Orders, decorations, and medals of Canada

The orders, decorations, and medals of Canada comprise a complex system by which Canadians are honoured by the country's sovereign for actions or deeds that benefit their community or the country at large. Modelled on its British predecessor, the structure originated in the 1930s, but began to come to full fruition at the time of Canada's centennial in 1967, with the establishment of the Order of Canada, and has since grown in both size and scope to include dynastic and national orders, state, civil, and military decorations; and various campaign medals. The monarch in right of each Canadian province also issues distinct orders and medals to honour residents for work performed in just their province. The provincial honours, as with some of their national counterparts, grant the use of post-nominal letters and or supporters and other devices to be used on personal coats of arms.
The monarch is regarded as the fount of all honours – as he or she is the only person who may create new national honours – and acts as the Sovereign of all of Canada's orders; she, or other members of the Canadian Royal Family, will conduct inductions or present medals. In Canada, the monarch is represented by the governor general, who also carries out investitures and distributes awards in the sovereign's name. As such, the administration of the honours system is carried out by the Chancellery of Honours at Government House, which is a part of the Office of the Secretary to the Governor General of Canada. The governor general also sets out via Order in Council the order of precedence for the wearing of insignia, decorations, and medals. Provincial and territorial honours are similarly awarded by their respective Lieutenant governors or Commissioners.
History.
Imperial and colonial honours.
Since as far back as the reign of King Louis XIV, the monarchs that reigned over colonies in New France, British North America, and present-day Canada have bestowed royal honours, decorations, and medals on those living under their sovereignty, in recognition of their services to the state. Early Governors of New France also desired to establish local honours in or import European honours to Canada; Samuel de Champlain, for instance, founded on 14 November 1606 the Order of Good Cheer (still extant today) and Charles de Montmagny had designs to establish the Sovereign Military Order of Malta in New France while he was governor from 1635 to 1648. The Ordre Royal et Militaire de Saint-Louis, established by King Louis XIV in 1693 specifically to honour worthy French, Catholic military officers, came to be one of the most familiar honours in New France; some 300 people associated with Canada were appointed into it, Louis-Hector de Callière being the first. Appointments into the order continued even after the transfer of New France to the British Crown in 1763.
After the creation of British North America, Canadians were entitled to receive British imperial honours, though the awarding of these was not consistently allowed. From Confederation until the Nickle Resolution in 1919, the Order of Saint Michael and Saint George served as the equivalent of today's Order of Canada, being the highest non-peerage honour available to Canadian politicians, judges, and civil servants. Appointments into the Order of the British Empire, into grades below those that carried a title, were also commonly made. Besides knighthoods, peerage titles (both hereditary and life) were also bestowed on Canadians, sometimes with uniquely Canadian designations—such as Baroness Macdonald of Earnscliffe and Baron Beaverbrook of Beaverbrook in the Province of New Brunswick and of Cherkley in the County of Surrey—and permitted those so honoured to sit in the House of Lords at Westminster. Such acts of recognition were carried out by the reigning British monarch. Prior to Confederation, the sovereign did so on the advice of the British prime minister, the names of those to be honoured either selected by the colonial governor or governor general in British North America and passed on to the Secretary of State for the Colonies and then the prime minister, by the Secretary of State for the Colonies and passed on to the prime minister, or by the prime minister himself. The British government felt no obligation to consult any government in British North America before bestowing an honour upon any resident of the colonies. Following Confederation, the Prime Minister of Canada submitted a list of names to the monarch via the governor general, though the governor general also continued to recommend individuals for honours without the Canadian prime minister's knowledge.
This practice came into question in 1901, when Governor General the Earl of Minto nominated Thomas Shaughnessy for a knighthood, even after Prime Minister Wilfrid Laurier (an opponent of Shaughnessy) expressed his opposition to the idea, leading Laurier in the following year to draft a policy whereby all nominees for honours be approved by the prime minister before being forwarded to Westminster. Later, the public began to suspect the worthiness of those receiving the knighthoods and elevations to the peerage; the controversy that surrounded the appointment of Sam Hughes as a Knight Commander of the Order of the Bath in 1915 marked the beginning of the end of such honours in Canada. After it was revealed in 1917 that British Prime Minister David Lloyd George had been selling peerage titles and knighthoods to raise money for his political party ("Montreal Star" owner Hugh Graham's elevation as the Baron Atholstan being granted seemingly without merit and against the advice of both Canadian Prime Minister Sir Robert Borden and Governor General the Duke of Devonshire), the awarding of such distinctions in Canada immediately ceased. Thereafter, the House of Commons of Canada in 1917 and 1919 passed the Nickle Resolutions, which, though never legally binding, generally cemented the cease of titular awards to Canadians. The end of the conferment of imperial honours on Canadians came in 1955. Awards for gallantry and bravery, such as the Victoria Cross, however, remained available and knighthoods were still conferred: on Sir Frederick Banting in 1934, Sir Edwin Leather in 1964, and Sir Terry Matthews in 2002. Further, some pre-existing Canadian peerages continued to be recognised—the Baron de Longueuil and Baron of Fleet, for example—and still others were granted after 1919 by the sovereign of Canada, such as the Viscount Bennett of Mickleham, Hopewell, and Calgary.
Canadian honours.
Governor General the Viscount Monck had originally pushed for a distinct Canadian order of knighthood in 1867, to be called the "Order of St. Lawrence". The idea was revived by Vincent Massey in 1935 and again in 1951, in between which he also suggested in 1940 a "Royal Order of Canada". The Canadian Cabinet, however, never accepted these proposals, generally wishing instead to steer clear of the controversial topic of orders. Still, the beginnings of a distinct Canadian honours system came in March 1934, with the creation of the Royal Canadian Mounted Police Long Service Medal by royal warrant of King George V, issued on the advice of the Cabinet of R. B. Bennett; this was the first time an honour specific to Canada and for service in Canada had been established by the monarch of Canada (as opposed to earlier campaign and service medals that had been issued to Canadians and British personnel alike by the British monarch). There was uncertainty amongst officials in Canada and Britain alike around how to go about creating such an honour, and delays were incurred not only as Canadian bureaucrats interpreted the Nickle Resolution as applying to medals, but also because the King himself was widening the project to consider all the Commonwealth and Empire police forces.
This process was refined through the Second World War and Korean War, though the pool of available honours became smaller and smaller as the decades progressed; non-titular British honours continued to be granted until 1946 and, from 1950 and 1953, only British military decorations were permitted. In 1942, the Canada Medal was created by royal warrant of King George VI, though none was ever struck, and the Canadian Forces Decoration was founded in 1947. Though the Letters Patent of 1947 issued by the King permitted the governor general to exercise most of the monarch's Royal Prerogative on his behalf, it was agreed between George VI and his Canadian prime minister at the time, William Lyon Mackenzie King, that the sovereign alone would retain the prerogative to create new honours. In 1951, the first distinctly Canadian campaign medal, the Korea Medal, was created, when other Commonwealth countries used the British version.
The centennial of Canadian Confederation in 1967 provided the right opportunity and circumstances in which to establish Canada's first order: the Order of Canada. The system was officially established in 1972 and has since expanded, mostly through the 1990s, and generally attracted little criticism; indeed, the orders, decorations, and medals of Canada inspired other Commonwealth realms, such as Australia and New Zealand, to adopt similar approaches in their respective jurisdictions, as did each of Canada's provinces. However, some experts in the field, such as Christopher McCreery, have pointed out what they see as deficiencies in the construct: At the 2006 conference on Commonwealth Honours, the concern was raised that Canada does not have a way to recognize the nation's very best; the three grades of the Order of Canada being insufficient to do so. It was suggested that either two more levels be added to the Order of Canada, equivalent to knighthoods in Australian and British orders, or create a new single class but limited-membership order, similar to the Order of New Zealand. The order of precedence also came under scrutiny, particularly the anomaly that all three grades of the Order of Canada supersede the top levels of each of the other orders, contrary to international practice. McCreery echoed these comments in 2010 and added that the Canadian honours system was lacking a polar medal, such as those issued in other northern nations, as well as a public service order, akin to the Imperial Service Order, and honours to specifically recognise protective services other than the police forces.
In June 2010, McCreery highlighted inconsistency in honouring those in Canada's royal family. For example, the Queen Mother was appointed a Companion of the Order of Canada on only an honorary basis, though the Canadian Forces Decoration awarded to her was substantive. Similarly, Prince Philip, Duke of Edinburgh, was offered only honorary appointment to the Order of Canada, which he refused on the grounds that, as the royal consort of the Queen, he was Canadian and thus entitled to a substantive appointment, as he had been awarded the Canadian Forces Decoration and Commemorative Medal for the Centennial of Saskatchewan. In 2013, the constitutions of the Order of Canada and the Order of Military Merit were amended to create for each of the three grades of each order an "extraordinary" category reserved for those members of the Royal Family (in the Canadian Forces for the latter order) nominated and approved for appointment. Upon taking office, governors general and viceregal consorts become Extraordinary Companions of the Order of Canada and the governor general an Extraordinary Commander of the Order of Military Merit.
Structure and the creation of honours.
All honours in Canada emanate from the country's monarch, who is regarded as the fount of honour; only he or she may create new honours, though this, as part of the Royal Prerogative, is generally done on the advice of the sitting ministers of the Crown. The sovereign's representative in Canada, the governor general, administers most of the honours system through the Chancellery of Honours, which is a part of the Office of the Secretary to the Governor General of Canada. The governor general also sets out, via Order in Council, the order of precedence for the wearing of insignia, decorations, and medals.
The momentum to create a new honour typically originates at either the Chancellery of Honours or the Department of National Defence, though private organisations or individuals may also make proposals. The chancellery will investigate whether or not the suggested honour is necessary and if it will conform within the national honours structure. Should it meet these criteria, the notion is put before the Honours Policy Committee—a group of senior public servants, formed in 1980 within the Privy Council Office—and then, if approved, is moved before the Cabinet for an Order in Council to be drawn up. On the prime minister's advice, via the governor general, the documents and drawings for the new honour are presented to the Queen for her consideration; only with her signature on the relevant letters patent and the design sketches does the new honour officially become extant. Any future amendments to the honour's appearance or award criteria do not need the monarch's approval; the governor general will perform such tasks instead.
In the Canadian structure, unlike its counterparts in Britain and other countries, nominees names are put forward to the governor general by independent committees, which in turn receive nominations from the public, in an attempt to create a non-partisan process that avoids political controversy. Most orders have a unique advisory committee, consisting of individuals relevant to the scope of the particular order, all appointed by the governor general or a delegate; for instance, the Advisory Committee for the Order of Military Merit has six members: one appointed by the governor general, four by the chief of the Defence Staff, and the chief of the Defence Staff him or herself. There are also advisory councils or committees for decorations in general and for valour decorations, specifically. The Secretary to the Governor General will usually serve as secretary general to many of these boards.
The Canadian honours system also includes two dynastic orders—the Order of Merit and the Royal Victorian Order — and one personal award of the sovereign – the Royal Victorian Chain. These were created by the sovereign alone and inductions and presentations are at his or her personal discretion.
Orders.
Canada has both dynastic (created by the sovereign and membership in which is a personal gift of the monarch, granted without ministerial advice) and national (created by order-in-council and membership in which is carried out on the advice of advisory committees) orders. These have a number of grades or classes to acknowledge different levels of achievement. Usually, the insignia for the top grades are worn on a neck ribbon by men and on a pinned bow by women, while those for the lower levels are worn suspended on ribbons attached to the left of the jacket of dress, those for women again usually on a bow. These insignia are presented to the recipient by either the monarch or governor general. Orders are not awarded to individuals, instead one is appointed into membership in a society of honour, and can be promoted to higher grades within the group. The appointment to an order also entitles the appointee to post-nominal letters.
Order of Merit.
Admission to the Order of Merit () is the highest civilian award for merit in Canada. Founded in 1902 by King Edward VII to recognise distinguished service in the armed forces, science, art, literature, or for the promotion of culture, the Order of Merit has one grade and carries with it only the post-nominal letters "OM". One of the few dynastic orders in Canada, the order's membership is limited to, at one time, no more than 24 living individuals from the Commonwealth realms. Four Canadians have been appointed to the order: William Lyon Mackenzie King, Wilder Penfield, Lester B. Pearson, and Jean Chrétien. There is only one grade to the Order of Merit: Member (OM).
Order of Canada.
The Order of Canada () is the country's second highest civilian honour for merit and is administered by the Governor General-in-Council, on behalf of the monarch of Canada. Created in 1967, appointment is granted to those who adhere to the order's motto "Desiderantes meliorem patriam" (Latin for: "desiring a better country"), meaning that, in essence, the honour recognises lifetime contributions made by Canadians who made a major difference to Canada, or non-Canadians who made the world better by their actions. Musicians, politicians, artists, entertainers, benefactors, and many more have been accepted into the order; since its creation, more than 6,000 people have been appointed to the Order of Canada. The order, of which the monarch is Sovereign and the serving governor general is Chancellor and Principal Companion, is currently composed of three grades: Companion (CC), Officer (OC), and Member (CM).
For each grade, there is an "extraordinary" category reserved for those members of the Royal Family nominated and approved for appointment. Upon taking office, governors general and viceregal consorts become Extraordinary Companions for life or until removal from the order.
Order of Military Merit.
The Order of Military Merit () is a society of members of the Canadian Forces who have demonstrated dedication and devotion beyond the call of duty. Established in 1972 by Queen Elizabeth II, who serves as the order's Sovereign, with the governor general as the Chancellor and the chief of the Defence Staff as Principal Commander, the award has three classes: Commander (CMM), Officer (OMM), and Member (MMM).
For each grade, there is an "extraordinary" category reserved for those members of the Royal Family in the Canadian Forces nominated and approved for appointment. Upon taking office, governors general become Extraordinary Commanders for life or until removal from the order.
Order of Merit of the Police Forces.
Members of Canada's various police bodies who have demonstrated conspicuous merit and exceptional service are inducted into the Order of Merit of the Police Forces (), which was created in 2000 by Queen Elizabeth II. As with the Order of Military Merit, the reigning monarch is the Sovereign of the order, while the governor general is the Chancellor and the commissioner of the Royal Canadian Mounted Police acts as Principal Commander. The order has three grades: Commander (COM), Officer (OOM), and Member (MOM).
Royal Victorian Order.
The Royal Victorian Order () is a dynastic order established in 1896 by Queen Victoria to recognise those who performed exemplary personal service for the sovereign. The order's day is 20 June, the date of Victoria's accession to the throne, and its motto is "Victoria". The structure includes five classes and a medal, though the levels of Knight or Dame Grand Cross and Knight or Dame Commander, available to all in other Commonwealth realms, are not normally open to Canadian citizens, due to the titles that come with appointment to those grades and the Cabinet's adherence to the non-binding Nickle Resolution. Members of the Royal Family, however, as subjects of the Canadian monarch but not citizens of Canada, can, and do, occupy the two uppermost grades. The order's classes, in order of seniority, are: Knight or Dame Grand Cross (GCVO), Knight or Dame Commander (KCVO or DCVO), Commander (CVO), Lieutenant (LVO), and Member (MVO). Award of the Royal Victorian Medal allows the recipient the use of the post-nominal letters "RVM".
Order of the Hospital of Saint John of Jerusalem.
The Most Venerable Order of the Hospital of Saint John of Jerusalem () is a working order of charitably minded men and women whose philanthropy is expressed principally through its two foundations: the St. John Eye Hospital in Jerusalem and St. John Ambulance. The order traces its origins to the Knights Hospitaller of the Crusades, who served the Abbey of St. Mary's small hospital for sick pilgrims in Jerusalem in the 12th century. It was established in the United Kingdom in 1831 and given a royal charter by Queen Victoria in 1888, and has existed in Canada in some form for many years, but was only officially brought into the Canadian honours system in 1995. The governor general is the Prior and Chief Officer in Canada, while the lieutenant governors serve as Vice-Prior in their respective province. Each is also automatically appointed as a Knight or Dame of Justice in case of the Prior and his or her spouse, or a Knight or Dame of Grace in the case of lieutenant governors upon being sworn into their viceregal office. Spouses of lieutenant governors are made Officers. Members of the Royal Family may also hold the level of Bailiffs or Dames Grand Cross, with the post-nominal letters "GCStJ".
Currently, there are approximately 5,500 active Canadian members in the Order, induction being granted by nomination only to Canadian citizens or permanent residents at or over the age of 18. This is done at the discretion of the Sovereign Head of the Order, Queen Elizabeth II, on the advice of the Prior.
In Canada, the order has five grades: Bailiffs or Dames Grand Cross (GCStJ), Knight or Dame (KStJ or DStJ), Commander (CStJ), Officer (OStJ), and Member (MStJ). Esquires are not members of the Order but instead members of the Priory.
Decorations.
Decorations are awarded for gallantry, civilian bravery, or meritorious services; only the Royal Victorian Medal (post-nominal letters "RVM", ), a decoration associated with the Royal Victorian Order, is not slotted into any of the three aforementioned categories. They are similar to national orders, are created by the sovereign and conferred by her or her viceroy, and are worn on the left side of the jacket or dress. Decorations also entitle the recipient to post-nominal letters.
Military valour decorations.
The military valour decorations were created on 2 February 1993 by Queen Elizabeth II, on the advice of her Cabinet under then prime minister Brian Mulroney. For all three military valour decorations, recipients must be a member of the Canadian Forces or an allied armed force that is serving with or in conjunction with the Canadian Forces, on or after 1 January 1993. All military valour decorations may be awarded posthumously.
The Victoria Cross (post-nominal letters "VC", ) is the highest award for valour available to members of the Canadian Forces of any rank, in any service, and allies serving under or with Canadian military command. Based on the British version of the same medal, it is only awarded for extraordinary valour and devotion to duty while facing a hostile force. Prior to 1993, the original Victoria Cross was awarded to 94 Canadians, none of whom are now living; since its creation, no Canadian Victoria Cross has been issued.
The Star of Military Valour (post-nominal letters "SMV", ) was created as an award for Canadian Forces personnel who had demonstrated "distinguished and valiant service in the presence of the enemy." The star may be presented more than once, an additional bar on the medal's ribbon marking each subsequent award. It was only first presented in 2006, as Canada's participation in the 2001 invasion of Afghanistan created for the first time circumstances wherein one could carry out actions deserving of the Star of Military Valour.
The Medal of Military Valour (post-nominal letters "MMV", ) is awarded to members of the Canadian Forces for "an act of valour or devotion to duty in the presence of the enemy." The medal, too, was only first awarded in 2006 and may be earned multiple times, marked by the addition of bars to the medal's ribbon.
Bravery decorations.
Established on 1 May 1972 by Queen Elizabeth II, on the advice of her Cabinet headed by Pierre Trudeau, the bravery decorations are awarded to any person who risked his or her life to save or protect another person; it is not necessary that the incident take place in Canada, and no particular person must be Canadian, but it is required that at least one individual involved in the occurrence be a Canadian citizen. Nominations must be made within two years of the incident, or within two years after a court or a coroner has concluded its review on the circumstances surrounding the incident or act of bravery, and each decoration may be awarded posthumously.
The Cross of Valour (post-nominal letters "CV", ) is the highest ranking of the Canadian bravery decorations, and is awarded for "acts of the most conspicuous courage in circumstances of extreme peril." It was intended to both replace the never-issued Medal of Courage of the Order of Canada, and to act as the Canadian equivalent of the George Cross. It was presented for the first time on 20 July 1972.
Presented to both living and deceased individuals deemed to have performed "acts of conspicuous courage in circumstances of great peril," the Star of Courage (post-nominal letters "SC", ) is the second-highest ranking of Canadian bravery decorations. As of April 2018, the Star of Courage has been presented to 458 people, though no bars have yet been issued.
The Medal of Bravery (post-nominal letters "MB", ) is the third rank of the bravery decorations, awarded in recognition of "acts of bravery in hazardous circumstances," and has been awarded most frequently; as of April 2018, 3,304 medals had been awarded.
Meritorious service decorations.
The meritous service decorations are each divided into military and civilian categories, which each may be awarded to both Canadians and non-Canadians. The set of awards was initially formed on 11 June 1984 by Queen Elizabeth II, on the advice of Prime Minister Pierre Trudeau, but consisted of decorations available only to Canadian Forces personnel; it was on 6 June 1991 that the civilian classifications were added.
The Meritorious Service Cross (post-nominal letters "MSC", ) is intended to recognize individuals—both Canadian and foreign—who have carried out meritorious acts bringing benefit and honour. The military division recognises highly professional acts that are of considerable benefit to the Canadian Forces, while its civilian counterpart honours similar acts—whether in athletics, diplomatic relations, humanitarian activities, etc.—that benefit the nation.
The Meritorious Service Medal (post-nominal letters "MSM", ) is the secondary meritorious service decoration and recognises highly professional acts that are of considerable benefit to the Canadian Forces by military personnel, and to the nation by civilians.
Medals.
Canada has various types of medals, some part of the official honours system and others not. Those in the former category tend to be related to state organisations, such as police forces, fire protection, or the military. These can be further sub-categorised into long service and campaign medals. Others are awarded to military and civilians alike for anniversaries—the Canadian Centennial or the Golden Jubilee of Elizabeth II, for example—or for community service. Still others are awarded by international organisations and integrated into the Canadian honours structure; the United Nations Medals and North Atlantic Treaty Organization medals, for example. As medals are awarded more widely than orders or decorations, they are typically presented by higher-ranking officials in the organization the recipient is a part of. Only the Canadian Forces Decoration grants a holder the use of post-nominal letters.
Sacrifice medals.
Within the Canadian system of honours are medals that specifically recognise death or severe injury in the course of military service. The Memorial Cross () was created in 1919 by King George V, it is to be awarded to the mother, widow, widower, or next of kin of any member of the Canadian Forces who loses his or her life in active service, including peacekeeping, and other such international operations. From amongst the recipients of the medal has been drawn annually the Silver Cross Mother. Later, in 2008, Queen Elizabeth II approved the establishment of the Sacrifice Medal () as a replacement for the Wound Stripe, to be presented to any member of the Canadian Forces or allied forces who were wounded or killed in action. The medal is also awarded posthumously to any member of the Canadian Forces who dies under honourable circumstances as a result of an injury or disease related to military service.
Campaign medals.
Canada's campaign medals are a continuation of the tradition of the monarch recognising service in a designated military operation or performance of duty in a geographical theatre; save for the General Campaign Stars and Medals, each is associated with a particular conflict. The general star and medal are issued for any active service in a combat zone, which one or ones being distinguished by additional clasps that are worn on the medal's ribbon. Such medals presently recognised in the Canadian honours system are:
Canadians earlier qualified for British campaign medals, though these awards were, at the time, not foreign to Canada. Some were created specifically for Canada, such as the Canadian General Service Medal, which was issued in 1899 to recognise active participation in defending the country from the Fenian raids and later in suppressing the Red River Rebellion.
Polar and Volunteer medals.
The Polar Medal () and Sovereign's Medal for Volunteers () were both created by Queen Elizabeth II in 2015, incorporating and replacing the Governor General's Northern Medal (established by Governor General Adrienne Clarkson in 2005) and the Governor General's Caring Canadian Award (established by Governor General Roméo LeBlanc in 1995), respectively. This made them honours of the Crown, permitting them to be incorporated into the Canadian honours system.
Commemorative medals.
Until 1977, the practice for coronation and jubilee medals was for authorities in the United Kingdom to decide on a total number of medallions to be produced and allocate how many were to be distributed to each of the British Empire and Crown dependencies and possessions, and later Commonwealth of Nations countries. From that point, the award of the medals was at the discretion of the local government authority. Such medals are awarded to Canadians who have been deemed to have made a significant contribution to their fellow citizens, their community or to Canada. So that all regions of the country are recognised equally, the federal, provincial, and civic governments all forward names to Rideau Hall, as do private organizations in the fields of the arts, sports, philanthropy, and charity. The full membership of the Order of Canada and Order of Military Merit, as well as all winners of Canadian bravery decorations will typically also receive commemorative medals automatically, while for members of the Canadian Forces, merit with length of service and prestige of current appointment is considered. Such medals presently recognised in the Canadian honours system are:
Earlier commemorative medals for Canada or given to Canadians included:
Long service and good conduct medals.
The Canadian Forces Decoration (post-nominal letters CD) is given members of the Canadian Forces of all ranks who have completed twelve years of military service. By convention, it is also given to the Governor General of Canada upon his or her appointment as viceroy, which includes the designation of the title of "Commander-in-Chief in and over Canada". Despite its name, the Canadian Forces Decoration is a medal as opposed to a decoration.
Other long service medals include:
Provinces and territories.
The Canadian provinces each have their own internal honours system, though they differ in some ways from their federal counterpart. British Columbia was the first to create a provincial honour in 1953. However, after the establishment of the Canadian honours system in 1967, other provinces moved to initiate their own systems after the federal government refused to do so on their behalf. An agreement was eventually reached around 1990 on the placement of the provincial honours in the Canadian order of precedence for orders, decorations, and medals.
Imperial and foreign honours.
State honours bestowed upon a Canadian by a foreign government must be approved by the Governor-General-in-Council before the insignia, decoration, or medal may be worn. Those for honours bestowed by other Commonwealth countries are worn, in the order of date of appointment or award, following all those for Canadian honours, should the recipient have any. The same from countries not in the Commonwealth are worn after those from Commonwealth countries, again in order of date of appointment or award. However, the insignia of orders, as well as medals and decorations, within the Imperial (i.e. British) honours system that were received by a Canadian prior to 1 June 1972 have a different order of wear, mixed with the designated order for Canadian honours.
Canadians remain eligible for appointment into the Order of the Companions of Honour, as its statutes set aside a specific number of the order's total 65 places for residents of Australia, New Zealand, and the United Kingdom, and 11 for those from any other Commonwealth country. Appointments are made on the recommendation of the appropriate cabinet. The order currently has three Canadian members—John de Chastelain, Margaret MacMillan, and Margaret Atwood, who were nominated by the Cabinet of the United Kingdom.
Peerages.
A number of distinctly Canadian titles have been granted by the sovereign. These include (with existent ones in italics):
Members of the Canadian Royal Family, other than the sovereign, also hold peerages, though these were granted by letters patent issued by the sovereign of the United Kingdom and are used in Canada as courtesy titles. Further, Sylvana Tomaselli, a Canadian citizen, has been known as "Countess of St. Andrews" since her marriage to George Windsor, who uses the courtesy title "Earl of St. Andrews", a subsidiary title of his father, Prince Edward, Duke of Kent, a grandson of King George V. Upon the death of the Duke of Kent, is it expected that George will succeed to the title and Sylvana will become Duchess of Kent, Countess of St. Andrews, and Baroness Downpatrick, though her eldest son, Edward, also a citizen of Canada and the present Lord Downpatrick, and his wife, if any, will then use the titles Earl and Countess of St. Andrews as a courtesy title and their eldest son, if any, would be known as Lord Downpatrick. Also, Karen Gordon, a Canadian citizen, became Countess Spencer upon her marriage in 2011 to the Earl Spencer, brother of Diana, Princess of Wales.
There are also 120 Baronets of Nova Scotia. Created between 1625 and 1706, these baronets technically represent the baronets of Canada.
Arms, flags, and badges.
The Canadian Heraldic Authority, which grants armorial bearings (coats of arms), flags, and badges to Canadian citizens, permanent residents, and corporate bodies, forms a part of the Canadian honours system; the granting of arms is regarded as an honour from the monarch, via the governor general, and thus are bestowed only on those whom the Chief Herald has deemed individuals worthy of receiving a grant of arms.


Scylla et Glaucus

Scylla et Glaucus ("Scylla and Glaucus") is a tragédie en musique with a prologue and five acts, the only surviving full-length opera by Jean-Marie Leclair. The French-language libretto by d'Albaret is based on Ovid's "Metamorphoses", books 10, 13 and 14. It was first performed at the Académie Royale de Musique in Paris on 4 October 1746.
Background.
The quality of the vocal writing in "Scylla et Glaucus" came as a surprise to many, given that Leclair was much better known for composing instrumental music, and therefore had little experience in opera. By the time the "Scylla" was performed in 1746, Leclair was already known for his forty-eight violin sonatas, his trios, and his concertos. He received much of his musical training in Italy, where he was exposed to the influence of Pietro Locatelli and other Italian composers of the time. This is why the writing of "Scylla", while remaining recognizably in French, is full of italianisms.
Leclair dedicated the work to Marie-Anne-Françoise de Noailles, Countess of La Mark (or La Marck), an accomplished musician who sang and played the harpsichord. Madame de La Mark often enjoyed having operas performed in her home.
Synopsis.
Prologue.
A temple of Venus where the people of Amathus celebrate a festival in honor of the goddess, the laws to which even the dreaded Mars himself yields. The party is interrupted by Propoetides (the daughters of Propoetus from the city of Amathus on the island of Cyprus), who are jealous of the presence of Venus; they abhor religion and deny the divinity of the goddess. The goddess descends to punish them by way of petrification; "woe to those who despise the pleasures over which she presides". Through her son Amour, she promises happiness and prosperity to those who revere her.
Act 1.
The setting is Sicily. On one side, there is a forest, on the other, a vast countryside. The nymph Scylla is equally cold to all of her lovers, including Glaucus, a young prophetic sea-god in Neptune's court, born mortal and turned immortal upon eating a magical herb. It was believed that he commonly came to the rescue of sailors and fishermen in storms, having once been one himself. He is in love with Scylla, and led to despair by the hardness of Scylla's heart, goes to seek help from Circe, the sorceress.
Act 2.
Circe is in her palace, and she confesses that she cannot live without love. Inevitably, she goes mad with love for Glaucus when she first sees him. Glaucus asks for assistance in arousing Scylla, but it's for herself that Circe goes to work, devising a spell to make Glaucus fall in love with her instead. A lavish party follows, during which Circe's henchmen attempt to seduce Glaucus. The spell is successful; Glaucus falls at Circe's feet and Scylla is quickly forgotten. A close friend of Glaucus comes to inform him that Scylla complained of his absence, and Scylla's name proves to be enough to break the spell. Glaucus leaves hurriedly to go to his mistress, and Circe, furious, swears revenge.
Act 3.
The setting is the edge of the sea. Scylla realizes that despite everything, she is in love with Glaucus. The lovers reunite, which leads, naturally, to a party. Glaucus calls upon all of the sea gods and urges them to sing his victory. The party is disturbed by Circe, who comes down to the scene in a cloud. She ends the act with an anger-filled monologue.
Act 4.
The setting is wild, with Mount Etna erupting in the background. Circe makes vain efforts to take back Glaucus. Scylla arrives at the scene, and her presence ignites the jealous wrath of Circe. Circe pretends to by softened by Glaucus's tears, but only to more surely destroy her rival. The moment the two lovers leave, she embarks upon magic incantations to take revenge on Scylla. The Moon descends from heaven, transforms into Hecate, and from out of the Underworld brings to Circe "the most deadly poison that the Phlegethon River has ever produced form its shores". It is the poison that will be the instrument of Circe's vengeance.
Act 5.
The setting is a place prepared for party. Glaucus and Scylla exchange tender embraces as well as fears. The memory of Circe concerns Scylla, and Glaucus's only task becomes to reassure his lover. The people of Sicily come to celebrate the anniversary of the liberation of their country, which had for years been subject to the tyrannical empire of the Cyclops. Seeing the fountain Circe poisoned, Glaucus exclaims: "It is in this fountain that I saw your beautiful eyes the first time." Scylla looks into the fountain and the poison takes effect. Scylla succumbs to Circe's cruel revenge and runs into the sea. She dies and turns into a rock in the shape of a woman. Circe triumphs, and she finds satisfaction in Glaucus's misery.
Performance history.
Though the opera was not widely acclaimed, it had a successful eighteen-performance run. The first was on October 4, 1746 at the Académie royale de musique. After the eighth performance, a ballet-pantomime, a genre that was then very popular, was added at the end of the tragedy. It was called "Un Jardinier et une Jardinière", or "A Gardener and a Planter". In 1747, Jean-Marie Leclair the Younger, brother of the composer, showed the opera at the Academy of Fine Arts in Lyon, directing the orchestra. It was performed in this same way in 1750 and in 1755.
Modern performances.
"Scylla" is not very widely known today and, for that reason, is rarely performed. Neal Zaslaw, an American musicologist, attributes its lack of revival to three specific aspects of the opera: Hecate's terrifying magic powers, a "thoroughly Baroque" musical style, and a tragic ending, viz. the petrification of the heroine and the desolation of the hero.
Form.
The opera is cast in the traditional "tragédie en musique" form developed by Jean-Baptiste Lully in the seventeenth century: a prologue followed by five acts. By the time "Scylla"'s first performance was given, the form was already becoming outdated, threatened by both the newly evolving form of "opéra-ballet" and the increasingly popular Italian comic opera. However, while the form of the opera might have been old-fashioned, the music was not.
Notes and references.
Notes
References


The Death of Tintagiles

The Death of Tintagiles () is an 1894 play by Belgian playwright Maurice Maeterlinck. It was Maeterlinck's last play for marionettes.
Maeterlinck dedicated the play to Aurélien Lugné-Poe, a theatre director who had supported several of his earlier works.
Premiere.
The play was successfully staged by The Theater Studio of the Moscow Art Theater in 1905. This production was directed by Vsevolod Meyerhold and designed by Nikolai Sapunov and Sergei Sudeikin. The production was marked by non-realistic scenery and planned still pictures and poses instead of movement.
Synopsis.
The Queen, who possesses complete control over her servants and people, has killed most of Tintagiles' family. Ygraine and Bellangère try to protect him, but he is captured by the Queen's servants and brought to her castle. Ygraine pursues them to the castle door. Tintagiles cries for help from behind the door, but Ygraine is unable to open it and he is murdered by the Queen.
Themes.
Maeterlinck, an avid reader of Arthur Schopenhauer, believed that man was ultimately powerless against the forces of fate. Believing that any actor, due to the limitations of his physical mannerisms and expressions, was unable to portray the symbolic figures of his plays, Maeterlinck decided that marionettes were an excellent alternative. Being guided by strings, which are operated by a puppeteer, marionettes are an excellent representation of fate's complete control over man.
This was the first time Maeterlinck had represented death in the form of a woman (The Queen) rather than a male figure or mysterious force.
Also for the first time, marking a transition in his work, Maeterlinck had his protagonist actively struggle against fate rather than passively or helplessly give in. Ygraine pursues the Queen's servants to the castle door and desperately tries to discover a way of opening it, even though she fails.
Production.
The Imaginary Beasts Theater Company of Boston, Massachusetts, performs a rare production of this play in October and November, 2012, at the Boston Center for the Arts Plaza Theaters.
In other media.
"The Death of Tintagiles" was the subject of a symphonic poem written in 1897 by Charles Martin Loeffler. It was scored for full orchestra and two viole d'amore, which represent the voices of Tintagiles and Ygraine. The revised version, which has been commercially recorded, has only one viola d'amore.
In 1913, Ralph Vaughan Williams wrote incidental music for the play. Three years earlier Bohuslav Martinů wrote an orchestral work for the play which is considered impractical for performance.
The English conductor Lawrance Collingwood wrote an opera based on the play, which was premièred in London in April 1950.
Three small plays for marionettes by Maurice Maeterlinck, "La Mort de Tintagiles", "Intérieur" and "Alladine et Palomides", were made into an opera entitled "Le Silence des ombres" by Benjamin Attahir premiered at La Monnaie in Brussels in September 2019.


Cruinniuc

Cruinniuc (Crunniuc, Cruinn, Crundchu, Crunnchu, Cronnchu) is a wealthy cattle-owner of Ulster in the Ulster Cycle of Irish mythology. A widower, he is surprised when a beautiful woman turns up at his house, sleeps with him and takes care of his children, without revealing her name. She becomes pregnant by him.
Later, at a festival, he boasts that his wife could run faster than the king's chariot. The king hears his boast, and his heavily pregnant wife is forced to race against his chariot. She wins, and gives birth to twins on the finish line. She reveals her name is Macha, daughter of Sainrith mac Imbaith, and the capital of Ulster is thereafter called Emain Macha ("Macha's Twins"). She curses the men of Ulster to suffer her labour pains in the hour of their greatest need, which is why none of the Ulstermen but Cúchulainn is able to fight in the "Táin Bó Cuailnge" (Cattle Raid of Cooley).


Ermatinger Clergue National Historic Site

The Ermatinger Clergue National Historic Site is a historic site and museum located in Sault Ste. Marie, Ontario, Canada.
Site.
There are three buildings on the site: the Ermatinger Old Stone House, the Clergue Blockhouse, and the Heritage Discovery Centre. The Ermatinger and Clergue houses are thought to the be oldest buildings northwest of Toronto. The Heritage Discovery Centre's construction was completed in 2014, this space was designed to provide additional interpretive and programming space for the historic site.
The site is managed by the city of Sault Ste. Marie, Ontario.
Ermatinger Old Stone House.
The Ermatinger Old Stone House is the original building on the site, was constructed between 1814 and 1823, and is considered one of the oldest surviving houses in Northern Ontario. It was built by former North West Company fur trader Charles Oakes Ermatinger, who lived in the home with his wife and children. He resided there until 1828, when he cut his ties in Sault Ste. Marie after the death of his brother Frederick William. It was designated as a national historic site in 1957.
The house is constructed from local stone and timber, and faces the St. Mary's River. It was considered big for its time, and was an imposing landmark at the time of its construction. After the Ermatinger family left, the house was used by its succeeding occupants as a mission, hotel, tavern, courthouse, post office, dance hall, tea room and apartment building. The house was bought by the City of Sault Ste. Marie in 1965 and was restored before opening to the public as a house museum.
Sault Ste. Marie historian McNeice began researching the history of the Ermatinger Old Stone House and the Ermatinger family in 1956. This work would ultimately result in the publication of a book titled", The Ermatinger Family of Sault Ste. Marie" which was published posthumously by McNeice's daughter.
Clergue blockhouse.
The Clergue blockhouse was originally a powder magazine at a North West Company trading post before the merger of the North West Company and the Hudson's Bay Company. When the last remaining factor at the post resigned in 1867 the site fell into disuse, until only the powder magazine's foundation building remained. American industrialist F.H. Clergue then purchased the property and began the process of transforming it from powder magazine to living space. He lived in the blockhouse from 1894 to 1902.
In 1979 the blockhouse was designated as a local historical site by the City of Sault Ste. Marie, Ontario. In 1995 when the St. Mary's Paper Mill was planning development which would jeopardize the location and structure of the blockhouse. In 1996 the building was purchased by the City of Sault Ste. Marie and relocated from its original site at the St. Mary's Paper Mill to the Ermatinger Old Stone House Site.


Alan Zweibel

Alan Zweibel (born May 20, 1950) is an American television writer, author, playwright, and screenwriter who was one of the original "Saturday Night Live" writers, a co-creator of "It's Garry Shandling's Show", and consulting producer on "Curb Your Enthusiasm." For the Broadway stage he collaborated with Billy Crystal on the Tony Award-winning play "700 Sundays," won the Thurber Prize for American Humor for his novel "The Other Shulman: A Novel", and, most recently, co-wrote a film with Crystal titled "Here Today" that stars Crystal and Tiffany Haddish.
Early life.
Zweibel was born May 20, 1950 in Brooklyn, New York City, to Julius and Shirley (Bram) Zweibel. He grew up in the New York City suburbs of Wantagh
and Woodmere on Long Island. He graduated from George W. Hewlett High School in 1968 and the University at Buffalo in 1972.
Upon graduation from college, Zweibel started writing for stand-up comedians who paid him seven dollars a joke. He later compiled over 1,100 of them into a portfolio which he showed to producer Lorne Michaels who then hired Zweibel to be one of the original writers of a new show called "Saturday Night Live".
Career.
Television.
During his 5 years at "Saturday Night Live" (1975–1980), Zweibel wrote many memorable sketches, including the "Samurai" for John Belushi, and helped to create the characters of Roseanne Roseannadanna and Emily Litella, both portrayed by Gilda Radner. As an in-joke, Richard Feder of Fort Lee, New Jersey, a name and hometown often associated with the Roseannadanna character, was Zweibel's real life brother-in-law and did live in Fort Lee, New Jersey.
Zweibel's close friendship and collaboration with Gilda Radner extended beyond their tenure at "Saturday Night Live" – as her last television appearance was on an episode of "It's Garry Shandling's Show" which Zweibel co-created and produced. After Radner's death from ovarian cancer, Zweibel wrote a bestselling book about their relationship titled "Bunny Bunny: Gilda Radner – a Sort of Love Story" which he later adapted into an off-Broadway play.
Zweibel has won multiple Emmy, Writers Guild of America, and TV Critics awards for his work in television which also includes "Curb Your Enthusiasm" and an episode of "Monk".
Publishing, theater, and film.
In addition to "Bunny Bunny", Zweibel's other books include "The Other Shulman: A Novel", which won the 2006 Thurber Prize for American Humor. His popular children's book, "Our Tree Named Steve," was a Scholastic Book Club selection that has been translated into eleven languages, and his young adult novel, "North," was made into a movie directed by Rob Reiner. A collection of short stories and essays, "Clothing Optional," was published by Villard in 2008.
In 2011, Price World Publishing dusted off some stories Zweibel had written years ago into the eBook "From the Bottom Drawer of: Alan Zweibel". Zweibel and Dave Barry collaborated to write the novel "Lunatics" which was published in January 2012.
His humor has appeared in such diverse publications as "Esquire", "The Atlantic Monthly", "The New York Times Op-Ed Page", "The Huffington Post", and "Mad Magazine".
In the theater, Zweibel's work has appeared both on and off Broadway. On Broadway, he co-wrote "Fame Becomes Me" with Martin Short and collaborated with Billy Crystal on the Tony Award-winning production of "700 Sundays". Zweibel's off-Broadway shows include "Between Cars, Comic Dialogue, Bunny Bunny," and "Happy."
His film credits include "Dragnet", "The Story of Us," and "North", which so infuriated film critic Roger Ebert that he penned a scathing review, one line of which later served as the title of Ebert's book, "I Hated, Hated, Hated This Movie"; Zweibel carries a clipping of the review in his wallet and reads it at public appearances.
Accolades.
In 2009, Zweibel was awarded an honorary PhD. by the State University of New York and the following year, he was awarded the Ian McLellan Hunter Lifetime Achievement Award by the Writers Guild of America, East


