organization and equipment (TOE) battalion of the US Army is authorized a coat of arms to be displayed on the organization's flag, called the "colors." This coat of arms usually forms the basis for the unit's distinctive unit insignia (DUI), the emblem worn by all members of the unit on their service uniforms.
Below are galleries of the coats of arms of miscellaneous US Army units not included elsewhere. The official mottoes (as awarded by The Institute of Heraldry of the U.S. Army) and/or special designations (as awarded by the United States Army Center of Military History) of the units are also noted.


List of Indiana state historical markers in Fayette County

This is a list of the Indiana state historical markers in Fayette County.
This is intended to be a detailed table of the official state historical marker placed in Fayette County, Indiana, United States by the Indiana Historical Bureau. The location of the historical marker and its latitude and longitude coordinates are included below when available, along with its name, year of placement, and topics as recorded by the Historical Bureau. There is 1 historical marker located in Fayette County.


Florence Turner

Florence Turner (January 6, 1885 – August 28, 1946) was an American actress who became known as the "Vitagraph Girl" in early silent films.
Biography.
Born in New York City, Turner was pushed into appearing on the stage at age three by her ambitious mother. Turner became a regular performer in a variety of productions.
In 1906 she joined the fledgling motion picture business, signing with the pioneering Vitagraph Studios and making her film debut in "How to Cure a Cold" (June 8, 1907).
At the time there were no stars per se, unless an already famous stage star made a movie. Performers were not even mentioned by name. Long, drawn out screen credits were non-existent. There was nothing but the name of the company and the picture. As the content of movies evolved from simple incidents or situations into definite stories, some of the heroes and heroines were conceded a vague identity, such as the "Edison Girl", etc.
Though she was known only as the "Vitagraph Girl" in the early motion picture shorts, Turner became the most popular American actress to appear on screen (which at that time was still dominated by French pictures, especially from the Pathe and Gaumont companies). Her worth to the studio, as its biggest box-office draw, was recognised in 1907 when her pay was upped to $22 a week, as proto-star plus part-time seamstress. It was somewhat less than the male leading players, especially those with stage experience, particularly the super-popular Maurice Costello. In March 1910, she and Florence Lawrence became the first screen actors not already famous in another medium to be publicized by name by their studios to the general public.
Later that year, Florence was paired several times with heartthrob Wallace Reid, who was on his way to stardom. But with the rise of more stars such as Gene Gauntier and Marin Sais at Kalem Studios, Marion Leonard and Mary Pickford at Biograph Studios, and Florence Lawrence (Biograph, moving to IMP in 1910), Florence Turner was no longer quite as special. By 1913 she was looking for new pastures and left the United States accompanied by longtime friend Laurence Trimble, who directed her in a number of movies. They moved to England, where she and Larry began performing together in London music halls.
Turner sometimes wrote screenplays and directed her own movies, including a number of comedies. She also organized her own production company, Turner Films, for which she made more than thirty shorts. These were shot at the Walton Studios of Cecil Hepworth, west of London.
Turner entertained Allied troops during World War I. She returned to the U.S. after the Armistice, but was not as successful as before. In 1920, she again went to England, where she remained until moving to Hollywood, virtually forgotten, in 1924.
By then she was thirty-nine years of age, and her starring days were long behind her. She continued to act in supporting roles into the 1930s.
In 1928, she acted in a minor role on Broadway in "Sign of the Leopard", which ran for 39 performances. Turner was placed on the payroll at MGM by Louis B. Mayer in the 1930s, but was limited in the assignments offered. She mostly played bit or small parts and worked as an extra.
She later moved to the Motion Picture Country House, a retirement community for the industry in Woodland Hills, California.
After appearing in more than 160 motion pictures, Florence Turner died at 61 in Woodland Hills. She was cremated at a mortuary in Hollywood and, at her request, there was no funeral service. She was buried at Chapel of the Pines Crematory.


The Airmail Mystery

The Airmail Mystery is a 1932 Universal Pre-Code movie serial directed by Ray Taylor, written by Ella O'Neill, starring James Flavin and Wheeler Oakman, and featuring (Al Wilson) doing the aerial stunts. "The Airmail Mystery" was Universal's first aviation serial that set the pattern for the aviation serials and feature films to follow. The film also marks the film debut of James Flavin. "The Airmail Mystery" is considered a lost film.
Plot.
Airmail pilot Bob Lee (James Flavin), owner of a gold mine, faces off against "The Black Hawk" (Wheeler Oakman) who has kidnapped Jimmy Ross (Al Wilson), Bob's best friend. The Black Hawk carries out a series of attacks on Bob's ore shipments by air, using an unusual catapult device that launches aircraft into the sky to intercept Bob's aircraft. With his sweetheart, Mary Ross (Lucile Browne), Bob constantly battles against his enemy, and eventually is able to defeat him.
Chapter titles.
Source:
Production.
Al Wilson (who played the hero's sidekick Jimmy Ross in the serial) worked together with stuntmen like Frank Clarke and Wally Timm and also for movie companies, including Universal Pictures. After numerous appearances in stunt roles, he started his actor career in 1923, with the serial,"The Eagle's Talons". He produced his own movies until 1927, when he went back to work with Universal. Wilson was also one of the pilots in "Hell's Angels" (1930) and during filming, he was involved in an accident where the mechanic Phil Jones died. This episode marked the end of his career as stunt pilot in movies, although he continued to work as an actor.
Wilson's last role was in "The Airmail Mystery". After production was complete, during the National Air Races in Cleveland in 1932, Wilson's aircraft crashed and he died a few days later in hospital due to the injuries he suffered.


