Żurrieq is a town in the Southern Region of Malta. It is one of the oldest towns in the country, it has a population of 11,823 inhabitants as of March 2014; the first documentation about it being a parish dates back to 1436 dedicated to St. Catherine of Alexandria; the island of Filfla is administratively a part of the town. The town stretches from in Nigret to Ħal Far in old times the town was a border with Żejtun. There are a number of villages forming part of Żurrieq. Żurrieq is votes for the local council every five years. The council is made up of nine members, one of them is the Mayor of the town; the present Mayor of Żurrieq is Rita Grima. The parish Arch-priest being Rev. Karm Mercieca, helped by Rev. Raymond Cassar, Rev. David Torpiano and Rev. Karm Camilleri; the chapel serves as the official cemetery chapel of Żurrieq. It is the only such chapel dedicated to Pope St Leo I in Malta; this chapel was closed in 1658 and reopened twenty years after the necessary restoration had been carried out.
In this chapel one could find an old painting on wood that from 1343 to 1575 was in the chapel on Filfla. Today this painting is found in the parish church of Zurrieq; the original church which stood on the site of the present church was built sometime in the 16th century. However it was deconsecrated by the Bishop of Malta, Balaguer on 24 November 1658; the present church was built by Cikku Grixti as a fulfillment of a vow made by a woman. It was blessed by the vicar general Philip Amato on 27 February 1859; the church served as a spiritual base for British soldiers during World War II. In 1952 the church was enlarged and decorated with items such as the Via Crucis and new vestments; the painting depicting St Agatha was restored by R. Bonnici Cali. St Andrew's was first mentioned in the reports recounting the visit of Bishop Pietro Dusina in 1575. However, the chapel was rebuilt in 1634; the chapel was deconsecrated in 1658 by Bishop Balaguer. The church remained in disuse until 1690 when the chapel became the property of the parish church of St Catherine.
The origin of the chapel of St Luke dates back to the 15th century. It was donated by its benefactor Luqa Zammit in his will dated 1460 as revealed in the notary documents of Luqa Sillato. However, the present structure dates from 1814 when the church was rebuilt on the initiative of Reverend Gwann Zammit. In 1971 Fr Dionysius Mintoff O. F. M. took over an Air Force Hangar to use as a centre of peace activities, dedicating it to Pope John XXIII. The area was on developed as a Peace laboratory. Saint Catherine of Alexandria Our Lady of Mount Carmel Our Lady of the Rosary Saint Joseph Saint Rocco Santa Clementina Sacred Heart of Jesus, celebrated in the Parish Church and in Nigret. Corpus Christi The Assumption of our Lady, Celebrated in Bubaqra Għaqda Karmelitana Banda Queen Victoria, Żurrieq Soċjeta Mużikali Santa Katarina V. M. Żurrieq is twinned with: Angermünde, Germany Borgo Maggiore, San Marino Morphou, Cyprus Żurrieq Local Council Żurrieq Parish
Melrose is a 15,000 square feet mansion, located in Natchez, said to reflect "perfection" in its Greek Revival design. The 80-acre estate is now part of Natchez National Historical Park and is open to the public by guided tours; the house is furnished for the period just before the Civil War. Melrose was declared a National Historic Landmark in 1974. John T. McMurran, a successful lawyer and planter, had come to Natchez in 1824 or 1825 from Pennsylvania, became a law partner of future Governor of Mississippi, John A. Quitman. McMurran married in 1831, Mary Louisa Turner, daughter of Edward Turner, a prominent Mississippi Supreme Court justice and first cousin to John Quitman's wife Eliza. After a tornado ravaged Natchez in 1840, John McMurran began planning a grand mansion on the outskirts of town, hired Maryland architect, Jacob Byers, to design the house the McMurrans named "Melrose," after Melrose Abbey in Scotland, that they had visited previously. Melrose is the only building that can be attributed to Byers.
The McMurrans spared no expense as the windows, cornice moldings and floors are made out of the finest woods. In 1865, John McMurran, hurting financially due to the American Civil War, grieving from the deaths of their daughter and two grandchildren, sold Melrose to Elizabeth Davis, the wife of attorney and planter George Malin Davis; the couple planned on moving to Maryland, but John McMurran died in a steamboat accident in 1866. Elizabeth and George Davis purchased Melrose in 1865 as a result of Union soldiers occupying their town home, during the Civil War; the Davis family used Melrose and it remained unoccupied for most of the next four decades. The 1883 death of George Davis as well as his daughter, Julia, as a young woman left her six-year-old son, George Malin Davis Kelly, as heir to Melrose and the rest of the Davis property holdings in Natchez and Louisiana. Young George was sent to New York City to be raised by his maternal grandmother. Former Davis slaves, Alice Sims and Jane Johnson are credited with being the caretakers of Melrose during this time.
George Kelly married the following year they returned to Natchez. They selected Melrose as their primary home and restored the home after its extended time of closure. Instead of remodeling, the couple decided to keep the house intact. Ethel Kelly brought in furnishing from Choctaw to add to the furniture existing at Melrose; the Kelly's resided in Melrose until 1975. John and Betty Callon purchased the property in 1976 as their personal home, as a venue for lavish entertainment for their company, Callon Petroleum Company; the Callons retained the integrity of the house and grounds as they took preservation issues as part of their restoration process. As a result, hundreds of photographs were taken of the property and material samples were saved that are invaluable sources of information to curators today; the interior of the first floor is arranged around a central hall and consists of a dining room, drawing room, library, back hall and service rooms. The central and back hall provide a fine example of painted floor cloth, original to the house, another feature is the punkah found in the dining room.
Interior doorways are framed by sunburst-type woodwork above. The rooms feature plaster ceiling medallions and solid pocket doors. Bedrooms, many with original furnishings, are found on the second floor. Above, Melrose possesses; the grounds feature outbuildings including the two storied kitchen and dairy buildings, octagonal cistern houses, a smoke house, a privy, one of the last remaining slave quarters in Natchez, a barn, a carriage house. As Melrose was one of the most intact antebellum estates in the South, due to the fact that the McMurrans had sold their furniture with the house and subsequent owners did the same, the National Park Service purchased the estate in 1990. Melrose along with Fort Rosalie and the William Johnson House form the Natchez National Historical Park. Natchez National Historical Park
Ramesses was an Ancient Egyptian crown prince during the 19th Dynasty. Ramesses was the eldest son of Ramesses II and Queen Isetnofret, the second son overall after Amunherkhepeshef, the eldest son of the Great Royal Wife Nefertari. Born during the reign of his grandfather Sethi I, he had two brothers, his sister Bintanath was elevated to the position of Great Royal Wife in the reign of Ramesses II and played an important role at court. A possible sister named Isetnofret may have married her brother Merneptah and been his queen, however, it is possible that Merneptah's queen was his niece, not his sister, his known younger brothers are Merneptah. Ramesses is listed on several monuments with his younger brothers Merenptah, he appears as the second prince in the list of procession of Ramesses' sons in Abu Simbel. He is attested in numerous inscriptions including the Egyptian'triumph' scenes after the Battle of Kadesh. Ramesses bears the titles of Royal scribe, Generalissimo and "bodily King's Son beloved of him", is shown presenting the "Maryannu-warriors of the despicable Naharina" to the gods as spoils of war.
In scenes from the battle of Qode in year 10 at Luxor, the princes Amunherkhepeshef, Ramesses and Khaemwaset are shown leading prisoners before their father the king. Ramesses is depicted as just one of two princes depicted by the colossi of Ramesses II in front of the Great Temple at Abu Simbel, he appears in front of the colossus to the north of the entrance. Prince Ramesses is said to be the Royal Scribe and first Generalissimo of His Majesty, Bodily King's Son. Ramesses served as the heir to the Egyptian throne from around year 25 to year 50 of his father's reign, he succeeded his older half-brother Amunherkhepeshef as heir to the throne after his death. He has attested in Saqqara, he must have participated in some of the ceremonies for the Apis bulls, when his brother Khaemwaset was first sem-priest of Ptah and High Priest of Ptah in Memphis. The King's Son and Generalissimo Ramesses donated a votive statue for one of the Apis burials sometime between years 16 and 30 of his father's reign.
Prince Ramesses is depicted in the Speos of West Silsila on a royal family stela dating to ca. Year 30, on a family stela from Aswan. On these stelae he is accompanied by his brothers and sister. Ramesses and Khaemwaset together appear on a statue group with their mother Queen Isetnofret, now in the Louvre. After his death around year 50 of Ramesses II, he was buried in Tomb KV5 in the Valley of the Kings, his brother Khaemwaset succeeded him to become Egypt's new crown-prince in his place. Khaemwaset was the fourth son of Ramesses II.
For more than a thousand years, Tibetan artists have played a key role in the cultural life of Tibet. From designs for painted furniture to elaborate murals in religious buildings, their efforts have permeated every facet of life on the Tibetan plateau; the vast majority of surviving artworks created before the mid-20th century are dedicated to the depiction of religious subjects, with the main forms being thangka, distemper paintings on cloth, Tibetan Buddhist wall paintings, small statues in bronze, or large ones in clay, stucco or wood. They were commissioned by religious establishments or by pious individuals for use within the practice of Tibetan Buddhism and were manufactured in large workshops by monks and lay artists, who are unknown; the art of Tibet may be studied in terms of influences which have contributed to it over the centuries, from other Chinese, Nepalese and sacred styles. Many bronzes in Tibet that suggest Pala influence, are thought to have been either crafted by Indian sculptors or brought from India.
As Mahayana Buddhism emerged as a separate school in the 4th century AD, it emphasized the role of bodhisattvas, compassionate beings who forgo their personal escape to nirvana in order to assist others. From an early time, various bodhisattvas were subjects of statuary art. Tibetan Buddhism, as an offspring of Mahayana Buddhism, inherited this tradition, but the additional dominating presence of the Vajrayana may have had an overriding importance in the artistic culture. A common bodhisattva depicted in Tibetan art is the deity Chenrezig portrayed as a thousand-armed saint with an eye in the middle of each hand, representing the all-seeing compassionate one who hears our requests; this deity can be understood as a yidam, or'meditation Buddha' for Vajrayana practice. More Tibetan Buddhism contains Tantric Buddhism known as Vajrayana Buddhism for its common symbolism of the vajra, the diamond thunderbolt. Most of the typical Tibetan Buddhist art can be seen as part of the practice of tantra. Vajrayana techniques incorporate many visualizations during meditation, most of the elaborate tantric art can be seen as aids to these visualizations.
A surprising aspect of Tantric Buddhism is the common representation of wrathful deities depicted with angry faces, circles of flame, or with the skulls of the dead. These images represent the Protectors and their fearsome bearing belies their true compassionate nature, their wrath represents their dedication to the protection of the dharma teaching as well as to the protection of the specific tantric practices to prevent corruption or disruption of the practice. They are most used as wrathful psychological aspects that can be used to conquer the negative attitudes of the practitioner; the indigenous shamanistic religion of the Himalayas is known as Bön. Bon contributes a pantheon of local tutelary deities to Tibetan art. In Tibetan temples, statues of the Buddha or Padmasambhava are paired with statues of the tutelary deity of the district who appears angry or dark; these gods once inflicted harm and sickness on the local citizens but after the arrival of Padmasambhava these negative forces have been subdued and now must serve Buddha.
Contemporary Tibetan art refers to the art of modern Tibet, or Tibet after 1950. It can refer to art by the Tibetan diaspora, explicitly political and religious in nature. Contemporary Tibetan art includes modern thangka that resemble ancient thangka, as well as radical, avant-garde, works. Popular Contemporary Tibetan artists include Karma Phuntsok, Tibetan-Swiss painter Sonam Dolma Brauen and Jamyang Dorjee Chakrishar. Chorten Dzong architecture Eight auspicious symbols Rubin Museum of Art Sand mandala Sandpainting Tibetan rugs Tibetan tsakli Tibetan Buddhist Wall Paintings Iron Man, Tibetan Buddhist statue carved from a meteorite Nalanda, Kurkihar hoard Chandra, Lokesh. Transcendental art of Tibet. New Delhi: International Academy of Indian Culture and Aditya Prakashan. Von Schroeder, Ulrich. 1981. Indo-Tibetan Bronzes.. Hong Kong: Visual Dharma Publications Ltd. ISBN 962-7049-01-8 von Schroeder, Ulrich. 2001. Buddhist Sculptures in Tibet. Vol. One: India & Nepal. Two: Tibet & China.. Hong Kong: Visual Dharma Publications, Ltd.
ISBN 962-7049-07-7 von Schroeder, Ulrich. 2006. Empowered Masters: Tibetan Wall Paintings of Mahasiddhas at Gyantse.. Chicago: Serindia Publications. ISBN 1-932476-24-5 von Schroeder, Ulrich. 2008. 108 Buddhist Statues in Tibet.. Chicago: Serindia Publications. ISBN 962-7049-08-5 Sacred Visions: Early Paintings from Central Tibet, an exhibition catalog from The Metropolitan Museum of Art Museum exhibit of Tibetan art. Mechak Center for Contemporary Tibetan Art Peak Art Gallery, A Contemporary Tibetan Art Gallery Tibetan Painting
This is a bibliography of books by psychologist Raymond Cattell. Cattell, R. B. & Butcher, H. J.. The prediction of achievement and creativity. Indianapolis: Bobbs-Merrill. Cattell, R. B.. Personality and mood by questionnaire. San Francisco: Jossey-Bass. Cattell, R. B. & Child, D.. Motivation and dynamic structure. London: Holt, Rinehart & Winston. Cattell, R. B. & Kline, P.. The scientific analysis of personality and motivation. New York: Academic Press. Cattell, R. B.. The scientific use of factor analysis in behavioral and life sciences. New York: Plenum. Cattell, R. B. & Dreger, R. M... Handbook of modern personality theory. New York: Wiley. Cattell, R. B.. Personality and Learning Theory: Volume 1, The Structure of Personality in Its Environment. New York: Springer. Cattell, R. B.. Personality and Learning Theory: Volume 2, A Systems Theory of Maturation and Structured Learning. New York: Springer. Cattell, R. B.. Structured personality-learning theory: a wholistic multivariate research approach. New York: Praeger. Cattell, R. B.
& Johnson, R. C... Functional psychological testing: Principles and instruments. New York: Brunner-Mazel. Cattell, R. B.. Psychotherapy by structured learning theory. New York: Springer. Cattell, R. B. & Nesselroade, J. R.. Handbook of multivariate experimental psychology. New York: Plenum For a book and article bibliography, see this page