Eucharius Gottlieb Rink

Eucharius Gottlieb Rink (August 11, 1670 – February 9, 1745) was a German jurist,
heraldist, numismatician, imperial counsellor. His name is also spelt as Rinck, Rinckius, Rinkius. He came from the Rink von Dorstig family, that obtained a title of nobility in the 15th century.
Since 1687, he studied philosophy, political history, and state law at the University of Leipzig, then he studied at the Altorf University, where he became the professor of state law in 1707. In 1739 he was elected the member of the Prussian Royal Academy of Sciences. He had remarkable collections of coins and coats of arms. Rink introduced hatching (1726) for the tincture gray (Eisen) and carnation (Naturfarbe). He studied the old seals as a source of heraldry and claimed that the coat of arms originated in Germany.
Works.
"J. J. Mandata Cum Et Sine Clausula". Eucharius Gottlib Rink. – Altdorfii Noricorum : Meyer, 1697
"De Carrociis : Ex Iure Militari Medii Aevi". Eucharius Gottlib Rink. – Altdorfii Noribergensium : Kohles, 1700
"De Veteris Nvmismatis Potentia Et Qvalitate Lucubratio : occasione Rubricæ Codicis de eodem Argumento; sive Cognitio Totivs Rei Nvmariae Ad Intelligentiam Ivris Accommodata ; Accessit Dissertatio Ivridica De Nvmo Vnico, Cum multis aliis cognitioni Numorum conducentibus". Eucharius Rink. – Lipsiae, 1701
"Leopolds des Großen, Römischen Käysers, wunderwürdiges Leben und Thaten : aus geheimen Nachrichten eröffnet". Eucharius Gottlieb Rink. – Leipzig : Fritsch, 1708
"Leopolds des Großen, Römischen Käysers, wunderwürdiges Leben und Thaten : aus geheimen Nachrichten eröffnet". Eucharius Gottlieb Rink. Leipzig, Bey Thomas Fritsch, I-II. 1708
"Ludewigs des XIV. Königes in Franckreich wunderwürdiges Leben oder Steigen und Fall". Eucharius Gottlieb Rinck. – Franckfurt : Riegel, 1709
"Das verwirrte Pohlen : In einer genauen Gegeneinanderhaltung der Geschichte des vorigen und jetzigen schwedischen Kriegs vorgestellet ... ; Diesem ist beigefügt eine Beschreibung aller polnischen und litthauischen Hertzoge und Könige nebst des Landes Städte und Provinzen". Eucharius Gottlieb Rink. – Franckfurth : Riegel, 1711
"Analecta Historica De Origine Electorvm / Proponvnt Evcharivs Gottlib Rink Et Jacob Gottlib Linck Anno CICICCCXII Die XIV Maii".
Rink, Eucharius Gottlieb és Linck, Jacob Gottlieb (1693-1761)
AltorfI Noribergensivm Typis Kohlesii Acad. Typ., 1712
"Josephs des Sieghafften Röm. Käysers Leben und Thaten : In zwey theile abgefasset, und mit bildnißen gezieret". Eucharius Gottlieb Rink. – Cölln, 1712
"Josephs des Sieghafften Röm. Käysers Leben und Thaten : In zwey theile abgefasset, und mit bildnißen gezieret". Eucharius Gottlieb Rink, Cölln, I-II. 1712
"Leopolds des Großen, Römischen Käysers, wunderwürdiges Leben und Thaten : aus geheimen Nachrichten eröffnet". Eucharius Gottlieb Rink. – Aufs neue gedr. u. um vieles verm. – Cölln, 1713
"Leopolds des Großen, Römischen Käysers, wunderwürdiges Leben und Thaten : aus geheimen Nachrichten eröffnet". Eucharius Gottlieb Rink, Cölln, I-IV. 1713
"Dissertatio Academica De Speculo Saxonico Fonte Iur. Sax. Communis Vulgo vom Sachsen-Spiegel". Eucharius Gottlib Rink. – Altorfii : Kohles, 1718
"Dissertatio Academica De Speculo Saxonico Fonte Iur. Sax. Communis Vulgo vom Sachsen-Spiegel". Eucharius Gottlib Rink. – Altorfii : Kohles, 1718
"De eo quod iustam est circa Galeam". Helmstedt, 1726
2nd edition: "De Eo Quod Iustum Est Circa Galeam / Eucharius Gottlib Rink [Präses]; Christoph. Andreas de Im-Hof [Resp.]". Altorfii Noric. : Grebner, 1742
"Dissertatio Iuridica De Clypeorum Ratione Habenda In Feudis Alienandis". Eucharius Gottlib Rink. – Altorfii : Kohles, 1731
"Eucharii Gottlib Rinck ... De Imperatoribus Primis Perpetuis Ac Solis Academiarum In Germania Autoribus : Anno M D CC XXIII. Publice Defensa Nunc Vt Multorum Desideriis Satisfiat Adcurate Recusa". Eucharius Gottlib Rinck. – Recusa. – Lipsiae : Trog, 1736
"Eucharii Gottlib Rinckii ... Commentatio Iuridica De Clypeorum Ratione Habenda In Feudis Alienandis : Daß man in Veräusserung der Lehngüter auf die Heerschilde zu sehen habe". Eucharius Gottlib Rinckius. – [S.l.], 1746
"Bibliotheca Rinckiana : seu supellex librorum ... qvos per omnia scientiarum genera collegit ... Eucharius Gottlieb Rinck ... cum præfatione Adami Friderici Glafey ... accedit index locupletissimus". Adamus Fridericus Glafey. – Lipsiae : Fritsch, 1747


Priya (given name)

Priya or Pria ( "Priyā" female, meaning "dear, beloved") is a common given name in India and a given name that is also used in Nepal, Bangladesh, Sri Lanka and Thailand.


Willem van den Broecke

Willem van den Broecke, Willem van den Broeck or Guillelmus Paludanus (1530 – 1579) was a Flemish sculptor, painter, draughtsman and architect. He was a scion of a family of artists, which had its origins in Mechelen and some members of which later moved to Antwerp. Willem was active in Antwerp and also worked and likely trained in Italy for a long period. He was known for his small scale works, many of which were executed in alabaster. He was, along with Cornelis Floris, the leading sculptor in Antwerp in the second half of the 16th century. He was also one of the designers of the Antwerp City Hall. He enjoyed the patronage of an elite international clientele of church institutions, Spanish nobility, princes of Protestant territories as well as patricians from Augsburg.
Life.
Willem van den Broecke was born in Mechelen as the son of Hendrick van den Broeck, of whom it is not known whether he was an artist. His family members included artists who were active in Mechelen. His family also used the Latinized name 'Paludanus'. The Latinized name is based on the Latin translation ('palus') of the Dutch word 'broeck' (forming part of his family name) which means a marsh or swamp land. He was a brother of the painters Hendrick van den Broeck, Joris and Pieter. The painter Chrispijn van den Broeck was likely a relative. It is not known with whom Willem trained but it is believed he initially trained in his hometown.
Willem likely continued his studies in Antwerp in the workshop of Claudius or Cornelis Floris and may have travelled to Italy before 1557. He may have lived there in Rome and in Florence where his brother worked and in other cities. He was registered as a master sculptor in the Antwerp Guild of St. Luke in the year 1557. He became a citizen of Antwerp in 1559. In an active career spanning 20 years he developed an international network among the intellectual, artistic and ruling elite of his time. He received commissions from local as well as foreign patrons. The commissions executed for patrons in Augsburg in 1560 were likely shipped from Antwerp rather than created in Augsburg.
In the years 1566 and 1567 he sculpted three figures for the cathedral of Antwerp. He was further able to secure the patronage of the Duke of Alba, the Governor of the Netherlands in the period 1567–1573, and the Duke's court in Brussels. He enjoyed the protection of the Spanish humanist Benito Arias Montano who resided temporarily in Antwerp and helped him with his contacts at the court. In 1571 the Duke of Alba commissioned a larger-than-life statue of himself to commemorate his reconquest of a large part of the Netherlands and in particular his defeat of the rebels at Jemgum in 1568. The monument was executed by Willem van den Broecke and the Antwerp sculptor Jacob Jongheling after a program proposed by Arias Montanus, that was inspired by Piero Valeriano's "Hieroglyphica" of 1556. The statue was to be placed inside the citadel of Antwerp, which the Duke himself had built earlier. It depicts Alba in the guise of a Christian Hercules. The statue was upon its completion condemned by both the Spanish rulers and the Dutch regime as an improper expression of pride. The pursuit of glory in a ruler - and in particular, a subordinate thereof - was regarded as unbecoming under the Christian and classical principles upheld by the Spanish and Dutch courts. The statue was seen as nothing less than an act of self-glorification by Alba, which bordered on disloyalty. After the Duke was recalled to Spain, the statue was dismantled without pomp in 1574 and subsequently destroyed. Some prints made before the destruction of the statue show what it looked like. Through the Brussels court he also obtained in 1571 a commission to make a "reja" (stone enclosure or fence) for a monastery in Alba de Tormes. Although he worked on the designs for this project and received several payments for it, it is not clear whether it was ever finished by van den Broecke.
The artist was prosperous and bought in 1567 a plot of land on the Korte Vaartstraat in central Antwerp on which he built a house named "De liefde" ('Love'). A relief by his hand referred to as "The Garden of Eden" or "Love" (collection of the Royal Museums of Fine Arts of Belgium, Brussels) is believed to have been part of a chimney piece of his house called "De Liefde" ('Love'), built by the artist in Antwerp. Van den Broecke later bought the plot adjacent to his home on which he constructed another house.
He was married to Sibilla Rausmaer. There is no information about the date of the marriage or the background of his wife. The couple had five children of whom Rafael, probably born around 1560, became a well-known sculptor. Another son Elias trained under his uncle Pieter in Mechelen and became a member of the Guild of St Luke of Antwerp in 1596 as a house painter.
The names of the pupils of Willem van den Broecke have not been recorded, but it is known he operated a large workshop in which he employed a significant number of pupils, many of whom came from his home town Mechelen. His work found a following among workshops in Mechelen and Antwerp, which created reliefs borrowing iconographic motives from van den Broecke. He operated his workshop as a skilled businessman, reproducing designs that were selling well, supplying other workshops with 'prefabricates' and selling finished works from his house De Liefde.
Van den Broecke died in Antwerp.
Work.
Willem van den Broecke was a prolific artist who was active as a sculptor, painter, draughtsman and architect. Van den Broecke was a varied sculptor who worked in many materials including alabaster, marble, sandstone, wax and terracotta. His subject matter ranged from religious to mythological representations and portraits. He created large-scale works such as retables, partitions and fireplaces. He was particularly known in Antwerp for his small images, jewelry for cabinets of curiosities and the sculpted decorations of facades.
Van den Broecke's surviving works in his home country are relatively few. There are busts of and Albrecht Dürer that he made for the portal of Jan Adriaenssen's house in the Lange Nieuwstraat in Antwerp (now in the collection of the Museum aan de Stroom, Antwerp). He is further known as one of the designers of the Antwerp City Hall. The majority of his output was produced for the export market such as various religious reliefs that were made for Augsburg, Schwerin and Lübeck. His most important lost work was exported to the monastery church in Alba de Tormes in Spain.
He was particularly known for his small-scale works, often executed in alabaster for which his native town Mechelen was famous. His earliest known work is the (1561, private collection). This small-scale marble statue was made not long after his return from Italy and shows the influence of Michelangelo's allegorical statues on tombs in Florence as well as Titian's Danaë. At the same time the nude figure prefigures the voluptuous beauties of the Flemish painters Rubens and Jordaens. Ten years later van den Broecke made the terracotta (Kunsthistorisches Museum), an écorché of a standing man. He is leaning against a tree trunk from which hangs the man's skin. In his right hand he holds the instrument with which he was skinned, a knife without a blade. In his left hand he holds part of his skin. The figure represents possibly Saint Bartholomew. An écorché such as this work was unprecedented in Flemish sculpture of the 16th century. A similar figure executed in bronze has been attributed to van den Broecke (Christie's New York auction of 29 January 2014).
Alabaster was one of his favorite materials in which he executed small-scale statuettes as well as larger religious reliefs. Characteristic of these reliefs is that the three-dimensional figures in the foreground are almost completely set off from the pronounced bas-relief of the background. His relief technique was likely gained mostly from his contact with the work of Andrea Sansovino and his pupil Jacopo Sansovino. In his reliefs he quoted antique and Italian motifs he would have seen in Italy. In his view of Jerusalem in the background of the of 1562 (Maximilian Museum in Augsburg) he depicted buildings of a specific city, Florence.
He made various reliefs of "Calvaries" (depictions of the "Crucifixion of Christ") in alabaster. These were likely destined for private devotion in residential homes (Maximilian Museum, Augsburg and Louvre Museum, Paris). His oldest alabaster relief is the , dated 1560 (Maximilian Museum in Augsburg). It was part of a retable of van den Broecke that was originally commissioned in 1560 by Bartholomeus May and his wife Sibilla Rembold for the Dominican church in Augsburg. The other parts of the retable include the , the , the and the (all in the Maximilian Museum in Augsburg). The Maximilian Museum holds another alabaster relief of the "Crucifixion of Christ", signed and dated 1562, which was likely made for a private residence. It has its counterpart in a "Crucifixion" in the Louvre.
Van den Broecke made a second set of reliefs for the German market. This set was made for the chapel of the Schwerin Palace that was rebuilt by John Albert I, Duke of Mecklenburg in the period from 1560 to 1563. Of the six reliefs only one, representing , is signed by van den Broecke. On stylistic grounds four other reliefs in this group can be attributed to van den Broecke. However, the "Adoration of the Shepherds" is certainly not by his hand. A third series of seven alabaster reliefs made by Willem van den Broecke in the period 1568 to 1572 decorates the pulpit of Lübeck Cathedral. The reliefs in this last series are closely based on the models for the Augsburg and Schwerin reliefs.
He also created a number of small statuettes for a discerning clientele that appreciated stylish compositions and a detailed execution in precious material. These works are characterized by their remarkable quality of execution, as the alabaster allows to precisely give form to the expressions of the faces, the folds of the clothes and the details of the accessories. These works show the influence of Michelangelo as well as that of Giambologna, whose work he may have seen in Italy. Examples of such sculptures are the (c. 1550-1560, Rijksmuseum) and the "Hercules" (at Daniel Katz Gallery).
It is recorded that the artists made portraits in wax but no works of this kind are currently attributed to him.


Czarnowron coat of arms

Czarnowron is a Polish coat of arms. It was used by several szlachta families.
Notable bearers.
Notable bearers of this coat of arms include:


Prayag Sangeet Samiti

Prayag Sangeet Samiti is an institute imparting education in Hindustani Classical music, in Allahabad, India. It awards its own diplomas and certificates. It was established in 1926. The major aim of this organization is to propagate various vocal and instrumental music streams that are widely recognized by state governments, universities and educational bodies. In 2007, it started awarding degrees and diplomas in Minor Subjects also. The Institute is mainly concentrated in North India and has given never dying artists from the states of Uttar Pradesh, Uttarakhand, Himachal Pradesh, Jammu and Kashmir, Punjab, Haryana, Delhi, Rajasthan, Gujarat, Bihar and other north-eastern state.


Hanna Yablonska

Hanna Hryhorivna Mashutina (; July 20, 1981 – January 24, 2011), known under her pseudonyms Anna Yablonskaya () or Hanna Yablonska (), was a Ukrainian playwright and poet, and one of the victims of the 2011 Domodedovo International Airport bombing.
Profile.
Yablonska was born in Odessa, Ukrainian SSR (now Ukraine). Under the pseudonym Anna Yablonskaya () she published over a dozen Russian-language playscripts. Many of them were staged at venues in Russia, in particular, in St. Petersburg. Since 2004 Yablonska received several awards in different literary and dramatic events in Russia (Moscow, Yekaterinburg) and Belarus (Minsk). She also wrote a series of lyrical poems.
On January 24, 2011 Yablonska arrived at Domodedovo International Airport in Moscow on a flight from Odessa, Ukraine to attend the presentation ceremony as one of the 2010 winners of the award established by the "Cinema Art" magazine. She was subsequently killed when a suicide vest or improvised explosive device detonated in the international baggage-claim area.


Three Mounted Men

Three Mounted Men is a 1918 American Western film directed by John Ford (credited as Jack Ford) and featuring Harry Carey. The film is considered to be lost.
Plot.
As described in a film magazine, Cheyenne Harry (Carey) is promised his liberty from prison if he will capture "dead or alive" Buck Masters (Harris), a worthless and desperate character. Harry agrees, and in short order he has won the confidence of the bad man and they agree to hold up the night stage coach. Harry tips off the sheriff and the tough is caught. Harry then finds that this has robbed a poor girl, Lola (Gerber), and her mother (Lafayette) of their only support. Harry relents and, with his two pals, they kidnap the thief from the sheriff's automobile and make off with him. Harry rides off to begin life anew with Lola, the desperado's sister.
Reception.
Like many American films of the time, "Three Mounted Men" was subject to cuts by city and state film censorship boards. For example, the Chicago Board of Censors required a cut, in Reel 1, of the last choking scene, Reel 2, the second part of the letter beginning with "If you try to get me" etc., Reel 4, one scene of a young woman at the bar, Reel 5, the two intertitles "I am going to prove I am your friend" etc. and "The stage will reach Red Gulch at nine o'clock", and, Reel 6, the first stage holdup scene.


Roti Kapda Aur Makaan

Roti Kapada Aur Makaan (; occasionally written as Roti Kapda Aur Makaan) is a 1974 Indian action drama film, which was written, directed, and produced by Manoj Kumar. The title of the movie is based on the Hindi phrase, which refers to the bare necessities of life, popularized in the late 1960s by former Prime Minister Indira Gandhi, ahead of the 1967 general elections.
The film is about a family for which Bharat (Manoj Kumar) attempts to provide for after falling into a financial struggle. The film also stars Amitabh Bachchan as Vijay, the brother of Bharat, and stars Zeenat Aman as Sheetal, Bharat's love interest, Moushumi Chatterjee as Tulsi, a friend of Bharat in poverty, and Shashi Kapoor as Mohan Babu, a wealthy businessman. It has been remade into the Telugu film "Jeevana Poratam", which stars Sobhan Babu, Rajinikanth, Kaikala Satyanarayana, Naresh, Vijayashanti, and today is still considered to be highly influential, and one of the best Bollywood films of its era.
Plot.
After the retirement of his dad (Krishan Dhawan), the responsibility is on Bharat (Manoj Kumar) to look after his Delhi-based family. He has two younger college-going brothers, Vijay (Amitabh Bachchan) and Deepak (Dheeraj Kumar) and a sister of marriageable age, Champa (Meena T.). Although Bharat is a college graduate, the only work he can find is as a low-paid singer, much to the frustration of his girlfriend, Sheetal (Zeenat Aman). Meanwhile, Vijay has turned to crime as a last resort to provide for the family, but after an argument with Bharat, he leaves home to join the army.
Sheetal starts working as a secretary for rich businessman Mohan Babu (Shashi Kapoor) and Mohan becomes attracted to her. She becomes attracted to Mohan but is more interested in his wealth and luxury. She loves Bharat but cannot contemplate a life in poverty. Bharat finally finds a job as a builder but starts to realise that Sheetal is slowly drifting away from him. Soon he loses his job after the government takes over the building site and his financial problems increase further. When Mohan proposes marriage to Sheetal, she accepts, leaving Bharat heartbroken. After losing his love, Bharat also loses his father, which devastates him. Frustrated, he burns his diploma on his father's funeral pyre.
Meanwhile, Champa has found a suitor, but Bharat has no money to pay for the wedding and it cannot go ahead. Depressed at the state of his life, Bharat soon finds salvation by helping a poor girl, Tulsi (Moushumi Chatterjee), who lives in poverty but gets by. He also makes friends with Sardar Harnam Singh (Prem Nath) who comes to his rescue when he attempts to save Tulsi from a gang of hoodlums. He then receives an offer from a corrupt businessman named Nekiram (Madan Puri) who persuades Bharat to do his illegal activities so he and his family will come out of poverty and be wealthy, for which he accepts.
Deepak joins the Police force. Bharat, who is working for Nekiram, decides to inform the police about his Malpractices. Nekiram find sour and frames Bharat and Deepak instead. Deepak is the police officer appointed for arresting Bharat.
Bharat and Vijay join forces to stop Nekiram. During this conflict Sheetal, who has already realized her mistake, sacrifices her life.
Bharat, Vijay, Deepak, Mohan Babu and Sardar Harnam Singh have Nekiram and his troops jailed in the end. Bharat sees Sheetal in Tulsi and accepts her.
Soundtrack.
The music was composed by the duo Laxmikant–Pyarelal an Lyrics by Santosh Anand
Reception.
The film was a major commercial success, emerging as the highest grossing Indian film of its year, and was declared a blockbuster. The film received three Filmfare awards, as well as being nominated for six others.


Portrait of Count Stanislas Potocki

The Portrait of Count Stanislas Potocki is a 1781 equestrian portrait of Polish patron, politician and writer Stanisław Kostka Potocki by the French painter Jacques-Louis David. It was painted in Rome when the artist and subject met during David's stay at the Villa Medici after winning the first prize for painting in the Prix de Rome, and chronologically after his "Saint Roch interceding with the Virgin for the Plague-Stricken" and before "Belisarius begging for alms". Its equestrian format is owed to influences from Rubens.
Potocki, the subject of the painting, displayed it at Wilanów Palace, his residence near Warsaw. Ownership passed to the Branicki family in 1892. During the Second World War it was looted by the German forces, then passed into Soviet Russian hands after the war, before being repatriated to Poland in 1956. It is now on show in the Museum of King John III's Palace at Wilanów.


New Mexico lunar sample displays

The New Mexico lunar sample displays are two commemorative plaques consisting of small fragments of Moon specimen brought back with the Apollo 11 and Apollo 17 lunar missions and given in the 1970s to the people of the state of New Mexico by United States President Richard Nixon as goodwill gifts.
Description.
Apollo 11.
The New Mexico Apollo 11 lunar sample display commemorative podium style plaque consists of four rice-size Moon rock particle specimens that were collected by Apollo 11 astronauts Neil Armstrong and Buzz Aldrin in 1969 and a small New Mexico state flag that was taken to the Moon and back on Apollo 11.
The four Moon rocks weigh about total and are encased in a clear plastic button the size of a coin which is mounted to a wooden board approximately one foot square on a small podium pedestal display. The small podium plaque display also has mounted on it a small New Mexico state flag that had been to the Moon and back that lies directly below the Moon rocks. The small podium plaque display was given to the people of the state of New Mexico as a gift by President Richard Nixon. Similar tiny Moon rocks were also distributed to the other 49 states.
Apollo 17.
The New Mexico Apollo 17 lunar sample display commemorative style plaque, measuring , consists of one Moon rock particle specimen that was cut from lunar basalt 70017 and a New Mexico state flag. The basalt 70017 was collected by Apollo 17 astronaut Harrison Schmitt on the Moon in 1972. Once lunar basalt 70017 was brought back to Earth from the Moon, the basalt Moon rock was cut up into small fragments of approximately . The specimen was encased in a plastic ball and mounted on the wooden plaque along with the New Mexico state flag which had been taken to the Moon and back by the crew of Apollo 17. The plaque was then distributed in 1973 by President Richard Nixon to the state of New Mexico as he did that year to the other 49 states (the same as for the Apollo 11 plaque gifts). This was done as a goodwill gesture to promote peace and harmony.
History.
The New Mexico Apollo 11 lunar sample display was presented by President Richard Nixon to then-Republican Governor David F. Cargo. When the new Democratic Governor of New Mexico Bruce King came into office on January 1, 1971, there was a clash between him and Cargo over the ownership of the New Mexico Apollo 11 goodwill Moon rocks plaque display. Cargo argued that since the plaque was presented to him, it was his to take home when he left office on December 31, 1970. King felt the Apollo 11 commemorative plaque display belonged to the people of the state of New Mexico and should be housed in the Museum of New Mexico. Cargo argued that since the display with the Moon rocks was given to him and not King, it was his right to give it to a museum if he wanted or not give it to them if he didn't want to.
The curator of the Museum of New Mexico, Dr. George Ewing, checked the White House records, which showed that the display belonged to the people of New Mexico. Indeed, the label affixed to the New Mexico Apollo 11 goodwill Moon rocks display reads:
Cargo said he had been thinking about giving the New Mexico Apollo 11 lunar sample plaque display with the "Moon rocks" to the Museum of New Mexico anyway. Cargo was hoping that his astronaut friend James McDivitt would be present at the presentation of the New Mexico Apollo 11 plaque display, but McDevitt couldn't make it. Ultimately the New Mexico Apollo 11 goodwill Moon rocks display was presented to the Museum of New Mexico by Cargo in a formal ceremony attended by 50 people on November 9, 1971. Cargo had invited everyone in New Mexico to the ceremony presentation, except Governor King.
While other goodwill Moon rocks commemorative displays were reported lost or missing by many recipient states, both the New Mexico Apollo 11 and Apollo 17 goodwill Moon rocks commemorative plaque displays are exhibited in the state. According to Moon rocks researcher Robert Pearlman, the New Mexico Apollo 11 lunar sample display is exhibited at the Palace of the Governors, a division of the Museum of New Mexico. The New Mexico Apollo 17 goodwill Moon rocks display is at the Roswell Museum and Art Center in Roswell, New Mexico.


Margazhi Raagam

Margazhi Raagam is a Film/Carnatic music concert performed by Bombay Jayashri and T.M. Krishna, two leading artists in the field. The film is significant because it is considered to be the first of its kind in the Carnatic music world.
Concept.
Margazhi Raagam was conceptualised by Jayendra Panchapakesan a pioneer of the South Indian ad film making industry. The film follows a 'concert' format, with the artistes performing on a stage, but uses video styles to give the audience a multi-directional view of the stage and set.
On the official website, Jayendra says: "For over four years, I have been living with the idea of giving Carnatic music an evocative new appeal in terms of presentation. Finally, the technology became available to give this dream the right shape. Margazhi Raagam brings together two things that are close to my heart – music and cinema! I am sure that classical music and cinema will see the benefit of this initiative, as will artistes and music lovers."
Along with him a number of leading technicians have participated in the creation of this film. Some of whom are H. Sridhar - Audiography, P.C. Sreeram - Cinematography, Rajeevan - Art Direction, and Satissh Kurosowa - Editing which has awed South Indian audiences and is set to release in theatres across the globe in the months to follow.
Technology.
Margazhi Raagam is significant for the fact that it uses the digital capture quality of the Red One camera and high-quality, uncompressed, six track surround sound to deliver audio clarity and audio mixing finesse that carnatic music audiences have not experienced in a live concert so far.
The film is also expected to be released in Blu-ray, DVD and Audio CD formats in the near future.
Experience.
The experience offered by this film is the first of its kind. Viewers have mentioned that they were overcome with emotion while watching the film.


Pandit Jasraj Institute for Music, Research, Artistry and Appreciation

The Pandit Jasraj Institute for Music, Research, Artistry and Appreciation (PJIM) is a non-profit 501 (c)(3) institute that fosters the preservation, growth and teaching of Indian classical music in the tradition of the Mewati gharana, named after Jasraj. The institute is based in New Hyde Park (NY) and has branches in Manhattan (NY), Edison (NJ) and Pittsburgh (PA).
Activities.
The institute organizes an annual workshop titled "Shibir", publishes the "JasRangi Magazine" and organizes artistes' concerts.


Water Lily Acoustics

Water Lily Acoustics is an American record label in Santa Barbara, California founded in 1985 by Kavichandran Alexander, a Tamil from Sri Lanka. Alexander is a record producer and audio engineer. He named the label after his mother, Lily. The label primarily releases recordings of Indian classical music and collaborations by musicians from around the world. At its inception, the Alexander emphasized Eastern musicians, espousing the belief that they had seldom been recorded with proper sound quality compared to their Western counterparts. He began to include music from outside Asia. Alexander has recorded and produced musicians such as José Neto, Ali Akbar Khan, V. G. Jog, Vishwa Mohan Bhatt, Ry Cooder, Jerry Douglas, Béla Fleck, Taj Mahal, Papa Susso, Jiebing Chen, Simon Shaheen, Hungarian National Philharmonic, Philadelphia Orchestra, and the Saint Petersburg Philharmonic Orchestra. Music he has recorded has appeared in the films "Angel Eyes", "Dead Man Walking", and "Meet the Fockers".


Yagalom


Terrific (comics)

Terrific was a weekly British comic published by Odhams Press' Power Comics imprint in 1967–1968. "Terrific" was similar in format to its sister title "Fantastic", which had started publication two months earlier. The two titles were quite unlike other British comics of the time, consisting mainly of material reprinted from American Marvel Comics, serving as an introduction to many of Marvel's superhero characters. In this respect, "Fantastic" and "Terrific" can be considered precursors of the Marvel UK weeklies such as "The Mighty World of Marvel" that appeared beginning in 1972.
Publication history.
The Power Comics imprint was led by a three-man editorial team, known as Alf, Bart, and Cos. Alfred Wallace ("Alf") was the Managing Editor at Odhams, and supervised the entire Power Comics line. Bart and Cos were the staff editors who handled the individual titles, with Bart focusing on "Terrific".
"Terrific" #1, which launched on 15 April 1967, like its predecessor "Fantastic" was slightly smaller in size and on better paper than the three earlier Power Comics titles; it featured 40 pages and a higher cover price (9d, compared to 7d for 28 pages). (The higher price was a result of the expensive license to reprint the Marvel stories.) This made "Terrific" three times more expensive than the 3d cover price of competitor DC Thomson's perennials "The Beano" and "The Dandy".
All the Marvel strips inside "Terrific" were printed in black-and-white, with colour used only for the front and back covers.
"Terrific" ran for 43 issues from 15 April 1967 until 3 February 1968, when — due to its high production costs and lack of compensatory sales — it was merged with "Fantastic" to form "Fantastic and Terrific". The Marvel strips "The Avengers" and "Doctor Strange" moved over from "Fantastic" to the new title; the others were dropped.
Style and contents.
The one original strip in "Terrific" was the British secret agent strip "Don Starr". The character debuted in "Terrific" #4 in a strip at that time called "The Living Dolls" (which had launched in issue #3). The strip went through a number of titles — "Drama of Doom", "Appointment With Fear", "Appointment With Mr. Big" — before officially becoming "Don Starr" in issue #27. The strip occasionally crossed over with "The Rubber Man" feature in "Smash!".
The Marvel stories which were reprinted (in black-and-white) in "Terrific" featured the"The Avengers" and the Doctor Strange strips from "Strange Tales". Sub-Mariner stories from "Tales to Astonish" ran for the first 22 issues; they were then replaced by Giant-Man and the Wasp stories from the same source.
The Marvel material in the Power Comics titles were frequently edited to replace American spellings and slang with their British equivalents. Dialogue and/or images were also changed occasionally to remove snags in continuity caused by the lack of synchronisation between reprints of different storylines. The alterations were quite crudely done and easy to spot. Despite the amount of Marvel Comics material in the title, there was a relative lack of credit given to Marvel and the individual American creators of the material used. Marvel credit boxes containing the names of Stan Lee, Steve Ditko, Jack Kirby, and the like were invariably deleted from the splash pages; the space they occupied was either left blank or covered with drawn-in artwork. Apart from the compulsory copyright acknowledgment in small print, the name "Marvel" was never mentioned — wherever it appeared in the strips it was changed to "Power."
A distinctive feature of "Terrific" was the full-colour pin-up that featured as the back cover of most issues. Many of these were reprinted from American Marvel comics, but at least some were produced especially for Power Comics by a young Barry Windsor-Smith.


Loetoeng Kasaroeng

Loetoeng Kasaroeng is a 1926 fantasy film from the Dutch East Indies (modern-day Indonesia) which was directed and produced by L. Heuveldorp. An adaptation of the Sundanese folktale "Lutung Kasarung" ("The Lost Lutung"), the film tells of a young girl who falls in love with a magical lutung and stars the children of noblemen. Details on its performance are unavailable, although it is known to have been of poor technical quality and thought to have performed poorly. It was the first film produced in the country and the first to feature a native-Indonesian cast. It is likely a lost film.
Plot.
Purbasari and Purbararang are sisters and in competition. Purbararang, the elder sister, teases Purbasari about the latter's lover, a lutung named Guru Minang; Purbarang's boyfriend, Indrajaya, is a handsome human. However, the girls discover that Guru Minang is actually a god who is more handsome than Indrajaya.
Production.
The first showing of films in the Dutch East Indies was in 1900, and over the next twenty years foreign productions – generally from the United States – were imported and shown throughout the country. Domestic production of documentaries had begun in 1911 but were unable to compete with imported works. By 1923 a local feature film production spearheaded by the Middle East Film Co. was announced, but the work was not completed.
Under pressure from imported works, in 1926 N.V. Java Film, a production house based in Batavia (modern-day Jakarta) which had previously produced a single documentary, "Inlanders op de Krokodillenjacht" ("Native Crocodile Hunters"), chose to make a feature film based on the Sundanese folktale "Lutung Kasarung". The company's owner, L. Heuveldorp served as director and producer, while its laboratory head G. Krugers handled cinematography and processing. Little biographical information is available regarding the background of both men, although it was reported that Heuveldorp had previous experience from working in the United States.
The cast was drawn entirely from the "priyayi" (noble) class, under the coordination of school headmaster Kartabrata. Among the cast were children of Wiranatakusumah V, the regent of Bandung; he had agreed to help fund the film to promote Sundanese culture, and had previously brought the story to the stage. Further subsidies had come from the Ministry of Defence, which donated trucks to ease filming.
Filming had begun by August 1926, when several scenes were shot in a cave that had been excavated for the production on Karang Hill. Heuveldorp, unable to force the actors to play their roles seriously, shot several scenes with them acting as they wished before showing them the results; upon realising that their acting had been disappointing, the cast began to listen to stage directions. Afterwards they began rehearsing each scene at least twice, with Kartabrata standing behind the cameraman and giving directions.
Release and reception.
The film was screened on 31 December 1926 at the Oriental and Elita Theatres in Bandung, making it the first domestically-produced feature film and the first with a native cast. The advertisements were in both Dutch- and Malay-language publications. The film was screened for only a week, with live Sundanese "gamelan" performances providing music, after which "Loetoeng Kasaroeng" was replaced with Hollywood films. From 14 to 17 February 1927, the film was screened in the Mignon cinema in Cheribon. Although its box office performance is not recorded, it is thought to have been poor.
A review by "Bandoenger" in "Panorama" magazine considered the film of poor technical quality compared to imported films, suggesting that the production was underfunded; the review states that some actors were not paid for their work. Reporting on a private screening of the film for the governor-general, the Buitenzorg correspondent of the "Java-Bode" wrote: "The shots were out of focus and the entire film made a murky and dark impression. The directing was clumsy, the sets and costumes paltry. Of the many participants, not one drew attention by acting well." The Indonesian film historian Misbach Yusa Biran wrote that "Loetoeng Kasaroeng" would have been poorly received outside of West Java, owing to Sundanese culture and dance not being considered interesting to other ethnic groups, particularly the Javanese. William van der Heide, a lecturer on film studies at the University of Newcastle in Australia, notes that the tendency of European filmmakers to depict natives as primitives may also have influenced the poor ticket sales.
Legacy.
Although Heuveldorp is not recorded as being involved in any more fiction film productions, Krugers went on to direct several films, including the area's first talkie, "Karnadi Anemer Bangkong" (1931), before leaving the country in 1936. At least one of the cast members, Oemar, is recorded as continuing to act. "Lutung Kasarung" was adapted to film twice further, in 1952 and 1983.
After "Loetoeng Kasaroeng" was released, numerous domestic films were made. The second domestic production, "Eulis Atjih" (1927), was directed by Krugers and received a wider release. With the release of "Lily van Java" ("Lily of Java") in 1928, ethnic Chinese became involved in the industry; by 1940 native directors had become common. However, the first truly Indonesian film is considered to be Usmar Ismail's "Darah dan Doa" ("The Long March") in 1950, released after the Dutch recognised Indonesia's independence in 1949.
"Loetoeng Kasaroeng" is likely a lost film. The American visual anthropologist Karl G. Heider wrote that all Indonesian films from before 1950 are lost. However, JB Kristanto's "Katalog Film Indonesia" ("Indonesian Film Catalogue") records several as having survived at Sinematek Indonesia's archives, and Biran writes that several Japanese propaganda films have survived at the Netherlands Government Information Service.


Walsall Courier and South Staffordshire Gazette

Walsall Courier and South Staffordshire Gazette is the earliest known newspaper to serve Walsall in the ancient county of Staffordshire, now the West Midlands.
Established in 1855, it was published by "Newey & Foster of New Street". It was a weekly newspaper and only lasted one year before the "Walsall Guardian and District Advertiser" was established in 1856.


David Sanctuary Howard

David Sanctuary Howard (1928 - 2005) was a noted expert on Chinese armorial porcelain.
Born in Manchester 22 January 1928, he died 25 March 2005. He was educated at Stowe School. He served in the Coldstream Guards. He set up and ran Heirloom & Howard, a business specialising in restoring armorial artefacts to the families with whom they were connected. The business began in Mayfair and later relocated to Wiltshire.
He was the author of:
He also published a number of other books.
Had four children with his first wife, Elizabeth North.


Suda Hachiman Shrine Mirror

The in Hashimoto, Wakayama, Japan is a National Treasure of Japan. It was cast with 48 Chinese characters around the fifth century. It is an important artifact for the research in Japanese archaeology and Old Japanese language.
Inscriptions.
The mirror says
There are a few unclear points, but a tentative translation is "In the eighth month of a gui-wei year, in the reign of the great king, when the prince Wooto was at the Osisaka Palace, Sima, wishing for longevity, sent two persons to make this mirror from 200 han of brand-new and fine bronze." The year gui-wei likely corresponds to 443 or 503.
According to one prevailing opinion, the prince Wooto can be identified as the prince Oohodo, a grandson of Emperor Ōjin and a brother of Oshisaka-no-Oonakatsuhime (Emperor Ingyō's consort). Another theory holds that Wooto is Ōdo-no-Ookimi (Emperor Keitai). He may be a great-grandson (or a younger brother) of the prince Oohodo. If the gui-wei year corresponds to 503, Shima is presumed King Muryeong of Baekje.
On the basis of this ancient inscription, Korean scholar Kim Woon-Hoe theorizes a fraternal relationship between Emperor Keitai of Japan and King Muryeong of Baekje. A mirror was excavated from the tomb of King Muryeong. It is similar to the mirrors of Emperor Nintoku and Emperor Keitai. In the ancient Buyeo kingdom, the bronze mirror represented the king.


Order of Civil Merit (South Korea)

The Order of Civil Merit () is one of South Korea's orders of merit. It is awarded by the President of South Korea for "outstanding meritorious services in the area of politics, economy, society, education, art or science in the interest of improving citizens' welfare and promoting national development."
Grades.
The Order of Civil Merit is divided into five grades.