Bolivia (film)

Bolivia is a 2001 Argentine and Dutch drama film directed by Israel Adrián Caetano, his first feature-length film. The screenplay is written by Caetano, based upon the Romina Lafranchini story, about his wife. The motion picture features Freddy Flores and Rosa Sánchez, among others.
The film was photographed in "gritty" 16mm black-and-white, and was shot by cinematographer Julián Apezteguia. "Bolivia" was filmed entirely in Buenos Aires.
Plot.
The mostly plot-free film is confined to a café-bar in the lower-middle class Buenos Aires neighborhood of Villa Crespo, with few trips outside.
"Bolivia" tells the story of Freddy (Freddy Flores), a Bolivian with a gentle disposition, who, after Americans burn down the coca fields where he is employed, loses his job. With little work opportunities in Bolivia, he leaves his wife and three daughters and travels to Argentina to search for employment as an undocumented worker. He hopes to make money and later return to his family.
He lands a job as a grill cook in a seedy Villa Crespo café where the brutish owner (Enrique Liporace) is happy to skirt Argentinian immigrant laws in order to secure cheap labor.
It is in this café that Freddy meets the characters who affect his life: Rosa (Rosa Sánchez), a waitress of Paraguayan/Argentine descent, and an outsider by virtue of her mixed heritage; Héctor (Héctor Anglada), a traveling salesman from the province of Córdoba who's gay; a Porteño taxi driver (Oscar Bertea), and one of the driver's buddies.
Freddy also has to deal with various Argentine café patrons who view all Paraguayans and Bolivians with disdain due to their ethnicity.
Background.
Production.
The motion picture was financed partly by the Rotterdam International Film Festival's Hubert Bals Fund and the INCAA ("Instituto Nacional de Cine y Artes Audiovisuales de la Argentina").
The filming was a stop-and-go production and required three years of discontinuous shooting. It was shot on different days and at different times. According to director Caetano, he was never able to film for more than three days at a time.
Basis of film.
Caetano said, "[W]hen writing the script, what interested me was the story; the issue of racism was not very present. However, it is inevitable that when addressing those characters and setting the story in that particular social strata, there is a series of themes that appear on their own and impose themselves."
Caetano believes that, "[T]he film’s main theme is the collision among people of the same social class, they are workers about to be left out of any class at all, and thus they are intolerant towards one another. Basically, they are trapped in a situation they can not escape."
Casting.
Caetano, in neo-realist fashion, used both professional and non-professional actors.  Freddy Flores, the main character, for example, is a non-professional actor.
Distribution.
The film was first featured at the Cannes Film Festival in May 2001 where it won the Best Feature Young Critics Award. It opened in the Netherlands on January 24, 2002 and in Argentina on April 11, 2002.
The film was also shown at various film festivals, including: the Donostia-San Sebastián International Film Festival, the London Film Festival, the Rotterdam International Film Festival, the Karlovy Vary Film Festival, the Festivalissimo Montréal, the Cinémas d'Amérique Latine de Toulouse, the Cleveland International Film Festival, and the Film by the Sea Film Festival.
In the United States, the movie opened in New York City on February 26, 2003.
Critical reception.
Film critic Elvis Mitchell, writing for "The New York Times," liked the direction of the film, and wrote, "Mr. Caetano's work is most telling and gripping...[and] has an emotional integrity that's concise and direct."
Film critics Frederic and Mary Ann Brussat of the website "Spirituality and Practice" were touched by the story they viewed, and wrote, ""Bolivia" is a riveting slice-of-life drama...[that] hits the mark with its harrowing depiction of urban poverty and the divisive and explosive impact of the hatred of foreigners."
Manohla Dargis, film critic for the "Los Angeles Times," makes the case that the film "sub silento" informs of what is happening in Argentina (in 2001) both economically and culturally. She wrote, "Life in "Bolivia," a parable about contemporary Argentina, is even grittier than the film's churning black-and-white cinematography...[and the film] offers up characters in a state of ongoing crisis. Underpaid and overwhelmed, financially unmoored and spiritually adrift, these are men and women for whom the tanking economy is, finally, just the most obvious manifestation of a deeper malaise."
Currently, the film has a 100% "Fresh" rating at Rotten Tomatoes, based on twelve reviews.
Awards.
Wins
Nominated


List of ancient Egyptian towns and cities

This is a list of known ancient Egyptian towns and cities. The list is for sites intended for permanent settlement and does not include fortresses and other locations of intermittent habitation. Use Ctrl + F and enter the town's name or alternative name for convenience.


Civil Administration Medal

The Pingat Pentadbiran Awam (Civil Administration Medal) ranks fourth in the Sarawak State Orders, Decorations and Medals list. The medal was instituted in 1973, to recognize exemplary service in Civil Service.
In 1988, another two were added to the ranks, which is the 'Meritorious Service Medal' and 'Commendable Service Medal'. The 'Companion' rank was added to the list in 2010.
The medals are divided into four ranks: